I have been part of Maharajji’s Ritu Samhara shows, which expressed six different seasons through six dance forms — Bharatanatyam, Kathak, Mohiniyattam, Manipuri, Kuchipudi and Odissi
Pandit Birju Maharaj and Leela Samson
Like all classical dancers, I consider Maharajji my guru. He was a source of inspiration for generations, and for both, [dancers like me] and the layman. I learnt about the art form by watching him on stage. He was an unfettered artistic genius and a kind and wonderful human being. I only wanted to imbibe his unbridled passion for dance. He was magnificent and impromptu; you just had to experience his magical moves.
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I have been part of Maharajji’s Ritu Samhara shows, which expressed six different seasons through six dance forms — Bharatanatyam, Kathak, Mohiniyattam, Manipuri, Kuchipudi and Odissi. I have travelled with him for several shows, including for Ritu Samhara in Moscow. Even though he was a kathak icon, every classical dance form was dear to him.
He would take it upon himself to strike a conversation with other dancers backstage. He was a gentle soul and had the persona of a child. Maharajji did not realise his own strength. When I used to teach at the department of Bharatanatyam at the Shriram Bharatiya Kala Kendra in New Delhi, he was in-charge of the kathak department. We would often take part in dance festivals and engage the audiences in open interactions. In the last two years, ever since the pandemic began, live performances, including dance shows were [on hold]. It had been a while since I met Maharajji, but there are several fond memories. He was not envious of anything. He was fond of gadgets and loved attending cultural melas. For him kathak was life, and life was kathak.
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