All about Dance... ANISHA GOEL
All
about Kathak
Padma Vibhushan Birju Maharaj and his disciple Saswati Sen
The Kathak dance form originated in the north and at first was very similar to the Bharatanatyam. Persian and Muslim influences later altered the dance from a temple ritual to a courtly entertainment. The influence of the Mughal tradition is evident in this dance form, and it has a distinct Hindu-Muslim texture.
The word Kathak, derived from 'Katha', literally means storyteller. In ancient times, storytellers used song and dance to embellish their narration. This took the form of Kathakalakshepam and Harikatha in southern India, and the form of Kathak in the north. Around the 15th century, the dance form underwent a drastic transition due to the influence of Mughal dance and music. By the sixteenth century, the tight churidar pyjama became the staple attire of a Kathak dancer.
Technique, Costume and Music: Kathak has an exciting and entertaining quality with intricate footwork (tatkar) and rapid pirouettes (chakkar) being the dominant and most endearing features of this style. The dances are performed straight-legged (samapada position) and the ankle bells worn by the dancers adeptly controlled. The costumes and themes of these dances are often similar to those in Mughal miniature paintings. Simple jewelry known as kundan jewelry adorns female dancers. The themes range from drupadas, taranas, thumris and ghazals (various styles of Indian music). Accompanying artistes include the Sarangi player to play the dhun (tune) and the Pakhawaj or tabla player. Sitars and violins are also used along with the singer who sings as well as recites the nritta patterns.
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-delicateness and khubsurti-beauty. 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 fluency, speed and strong rhythmic elements. This style explores different talas, and provides a vigorous and forceful form.
Benaras Gharana: The Benaras Gharana is the style developed by Janakiprasad. It is characterized by the natwari bols-rhythmic words, which are different from the tabla and the pakhawaj bols. There are differences in the thaat and tatkar, and chakkars are kept at a minimum. Though the style developed in Benaras, it flourishes today from Bikaner. Today, the maestros of Kathak include Birju Maharaj and Uma Sharma.
Repertoire: The structure of a conventional Kathak performance tends to follow a progression in tempo from slow to fast, ending with a dramatic climax. A solo recital begins with an invocation to the gods, called Ganesh vandana or a salaami (Mughal style). Amad is the first introduction of spoken rhythmic pattern or bol in to the performance. Then comes the thaat comprising of soft and varied movements. Items of pure rhythmic beauty like toras, tukras, etc follow. Gat nikass give a brief outline of mythological episodes. Mime is an interesting aspect wherein a single line of a musical composition is interpreted in a variety of ways through subtle variations in facial expressions and hastas. Recitation and demonstration of complicated bols by the dancer consists the padhan. Kramlaya or tatkar is the concluding item.
Though not similar to the Natyasastra, the principles in Kathak are essentially the same. Here, the accent is more on footwork as against the emphasis on hasta mudras or hand formations in Bharatanatyam.
