Nrutyalankar Mrs .

Amruta Salvi (Kathak Guru)

.
To start with I would hke ratulate my Guru
Nrit yala nka r Sau . Vais hali Dud
he for Contents
to cong k "Dan ce trail " that too w,t . h'
.. f her first boo ma yea r.H er
the publishing of the 2nd ed 1t10n ° d . to inno vate are ,dea
continuous efforts, cons.istency & constant esire
. .
l attr ibut es fo r us
. ti' . .
bea utifu l new com pos ition s
students . She possesses th e rare quahty of crea ng and m ost
d 'tho ut any con serv atio n .My bes
imp orta ntly shanng
. th same with stu ents w,
e .
t w ishe s ccor ding to Akh il Bharatiya Gan 18
. n Kathak Dance form . May syllabus (a dharva Mahavidyalaya )
for your upcoming new book ,n god Nat raj bless Y'J u
Mar athi o .. h d 24
with success with many such new Brie f Hist ory of Kathak
books being pubhs e .
Nrutyalankar Mrs . Priya Jalgaonkar Nota tion s of Basic Taal 27
(Kathak Guru)
. . u·on of Specific Katha k Term 33
Book wnt ten by our respe cte d G ru Nrityalankar Mrs.Vaishali Dud he -- DescnP s
u 'Dan ce Trai l' is
· Id . .
based on cIass1c a ance Kathak and also is the first boo k pub lishe d m Eng lish . . Intro duc tion to Kathak Nritya 42
all I would like to congratulate . _ . First of
her for the pub licat ion of seco 44
the people like us and newly upco nd edit ion ~f the .boo k. For
ming passionate dancers, she Folk Dance
PADANYAS, POHOPAJURI , ASHTAN mad e CDs ava ilab le like 47
AYIKA. She is frien dly and co-o Adh unik Nrit ya / Mod ern Dan
pera tive in natu re and ce
constantl y keeps on tryin g for
new ·concepts of dance, her ded
icat
48
towards dance is speechless. ion and dete rmin ati on Asanyukta Hastmudras
We wish that we always have
gu idance to us thro ugh out our her bles sing s, sup port and 66
life. I feel blessed to have such Sanyukta Hastamudras
Gur u in our life.
70
Nrutyalankar Mrs. Vaishali Mhaisalk Nar tan Bhedas
ar (Kathak Danseuse and Teacher
) 72
'Dance Trail...explori ng the hea Tandava and Lasya
rt of Kathak', auth ored by Mrs
an intri guing resource of info Vaishali Dud he, con stitu te s 75
rma tion indu ding a few illus Neck Mov eme nts
This book, compiled in Engl ish, trati ons to help the read ers .
especially helps in guid ing the 76
of India towa rds thei r curriculu stud ents who are outs ide Head Gestures
m, like in the case of Tapasya
Duba i. The book provides muc Cen ter for Per form ing Arts , 77
h insp iration for furth er research Gharanas of Kathak
as one of t he reference books in , hen ce coll ecti vely serv ing
furth ering you r Kathak edu cati 80
for t he second editi on. on. I exter:id my bes t wish es Luck now Gharana
81
Jaipur Gharana
82
Banaras Gharana
Dist incti ve features of Lucknow . ur and Ban aras gha rana
83
, Ja1p
Special features of Jaip ur Gha
rana
Special feat ures of Lucknow Gha
ra na
Special features of Bana ras Gha
rana
Nar ratio n of Incidences of Gata 863
bhava
89
Sant Surdas
.. f Sant Surdas w ith reference to 90
Illus trati on of any two composi dance
tions 0
93
Sant Mee raba i

2o l~ m il
~t ra rr \21
■
95
Historic Tradition of Dance in Temples & Courts
20. Pt. Damayanti Joshi
Mandir Tradition
21. Pt. Roshan Kumar!
Darbar Tradition 117
The Origin, Purpose and Execution of Natya
9 ')
Abhinaya and Its Types 119
Navarasa
Aangika Abhinaya 123
Rasa -Bhava Table
Vachika Abhinaya 125
Concept of Rasa, Bhava and its Elements
Aaharya Abh inaya 130
Nayak Bheda
Satvika Abhinaya 134
Brief Description of Nayika Bhedas
Physical, Intellectual and Psychological benefits of Kathak 101 According to Dharma Bheda
Biographies 103 According to Aayu Vichar
1. Acharya Sukhdev Maharaj
According to Prakruti
2. Kalka Prasad
According to Jati Bheda
3. Pt. Bindadin Maharaj
According to Paristhiti or situation/Ashtanayika
4. Pt. Harihar Prasad
Dashavtaar 139
5. Pt. Hanuman Prasad
Ten Elements of Taal 144
6. Pt. Acchan Maharaj
Classical Dances of India 149
7. Pt. Shambhu Maharaj
Significance of Guru-Shishya Tradition 156
8. Pt. lachchu Maharaj
Qualities and Duties of the Shishya
9. Pt. Narayan Prasad
Description of singing components 159
10. Pt. Jailal
Contribution to Kathak by Nawab-Wajid-Ali-Shah and Chakradhar Singh (King of 164
11. Pt. Nataraj Gopikrishna Raigadh)
12. Kathak Queen Sitaradev1 Nawab Wajid-Ali-Shah
13. Pt. Durgalal
14.

15.
Kundanlal Gangani

Pt. Sunder Prasad

Raas and Kathak
Maharaja Chakradhara Singh

Relation of Thumari with Kathak

168
170
II
16.
Pt. Mohanrao Kalyanpurkar Characteristics of the dancer 173
17. I
Maharaj Krishnakumar 175
Incidences related to Dance in Ancient Period
18. Pt. Birju Maharaj
Information on Medieval Books (Texts)/Commentaries of Natyashastra 177
19.
Pt. Rohini Bhate
Evolution (Origin) of Laya and Taal 181

~ WcITT l23
 Layakari in Kathak 184
d 238
Impo rtanc e/ Specialty of Taal, Laya an
hastra and Abhin ay Darpa n 186 Description of Music al Instru ments
Nat yas 241
Comparative Study of Hastamudras from Raasmandali
19Q Nauta nki, Tamasha, Ballet, Nrltya Natika And
246
Information about Epics
Music al Perspective in Kathak Presentation
Mahabharata 248
Kathak
Necessity & Impor tance of Accompanists in
Ramayana 250
Nata, Nartaka and Touryatrikama
Bhagavat Puran 253
k Prese ntatio ns
New Experiments in Choreographies of Katha
Geet Govind 256
Bhedas according to Natyashastra
Deva Hastamudras 194
A) Darshanvidhi
Dashavatar Hastamudra 195
B) Bhruk utibhe da
References of Dance in Mythological literat ure 195
C) Adha rbhed a
Lokadharmi and Natyadharmi 198
D) Greevabheda
ries
Popularity of Indian dance forms in foreign count 200
E) Vaksha Bheda
mances in Mode rn Times
Innovative Techniques developed for Stage Perfor 201 F) Kati (kamar) Bheda
k
Influence of Modern Stage Techniques on Katha 205 G) Postures (Bhedas) of foot
Importance of Kavitta in Kathak 207 H) Nrutth astas
Relation of Dance with other Art forms 208
261
Conc ept of Bhava in Kathak
References of Nritya in Vedas 263
212 Comp arativ e study of Kathak gharana
ptions 266
References of Dance in Excavations and Inscri
214 Varie ty of Costumes in Katha k
Bhramari and Chaari 268
216 Impa ct of Krishna Chari tra on Kathak
Criticism of a Kathak Pe-<
,,ormance 271
219 Influe nce of Mugh al Cultu re on Kathak
Critiques of the performance of a Kathak artist 273
220 Significance of Ghun garoo s in Kathak
The Origin and Ad vancement of th C 275
e oncept - Nritya Significance of Padh ant in Katha k
222
heda 277
T~e ~oncept of Jaati and Description of Jaatib
Desc ription of Karanas with its Name s
226
Principles of Beauty for Kathak dance 280
Biblio graph y
Laya- Taal 229
Grace

Physique

Posture

Merits and Demerits of .

