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Out of his court came a stylization of Kathak that is today known as the Lucknow gharana, or school. The dance form involves learning and practising all the elements to give a proper and perfect dance form in Kathak. While bharatanatyam, kuchipudi, and partly also mohiniattam, are accompanied by the classical southern Indian Carnatic music, the accompaniment of kathak belongs to the northern, Hindustani school of music. Kathakali means ‘drama of a story’ or ‘a … Zoom link will be sent to all registered students. The nrtta sequences, as mentioned above, are fireworks of rhythm. They added emotions and facial expressions to their performances, further developing the dance to include elements of mime and theatricality. As elements of the dance have been included in mediums of pop-culture the traditional -Jatishunya : establishment of the dance movements & expressions. They lost their popularity, however, during the gradual islamilisation of northern India, a process that started as early as in the 9th century AD. The pure nrtta sections of kathak are characterised by extremely intricate rhythmic patterns. Mystical Urdu love poems are also included in the repertoire. The classical Hindustani music genres used in kathak include, among others, thumri, dhrupad and ghazal. The influence of Mughal culture is evident in Kathak Lucknow Gharana. Students who enrolled in the fall 2020 session are encouraged to continue in this class. The most popular themes deal with Krishna’s childhood and amorous youth with Radha and the gopi cowherd girls. Generations of dancers followed Shah’s chief court dancer, Thakur Prasad, to pass on the Lucknow teachings. This style uses pieces o… In Nrittya technique, there is a composition and dancer pays more emphasis on foot movements. This was kathak, but shorn of most of the elements that make it seem exotic. In this way, Kathak transitioned from its secluded, devotional origins to a more accessible, multi-disciplined entertainment tradition. Example: Yes, I would like to receive emails from Katha Dance Theatre. The Maharaj family of dancers gave the dance new impetus and also expanded its repertoire to include duos, trios and group works. During the medieval period, Kathak became an established part of court culture, performed under the patronage of India’s Persian kings and Muslim moghuls. Kathak, born of the marriage of Hindu and Muslim cultures, flourished in North India under Mughal influence. Northern Indian miniature paintings (book illustrations) serve as an important source for throwing light on the later evolution of kathak. Group choreographies are also created without the emphasis on a story, but rather on the pure and abstract dance elements of Kathak. Thus the northern Indian storytelling tradition and dance were adapted according to the tastes of the rulers and minor nobility of the Moghul dynasty. The forms or 'gharanas' as we call them are - Banaras, Jaipur and Lucknow. Since then, Das’ school, the Chhandam School of Kathak, has grown to be t The time of the year when Krshala Dance Studio brings all its students together on a single stage to exhibit the glory of Kathak transcending the spectators into a mystical world of dance. In Abhinaya type of Kathak, dancer gave more emphasis on the feeling by showing expressions. They are Nrittya which means pure dance and Abhinaya mean expressions. He was sent to classical Kathak classes from the age of seven by his Bangladeshi mother, ... and while it's possible to see elements of Kathak's percussive footwork, wheeling body shapes and … Do watch , like and comment on this recently uploaded video of my Students performing technical elements of Kathak Thanks. The woman’s Hindu-type costume consists of a sari-like long skirt and trousers and often also the Moghul-influenced veil, while the men originally danced bare-chested, wearing a dhoti loin cloth, wrapped to form a kind of loose trousers. A small, Western-influenced harmonium may also be included. Traditional Hindu costume sometimes consists of a Sari, to allow greater freedom of movement during dance. As already mentioned, the northern Indian miniature paintings give us information about the evolution of kathak costume. They lost their popularity, however, during the gradual islamilisation of northern India, a process that started as early as in the 9thcentury AD. The word Kathak, story teller, derives from 'katha' which means story. Technical elements of Kathak by Students of Kathak artist Mansi Saxena. Often the tabla player and the dancer have a kind of competition in which the drummer first performs a rhythmic pattern, which the dancer then immediately