Kathak

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Kathak is one of the eight major forms of Indian classical dance.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Its origin is attributed to the traveling bards in ancient northern India known as Kathakar ("storyteller"), who communicated stories from the Hindu epics through dance, songs, and music. Its name derives from the Sanskrit word katha which means "story", and kathakar which means "the one who tells a story" or "to do with stories". 'Katha kahe so kathak kahave' - Kathak is the dance of story tellers. Stories are narrated through the medium of the body, face, hands, and feet in sync with the tabla and lehra.

Kathak dancers tell various stories utilizing hand movements and extensive footwork, their body movements, and flexibility, as well as their facial expressions. Kathak often has a strong beat and can be danced in many taals. While proto-Kathak elements can be seen long before, Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu deity Krishna, as well as independently in the courts of north Indian kingdoms.<ref name="reenashah8" /><ref name="Lochtefeld2002p358" /> During the period of Mughal rule, the emperors were patrons of Kathak dance and actively promoted it in their royal courts.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Kathak performances include Urdu ghazal and commonly used instruments brought during the Mughal period.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> As a result, it is the only Indian classical dance form to feature Persian elements.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Kathak is found in three distinct forms, called "gharana", named after the cities where the Kathak dance tradition evolved – Jaipur, Banares, and Lucknow.Template:Sfn Template:Clarify While the Jaipur gharana focuses more on the foot movements, the Banaras and Lucknow gharana focus more on facial expressions and graceful hand movements. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo) and the movement harmonized to the music.<ref name="Lochtefeld2002p358"/><ref>Template:Cite book</ref> The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, neck movements, eyes and eyebrow movement, stage movements, bends, and turns. The main focus of the dance becomes the eyes and the foot movements. The eyes work as a medium of communication of the story the dancer is trying to communicate. With the eyebrows the dancer gives various facial expressions.<ref name="Lochtefeld2002p358"/><ref name="marysnodgrass166"/> The difference between the sub-traditions is the relative emphasis between acting versus footwork, with Lucknow style emphasizing acting and Jaipur style famed for its spectacular footwork.<ref name="Lochtefeld2002p358"/>

Kathak is a performance art that has survived and thrived as an oral tradition, innovated and taught from one generation to another verbally and through practice.<ref name=reenashah9/> It transitioned, adapted, and integrated the tastes of the Mughal courts<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> in the 16th and 17th centuries, particularly by Akbar, but stagnated and went into decline during the British colonial era,<ref name="Ghuman2014p97"/> then was reborn as India gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts.<ref name=marysnodgrass166>Template:Cite book</ref><ref name=reenashah9>Template:Cite book</ref>

Etymology and nomenclatureEdit

The term Kathak is rooted in the Vedic term Katha (Template:Langx) which means "story, conversation, traditional tale".<ref name=reenashah8>Template:Cite book</ref><ref name="Lochtefeld2002p358">Template:Cite book</ref> Kathak refers to one of the major classical dance forms primarily found in northern India, with a historical influence similar to Bharatanatyam in south India, Odissi in east India, and other major classical dances found in South Asia.<ref name="Lochtefeld2002p358"/><ref name="Banham1995p522"/> It differs from the numerous folk dance forms found in the north and other parts of the Indian subcontinent.<ref name="Banham1995p522">Template:Cite book</ref>

The Kathak dancers in ancient India were traveling bards and were known as Kathakas<ref name=reenashah8/> or Kathakar.<ref>Template:Cite book</ref><ref name="NettlStone1998p493">Template:Cite book</ref>

Kathak has inspired simplified regional variants, such as the Bhavai – a form of rural theatre focusing on the tales of Hindu goddesses (Shakti) – and one which emerged in the medieval era, and is presently found in Gujarat, Rajasthan, and Madhya Pradesh.<ref>Template:Cite book</ref> Another variant that emerged from ancient Kathak is Thumri.<ref name=koskoff955/>

