Kathak:

Kathak (Hindi: कथक) is one of the eight forms of Indian classical dance. This dance form traces its origins to the nomadic bards of ancientnorthern India, known as Kathakars or storytellers. Its form today contains traces of temple and ritual dances, and the influence of thebhakti movement. From the 16th century onwards it absorbed certain features of Persian dance and Central Asian dance which extBold twere imported The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means he who tells a story, or to do with stories. The name of the form is properly कत्थक katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day कथक kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, she/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is 'Kathak'.

There are three major schools or gharana of Kathak from which performers today generally draw their lineage: the gharanas of Jaipur,Lucknow and Varanasi (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later) Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.by the royal courts of the Mughal era.

HISTORY OF KATHAK:

The story of Kathak begins in ancient times with the performances of professional story-tellers called kathakas who recited or sang stories from epics and mythology with some elements of dance. The traditions of the kathakas were hereditary, and dances passed from generation to generation. There are literary references from the 3rd and 4th centuries BCE which refer to these kathakas. The two texts are in the archives of Kameshwar library at Mithila.

Today:

Today, Kathak has regained its popularity after the period of decline during the rule of the British Empire (where it was frowned upon by Victorian administrators), and it is now one of the eight officially sanctioned classical dance forms of India. Kathak's current form is a synthesis of all the input it has had in the past: court and romantic aspects sit comfortably side-by-side with the temple and mythological/religious. Different dancers have worked on the form in different ways. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj, Lachhu Maharaj and one of the great current dancers still alive today, Birju Maharaj) has been very successful in spreading the popularity of Kathak. Another disciple of Acchan Maharaj is Sitara Devi, daughter of Sukhdev Maharaj of Banaras. Her lively, zestful and fiery performances have impressed many audiences. Shambhu Maharaj also trained Smt. Kumudini Lakhia, who, along with Birju Maharaj, has introduced the relative innovation of multi-person choreographies in Kathak, which was traditionally a solo dance form. She has gained a strong reputation for combining purely classical movements and style with distinctly contemporary use of space. The late Rohini Bhate greatly enriched Kathak's rhythmic repertoire by creating a large corpus of dance compositions, while Durga Lal of the Jaipur gharana was famed for his speed and easy style of performance.

Gharanas

Because of the linear nature of the passing of knowledge from guru to shishya, certain stylistic and technical features began to fossilise and became hallmarks of a particular school, guru or group of teachers. The different styles are known as gharanas, and these are:

Lucknow Gharana

The Lucknow Gharana of Kathak dance came into existence mainly in the court of Nawab Wajid Ali Shah the ruler of Awadh in the early 19th century. It was in this period that the Lucknow Gharana of Kathak attained maturity, through the efforts of Thakur Prasad Maharaj, the court dancer and guru of Nawab Wajid Ali Shah and subsequently by his nephews Bindadin Maharaj and Kalka Prasad Maharaj. Kalka Prasad's sons Achchan Maharaj, Lachu Maharaj and Shambhu Maharaj also contributed to the further development of this gharana style.

The Lucknow style or Kathak dance is characterized by graceful movements, elegance and natural poise with dance. Abhinaya, concern for movement shape and creative improvisions are the hallmarks of this style. Presently, Birju Maharaj is considered the chief representative of this gharana.

Jaipur Gharana

The Jaipur Gharana developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan. Importance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas. There is also a greater incorporation of compositions from the pakhawaj, such as parans. The Jaipur gharana has many more branches and off-shoots than the Lucknow style and requires a detailed tree diagram to show these. However, in the last century, the work of the Jaipur gharana dancers Jai Lal, Sunder Prasad and Narayan Prasad, Kundanlal Gangani and Sunderlal Gangani and Durga Lal was instrumental in developing the gharana. Presently the prominent artist of this gharana is sangeet natak academy awardee Rajendra Gangani son of Kundanlal Gangani, sangeet natak academy awardee Gitanjali Lal wife of Renowned kathak dancer Devi Lal, Prerana shrimali & celebrity kathak dancer Pratishtha Sharma desciple of Rajendra Gangani.

Benares Gharana

The Benares Gharana was developed by Janakiprasad. It is characterized by the exclusive use of the natwari or dance bols, which are different from the tabla and the pakhawajbols. There are differences in the thaat and tatkaar, and chakkars are kept at a minimum but are often taken from both the right and the left-hand sides with equal confidence. There is also a greater use of the floor, for example, in the taking of sam.

