Kathak Dance

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There is popular saying that “Katha kahe so kathak” . One who tells the story is Kathak.From literary evidence it appears that in ancient times a class of professional story tellers recited the epics and the mythological stories with an added element of abhinaya--- acting. These professional storytellers are referred to kathkas, Granthikas, and Pathakas.

Kathak, the Indian classical dance prevented in the north, has a long past. Nurtured in the holy Precincts of the Hindu temples. Kathak dance has over the centuries, attained refinement and enrich itself with various hues and embellishments. The art of story telling, which found expression in various forms like ‘Aakhyan’, Harikathas, ‘wariliba’ etc.

The Kathak dance of North India also originated as dance dramas and derive their names from the Sanskrit work 'Katha' which means a story. The story has to be told solely through actions and hence an elaborate pattern of facial expressions (Mudra), movement of hands (Hasta) and the simulation of various moods like anger (Krodha), envy (Matsara), greed (Lobha), lust (Kama), ego (Mada), etc., have been evolved. The mastery of perfect expression of these feelings by subtle movement of the lips and eyes forms the root of all the classical Indian dance styles.

It has been said that history of this religious art form is rooted in Rajasthan. It has presumed that Mahirshi Dhrona Charya stayed at Dhrona Mountain, which was situated near Drounpur village. This place exists in Churu district in Bikaner Division, known as Gopalpura.

However, the patronage was extended to all sorts of artists and since there was a tradition of community call “Kathak” who performed dance it is very likely that the dance as an art form was equally patronised. “The Kathak community lived in Sujan Gharh area nearly about Shekhawati in 16th centaury.
Some performers from these communities are well initiated into the nuances of classical music, though their idiom remains folk in nature. Their education in music and dance begins early in life, and the art is passed through naturally from father to son or daughter.

1.Origin and Historical perspective
Origin, development, social, historical perspective and comparative study between Kathak dance and other folk dances of Rajasthan. While Indian dance has a unique body of myth and legend to support the view that the art occupied an important place in the society and religion of the Indian people, there are no historical records, which describe the technical development of dance; however, such information can be drawn from other sources. The literary source material is of two types: the creative religious or scriptural literature and the treatises or texts and manuals of aesthetic theory and practice. In addition to this, oral tradition has played an important part in the diffusion of ideas. Archaeological evidence, particularly sculpture and painting, provides a means of reconstructing the evolution of stylized movement in dance, and musical form provides a clue to distinctive patterns of choreography and dance structure.
2.Gharanas (Schools of Kathak dance)

Develops in the years and given by father to son. The skill, technique, and knowledge of the art of Kathak resulted into two main schools, Lucknow and Jaipur Gharana.

The genealogies of the different families show that in some carts it has been family profession and successive generations have remained loyal to the profession. Taking pride in the pursuits of its excellence. Held within a well-defined system of artistic values, the school display salient features distinguish them. However, with the passage of time, the demarcations are fast disappearing with free exchange of the best from each Gharana. The families which carried the tradition of dance have been the natives of the Bikaner State in the western part of the Rajasthan and also those from the areas near Churu, Sujangarh, and Shekhawati region. What interests one while studying the Gharanas is the richness of each school and the inbuilt residence of Kathak lending itself to growth in the hands of great masters revealing its many splendoured beauty.

Lucknow Gharana
Jaipur Gharana
Jankiprasad Gharana
Kathak in Raigarh Durbar
3.Main aspects of Kathak dance
Nritta , Nritya and Natya

Like other classical dance forms, Kathak also has three major aspects of dance: Nritta (the pure dance), Nritya ( combination of Nritta and Nritya) and Natya (abhinaya or expression) in its technique. The element of Natya is employed in a dance dramas choreographed now days. In the dance-dramas the elements of Nritta and Abhinaya are skilfully interwoven. Nritta, to put in simple words, means pure dance. It is not an interpretative or expressional dance. Though the dancer wears a pleasant expression while performing Nritta, it is not expressional in the scene of Abhinaya, where expression relate to the sentimates depicted.
The foundation of Kathak dance is basically based on Nritta and Natya. Thaat, Aamad, Paran Aamad, different types of todas, parans, and other small pieces comes under Nritta. Gat Nikas, Gat Bhav and other musical compositions like- Thumri, Kavitta, Bhajan, etc. covers the Natya portion.