Thumri was developed by the tawaif community who were called "nautch" dancers by the British. Their history as Kathak dancers have been erased in modern India. Pallabi Chakravorty. (2008).<ref>Template:Cite book</ref>"Bells Of Change: Kathak Dance, Women And Modernity In India", also see "The Tawaif And The Item Girl: A Struggle For Identity" <ref>Template:Cite book</ref>

HistoryEdit

File:Sharmila Sharma et Rajendra Kumar Gangani 2.jpg

Performance by Sharmila Sharma and Rajendra Kumar Gangani at the Guimet Museum (November 2007)

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According to Mary Snodgrass, the Kathak tradition of India is traceable to 400 BCE.<ref name="marysnodgrass165">Template:Cite book</ref> The earliest surviving text with Kathak roots is the Natya Shastra,<ref name="marysnodgrass165" /> attributed to sage Bharata. Its first complete compilation is dated to between 200 BCE and 200 CE,Template:Sfn Template:Sfn but estimates vary between 500 BCE and 500 CE.Template:Sfn

The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.Template:Sfn Template:Sfn Natalia Lidova states that the text describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, and standing postures – all of which are part of Indian classical dances, including Kathak.Template:Sfn Template:Sfn<ref>Template:Cite book</ref> Dance and performance arts, states this ancient Hindu text,<ref>Template:Cite book</ref> are a form of expression of spiritual ideas, virtues, and the essence of scriptures.<ref name=mog17/><ref>Template:Cite book, Quote: "Like other Indian classical dance forms, Kathak also lays claim to ancient roots and a genesis as a temple dance or religious story telling method, and many dancers both in India and the diaspora will explain their art form in its purest state as a devotional activity, a type of sadhana or spiritual practice".</ref>

The 2nd century BCE panels found in Bharhut show the dancers in a vertical stance with their arms' positions already suggesting today's Kathak movements. Most of the dancers have one arm near the ear in a ''pataka hasta'' (mudra). In subsequent years, the hasta was lowered to the bust level.<ref>Template:Cite book</ref>

The term Kathakas in the sense of "storytellers" appears in ancient Hindu texts, such as the Mahabharata:<ref name=buitenen400/>

<poem> {{#invoke:Lang|lang}}
Followed by the scholars of the Vedas and Vedangas, and by those who ponder on their soul, by persons skilled in music, by the devotees of Bhagavata, (...) by Kathakas (reciters of the sacred lore), by dwellers of forests, (...) by those who sweetly recite celestial histories. </poem> {{#if:Adi Parva CCVI.2-3 |{{#if:|}}

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Bards, actors, dancers, songsters, and musical reciters of legends and stories are mentioned hundreds of times in the Hindu Epics.<ref>Template:Cite book</ref>

Bhakti movement eraEdit

Textual studies suggest that Kathak as a classical dance form likely started in Banares (Varanasi) and from there migrated northwest to Lucknow, Jaipur, and other parts of north and northwest India.<ref name=walker100>Template:Cite book</ref> The Lucknow tradition of Kathak dance attributes the style to a Bhakti movement devotee named Ishwari from the Handia village in Prayagraj, Uttar Pradesh, who credited Hindu god Krishna appearing in his dream and asking him to develop "dance as a form of worship".<ref name=walker100/> Ishwari taught his descendants, who in turn preserved the learning and developments through an oral tradition over six generations, ultimately yielding the Lucknow version of the Kathak dance – a family tree that is acknowledged in both Hindu and Muslim music-related Indian literature.<ref name=walker100/>

File:Kathak Dancers Namrata Rai & Vishal Krishna.jpg

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The evolution in Kathak dance theme during the Bhakti movement centered primarily around divine Krishna, his lover Radha, and milkmaids (gopis) – around legends and texts such as the Bhagavata Purana found in the Vaishnavism tradition of Hinduism.<ref name="NettlStone1998p493"/> The love between Radha and Krishna became symbolism for the love between Atman (soul within) and the supreme source (Cosmic soul everywhere), a theme that dance ballet and mimetic plays of Kathak artists expressed.<ref name="NettlStone1998p493"/> Although central Asian influence of Kathak rapid whirls has been proposed, Sangitaratnakara, a 13th-century Sanskrit text on Indian classical music and dance in Chapter 4 mentions a dance movement with rapid whirling around like a wheel keeping the arms in the Dola pose and bending the body inwards called 'Cakramandala'. It is employed in worshipping gods and in vigorous movement.<ref>Template:Cite book</ref>

The emergence of Raslila, mainly in the Braj region (Mathura in Western U.P.) was an important development. It combined in itself music, dance, and the narrative. Dance in Raslila, however, was mainly an extension of the basic mime and gestures of the Kathakars or story-tellers which blended easily with the existing traditional dance.

