Kathak
Encyclopedia
Kathak is one of the eight forms of Indian classical dances
, originated from Uttar Pradesh
, India
. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or storytellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. It was quintessential theatre, using instrumental and vocal music along with stylized gestures, to enliven the stories. Its form today contains traces of temple and ritual dances, and the influence of the bhakti movement
. From the 16th century onwards it absorbed certain features of Persian dance
and Central Asian dance which were imported by the royal courts of the Mughal era
.
There are three major schools or gharana
s of Kathak from which performers today generally draw their lineage: the gharanas of Benares
(born in the courts of the Kachwaha
Rajput
kings, the Nawab of Oudh, and Varanasi
respectively), Jaipur
and Lucknow
; there is also a less prominent (and later) Raigarh
gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.
The name Kathak is derived from the Sanskrit
word katha meaning story, and katthaka in Sanskrit means he who tells a story, or to do with stories. The name of the form is properly कत्थक katthak, with the geminated
dental to show a derived form, but this has since simplified to modern-day कथक kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, 's/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is 'Kathak.'
All compositions are performed so that the final step and beat of the composition lands on the 'sam' or first beat of the time-cycle. Most compositions also have 'bol
s' (rhythmic words) which serve both as mnemonics to the composition and whose recitation also forms an integral part of the performance. This recitation is known as padhant. Some compositions are aurally very interesting when presented this way. The bols can be borrowed from tabla
(e.g. dha, ge, na, 'ti' 'na' 'ka' 'dhi na') or can be a dance variety (ta, thei, tat, ta ta, tigda, digdig , tram theyi and so on).
Often tukras are composed to highlight specific aspects of the dance, for example gait, or use of corners and diagonals, and so on. A popular tukra type is the chakkarwala tukra, showcasing the signature spins of Kathak. Because they are generally executed on the heel, these differ from ballet
's pirouettes (which are properly executed on the toe or ball of the foot). The spins usually manifest themselves at the end of the tukra, often in large numbers: five, nine, fifteen, or more, sequential spins are common. These tukras are popular with audiences because they are visually exciting and are executed at great speed. Other compositions can be further particularised as follows:
pieces performed to a bhajan
, ghazal
or thumri
, Kathak also possesses a particular performance style of expressional pieces called bhaav bataanaa (lit. 'to show bhaav or 'feeling'). It is a mode where abhinaya dominates, and arose in the Mughal
court. It is more suited to the mehfil or the darbar environment, because of the proximity of the performer to the audience, who can more easily see the nuances of the dancer's facial expression. Consequently, it translates to the modern proscenium
stage with difficulty. A thumri
is sung, and once the mood is set, a line from the thumri is interpreted with facial abhinaya
and hand movements while seated. This continues for an indefinite period, limited only by the dancer's interpretative abilities. Shambhu Maharaj
was known to interpret a single line in many different ways for hours but all the Maharaj family (Acchan Maharaj, Lachhu Maharaj
, Shambhu Maharaj
and Achhan Maharaj's son Birju Maharaj
) have found much fame for the naturalness and innovativeness of their abhinaya.
An extract runs as follows:
A 3rd century BC Sanskrit shloka (Mithila, late Mauryan period):
There are also two verses from the Mahabharata which also refer to Kathaks:
Shovana Narayan
notes: 'Here the emphasis on ‘pleasing to the eyes’ is indication of the performing aspect of the Kathakas.' The other verse is in the Anusasanika Parva. In the post-Christian era, there is also reference to Kathak in the Harsha-charita of Bana.
By the 13th century a definite style had emerged and soon technical features like mnemonic syllables and bol
developed. In the 15th-16th century at the time the Bhakti movement
, Rasalilas had a tremendous impact on Kathak. The form of dance even made its way to the Kathavachakas who performed in temples.
spread their ideas to Kathak dancers, as they borrowed ideas from Kathak to implement in their own dance. Kathak absorbed the new input, adapting it until it became an integral part of its own vocabulary.
Kathak began to shift away from other traditional Indian dances, such as Bharatanatyam
. The demi-plié stance of most other Indian dance forms gave way to straight legs taken from the Persian dancers. To emphasize the flamboyant and elaborate rhythmic footwork as many as 150 ankle bells on each leg were worn. It was also during this period that the signature 'chakkars' (spins) of Kathak were introduced, possibly influenced by the so-called whirling dervishes. The straight-legged position gave a new vitality to the footwork, which wove percussive rhythms in its own right, whether together with or in complement to the tabla
or pakhawaj
. By this stage, the varied influences had introduced great flexibility into Kathak in terms of presentation and narrative dance. As it moved away from the temple through folk dances to the court, it gathered many accretions of the themes on which the narrative dance could treat, resulting in a broader catchment of material for abhinaya
pieces, and a less stylised and slightly informal presentation style which often incorporated improvisation and suggestions from the courtly audience. The fusion of cultures developed Kathak in a singular manner, but although it was by now substantially different from the other Indian dance forms, the roots of the style remained the same, and as such it still displays a consanguineity with the others, particularly in the hand-formations during story-telling, and some of the body-postures, for example the tribhangi position, which is common to most Indian dance forms.
, not only enjoyed giving patronage to dancers, but danced himself, taught by Durga Prasad. He himself choreographed a dance, Rahas, that he danced himself with the ladies of his court. He brought teachers to his palaces, aiding the expansion of technical vocabulary, and formed the basis of the Lucknow
gharana, emphasizing sensuous, expressive emotion. The Lucknow gharana placed emphasis on the abhinaya and natya elements or expressional qualities of the dancing; it was famed for its subtlety and grace (nazakat). This contrasted sharply with the Jaipur
gharana, which became renowned for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Even after the Mughuls, courts in Rajasthan
enjoyed Kathak as a sophisticated art form, fostering the growth of the Jaipur
gharana. The Benares gharana was also created in this time.
During this period, Kathak was also extensively performed by tawaif
s, who themselves developed the art in parallel to its refinement in court. They frequently performed abhinaya on lighter classical music of such as dadra
, kajri and tappa
as well as thumri
. Given the tawaifs' environment, their performance style of Kathak also differed from the court style, involving more of what in Kathak is termed naKhra ('mischievous playfulness'). As the dance teachers of these tawaifs were also often the dance teachers of the court dancers, there was a fairly free interchange of ideas between the two milieus, and this helped consolidate the repertoire of Kathak.
