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KathakDance

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KathakDance
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1.DancesofIndia
ClassicalDances
BharatnatyamDance
KathakaliDance
KathakDance
ManipuriDance
OdissiDance
KuchipudiDance
SattriyaDance
MohiniyattamDance

ClassicalDances

KathakDance

KathakDance

ThewordKathakhasbeenderivedfromthewordKathawhichmeansastory.Kathakarsor
storytellers,arepeoplewhonarratestorieslargelybasedonepisodesfromtheepics,myths
andlegends.Itprobablystartedasanoraltradition.Mimeandgestureswereperhapsadded
later on to make the recitation more effective. Thus evolved a simple form of expressional
dance,providingtheoriginsofwhatlaterdevelopedintoKathakasweseeittoday.

TheVaishnavitecultwhichsweptNorthIndiainthe15thcentury.andtheresultantbhakti

movementcontributedtoawholenewrangeoflyricsandmusicalforms.TheRadhaKrishna

2.MusicofIndia
HindustaniClassicalMusic
CarnaticClassicalMusic

theme proved immensely popular alongwith the works of Mirabai, Surdas, Nandadas and
Krishnadas.

RegionalMusic
MusicalInstruments

Thate,Basicposition

3.TheatreFormsofIndia
TheatreForms

4.PuppetFormsofIndia
PuppetForms

The emergence of Raslila , mainly in the Braj region (Mathura in Western U.P.) was an
important development. It combined in itself music, dance and the narrative. Dance in
Raslila, however, was mainly an extension of the basic mime and gestures of
theKathakarsorstorytellerswhichblendedeasilywiththeexistingtraditionaldance.
WiththecomingoftheMughals,thisdanceformreceivedanewimpetus.Atransitionfrom
the temple courtyard to the palace durbar took place which necessitated changes in
presentation.InbothHinduandMuslimcourts,Kathakbecamehighlystylisedandcameto
be regarded as a sophisticated form of entertainment. Under the Muslims there was a
greater stress on nritya and bhavagiving the dance graceful, expressive and sensuous
dimensions.
Raslila,Mathura,UttarPradesh

TakingPireouttes

ThenineteenthcenturysawthegoldenageofKathakunderthepatronageofWajidAliShah,thelastNawabofOudh.Heestablished
the Lucknow gharana with its strong accent on bhava, the expression of moods and emotions. The Jaipur gharana known for
its layakari or rhythmic virtuosity and the Benaras gharana are other prominent schools of Kathak dance. The technique of
movementinKathakisuniquetoit.
Theweightofthebodyisequallydistributedalongthehorizontalandverticalaxis.Thefullfootcontactisofprimeimportancewhere
onlythetoeortheballofthefootareused,theirfunctionislimited.Therearenodeflectionsandnouseofsharpbendsorcurvesof
the upper or lower part of the body. Torso movements emerge from the change of the shoulder line rather than through the
manipulationsofthebackboneorupperchestandlowerwaistmuscles.Inthebasicstance,thedancerstandsstraight,holdsone
handatalevelhigherthantheheadandtheotherisextendedoutontheleveloftheshoulder.
Salami

The technique is built by the use of an intricate system of footwork. Pure dance (nritta) is all important where complex
rhythmicpatternsarecreatedthroughtheuseoftheflatfeetandthecontrolofsoundoftheanklebellswornbythedancer.
AsinBharatnatyam,OdissiandManipuri,Kathakalsobuildsitspuredancesequencesbycombiningunitsofmovement.The
cadencesarecalleddifferentlybythenamestukra,tora,andparana,allindicativeofthenatureofrhythmicpatternsused
and the percussion instrument accompanying the dance. The dancer commences with a sequence called That where soft
glidingmovementsoftheneck,eyebrowsandthewrists,areintroduced.Thisisfollowedbyaconventionalformalentryknown
astheAmad(entry)andtheSalami(salutation).
Thenfollowthevariouscombinationsofrhythmicpassagesallpunctuatedwithandculminatinginanumberofpirouettes.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.
ThenrittaportionofKathakisperformedtothenagma.Boththedrummer(herethedrumiseitherapakhawaj,atypeof
mridangam, or a pair of tabla) and the dancer weave endless combinations on a repetitive melodic line. The metrical
cycle(tala)of16,10,14beatsprovidesthefoundationonwhichthewholeedificeofdanceisbuilt.

http://ccrtindia.gov.in/kathak.php

AngikaAbhinaya

In the mime portions (nritya or abhinaya), words are not used in simple numbers called the gata, which is
performedinalyricalmannertogentlerhythm.Theseareshortnarrativepieceswhichportrayabriefepisodefrom
Krishna's life. A poetic line set to music is interpreted with gestures in other numbers, such as

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KathakDance
thetumri,bhajan,dadraalllyricalmusicalcompositions.
Inthesesections,thereisawordtowordorlinetolinesynchronisationinthesamefashionasinBharatnatyamor
Odissi. Both in nritta (pure dance) and the abhinaya (mime) there is immense scope for improvisation of
presentingvariationsonatheme.Theinterpretativeandtheabstractdancetechniquesareinterwovenintoeach
other,andthedancer'sgreatnessliesinhiscapacityforimprovisationonthemelodicandmetriclineontheone
handandthepoeticlineontheother.
DancerwithMusicians

Today, Kathak has emerged as a distinct dance form. Being the only classical dance of India having links with Muslim culture, it represents a unique
synthesisofHinduandMuslimgeniusinart.Further,KathakistheonlyformofclassicaldanceweddedtoHindustaniortheNorthIndianmusic.Bothof
themhavehadaparallelgrowth,eachfeedingandsustainingtheother.

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