Stamp issued in honour of Kathak

Kathak is one of the classical dance forms of India (originally from North India), and the national dance of Pakistan. It is a narrative dance form characterized by fast footwork (tatkar), spins (chakkar) and innovative use of bhav in abhinaya. It has today a form that has been influenced at various times in the past by mythological narratives by kathakas, temple dances, the bhakti movement (both Vaishnavism and Shaivite), and Persian influence of the Mughal courts in the 16th century onwards; and these elements are readily discernible. Performers today generally draw their lineage from two major schools of Kathak: the Jaipur gharana and the Lucknow gharana (born in the courts of the Kachwaha Rajput kings and the Nawab of Oudh respectively); there is also a slightly less prominent Banaras gharana. Image File history File links Kathak. ... Image File history File links Kathak. ... Mohiniaattam Indian classical dance is performed in different styles. ... A map showing North India North India is a geographic and linguistic-cultural region of India. ... Bhakti movements are Hindu religious movements in which the main spiritual practice is the fostering of loving devotion to God, called bhakti. ... (15th century - 16th century - 17th century - more centuries) As a means of recording the passage of time, the 16th century was that century which lasted from 1501 to 1600. ... The Kachwaha (also Kachhwaha or Kuchhwaha from the Sanskrit Kacchapaghata) are a Rajput clan which ruled a number of kingdoms and princely states, including Jaipur, Alwar and Maihar, before Indias independence in 1947. ... Rajputs (anonymous, c. ... Nawab (Urdu: نواب ) was originally the subadar (provincial governor) or viceroy of a subah (province) or region of the Mughal empire. ... Awadh (also known to the British as Oudh) is a region in the center of the Indian state of Uttar Pradesh. ...

Modern Repertoire

Padma Vibhushan Birju Maharaj and his disciple Saswati Sen

Modern repertoire can include presentation of the three phases of life, creation (symbolized by Lord Brahma), preservation (symbolized by Lord Vishnu), and destruction (symbolized by Lord Shiva). The structure of a conventional Kathak performance tends to follow a progression in tempo from slow to fast, ending with a dramatic climax. A short danced composition is known as a tukra, a longer one as a tora. There are also compositions consisting solely of footwork. Often the performer will engage in rhythmic 'play' with the time-cycle, splitting it into triplets or quintuplets for example, which will be marked out on the footwork, so that it is in counterpoint to the rhythm on the percussion. Image File history File links Saswati002. ... Image File history File links Saswati002. ... Brahma (written Brahmā in IAST) (Devanagari ब्रह्मा, pronounced as ) is the Hindu God of Creation, and one of the Hindu Trinity - Trimurti, the others being Vishnu and Shiva. ... For other uses of the name Vishnu, see Vishnu (disambiguation). ... Shiva (Sanskrit: शिव; Hindi: शिव (when used to distinguish lordly status), and written Śiva in the official IAST transliteration, pronounced as ) is a form of Ishvara or God in the later Vedic scriptures of Hinduism. ...

All compositions are performed so that the final step and beat of the composition lands on the 'sam' or first beat of the time-cycle. Most compositions also have 'bols' (rhythmic words) which serve both as mnemonics to the composition and whose recitation also forms an integral part of the performance. Some compositions are aurally very interesting when presented this way. The bols can be borrowed from tabla (e.g. dha, ge, na, tirakiTa) or can be a dance variety (ta, thei, tat, ta ta, tigda, digdig and so on). Bols are parts of Indian rhythm. ... BOL can be used as: BOL, acronym meaning Bill of Lading Bol, an obscure internet acronym meaning Ben out loud BOL, an Internet Slang term for Bent Over Laughing the ISO 3-letter country code for Bolivia See also: Bol for other use of the word. ... A typical set of Tabla. ...

Often tukras are composed to highlight specific aspects of the dance, for example gait, or use of corners and diagonals, and so on. A popular tukra type is the chakkarwala tukra, showcasing the signature spins of Kathak. Because they are generally executed on the heel, these differ from ballet's pirouettes (which are properly executed on the toe or ball of the foot). The spins usually manifest themselves at the end of the tukra, often in large numbers: five, nine, fifteen, or more, sequential spins are common. These tukras are popular with audiences because they are visually exciting and are executed at great speed. Other compositions can be sub-divided: The Waltz of the Snowflakes from Tchaikovskys The Nutcracker. ...