. Indeed, by associating Kathak solely with the tawaifs and then associating the tawaifs with out-and-out prostitution, Kathak acquired an unwholesome image: the entirely British concept of nautch
. Kathak was, to Victorian eyes, an entertainment designed solely for the purposes of seduction. During these times of cultural hardship, the role of the tawaifs in preserving the art forms should not be underestimated. Famous tawaifs such as Gauhar Jan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion. Kathak first received world's attention in the early 20th century through Kalka Prasad Maharaj, whose sons Acchan, Lacchhu and Shambhu Maharaj
, went on carry forward the tradition for the next generation, both as dancers in their own right and later as dance gurus.
(where it was frowned upon by Victorian administrators), and it is now one of the eight officially sanctioned classical dance forms of India. Kathak's current form is a synthesis of all the input it has had in the past: court and romantic aspects sit comfortably side-by-side with the temple and mythological/religious. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj
, Lachhu Maharaj
and one of the great current dancers still alive today, Birju Maharaj
) and his students including Saswati Sen
have been very successful in spreading the popularity of Kathak. Another disciple of Acchan Maharaj is Sitara Devi
, daughter of Sukhdev Maharaj of Banaras. Her lively, zestful and fiery performances have impressed many audiences. Shambhu Maharaj
also trained Smt. Kumudini Lakhia
, who, along with Birju Maharaj
, has introduced the relative innovation of multi-person choreographies in Kathak, which was traditionally a solo dance form. She has gained a strong reputation for combining purely classical movements and style with distinctly contemporary use of space.
to shishya, certain stylistic and technical features began to fossilise and became hallmarks of a particular school, guru or group of teachers. The different styles are known as gharanas, and these are:
The Lucknow style or Kathak dance is characterized by graceful movements, elegance and natural poise with dance. Artistically designed dance compositions, emotive vocal compositions like thumri-s, dadra-s, hori-s along with abhinaya (expressional acting) and creative improvisions are the hallmarks of this style.
Presently, Pandit Briju Maharaj (son of Achchan Maharajji) is considered the chief representative of this gharana.
in Rajasthan
. Importance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas
. There is also a greater incorporation of compositions from the pakhawaj
, such as parans.
in Chhatisgarh in the early 20th century. The Maharaja invited many luminaries of Kathak (as well as famous percussionists) to his court, including Kalka Prasad (the father of Acchan, Lacchu and Shambhu Maharaj) and his sons, and Pandit Jailal from Jaipur gharana. The confluence of different styles and artists created a unique environment for the development of new Kathak and tabla compositions drawn from various backgrounds.Some of renowned dancers of this gharana are Late Pt.Kartik Ram,Late Pt.Phirtu Maharaj,Late Pt.Kalyaandas Mahant,Late Pt.Barmanlak,Pt.Ramlal,Alpana Vajpeyi,Suchitra Harmalkar,Mohini Moghe,Bhagwaandas Manik,Bhupendra Bareth,Vaasanti Vaishnav etc.
. The dancer has to recite the taal, sing a melody, and perform complex footwork and spins in the same composition; frequently two or more of these elements occur simultaneously. The aim is to unify the various aspects of Kathak, so the dancer is constantly aware of the precise relationship of whatever composition is being danced (whether a song or a dance composition) to the rhythm cycle.
dance of the Spanish gitanos, most notably in the lack of much deviation from the vertical axis, percussive footwork, and dependence on (sometimes complex) rhythmic cycles.
It is generally supposed that the Romani people emigrated from India sometime in the 11th century. One group would later enter Spain via North Africa, having first passed westward through Iran
(then Persia) and the fringes of the Ottoman Empire. In these places, they encountered the very same cultural influences that were to later arrive in India through the Mughal
incursions and have such an impact on Kathak. Thus, flamenco and Kathak received the same cultural ingredients in two very different circumstances: The itinerant Romanis carried their Indian art forms' traditions with them and absorbed new influences as they traveled, while Kathak stayed rooted in India and received the same input as a result of those influences (Persian and aspects of Middle Eastern dance) being imported by a new regime. The similarity of Kathak and flamenco is therefore explained by the same process — the grafting and mixing of Persian and Middle Eastern dance elements on to an Indian base — working in two ways.
Now the two traditions have had some seven or eight centuries in which to diverge; yet it is remarkable that the similarities between the two remain such that there have been many successful collaborative performances between Kathak and flamenco dancers (notably Sandra La Espuelita) without much need to dilute either style to accommodate the other.
or ghunghroo are the small bells the dancer ties around his or her ankles. The Kathak bells are different from those of other Indian dance styles, as they are not affixed to a pad or strip of leather, but rather are individually woven along a thick string. The usual number of bells is 100 on each ankle, although for the initial stages of learning or for children, 25 and 50 belled strings are widely available to allow the dancer to get used to them.
There is a more or less accepted upper ceiling of 150 bells on each ankle. Greater figures than this tend to involve the topmost circle of bells being tied further and further up a dancer's calf. This is generally regarded as unsuitable, because it is at some distance from the point of impact, giving rise to the upper levels of bells being prone to delayed sounding given the intervening space and amount of leg. Greater numbers are also unnecessarily difficult to control since they are more likely to sound at unwanted moments, being affected by the movement of the whole of the lower leg, rather than just the ankle.
combination, with an optional odhni or veil. The lehenga is loose ankle-length skirt, and the choli
is a tight fitting blouse, usually short-sleeved. Both can be highly ornately embroidered or decorated. The lehenga is sometimes adapted to a special dance variety, similar to a long ghaghra, so that during spins, the skirt flares out dramatically.
Mughal
costume for women consists of an angarkha (from the Sanskrit
anga-rakshaka 'limb-keeper') on the upper body. The design is akin to a chudidaar kameez
, but is somewhat tighter fitting above the waist, and the 'skirt' portion explicitly cut on the round to enhance the flare of the lower half during spins. The skirt may also be cut on the round but beginning just below the bust; this style is known as 'Anarkali
' after the eponymous princess who popularised it. Beneath the top, the legs are covered by the chudidaar or figure hugging trousers folded up giving the look of cloth bangles. Optional accessories are a small peaked cap and a bandi or small waistcoat to enhance the bust-line. A belt made of zari or precious stones is also worn on the waist.