repertoire of Kathak
235
24/ ~tr arr
~ trait I2~
 a, Tiha ai, Toda, Aam ad , Pa ran
Syllabus Jhap taal- Bara bar and Dugu n of Thek
rva Mah avid yala ya) Dadra and Kehrava taals with the nota
tion signs
(According to Akhil Bhartiya Gandha
Madhyama Pratham
to Praveshika Purn a
• All the defin ition s from Prara mbh ik
a an d Naty a .
Prarambhik desc riptio n of term s like Nritt a , Nrity
.J'' Nart an Bhedas- Defin ition s and brief
• Introduction of Teental
Defin ition s of Lasya and Tandava
Introduction of Kathak (in 5 sentences) an
• eva bhed a) acco rding to Abh inay Darp
Guru Four type s of Neck move men ts (Gre
instit ute, danc e form and teac her or J
• Self Introduction, Information about the da) acco rding to Abh inay Darp an
, Kha ali, Nine type s of Head gestu res (Shir obhe
ya laya, Drut laya, Matr a, Sama, Taali
• Definitions : Laya, Vilambit laya, Madh Nrity a
Defin ition s of Lokn ritya and Aadh unik
Vibhag and Tihaai
Bind adin Mah araj, Pt. Hari Pra sad,
• Biog raph ies- Pt. Kalika Prasad, Pt.
Praveshika Pratham Pt. Hanu man Prasad.
Tatk; ;r
n), Matr a, Sama, Taali; Khaali, Gatn ikas, and Jaipu r Ghar ana
• Definitions : Laya(Barabar, Madhya, Dugu ·' • Disti nctiv e featu res of Luck now
Anj a Ii, Ka pot ,
Toda, Gatpalta and Baant dra acco rding to Abh inay Da r pan -
Deta ils and Uses of Sany ukta Hast amu Karta ri Swa stik,
Introduction to notation system Utsa ng, Shiv ling, Kata kava rdha n,
• Karkat, Swastik, Dola , Push papu t,
Keharava
• Notation and information of Dadra and Shakata, Shankh
Five present generation s of Kathak Guru Teen tal , Jhap taal and Ekta al
• • Nota tions of Com posit ions from
a D . .
Asanyukta Hastamudras according to Abhin and situa tions in Gatb hava
•
ndra A I Shy ktarpan . Pataka, Tnpa taka, Ardh apat aka, • A syste matic narra tion of incid ents
Kartarimukha, Mayu r, Ardh acha
u unda , Mush thi, Shik har t Surd as ii) Sain t Mee raba i
' ra' • Intro duct ion of Sage poet - i) Sain

