Kathak, a major classical dance form of North India literally means a story teller.
Traditionally danced by both men and women, what distinguishes Kathak from other
dance forms is its spontaneity, freedom from uniformity and the room for innovation and
improvisations . Thus, it enjoys a fair amount of individuality and autonomy. A Kathak
dancer is not required to adhere to fixed steps and stages as well. He or she can change
the sequence of stages to suit his or her aptitude and style of dancing. At times the
drummer weaves a complex design which is danced by the dancer and thus begins a
contest.
Kathak based on bhava (mood), raga (melody) and tala (rhythmic beat) has its
compositions based on North Indian classical music. The first category in this dance
reflects the religious and the devotional sentiment while the second one reflects a clear
cut erotic taste and tang. The singing is usually done by the dancer himself.. The
expressional numbers which are in Hindi, Hindustani or Urdu language pertaining to
Krishna Leela legends from the Puranas or a love episode, are retold and interpreted
through abhinaya, facial expressions and postures. Sometimes a Kathak item called
gatbhava may be without a chant or singing. Here the dancer takes the Rada Krishna
episode and interprets it through mime only. The dancer plays various roles whose
changes are marked by pirouettes from one side to the other. Kathak is fundamentally a
solo performance.
The Kathak recital commences with the invocation to Gods Ganesha,
Sharaswathie, Shiva and salutation to the teachers.
Then follows That where the dancer introduces Kathak
with the rhythmic graceful movements of their eyes, eyebrows, neck, chest and shoulders
while the musicians play at a medium tempo in a relaxed mood. It is followed by Tatkar
or Tukras. This consists of a series of successive rhythmic designs danced to the drum.
Toras and Tukuras are the compositions of intricate rhythms and techniques weaving a
fabric of complex designs of dance movements which is remarkable for its technical
brilliance, spontaneity and dramatic quality. At this stage the dancer performs many
Paranas in perfect combination with the drummer's syllables. Every fresh Paran is
preceded by the initial dance posture That. The lightning pirouettes and intricate
footwork variations in perfect unison with echoing drum beats and tinkling ankle bells
present a fascinating spectacle.
A pirouette.
The theme is invariably retold in Kathak emotionally, symbolically and yet realistically
with the aid of various techniques which include excellent or rhythmic syllables, mime,
gaits, gatbhava impersonation, singing of the text and gestures. These render the
expressional dance items of Kathak rich, sober, varied, dignified, appealing, flexible,
dynamic, creative, traditional yet innovative and spontaneous.
The fine combination and the blending of the past and the present, traditional and
innovative, divine and mundane, solemn and lighthearted spirit has further embellished
and enriched its repertoire. It is one of the classical Indian dance forms destined to live
for ever with its various characteristic highlights getting richer and still richer with the
passage of time.