repeats and elaborates while the drummer again reiterates the dancer’s version and again provides a new and even more intricate pattern. These features include the division of the dance into pure nrtta and mimetic abhinaya sections as well as the use of the mudras, the symbolic hand gestures. Kathak has three distinct forms, named after the cities where Kathak evolved. (You can unsubscribe anytime), Master Classes / Workshops / Lecture Demonstrations. Kathak dates back to Vedic times, when the epics of the Rig-Veda, the Mahabharata and the Ramayana were composed. It is asymmetric and linear in character, whereas, for example, in bharatanatyam, geometry and a stricter symmetry are favoured. Witness the most spectacular performances upholding the traditions and cultural richness of Kathak combining innovation in the movements. Nowadays there are several variations of kathak costume. Kathak dancers retain their 17th-century costumes but are steeped in Radha and Krishna love lore. He brought a lot of fame to the classical dance form of Kathak not only nationally but even globally. Thus, Kathak developed into a strong dance tradition that incorporates elements of both Hindu and Muslim cultures. Another source may be the temple dances performed by the northern devadasis. Many of kathak’s elements, such as the poems depicting Hindu mythology and the division of the dances into pure nrtta and mimetic abhinaya sections, stem from an older local Hindu tradition. Communities of Kathaks wandered around the countryside conveying the stories of these great epics and myths to the people by means of poetry, music and dance. Till this period Kathak was only a dance form to narrate Hindu mythological stories and worship the Divine. Though originating in the pakhawaj/tabla tradition, parans are also choreographed for Kathak dance and are an important element of the repertoire of Kathak. © 2018 Theatre Academy of the University of the Arts Helsinki. In fact, kathak developed side by side with raslilas, the northern Indian pilgrimage plays dedicated to Lord Krishna. The minute footwork, so dominating in kathak, is based on the so-called “flatfoot” technique, in which the whole sole of the dancer’s foot touches the floor. In the abhinaya sections, lyrical, even devotional, forms of Hindustani music are employed, such as thumri and ghazal. Sculptural evidence shows that prior to the arrival of Islam the northern parts of India also had their own lasya dance styles, more or less loosely connected to the tradition of the ancient Drama Manual, theNatyashastra. A living legend and master of Kathak dance, Pandit Birju Maharaj has had a deep and profound influence on KDT’s artistic mission and teachings. Students who enrolled in the winter 2021 session are encouraged to continue in this class. Kathak is visually identified by its upright posture, eclectic spins, virtuosity, technical repertoire, and abhinaya. The present form of kathak dance is a fruit of the fusion of indigenous Indian tradition with Islamic culture in the northern parts of India during the golden age of the Moghul dynasty from the 16th century to the beginning of the 18th century. Thus, Kathak developed into a strong dance tradition that incorporates elements of … One of the characteristics of the kathak technique is the use of spins or pirouettes (chakkar), rare in most forms of Indian dance. The essence of Kathak spells magic like nowhere in the … 2 Reviews This Book is a complete guide of basic and essential elements of Indian classical dance Kathak. The Moghul costume for women consists of churidar trousers, a long skirt and a blouse. The second style is called Nritya which focuses on expressions as the main mode. Kathak’s poems, enacted by the abhinaya technique, still depict episodes from Hindu mythology in a pure bhakti spirit. Kathakali: Kathakali is a famous classical dance of Kerala. As is the case with the other solo dance forms described above, kathak’s repertoire also consists of small dance numbers, representing or combining pure nrtta dance and mimetic abhinaya technique. In these rhythmic elaborations, or “plays” with the time cycle, the borderline between dance and music disappears and kathak, in fact, approaches pure mathematics. The paintings clearly show, for example, the development of the kathak costume as well as various combinations of instruments used to accompany it. However, as kathak evolved from an older Indian dance tradition, much of its technique still echoes the influence of the Natyashastra tradition. The longest and most elaborate of them is thumri in which the dancer interprets the sung poem by gestures and facial expressions while often sitting on the floor in a