Praveshika Purna Madhyama Purna

• Brief history of Kathak (in 10 t 0 15 sentences) and Darb ar trad ition of Kath ak
, • Brief Desc riptio n of Man dir tradi tion
r Paran,
• Definitions : Aamad, Toda, Tukda Tatka r, Kavitta, Tiha ai, Aang , Disti nctiv e featu res of Bana ras Ghar
ana
a~ud ra , Chak karda •
Upang, Pratyang, Gatbhav, Hast
hiera rchy of Luck now and Jaip ur Ghar ana
fi • Brief desc riptio n of histo ry and
• Describe the term Loknritya and nam Drus htibh eda)
ve .types ~f Lokn ritya from five diffe rent
state s. n) and eye mov eme nt (glan ces/
• Name seven classical dance forms aloe • Eyeb row mov eme nts (Bha usan chala
uses
• Asanyukta Hastam d ras accordin t
ng with their territ ories acco rding to Abhi nay Datp an and their
u g o Abhinay Da . Tandava
Katakamukh s h. Defin ition s and type s of Lasya and
~~~' Chan draka la, Padm akosh , Sarp as~~ :~ with their !-fSes : Kapi ttha, •
Kangul, Ala~a inter plays :
Hansasya, Han :, ~:ug ashi rslia , Sinh
amu kh, • Writ e Teen tal in follo wing rhyth mic
Tamrachuda, Trish~I Chatur, Bhramara,
P ha, Sand ansh , Muk ul, Aadh i(½) Paun i(¾) Kuad i (1¼)
• Biography of a I
popu ar Kathak Arti Aadi (l½) Biad i (1¾)
• Names of five prese nt st (10 sentences)
generations Tabl .
. .
a artist who acco mpan y Kath ak • Clea r defin ition of abhin aya
~1p1badha (Notations) : naya
ika, Vach ika, Satv ika and Ahar ya Abhi
.
Teental - Tihaai , simp • Desc riptio n and appl icatio n of Aang
le Aa d an : Chak ra,
ma (Ta thaiyya th . amu dras acco rding to Abhi nay Darp
Paran, Kavitta aiyya tat) p • Defin ition and Uses of Sany ukta Hast wa, Bhe rund
' aran judi Aam ad, Toda , a, Vara ha, Garu da, Naag band ha, Khat
Sam puta , Paash, Kilak, Mats ya, Kurm

26 l~t rai t
~t ra n 121
 haraJ·, Pt. Shambhu Maharaj, Pt . lachhu M .2 hara·
J.
• Biographies- Pt. Acchan Ma Relation of Thumari w ith Kath ak
Pt. Narayan Prasad, Pt. Jailal
. .. Ti t I Rupak and Ektaal Qu alitie s and Drawba cks of a Dancer
• Notations of compositio n s from een a ,
• Physical, Psychological and intellectua l benefits of Kathak Visharad Purna
Visharad Pratham Paper I
Paper I • Incidents related to dance in An cie nt per iod
··l atya
According to Bharata's Natyashatra, evolution, purpose and presenta tion o f • Informati on on medieval books (texts)

Definitions of Navarasa • Concept of Navrasas and its brief descripti o n

Nayak-bheda : Dhirodaatta, Dhiralalita , Dhirodhat ta and Dhir-Pras hanta • Detailed informatio n of Nayika-bh eda :

Four types of Nayikas and their descriptio ns- Abhisarika , Khandita, Vipra I 2
'dh • According to Dharma -bheda : Swakiya , Parki ya and Samanya
a
and Proshitapatika According to Aayu Vichar : Mugdha, Madhya, Praudha
Stor.ies and ~astamudras of Dashavtar: Kurma, Varaha, Matsya and Narsinh a According to Prakruti : Uttama, Madhya ma and Adhama
rorn
ten mcamat1ons of Lord Vishnu
According to Jaati-bhed a : Padm ini, Ch itrin i, Shan kh in i, Hastin i
Definitions of ten basic componen ts/elemen ts of Taal According to Situations (Ashtanay ika) : Kalhantar ita, Vasa ksajja, Virhotk anth
ita and
lnf~rmation. about Bharatnatyam, Manipuri and Kathakali dance forms Swadhinp atika
basis of t heir costumes and accompanying instrumen ts
t he o, on con tent,
Informatio n of Dance forms : Odiss i, Kuch ipud i and Moh in iatta m based
Notations of Aamad, ,Bedam tihaai, Farmaishi and Chakk .
ardaar Pa ran, T1pall i and costumes and accompan ying instrumen ts
Kavitta in Teental, Jhaptaal and Dhamaar
• Origin (evolution ) of Laya and Taal and its importanc e in Kath ak
Significance of GurucShishya Tradition
• Comparat ive study of Hastamud ras from Natyasha stra and Abh inay Darpan
Qualities of Shishya and his duties towards his Guru d, Tihaa i,
Paper 11 • Notations of compositi ons from Choti Sawari(lS ) and Sh ikha r(17 ) like Aama
Toda and Paran
Concept of Rasa and defi 'ti et govind
bhava ni ons of Sthayibhav a, Vibhava , Anubhava , V ya bh.Ic h an. • Brief descriptio n of epics- Ramayana , Mahabha rat, Bhagvat Pu ran and Ge

Information of foll . . Paper II

. owing terms: Tipalli Ka .
Tnbhanga, Sudhanga, Laag-Daant A.n 1' v1tta.' farma1shi paran, Bedam tihaai , Parvati,
, u om Pratilo Bh , • Deva Hastamud ras according to Abhinay Darpan : Brahma, Vishnu, Saraswati
D fi . . m, ramari, Nyas-viny as . Dashavta r
e nttions and descriptions O f h , Laxmi, Indra, Agni, Yam, Varun , Vayu and t en incarnatio ns of Vishnu i. e
Ashtapadi Dh t e following s· - Kalki)
. ' rupad, Thumari, Chat uran mgmg compone nts of Kathak : (Matsya, Kurma, Varaha, Narsimha, Vaman, Parshuram a, Ram , Ba iram, Krishna,
Contribution to Kath k b g, Tilwat, Tarana Chaiti , KaJn . . H .
f • a y Naw b w .. d
' '
on • References of dance in mythologi cal literature
o Ra1gadh) a a11d-Ali-shah
Singh (King kumar,
Notati an Chakradh ar • Biographie s- Pt . Sundar Prasad, Guru Mohanrao Kalyanpur kar; Maharaj Krishna
ons of Aamad, Tihaai li .
Pt . Birju Maharaj
Dhamaar(14), Gaj-'ha , oda, Kav1tta and Chakk
Biographies - N J_ mpa (lS) and Pancham Sawa '(lar)dar Paran in Raas Taal(13), • Definition and applicatio n of Lokdharm i and Nat yadharm i forms of dance
atrai Gop·k . h n 5
Kundanlal Gangani , ns na, Kathak Queen Sitara • Popularity of Indian dance styles in foreign countries
Devi, Pt. Durgalal, Guru system,
Essays: • Innovative technique s developed in dance stream in Modern Times (sound
Raas and Kathak lights, cyclorama , slides)
• Significanc e of Kavitta and Thumari in Kathak

2sl~tr !ill
~tra rr l 29
r , art forms • si nging, Instrument playing, Palr1Uno,
• Correlation of Dance with ot I1e1 · .,
sculpture and literature
Alankar Purna
kkardar and Farmalshl Paran and Parm elu In Paper I
• Notations of Aam ad, Toda, Paran, Cl'a
Matta taal (18) and Raas tAal (13) • Historic tradition of Dance In Temples
• Describe the terms Nat, Nartak and Touryatrikam
Alankar Pratham • Innovative experiments in choreographies of Kathak presentation
Paper I • Innovative techniques developed for stage performances in modern tim es such as -
• References of Dance in Vedic literature Stage design, Framework, Music arrangement, Dance direction, Costume, Make-up,
• References of Dance in excavations and inscriptions Stage set-up, Light arrangements etc .
• Use of Bhramaris and Cha ris in Kathak according to Natyashastra • Bhedas according to Natyashastra- 1. Darshan vidhi (8) 2. Bhru kuti bheda (7) 3.
Adharbheda (6) 4. Greeva bheda (9) 5. Hastamudras (64) 6. Vaksha bheda (5) 7 . Kati
• Critics about performance of a Kathak artist
bheda (5) 8. Paad bheda (5)
• Drishtibhedas according to Natyashastra and Abhinay Darpan
• Origin of Natyashastra
• Origin, roots and development of the concept 'Nritya' • Theory of Rasa bhava- concept of bhava in Kathak
• Influence of modem technique on presentation of Kathak • Illustration of any two compositions of Sant Surdas w ith reference to da nce
• Concept of Jaati and Brief knowledge of Jaati bhedas including examples of Teen Ta • Notation of Aamad, Kamali chakkardar paran, Farmaishi paran, Tihaai lnot less than 2
• Notations of Jhaptaal in ½, ¾, 1¼, 1½ layas avartans), Tishra and Mishra jaati paran or chakkardaar pa ran and Kavitta in all taals
Paper II Paper II
• Principles of Beauty in Kathak • Comparative study of traditions of all the three gharanas of Kathak
4
• Lava and Taal • Notations of Teentaal, Jhaptaal, Rupak, Dhamaar, Raas and Shikhar in¾, l½, l ¾, / s•
• Grace (Lalitya} 5/
4 layas
• Physique (Saushthav lea bhav) Breif definitions of the following terms- Stuti, Aamad, Salaami, Stree Thaat, Purush
• Posture (AakrutibandhaJ Thaat, Karan, Chaal, Kasak-masak, Haav- bhav, Rela, Palta and Baant i n Tatkar, Lad i-
Chalan, Primalu, Farmaishi chakkardaar, Thumri, Tilwat, Ashtapadi, Chaturanga
• Merits and Demertis in repertoire of Kathak
• Origin, nature and development of the concept 'Thumri'
Description and Uses of Musical Inst

I
•
Avanaddha (Percussion) and Gh (B rum_ents namely Tat (Stringed), Sushir (Wind), • Essay on any one of the following topics
ana rass) rn dance
. Importance of Laya, Taal and Layakari in Kathak
• Information about Nautanki, Tamasha Nri
• Notations for- ' tya-natika, Ballet & Raas Mandali Variety of costumes in Kathak
Dugun and Ch Impact of Krishna Charitra on Kathak
augun of Raas Taal (13) L ks