1. Vandana the dancer begins with an invocation to the gods.
2. Thaat (the first composition of a traditional performance; the dancer performs short plays with the time-cycle, finishing on sam in a statuesque standing (thaat) pose);
3. Aamad (from the Persian word meaning 'entry'; the first introduction of spoken rhythmic pattern or bol in to the performance);
4. Salaami (related to Ar. 'salaam' - a salutation to the audience in the Muslim style);
5. Gat (from the word for 'gait, walk' showing abstract visually beautiful gaits or scenes from daily life)
6. Kavit (a poem set on a time-cycle; the dancer will perform movements that echo the meaning of the poem)
7. Paran (a composition using bols from the pakhawaj instead of only dance or tabla bols)
8. Parmelu (a composition using bols reminiscent of sounds from nature, such as kukuthere, jhijhikita etc.)
9. Tihai (usually a footwork composition consisting of a long set of bols repeated thrice so that the very last bol ends dramatically on 'sam')
10. Ladi (a footwork composition consisting of variations on a theme, and ending in a tihai)

BOL can be used as: BOL, acronym meaning Bill of Lading Bol, an obscure internet acronym meaning Ben out loud BOL, an Internet Slang term for Bent Over Laughing the ISO 3-letter country code for Bolivia See also: Bol for other use of the word. ... BOL can be used as: BOL, acronym meaning Bill of Lading Bol, an obscure internet acronym meaning Ben out loud BOL, an Internet Slang term for Bent Over Laughing the ISO 3-letter country code for Bolivia See also: Bol for other use of the word. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... BOL can be used as: BOL, acronym meaning Bill of Lading Bol, an obscure internet acronym meaning Ben out loud BOL, an Internet Slang term for Bent Over Laughing the ISO 3-letter country code for Bolivia See also: Bol for other use of the word. ... BOL can be used as: BOL, acronym meaning Bill of Lading Bol, an obscure internet acronym meaning Ben out loud BOL, an Internet Slang term for Bent Over Laughing the ISO 3-letter country code for Bolivia See also: Bol for other use of the word. ...

History of Kathak

The story of Kathak begins in ancient times with the performances of professional story-tellers called kathakas who recited or sang stories from epics and mythology with some elements of dance. The traditions of the kathakas were hereditary, and dances passed from generation to generation. By the 13th century a definite style had emerged and soon technical features like mnemonic syllables and bol developed. In the 15th-16th century at the time the Bhakti movement, Rasalilas had a tremendous impact on Kathak. The form of dance even made its way to the Kathavachakas who performed in temples. (12th century - 13th century - 14th century - other centuries) As a means of recording the passage of time, the 13th century was that century which lasted from 1201 to 1300. ... BOL can be used as: BOL, acronym meaning Bill of Lading Bol, an obscure internet acronym meaning Ben out loud BOL, an Internet Slang term for Bent Over Laughing the ISO 3-letter country code for Bolivia See also: Bol for other use of the word. ... (14th century - 15th century - 16th century - other centuries) As a means of recording the passage of time, the 15th century was that century which lasted from 1401 to 1500. ... (15th century - 16th century - 17th century - more centuries) As a means of recording the passage of time, the 16th century was that century which lasted from 1501 to 1600. ... Bhakti movements are Hindu religious movements in which the main spiritual practice is the fostering of loving devotion to God, called bhakti. ...

Mughal influence

It was when the dance reached the Mughal court after the 15th century that Kathak began to acquire its distinctive shape and features. Here it encountered other different forms of dance and music, most especially dancers from Persia. Dancers were enticed from the temples to the courts by gifts of gold, jewels and royal favour. Patronage soared as a social class of dancers and courtiers emerged in the royal palaces, where dance competitions were held frequently. The environment of the North Indian Mughal courts caused a shift in focus from a purely religious art form to entertainment. Dancers from the Middle East spread their ideas to Kathak dancers, as they borrowed ideas from Kathak to implement in their own dance. Slowly, the two dances became one, as a common link between the Muslim and Hindu culture. (14th century - 15th century - 16th century - other centuries) As a means of recording the passage of time, the 15th century was that century which lasted from 1401 to 1500. ... A map showing countries commonly considered to be part of the Middle East The Middle East is a region comprising the lands around the southern and eastern parts of the Mediterranean Sea, a territory that extends from the eastern Mediterranean Sea to the Persian Gulf. ...

