'Educating, engaging & enriching people’s lives creatively through classical Indian dance, Kathak'
The origin of Kathak drifts back to the time of ancient Indian language Sanskrit, where katha means story, and katthaka is the storyteller with multi-various art of narration, expression, musical and dance-drama abilities, which made the performer a bard in their nomadic sect, recounting the mythological and moral tales of antiquity in the village squares and temple courtyards of northern India. Paramita is a Kathak Dancer, Choreographer and organizer of the eminent Indian Classical Event; Berhampore Dance Festival, Paramita Maitra is one of the emerging and leading performer in the world of contemporary Indian Classical Dance.
Paramita has engraved her devotion in the talim of the tradition of the Kathakas. A kathaka’s exposition of bhaav bataanaa is the exquisite and forceful reflection of her 14 years of study under the mentoring of the rare talent of Kathak Guru, Pundit Vijai Shankar of Lucknow Gharana at “Padatik Dance Centre”, Kolkata.
In the present time, India pampers all its cultural bonds from the byne days, where Kathak holds its stature in the divine heights. It is a synthesis of experiences of the ages, where devotion and entertainment live on comfortably in form of Pure Dace – Nritta and Expressive Dance – Nritya. Further, the art has overcome the dogmas of the conservative tradition, venturing into different dance forms of classical and traditional origin of western performance art. The credit of attaining the precision in compiling and making themes; using the different dances with Kathak es to the contemporary Kathak dancers, chiefly the senior disciples of the legendary gurus of this art.
The name kathak is derived from the Sanskrit word katha meaning "story", and katthaka in Sanskrit means "he who tells a story", or "to do with stories".
The origin of Kathak drifts back to the time of ancient Indian language Sanskrit, where katha means story, and katthaka is the storyteller with multi-various art of narration, expression, musical and dance-drama abilities, which made the performer a bard in their nomadic sect, recounting the mythological and moral tales of antiquity in the village squares and temple courtyards of northern India.
Today, its origin and forms can still be captured living in the traces of temples and ritual dances, which once engraved during the confluence of the 13th century Bhakti Movement. This era has introduced its signature style and technical features like mnemonic syllables and development of Bols. At the high tide of Bhakti era, during 15th – 16th century; Kathak enlivened its stories more with the form of Rasalilas; eventually, which paved its way to the Kathavachakas, who performed in temples.
By 16th century, as one school of thought of this art entered into the temple walls, another school of thought inculcated certain features of Persian and Central Asian dances, which were introduced by the royal court of Mughal era.
In the present time, India pampers all its cultural bonds from the byne days, where Kathak holds its stature in the divine heights. It is a synthesis of experiences of the ages, where devotion and entertainment live on comfortably in form of Pure Dace – Nritta and Expressive Dance – Nritya. Further, the art has overcome the dogmas of the conservative tradition, venturing into different dance forms of classical and traditional origin of western performance art. The credit of attaining the precision in compiling and making themes; using the different dances with Kathak es to the contemporary Kathak dancers, chiefly the senior disciples of the legendary gurus of this art.
Looking back into the pages of history, the praise for keeping alive the tradition of Kathakaas es to the flawless works of the Maharaj family of dancers - Acchan Maharaj, Shambhu Maharaj, Lachhu Maharaj, and needless to say the love and devotion of the living legend, Pundit Birju Maharaj have kept glowing the Diyaa of vandana.
The chaste toda of a kathaka
South africa (05.06.2009)
South Koria (6.07.11)
Malaysia (7.10.12)
Kathak Dancer, Choreographer and organizer of the eminent Indian Classical Event; Berhampore Dance Festival, Paramita Maitra is one of the emerging and leading performer in the world of contemporary Indian Classical Dance.
She has engraved her devotion in the talim of the tradition of the Kathakas. A kathaka’s exposition of bhaav bataanaa is the exquisite and forceful reflection of her 14 years of study under the mentoring of the rare talent of Kathak Guru, Pundit Vijai Shankar of Lucknow Gharana at “Padatik Dance Centre”, Kolkata.
Paramita has been practicing and studying the art of kathak, since she was seven. During the vibrant and blazing path of her cultural life, she has blossomed as a Master in the art of Kathak from Rabindra Bharati University, Kolkata in the year 1994.
In search of excellence she has been noted as an “A” Graded Artist of Doordarshan, ICCR, Sangeet Natak Akademy and received National Scholarship from vernment of India in 1996. She has been honored as “SINGAR MONI” from Kalki Kalakar, Mumbai, 2004
She is bestowed with the blessing of being fortunate to be under the noble guidance of the Living Legend and Kathak Guru, Padma Bhibhushan, Pandit Birju Maharaj, to create a perpetual divinity of creation; from the experiences of her past learning’s, and discovery from her present guidance. The creative person in Paramita is re-defining the ethos of antiquity of Kathak in the synthesis of creation with other form of dance like Salsa, studying the nomadic commonality of both the Gipsy Bards.