, usually tied in the Bengal
style, that is with many pleats and a fan finish to one of the ends (although it is not unknown for dancers to tie the garment more simply). There is the option of wearing a men's bandi too.
The Mughal
costume is kurta
-churidar
. The kurta
can be a simple one, or again, adapted for dance to incorporate wider flare, but is usually at least knee-length. Men may also wear an angarkha (see Female Costume, above). Particularly older variety costumes include the small peaked cap too.
Classical Indian dance
Indian classical dance is a relatively new umbrella term for various codified art forms rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya Shastra of Bharata Muni .- Definitions :...
, originated from Uttar Pradesh
Uttar Pradesh
Uttar Pradesh abbreviation U.P. , is a state located in the northern part of India. With a population of over 200 million people, it is India's most populous state, as well as the world's most populous sub-national entity...
, India
India
India , officially the Republic of India , is a country in South Asia. It is the seventh-largest country by geographical area, the second-most populous country with over 1.2 billion people, and the most populous democracy in the world...
. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or storytellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. It was quintessential theatre, using instrumental and vocal music along with stylized gestures, to enliven the stories. Its form today contains traces of temple and ritual dances, and the influence of the bhakti movement
Bhakti movement
The Bhakti movement is a Hindu religious movement in which the main spiritual practice is loving devotion among the Shaivite and Vaishnava saints. The Bhakti movement originated in ancient Tamil Nadu and began to spread to the north during the late medieval ages when north India was under Islamic...
. From the 16th century onwards it absorbed certain features of Persian dance
Persian dance
Persian dance refers to the type of dancing from Iran. Persian dance is very sensual, circular and slow which makes it a dance that is unique to Iran amongst all other Middle Eastern dance forms....
and Central Asian dance which were imported by the royal courts of the Mughal era
Mughal era
The Mughal era is a historic period of the Mughal Empire in South Asia . It ran from the early 15th century to a point in the early 18th century when the Mughal Emperors' power had dwindled...
.
There are three major schools or gharana
Gharana
In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular musical style. A gharana also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from one...
s of Kathak from which performers today generally draw their lineage: the gharanas of Benares
Varanasi
-Etymology:The name Varanasi has its origin possibly from the names of the two rivers Varuna and Assi, for the old city lies in the north shores of the Ganga bounded by its two tributaries, the Varuna and the Asi, with the Ganges being to its south...
(born in the courts of the Kachwaha
Kachwaha
Kachwaha are a Suryavanshi Kshatriya clan who ruled a number of kingdoms and princely states in India such as Alwar, Maihar, Talcher, while the largest kingdom was Jaipur which was founded by Maharaja Sawai Jai Singh II in 1727...
Rajput
Rajput
A Rajput is a member of one of the patrilineal clans of western, central, northern India and in some parts of Pakistan. Rajputs are descendants of one of the major ruling warrior classes in the Indian subcontinent, particularly North India...
kings, the Nawab of Oudh, and Varanasi
Varanasi
-Etymology:The name Varanasi has its origin possibly from the names of the two rivers Varuna and Assi, for the old city lies in the north shores of the Ganga bounded by its two tributaries, the Varuna and the Asi, with the Ganges being to its south...
respectively), Jaipur
Jaipur
Jaipur , also popularly known as the Pink City, is the capital and largest city of the Indian state of Rajasthan. Founded on 18 November 1727 by Maharaja Sawai Jai Singh II, the ruler of Amber, the city today has a population of more than 3.1 million....
and Lucknow
Lucknow
Lucknow is the capital city of Uttar Pradesh in India. Lucknow is the administrative headquarters of Lucknow District and Lucknow Division....
; there is also a less prominent (and later) Raigarh
Raigarh
Raigarh is a city and a Municipal Corporation in Raigarh district in the Indian state of Chhattisgarh. It is the administrative headquarter of Raigarh district.-History:...
gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.
The name Kathak is derived from the Sanskrit
Sanskrit
Sanskrit , is a historical Indo-Aryan language and the primary liturgical language of Hinduism, Jainism and Buddhism.Buddhism: besides Pali, see Buddhist Hybrid Sanskrit Today, it is listed as one of the 22 scheduled languages of India and is an official language of the state of Uttarakhand...
word katha meaning story, and katthaka in Sanskrit means he who tells a story, or to do with stories. The name of the form is properly कत्थक katthak, with the geminated
Gemination
In phonetics, gemination happens when a spoken consonant is pronounced for an audibly longer period of time than a short consonant. Gemination is distinct from stress and may appear independently of it....
dental to show a derived form, but this has since simplified to modern-day कथक kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, 's/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is 'Kathak.'
Pure Dance (Nritta)
The structure of a conventional Kathak performance tends to follow a progression in tempo from slow to fast, ending with a dramatic climax. A short danced composition is known as a tukra, a longer one as a toda. There are also compositions consisting solely of footwork. Often the performer will engage in rhythmic 'play' with the time-cycle, for example splitting it into triplets or quintuplets which will be marked out on the footwork, so that it is in counterpoint to the rhythm on the percussion.All compositions are performed so that the final step and beat of the composition lands on the 'sam' or first beat of the time-cycle. Most compositions also have 'bol
Bol (music)
A bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak."...
s' (rhythmic words) which serve both as mnemonics to the composition and whose recitation also forms an integral part of the performance. This recitation is known as padhant. Some compositions are aurally very interesting when presented this way. The bols can be borrowed from tabla
Tabla
The tabla is a popular Indian percussion instrument used in Hindustani classical music and in popular and devotional music of the Indian subcontinent. The instrument consists of a pair of hand drums of contrasting sizes and timbres...
(e.g. dha, ge, na, 'ti' 'na' 'ka' 'dhi na') or can be a dance variety (ta, thei, tat, ta ta, tigda, digdig , tram theyi and so on).
Often tukras are composed to highlight specific aspects of the dance, for example gait, or use of corners and diagonals, and so on. A popular tukra type is the chakkarwala tukra, showcasing the signature spins of Kathak. Because they are generally executed on the heel, these differ from ballet
Ballet
Ballet is a type of performance dance, that originated in the Italian Renaissance courts of the 15th century, and which was further developed in France and Russia as a concert dance form. The early portions preceded the invention of the proscenium stage and were presented in large chambers with...