Mughal eraEdit

With the coming of the Mughals, this dance form received a new impetus. A transition from the temple courtyard to the palace durbar took place which necessitated changes in presentation. In both Hindu and Muslim courts, Kathak became highly stylized and came to be regarded as a sophisticated form of entertainment. Under the Muslims, there was a greater stress on nritya and bhavag - the dance's graceful, expressive, and sensuous dimensions.

The Mughal era courts and nobles accepted Kathak as a form of aristocratic entertainment, which low income families were willing to provide.<ref>Template:Cite book</ref> According to Drid Williams:

It should be remembered that the first Kathak dancers were, after all, Hindus who danced for Moghul overlords. Too much outward expression of religious belief was without doubt undesirable. It is therefore reasonable to assume that the wide use of 'abstract' dancing, intricate bell work (tatkar), dazzling turns and the fleeting, transient, glimpses of Radha and Krishna in Kathak arose both to remind the dancers about their reasons for dancing and (gently, unobtrusively) to deceive their courtly Moghul audiences. Perhaps tatkar and tukras formed the bulk of these first dancers' performances. Gradually more and more images, then stories of Krishna and Radha crept in. {{#if:Drid WilliamsAnthropology and the DanceTemplate:Sfn|{{#if:|}}

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File:Namrrta Raai (Kathak).jpg

Namrata Rai (Kathak Dancer) while performing Sufi poetries in a concert

Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance. The dress replaced sari with items that bared midriff and included a transparent veil of the type common with medieval Harem dancers.<ref>Template:Cite book</ref><ref name="Kugle2016p230">Template:Cite book</ref> When the colonial European officials began arriving in India, the Kathak court entertainment they witnessed was a synthesis of the ancient Indian tradition and Central Asian-Persian dance form, and the Kathak dance performers were called the "nautch girls" (or natch, a derivative of the more difficult to pronounce Sanskrit natya).<ref name="NettlStone1998p493"/><ref name="Kugle2016p230"/>

British Raj eraEdit

With the expansion of British colonial rule in 19th-century India, Kathak along with all other classical dance forms were discouraged and it went into decline.<ref name=reenashah9/><ref>Template:Cite book</ref> This was in part the result of the Victorian morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism.<ref name=marysnodgrass166/><ref name="Walker2016p94"/> Reverend James Long, for example, proposed that Kathak dancers should forget ancient Indian tales and Hindu legends, and substitute them with European legends and Christian tales.<ref name=marysnodgrass166/> Missionaries recorded their frustration in Church Missionary Review when they saw Hindu audiences applaud and shout "Ram, Ram" during Kathak performances.<ref name=marysnodgrass166/>

The seductive gestures and facial expressions during Kathak performances in Temples and family occasions were caricatured in The Wrongs of Indian Womanhood, published at the start of the 20th century, as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" or "anti-nautch movement" in 1892.<ref name=marysnodgrass166/><ref name="Ghuman2014p97">Template:Cite book</ref><ref name="Walker2016p94">Template:Cite book</ref> Officials and newspapers dehumanized the Kathak dancers and the sources of patronage were pressured to stop supporting the Kathak performing "nautch girls" (also termed as devadasis and tawa'ifs in mid 20th century literature).<ref name="Walker2016p94"/> Many accused the dance form as a front for prostitution,<ref name="NettlStone1998p493"/> while revivalists questioned the constructed histories by the colonial writers.<ref>Template:Cite book</ref><ref>Template:Cite journal</ref>

