Kathak
Kathak is one of the eight main classical dance forms from India. Its roots go back to the wandering bards of ancient northern India, the Kathakar (storyteller) who would tell stories from the Hindu epics through dance, song, and music. The word Kathak comes from the Sanskrit word katha meaning story and kathakar meaning the one who tells a story or is related to stories. ‘Katha kahe so kathak kahave’ - Kathak is the dance of the storytellers. Narratives are conveyed through the body movements, hands, face, and feet all in time with the tabla and lehra.
Origin of Kathak
"Kathak" comes from the Sanskrit word "Katha," which means "story." A "Kathakar" is someone who tells a story. It is associated with the northern regions, particularly in Uttar Pradesh. The roots can be traced to ancient northern Indian storytellers called Kathakars. Traveling Kathakars would go from place to place. They narrate stories of ancient myths and epics through dance, song, and music. Kathak dancers tell stories through hand gestures, complex footwork, body flexibility, and facial expressions.
History of Kathak
1. Origins in the Bhakti Movement
Kathak's roots date back to around 400 BCE, during the Bhakti movement that focused on bhakti (devotion) and katha (storytelling). This art was initiated by Kathakkars or storytellers, who would travel from village to village and tell stories from Hindu epics like the Ramayana and Mahabharata. Their performances have become a mixture of expressive narration, gestures, and rhythmic movements. The Natya Shastra, an old performing arts treatise ascribed to sage Bharata, laid the foundation for the art form that made Kathak one of the important cultural practices in ancient India.
2. Kathak as a Temple Dance
In its earliest form, Kathak was performed in temples, where it became a devotional art form dedicated to narrating stories from Hindu mythology. These performances incorporated graceful movements and intricate footwork to dramatize spiritual themes and epic tales. The temple setting fostered the growth of Kathak as a sacred dance, blending storytelling with classical techniques and religious devotion.
3. Transition to Royal Courts
During the medieval period, Kathak underwent a significant transformation, moving from temples to the royal courts. This shift was driven by the patronage of Persian and Mughal rulers, who appreciated and supported the art form. During this period, the interaction between Hindu and Islamic cultures enriched Kathak’s repertoire, infusing it with elements like Persian poetry, intricate rhythmic patterns, and elaborate costumes. As a result, Kathak evolved into a sophisticated classical dance form, celebrated for its technical brilliance and cultural fusion.
4. Decline During Colonial Rule
Kathak's prominence declined throughout the colonial era. European powers, particularly Christian missionaries, viewed dance as immoral and actively discouraged its practice. The withdrawal of royal patronage further marginalized Kathak, and public performances were stigmatized. However, the art form persisted within Hindu households, where it was practiced in private, ensuring its survival during a challenging era.
5. Revival Efforts
One of the most notable contributors to Kathak’s revival was Wajid Ali Shah, a ruler known for his deep love of the arts. Despite the unfavorable conditions at the time, he provided patronage and actively promoted Kathak, preserving its legacy. His efforts kept the art form alive and laid the groundwork for its resurgence in later years.
6. Resurgence in Post-Colonial India
After India gained independence, there was a renewed effort to restore Kathak to its former glory. Both Hindu and Muslim lineages played a key role in bringing back and organizing the dance form. Kathak schools were established, and the dance gained recognition as one of India’s classical art forms. Kathak continues to thrive today, representing centuries of storytelling, artistic fusion, and cultural resilience.
Elements of Kathak
The key elements that comprise a Kathak performance are:
Nritta: The technical facet of the performance where the dancer executes traditional Bharatanatyam movements, focusing on speed, patterns, forms, range, and rhythm, without integrating any interpretive elements.
Nritya: The type of dance where the performer expresses spiritual themes, feelings, and gestures. To express Nritya, the body movements, and gestures are more gradual and synchronized with the musical notes of the composition.
Natya: Dancers use specific body movements to represent different characters through interpretive dance.
Mudras in Kathak Dance
In Kathak dance, mudras, or hand gestures, play an essential role in conveying meaning and expression. The mudras used in Kathak are primarily derived from the Abhinaya Darpana, with some having roots in the Natyashastra. Here are some of the prominent mudras in Kathak:
Ardhchandra: This mudra is formed by extending the thumb outward and keeping it separated from the remaining fingers, resembling a crescent moon. It is often used during Janmashtami to symbolize the moon, a neck hold, and is also used in prayers.
Aral: In this mudra, the index finger is bent in the Pataka gesture. It is a simple yet significant hand position used to express various meanings.
Pataka: The Pataka mudra involves keeping all fingers straight and together, with the thumb bent to touch the tip of the index finger. It symbolizes elements like clouds, wind, and natural forces.