Raigarh Gharana

This was established by the Maharaja Chakradhar Singh in the princely state of Raigarh in present Chhattisgarh in the early 20th century. The Maharaja invited many luminaries of Kathak (as well as famous percussionists) to his court, including Kalka Prasad and his sons, and Pandit Jailal from Jaipur gharana. The confluence of different styles and artists created a unique environment for the development of new Kathak and tabla compositions drawn from various backgrounds. Some of renowned dancers of this gharana are Late Pt. Kartik Ram, Late Pt. Phirtu Maharaj, Late Pt. Kalyaandas Mahant, Late Pt. Barmanlak, Pt. Ramlal, Dr. Rakhi Dubey, Yasmin Singh, V. Anuradha Singh, Alpana Vajpeyi, Suchitra Harmalkar, Monica Pandey Bohre, Mohini Moghe, Bhagwaandas Manik, Bhupendra Bareth, Vaasanti Vaishnav, Annapurna Sharma, etc.

Ghunghru:

Ghughru or ghunghroo are the small bells the dancer ties around his or her ankles. The Kathak bells are different from those of other Indian dance styles, as they are not affixed to a pad or strip of leather, but rather are individually woven along a thick string. The usual number of bells is 100 on each ankle, although for the initial stages of learning or for children, 25 and 50 belled strings are widely available to allow the dancer to get used to them.

There is a more or less accepted upper ceiling of 150 bells on each ankle. Greater figures than this tend to involve the topmost circle of bells being tied further and further up a dancer's calf. This is generally regarded as unsuitable, because it is at some distance from the point of impact, giving rise to the upper levels of bells being prone to delayed sounding given the intervening space and amount of leg. Greater numbers are also unnecessarily difficult to control since they are more likely to sound at unwanted moments, being affected by the movement of the whole of the lower leg, rather than just the ankle.

Mudras – expressive hand gestures

Our arms, with our hands at the tip, are considered to be our creative channels. Creative energy flows most abundantly from our heart center through our arms, culminating in the potential to create and heal through our palms and fingers. We experience the healing/creative potential in our own hands through myriad daily activities such as writing, cooking, painting, etc. and touching someone with love and care goes a long way.

In Yoga and in Indian dance, mudras are considered to be seals of energy, creating a Nero-connection in the body that facilitate transition of energy. Hand gestures are both a way to trigger movement of physical energy into spiritual consciousness, as well as capturing the audience attention and telling the story of the dance.

In BHARATANATYAM, MUDARS are classified as 3 types:

Asamyukta Hasta – Single hand Mudras – 28 Prakar (gestures)
Samyukta Hasta – Joint hand Mudras – 24 Prakar (gestures)
Nrutya Hasta – “Pure Dance” Mudras (Select few out of the above categories).
This Mudra system is derived from the Abhinaya Darpana by Nandikeshavara. Below is a list of the Asamyukta and Samyukta Hasta Mudras 

1)Asamyukta Hasta Mudras (Single Hand):

Pataka- Flag

Tripataka – Three parts of a flag

Ardhapataka – Half flag

Kartarimukha – Scissors face

Mayura – Peacock

Ardhachandra – Half moon

Arala – Crooked

Sukhatunda – Parrot’s Beak

Mushti – Fist

Shikhara – Spire

Kapittha – Wood apple

Kataka Mukha – Type of bird

Suchi – Needle

Chandrakala – Dark moon

Padmakosha – Half open lotus flower

Sarpashirsha – Serpent head

Mrigashirsha – Dear head

Simhamukha – Lion Face

Kangula – Bulb

Alapadma – Fully open lotus flower

Chatura – Smart /Square

Bramhara – Bee

Hamsasaya – Wild Goose or Swan

Hamsapakshya – Wild Goose or Swan’s wing

Samdamsa – Firefly

Mukula – flower bud

Tamrachuda – Rooster

Trishula – Trident (Emblem of Shiva)

2)Samyukta Hasta Mudras (Joint Hand):

Anjali – Salutation

Kapota – Dove

Karkata – Crab

Swastika – Cross

Dola – Swing

Pushpaputa – Flower casket

Utsanga – Embrace

Shivalinga – Masculine principal

Katakavardhana – Link of increase

Kartariswastika – Crossed arrows

Shakata – Cart

Shankha – Conch shell

Chakra – Wheel

Samputa – Casket

Pasha – Noose

Kilaka – Bond

Matsya – Fish

Kurma – Turtle

Varaha – Wild boar

Garuda – Eagle

Nagabandha – Serpent tie

Khatva – Cot

Bherunda – Two-headed bird / pair of birds

Avahita – Holding things

 

 

                                   BHARATANATYAM 

The name Bharata Natyam is of relatively recent origin when performers like Rukmini Devi revived the dance in the 20th century. The original names of Bharata Natyam were Sadir, Chinnamelan and most commonly Dasi Attam. A possible origin of the name is from Bharata Muni, who wrote the Natya Shastra. The word Bharatnatyam combines "Bhavam" meaning expression, "Raga" meaning music, "thalam" meaning rhythm and natyam means dance.

