Kathak in my eyes

Madhu Anant

Kathak is a major classical dance form of Northern India. The word Kathak comes from the original Sanskrit word "Kathakar"which literally means a story teller. Katha means a story and Kathakar means a storyteller: "Katha kare so Kathakar", which meant "one who tells a story is a storyteller". Traditionally these story tellers were both men and women, a woman storyteller was known as "kathika" and a male storyteller was "kathaka".

This ancient art of storytelling originated in the temples of Northern India almost 2000 years ago. The significance of its origin in temples in keeping with other art forms in India is that it is beyond a mere art and is a synthesis of the sacred and the secular. It is in sync with "NadBrahma", that manifestation of the Almighty as Sound and is one of the predominant means expressing devotion to the Almighty. The story tellers recited various stories to teach the laymen simple, beautiful and most importantly spiritual aspects of life. The spirituality of the art revolves around the two cosmic dancers "Vishnu" known as "Natvar" or hero of dance and "Shiva" known as "Natraj" or king of dance. It is the interlude of these two cosmic dancers that balances the very creation of "Brahma" the creator of the universe.

With the passage of time, the story telling art evolved more into a dance form, intimately fused with the classical music from Northern India known as "Hindustani" music. What distinguished it from other classical arts was its unique character of spontaneity, freedom, uniformity and a lot of room for innovations and improvisations. All this fused with expressions and extreme fast footwork known as "Padsanchalan" and spinning known as "Chakkars" made this not only a popular art, but an art loved by the public. With passage of time and alien invasions of India, this art form that originated and was nourished and nurtured in the temples, ended up in the courts of emperors where it became a source of entertainment, thereby being stripped of its spirituality. The hard work, perseverance and dedication of various families from the Northern of India not only revived the art form, but brought back its essence of dignity and spirituality. Thus evolved the "families" or "Gharanas", in layman's terms "styles" of Kathak.

The Jaipur style as the name represents comes from Jaipur in Rajasthan. Bhanuji was its first noted exponent who received his training from a saint. Later it was Girdharji who mastered this style and his two sons Hanuman Prasad and Hari Prasad continued this dance tradition leading it to its heights of technical brilliance, glory and aesthetic beauty. Jaipur was a land of "Rajputs" or the warriors of India. The art therefore assimilated strong postures and movements that represented the strength of a warrior. The tradition continued with later exponents such as Mohan Lal, Chiranji Lal, Narain Prasad, Jai Lal and Sunder Prasad. Newer dancers of this style are Pandit Gopi Krishna, Jai Kumari and Roshan Kumari. Hanuman Prasad characterized the "Lasya" style of Kathak representing Natvar or Vishnu and Hari Prasad characterized the "Tandava" style representing Shiva, or Natraj.
Characteristics of Jaipur are its rhythmic and powerful footwork and long complicated "bols" or recitations.

Varanasi or Benaras was another Gharana in Northern India in the sate of Uttar Pradesh. It evolved from the Jaipur style and was developed by Janaki Prasad and later carried on by his brother Dhularam. Kishanlal, Mohanlal and Sohanlal were later descendents of this Gharana. More recent dancer of this style is Padmashri Sitara Devi. Characteristics of Benaras style are a fusion of the rhythm of Jaipur style and expressions of the Lucknow style.

In Lucknow, also in Uttar Pradesh was yet another stalwart, Thakur Prasad who along with his brother Durga Prasad developed the "Lucknow" gharana of Kathak. Durga Prasad's son Bindadin took it to great heights and for this reason the Lucknow gharana is more often associated with Pandit Bindadin. Bindadin's brother Kalka Prasad had three sons, Acchan Maharaj, Lacchu Maharaja and Shambhu Maharaj. Achan Maharaj's son, Birju maharaj has further taken this art to its extreme grace and grandeur. It is for this reason he has been awarded the title of "PadmaBhusan". Lucknow style is unique as it assimilates tenderness, grace, Bhav (mood) and abhinay (expression). Unlike Jaipur style where the emphasis is on powerful footwork, the emphasis in Lucknow style is on grace and subtlety. The bols are therefore shorter and softer than Jaipur style.

As this art originated in the Northern part of India, it is intimately fused with the music from North India, known as Hindustani music and follows the same elements of the notes of the octave, melodies called "Ragas" and a pattern of rhythms known as "Tal". Rhythm is a skeletal element of Kathak and is provided by the drums in particular either the "Pakhwaj", or a duet of drums known as "Tabla and Baya". The footwork and the various compositions such as the Tukdas, Todas are all set in a particular rhythm. With the Islamic influence, various other elements got introduced to Kathak. The songs in the Hindu style were traditionally of devotional nature called "Bhajans" and described the characteristics of the Lord as perceived by the dancer. The songs of the Muslim style were more of emotions and feelings for the beloved such as "Thumris" and "Gazals". The costume for the Muslim style is very Persian in its appearance and is known as an "Angarakha, whereas the costume for the Hindu style is a "Lehnga Choli".

If asked what Kathak offers to a common person, the answer is everything. It has the mesmerizing charm of grace, art, power, music, grandeur, a blend of cultures and most importantly the aspect of spirituality.