Tripataka: A variation of Pataka where the ring finger is bent. This mudra is used to represent symbols such as a crown, tree, and other related imagery.
Ardhpataka: This mudra is a transformation of the Tripataka, where the little finger bends. It symbolizes leaves, flags, and related objects.
Kartarimukh: In this gesture, the index and little fingers are spread in an Ardhpataka position. It represents the corner of the eye and various themes related to both men and women, especially the idea of separation.
Padmakosh: Here, all fingers point inward, forming a circular shape. It is a symbol for fruit, balls, buds, and similar objects.
Sarpsheesh: In Pataka, the fingers are slightly bent to form the Sarpsheesh mudra. It is often used to represent snakes or serpent-like figures.
Mrigasheesh: A variation of Sarpsheesh, where the little finger and thumb are held upright. It symbolizes clothes, calling a lover, or related themes.
Mayur: In the Kartarimukh position, when the ring finger and thumb are brought together with the little finger raised, it forms the Mayur mudra. It is associated with a peacock, braid, or creeper.
Shuktund: This mudra is formed by bending the ring finger in the Aral gesture. It expresses emotions like flood, shock, or a wound.
Mushti: Mushti is created by forming a fist with the four fingers together, while the thumb rests on top. This gesture conveys firmness, determination, and strength.
Shikhar: Formed by raising the thumb in the Mushti mudra. It symbolizes Kamadeva (the god of love), a bow, and the concept of determination.
Kapittha: In Kapittha, the first finger is bent and connected with the thumb, placed atop the Shikhar mudra. It represents deities like Lakshmi and Saraswati, as well as objects like a dupatta.
Katkamukh: Katkamukh involves placing the middle finger next to the index finger. It symbolizes actions like picking flowers or making a necklace or garland.
Soochi: When the index finger is raised straight in the Katkamukh gesture, it is known as Soochi. It represents one God, the world, rejection, or a statement of truth.
Chandrakala: Formed by extending the thumb outward and separating it from the other fingers, this mudra symbolizes a crescent moon, often associated with Lord Shiva’s moon, as well as other meanings related to the moon.
Gharanas of Kathak
Kathak has three main traditions: Lucknow, Banaras, and Jaipur. Each style is named after the city where it developed. The Jaipur Gharana focuses on footwork, whereas the Banaras and Lucknow Gharanas emphasize facial expressions and elegant hand movements. In terms of style, Kathak features rhythmic footwork paired with small bells (Ghungroo) that synchronize with the music. Dancers keep their legs and torso straight, using a rich vocabulary of arm gestures, upper body movements, facial expressions, neck and eye movements, and quick turns to convey the narrative. The primary emphasis alternates between eye movements and footwork, with the eyes telling the story and the eyebrows adding to various facial expressions. The sub-traditions vary in focus, with the Lucknow style emphasizing acting and the Jaipur style celebrated for its remarkable footwork.
Costumes of Kathak
In the beginning, dancers wore sarees influenced by Hindu customs, however, the outfits gradually changed over time. Following the Persian culture, Anarkali suits with pajamas and lehenga-choli became the preferred attire for Kathak dance. An odhani is also worn, typically draped across from the right shoulder to the left side at the waist. A waist belt crafted from zari or meenakari work is also commonly used. As a result, the costumes are vibrant, colorful, and magnificent.
Over time, there has also been a change in the materials chosen for costumes; while silk was previously favored, cotton has recently gained popularity. Bright facial makeup is applied to enhance the performer’s facial expressions. Male dancers typically wear a long kurta paired with a churidar and a dupatta fastened around their waist. The use of musical anklets in Kathak dance is unmatched. Performers adorn themselves with appropriate head ornaments, bindi, nose rings, and earrings. Bangles and a small cap, which were not traditionally worn, have recently become an integral part of the costume.
Music and Instruments Used for Kathak
The instruments played in Kathak dance include the flute or bansuri, dilruba, harmonium, musical anklet, pakhawaj, santoor, sarangi, sarod, sitar, surmandal, and tabla. Musicians utilize the Tanpura to provide the background music for Kathak.
Popular Kathak Dancers
The renowned dancers associated with Kathak Dance include:
- ● Sitara Devi
- ● Janaki Prasad from the Benaras Gharana
- ● Shambhu Maharaj from the Lucknow Gharana
- ● Raja Chakradhar Singh of the Raigarh Gharana
- ● Bhanuji
- ● Ishwari Prasad of the Lucknow Gharana
- ● Lachhu Maharaj and Acchan Maharaj
- ● Pandit Birju Maharaj
- ● Kumudini Lakhia
- ● Roshan Kumari
- ● Shovana Narayan
- ● Maya Rao
- ● Durga Laal
- ● Gopi Krishna
- ● Damyanti Joshi