Thaat
In a former beautiful postures are stuck by the dancer and in the later the dancer glides on the floor with one hand held to the side and the other high and soft and moves eyes, eyebrows, neck, shoulders etc. with great delicacy.
Aamad
Aamad formerly indicated entry of the dancer on the stage. It is one of the nature of pure dance. Aamad means arrival and after a few flourishes dancer presents a Salami, the salutation.
Salami
A graceful bowing to the patron, a conviction, a reminder of the feudal court element, employed in Kathak as a salutation to the audience.
Toda and Tukra
Dancer performs to the composition of the time beats in a rhythmic cycle, arriving on the Sum. The concluding beat.there are different types of the todas like- tatkar tada, Sangeet toda, pramilu, chakkardar todas, tihayeedar toda, etc.
Chakkars
Chakkars are spins which are like pirouettes and are executed on a central vertical axis in rapid succession of three multiples.
Tihai and Sum
A rhythmic pattern three times in a succession is known as tihai. It is interwoven in toda and executed towards the end. Tihais lend colour to the todas and they danced with precision, flourish and beatific concluding postures that mark the Sum.
Tatkar
Tatkar means footwork. All through the performance the dancer concern himself with the rhythmic timing. This controlled by the footwork. When presented at the end of the performance Tatkar is in the nature of a self completing number.
Kavita Toda
In the Kavita todas, we come across boals, mnemonic syllables, affixed to the text. The dancer employes appropriate hand gestures and expressions for the words of the text and keeps laya by feet. He attempts to give a glimpse of abhinaya which on account of the speed at the best remains fleeting and elementary.
Nritya : Abhinaya
Though there is no specific text like the Natyashastra or the Abhinaya Darpan, which is followed by the Kathak dancers. The Natyashastra tradition, where a dancer enacts the content of the song or story with the help of the four abhinayas , angik, Vachik, Satvik, Aharika.
The Nayikas
The Natyashastra lists eight states ;- Swadhipatika, Vipralabdha, Khandita, Kalahantarika, Proshitpatika, Virahotkanthika, Abhisarika, Vasakasjja.
Gat-bhva and gat nikas
In gat bhava and gat nikas a dancer performs abhinaya and suggests a change of a charcter as palta. A small story line to be depicted in the gat Bhav like ; holi gat – to show the scene of the holi, Shringar gat- a process to get ready of the nayika, panihari gat- a small story line of capturing water from village well or river.
Natya
One striking feature of natya is its intimate connection with dance. It is an integral part drama. The essential nature of the term natya deriving from its etymology is very suggestive.
Raslila
The traditional Raslilas are performed in the north India in Brindaban and Mathura. Brij claims the sole guardianship of the Raslilas. The dance of Krishna in a traditional Raslila Krishna performs many solos and takes Chakkars and foot work are as seen in Kathak recital.
Contemporary dance- Dramas

Whereas Raslilas suggest the continuum of the traditional dance-drama form, the genre of dance-dramas which have come to develop on the contemporary scene has its roots in Rahas of Wajid Ali Shah. The beginning of the dance-dramas in Kathak could be seen in the attempts of pioneers like Madam Menka who choreographed the dance dramas in Kathak nearly half a century ago. There was proper thematic development in her choreography and she used all the accessories to shape the genre along with special music, settings and costumes.

Dance dramas in Kathak have reached a definite and impeccable standard in the hand of Birju maharaj and Kumudni Lakhia. The famous dance drams of Kathak Kendra are Katha Raghu nath Ki, Holi Dhum Machori, Habba Khatun, Shane Mughal, Malvika aganimitra, Meghdootam, Roopmati Baaz Bahadur. Kumudini lakhiya presented some of the contemporary themes Aatha kim

3.Music in Kathak
The music used in Kathak dance is Hindustani music, a school of music which is different from the Karnataka music which is used in the south Indian dance forms like Bharat natyam and Kuchipudi. Hindustani music is fully developed school of music which has passage of time, absorbed several elements enriching itself.

