Smt Sunaina Hazarilal or Sunayana, how does it matter

Many years back when I saw a dance program on black white doordarshan, I never thought that one day I will be using an invention which is most powerful tool for search  i.e. Google. That dance program was of Smt Sunaina Hazarilal ji. The TV screen was black but I saw various colors and emotions on the screen. Sunaina Hazarilal ji, a dedicated dancer of old world charm. As was the Nritya Samragyi Smt Sitara Devi ji05ndfrlvr_GE636AJIA_743273g

I grew up watching several program of Smt Sitara Devi ji on TV but I don’t quite understand, why I could not see much of Smt Sunaina Hazarilal. Why?? Was she not available for Doordarshan or Doordarshan never wanted to record her. I am talking of that time when I was in school 1980s. I saw a thumri where she emoted the Radha. Radha was complaining to Krishna of coming late and why he was late? Where was he during this time?, and with whom?.  She cursed Krishna. The gestures Sunaina ji used were of a style of bygone era, that had its own charm. But somehow these are not used now a days.  It is not fault of today’s generation.

Society has undergone several changes. The language, punctuation, Usage, the meaning and the context and also the culture has changed. Thus with this change, various gestures which were required to convey a message or the said words all has been lost now. If we see a Tamil film of 1946 or 1950s then we can see many such gestures which are not in use now in Chennai. Similary in Bengali or Hindi films.. They may look awkward. Similarly the change is observed in all part of country. The dress, fashion, way of talking and language has changed. While speaking in Tamil a young person in Chennai uses more words of English than Tamil in a sentence. Similarly people from all walks of life in city use English words. Young People e Manipur, Assam use and understand more words of English and Hindi than their elders. Since they are exposed to new Mass media, technology tools, and many of them have travelled outside their state-They got education in Delhi, and other Metro cities.

Thus when I say “Old world charm”, I mean to describe that change which has caused to use that word- Old world charm!!.     sun1When I typed the word “Sunaina Hazarilal” into the google, No Wikipedia link was there?. I was totally surprised and more shocked. How is it possible that Wikipedia do not have a page on Smt Sunaina Hazarilal???  But I was wrong. When you type the word “Sunayana” instead of Sunaina then only a link of Wikipedia comes up in the list. But the page was very short. I felt bad.

In the book which I had studied while doing the Madhayama course in Kathak from Akhil Bhartiya Gandharv Mandal, Miraj, Mumbai, there were few bols. They had very different words, other than ta thai tat. we never had learnt that kind of bols in our class. It was published at Prayag- Allahabad. It had so many pictures of Nayikas. That described the various types of nayikas, Khandit nayika, Garva,,,,,Swadheen… etc . Those pictures or illustrations were very good and clear. They were like pencil sketches but beautifull. Later I found those gesture sketches in a website of a dancer based in Japan. I mean all over the world people are using those pictures. But they do not give credit to that book, or to the person who might have created those sketches. I had studied Kathak Under Guru Shri K D Srivastav, he was teaching at Mahatma Gandhi Sangeet Mahvidyalaya, Kanpur near Bada Chauraha. He always praised various artists. Smt Damyanti Joshi, Teerath Ram Azad, Smt Madhavi Mudgal, etc. He used to play tabla while teaching us. I used look at him with amazement. How he was able to play tabla, and speak those Kathak bols also. He was master in Vocal music also.

Thus the Kathak or any art was a Saadhnaa to those belonging to that “OLD world Charm”. They perfected every aspect of art. Not like us who often think in which art i am master??? and find answer as  “None”.

Sunaina Hazarilal is one artist who have worked with full devotion and always tried to keep that old tradition alive without compromising. Not many left following that Banaras Gharana and more so of Janaki Prasad Style of Kathak. Their style had uniques features. Few bols were so different from what we were taught-may be due to fact that our guru was from Lucknow style. But I always called myself as student of all gharana, as my guru had talked about Smt Damyanti Joshi ji, thus i thought he might have learned from Bombay gharana, and also from Lucknow. Thus i got to know both.

Smt Sunaina Hazarilal or Sunayana Hazarilal had always used her old style of gharana tradition, If i can say so she is a purist, which is not bad at all. She has alone worked all these years. She is truely as a flag bearer of her guru’s gharana. Banaras has been Bhoomi of Bhakti. Thus her dance was full of bhakti elements also.

though Banares, Varanasi is home to many. Sitara Devi ji (see this link), GopiKrishna ji (click this link), Janaki Prasad, guru Jitendra, Kamalini and Nalini sisters and many more… But each one of these have their own individual style.

