IDENTITY OF KATHAK SHOULD NOT BE MISUNDERSTOOD
V.S.Gopalakrishnan
Even if you take an average educated person, it would not be difficult for him to enumerate the classical dance forms of India which are Bharata Natyam, Kathak, Kuchipudi, Odissi, Manipuri, Kathakali and Mohini Attam. These dance forms are now popular all over India although their evolution happened in different geographic regions. In urban centres especially, a large number of young girls take to learning of classical singing/dancing while pursuing their academics. Acculturation is a vigorously followed phenomenon particularly of the middle classes.
But often we see people momentarily confusing Kathak with Kathakali. And often we find people with the notion that Kathak derives from Muslim (Moghul) culture whereas the fact is that Kathak is very much of a Hindu art-form that existed even before the Christian era. Movies like Anarkali, Mughal-e-Azam, Umrao Jan etc have sometimes created a perception that Kathak is a part of Muslim culture.
Katha means story and kathak is a story teller in the form of an entertainer who would sing and dance. In ancient Mithila, before the Common Era, Kathak was popularly practiced. Kathak finds mention in Mahabharata. Grammarian Panini has referred to Kathak. This art form developed in North India and over centuries had its growth and efflorescence there. The themes were religious, often connected to Krishna and Radha. The dances were performed in temples. Elaborate footwork and movements were combined with expressive abhinayas (bodily and facial expressions). I believe that mudras are more special to Bharata Natyam than to Kathak. In olden times it was performed solo but today we witness multiple performers doing an intricate choreography.
But the Moghuls who ruled from the 16th century did make a difference. Simply put, they took away the Kathak dancers from temples and put them in their royal courts. I do not think that the Sultans and the Sultanates that ruled for nearly 300 years before the Moghuls touched the Kathak artists even with a barge pole. The Moghuls were somewhat sophisticated. They used Persian as the Court language. They patronized painting, music and dancing. Persian influences came into the Kathak dance form. The chakkars (spins) were introduced by taking after the whirling dervishes. The legs-posture became straight unlike in the Bharat Natyam in which bent-knees is usual.
If I ask you to take one famous name of a Kathak dancer, you would perhaps say “Birju Maharaj”. Birju Maharaj’s father was Acchan Maharaj who together with (Acchan’s) brothers Lacchan Maharaj and Shambu Maharaj formed a very famous Kathak trio. This trio constituted the sons of Kalkadin Maharaj who along with brother Bindadin Maharaj were famous Lucknowi Kathak masters. The duo’s father was Thakur Prasad Maharaj who was none other than the famous guru to Nawab Wajid Ali Shah, the ruler of Awadh, who was a very well-trained Kathak dancer. It would be difficult for us to envisage dancer kings! Well, once Morarji Desai planned to induct Rukmini Devi Arundale as dancer President of India!
Lucknowi gharana, famous for the generations of the “Maharaj family”, constitutes one of the three major Kathak gharanas of India, the other two being the Jaipur gharana and the Benaras gharana. The Moghul elements are evident in the Lucknowi gharana. The dances were tailored to thumris, dadra, kajri, tappa etc whereas the old ritual temple dances were performed to bhajans and spiritual compositions. The Moghul and Nawabi influence often made the dancers to be courtesans at the service of men of the royal realm. They were fabulously compensated by gold, jewellery, presents etc.
The Benaras gharana has remained very spiritual and hinduised, committed to devotional themes and uses sanskrit. They use special dance bols in addition to the tabla/pakhwaj bols. The Sufi-looking chakkars are kept to the minimum.
The Jaipur gharana got patronized by the Kachwaha kings. This is marked by very vigorous, complex and powerful footwork . And pakhwaj based compositions are fairly predominant.
During the British rule, there was a general decline in the over-all classical dance situation for want of patronage in their administered areas, and so Kathak also suffered a decline. Besides, the British looked upon it as nautch that was dirty and meant for seduction. The revival of classical dances in the 20th century saw the appearance of Kathak on popular public platforms.
(Japanese artiste performing a Kathak dance -from Net)
As you attend a Kathak program, the instruments you observe generally are tabla and harmonium. The dancers’ costumes and adorning jewellery are much simpler than in Bharata Natyam. The ghungroos (anklets) would look like they weigh a ton and consist of tiny bells.
And I personally believe that a good dance performance should mean you have seen a good-looking dancer, as essentially it is a visual medium!