Dance tradition

One of the 81 Bharata Natyam dance positions carved on the outer wall of the upper storey of Peruvudaiyar Koyil, Thanjavur. completed in 1010.

Surviving texts of the golden age of Tamil literature and poetry known during the Sangam period of ca. 3rd century BCE to c. 4th century CE, such as the Tolkappiyam , as well as the later Silappadikaram , testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly developed and played major roles.^[8]

Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures karanas. In fact, it is the celestial dancers,apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharata Natyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered the "sixteen hospitalities" - among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.

In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharata Natyam has three distinct elements to it: Nritta (rhythmic dance movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and Natya). "Natya" portrays a character and "Nritya" can be seen as a type of story telling, using lots of hand gestures and emotions.

Tamil Nadu, especially Tanjore, has always been the seat and centre of learning and culture. It was the famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharata Natyam and also completed the process of re-editing the Bharata Natyam programme into its present shape with its various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharata Natyam in Tanjore. The dance forms can be big or small.am meaning dance.

Items

Bharata Natyam dance performed by Rama Vaidyanathan at the auditorium of the Guimet Museum on June 6, 2009

Typically a performance includes:

1.Alaripu

A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance. Alaripu is performed in different jatis. Tishra, Mishra, Chatushra, Sankirna are the different types of jatis. 

2.Kautuvam

Ancient temple dance item performed in the beginning of the recital, containing rhythmic syllables sung for jathis. 

3.Ganapati Vandana

A traditional opening prayer to the Hindu god Ganesh, who removes obstacles. See also Pushpanjali

todayamangalam

a starting dance in which we show respect towards the god. This item was adopted from the karnatic music margam.A beautiful example of a todayamangalam is "jayajankaki Ramana" 

4.Jatiswaram or Jathiswaram

An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body. Here the Dancer displays the Korvai in a rhythmic form. Jatiswaram or Jathiswaram brings out three aspects of dance: unity of music, rhythm and movements. 

5.Shabdam

The dancing is accompanied by a poem or song with a devotional or amorous theme. Shabdam is usually depicting graceful movements in a story or a poem 

6.Varnam

The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover. 

7.Padam

Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited. 

                                                                                                        8.Stuti

Hymn in praise of a deity that may contain a feigned mockery, etc. See also Stotra

9.Koothu

Item containing a lot of dramatic elements.

10.Javali

Javalis are relatively new, pure abhinaya types of compositions of light and pleasing nature. Like Padams the underlying theme of Javalis is Sringara Rasa depicting the Nayaka-Nayaki bhava.

  
11.Tillana

The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer. 

12.Angikam

This is a devotional song on Lord Shiva and an item dance in Bharata Natyam. It can also be performed in byapti slow motion. The words for the shloka are " Angikam Bhuvanam Yasya, Vachikam Sarva Vangmayam, Aaharyam Chandra Taradhi, Tvam Numah Satvikam Shivam"

Other aspects :-

1.Jewellery:

Bharatanatyam dancers wear a unique set of jewelry known as "Temple Jewelry" during the performance.

Dancers wear anklets made of rope or leather with rows of sleigh-like (traditionally copper) bells attached on the anklet. The dancer's talent is judged (along with style and presentation) by the amount of ringing heard and the number of bells on the anklet. The less ringing heard from the anklet the better the dancer, who is seen to have control and fluid movement. Typically, beginners have 1-2 rows, intermediate dancers have 3 rows, and advanced dancers have 4-5 rows. 

2.Costume:

From the ancient texts and sculptures, one can see that the original costume did not cover most of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasis to wear a special, heavy saree that severely restricted the dance movements. There are several varieties of Bharata Natyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's sukshma sharira (cf.aura), in the material world.

3.Music:

The accompanying music is in the Carnatic style of South India. 

4.Ensemble:

Mostly, South Indian instruments are used in the ensemble. These include, the mridangam (drum), nagaswaram (long pipe horn made from a black wood), the flute, violin andveena (stringed instrument traditionally associated with Saraswati, the Hindu goddess of the arts and learning).