An annual cultural programme of dance, drama and music was presented by Kashmiri Pandits association of Mumbai, as a part of fund raising campaign, on 25th March 2000, at Rangh Sharda. Besides many enthralling and memorable items, the star attraction was Kathak dance by Nirupma Koul, a deaf and dumb Kashmiri girl from Delhi.

Nirupma is educated in a school for deaf and dumb. She is a diploma holder in Kathak dance from the Kathak Kendra. She was trained by Guru Rewa Vidarthi. Her permanent guide and influence, till today, is tabla wadak Sh Vishwa Nath of Sangeet Natak Academy.

Dance like music and drama is in our roots. Dancing is mentioned frequently in Nilamata. Kalhana informs, King Jaluka’s, King Kalasa’s, King Harsa’s, King Lalitiditya’s liking and influential support to dancing girls. No students of classical Indian dance can ignore the original works on dance like those of Udbhatta, Lollapata, Dankunka, Bhatta Nayaka and Abhinava Gupta. The ‘Tandava’ of Siva is described in ‘Harvijakava’ by Rajanak.

Kathak, a major classical dance form from North India, distinguishes from other classical dance forms in its spontainety, variety and change, Kathak is based on Bhava (mood), Raga (melody) and Tal (rhythmic beat) and has its composition based on North Indian Classical Music.

Nirupma began her dance recital with invocation to God Ganesha and Salutation to her teacher. Right up from ‘Word go’, she held the audience spell bound with the movements of dancing feet, heightened by those sweet sounding and tinkling bells. The intricate foot work variations were in perfect unison with echoing tabla beats. She introduced the Kathak with rhythmic, graceful movements of eyes, eyebrows, neck and shoulders. The Bhajan theme was rendered emotionally and symbolically with the aid of gait, gestures and movements. She was loudly applauded by audience. In her dance she interpreted love lyrics in many shades and moods. She was extremely impressive in gestures, expressions and postures, which was immensely enjoyed by the audience. Althrough there was perfect understanding and rapport between the dancer and tabla wadak, Shree Vishwa Nath. The friendly but challenging compeition between dancer and the drummer was thrilling. Her intricate footwork combined with enchanting rhtmic syllables were perfect. Her dizzying spin rounds on one foot were in a aesthatic way, as if she was possessed, which dazzled the audience and one could hear ‘wah wah’ all around Nirupma, indeed, rendered the items of Kathak in rich, varied, graceful and dignified way. She delighted the full hall of Kashmiri Pandits, who had come from far away areas of Mumbai.

What a wonderful fiesta of dance, from a girl who has performed at several prestigious venues like Washington D.C. Rashtrapati Bhavan, and in all big cities of the country. What an experience of ‘Ananda’ (bliss) from a dancer, who is handicapped, who lost her father at a very early age, who had to be educated, looked after, by her ‘Mama’ . What determination she must have required to come to this stage. What courage she must have had to summon to reach to this stage. What mental toughness she must have required to surmount all hardships, difficulties, problems--physical and economical-to reach, to this stage. She has still a long way--very very long way--to go to reach to her goal. Which indeed she will. Behind her dance recital there is a hidden inspiring message--If you have talent, go ahead and use it to the fullest. ‘If I can do it, so can you’.

For me the dance recital of Nirupma and the programme as a whole was a nostalgia trip down the memory lane,it reminded me of my friend Motilal Kemmu, who gave an inspiring Kathak dance performance in ‘Jashne Kashmir’ in 1956. (He had come from Baroda as a trained Kathak dancer from the College of Indian music and dramatics Baroda).People who had gathered in thousands, in open air theatre, to watch the programme were mused and surprised to see Kemmu dancing Kathak with upper half of the body naked. For decades, the eople saw only folk dances like "Bacha Nagma" or may be at times "Bhand Pather", where dancers were havely clothed. Kemmu’s classical dance performances were revelation, which was, ofcourse, welcomed and appreciated by the masses. Nirupma’s dizzying spin rounds, reminded "Bacha Nagma", where dancer, performed quick spining movements or "Chakkar" which resembled "Chakkar" of Kathak. I was lost in the cherishing memories of "Maj Kasheer" when sweeping cultural renaissance was at its peak. Those were heady days of singers, musicians, poet dramatists and painters. In this renaissance Kashmiri Pandits were leading--they were all over. Stalwarts like Dinanath Nadim, Mohan Lal Aima, Pran Kishore, Kashinath Bhan, Sudamaji, Prannath, Jalali, Bhat, Trilok Koul, Premnath Pardesi, Somnath Zutshi, Dwarkanath Bakaya, Pushkar Bhan, PN Kachru, Bansi Parmoo, Motilal Kemmu and many others, which included me also, were very busy in their respective fields. Nadim gifted opera to Kashmir. Shadow play technique was introduced. Those were days when enchanting memorable "Naat" (Muslim religious song) was sung by Mohanlal Aima and immortal, devotional "Shiv Puza" (Hindi religious song) was sung by Tibet Bakal. It was a cultural movment--a planned movement--a purposeful movement--a meangingful movement, to keep away Kashmir from the influence of Pakistani fundamentalism and revive what Kashmir was -- a grand arena of arts consisting of dancers, writers, poets, dramatists, musicians, and painters who attained fame and glory in their respective fields. The aim was to revive Kashmir cultural heritage which was rich. Though in this movement there were persons of different political views and thoughts but main aim was dear to everybody. To achieve our aim, we were one--we were in unison--we were together, working day and night to achieve our common goal. Kashmiri Pandits contributed a lot in sustaining, reviving and developing the cultural heritage. Dance, drama and music help to regain the lost heaven of unity and oneness. All experiences arising out of dance, drama and music form the return pathway. No movement is complete and effective without it.

Lalla Ded Says:-