's pirouettes (which are properly executed on the toe or ball of the foot). The spins usually manifest themselves at the end of the tukra, often in large numbers: five, nine, fifteen, or more, sequential spins are common. These tukras are popular with audiences because they are visually exciting and are executed at great speed. Other compositions can be further particularised as follows:
- Vandana the dancer begins with an invocation to the gods.
- Thaat (the first composition of a traditional performance; the dancer performs short plays with the time-cycle, finishing on sam in a statuesque standing (thaat) pose);
- Aamad (from the Persian word meaning 'entry'; the first introduction of spoken rhythmic pattern or bolBol (music)A bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak."...
in to the performance); - Salaami (related to Ar. 'salaam' - a salutation to the audience in the Muslim style);
- Kavitt (a poem set on a time-cycle; the dancer will perform movements that echo the meaning of the poem)
- Paran (a composition using bols from the pakhawajPakhavajThe pakhavaj, pakhawaj, pakuaj, pakhvaj or pakavaj is an Indian barrel-shaped, two-headed drum, the North Indian equivalent to the Southern mridangam....
instead of only dance or tabla bols) - Parmelu or Primalu (a composition using bols reminiscent of sounds from nature, such as kukuthere (birds), jhijhikita (sound of ghunghru), tigdadigdig (strut of peacock) etc.
- Gat (from the word for 'gait, walk' showing abstract visually beautiful gaits or scenes from daily life)
- Ladi (a footwork composition consisting of variations on a theme, and ending in a tihai)
- Tihai (usually a footwork composition consisting of a long set of bols repeated thrice so that the very last bol ends dramatically on 'sam')
Expressive Dance (Nritya)
Aside from the traditional expressive or abhinayaAbhinaya
Abhinaya is a concept in Indian dance and drama derived from Bharata's Natya Shastra. Although now, the word has come to mean 'the art of expression', etymologically it derives from Sanskrit abhi- 'towards' + nii- 'leading/guide', so literally it means a 'leading towards' Aside from its clear...
pieces performed to a bhajan
Bhajan
A Bhajan is any type of Indian devotional song. It has no fixed form: it may be as simple as a mantra or kirtan or as sophisticated as the dhrupad or kriti with music based on classical ragas and talas. It is normally lyrical, expressing love for the Divine...
, ghazal
Ghazal
The ghazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in 6th century...
or thumri
Thumri
Thumri is a common genre of semi-classical Indian music.The text is romantic or devotional in nature, and usually revolves around a girl's love for Krishna. The lyrics are usually in Uttar Pradesh dialects of Hindi called Poorbi and Brij Bhasha...
, Kathak also possesses a particular performance style of expressional pieces called bhaav bataanaa (lit. 'to show bhaav or 'feeling'). It is a mode where abhinaya dominates, and arose in the Mughal
Mughal era
The Mughal era is a historic period of the Mughal Empire in South Asia . It ran from the early 15th century to a point in the early 18th century when the Mughal Emperors' power had dwindled...
court. It is more suited to the mehfil or the darbar environment, because of the proximity of the performer to the audience, who can more easily see the nuances of the dancer's facial expression. Consequently, it translates to the modern proscenium
Proscenium
A proscenium theatre is a theatre space whose primary feature is a large frame or arch , which is located at or near the front of the stage...
stage with difficulty. A thumri
Thumri
Thumri is a common genre of semi-classical Indian music.The text is romantic or devotional in nature, and usually revolves around a girl's love for Krishna. The lyrics are usually in Uttar Pradesh dialects of Hindi called Poorbi and Brij Bhasha...
is sung, and once the mood is set, a line from the thumri is interpreted with facial abhinaya
Abhinaya
Abhinaya is a concept in Indian dance and drama derived from Bharata's Natya Shastra. Although now, the word has come to mean 'the art of expression', etymologically it derives from Sanskrit abhi- 'towards' + nii- 'leading/guide', so literally it means a 'leading towards' Aside from its clear...
and hand movements while seated. This continues for an indefinite period, limited only by the dancer's interpretative abilities. Shambhu Maharaj
Shambhu Maharaj
Pandit Shambhu Maharaj was a celebrated Guru of the Lucknow Gharana of the Indian classical dance form, Kathak. -Early life and training:...
was known to interpret a single line in many different ways for hours but all the Maharaj family (Acchan Maharaj, Lachhu Maharaj
Lachhu Maharaj
Lachhu Maharaj was an Indian dancer. He came from a family of illustrious Kathak exponents in Lucknow.He received extensive training from Pandit Bindadin Maharaj, his uncle and the court dancer of the Nawab of Awadh, for nearly ten years...
, Shambhu Maharaj
Shambhu Maharaj
Pandit Shambhu Maharaj was a celebrated Guru of the Lucknow Gharana of the Indian classical dance form, Kathak. -Early life and training:...
and Achhan Maharaj's son Birju Maharaj
Birju Maharaj
Brijmo Mishra popularly known as Pandit Birju Maharaj is currently the leading exponent of the Varanasi Kalka-Bindadin gharana of Kathak dance in India.He is a descendant of the legendary Maharaj family of Kathak dancers, including his two uncles, Shambhu Maharaj and Lachhu Maharaj, and his father...
) have found much fame for the naturalness and innovativeness of their abhinaya.
History of Kathak
The story of Kathak begins in ancient times with the performances of professional story-tellers called kathakas who recited or sang stories from epics and mythology with some elements of dance. The traditions of the kathakas were hereditary, and dances passed from generation to generation. There are literary references from the third and fourth centuries BC which refer to these kathakas. The two texts are in the archives of Kameshwar Library at Mithila.An extract runs as follows:
A 3rd century BC Sanskrit shloka (Mithila, late Mauryan period):
There are also two verses from the Mahabharata which also refer to Kathaks:
Shovana Narayan
Shovana Narayan is best known as one of the best Kathak danseuses in the world. She performs in India and around the world, and has been awarded the Padma Shri. Her guru is Birju Maharaj....
notes: 'Here the emphasis on ‘pleasing to the eyes’ is indication of the performing aspect of the Kathakas.' The other verse is in the Anusasanika Parva. In the post-Christian era, there is also reference to Kathak in the Harsha-charita of Bana.