Hindustani music in its vocal rendering of the accompanying pada, bhajan, thumari, dadra, gazal, or any other literary composition is an integral part of Kathak. In expressional numbers for abhinaya the songs are set to a particular raga for the presentation. As a matter of fact, rhythm is the life-breath of Kathak. The bols, the mnemonic syllables, are rendered in padhant, the recitation of the syllables.

There are many traditional communities who are professional performers and their skills are handed down from generation to generation. To name a few perennial and pervading folk melodies are Bhaironji, Bhomiaji, and amongst the devotional , umrao, moomal, panihari, kesariya balam, bhanwar albela, hichki, olyun, kurja, sapna, kala kagla and kangsis amongst the arorous rasia, and all of these are sung in tunes which are extremely well arranged combinations of pleasant sounds and widely used in Kathak dance . the pioneer of Kathak dance Binadeen Maharaj Ji has ten thousand thumries in his collection.

4.Mudras
Use of wrist and palm , mudras from “Abhinaya Darpan” are being used in Kathak dance as Well as Rajasthani folk dances. Ghoomar is an exclusive dance of the women folk in which they whirl and move in a circle to the accompaniment of kettledrum. Moving round some times anti clock wise and, also gyrating at times individually, they unite hands, and with measured steps and various graceful inclinations of body, beating palms or snapping fingers at particular cadences, sing some lilting song.

The language of mime, with special reference to the symbolic gestures of the hands, so distinctive to kathak, classical dance of Rajasthan, has its origins in the elaborate rituals described in the Krishna yajur-veda and the Atharva-veda. Both single and compound movements are important, the latter giving rise to two distinct aspects of Indian dance, which are evidenced in all styles of classical dance in India. There is no rigid norms of mudras in Kathak dance but Kathak dancers follows natyashstra as well as abhinayadarpan’s mudra.

5.Paintings
It can be seen the study of these paintings the figures often revel the postures of dance suggesting the interrelationship and understanding of the Kathak and folk dances of Rajasthan that existed among the artistes that practising different forms. The art of “Pichwari Paintings, Wall hangings, developed in Rajasthan. The art of painting, sculpture, architecture, poetry, music and dance had achieved a certain unity during this period, reflecting the interdependence and interrelationship among various arts. The illusion of miniature paintings coming to life and many other aspects are vividly captured.

6.Musical instruments in Kathak
The pair of Tabla, the drums, play an important role in Kathak. Also the Pakhavaj. The other instruments are sarangi, at times a harmonium, and of late as one sees on the contemporary scene a sitar and a sarod. Formerly, as seen in the lithographs, drawing and paintings, the instruments used in Kathak performance could be equally hypnotic and spell binding in the hands of great dancer with only a Tabla accompanist, a sarangi player and vocalist. In many case a dancer himself renders the songs.
use in Rajasthan have been indigenously developed, and are particular to a community or some time to a village.

7.Costumes
Costumes has a great influence of the art form of Rajasthan. Angarkha, Dhoti, Gaghra, lahanga, Odani, tika, Nath, bengals, haar, Kade, are being common used in kathak as well as by the folk dancers.

8.Taal and Laya
The principles of rhythm and meter used in classical music also appear in the music of the folk theatre. In nautanki of Rajasthan, the song form bahr-i-tavil, a lengthy metrical composition good for narrative, features doubling and quadrupling of the speed of the refrain. Group singing of classical 'bandishes', called the 'dangal' or 'taalbandi' is also unique to this region. 'Bhopas' are singing priests of various deities or warrior saints.

In bhavai dance and drum syllables are spoken and their speed doubled; the svami (master of a troupe) in rasa lila of Uttar Pradesh speaks out the drum syllable patterns that are used in kathak danceTehra Taali , the performance does not involve any movement of feet rhythm, but a devotional tribute involving a exercise mainly of the hands and the parts of the body between the ribs and the hips, terh tali is an important link with cultural heritage.

