KATHAK

Kathak is the major classical dance form practiced throughout North India that had developed long back in the courts of both Muslim and Hindu rulers and princes. Kathak came into limelight and flourished during the Mughal dynasty in India. This dance draws interest from literature and drama, as the dancer foretells through mime and facial expressions.

Usually these stories are in praise of Lord Krishna, and many of them have a romantic mood. On the other hand, the dance comprises of a kind of competition between the dancer and the drummer, who plays a pair of tuned drums known as tabla. The dancer emphasizes footwork, with rhythm beats called thath/ theka or she stamps out barefoot on the floor, accented with many bells worn around the ankles, called ghungroo. The drummer not only accompanies the dance rhythms, but also has a musical conversation with the dancer as they trade rhythmic phrases, and answers one another back and forth. It is difficult to think of a kathak dancer performing on a recorded music, as this stage improvisation between the dancer and musician is so much a part of the performance. Typically a dancer performs with a group of musicians, playing string instruments and sometimes singing, along with the tabla. This single dancer performs parts of all the characters in a story, and at times changes rapidly between two characters. Without changing their position on the stage, a performer changes gestures and facial expressions instantly which signals the character she is playing that moment. For instance, a pleading Lord Krishna (Hindu god of love) might alternate with a resistant Radha (Krishna’s voluptuous partner), who backs away from his romantic advances.

Along with the dramatic storytelling, another section of the performance is all about music and dance. Here the dancer is clearly a musician as well as dancer, and a master of intricate rhythms, with fast turns (known as chakradhar) wearing heavily emblished swirling skirts, and graceful arm movements. The dancer and musicians communicate openly with one another during a performance; sometimes give an instruction or comment, without the feeling of interruption. The performers and spectators likewise respond to one another openly. Often the performers will lengthen a section of the dance when the spectators are responding to it enthusiastically. They are not shy in responding, and may shout in delight, stretch out their arms, and nod or shake their heads when moved by the performers. Kathak is practised in 4 major styles, namely, Jaipur gharana; Lucknow gharana; Varanasi gharana and the less popular Raigarh gharana.