By the 13th century a definite style had emerged and soon technical features like mnemonic syllables and bol
Bol (music)
A bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak."...
developed. In the 15th-16th century at the time the Bhakti movement
Bhakti movement
The Bhakti movement is a Hindu religious movement in which the main spiritual practice is loving devotion among the Shaivite and Vaishnava saints. The Bhakti movement originated in ancient Tamil Nadu and began to spread to the north during the late medieval ages when north India was under Islamic...
, Rasalilas had a tremendous impact on Kathak. The form of dance even made its way to the Kathavachakas who performed in temples.
Change in the Bhakti Era
During the era of fervent worship of Radha-Krishna, Kathak was used to narrate tales from the lives of these figures. Popular performances included Sri Krishna’s exploits in the holy land of Vrindavan, and tales of Krishna-Leela (Krishna’s childhood). It was in this time, the dance moved away from the spirituality of the temple and began to be influenced by folk elements.In the Mughal Period
It was when the dance reached the Mughal court after the 16th century that Kathak began to acquire its distinctive shape and features. Here it encountered other different forms of dance and music, most especially dancers from Persia. Dancers were enticed from the temples to the courts by gifts of gold, jewels and royal favour. Patronage soared as a social class of dancers and courtiers emerged in the royal palaces, where dance competitions were held frequently. The environment of the North Indian Mughal courts caused a shift in focus for Kathak, from a purely religious art form to court entertainment. Dancers imported from the Middle EastMiddle East
The Middle East is a region that encompasses Western Asia and Northern Africa. It is often used as a synonym for Near East, in opposition to Far East...
spread their ideas to Kathak dancers, as they borrowed ideas from Kathak to implement in their own dance. Kathak absorbed the new input, adapting it until it became an integral part of its own vocabulary.
Kathak began to shift away from other traditional Indian dances, such as Bharatanatyam
Bharatanatyam
Bharata Natyam or Chadhir Attam, is a classical dance form from the South Indian state of Tamil Nadu, practiced predominantly in modern times by women. The dance is usually accompanied by classical Carnatic music...
. The demi-plié stance of most other Indian dance forms gave way to straight legs taken from the Persian dancers. To emphasize the flamboyant and elaborate rhythmic footwork as many as 150 ankle bells on each leg were worn. It was also during this period that the signature 'chakkars' (spins) of Kathak were introduced, possibly influenced by the so-called whirling dervishes. The straight-legged position gave a new vitality to the footwork, which wove percussive rhythms in its own right, whether together with or in complement to the tabla
Tabla
The tabla is a popular Indian percussion instrument used in Hindustani classical music and in popular and devotional music of the Indian subcontinent. The instrument consists of a pair of hand drums of contrasting sizes and timbres...
or pakhawaj
Pakhavaj
The pakhavaj, pakhawaj, pakuaj, pakhvaj or pakavaj is an Indian barrel-shaped, two-headed drum, the North Indian equivalent to the Southern mridangam....
. By this stage, the varied influences had introduced great flexibility into Kathak in terms of presentation and narrative dance. As it moved away from the temple through folk dances to the court, it gathered many accretions of the themes on which the narrative dance could treat, resulting in a broader catchment of material for abhinaya
Abhinaya
Abhinaya is a concept in Indian dance and drama derived from Bharata's Natya Shastra. Although now, the word has come to mean 'the art of expression', etymologically it derives from Sanskrit abhi- 'towards' + nii- 'leading/guide', so literally it means a 'leading towards' Aside from its clear...
pieces, and a less stylised and slightly informal presentation style which often incorporated improvisation and suggestions from the courtly audience. The fusion of cultures developed Kathak in a singular manner, but although it was by now substantially different from the other Indian dance forms, the roots of the style remained the same, and as such it still displays a consanguineity with the others, particularly in the hand-formations during story-telling, and some of the body-postures, for example the tribhangi position, which is common to most Indian dance forms.
Later court influences
Many specific emperors contributed to the growth and development of Kathak into different gharanas, or schools of dance, named after the cities in which they developed. The Nawab of Oudh, Wajid Ali ShahWajid Ali Shah
Wajid Ali Shah was the fifth King of Oudh, holding the position from 13 February 1847 to 7 February 1856....
, not only enjoyed giving patronage to dancers, but danced himself, taught by Durga Prasad. He himself choreographed a dance, Rahas, that he danced himself with the ladies of his court. He brought teachers to his palaces, aiding the expansion of technical vocabulary, and formed the basis of the Lucknow
Lucknow
Lucknow is the capital city of Uttar Pradesh in India. Lucknow is the administrative headquarters of Lucknow District and Lucknow Division....
gharana, emphasizing sensuous, expressive emotion. The Lucknow gharana placed emphasis on the abhinaya and natya elements or expressional qualities of the dancing; it was famed for its subtlety and grace (nazakat). This contrasted sharply with the Jaipur
Jaipur
Jaipur , also popularly known as the Pink City, is the capital and largest city of the Indian state of Rajasthan. Founded on 18 November 1727 by Maharaja Sawai Jai Singh II, the ruler of Amber, the city today has a population of more than 3.1 million....
gharana, which became renowned for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Even after the Mughuls, courts in Rajasthan
Rajasthan
Rājasthān the land of Rajasthanis, , is the largest state of the Republic of India by area. It is located in the northwest of India. It encompasses most of the area of the large, inhospitable Great Indian Desert , which has an edge paralleling the Sutlej-Indus river valley along its border with...
enjoyed Kathak as a sophisticated art form, fostering the growth of the Jaipur
Jaipur
Jaipur , also popularly known as the Pink City, is the capital and largest city of the Indian state of Rajasthan. Founded on 18 November 1727 by Maharaja Sawai Jai Singh II, the ruler of Amber, the city today has a population of more than 3.1 million....
gharana. The Benares gharana was also created in this time.
During this period, Kathak was also extensively performed by tawaif
Tawaif
A tawaif was a courtesan who catered to the nobility of South Asia, particularly during the era of the Mughal Empire.The tawaifs contributed to music, dance, theatre, film, and the Urdu literary tradition.-History:...
s, who themselves developed the art in parallel to its refinement in court. They frequently performed abhinaya on lighter classical music of such as dadra
Dadra
Dadra refers to two separate but originally linked concepts in Hindustani classical music.-Dadra tala:This is a Hindustani classical tala , consisting of six beats in two equal divisions of three. The most commonly accepted theka or basic pattern for this tala is dha dhi na, dha tu na...