Ashtamangal (22) ' a hmi Taal (18), Basant Taal (9) and Influence of Mughal culture on Kathak
Thaat, Aamad, Tihaai Significance of Ghungaroos in Kathak
. , Tade, Paran, Chakkardaar Pa
mentioned taals ran and Kavitta in above Significance of Padhant in Kathak
• Musical Perspective .
m Kathak Presentati • Notations of Aamad, Tihaai (2 avartans), Tode, Paran, Chakkardaar Paran, Farmaishi
• Necessny & • on
importance of accompa - - Paran, Kavitta etc in Ganesh Taal (21), Rudra Taal (11), Arjun Taal (24)
nrsts rn Kathak
• Commentaries of Natyashastra
• Describe Karan. State names of first 10 Karanas out of 108

3o I ~ tr5l
~ trail \31
 and musicia ns to
Emperor Akbar married Rajput princess who allowed Hindu dancers
,,J perform In the royal court, thereby receiving royal patronag e . Kathak thus entered into a

~ Brief History of Kathak Golden era . Kathak themes were now sought beyond the boundar
legends . Kathak develope d itself as a secular art form . Now dancers
ies of Hindu
focused
myths and
on brilliant
increase d grace of
variations of rhythms , astonishing stances and swift pirouette s, which
Kathak.
brought Kathak
worldwi d e Personal interest of Nawab Asaf-Ud- Daulah and Nawab Wajid-Ali-Shah
athak is one of the most popular, old and sensual classical dance form open platform s of Muslim court
K Among all the traditional classical dance styles of
position. The word Kathak means storyteller, is derived
India,
from
Kathak
the word
holds a
'katha'
promine nt
i.e. a story.
from the confined boundaries of Hindu temples
without disturbin g its original form . Thus, Mughal era
to
exhibited powerfu l presenta
the
tion of
dancer
between
rhythmic patterns, friendly argumental performa nce (sawal-jawab)
two dancers (jugal-
"Katha kahe so Kathak kahafave " and the accompanist as well as a friendly competi tion between the
ity of musician s bandi) and also, the rhythmic musical composi tion like Tarana .
Kathak literally means a storyteller. Kathaka is the name of the commun
or Parmatm a du e
and dancers. These Kathakas wandered around the countryside narrating
the mytholo gica 1
Now, the role of Lord Krishna or piya was replaced with the Supreme Lord
are very closely inspite of this impact, Kathak dancers continue d
stories to the people through dance, music and poetry; all these arts to Mughal influence . It is notewor thy that
as an art form on Radha Krishna . In fact, Nawab Wajid-
associated with each other. This act of storytelling further established to perform on the themes and sequences based
' s about the graceful romantic
which populariz ed as 'Kathak'. Ali-Shah , the great patron has composed many thumarie
ition of dance
the age of moment s between Radha and Krishna . He himself revived the compos
The Kathaka community was in existence right from the Vedic period. During -Avadh', inspired by
used singing and drama in Kathak. Dance choreographies like 'Indra Sabha' or 'Sham-e
Ram~yana, the t~rm 'Kushilava' was associated with the people who Raas-leela, were composed and perform ed in Rahaskhana with pop and
glory. These plays
Ramayana and
danctn~ as a m_ed1um to narrate stories. It is said that Saint Valmiki wrote brought back the traces of ancient Kathak, which had element s of natya
w ith expressions
Lord Rama's sons Luv and Kusha. The term 'Kushilava'
taught its m~s1cal narrations to and emotion s.
court. Buddhist and Jain literatur e reveals
was b~ought m due to their performance in the his royal duties.
of many skilled d · · · Wajid-Ali-Shah was so passionate about these art forms that he ignored
the existence
. women ancers m Indian regions namely Vaishali, Magadh , s. The fall of Mughal Empire
temples which This resulted in the annexure of his kingdom by the Britisher
Kosla etc. During Gupt period, there was a great rise in the construc tion of
Hence Kath ka ' and rise of European rule led to the downtur n of Kathak.
encouraged holy rituals , a s got new platforms of recognit ion along with
. .. ·
new emerging tradition of women temple dancers called 'Devdasis'. ated form of
Before British Raj, in royal courts Kathak was considered to be a sophistic
courts, Kathak
Kathakas along with other dance f h entertain ment. Its entire emphasis lied in solo performa nces. In Hindu
changes. Due to Muslim ,·n . arms ave gone through various political and social in Mughal courts the focus shifted to 'Nrityang a'. These
d h' focused more on 'Nrittang a' while
vas1ons, temples got de t
Kathakas. Kathakas had to find H' d s roye w ich led to scatterin g of two trends ultimate ly developed into two schools or 'Gharana s' of Kathak . They were
rn u patrons or relocate to coun t rys1"d e where they could where Kathak was rooted
safely practice their traditional art f named after the two main cities namely Jaipur and Lucknow
. arms. Hence Kathak's platfarm ch anged from being s imparted a
in temples to the courts Under th ' and flourishe d in respective styles. The Gurus of these two major gharana
highly technical art form.·
1
e roya patronage, Ka th ak evolved into a stylized and persona lity or distinctiv e style to Kathak, which was personif ied by their dlsciples . j
serene religious
Due to its religious association ' the M us 1·1m ru Iers cons·d d As Jaipur Gharana flourished under Rajput patronage of Rajasthan with
• I ere Kathak inapprop riate for , Bhanuji and his
t heir patronage. Therefore for their ent rt . . flavor, Hindu aspect of Kathak was preserved. One of the founders
. ' e amment they i ·t d the develop ment of
centra I Asia. Those women dance rs name IY dom1nis . ,
ha . . I
nv1 ,e artists from Persia and descendants- Hari prasad, Hanuman prasad- greatly contribu ted to
. the work of Gurus
a unique distinctive style of dancin Th , nsin1s, ononis and hourkini s had Jaipur gharana . The present generation of this gharana is influenc ed by
Indian origin, which were accepta !~ t e~hadopt ed certain elements from art forms of llke Jailal and Sundarp rasad .
learnt few aspects of dancing from theseo" ~se artists.Muslim rulers. In return, Indian artists style. Thakur
,ore1gn In the period of Wajid-Ali-Shah, Lucknow gharana evolved as a unique

32,~~ ~ WcITT 133

 prasad, Guru of Wajid-Ali-Shah , was the founder of Lucknow Gharana . The contributio n of ~
his sons- Bindadin Maharaj and Kalka Prasad has shaped the present Lucknow branch of
Kathak. Other great artists of Lucknow gharana were Achchan Maharaj, Lacchu Mah araj,
Shambhu Maharaj, Padmavibhushan Pt. Birju Maharaj and his large number of discip les
1~ Notatio ns of Basic Taal
carry the tradition forward .
The other offshoot of Kathak is known as Jankiprasad gharana or Banaras gharana . Its
exponents were Sohanlal, Mohanlal, Nawal kishore and Kundanlal. Another branch of this Theka
Teentaal Oha
gharana is represented by Pt. Sukhdev Maharaj, Kathak Queen Sitara Devi and Natraj Pt. ~
GopiKrishna. The smallest branch of Kathak, which was not widely known, is the Raigadh
Matra -16 ~ ~ '-._/
X
Taali - 1, 5, 13
gharana, established by Raja Chakradhar Singh. He encouraged and nurtured young talent Dha
Kaai/Kha Ii - 9 ~ ~ ~ '-._/
by patronizing them. 2
Vibhag-4
Today's Kathak is a mirror image of Hindu and Muslim India. Modern Kathak is a blend of Taa
Khanda - 4, 4, 4, 4
~ ~ ~ '-._/
abstract rhythmic patterns (nrittanga) and expressive compositions (nrityanga). Kathak is 0
a representative classical dance form of Northern India. Northern India has faced lot of Dhin Ohin Dha
revolutionary activities. These political, cultural, social, economical and religious impacts
~ ~ ~
'-._/
3
were reflected in Kathak. This resulted into collation of devotional as well as sensual
aspects embodying Indian culture through Kathak.
JHAPTAAL Theka
As Shrimati Shovana Narayan states- "The shimmering tinkles of hundreds of ghungroos, Na I
the singte twist of the wrist, which tells a hun dred tales, the suggestive lift of an eyebrow,
Matra-10 ~ ~
X
Taali-1, 3, 8
the resounding beat of the tabla and the twinkle toes keeping pace as if skimming
water ...................................The story is complete."
Kaal/Khali - 6 ~ ~
Vibhag-4 2
Khanda - 2, 3, 2, 3
~
Na I
0

~ ~
3

DADARA Theka
Matra - 6 ~ ~ ~
X
Taali-1
Kaal/Khali - 4 ~ 0 ~
I
I
Vibhag- 2 0

I
I
Kh anda - 3, 3

~trail 135
 Theka
KERVA/KEHARAVA Theka
RUPAK
Matra-8