Maharaj ji’s creative company has help Paramita to prove her presence on the big screen of tinsel town as well. She has danced in Hindi Feature Film Gaddar, choreographed by none but Pundit Birju Maharaj himself. Apart from the platform of Indian Hindi cinema; she already has performed in various dance drama; choreographed by Padma Bhibhushan Pundit Birju Maharaj, Smt. Kalanidhi Narayan, Prof. Dietmat Seyffert of Germany, and Smt. Kumudini Lakhia to name a few.
Nrityangan Kathak Kendra (Upanayanam in Kathakas’ Ashram)
In the cultural context of India, concept of school existed since the Vedic age. The same has been known as Gurukul, which has paved the way of guru-shishya parampara especially in the meadows of performance art, which lived on in the faded scroll of history; of Indian art and literature.
Indian classical performers deserve the praise for helping the tradition of the antiquity keeping alive. Amongst many others one of the most active and evolved Indian classical danseuse, Paramita Maitra (secretary - Nrityangan) had dreamt of Nrityangan Kathak Kendra back in 1997. Since then, from a humble inception to this progressing podium, the school has become a center stage of Eastern India in promoting Indian classical dance of varied forms.
The existence of Nrityangan retrogrades to its inception, driven by Paramita’s dream to tender lessons of Indian classical dance to the dance lovers of far off areas, who have problem accessing proper guidance and rare classical resources. It was her urge to provide a platform to the growing artists to perform different Indian classical dances to the mass at large for gaining maximum exposure.
The existence of Nrityangan retrogrades to its inception, driven by Paramita’s dream to tender lessons of Indian classical dance to the dance lovers of far off areas, who have problem accessing proper guidance and rare classical resources. It was her urge to provide a platform to the growing artists to perform different Indian classical dances to the mass at large for gaining maximum exposure.
The production line-up of Paramita has a great deal of involvement with Nrityangan. The school holds regular practice of production in progress along with Kathak dance classes. Under the supervision of Paramita, the students get the formal back-ups to gain the cultural exposition of higher level. The institute provides the National Scholarship to its students; from the Department of Culture. Further, they have been fortunate to perform in the choreography of the living legend Pundit Birju Maharaj.
From a holistic point of view, Nrityangan is living up to its promise in developing Indian classical dance and culture in other than big cities. In its musical journey, Nrityangan has culturally uplifted a handsome demography of Murshidabad, Malda and Nadia along Kolkata district. Students of this school are not only performing under the spot lights of the stages of Kolkata, but also in other places of the nation including its capital. Berhampore Dance Festival has escalated from being a platform of exposure for the growing artists to a grand event, where evolved disciples of the dance maestros across the nation perform various forms of Indian classical dance.
Concept Broken Story Arup Shankar Maitra, Script Amal Chakraborty Light Pradip Banerjee, Sound Dilip Manna, Music Debashis Ghosh (Kukai), Hindi Version Pradip Roy Set Anup Giri, Dance Choreography, Composition, Costume Design Paramita Maitra.
Kanya Ambalika 14 February, 2013 
Story & Music Hemanga Biswas, Music Arrangement Debasish (Kokai), Hindi Translation Pradip Roy, Singer Subhajit, Saioni Light Dinesh Podder, Light Execution Chotka Das, Sound Dilip Manna, Dramatic Concept Nilesh Maitra.
Shankhachil 12 September, 2010 
This unique blend of music and dance became possible with the mesmerizing pace and amazing rhythm of Kathak. Music and Key Board Balu Dutta, Tabla Biplab, Choreography Paramita Maitra.
Alingan 09 March, 2010 "Perfection is Achieved Not When There Is Nothing More to Add, But When There Is Nothing Left to Take Away"
Production, a mean of creation has flourished in many forms through ages. Since human started giving creative makes to its thoughts and necessities, it had changed and retained varied meaning till date.
Theatre or musical theatre production has cast the spell of live performance, creating a self contained drama. A visual art in a single artistic form, with utilization of speech, gesture, music, dance, and spectacle, have made the open podium for production in the genre of art and culture.
This is no new phenomena in making, for the art of production can be traced back to the myth of Osiris and Isis, a theatre production during 2500 BC in Egypt; first theatrical event in the record of human history.
As per record, production of performance art in the East can be traced back to 1000 BC with the Sanskrit drama of ancient Indian theatres. What they have produced in lives, still echoes for eternity.
Still there are disciples of classical order, who have dedicated themselves in production of musical theatre along with their classical career. Paramita Maitra is one such eminent performer and ever-flourishing choreographer, who is breaking the dogmas of traditional Indian dances to compile production of versatile moods of our recent time. Anthology of her production treasures an incendiary theme of production.
3, Selimpur Road,
Kolkata – 700 031
Mob: +91 99039 70041
E-Mail: info@paramitakathak.com
Paramita Maitra
C/O. Bibhas Chandra Sinha
166, Bishnupur Road,
P.O. : Cassimbazar
Dist : Murshidabad
Mob: +91 94330 68700
E-Mail: info@paramitakathak.com
Paramita Maitra
15/2/C1/1, Sweet Land
Bank Plot, Jhill Road
Kolkata - 700075
Mob: +91 94330 68700 / 99039 70041
E-Mail: paramita@paramitakathak.co.in