, kajri and tappa
Tappa
Tappa is a city and a municipal council in Sangrur district in the Indian state of Punjab.-Demographics: India census, Tappa had a population of 18,887. Males constitute 54% of the population and females 46%. Tappa has an average literacy rate of 57%, lower than the national average of 59.5%: male...
as well as thumri
Thumri
Thumri is a common genre of semi-classical Indian music.The text is romantic or devotional in nature, and usually revolves around a girl's love for Krishna. The lyrics are usually in Uttar Pradesh dialects of Hindi called Poorbi and Brij Bhasha...
. Given the tawaifs' environment, their performance style of Kathak also differed from the court style, involving more of what in Kathak is termed naKhra ('mischievous playfulness'). As the dance teachers of these tawaifs were also often the dance teachers of the court dancers, there was a fairly free interchange of ideas between the two milieus, and this helped consolidate the repertoire of Kathak.
During the Raj
The advent of British Rule in India sent Kathak into sharp decline. The Victorian administrators publicly pronounced it a base and unlovely form of entertainment, despite often privately enjoying the pleasures of the tawaifTawaif
A tawaif was a courtesan who catered to the nobility of South Asia, particularly during the era of the Mughal Empire.The tawaifs contributed to music, dance, theatre, film, and the Urdu literary tradition.-History:...
. Indeed, by associating Kathak solely with the tawaifs and then associating the tawaifs with out-and-out prostitution, Kathak acquired an unwholesome image: the entirely British concept of nautch
Nautch
In North India, Nautch is one of several styles of popular dance, performed by girls known as "Nautch girls". The word Nautch is an anglicized version of नाच , a word found in Hindi and Urdu , and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha...
. Kathak was, to Victorian eyes, an entertainment designed solely for the purposes of seduction. During these times of cultural hardship, the role of the tawaifs in preserving the art forms should not be underestimated. Famous tawaifs such as Gauhar Jan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion. Kathak first received world's attention in the early 20th century through Kalka Prasad Maharaj, whose sons Acchan, Lacchhu and Shambhu Maharaj
Shambhu Maharaj
Pandit Shambhu Maharaj was a celebrated Guru of the Lucknow Gharana of the Indian classical dance form, Kathak. -Early life and training:...
, went on carry forward the tradition for the next generation, both as dancers in their own right and later as dance gurus.
Today
Today, Kathak has regained its popularity after the period of decline during the rule of the British EmpireBritish Empire
The British Empire comprised the dominions, colonies, protectorates, mandates and other territories ruled or administered by the United Kingdom. It originated with the overseas colonies and trading posts established by England in the late 16th and early 17th centuries. At its height, it was the...
(where it was frowned upon by Victorian administrators), and it is now one of the eight officially sanctioned classical dance forms of India. Kathak's current form is a synthesis of all the input it has had in the past: court and romantic aspects sit comfortably side-by-side with the temple and mythological/religious. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj
Shambhu Maharaj
Pandit Shambhu Maharaj was a celebrated Guru of the Lucknow Gharana of the Indian classical dance form, Kathak. -Early life and training:...
, Lachhu Maharaj
Lachhu Maharaj
Lachhu Maharaj was an Indian dancer. He came from a family of illustrious Kathak exponents in Lucknow.He received extensive training from Pandit Bindadin Maharaj, his uncle and the court dancer of the Nawab of Awadh, for nearly ten years...
and one of the great current dancers still alive today, Birju Maharaj
Birju Maharaj
Brijmo Mishra popularly known as Pandit Birju Maharaj is currently the leading exponent of the Varanasi Kalka-Bindadin gharana of Kathak dance in India.He is a descendant of the legendary Maharaj family of Kathak dancers, including his two uncles, Shambhu Maharaj and Lachhu Maharaj, and his father...
) and his students including Saswati Sen
Saswati Sen
Saswati Sen is a leading Indian exponent of Kathak, an Indian classical dance form. She is a senior disciple of Pandit Birju Maharaj. She achieved early fame by dancing in Satyajit Ray's film, The Chess Players , his invocation of Lucknow society at its "Paris of India" zenith. She also teaches...
have been very successful in spreading the popularity of Kathak. Another disciple of Acchan Maharaj is Sitara Devi
Sitara Devi
Sitara Devi is an eminent Indian dancer of the classical Kathak style of dancing. When she was in her teens, Rabindranath Tagore, after watching a performance by her described her as Nritya Samragini, meaning, the empress of dance...
, daughter of Sukhdev Maharaj of Banaras. Her lively, zestful and fiery performances have impressed many audiences. Shambhu Maharaj
Shambhu Maharaj
Pandit Shambhu Maharaj was a celebrated Guru of the Lucknow Gharana of the Indian classical dance form, Kathak. -Early life and training:...
also trained Smt. Kumudini Lakhia
Kumudini Lakhia
Kumudini Lakhia is an Indian Kathak dancer and choreographer based in Ahmedabad, Gujarat, where she founded Kadamb School of Dance and Music, an institute of Indian dance and music in 1967....
, who, along with Birju Maharaj
Birju Maharaj
Brijmo Mishra popularly known as Pandit Birju Maharaj is currently the leading exponent of the Varanasi Kalka-Bindadin gharana of Kathak dance in India.He is a descendant of the legendary Maharaj family of Kathak dancers, including his two uncles, Shambhu Maharaj and Lachhu Maharaj, and his father...
, has introduced the relative innovation of multi-person choreographies in Kathak, which was traditionally a solo dance form. She has gained a strong reputation for combining purely classical movements and style with distinctly contemporary use of space.
Gharanas
Because of the linear nature of the passing of knowledge from guruGuru
A guru is one who is regarded as having great knowledge, wisdom, and authority in a certain area, and who uses it to guide others . Other forms of manifestation of this principle can include parents, school teachers, non-human objects and even one's own intellectual discipline, if the...
to shishya, certain stylistic and technical features began to fossilise and became hallmarks of a particular school, guru or group of teachers. The different styles are known as gharanas, and these are:
Lucknow Gharana
The Lucknow Gharana of Kathak dance came into existence mainly in the court of Nawab Wajid Ali Shah the ruler of Awadh in the early 19th century. It was in this period that the Lucknow gharana of Kathak attained maturity and perfection. This was due to the pioneering efforts of Thakur Prasad Maharaj, the court dancer and guru of Nawab Wajid Ali Shah and subsequently by his illustrious sons Bindadin Maharaj and Kalkadin Maharaj. Kalkadin Maharajji’s sons Achchan Maharaj, Lachu Maharaj and Shambhu Maharaj also contributed to the further development of this gharana style.The Lucknow style or Kathak dance is characterized by graceful movements, elegance and natural poise with dance. Artistically designed dance compositions, emotive vocal compositions like thumri-s, dadra-s, hori-s along with abhinaya (expressional acting) and creative improvisions are the hallmarks of this style.