Taali -1
e
X
~ ~ ~ Matra - 7 00 Ti
'-"'
Na
'.._,/
I

Taal l- 4, 6 I
Kaal/Kha li - 5 ~ ~ ~ ~ Kaal/Kha li - 1 ~
Na
'-"'
Vibhag - 2 0 1
Vibhag - 3 Na I
Khanda-4, 4
Khanda - 3, 2, 2 ~ '-"'
2

EKTAAL Theka DHAMAR Theka

Dhin Dhin ~ I
Matra- 12
"-"" '-". Matra - 14 ~ ~ ~ ~
Taali -1, 5, 9, 11 X
Taali - 1, 6,'11 X

~
Tirkit
Kaal/Khali - 3, 7
Vibhag-6 0 "-"' Kaal/Kha li - 8
Vibhag-4
e 2
~ I
Khanda - 2, 2, 2, 2, 2, 2 ~ Na
"-"' Khanda - 5, 2, 3, 4
2 60 0 ~ I
~ Taa
"-"'
0
0 ~ ~ ~ I
~ Tirkit
"-"'
3
3
Theka
e4
Na
"-"'
RAASTAAL
Matra-13 e ~ I
Taali -1, 5, 7, 11 X
CHAUTAAL Theka Kaal/Khali - 3, 9 ~ ◊I
Matra-12
Taali -1, 5, 9, 11
eX
Dha
"-""
Vibhag-6
Khanda - 2, 2, 2, 2, 2, 3 e
0
Dhin
"-""
Kaal/Khali - 3, 7
Vibhag-6
e0
Taa
"-"' ~
2
e
3
Khanda - 2, 2, 2, 2, 2, 2 ~ Dha Dhag Titi
2 "-"' "-7 "-""
0
~ Taa
e Gana
0 '---" ~ "-"'
4
~ Kata I
3 '---"
~ Gana I GAJAJHAMPA Theka
4 '---" Matra-15
Taali -1, 5, 13
e X
e ~ e
Kaai/Kha Ii - 9
Vlbh ag - 4
~
2
~ ......_,
Dhen
e
Khanda - 4, 4, 4, 3 ~ ......_,
Dhen
e ......_,
Titi I
0
~ ......_,
Gadi
~
3

361 ~ tr-an
~tran 137
-
 Theka
Theka ASHTAMANGAL
....__,,....__,, l~~l~~I --..:!Jy ~ I
CHOTI SAVARI
Matra- 15 ~ ~ e,1 M at ra - 22
Taa li -1,5,7,11,13,17,19,21
Dha
X
Tit
0 2
3

Dha Dhin ,~~,~~,

~e, I
X
....__,, ....__,,
Taal i - 1, 4, 12
Kaal/Khali - 8
Vibhag - 4
e
2
e e ~I
Kaa l/Khali - 3,9,15
Vibh ag-11
Khand a-2,2,2,2,2,2,2,2,2,2,2 ~
0 4 5
Dh a g e l ~ ~ I ~ ~ I
0

~ ~I 6 ......___,;;/' 7 8
~ ~
0

~
3
e ~ ~I
BASANT
Theka
~
Mat ra - 9 ~ I ~ I
3
X 2
Theka Taa li - 1,2,3,4,6,8
SHIKHAR
Kaal/Khali - 5,7,9 .....__
Dhet I ~ ~
....__,, ....__,, I 5

~,
Dina na Naka Thun Ga
~ ~
Matra -17 4 0
'-"" "-" Vibhag-9
Taali - 1, 13, 15 X
Khanda -1,1,1, 1,1,1,1, 1,1 ~ I ~
Kaa l/Khali - 7
' -0 " ~
Dhinana .___.....
Dhuma ....__,,
Kit ....__,,
Taka Dhet
"-'
I 0 6 0
Vibhag -4
Khanda - 6, 6, 2, 3
~
2
Kata
TTta I
~

Gadi Gana I
GANESH
Matra -21 ~ ~ I
Theka
~
2
~ ~,
Taali - 1,3,6,12,15,19 X
'-" '-" ~
3 Kaa i/Kha Ii - 10
~ ~ ____,,,
Na dhin Dhinna
~
I
Vibhag-7
Khanda - 2,3,4,2,3,4,3
3

~ ~ I ~ ~
~,
~
0 4

~ ~ ~ -e,,
~,
MATT-TAAL Theka 5
Matra -18
Taali - 1, 5, 7, 11, 13, 15 e X ~
ss I ~
0
~
6
~ .._...
Gana I

Kaai/Kha II - 3, 9, 17
~ ~ I ~ ~
Vibhag-9 2 3
Khanda - 2, 2, 2, 2, 2, 2, 2, 2, 2 Theka
~ ~I ~ ~
RUDRA
0 4 M at ra -11 ~ ~ ~ I ~ ~ I
~ ....__..,
Ta I
~ ~I Taa li -1,4,8,10
X 2
5

~ ....__..,
Na I
6 Kaa i/Kha Ii - 6
Vibhag - 5
~
0
'3,,1 --.J.!!i,-,
3
~I
¥ ~I

Khanda - 3,2,2,2,2

~traa 139
...
Theka
ARJUN ~
Matra -24 ~ ~ ~ ~ e0 ~I
~
O Des crip tion of Spe cific Kat hak Ter ms
X 2
Taali - 1,3, 7,9,13,15,17,19,23
Kaal/Khali - 5,11,21 ~ ~ ~ ~ ~ ~I (?I
Vibhag -12 3 4 0
Khanda-2,2,2,2,2,2,2,2,2,2,2,2
~ ~ ~ ~ ~ ~I
5 6 7

~ ~I
8
e0 e, ~
9
e,1 Sama :-
" The first beat of the cycle ." The first matra from where
any Taal begins is called as Sama .
or many avartan as of Taal, one has to
Specific force is used to show Sama. After some
loudly stampi ng r ight leg on t he floor. (x) Cross
land at Sama . In Kathak Sama is shown by
symbol is used to represe nt Sama .

Laya :-
e Taal. The equal and regular
Laya is speed or pace. We use Laya as a source to measur
d by clappin g at regular interva ls or
distribu tion of speed is known as Laya . Laya is counte
I
I I equal gaps. There are 3 types of Laya :-

11 Vilam bit Laya:-

I f The Laya, which follows a very slow pace, is called as ' Vilamb
eet' or ' Thaah'
', 'salami ' etc. is perform ed in
Laya . In Kathak, 'Thaat', 'uthaan ', 'aamad
Vilamb it Laya .
I Madh ya Laya:-
I .
too fast nor too
The Laya, which follows a medium pace i.e. neither
a laya has twice the pace that
slow is known as Madhya Laya . Madhy
are perform ed in Madhy a Laya .
of Vilamb it laya . ' Tukde' and 'Tode'

Druta Laya:-
Druta laya is
The Laya with fastest speed is known as Druta Laya .
of Vilamb it laya . 'Pa ran'
two times of Madhya laya and four times
and 'Gatnik as' are perform ed in Druta Laya .

Matra :-
count Taal.
Matra means beats . It is a measur e, which is used to
same way we use meter to measu re length
We use Matra to measur e Laya and Taal in the
of Taal. Differe nt Taals can be identifi ed by
of road or cloth . It is the smalles t portion

I
I
'
40/~ ti"al t
countin g differen t numbe r of matras .

~ mm 141
~
 Palta :-
Taali :- The nritya bols or the syllab les c,
and Taali. The clap, which is used 1 ) The order of syllables is chang ed to execu te Palta.
Taal is divided into some parts namely; Sama, Khali sy llables when dance d in a stra,g , · ~
Taali is denote d by using numb er , theka are arrang ed in upside -down way. The dance
show Matra other than Sama, is called as Taali or Shari. the movem ents can be reversed to
and reversed manne r, it is called Palta. Somet imes
, comm and over the Laya-Taa l and a
1, 2, 3.... etc. perfor m the Palta . A compl ete knowle dge of rhythm
Palta s.
massive creativ ity is requir ed to rende r variety of
Khali :-
instead of clappi ng is known as
While counting Matras , swinging one hand in the air Baant :-
'Kaai' or 'Khali'. (O) Symbol represents Kha Ii. ng variou s compo sitions
Various types of Tatkar are called as Baant. Creati
Ba ant. Makin g variou s patter ns
using differe nt bols and perfor ming them is
Vibhaag :- and pace is Baant. Baant
with the help ofTatk ar using variati ons in rhythm
called as Vibhaags. Vibhaa gs are often- differe nt artists
Taal is divided into specific parts. These parts are is predo minan tly a footwo rk compo sition in which
cycle of beats provid es
constructed as per the rhythm of Taal. perfor m a single theme differe ntly. The metric al
the base or the founda tion for the structu re of baant.
Tihaai :-
or dance syllables taken th ree
Tihaai
. is formed by certain collective words (bols) of Tabla Rela :-
but should end at Sama. There are
times. Tihaai may start from Sama or any matra of Taal Rela is the smalle st portio n of Qayada which requir
es
two types of Tihaai- e for its effecti ve
sheer effort and lot of practic
Damdaar Tihaai :- Wh en a gap or b rea k o f certain Matras is taken betwe en every presen tation. Rela is made up of simila r syllabl
es
avartan of Tihaai, it is known as Damdaar Tihaai . and its beauty lies in its consta nt repeti tions .
three times witho ut any
Bedam Tihaai :- When the Tihaai is done contin uously
gap or break, it is called as Sedam Tihaai. Chal an:-
of a partic ular Taal and other syllab les
Gatnikas :- The specifi c syllables are bendin g as per the rhythm
is a seque nce of syllabl es suited to
are arrang ed in and aroun d it to build a Chalan . Chalan
. .
Gatnikas is most elegant, graceful aspect where dan cer moves in stylized walk or gait. the rhythm of Taal. The seque nce ends with Tihaai
.
.
Dancer moves in certain directi ons usingv . '
anous hastamud , ( • •
ras spec,a 1,zed hand gestur es).
The typical ones are Sidhi Bas . M r, Aanch al, Ghung hat etc.
' un, ayur, Chapka, Ruksaa Ladi :-
on to create a resona ting tone is called as
Tatkar :- A specific syllable is perfor med for a longer durati
with sound . Ladi is a chain of compo sed
. Ladi. The magic of Ladi is in the creatio n of an aura
Basic footwo rk done in various Taal using bol of K of the chain is always a Tihaai . The dance r as
.
Teentaal is 'dha dhin dhin dha' b ut w h'II e doing athak is called as Tatkar. Eg:- The theka of syllables conne cted with each other. The tail
Tatka
use the bol- 'ta thai thai tat aa s on a repeti tive melod ic phrase of Ladi.
that thai tat.' Thus, Tatkar is a patte rn f &,ootwo rk thr we well as percus sionist weaves endless combi nation
· ° b · '
at urlds on a basic rhythm ic cycles .
Tatkar ,s built by the use of intricate system Of & .
created bY using· t he flat feet and th ,ootwo rk · Comp! ex r h yt h m1c patter ns are Toda :-
e sound of the h
I g ungroos worn by the dance r. The , which begins at Sama and after one
eg movements along with rhythm an d tempo a k Toda is a compo sition of specific bol of Kathak
::o~'.
'd •
;ng theka by leg but they are classified . d';
ad,' Chalan', 'Baant ' etc. ,n '
nown as Tatkar. Tatkar is not only
erent catogiries such as 'Palta', 'Rela',
or many avartans of Taal, again lands at Sama.
Natavari Toda, Primal u Toda etc.
There are variou s types of 'Toda' E.g ..._

42 /~ traJl ~ mm 143
Gatpalta :-
Gen er 'ly,
Gatbha v :-
Gatpalta means turning around oneself from right to left and left to right.