decorative pose. Since the mid-20th century kathak has undergone a phenomenal process of revival. Schedule: 1/12. The seamless co-operation of the tabla player and the dancer is of the utmost importance. Kathak is the principal dance of northern India, and is widely practised in Uttar Pradesh, Rajasthan, Delhi, Madhya Pradesh, and even parts of western and eastern India today. Brijmohan Mishra popularly known as ‘Pandit Birju Maharaj’ as was born on 4 th February 1938 in the family of Kathak dancers which includes both his uncles ‘Shambhu Maharaj’ and ‘Lachhu Maharaj’, and his father and guru ‘Acchan Maharaj’. Kathak Dance Occasion Nomadic Kathakars, or wandering storytellers, soon began carrying the dances throughout the India. Instructor: Harmeet Kamboj. In all cases the materials of the costumes are usually highly ornamented and valuable. Usually a kathak programme is constructed so that it progresses in tempo from a slow beginning, including invocations and ritual greetings, to an extremely dramatic and fast ending. There are many varieties of parans. Kathak Elements. Performance by Younger Students Of Mansi Saxena in Cultural evening- Arpan in 2018. youtube.com. Kathak was still practised in its original courtly context, but the British regarded it as low entertainment and gave it an unwholesome image by calling it nautch dance, more or less meaning “prostitute’s dance”. Gradually, particular kathak schools or gharanas evolved in northern India. Description: A beginner-level class that introduces students to the foundational elements of Kathak, such as basic tatkar, three-beat spins, grace, and hand movements. But now Kathak became a form of entertainment and pleasure of the Rulers. However, the stories didn’t stay within the temple walls for long. A poet and dancer himself, Shah paid special attention to the emotional expressiveness of the dance. Notably, there are two styles of performing Kathak. However, in its aesthetics as well as some of its technical aspects, characterised by linear poses and pirouettes, kathak clearly reflects the Islamic influences received, to a great extent, from Persia. Krishna, playing his flute in the Vrindavana woods on the bank of the Yamuna River, is surrounded by the gopis (“milkmaids”). The texts sung by the singer and enacted by the dancer mostly recount short episodes of Krishna’s life. Instead of devotion, the new audiences valued virtuosity, which is still a dominating characteristic of kathak today. The music employs the Hindustani raga system, and many of the basic forms of Hindustani music are adapted for the kathak repertoire. साधना “Sadhana” –Devotional practice. Pratishtha saraswat (Acharya Pratishtha) Acharya Pratishtha, Jan 26, 2014 - Performing Arts - 87 pages. Sculptural evidence shows that prior to the arrival of Islam the northern parts of India also had their own lasya dance styles, more or less loosely connected to the tradition of the ancient Drama Manual, the Natyashastra. 1. Poetry was combined with rhythmic movement to aid in the worshipful storytelling. - Bhavarang : enacting of literary pieces around the… Raslila adopted kathak as its dance technique, while kathak borrowed the Krishna-bhakti themes from raslila. Paran is a rhythmic composition made up of the bols/sounds of the pakhawaj or tabla. Literature As Elements Of Spiritual Communication In Awadh Kathak Parampara Sunil Sunkara February 2, 2021 In the Natyashastra (Science of Art), Bharatamuni shows how the four goals of life or the four puruṣārthas -Dharma (moral values), Artha (prosperity), Kama (pleasure), and Moksha (liberation) are achieved through art. The Chitresh Das Dance Company presents “Tale of a Kathaka: A Traditional Kathak Solo” by Antara BhardwajBhardwaj began studying with Pandit Chitresh Das in 1989, when Das began his first children’s class in the United States. The mesmerizing, precise, and pulsating footwork, as well as the graceful yet detailed carriage of the upper body, hand placements, and facial expressions demonstrate Kathak’s diverse cultural influences. The woman’s outfit also includes rich jewellery and the obligatory nose ring, which gained popularity during the Middle Ages. When the feet are slapped with great energy and speed against the floor, it seems that the dancer is almost flying. Gone were … Commonly, the costume is a Lehenga-Choli combination, with an optional Odhni or Veil. They can be divided into Hindu and Moghul types, the former being formerly used at the Rajasthan’s Hindu courts and the latter in the Moghul context. There are several kinds of abhinaya numbers in the repertoire. Jumps are also included in the technique, which in general attempts at an impression of fluidity. Thus