Presently, Pandit Briju Maharaj (son of Achchan Maharajji) is considered the chief representative of this gharana.
Jaipur Gharana
The Jaipur Gharana developed in the courts of the Kachchwaha kings of JaipurJaipur
Jaipur , also popularly known as the Pink City, is the capital and largest city of the Indian state of Rajasthan. Founded on 18 November 1727 by Maharaja Sawai Jai Singh II, the ruler of Amber, the city today has a population of more than 3.1 million....
in Rajasthan
Rajasthan
Rājasthān the land of Rajasthanis, , is the largest state of the Republic of India by area. It is located in the northwest of India. It encompasses most of the area of the large, inhospitable Great Indian Desert , which has an edge paralleling the Sutlej-Indus river valley along its border with...
. Importance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas
Tala (music)
Tāla, Taal or Tal is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in other Asian classical systems such as the notion...
. There is also a greater incorporation of compositions from the pakhawaj
Pakhavaj
The pakhavaj, pakhawaj, pakuaj, pakhvaj or pakavaj is an Indian barrel-shaped, two-headed drum, the North Indian equivalent to the Southern mridangam....
, such as parans.
Benares Gharana
The Benares Gharana was developed by Janakiprasad. It is characterized by the exclusive use of the natwari or dance bols, which are different from the tabla and the pakhawaj bols. There are differences in the thaat and tatkaar, and chakkars are kept at a minimum but are often taken from both the right- and the left-hand sides with equal confidence. There is also a greater use of the floor, for example, in the taking of sam.Raigarh Gharana
This was established by the Maharaja Chakradhar Singh in the princely state of RaigarhRaigarh
Raigarh is a city and a Municipal Corporation in Raigarh district in the Indian state of Chhattisgarh. It is the administrative headquarter of Raigarh district.-History:...
in Chhatisgarh in the early 20th century. The Maharaja invited many luminaries of Kathak (as well as famous percussionists) to his court, including Kalka Prasad (the father of Acchan, Lacchu and Shambhu Maharaj) and his sons, and Pandit Jailal from Jaipur gharana. The confluence of different styles and artists created a unique environment for the development of new Kathak and tabla compositions drawn from various backgrounds.Some of renowned dancers of this gharana are Late Pt.Kartik Ram,Late Pt.Phirtu Maharaj,Late Pt.Kalyaandas Mahant,Late Pt.Barmanlak,Pt.Ramlal,Alpana Vajpeyi,Suchitra Harmalkar,Mohini Moghe,Bhagwaandas Manik,Bhupendra Bareth,Vaasanti Vaishnav etc.
Kathak Yoga
Kathak Yoga is a technique common in Kathak that was named by Pandit Chitresh DasChitresh Das
Chitresh Das is a classical dancer of the North Indian style of Kathak. Born in Calcutta, Das is a performer, choreographer, composer, and educator. He was instrumental in bringing Kathak to the U.S. and is credited with firmly establishing Kathak amongst American dancers and the Indian diaspora...
. The dancer has to recite the taal, sing a melody, and perform complex footwork and spins in the same composition; frequently two or more of these elements occur simultaneously. The aim is to unify the various aspects of Kathak, so the dancer is constantly aware of the precise relationship of whatever composition is being danced (whether a song or a dance composition) to the rhythm cycle.
Flamenco
There are many striking similarities between Kathak and the flamencoFlamenco
Flamenco is a genre of music and dance which has its foundation in Andalusian music and dance and in whose evolution Andalusian Gypsies played an important part....
dance of the Spanish gitanos, most notably in the lack of much deviation from the vertical axis, percussive footwork, and dependence on (sometimes complex) rhythmic cycles.
It is generally supposed that the Romani people emigrated from India sometime in the 11th century. One group would later enter Spain via North Africa, having first passed westward through Iran
Iran
Iran , officially the Islamic Republic of Iran , is a country in Southern and Western Asia. The name "Iran" has been in use natively since the Sassanian era and came into use internationally in 1935, before which the country was known to the Western world as Persia...
(then Persia) and the fringes of the Ottoman Empire. In these places, they encountered the very same cultural influences that were to later arrive in India through the Mughal
Mughal Empire
The Mughal Empire , or Mogul Empire in traditional English usage, was an imperial power from the Indian Subcontinent. The Mughal emperors were descendants of the Timurids...
incursions and have such an impact on Kathak. Thus, flamenco and Kathak received the same cultural ingredients in two very different circumstances: The itinerant Romanis carried their Indian art forms' traditions with them and absorbed new influences as they traveled, while Kathak stayed rooted in India and received the same input as a result of those influences (Persian and aspects of Middle Eastern dance) being imported by a new regime. The similarity of Kathak and flamenco is therefore explained by the same process — the grafting and mixing of Persian and Middle Eastern dance elements on to an Indian base — working in two ways.
Now the two traditions have had some seven or eight centuries in which to diverge; yet it is remarkable that the similarities between the two remain such that there have been many successful collaborative performances between Kathak and flamenco dancers (notably Sandra La Espuelita) without much need to dilute either style to accommodate the other.
Ghunghru
GhunghruGhungroo
A Ghungroo, also known as Ghunghroo or Ghunghru or Salangai is one of many small metallic bells strung together to form Ghungroos, a musical anklet tied to the feet of classical Indian dancers. The sounds produced by Ghungroos vary greatly in pitch depending on their metallic composition and size...
or ghunghroo are the small bells the dancer ties around his or her ankles. The Kathak bells are different from those of other Indian dance styles, as they are not affixed to a pad or strip of leather, but rather are individually woven along a thick string. The usual number of bells is 100 on each ankle, although for the initial stages of learning or for children, 25 and 50 belled strings are widely available to allow the dancer to get used to them.