' is An extension of Gatnikas, where a story is enacted using t he language of gestv
'Gatpalta' is done before performing 'Gatnikas'. While performin g 'Gatbhav' , 'Gatpalt. bles to thE
, he facial expressions (without the help of word s) . Gatbhav of Kathak resem
used to show change in character. Gatpalta is done with the right hand moving above depict'.
to his right with right foot and the same procedure is repe a.ed 'Mimes' of Western culture. The only difference is, in Gatbh ava, the artist solely
head and dancer turning tease or
used to many characters . Common ones are Panghat (fetching water), Ched-cha d (to
with left side. The steps of Palta are very much importan t in Gatbhava as they are an
to play pranks), Makhanch ori (to steal butter), Holi (colour festival), Kaliyadam
indicate the changes in character, place and time.
lifti ng
(Krishna slaughtering the poisonous serpent king, Kaliya), Govardha n leela (Krishna
Aamad :- the mountain ).
come or
Aamad is a Pharsi (Persian) word . In literal terms, the word Aamad means to
Aamad is danced in the beginning of the performa nce. Aamad Hastam udra :-
enter. The composion of
Some
is composed using the basic syllables of Kathak. Aamad has specific bol such as 'ta thai Hastamudra means stylized hand gestures. There are two types of hand gestures.
the use of both hands . The se mudras
tat tat thai', 'dha ta ka thun ga', or 'dhatite dhatite' etc. Aamad composit ions are danced are performed with single hand while some require
after 'Thaat' and composed with specific patterns. The dancer performs on
rhythmic enable the dancer to express anyth ing and everythin g.
compositions using slow graceful movemen ts.

Syllables Asanyukta Hastam udra :-

To make it more i~pressive , standard syllables of Pakhawaj are affixed to it.
construct ing a The mudra formed using one hand only.
of Paran are added in the beginning to call it a 'Paranjudi Aamad'. After
places; the
structure of performance by small compositions of Uthan starting at random
and Sanyukta Hastam udra :-
dan~er performs a fullfledged Bandish or complete rhythmic composit ion starting
a The mudra formed using both the hands.
landrng at Sama after ~o_me avartans of Taal, which is Aamad indeed. Thus, it is basically
first complete composition, hence termed as Aamad .
Kamaali :-
Tukda :-
Bandish
Kamaali is a compositi on which is considered as 'wondero us'. Every Kamaali
Tukda means small phrases of rhythmi .. . . Kamaali paran must
Tukd - c compositions. Tukda ,s a smaller version of Toda . has a surprising element whether in compositi on or in its execution
a ,s never more than one or two avartan. appreciat ion
conclude with minimum nine vigorous pirouettes . A performe r earns instant
spectator s
Chakkardar :- from audience by performin g Kamaali paran . As the number of sp ins increases,
!'
get spell bound . Every Kamaali paran makes viewers exclaim 'Wah kya baat hai
When a paran , toda, tukda, or tihaai is done thr - .
break and ends at Sama it is call d Ch k ee times continuously, with or without a
r Tipalli :-
(except Chakkardar Tiha~i) must e d as_ h a kardar. All the three avartans of chakkarda When
en w,t a small Tihaai. A set of syllables performed in three different rhythms or layas is called 'Tipalli'.
in thah, dugun and chaugun or dugun, tigun and
Kavitta :- such syllables are sequentia lly repeated
chaugun, it is termed as 'Tipalli'.
Kavitta '.s a lyrical or poetic compositi on within the Taal
. . When a small poem or meaningf ul For example-
rhythmic words are composed ,·n ce rtam Taal th ·t ·
· is called as Kavitta. Generally, Kavitta dhatra kadhi kita dhatra
,s c~mposed in 'Chhanda' i.e systematic s en'.
Kav,tta is based on 'Krishna Leela' Ka ·tt' vmmetnc and regular rhythm. Composit ion of kadhi kita dhatraka dhikita
mov · v, as are the c ··
. ements and gestures decoding ·ts . ~mpos1tions danced With the body dhatraka dhikita dhatrakad hi kitadhatra
part of
Nnttanga in Kathak for the emphasis '. meaning or implicatio n. They are the kadhikita dhatrakad hi kitadhatra kadhikita
given to the rhythmic section.

~ tralt I4s
r
Paran:- Sudhanga :-
les and executed with lot of fo rce ·l nd '. Sudhanga is the phra se frequ e ntly u :.-.
Rhythmlc phrases composed from Pakhwaj syllab
_!
sudhanga literal ly means 'Style" or 'Grace
is composed using bols from the Pak l. waj an d stylize d body gestu res
vigor is 'Paran'. Paran is a composition, which Kathak com positions. A dance designed w
ith the discip lined
circle of Taal. There are specific varle tips of limbs execu ted in a grace ful
instead of dance or Tabla, using minimum one Is called Sudhanga . Sudhanga is an abstra
ct move ment of
ali parans. and pose or postu re attain ed using Anga,
paran such as chakkardar, fermaishi and kama mann er. Sudhanga is an elegant move ment
Pratya nga . For e.g. Astha padi by Binda din Maha raj - ' Nirta t dhang a'
Upanga and
Fermaishi:-
a dancer used to perfo rm a partic ular Anu lome - Prat ilom e :-
Lite~I m~aning of fermaish is 'to demand'. ·when htforw ard mann er is 'Anul ome' while the
for complex rhyth mic variat ions includ ·ing A systematic prese ntatio n in simple and straig
band1sh in a Royal courts , courtiers asked
. In sim ple words 'Anulo me - Pratil ome' mean
s,
. I I . . and perfo rm it spontaneously. With ti presentation in reverse order is ' Pratilome'.
meticu ous ca culation ,n the same band1sh me, To come forwa rd is Anulo me while to move
these types of compositions came to be known
as 'fermaishi '. direct indire ct or forwa rd and backward .
backward is Pratilome.
I There are different types of fermaishi; such as:
Aanga :-
• Sequential increase in syllables of Tihaa i
I a'. Human body is basically divide d into six
. The main organs of the body is called as 'Aang
that ' last syllable of the first phrase of tih and legs know n as Angas .
I • Arrangement of syllables in such a manner
from first avartan of chakkardar, last syllable of
le
the second phrase of tihaai from
of last phrase oftiha ai in th· d
se
con
a: parts namely head, hands, chest, back, waist

avartan of chakkardar and conclu ding syllab

1r avartan Pratyaanga:-
of chakkardar' lands on Sama. are called as 'Pratyaanga '. These parts are
,I The limbs that conne ct the main body parts
are six in numb ers name ly shoul ders, knees
,
oes w ·t equally impo rtant as the main limbs . They
• Chakkatdar composition where first phrase I h the rhyth m, second phras e goes
across the rhythm and third h . g
wrists, thighs, arms and stomach .
with the rhyth m having interv al of ½
matra between each avartan. P rase again goes
Upaa nga :-
Tribhanga :- nga'. Every main limb
The small er body parts are know n as ' Upaa
Eyebr ows, eyelashes, nose,
three diff, has specific Upaanga such as eyes, -:
;ribhanga is a state where body is twisted at
"- ;:-- .
palm etc.
.

face, finger s, toes,

nt turns in the b d . erent parts . A grace ful postu re cheeks, chin, nostrils, tongue, ·,
ormed with three differe .
is called !ribha nga. Subtle stance of physical
fr~me bent at three distinct places make t~e Y Bhra mari :-
ofTnb hanga . It is a stylized poise of Lord
Knshna in which Krishna is shown to sta d ~ose only, then it is .....
n w,th slanting knee, waist and neck. If a dancer takes fast circles at one place -·7- \' ~
laang-Daat :-

.
It is one of the att

;~i:: :;::: :~ q~e

.
ract1ve elements in Kathak .
sti00 and answer betw e~~\~ : ::~'! :r version of Jugalbandi prese nted
called 'Bhra mari'. Bhramaris, chakaris, spins,
play a distin ct ro.le in Kathak. These are
of Kathak. Kathak dancer perfo rms
Bhramaris eithe r at one place or all
the
variou
over
s
or pirrou tes
vital

the
aspects
types of
stage.
keeping firm
-.,,·
.
·.
'· •· Ii",, ; I
\~
at S p~rfo rmer and Percussionist. In Sometimes Bhramaris are done with one leg :· --.. -_ , , / I ,
Percussion; ~ el ancer uses various-tricks to arrive
': -=;'?• ;~ -~~ .. 1
leg in circul ar motio ns.
r ,·nstaamalt ~reby enter tainin g audie nce. on the floor and movin g the other
This proce ss c p a_y any tukda on Tabla and dance nt Y picks It d· with three stroke s and
onnnues to imitat es cleve rly. Some Bhramarls are perfo rmed ". ·..• •.-:. I • I
and the dancer d I
an a so vice
r some time with different Patt erns betw an h