Not only did missionaries and colonial officials ridicule the Kathak dancers, Indian men who had been educated in British institutions and had adapted to Victorian prudery also joined the criticism, states Margaret Walker, possibly because they had lost their cultural connection, no longer understood the underlying spiritual themes behind the dance, and assumed this was one of the "social ills, immoral and backward elements" in their heritage that they must stamp out.<ref name="Walker2016p94"/> However, the Hindu families continued their private tutoring and kept the Kathak art alive as an oral tradition.<ref name=marysnodgrass166/> Kathak teachers also shifted to training boys to preserve the tradition, as most of the 20th-century ridicule had been directed at Kathak "nautch girls".<ref name="Walker2016p94"/>

Kathak was brought to the attention of audiences outside India in the early 20th century through Kalkaprasad Maharaj.<ref>Template:Cite book</ref>

Post-independence eraEdit

The movement to end the colonial era and for an independent India, states Walker, also witnessed a revival of Kathak and more broadly, a cultural ferment and effort to reclaim culture and rediscover history.<ref name="Walker2016p99">Template:Cite book</ref>

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State of 'sam' performed by Manisha Gulyani

The Kathak revival movements co-developed in Hindu gharanas, particularly by the Kathak-Misra community.<ref name="Walker2016p99"/> Of these the Jaipur and Lucknow sub-traditions of Kathak have attracted more scholarship.<ref name="Walker2016p99"/>

The oldest Kathak department pat a degree college (university) was formed in 1956 at Indira Kala Sangeet University, a public university located in Khairagarh where Puru Dadheech instated the first Kathak syllabus for degree programs.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was inspired by the diploma syllabus of Mohanrao Kallianpurkar at Bhatkhande College.<ref>Template:Cite news</ref>

According to a BBC Arts article, Kathak is unique in being practiced by the Muslim community of the India, and thus has a "historical link to Islam."<ref name="bbcartskathak">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Farah Yasmeen Shaikh, a Muslim and a disciple of Pandit Chitresh Das in the Lucknow school, considers Kathak as a "confluence of Hindu and Muslim cultures", and has presented her performance in Pakistan.<ref>Template:Cite news</ref> In contrast, states BBC, Nahid Siddiqui (a legendary Kathak dancer from Pakistan, settled and nurtured in the UK), "has a hard time practising and presenting her [Kathak] art in her birth-country of Pakistan".<ref name=bbcartskathak/>

While most scholars consider Kathak as an ancient art, some such as Margaret Walker suggest the modern Kathak is a 20th-century phenomenon, more a form of cultural revival, if one relies on the music-related Indian documents.<ref>Template:Cite book</ref>

RepertoireEdit

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Chakkarwala tukra is a swirling part, here performed by Richa Jain

A modern Kathak, in all three major sub-traditions called Lucknow, Banares, and Jaipur styles (gharana), states Bruno Nettl, consist of three main sections - the invocation, one pure (abstract) dance recital, and one expressive dance.<ref name="NettlStone1998p493"/>

The invocation (vandana) consists of the dancer coming to stage and offering respect to his or her guru and the musicians on the stage. If the team is from the Hindu tradition, the dancer(s) combine facial expressions and hand gestures (mudra) to invoke Hindu gods and goddesses; while a Muslim performance replaces the devotional expressions with a salami (salutation).<ref name="NettlStone1998p493"/>

The pure dance is called a nritta, while the expressive dance is called a nritya.<ref name=koskoff955>Template:Cite book</ref> A Kathak performance can be solo, duo, or team. In a technical performance, the speed and energy the dancers exchange with the audience increases in multiples, that is, the tempo doubles or quadruples.<ref name=walker2>Template:Cite book</ref> During the performance, one or more of the Kathak artists may come to the microphone, interact with the audience, explain something, tell an anecdote in a particular language, or rhythmically recite a song.<ref name=walker2/>