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V.S.Gopalakrishnan
Even if you take an average educated person, it would not be difficult for him to enumerate the classical dance forms of India which are Bharata Natyam, Kathak, Kuchipudi, Odissi, Manipuri, Kathakali and Mohini Attam. These dance forms are now popular all over India although their evolution happened in different geographic regions. In urban centres especially, a large number of young girls take to learning of classical singing/dancing while pursuing their academics. Acculturation is a vigorously followed phenomenon particularly of the middle classes.
But often we see people momentarily confusing Kathak with Kathakali. And often we find people with the notion that Kathak derives from Muslim (Moghul) culture whereas the fact is that Kathak is very much of a Hindu art-form that existed even before the Christian era. Movies like Anarkali, Mughal-e-Azam, Umrao Jan etc have sometimes created a perception that Kathak is a part of Muslim culture.
Katha means story and kathak is a story teller in the form of an entertainer who would sing and dance. In ancient Mithila, before the Common Era, Kathak was popularly practiced. Kathak finds mention in Mahabharata. Grammarian Panini has referred to Kathak. This art form developed in North India and over centuries had its growth and efflorescence there. The themes were religious, often connected to Krishna and Radha. The dances were performed in temples. Elaborate footwork and movements were combined with expressive abhinayas (bodily and facial expressions). I believe that mudras are more special to Bharata Natyam than to Kathak. In olden times it was performed solo but today we witness multiple performers doing an intricate choreography.
But the Moghuls who ruled from the 16th century did make a difference. Simply put, they took away the Kathak dancers from temples and put them in their royal courts. I do not think that the Sultans and the Sultanates that ruled for nearly 300 years before the Moghuls touched the Kathak artists even with a barge pole. The Moghuls were somewhat sophisticated. They used Persian as the Court language. They patronized painting, music and dancing. Persian influences came into the Kathak dance form. The chakkars (spins) were introduced by taking after the whirling dervishes. The legs-posture became straight unlike in the Bharat Natyam in which bent-knees is usual.
If I ask you to take one famous name of a Kathak dancer, you would perhaps say “Birju Maharaj”. Birju Maharaj’s father was Acchan Maharaj who together with (Acchan’s) brothers Lacchan Maharaj and Shambu Maharaj formed a very famous Kathak trio. This trio constituted the sons of Kalkadin Maharaj who along with brother Bindadin Maharaj were famous Lucknowi Kathak masters. The duo’s father was Thakur Prasad Maharaj who was none other than the famous guru to Nawab Wajid Ali Shah, the ruler of Awadh, who was a very well-trained Kathak dancer. It would be difficult for us to envisage dancer kings! Well, once Morarji Desai planned to induct Rukmini Devi Arundale as dancer President of India!
Lucknowi gharana, famous for the generations of the “Maharaj family”, constitutes one of the three major Kathak gharanas of India, the other two being the Jaipur gharana and the Benaras gharana. The Moghul elements are evident in the Lucknowi gharana. The dances were tailored to thumris, dadra, kajri, tappa etc whereas the old ritual temple dances were performed to bhajans and spiritual compositions. The Moghul and Nawabi influence often made the dancers to be courtesans at the service of men of the royal realm. They were fabulously compensated by gold, jewellery, presents etc.
The Benaras gharana has remained very spiritual and hinduised, committed to devotional themes and uses sanskrit. They use special dance bols in addition to the tabla/pakhwaj bols. The Sufi-looking chakkars are kept to the minimum.
The Jaipur gharana got patronized by the Kachwaha kings. This is marked by very vigorous, complex and powerful footwork . And pakhwaj based compositions are fairly predominant.
During the British rule, there was a general decline in the over-all classical dance situation for want of patronage in their administered areas, and so Kathak also suffered a decline. Besides, the British looked upon it as nautch that was dirty and meant for seduction. The revival of classical dances in the 20th century saw the appearance of Kathak on popular public platforms.
(Japanese artiste performing a Kathak dance -from Net)
As you attend a Kathak program, the instruments you observe generally are tabla and harmonium. The dancers’ costumes and adorning jewellery are much simpler than in Bharata Natyam. The ghungroos (anklets) would look like they weigh a ton and consist of tiny bells.
And I personally believe that a good dance performance should mean you have seen a good-looking dancer, as essentially it is a visual medium!
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