een e percu ssion ist some w ith four or six stroke s of feet. j • j •
round of applaus f versa . Gradually they arriv
e rom audience. eon the Sama
t
toget her with huge . /:,, \
'.

46/~ tr'i! il
Paran:- Sudhanga :-
waj syllables and executed with lot
of force and uent ly used in
'Grace'. Sudhanga is th e phra se freq
Rhythmic phrases composed from Pakh sudhanga literally mean s 'Style" or body gest ures
the Pakh waj ed w ith t he d isci pline d an d styliz ed
n, which is composed using bols from Kathak compos ition s. A danc e des ign
vigo r Is 'Paran'. Paran Is a compositio varie ties of ed in a gracefu l
one circle of Taal. There are spec ific abst ra ct mov ement of limb s execut
Instead of dance or Tabla, using mini mum is called Sudhanga . Sudhanga is an using Anga ,
eme nt and pose or post ure attai ned
paran such as chakkardar, fermaishl and
kamaali parans. manner. Sudhanga is an elegant mov at dhan ga'
d i by Bindadin Mah araj - 'Nirt
Upanga and Pratyanga . For e.g. Ast hapa
Fermaishi:-
a parti cula r Anu lom e - Pra tilo me :-
and '. -Whe n a danc er used to perf orm ' while the
Liter~I m:an ing of fermaish is 'to dem and stra ightf orwa rd man ner is 'Anu lome
asked for complex rhyth mic varia tions inclu d· A systematic pres enta tion in simple ilom e' mea ns,
bandish in a Royal courts, courtiers ing e'. In simp le word s 'Anu lome - Prat
· in· the same bandish and perfo rm it spon tane ousl y. With time pres enta tion in reverse orde r is 'Prat ilom
m eti cu Ious ca Icu Iation ward . To com e forw ard is Anul ome
while to mov e
know n as 'fermaishi'.
' direc t indir ect or forw ard and back
these types of compositions came to be backward is Pratilome.
such as:
There are diffe rent types of fermaishi ;
Aanga :-
i ed into six
• Sequential increase in syllables of Tihaa as 'Aanga'. Human body is basically divid
The main organs of the body is called
ner that 'last syllable of the first phra
se of tihaa i , wais t and legs know n as Angas .
• Arrangement of syllables in such a man parts namely head , hands, chest, back
second
ble of the second phrase of tihaa i from
from first avartan of chakkardar, last sylla t
syllable of last phrase oftih aai in third avar an Pratyaa nga :-
avartan of chakkardar and concluding e parts are
of chakkardar' lands on Sama . parts are called as 'Pratyaanga '. Thes
The limbs that conn ect the main body lders, knees,
. They are six in numbers nam ely shou
se oes with equa lly impo rtan t as the main limbs
• Chakkardar composition where first phra . the rhyth m, second phra se goes
across the rhyth m and third hrase a - g wrists, thighs, arms and stomach .
val of½
gain goes with the rhyth m havi ng inter
matra between each avartan. P
Upa ang a :-
'Upaanga '. Every main limb
The sma ller body parts are know n as
Tribhanga :- Eyebrows, eyelashes, nose,
has specific Upaanga such as eyes,
ed at three . rs, toes , palm etc.
Tribhanga is a state where body is twist cheeks, chin, nostrils, tongue, face, finge
rent turns ·nth b d . diffe rent parts . A grac eful post ure
formed with three diffe I e o Y 1s called Tribh anga . s u b tie stance of physical
f rame bent at three distinct pl k . Bhr ama ri :-
. h . aces ma e the pose ofTr ibh anga . ft .is a stylized poise of Lord
. place only, then it is
Kris na in which Krishna is sh t and neck . If a danc er takes fast circles at one
own to stand with slanting knee, wais spins, or pirro utes
called 'B.hramari'. Bhramaris, chakaris,
Laang-Daat :- ak. Thes e are the vital aspects
play a disti nct role in Kath
er perfo rms vario us type s of
·
It is one of the att raCtiv of Kathak. Kathak danc
e elements in Kathak It . over the stage .
. on of Jugalbandi pres ente d Bhramaris eithe r at one place or all
in the form of ques tion and answer betw . Jhs a smaller versi keep ing firm
ak pert with one leg
this proces s, th e dancer uses various t · ks
een t e Kath
. orme r and Percussionist . In Sometimes Bhramaris are done
nc toar rivea ts r leg in circu lar moti ons.
P . . da . ama there by ente rtain ing audi ence
. on the floor and moving the othe
e~cuss1onists play any tukda on Tabla and imita tes cleve rly. Some Bhramaris are perfo rmed with three strok es and
with d'ffncer insta ntly picks it and
This process continues for some time 1 eren t patte r b some with four or six strokes of feet.
e d •
and the danc ran a1so vice versa . Gradually th . ns etwe en the perc ussio nist
ey arriv e on the Sama toge ther with huge
round of applause from audience.
Nyas-Vinyas :- In thi s poised sta nce , moveme nts of aanga, upaanga and pratyaan
ga displ ay the most
gives two differen t are 'St ree-Thaa t' and
Nyas literally means 'to keep' or 'to put'. Adding letter 'vi' to any word subtl e dance techniq ues of Kathak . The two facets of Thaat
in meaning . Here, is given on the rhythmic delicacy in 'Stree-T haat ', whereas
meanings; either that particula r word becomes superior or adverse 'Pu ru sh -Th aat'. More empha sis
mean a continu o us the signifi cant aspect of ' Puru sh -Thaat' is t he technica l intrica ci es .
Vinyas means to keep in a specific way. Nyas and Vinyas collectiv ely
process of keeping and lifting of feet, hands, torso, eyes etc.
Haav-bhaav :-
t he qual ities of the
Stuti :- Haav-bhaav is the term used by an cie nt literary wh ile describing
s are evolved in the minds of
stuti means a prayer. Kathak dancer presents a prayer in the praise of
his favourit e deity at Nayika. After entering the age of adolescence, the emotion
and Swabhav aja . Haav,
the beginning of his performa nce. This action is known as Stuti. In ancient times, a dancer the Nayika which are distribut ed in three types, as Shari raj, Ayat naj
emotion s emerged in
is called Stuti. Stuti Bhaav and Hela are the Shariraj emotion s. The affection ate erotic
used to throw flowers on stage as if she is offering the flowers to deity emerged expressed
r of the Almight y. Traditio nally a the mind of the Nayika is termed as Bhaav. And when the Bhaav thus
is basically a shloka or Vandana describin g the grandeu as Haav. Bhaav is
Stuti or Durga Stuti through the aanga, upaanga and pratyanga of her body then it is called
Kathak performance starts with Vandana or Stuti . Ganesh Stuti, Shiv the manifest ation of those mental states. Haav- Bhaav
the mental state whereas Haav is
are some examples of Stuties performe d in Kathak. and lovable interacti ons with her Nayak.
together induces the Nayika to do Shringar
now the term is used as the general
Example - The meaning has changed with the course of time,
Shiv Stuti - He Natraj Jay Shiv Shankar expressions of the dancer.
Ganesh Stuti - Gaiye Ganapati Jag Vandan
Primelu :-
Durga Stuti - Jay tu Jay Maa Durge
known as Primalu or
The composi tions of syllables other than the dance syllables are
Cymbal, Ghungar oo
Salami:- Parmelu . These may be the syllables of instrume nts like Pakhwaj, Tabla,
'various' and ' Melu'
etc., as well as syllables of the sound made by birds . ' Pari' means
The literal meaning of Sa lam i is salutatio n. There or the combina tion
means 'the mixture' . Thus, the composi tions made with the mixture
is a separate sequence of rhythmic composi tion in
Kathak, which is known as "Salami ke Tukade". M any
scholars are of opinion that these were meant for
~ourt salutation purposes . The Muslim salutatio n
of syllables of various instrume nts and natural
sounds is termed as Parmelu or Primalu.

For example -
)
- .
•
is called 'Salami' whereas Hindu salutatio n .i.e. Orig zangir drig zangir zang zang taka
'N thiraka sangan zang
amaskar' is known as 'Rangamanch Pra nam.,

Thaat :- Kasak-Masak :-
The subtle, graceful moveme nts of
.
Thaat is the Andaz or style of sta n d'mg .in various
the fingers and the twists at the wrists are
poses. Thaat means a graceful st ructure or known as ' Kasak'. The elegant, gentle moves of chest and
posture. Thaat is a short lived , d ecorative.
. and t ! breast in tune with the rhythmic breathin g are termed as
elegant attitude. Thaat is a stylized ' Masak'. Kasak-M asak is the 'Adayagi ' in Kathak. Kasak-
h · pose, usually
t e first composi tion after the Vandana Th . Masak is performe d within and after the 'Thaat ' and
th t · • aat 1s
e unmg of body and mind in conjunct ion ·th . also while doing 'Gatanikas'.