The dresses of the dancer and the facial cosmetics between a Hindu or Muslim Kathak dance troupe varies. The stage typically is bare with no distracting background, states Williams, with musicians seated on rugs downstage right (audience's left), and if it is a Hindu performance there is an image of dancing Shiva (Nataraja) or a Ganesha on the stage's left with flowers and perfumed incense burning.Template:Sfn Template:Refn

Pure dance (Nritta)Edit

The nritta performance starts off with a thàth sequence, which is a slower graceful movement of wrists, neck, and eyebrows.<ref name="NettlStone1998p493"/><ref name=walker2/> Thereafter, the dancer gradually increases speed and energy, while completing a sequence of bol (mnemonic syllables in Indian tradition).<ref name="NettlStone1998p493"/> Each bol has short sections, similar to technical exercises in Western dance traditions, wherein the dancer engages the audience with tora, tukra, parhant, paran, and others stressing footwork, gestures, and turns.<ref name="NettlStone1998p493"/><ref name="Khokar1984p136"/> Each section when completed has a punctuation mark, usually a sharp turn of the head.<ref name="NettlStone1998p493"/> Each ankle is adorned with small bells (ghungroo), which may have just one bell or hundreds. The dancer's rapid movements and footwork in a nritta is perfectly timed to the musical beats (tala) and tempos, and the footwork sequences are called tatkars.<ref name="NettlStone1998p493"/><ref name="Khokar1984p136">Template:Cite book</ref>

Most of the Nritta performance is abstract, fast, and rhythmic.<ref name=koskoff955/> In a Kathak nritta, as with all classical Indian dance forms, the viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range, and pattern. It aims to engage the senses (prakriti) of the audience.<ref name="Descutner2010p45">Template:Cite book</ref>

Expressive dance (Nritya)Edit

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The expressive (nritya) stage of the Kathak dance, in Hindu dress

Nritya is a slower and expressive aspect of Kathak that attempts to communicate feelings and storyline particularly with spiritual themes in Hindu dance traditions.<ref name=koskoff955/> In a nritya, the dance expands to include words, musical notes, and gestures to articulate a legend or message. It is more than sensory enjoyment; it aims to engage the emotions and mind of the viewer.<ref name="Descutner2010p45"/>

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Facial expressions

The expressiveness of Kathak is also found in other classical dances of India. Its roots are found in the Natyashastra text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being.Template:Sfn The Natya connects through abhinaya (literally, "carrying to the spectators"),Template:Sfn that is applying body-speech-mind and scene, wherein asserts Natyashastra, the actors communicate to the audience, through song and music.Template:Sfn Drama in this ancient Sanskrit text, thus, is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness.Template:Sfn According to Massey, another important ancient text that has influenced Kathak is the Abhinaya Darpanam of Nandikeshvara (~2nd century CE).Template:Sfn

In Kathak, abhinaya is in the form of expressive gestures and pantomime set to music that usually outlines a legend or the plot of a well known story.<ref name=walker2/> The gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the underlying story.Template:Sfn In the Hindu texts on dance, the guru and the artists successfully express the spiritual ideas by paying attention to four aspects of a performance: Angik (gestures and body language), Vachik (song, recitation, music, and rhythm), Aharya (dress, make-up, jewelry), and Satvik (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates).Template:Sfn A Kathak nritya performance, however, grants flexibility to the artists and invites improvisation, and it may not be accompanied with a song or recital about the legend.Template:Sfn The stories in Kathak performance generally tend to be about the Hindu god Krishna (or in some cases Shiva or Devi), and the stories come from sources such as the Bhagavata Purana or the Indian Epics. This form of expressiveness is also found in thumri and Persian ghazals.<ref name=walker2/>

DressesEdit

File:Nahid Siddiqui.jpg

Kathak maestro Nahid Siddiqui, in Muslim dress

The dresses vary among Kathak performers and find their sources in either Hindu or Muslim culture.Template:Sfn