I dont know when i can again see her thumri or any of dance on Doordarshan.

unko mera sat sat naman


Diamond of Kathak- Damyanti Joshi ji

Diamond of Kathak
Damyanti Joshi ji
When I met “Diamond” of Kathak, Smt Damyanti Joshi ji
It was a fine evening at the hall L7in IIT Kanpur. It is a lecture hall but doubled as the best auditorium for all kinds of activities. The L7 was unique, everyone in the IITK Campus knew the destination. Be a film show, natak, a debate, or Lec-Dem of SPICMACAY or dance performance of Swapna Sundari ji, or Music or vocal rendition by Smt GanguBai Hangal. All were held in this L7.
There was a show by the Lucknow Kathak Kendra. A team from kendra came to perform. I could not believe my eyes when I saw Smt Damyanti Joshi ji. It was just like a dream. Since at L7, I could easily sneak-in all such programs. I immediately touched her feet to seek her blessings. Long ago I had seen her on Doordarshan. Thus one can imagine what happens to a child when he sees a star which he had seen on TV. I was out of this world. Later when she came to know that I am a keen student of Kathak, She immediately turned towards a Man. She said see it is good that he is willing to join us at Lucknow, we have shortage of boys in Kathak at Lucknow.
Later she asked me to come to Lucknow Kathak Kendra anytime. Without any hesitation you come to me- she had told me. No other person had said such words to me before, apart from one person. That another person was wife of our president R Venkentaraman. Once she came to IIT Kanpur campus to visit her daughter, whom I knew as Vijaya Aunty, I went to aunty’s house for some work. There I met her mother. That time R Venkataraman was Vice president. She told that you come to Delhi and inform at gate- so and so has come from IIT Kanpur. I really missed the opportunity to visit the Up-Rasthrapati’s house in New Delhi.  Similarly when most respected Damyanti ji said those kind words I was filled with lots of emotions, imaginations etc. But What I could have done at that time. In both instances I was a “nobody”, how could I go to their places.
Later after some time I heard that due to some reasons Damyanti ji did not continue as the director, Kathak Kendra, Lucknow. It was not her loss. It was loss of Lucknow. It was a great loss for me personally. She was the true example of Kathak. Since she had learnt from guru of Jaipur Gharana and also from All the three gurus of Lucknow, Achchan Maharaj, Lachu Maharaj and Shambhu Maharaj. Thus She was a GEM- a Diamond of Kathak. Whose glitter never fades. That is the only quality by which a diamond is recognized.
As a four year old child she used to play in the courtyard of a house belonging to the Shokhey’s household. The lady of the house madam shokey was none other but known as Madame Menaka. She was also a great performer, a gifted one. She adopted this child, the daughter of Smt Vatsala. Who was working in this household. Thus began the association of two stars. Under the guidance of Madam Menaka the career of Damyanti ji started charting a path, which always strode upwards. Till Damyanti ji became a glittering star herself. Madam Menaka selected teachers for her daughter-Damyanti ji.

Legend has it that when the Guru Mahalingam Pillai the great Nattuvanar started school in Bombay to teach BharatNatyam, Smt Damyanti Joshi was the first student the moment the school started. That tells the alertness both Damyanti ji and Madam Menaka had and behind all, the approval of her mother might have been a great strength.

She started wearing Saree while dancing

As the training continued under tutelage of various great masters, Damyanti ji with her determination and will power emerged as a true artist. She learnt the intricacies of art-Kathak. She did not follow the art for the sake of fame. She was a true artists at core. Her renditions were pure art. She mastered over the Abhinaya and the “dheer” emotion of taal. As we know Kathak has been used as a chamatkari nritya- that means the dance specially the gunghrus were used to have some surprising effect on the audience, using the high speed laya and taal (beats). So as to mesmerize everybody. But, She chose Vilambit laya, the lowest speed while dancing. Through the slow beat the focus remains on the abhinaya, or so to say, if someone has truly mastered an art, it can be judged only through the vilambit laya-the Slow pace.
In another article I read that she did not like the introduction /announcement before any item. As she felt that dance itself should be able to communicate with the Audience. What is the need to inform the audience before-hand. If a dancer tells to audience before dance That means artist has failed in its objective. Kathak means the story telling. If we are not able to convey the story though our gestures then we fail ourselves.
She was also master in the Nayika Bhed, or the Astha Nayikas. The eight types of mood or heroines. As earlier I had written about Natraj Gopi Krishna, he was a true natraj and he demonstrated the nayika bhed with added masala. Small little things like pulling the hair pin with teeth and then putting on plait. But Damyanti ji demonstrated within the boundaries as defined in the shastras. She has been credited to introduce the practice of wearing Saree while dancing.
I attended several Lec Dem and seminars etc. In one utsav of Kathak at Delhi  in evening there was program of Smt Damyanti Joshi ji in the FICCI auditorium. The year is not important. It was I think 1994/95?? It was quite late in night. I was strong lover of dance. I reached the FICCI, but when I entered the auditorium I felt ashamed. Felt very sad. At least when such a star artist and that too a senior artist of her status has come down to Delhi and more over she has the determination to perform herself on stage at that advanced AGE, all the dance fraternity must be present there. But I felt sad that only few days back there was a programme by Smt Uma Sharma ji for Spastic society of India. The FICCI auditorium was full. But when Damyanti Joshi danced in same auditorium not much seats were filled. Only a quarter of hall was with human heads. That day inside me I wept somewhere. But as I am a nobody, whom I could complain.
But kudos to that spirit, Damyanti Ji came on stage and danced with gunghroos on her feet. She danced few Tihais and chakardars also. Sometimes it seemed she will fell down. But She composed herself and completed dance. I salute her spirit. I saw her dancing at that advanced age is no sort of miracle for me (as a student of art). Not many from Kathak Kendra were there. However few from organizers and prachin kala Kendra were there too.
Photos I have taken from internet. Nowdays anyone can google pictures. But for us the students of arts this medium is very beneficial as we can atleast see many works of arts.
Thanx to the Google, The internet which has become a world wide web… one can come out of it!!! Google from a noun has become a verb!!!
Below is a Newspaper cutting , i have forgot the name, written by Ashish Khokar. It is in my collection of all such odd things that i used to collect during my schooldays. And it was a big problem for my family.