the focus of the number is completely on the abhinaya mime technique as well as on the dancer’s personal interpretation of the poem, which is often, to a great extent, improvised. The pirouettes, executed on the heel, are usually concentrated at the end of the number and provide it with a final climax in which up to fifty pirouettes can be included. Nritya, the second element of Kathak performances, emphasizes abhinaya, which is the recounting of a story or song through mime, gestures of the hands and symbolic postures of the body. Learning of these elements need a long time whereby the learner should have patience in learning this dance form. Tukras usually concentrate on one particular aspect of dance, such as the gait or the pirouettes. Today, Kathak is a recognised Indian classical dance form, and enjoys immense popularity locally and globally. It is believed to be connected with the narrative art of Kathakaras or story-tellers who have expounded the scriptures, the epics Ramayana and Mahabharata, and puranic literature to the lay masses since ancient times. The period of British colonial rule sent kathak into decline. The small orchestra accompanying kathak usually consists nowadays of four or five musicians including two percussionists, one of whom plays the tabla, a vocalist, and one or two musicians playing stringed instruments, such as sitar, sarod or sarangi. Several elements of Kathak including Salaami, Aamad, Thhat, and Tukra are the gift of Mughals. Thus, Kathak developed into a strong dance tradition that incorporates elements of … The virtuosic quality of kathak depends a great deal on the handling of the rhythm, which is intensely observed, and even loudly counted, by the spectators, who are connoisseurs. According to Mary Snodgrass, the Kathak tradition of India is traceable to 400 BCE. Gone was the Indian garb and the eyeliner and the ankle bells. 1/19. The North Indian classical dance form of Kathak remains a prominent mode of artistic and cultural expression in the rapidly changing environments of urban India. The dancer’s loud footwork, emphasised by the small ankle bells (ghunghru), give an essential addition to the aural aspect of the dance. Thus Kathak today incorporates elements of both Hindu and Muslim culture. Both genres were deeply influenced by the Vishnu bhakti movement. The full-length skirts of the women of the miniatures seem to be transparent, allowing a glimpse of the lower garments. Modern Kathak masters of the Lucknow tradition can still trace their lineage back to the court of Wajid Ali Shah, including the world renowned Pandit Birju Maharaj. Although Islam, in principle, has a negative attitude towards dance, the Islamic rulers were, however, admirers of many aspects of Indian culture. This basic stance already differs drastically from those stances that dominate the southern Indian lasya styles. Often the dancer himself or herself sings these syllables. They are merely natural extensions of the dance gestures, though, of course, they carry symbolic messages. While the technical elements of the dance are about sharing the artist’s virtuosic skills such as presenting fast spins, percussive footwork, intricate and complex movement of the body using the fine details of hands and torso etc., the core element of Kathak is to amplify the human experience. It is now regarded as one of the “classical” forms of Indian dance, while it is studied and performed over the whole of India as well as in Pakistan, Bangladesh, and the Western world. One medieval ruler in particular invested himself greatly into the development of Kathak: Wajid Ali Shah of Lucknow, India. Kathak costume for the female dancer comprises of a long pleated 'Kurta' (Shirt) worn over Pyjama, a brocaded cap and a 'Dupatta'. Zoom link will be sent to all registered students. The themes enacted in the abhinaya sections are taken from Hindu mythology. In a similar way as the solo dance forms described above, so, too, has kathak evolved in an intimate interrelationship with the classical music tradition of the region of its birth. The mesmerizing, precise, and pulsating footwork, as well as the graceful yet detailed carriage of the upper body, hand placements, and facial expressions demonstrate Kathak’s diverse cultural influences. In this video Miss Harija Pandey will introduce you to the very important element of Kathak Dance which is NAGMA. It seems that the skirt worn in the paintings by Krishna served as a kind of starting point for kathak dress. They elaborated their narration with dance poses, gestures and facial expressions. Kathak Dance Elements . The roots of kathak seem to lie in the storytelling tradition of ancient northern India, practised by the nomadic storytellers called kathaks. Because KDT founder Rita Mustaphi is one of his longtime disciples, he is an honorary member of KDT’s board and a biannual visiting instructor at KDT’s School. According to the practice of purdah as well as the Moghul court etiquette, the semi-transparent veil was and still is used by the female dancers. 