The Hindu dress for female dancers has two variations.Template:Sfn One is based on a sari, but is worn in a style different from the customary style that goes over the left shoulder. A Kathak artist generally wraps the sari around the waist and it hangs down from the left.Template:Sfn A blouse called choli covers the upper body.Template:Sfn The artist may wear a scarf (called orhni in some places). Hair, face, ear, neck, hand, wrist, and ankle jewellery, typically of gold, may adorn the artist. A tika or bindi in the middle of the forehead is common.Template:Sfn The second variation of a Hindu Kathak dancer wears a long, full (just above the ankle), light-weight skirt, usually with an embroidered border that helps highlight the dance motion. The skirt is contrasted with a different color choli, and a transparent scarf typically drapes over it and the dancer's head. Jewelry is typically present in the second variation.Template:Sfn

The Muslim dress for female dancers also uses a skirt, but includes close fitting churidar pyjamas and sometimes a long coat covering hands and the upper body. The head has a cover scarf and the jewelry is light.<ref>Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite book</ref>

The Hindu dress for male Kathak performers is typically a silk dhoti draped around the waist, and covered with a silk scarf tied over the top.Template:Sfn The upper body is usually left bare or with only the Hindu thread, but is sometimes covered with a loose sleeveless jacket. Kathak male artists also wear jewellery, but often of stones and much simpler than the female artists.Template:Sfn The Mughal dress for male Kathak performers is kurta-churidar. The kurta can be a simple one, or cut as an angarkha. There is also the possibility of adapting the angarkha or kurta for dance to incorporate wider flare in the lower portion. Particularly older variety dress includes the small peaked cap too.Template:Citation needed

File:Flickr - dalbera - Henri Tournier (spectacle de danse Kathak, musée Guimet).jpg

A tabla drummer and other musicians play for a Kathak dancer.

InstrumentsEdit

The ensemble of musical instruments vary with any Kathak performer, ranging from two to twelve classical Indian instruments, or more in versions with synthetic innovations.<ref name=walker2/> The most common instruments that go with Kathak are tabla (a pair of hand drums) that sync with the dancer's feet rhythms, sarangi, or harmonium with manjira (hand cymbals) that meters the tal (cycle), and other instruments to add effect, depth, and structure to the expressive stage of a Kathak performance.<ref name=walker2/><ref>Template:Cite book</ref>

MusicEdit

The ancient music genre of India, Dhrupad, was re-introduced into Kathak for the first time by India's senior Kathak exponent Mahamahopadhyay Dr. Pandit Puru Dadheech. He is India's first Kathak dancer to bring back Dhrupad on the formal Kathak stage and this composition in 28 matra. Shankar Pralayankar, his Dhrupad composition, has the unique status of regularly being sung in concerts by Dhrupad maestros the Gundecha Brothers.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

GharanasEdit

Kathak is a diffuse tradition, of which three gharanas (schools) are most well known and studied – Jaipur, Banares, and Lucknow.Template:Sfn The schools place different relative emphasis between aspects of a Kathak performance, such as the acting versus footwork. The Lucknow style, for example, emphasizes acting while Jaipur style emphasizes the dance and footwork.<ref name="Lochtefeld2002p358"/> Traditionally, the Jaipur gharana has had a strong spiritual flavor, covering a diverse range of ideas in Vaishnavism and Shaivism.Template:Sfn

File:Shovana Narayan.jpg

Shovana Narayan, recipient of the Padma Shri for contributions to Indian classical dance

The Jaipur gharana traces its origins to Bhanuji, a famed Shiva Tandava dancer who upon visiting Vrindavan was inspired and taught Natvari Nritya.<ref name="Devi1990p166"/>Template:Sfn Bhanuji's grandons Laluji and Kanhuji were similarly inspired by Krishna. They returned to Jaipur, and together they began the Jaipur gharana of Kathak.<ref name="Devi1990p166">Template:Cite book</ref> The Jaipur style developed under the sponsorship of Rajput rulers, and they favored the Kathak dance with Hindu religious themes.Template:Sfn In the modern era, this school has continued their emphasis on dance and footwork with Jai Lal, Janki Prasad, Kundan Lal, Mohan Lal, and Nawal Kishore.Template:Sfn This school is best known for its systematic innovations in rhythmic dancing, and the use of dance movement to express a story.Template:Sfn