There is a more or less accepted upper ceiling of 150 bells on each ankle. Greater figures than this tend to involve the topmost circle of bells being tied further and further up a dancer's calf. This is generally regarded as unsuitable, because it is at some distance from the point of impact, giving rise to the upper levels of bells being prone to delayed sounding given the intervening space and amount of leg. Greater numbers are also unnecessarily difficult to control since they are more likely to sound at unwanted moments, being affected by the movement of the whole of the lower leg, rather than just the ankle.
Costume
As the dance style itself has changed to reflect the different milieus in which it found itself, so too has the costume and performance dress of the dancers.Female costume
Traditional (and perhaps more specifically Hindu) costume sometimes consists of a sari, whether worn in an everyday style, or tied up to allow greater freedom of movement during dance. However, more commonly, the costume is a lehenga-choliCholi
A choli , is a midriff-baring blouse shell garment in the Indian sari costume worn in India, southern Nepal, Pakistan, Sri Lanka, Bangladesh, and other countries where the sari is worn. The choli is cut to fit tightly to the body and has short sleeves and a low neck...
combination, with an optional odhni or veil. The lehenga is loose ankle-length skirt, and the choli
Choli
A choli , is a midriff-baring blouse shell garment in the Indian sari costume worn in India, southern Nepal, Pakistan, Sri Lanka, Bangladesh, and other countries where the sari is worn. The choli is cut to fit tightly to the body and has short sleeves and a low neck...
is a tight fitting blouse, usually short-sleeved. Both can be highly ornately embroidered or decorated. The lehenga is sometimes adapted to a special dance variety, similar to a long ghaghra, so that during spins, the skirt flares out dramatically.
Mughal
Mughal era
The Mughal era is a historic period of the Mughal Empire in South Asia . It ran from the early 15th century to a point in the early 18th century when the Mughal Emperors' power had dwindled...
costume for women consists of an angarkha (from the Sanskrit
Sanskrit
Sanskrit , is a historical Indo-Aryan language and the primary liturgical language of Hinduism, Jainism and Buddhism.Buddhism: besides Pali, see Buddhist Hybrid Sanskrit Today, it is listed as one of the 22 scheduled languages of India and is an official language of the state of Uttarakhand...
anga-rakshaka 'limb-keeper') on the upper body. The design is akin to a chudidaar kameez
Churidar
Churidars , or more properly churidar pyjamas , are tightly fitting trousers worn by both men and women in South Asia and Central Asia. Churidars are a variant of the common salwar pants. Salwars are cut wide at the top and narrow at the ankle. Churidars narrow more quickly, so that contours of the...
, but is somewhat tighter fitting above the waist, and the 'skirt' portion explicitly cut on the round to enhance the flare of the lower half during spins. The skirt may also be cut on the round but beginning just below the bust; this style is known as 'Anarkali
Anarkali
Anarkali ; Anārkalī ) was a legendary slave girl from Lahore, Punjab . During the Mughal period, she was supposedly ordered to be buried alive between two walls by Mughal emperor Akbar for having an illicit relationship with the Prince Nuruddin Saleem later to become Emperor Jahangir...
' after the eponymous princess who popularised it. Beneath the top, the legs are covered by the chudidaar or figure hugging trousers folded up giving the look of cloth bangles. Optional accessories are a small peaked cap and a bandi or small waistcoat to enhance the bust-line. A belt made of zari or precious stones is also worn on the waist.
Male costume
The traditional costume for men to be bare-chested. Below the waist is the dhotiDhoti
The dhoti or pancha is the traditional men's garment in the in India, Bangladesh and Sri Lanka. A similar garment is worn in some rural areas of Punjab province in Pakistan, but the use is fast declining...
, usually tied in the Bengal
Bengal
Bengal is a historical and geographical region in the northeast region of the Indian Subcontinent at the apex of the Bay of Bengal. Today, it is mainly divided between the sovereign land of People's Republic of Bangladesh and the Indian state of West Bengal, although some regions of the previous...
style, that is with many pleats and a fan finish to one of the ends (although it is not unknown for dancers to tie the garment more simply). There is the option of wearing a men's bandi too.
The Mughal
Mughal era
The Mughal era is a historic period of the Mughal Empire in South Asia . It ran from the early 15th century to a point in the early 18th century when the Mughal Emperors' power had dwindled...
costume is kurta
Kurta
A kurta is a traditional item of clothing worn in Afghanistan, Pakistan , Nepal, India, Bangladesh, and Sri Lanka. It is a loose shirt falling either just above or somewhere below the knees of the wearer, and is worn by both men and women...
-churidar
Churidar
Churidars , or more properly churidar pyjamas , are tightly fitting trousers worn by both men and women in South Asia and Central Asia. Churidars are a variant of the common salwar pants. Salwars are cut wide at the top and narrow at the ankle. Churidars narrow more quickly, so that contours of the...
. The kurta
Kurta
A kurta is a traditional item of clothing worn in Afghanistan, Pakistan , Nepal, India, Bangladesh, and Sri Lanka. It is a loose shirt falling either just above or somewhere below the knees of the wearer, and is worn by both men and women...
can be a simple one, or again, adapted for dance to incorporate wider flare, but is usually at least knee-length. Men may also wear an angarkha (see Female Costume, above). Particularly older variety costumes include the small peaked cap too.
Prominent Artists and SNA Awardees
- Shambhu Maharaj 1955
- Baijnath Prasad “Lacchu Maharaj” 1957
- Sunder Prasad 1959
- Mohan Rao Kallianpurkar 1962
- Birju Maharaj 1964
- Damayanti Joshi 1968
- Sitara Devi 1969
- Gauri Shankar Devilal 1974
- Roshan Kumari 1975
- Rohini Bhate 1979
- Kartik Ram 1982
- Kumudini Lakhia 1982
- Durga Lal 1984
- Uma Sharma 1987
- Reba Vidyarthi 1991
- Ramlal Bareth 1995
- Rani Karnaa 1996
- Sunderlal Sathyanarayan Gangani 1998
- Shovana Narayan 1999-2000
- Rajendra Gangani 2002
- Sunayana Hazarilal Agarwal 2003
- Urmila Nagar 2003
- Saswati Sen 2004
- Tirath Ram Azad 2005
- Munna Shukla 2006
- Geetanjali Lal 2007
- Shashi Sankhla 2008
- Prerana Shrimali 2009
- Malabika Mitra