7. Many of the compositions include bols, or rhythmic words or rather syllables, marking the rhythmic pattern and partly helping the dancer to memorise the tala or the rhythmic time cycle. Simultaneously, kathak was also practised in the smaller Hindu courts of Rajasthan. It is possible that the pirouette technique derives from the ecstatic Sufi dances of Central Asia. - Gatibhava : enacting a complete story. The abhinaya technique of kathak, although clearly related to the Natyashastra tradition, is more soft and less stylised compared with other solo forms discussed above. Kathak dance has two main techniques. Kathak originated within Hindu temples as a storytelling device for portraying the epic tales from Hindu scriptures, Mahabharata and Ramayana. As has always been the case, kathak is today practised by both female and male dancers. The relationship of the partly improvised music and dance is a close one indeed. Kathak has eight major features, all of which are represented while performing - Ishtapada : prayer & glory of the Lord. Kathak involves a variety of moves along with the music and the “taals” and various expressions in a proper way. ”). The kathak school. Schedule: Also common are themes related to the Puranas and the great epics, as well as to other avatars of Vishnu, particularly Rama. Neck movements are frequent but the facial technique is concentrated mainly on the eyebrows. The roots of kathak seem to lie in the storytelling tradition of ancient nor… A collaboration of Kathak and Ballet, a serendipitous encounter with Ballet dancer Ségolène Tarte, where, rather than attempting to blend Kathak and Ballet, each dance form remains close to its own tradition whilst establishing a subtle dialogue.. From this dialogue, the refined presence of each tradition emerges into a harmonious duet, a subtle opening of doors to discovery and understanding. A beginner-level class that introduces students to the foundational elements of Kathak, such as basic tatkar, three-beat spins, grace, and hand movements. Nrtta numbers include, among others, tarana, chaturang, adana, sargam, and tatkar. In the Mughal court context, with its non-Hindu audience, kathak, however, lost its direct religious meaning. In kathak the hand gestures do not have such a central role as in other solo forms. The most important ones are the schools of Jaipur, Lucknow, and Benares with their slightly different styles and emphases. Behind palace walls, the emotional and graceful storytelling inherent in its Hindu roots combined with the more technical postures, rhythmic elements and mathematical influences of Islam. Essential Elements of Kathak. Their special relationship has helped foster KDT’s strong educational tradition and cultural vibrancy, as well as its goal to push the boundaries of Kathak dance. The basic standing position of a kathak dancer is with the left arm raised vertically and the right arm kept at shoulder level and bent forward at the elbow, the fingers of both hands decoratively extended. Native to North India, Kathak (pronounced “Kah-tahk”) is one of six Indian classical dance forms. The first one is Nritta which has a structure of pure dance in which the performances moves from slow to a faster pace and then reaching a crescendo at the climax. Through the study of expressions, gestures and timing, the dancer learns to portray the wide array of characters from traditional stories as well as contemporary themes. -Thaat : introduction of the dance movements & rhythm. Instructor: Harmeet Kamboj. When the dance becomes a spiritual practice, a way of life, it … The nrtta numbers are divided into shorter (tukra) and longer pieces (toda). The male dancers wear churidar trousers and a kurta shirt that is at least knee-length. The earliest surviving text with Kathak roots is the Natya Shastra, attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The mesmerizing, precise, and pulsating footwork, as well as the graceful yet detailed carriage of the upper body, hand placements, and facial expressions demonstrate Kathak’s diverse cultural influences. The shorter ones are called tukra and the longer pieces are known as toda. It often has two kinds of compositions. This sealed Kathak’s transition from colloquial entertainment to classical art form.

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