At the creative edge of dance

By Kavita Charanji
22 May 2006, 18:00 PM
Kochi Rahman
Kathak dancer, dance director and choreographer Kochi Rahman has many an interesting anecdote to tell about his five years in Delhi. In the Indian capital to train under Kathak maestro Pandit Birju Maharaj at the Delhi Kathak Kendra, at one point he was slated to enact the role of Krishna in Panditji's dance dramaMirabai. Since the first show was in the tradition bound Chittor, Rajasthan, Panditji had some reservations about Rahman's Muslim name. At one point he suggested that the latter take on a Hindu name for the performance. Eventually however, Rahman did not have to hide his Bangladeshi identity.

In many ways, his Delhi days (1992-1997) linger on in his memory. He recalls putting in a 10-hour day at the Delhi Kathak Kendra--divided between yoga, self practice, Panditji's class, and classes in tabla and classical songs. "I don't know how the five years flew past. I really enjoyed training with Panditji. He never lost his temper with us and all his movements and teaching are story based".

Rahman teaches at institutes such as Bulbul Academy of Fine Arts, Shanto Mariam University of Creative Technology and his own organisation Aakrity, a dance institute and troupe. Rahman is also active at the grassroots. Under the aegis of Shilpakala Academy, he has traversed many districts of the country to teach and popularise Kathak.

The small screen has also lured Rahman. He has enacted the character of a Kathak dance teacher in a TV play, titled Champa Chameli, to be aired by Channel i.

Apart from Panditji, Rahman has studied dance at Shibli Mohammed's Shurangama Sangeet Academy. With the latter's encouragement, Rahman made the decision to go to Delhi to receive a good grounding in Kathak.

Traversing the road to become an accomplished dancer, says Rahman, has not always been smooth. At first he had to conceal his calling from his 'pious family' as he terms them. Later propelled to earn a living, he worked as a salesperson in a shop selling spectacles in Farmgate (1986-1992). Yet Rahman did not lose his creative edge as his employer, Rezaul Karim encouraged him to continue with his dance classes. "In his own way, Karim inspired me to go to dance school," he says.

Today Rahman draws heart from the increasing interest in Kathak, particularly at the district-level. With dancers such as Rahman at the helm, many young talents are likely to venture into the dance firmament of Bangladesh.