The Lucknow gharana of Kathak dance attributes its origins to a rural Krishna devotee named Ishwari from the village in southeast Uttar Pradesh, who aimed to develop Kathak dance as a form of loving devotion to Krishna.<ref name=walker100/> This school thrived after the Mughal Empire collapsed, when Kathak artists moved from Delhi to Lucknow under the sponsorship of Avadh nawabs who favored court dance culture.Template:Sfn In the modern era, the Lucknow gharana style influences the dance school in New Delhi with Shambu Maharaj, Birju Maharaj, and Lacchu Maharaj.<ref name="Devi1990p172"/> Kathak choreography there has developed themes beyond Krishna-Radha, such as those based on the drama works of Kalidasa's Shiva-Parvati and Bhavabhuti's Malati-Madhav.<ref name="Devi1990p172">Template:Cite book</ref> This school has also attempted a Hindu-Muslim Kathak fusion style, highlighting the court dancers' theme.<ref name="Devi1990p172"/>

The Banares gharana is the third major style, traditionally believed to be the oldest.<ref name=walker100/> Its history is unclear. According to Kothari, the school started with Janakiprasad from a village near Bikaner who resettled in Varanasi,<ref>"Kathak Dance" https://www.auchitya.com/kathak-banaras-gharana/</ref> but one whose ancestors were famed dancers and musicians.<ref name="Kothari1989p59"/> Janakiprasad was a dancer and a Sanskrit scholar, and credited with inventing the bols of Kathak, which are mnemonic syllables within the language of this classical dance of India.<ref name="Kothari1989p59">Template:Cite book</ref>

According to Nicole Lehmann, modern Kathak dancers show, to varying degrees, a fusion of the styles from all three gharanas.<ref>Template:Cite book</ref>

Relationship with other art formsEdit

The north Indian Kathak dance differs from the south Indian Bharatanatyam in several ways, even though both have roots in the Hindu text Natya Shastra. Kathak expressions – particularly in Hindu devotional styles – are more introverted and withdrawn, while Bharatanatyam is more extroverted and expansive.Template:Sfn Kathak is normally performed in a standing form with legs and torso typically straight, while Bharatanatyam extensively utilizes bent knee form (ara mandi, half sitting position that is somewhat similar to Demi Plié ballet move).Template:Sfn

Kathak is also different from Kathakali, though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas.<ref name="claus2003p332"/> Kathakali emerged in the southwestern region of India (modern Kerala) and is distinctive in its elaborate codified colorful makeup, masks, and dress.<ref>Template:Cite book</ref> Kathakali traditionally has been troupes of predominantly male actor-dancers, who dress up as hero, heroines, gods, goddesses, demons, demonesses, priests, animals, and daily life characters.<ref name="claus2003p332"/> Both dance forms employ elaborate footwork, choreography, and hand gestures, but Kathakali integrates south Indian martial arts movements such as leaps and jumps. Both dance forms trace their roots to classical Sanskrit texts, but Kathakali has relatively more recent origins, more closely follows the Hastha Lakshanadeepika text, and began flourishing in the 16th century.<ref name="claus2003p332"/><ref name=zarrilli17/> While each has a different musical and dance language, both deploy a host of similar traditional Indian musical instruments.<ref name="claus2003p332">Template:Cite book</ref><ref name=zarrilli17>Template:Cite book</ref>

According to Miriam Phillips, the Indian Kathak and the Spanish Flamenco dance share many visual, rhythmic, and kinesthetic similarities.<ref>Template:Cite journal</ref>

GalleryEdit

Kathak dance.jpg

Kathak facial expressions
Kathak Duet Performance (5).jpg

Kathak duet performance
Kathak dancer Namrata Rai with her group.jpg

Kathak group performance
Kathak Dancers Namrata Rai & Vishal Krishna.jpg

Namrata Rai and Vishal Krishna
Kathak Facial Expressions (14).jpg

Sufi style-based Kathak
Kathak Rounds (13).jpg

Kathak pirouettes

NotesEdit

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ReferencesEdit