Kathak is a dance of communication reflecting the
total philosophy of life. It adheres to tradition yet,
at the same time, it develops in new directions. Kathak
is a vehicle for all emotions. It is universal in
concept, unlike other Indian classical dances, it
absorbs other cultures with its wide range of rhythmic
patterns, hand gestures & emotions, gives us insight
into Indian thought & idealism but also realizations
within ourselves. Traditionally danced by both men &
women, what distinguish Kathak from other dance forms
are its spontaneity, freedom from uniformity and the
room for innovations & improvisations. Thus it
enjoys a fair amount of individuality & autonomy.
Kathak is the only dance form in India that has a
synthesis of Hindu & Muslim cultures.
Kathak Dance is mainly based on Nritta &
Nrittya on the one hand and Tandava & Lasya on the
other. Nritta & Nrittya are applicable to the
movements in the dance style. Tandava & Lasya have
to do with the type of numerics, which are played on the
table and executed by the feet. “Nritta” means pure
dance without any meaning, is the technical part
focusing on a tremendous sense of rhythm & joy of
movement. The beauty of this part of Kathak lies,
therefore, in the exact rendering of the rhythmic
patterns, made audible by musical accompaniment &
the dancer’s intricate footwork. “Nrittya” emphasizes
Abhinaya, communication of the meaning and emotion of a
story, or a song, through facial expressions, gestures
of the hands & symbolic postures of the body.
HISTORY
The
word Kathak is derived from Katha meaning “ the art of
storytelling”. It is also synonymous with the community
of artists known as kathakas whose hereditary profession
was to narrate history while entertaining. With dance,
music & mime, these storytellers of ancient India
brought to life the great Indian Epics – The
Mahabharata, The Ramayana & The Puranas of Sanskrit
literature. From its early form as a devotional
expression dedicated to the Hindu Gods, Kathak gradually
moved out of the temples & into the courts of the
rulers; the Hindu Maharajas & the Muslim Nawabs.
Though originally inspired by religion, the
Mughal courts & the Rajput period in Northern India
greatly influenced the development of the art form. A
shift from religious commitment to entertainment became
predominant in the courts. The rhythmical patterning
& embodiment of romantic poetry were given
prominence to please kings & courtesans.
After the power of Mughal Empire
declined, kings such as those in Rajasthan patronized
these performers & other minor princely states such
as the Nawab of Oudh lineages etc. The style developed
into two major lineages: -
• THE
JAIPUR GHARANA
The JAIPUR
Gharana required a mastery of complicated pure dance
patterns. Nowadays, however, performers present a blend
of Kathak based on the style of both
gharanas.
• THE
LUCKNOW GHARANA
Precise, finely
detailed movements & an emphasis on the expression
of Thumri, a semi-classical style of love song,
characterize the Lucknow Gharana.
Kathak is based on Bhava (mood), raga (melody)
& Taal (rhythmic beat). The Kathak recital commences
with the invocation to gods – Ganesha, Saraswati, Shiva
& salutations to the Guru. The main Instruments used
with Kathak Dance are the Tabla, Harmonium, Sarangi (a
stringed instrument played with a bow), Flute &
sometimes Violin & Sitar are used.
The
theme is invariably retold in Kathak emotionally,
symbolically & yet realistically with the aid of
various techniques which includes excellent rhythmic
syllables, mime, gaits, gatbhava impersonation, singing
of the text & gestures. These render the
expressional dance items of Kathak- rich, sober, varied,
dignified, appealing, flexible, dynamic, creative,
traditional yet innovative & spontaneous. In the
Kathak genre the movement is not rigidly prescribed but
allows the artist to use a variety of free movements,
thus leaving interpretation of the poem or story to the
artist’s power of rhythmical improvisation, imagination
& creativity. The copingstone of the Kathak edifice
is the brilliant footwork in which lighting pirouettes
are executed by the dancers & complex variations on
the rhythm patterns by the dancer compete with the
rhythm instruments viz. Tabla or Pakhawaj. Kathak’s
special attributes are its blend of the divine androgyny
– the intellectual, the suggestive & the
abstract.
