In Praise of Kathak
Since the time of inception, Dance has been the rhythm of the universe. However, the story of creation had to be related and as it's variegated, complex and subtle phenomenons interpreted through the stories of the gods and goddesses, heroes and heroines, the word Dance became necessary. Katha is the adumbration of these stories and Kathak is the person who tells them. Thus is the ancient Hindu theory of the origin of the dance style, which came to be known as Kathak.
Kathak is also the name of a community of dancers. In ancient times, the knowledge of epics and mythologies were conveyed to people by certain classes of professional story tellers named Kathakas. The medium they employed was art, especially narration, music and dance. The rendering of the Ramayana by Lava and Kusha is cited as the commencement of the Kathakas. Hence the word "Kathak" resumes the role of dancer-actor, the one who dances and enacts a story.
The ancient dramaturgy of the Kathak style of dance percolated through the broken religious traditions of the Vedic period and the classical renaissance into the medieval Hindu revival. It was recognized in its emotive aspects by the great Mughal emperor Akbar. From then on the musical and dance content of Kathak became more secular. This process enriched Kathak with grace of Islamic choreography and costumes. On the other hand Kathak also became a medium for the more febrile impulses in the hands of the lesser nobles. The poet king Wajid Ali Shah rescued it and restored it to the famous Lucknow Gharana.
Kathak's current form is a synthesis of all the inputs it has in the past. Court and romantic aspects sit comfortably side by side withe the temple and mythology and religion. The technique of Kathak today is characterized by fast rhythmic footwork set to complex time cycles. The footwork is matched by the accompanying percussion instruments such as tabla and pakhawaj, and the dancer and percussionists often indulge in a virtuoso display of rhythmic wizardry. The dance movements include numerous pirouettes executed at lightning speed and ending in statuesque poses. The interpretative portion, based on tales of Radha and Krishna and other mythological lores, contains subtle gestures and facial expressions. Lucknow, Banaras and Jaipur are recognized as the three schools or gharanas, where this art was nurtured and where the interpretative and rhythmic aspects were refined to a high standard. Many modern compositions have drawn from the similarities between Kathak and European dance forms.
Kathak is also the name of a community of dancers. In ancient times, the knowledge of epics and mythologies were conveyed to people by certain classes of professional story tellers named Kathakas. The medium they employed was art, especially narration, music and dance. The rendering of the Ramayana by Lava and Kusha is cited as the commencement of the Kathakas. Hence the word "Kathak" resumes the role of dancer-actor, the one who dances and enacts a story.
The ancient dramaturgy of the Kathak style of dance percolated through the broken religious traditions of the Vedic period and the classical renaissance into the medieval Hindu revival. It was recognized in its emotive aspects by the great Mughal emperor Akbar. From then on the musical and dance content of Kathak became more secular. This process enriched Kathak with grace of Islamic choreography and costumes. On the other hand Kathak also became a medium for the more febrile impulses in the hands of the lesser nobles. The poet king Wajid Ali Shah rescued it and restored it to the famous Lucknow Gharana.
Kathak's current form is a synthesis of all the inputs it has in the past. Court and romantic aspects sit comfortably side by side withe the temple and mythology and religion. The technique of Kathak today is characterized by fast rhythmic footwork set to complex time cycles. The footwork is matched by the accompanying percussion instruments such as tabla and pakhawaj, and the dancer and percussionists often indulge in a virtuoso display of rhythmic wizardry. The dance movements include numerous pirouettes executed at lightning speed and ending in statuesque poses. The interpretative portion, based on tales of Radha and Krishna and other mythological lores, contains subtle gestures and facial expressions. Lucknow, Banaras and Jaipur are recognized as the three schools or gharanas, where this art was nurtured and where the interpretative and rhythmic aspects were refined to a high standard. Many modern compositions have drawn from the similarities between Kathak and European dance forms.