Kathak began to shift away from other traditional dances, such as Bharatanatyam. The demi-plié stance of most other Indian dance forms gave way to straight legs taken from the Persian dancers. To emphasize the flamboyant and elaborate rhythmic footwork as many as 150 ankle bells on each leg were worn. It was also during this period that the signature 'chakars' (spins) of Kathak were introduced, possibly influenced by the so-called whirling dervishes. The straight-legged position gave a new vitality to the footwork, which wove percussive rhythms in its own right, whether together with or in complement to the tabla or pakhawaj. Kathak remained a solo art form, based on personal interpretations and emotional values. The beautiful (but copious) jewellery and costume of the dancers combined with poetic narration to tell fabulous tales of drama, triumph, and tragedy. The music, regalia, atmosphere, and themes developed through the fusion of cultures in a way that no other dance could. Although now substantially different from the other Indian dance forms, the roots of the style remain the same, and as such it displays a consanguineity with the others, particularly in the hand-formations during story-telling, and some of the body-postures, for example the tribhangi position, which is common to most Indian dance forms. Stamp issued in honour of Bharatanatyam Bharatanatyam (also spelled Bharathanatyam, Bharatnatyam or Bharata Natyam) is a classical dance form originating in India. ... The Mevlevi Order or the Mevleviye are a Sufi order founded by the followers of the Persian Jalal al-Din Muhammad Rumi in 1273 in Konya present day Turkey; also known as The Whirling Dervishes, sometimes called the Howling Dervishes or the Dancing Dervishes due to their famous practice of... A typical set of Tabla. ... To meet Wikipedias quality standards, this article or section may require cleanup. ...

Change in the Bhakti Era

During the era of fervent worship of Radha-Krishna, Kathak was used to narrate tales from the lives of these figures. Popular performances included Sri Krishna’s exploits in the holy land of Vrindavan, and tales of Krishna-Leela (Krishna’s childhood). In this time, the dance moved away from the spirituality of the temple.

Later court influences

Many specific emperors contributed to the growth and development of Kathak into different gharanas, or schools of dance, named after the cities in which they developed. The Nawab of Oudh, Wajid Ali Shah, not only enjoyed giving patronage to dancers, but danced himself, taught by Durga Prasad. He himself choreographed a dance, Rahas, that he danced himself with the ladies of his court. He brought teachers to his palaces, aiding the expansion of technical vocabulary, and formed the basis of the Lucknow gharana, emphasizing sensuous, expressive emotion. The Lucknow gharana placed emphasis on the abhinaya and natya elements or expressional qualities of the dancing; it was famed for its subtlety and grace (nazakat). This contrasted sharply with the Jaipur gharana, which became renowned for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Even after the Moghuls, courts in Rajasthan enjoyed Kathak as a sophisticated art form, fostering the growth of the Jaipur gharana. The Banaras gharana was also created in this time. Awadh (also known to the British as Oudh) is a region in the center of the Indian state of Uttar Pradesh. ... Wajid Ali Shah (official name ) (1822-1887) was the tenth and last nawab of the princely kingdom of Awadh (Oudh) in present day Uttar Pradesh in India. ... Lucknow (Hindi: लखनऊ; Urdu: لکھنو Lakhnau) is the capital city of the state of Uttar Pradesh, India. ... Also known as the Pink City, Jaipur has a long, rich and colorful history. ... The Mughal Empire (alternative spelling Mogul, which is the origin of the word Mogul) of India was founded by Babur in 1526, when he defeated Ibrahim Lodi, the last of the Delhi Sultans at the First Battle of Panipat. ... Rajasthan (Hindi: राजस्थान) is the largest state of the Republic of India in terms of area. ... Also known as the Pink City, Jaipur has a long, rich and colorful history. ... Benares (also known as Banaras, Kashi, Kasi and Varanasi (वाराणसी)) is a Hindu holy city on the banks of the river Ganga or Ganges in the modern north Indian state of Uttar Pradesh. ...

During the Raj

With the advent of British Rule in India, Kathak went into sharp decline. The Victorian administrators publicly pronounced it a base and unlovely form of entertainment, despite often privately enjoying the pleasures of the tawaif. Indeed, by associating Kathak solely with the tawaifs and then associating the tawaifs with out-and-out prostitution, Kathak acquired an unwholesome image: the entirely British concept of nautch. Kathak was, to Victorian eyes, an entertainment designed solely for the purposes of seduction. During these times of cultural hardship, the role of the tawaifs in preserving the art forms should not be underestimated. Famous tawaifs such as Gauhar Jaan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion. Historically, a tawaif was a courtesan who catered to the Muslim nobility of South Asia, particularly during the Mughal era. ... Nautch, a word used in several languages of North India, is an Indian term for dance, and indicates several forms of popular dancing styles by young girls, generally called the Nautch girls. ...