The #Diva- one & only #SitaraDevi ji #nrityasamragyi; #Queen of #kathak


The moment you see Sitara Devi ji here in every frame the bright spirit comes alive.

Not only for women’s day but for my respect and remembrance I thought to “google” some images of our great Artist. From thousands of images I could select few and copied and pasted here. sitara3

I wish i can write a small booklet on her. Each frame tells a story. That story I will imagine and try to write  in my way. But for now, on women’s day, she is the true symbol to pay respect towards her (an untiring spirit of a woman).

I had seen her programs on Doordarshan all black and white broadcast from Lucknow Doordarshan Kendra during 1980s. I wish all are available in doordarshan archives? Similar programs of GopiKrishna were also telecasted.

I am not the only one who is in awe of her. The famous Dance critic writer Sunil Kothari said about her “Sitara was exceptionally talented. Full of energy and infectious spirit, her dance cast a spell on audiences, not for the nazakat (delicacy) and khubsoorti (beauty) the Lucknow gharana was known for, but for her electrifying Kathak. Sitara’s endearing way of speaking to the audience, be it in Motihari village in Bihar, or Carnegie Hall in New York, won her the affection of connoisseurs and lay people. She was a law unto herself.?       These words sum up about her in little.

The moment Sitara Devi ji used to come on stage, whole of stage seemed to be electrified.

Although SitaraDevi ji hailed from a Brahmin family, where it was a social stigma on dancing by girls of such families. But due to encouragement from her Father and guru Pt Sukhdev Maharaj, she got opportunity to learn Kathak Dance from her elder sisters Tara ji, who was mother of Natraj GopiKrishna ji. Another elder sister was Alakhnanda ji who was also a famous kathak performer of her time. I think she died nearly in 1984 ??? i dont remember exact year. But when I went to BHU to appear in an examination there i had read in a news paper that Alakhnanda ji was seriously ill and ailing in a hospital. Since I had gone to BHU to appear in an examination and i could imagine how my parents and relatives could have reacted had I requested them to take me to that hospital just to see Alakhnanda ji?? that is situation in our society. Then imagine what hardship these ladies, these legendary stars, had to face during their childhood in 1920s or 1930s?


Eldest sister of SitaraDevi ji Smt Alaknanda Devi ji
Sitara Devi ji was a permanent star attendance at most famous Holi Dhamal of RK Studio,.

pic 1



Has anyone thought that a  LP record of a classical dancer will be brought out in those times? HMV might have thought of her popularity among people of India for her singing and dancing capabilities.

Sitara Ji always loved the brighter side of life, i think that shows her positive attitude towards life. the zeal to live life to its fullest.sit1  sit6

sit10Dilip saheb considered as her sister? She was married to the husband of his sister, thus by our indian traditions She was his sister? we had great traditions in India. Till recently Sitara ji visited Dilip Kumar saheb ji on Rakhsabandhan, to tie Rakhi.

Sitara ji married at her own terms. Sitara Devi was married to Nazir Ahmed Khan then to K. Asif and then to Pratap Barot. K Asif was brother of wife of Nazir Ahmed Khan.


sitara3 (1)

In this age Dr Sitara Devi ji came up on stage and people sought her blessings, at Sur Singar Sansad. Here daughter of Sitara Devi Ji Smt JayantiMala presented her dance. After Sitara Devi ji and Gopi Krishna ji there is no one who can bear the Torch of Banaras Gharana of Kathak. I mean that charm and majesty which these star dancers carried will be missed.

queen of kathak   pic old   sitara 13

Each and every frame depicts her as lively persona






in filmssitara15sitara10




     sitara-naushad-suraiyatwo pics

few of videos are in other blog 


This particular image is enough to describe her untiring spirit and ever ready to dance. She was on wheel chair and still performed on stage at a function organised in memory of women empowerment !!! is it not a symbol of untiring spirit.