The word Kathak has been derived from the word Katha which means a story. Kathakars or story-tellers, are people who narrate stories largely based on episodes from the epics, myths and legends. From that origin, there evolved a simple form of expressional dance, providing the origins of what later developed into Kathak as we see it today. Raslila 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. In palace durbars, the dance changed its presentation. In both Hindu and Muslim courts, Kathak became highly stylised and came to be regarded as a sophisticated form of entertainment. In the nineteenth century saw the the Lucknow gharana with its strong accent on bhava, the expression of moods and emotions was established. The Jaipur gharana known for its layakari or rhythmic virtuosity and the Benaras gharana are other prominent schools of Kathak dance.
The technique of movement in Kathak
The weight of the body is equally distributed along the horizontal and vertical axis. The full foot contact is of prime importance where only the toe or the ball of the foot are used, their function is limited. There are no deflections and no use of sharp bends or curves of the upper or lower part of the body. Torso movements emerge from the change of the shoulder line rather than through the manipulations of the backbone or upper chest and lower waist muscles. In the basic stance, the dancer stands straight, holds one hand at a level higher than the head and the other is extended out on the level of the shoulder.
The technique is built by the use of an intricate system of foot-work. Pure dance (nritta) is all important where complex rhythmic patterns are created through the use of the flat feet and the control of sound of the ankle bells worn by the dancer. As in Bharatnatyam, Odissi and Manipuri, Kathak also builds its pure dance sequences by combining units of movement. The cadences are called differently by the names tukra, tora, and parana, all indicative of the nature of rhythmic patterns used and the percussion instrument accompanying the dance. The dancer commences with a sequence called That where soft gliding movements of the neck, eyebrows and the wrists, are introduced. This is followed by a conventional formal entry known as the Amad (entry) and theSalami (salutation).
Then follow the various combinations of rhythmic passages all punctuated with and culminating in a number of pirouettes. The pirouettes are the most characteristic feature of the dance style in nritta portions. Recitation of the rhythmic syllables is common; the dancer often pauses to recite these to a specified metrical cycle followed by execution through movement. The nritta portion of Kathak is performed to the nagma. Both the drummer (here the drum is either a pakhawaj, a type of mridangam, or a pair of tabla) and the dancer weave endless combinations on a repetitive melodic line. The metrical cycle (tala) of 16, 10, 14 beats provides the foundation on which the whole edifice of dance is built.
In the mime portions (nritya or abhinaya), these are short narrative pieces which portray a brief episode from Krishna's life. A poetic line set to music is interpreted with gestures in other numbers, such as the tumri, bhajan, dadra - all lyrical musical compositions.
In these sections, there is a word to word or line to line synchronisation in the same fashion as in Bharatnatyam or Odissi. Both in nritta (pure dance) and the abhinaya (mime) there is immense scope for improvisation of presenting variations on a theme. The interpretative and the abstract dance techniques are interwoven into each other, and the dancer's greatness lies in his capacity for improvisation on the melodic and metric line on the one hand and the poetic line on the other.
Kathak is the only form of classical dance wedded to Hindustani or the North Indian music. Both of them have had a parallel growth, each feeding and sustaining the other.
Last edited: 01 Dec 2010
Exported: 26 Nov 2011
Original URL: http://knol.google.com/k/-/-/2utb2lsm2k7a/3443
Updated on this blog 29 April 2017, 20 August 2012