Guru-Shishya Parampara

Some performers from music and dancing communities are well initiated into the nuances of classical music, though their idiom remains folk in nature. Their education in music and dance begins early in life, and the art is passed through naturally from father to son or daughter, though their idiom remains folk in nature. Their education in music begins early in life, and the art is passed on naturally from father to son in form of GURU SHISHYA PARAMPARA It is routine sight in a Langa or mangniyar family to see a grand father sitting crossed lagged with his five year old grand son while prompting him into the intricacies of a raga same in Kathak dance family tradition is very much popular. Now the trend has broken and many -many educated pupil are coming forward to learn Kathak and adopting as a profession.
9.Gunijan Kahana
Maharaja Jaisingh along with the other departments established the institution of Gunijan Khana. It is clear from the patronage given by the rulers to the artists , dancers, musicians, litterateurs and painters that some officials were made responsible for looking after them and for their financial support. It is during this period that we come across the most important text on dance and music.

10.Kathak at present
Today Kathak has moved from temples and village courtyard, royal courts and mansions of Zamidars and patrons to the concert platform in town and cities. The practitioners have changed from professional Nauchwallies to educated young dancers and in spite of the various demands made on it. Kathak has managed to survive, retaining its identity and character this inbuilt resilience is indicative of its growth and popularity.

However with the passage of time, the demarcations are fast disappearing with free exchange of the best of each Gharanas. What interest while studying the Gharanas are reaches of each school and inbuilt resilience of Kathak lending itself to growth in hands of great masters revealing its many splendour beauty.

A gross-section of these artists who have devoted their lives to the preservation and propagation of the dance gives us an idea of its growth and development in the present times. These dancers are not traditional dancers as the Gharanedar Guru and their children.
It is to their credit that art of classical Kathak in its myriad forms has come to stay. In their hands to format has also changed, being an opened form, it lends itself to different treatments and besides solo presentation, the group work has also received due attention with the feudalistic patronage disappearing the question of challenges of relating the dance form to the contemporary sensibilities has also come up.
The outstanding feature of the Jaipur Gharana as observed during the last five decades seems to be an astounding quality of rhythmic wizardry. At the best it is austere and dose not lapse into effeminacy or does not have effete quality. It is forceful and virile.

Relationship with Natyashastra
The mention of the word dance conjures up images of Nataraja (Lord of dance) as the Indian God Shiva is portrayed. Apart from Shiva even Ganesha and Srikrishna are associated with dance and music. India has many classical dance styles. The oldest text dealing with aesthetics covering various art forms including dance is the Natyashastra which is authored by Bharatamuni.
The Indian classical dance style Kathak, derived from the Natyashastra. Kathak have evolved from folk dances and are intimately connected with the art of story telling. Most of these stories are drawn from our epics like the Ramayana and Mahabharata, tales from collections like the Panchatantra, Hitopadesha, Katha Sarit Sagara, etc., also from the subject matter of these dance styles. In fact the Kathak respectively, derive their names from the term Katha which in Sanskrit means a story. As the story is told in the form of dance, these dance styles can actually be called dance-dramas; the only difference is the absence of dialogues.
In fact the combination of the three qualities viz. expression, rhyme and rhythm i.e. Bhava, Raga, and Tala go into the determination of the term Bha-Ra-Ta.

Yoga and Kathak
The integration of Indian classical dance with the physical exercises of Yoga and the breath control of "Pranayam" has perfected the dance styles. Yoga especially had given the dance styles an excellent footwork, which is called Padanyasa and Padalalitya. Another feature of these dance styles is that they are integrated with theology and worship. Traditionally these dances were patronized by the temples. During festivals and other religious occasions, these dances were performed in the temple premises to propitiate the deity. Thus the dance came to combine both art and worship. Even today every recital of any Indian classical dance begins with an invocation to Nataraja or Nateshwara the god of dance.
In Indian folklore and legend, the God of Dance is himself shown to be dancing in a form called the Tandava. This has also been depicted in the statues and carvings in temples like, Khajuraho and Konark in Northern India, and at Chidambaram, Madurai, Rameshwaram, etc. in the South.
Indian dances have also evolved styles based on the Tandava like the Urdhra Tandava, Sandhya Tandava, etc. Indian classical dance found its way outside India, especially to the countries of Southeast Asia. The dance styles of Thailand, Indonesia, Burma, etc., have so heavily borrowed from the Indian classical dance traditions that to a casual observer there would seem to be hardly any difference between the two.

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