Gharanas

Kathak, passed down from guru to shishya, has developed different styles, called gharana especially during the pre-independence period. Some well known gharanas are:

Lucknow Gharana: The Lucknow Gharana developed in the courts of the Nawab of Oudh of Lucknow is characterized by its nazakat and khubsurti. Abhinaya plays a very strong role in this style. It is known for the improvised abhinaya of Birju Maharaj and Shambhu Maharaj.

Jaipur Gharana: The Jaipur Gharana developed in the courts of the Kachchwaha kings of Jaipur, is characterized by strong rhythmic elements. This style explores different talas, and provides a vigorous and forceful form.

Banaras Gharana: The Benaras Gharana is the style developed by Janakiprasad. It is characterized by the natwari bols, which are different from the tabla and the pakhawaj bols. This style uses the twelve natwari bol based compositions exclusively. There are differences in the thaat and tatkaar, and chakkars are kept at a minimum. Though the style developed in Benaras, it flourishes today from Bikaner.

Today

Today, Kathak has regained its popularity after the period of decline during the rule of the British Empire where it was frowned upon by Victorian administrators. Not only in India, but throughout the world, it is recognised as one of the seven classical dance forms of India. Kathak’s unique history has made it very different from other traditional dance forms, although it still retains the same roots. Presently, this classical dance is characterized by a combination of the temple and court forms, inclusive of both the devotion and romantic form that has shaped it through the years. The influence of theatre dance has presented itself in the movement towards dance productions of stories such as Shakuntala. Expressive motion, rhythmic accuracy, graceful turning, poised stances, technical clarity, hand gestures (mudras) and subtle expression (bhava-abhinaya) are important components of modern Kathak. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj, Lachhu Maharaj and one of the great current dancers still alive today, Birju Maharaj) and his students including Pandit Satya Narayana Charka have been very successful in spreading the popularity of Kathak. Another disciple of Acchan Maharaj is Sitara Devi, daughter of Sukdev Maharaj of Benaras. Her lively, zestful and fiery performances have impressed many audiences. Birju Maharaj and Smt. Kumudini Lakhia have both introduced multi-person choreographies, the latter using pure classical movements and style with distinctly contemporary use of space. The British Empire in 1897, marked in pink, the traditional colour for Imperial British dominions on maps. ... Pandit Birju Maharaj (born February 4, 1937) is the current head of the Lucknow gharana of Kathak dance in India. ... Pandit Satya Narayana Charka is an internationally acclaimed Kathak dancer, teacher, and choreography. ... Pandit Birju Maharaj (born February 4, 1937) is the current head of the Lucknow gharana of Kathak dance in India. ... Kumudini Lakhia Kumudini Lakhia (born in 1930) is a Kathak dancer and choreographer based in Ahmedabad, Gujarat, where she has co-founded (with musician Atul Desai) an institution named Kadamb, a centre for Indian dance and music. ...

Chitresh Das (disciple of Ram Narayan Mishra) has spread Kathak throughout North America bringing back the tradition of "upaj" (improvised compositions verses choreographed dance). His presence in India has reinvigorated Kathak by once again bringing expression, speed and power back to the dance.

Innovation within Tradition

Kathak Yoga

See main article: Kathak Yoga
Kathak Yoga is a technique created By Pandit Chitresh Das, within the tradition of Kathak, bringing harmony of mind, body and soul where the dancer recites the chosen Taalam, singing the melody of the chosen Taalam, and dances precise mathematical footwork and Chhakars (pirouettes) all at the same time. In traditional Kathak, there is a singer who recites the given bol to guide the dancer. But in Kathak Yoga, one has to dance the mathematical bol pattern without assistance and recite the basic taalam, which requires the dancer to know the mathematics of the dance bols precisely.

References

• Kothari, Sunil (1989) Kathak: Indian Classical Dance Art, New Delhi.
• Kippen, James and Bel, Andreine Lucknow Kathak Dance, Bansuri, Volume 13, 1996

See also

• List of Kathak dancers

This is a list of Kathak gurus and well known performers. ...

External links

• Kathak from artindia.net, contains a list of Kathak performers, gurus and institutions.
• Birju Maharaja
• Janaki Patrik / Kathak Ensemble
• Rani Khannam
• Rachna Ramya Agrawal
• Najma Ayashah