Kathak

The Kathak dance form is characterized by rhythmic footwork danced under the weight of more than 100 ankle bells, spectacular spins, and the dramatic representation of themes from Persian and Urdu poetry alongside those of Hindu mythology. Kathak originated in the North, but Persian and Muslim influences later altered the dance from a temple ritual to a courtly entertainment.

The origins of the kathak style lie in the traditional recounting of Hindu myths by Brahmin priests called kathiks, who used mime and gesture for dramatic effect. Gradually, the storytelling became more stylized and evolved into a dance form. With the arrival of the Mughals in northern India, kathak was taken into the royal courts and developed into a sophisticated art form; through the patronage of the Mughal rulers, kathak took its current form. The emphasis of the dance moved from the religious to the aesthetic.

The word Kathak, derived from 'Katha', literally means storyteller. In ancient times, storytellers used song and dance to embellish their narration. This took the form of Kathakalakshepam and Harikatha in Southern India, and the form of Kathak in the north. Around the 15th century, the dance form underwent a drastic transition due to the influence of Mughal dance and music. By the sixteenth century, the tight churidar pyjama became the staple attire of a Kathak dancer.

There are two main schools, or gharanas, of kathak dance, both of which are named after cities in northern India and both of which expanded under the patronage of regional princes-Lucknow gharana and Jaipur gharana.

In the present day kathak is performed straight-legged and the ankle bells worn by the dancers adeptly controlled. Kathak has an exciting and entertaining quality with intricate footwork and rapid pirouettes being the dominant and most endearing features of this style. The costumes and themes of these dances are often similar to those in Mughal miniature paintings.

Though not similar to the Natyashastra, the principles in Kathak are essentially the same. Here, the accent is more on footwork as against the emphasis on hasta mudras or hand formations in Bharatanatyam.

Source: National Portal Content Management Team Reviewed on: 22-02-2008