Kathak

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Kathak is one of the classical dance forms of India (originally from North India). 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.

1 Modern Repertoire
2 History of Kathak
3 Gharanas
4 Today
5 Innovation within Tradition
- 5.1 Kathak Yoga
6 References
7 See also
8 External links

[edit] 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.

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).

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:

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

[edit] 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.

[edit] 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.

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 'chakkars' (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.

[edit] 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.

[edit] 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.

[edit] 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 Jan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion.

[edit] 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.

[edit] 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 Sukhdev Maharaj of Benaras. Her lively, zestful and fiery performances have impressed many audiences. Shambhu Maharaj also trained Smt. Kumudini Lakhia, who, along with Birju Maharaj, has introduced the relative innovation of multi-person choreographies in Kathak. She has gained a strong reputation for combining purely classical movements and style with distinctly contemporary use of space.

[edit] Innovation within Tradition

[edit] 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 Taal, singing the melody of the chosen Taal, 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 taal, which requires the dancer to know the mathematics of the dance bols precisely.

[edit] References

Kothari, Sunil (1989) Kathak: Indian Classical Dance Art, New Delhi.
Kippen, James and Bel, Andreine Lucknow Kathak Dance, Bansuri, Volume 13, 1996
Pt. Birju Maharaj (2002) Ang Kavya : Nomenclature for Hand Movements and Feet Positions in Kathak, New Delhi, Har-Anand, photographs, ISBN 81-241-0861-7.
Reginald Massey (1999) India's Kathak Dance - Past, Present, Future, New Delhi, Abhinav, ISBN 81-7017-374-3.
Bharti Gupta (2004) Kathak Sagar, New Delhi, Radha Pub., ISBN 81-7487-343-0
Sushil Kumar Saxena (2006) Swinging Syllables Aesthetics of Kathak Dance, New Delhi, Hope India Publications, ISBN 81-7871-088-9