tempo; along with the delicate w1 rhythmic cycles in a slow Kasak-M asak enhances the beauty of Kathak.
h moveme nts of an a
t e composi tion in a statuesque post g ' upaanga and pratyang a to conclud e
I d ure on Sama E . .
an son Sama with the surprising element . . very time while doing Thaat, dancer

48 1~1:ra rr ~ Wcm \ 49
-
Nri tyalankar Vaishall Dudh e

~~ Introduction to KathakNr1ty
. a 8 It is be lieved that Kathak Ntrltya wa s inspired from
9 Kathak is also known as 'Natvar i Nritya'.
'Raas Nritya' of Lord Krishna .

10 Fa mo us percussion ists accomp anying Kathak are :-

(,

Pt. Sures h Ta lwalkar

Pt. Za kir Hu ssa in
1 There are eight classical dance forms in India.
Pt . Kalinat h M ishra
a) Kathak
Pt. Mukun draj Deo
b) Bharatnatyam
Pt. Anindo Chatterj i
c) Odissi (Bh rama ris), Vigoro us footwo r k
11 The unique feature s of Katha k are Swift Pirouet tes
s, Descrip tive Gat bhavas and
d) Kathaka li (Padanyas), elegan t stances (Thaat ), Graceful Gat nika
e) Mohinlattam wide range of expressions and emotio ns.
Kavitta , Tihaa i, Pa ra n, Chakka rdar,
f) Kuchipudi 12 Vandana or Stuti, Utaan, Thaat, Amad , Tode-tu kade,
s, Kajari, Hori, Tarana , Tilwat , Chatur ang,
g) Manipuri Gatnikas, Gatbhava, Tatkar, Thuma ries, Bhajan
Dru pad, Ashtapadis are the compo nents of Kathak .
h) Satriya
s of
13 Kathak is a secular dance form rep resenti ng the t radition
2 Kathak originated in state of Uttar Pradesh . Muslim culture .
Hind·u as well as
3 "Kathan Kare So Kathak Kahave". emerge d
14 It is believe d that Kathak dance is influen ced and
Even today various stories are
4 Thrfis dance _form evolved by enacting various stories. ' from the Raas lila of Braj .
pe ormed in Kathak.
15 Lord Krishna is conside red as the deity of Kathak .
5 There are three main ghara fK h k
w, Jaipur and Banaras. There
is also a recently developedn;~: ra at ka . They are_Luckno
na nown as Ra,garh Gharana .
6 Some famous Kathak artists are
Padmavibhushan Pandit Birju Maharaj
Kathak Queen Sitara Devi
Padmashri Nataraj Gopi Krishna
Padmashri Roshan Kumari
Pandlta Rohini Bhate
Dr. Puru Dadhich
Pandit nrathra m Azad
7 Some -Of t he recent Kathak Gurus are
• Nrityalankar Dr. M anJ7ri Deo
Smt. Manisha Sathe
Sh ri mati Shashwati Sen
Rajendra Gangan i

so/ ~~ ~1: rail ls1

 ~ Nrity alank ar Vaishali Dudh e
na .

1 , rntroduction to Ka tha k Nr ity a

8 It is belie ved that Kathak Ntrity a wa
s inspi red from ' Raas Nrity a' of Lord Krish

9 Kathak is also know n as ' Natva ri Nrity

10 Famous percussionists acco mpan ying
a'.
Kathak are :-

Pt. Suresh Talwalkar

Pt. Zakir Hussain
India.
1 There are eight d oSSica l dance fom1s in Pt. Kalinath M ishra
a) Rathak Pt. Muku ndra j Dea
b) Bharatn2tp m Pt. Anind o Chat terji
footw ork
Swift Pirou ettes {Bhra maris), Vigor ous
c} OolSSi 11 The uniqu e featu res of Kathak are hava s and
Graceful Gatn ikas, Desc riptiv e Gatb
d) Kathakc[i (Padanyas), elega nt stances (Thaat),
e) Muhmiatt2m wide range of expressions and emot ions.
karda r,
, Tode -tuka de, Kavitta, Tihaa i, Paran , Chak
f) Kumi pum 12 Vandana or Stuti, Utaa n, Thaat, Amad uran g,
Bhajans, Kajari, Hori, Tarana, nlwa t, Chat
Gatnikas, Gatbhava, Tatkar, Thum aries ,
g) Mani puri of Katha k.
Drupad, Ashtapadis are the comp onen ts
h) ~ senti ng the tradi tions of
13 Kathak is a secular dance form repre
l Ka:7:h-::k ~~ in ~ «= of Utt2r Prade
sh.
Hind-u as well as Musl im cultu re.
3 ~ , l:a,c So Katha k Kc:iE\"e~. nced and emer ged
14 It is believed that Kathak dance is influe
.
4
Trus d2nc e ionn evoh."ed hy enacting valio us ston· es. Even today, vario us storie s are from the Raas lila of Braj.
pe.ic xme d in Kzmck. of Kathak.
15 Lord Krishna is considered as the deity
5 Therc creth rce ffi2i., f.h -
~ cfan=>. -
..s OT Kathak. They a re Lucknow, Jaipu r and Banaras. There
is also a ~ d~ rh Gh
--~ •u-, - ol)ed Gharana know n as Rai=
.,~ arana .
6 c:-- ~ artist s are
-XJillat:: , •:arrmus K.:""ihak

~-rt ~c:i.,u...JU MaharaJ.

?a:rimc--v;bnusnan -r e;.,.,
K.:--thak Queen S:'tara Devi
P-dfm cstm N2:2rc1j Gopi Krishna
Padmasnn R.osnan Kuman
i>2nmta Rohmi Bhcte
Dr. Pun, Dadh id)

Perufrt Trr.rll lf2m Azad

7 Some of the recen t v ~
~!:ha le Guru s are
• Nritvat:.nkar Dr. Manj iri Deo
Sm!. Mani5ha S...."'the
Shrimati S'nashwati Sen
Raiendra Gang;?ru

sd ~ traa ~m n ls1
 ~
· "".- :·- ·Folk oancesr? . , -~:...-
. -=7.,. -.,,, "'~--..~~-·.•.~·7;~ ·.,.-.;~

State
1FolkDance Maharashtra
- ~

Kal i, Shetakari, Tarpa, Gondha l, Lavan i

. .

() '
Gujarat Garaba, Dand iya, Raas

Punjab Bhangara, Giddha

~

olk dance is a form developed by people that reflects the traditional life of people of a
F certain country or region . Folk dance is a dance that originates as ritual among people
Kashmir

Rajasthan
Dhumal

Ghoomar, Kalbeliya, Bhavai

and is characteristic of the common people of a country. In the simple words, folk is the
dance of the people, by the people and for the people of any particular region or area . Assam Bihu

India is a land of varied cultures and traditions. Indian culture is unique. Indian folk dances Orissa Chhau
are simple and are performed to express joy. Folk dances ar-e performed for every occasion Karnataka Yakshgaana
-
such as arrival of season, birth of child, a wedding, harvest, or festivals . Indian folk dances
Madhya Pradesh TeraTaali, Charkula
are full of energy. Some dances are performed by men only and some are performed by
only women, while some folk dances are performed by men and women together. Mostly Kera la Kaikuttikali
the dancers sing themselves, accompanied by artists with instruments. Each folk dance
has specific costume and special rhythm.
 1 ~ !§

Adhunik Nritya / M od er n D
an ce
1 (}
Asanyukta ha st m ud ra

t ures , te rme d as
an classical dance is the use of hand ges
ce style. It is difficult to he unique con cep t of Indi
the facia l expression s in
a representative of today's dan
Adhunik Nritya can be termed as
trace the origin of Adhun ik Nrit
ya. With the flow of time, dan
ce forms have undergone
"M ode rn Dance"
T Hastmudras . The Hastamudras
order to impart the sense of
are equally important as are
performance to the aud ienc e. The
lang uage of thes e mudra s,
ation of what we call today as iverse . Hastmudras are
lting into the form of human life and the enti re un
many cha nge s resu
ies to social & politicai cover each and every elements le hand and Sanyukta,
moved from the mythological stor kta, which are formed us ing sing
The emphasis of dance has now orie nte d , losing its focus primarily of two types; Asanyu
e, dance has become aerobics hands.
issues. Unlike the traditional styl which are formed using both the help of Slokas in
on Mudras and expressions . the Asa nyu kta hastas are explained with the
The 28 Mudras that form
n dance) . After having Natyasastra-
father of Adhunik Nritya(Moder
Uda'. Shankar is r~garded as the style . The inspiration to a Vai Kartarimukha ha I
s, he created his own unique "Patakas Tripatakascha Tath
form
Shukatundastathaiva Cha I
all the ma1 or dan ce
stud ied Ballet dancer: Anna Ard hac han dro Hera/ascha
crea tion of a new dance style was a Russian
Kapitha Katakamukaha I
Uday Shanka r for this culture of India
ilarly, Gur u Rav indr :ana th Tag ore, being inspired by the folk Mushtischa Shikharakyascha
Pavalova. Sim e known as 'Tagore style' 0 ; Tatha Vai Sarpasirshakaha
I
~evel~p~d a poetry based dan
ce style. This style later becam Suchasya Padmakoshascha
y of Adhunik Nritya is a tabhinaya Yoktrib ihi I
d famous name in the hierarch Mri gas irsha Paro Gneyo Has
Shanti Niketan dan_ce style '.The thir styles like Shikari
th hji. He initiated various dance turo Bhr ama ras tath a I
re~owned Ka a~ah dan ~er, Gur u Gop inat Langu/o He/apadmascha Cha
Nntya, Sapera Nntya, Shiv Paravati
Nritya, etc. Samdamso Muk u/a stat ha I
Hamsasyo Hamsapakshascha
in Adhunik Nritya. There are no
"
Chaturvimsadim e Kar aha /
sub ject s can be exp lored and experimented Urnanabha Tamrachudaha
Mul tipl~ new Al . tions in
constraints on the costume or app ear:ance. so, the re 1s ample scope for innova
cos . nd. Eas e and com fort can 1. Pataka -
b t~mes, st~ge setting as welldan as arrangements for light and sou are stretched straight and are clos
e to
ce mov t Th . .
is a peculiar form The fingers including the thumb
e o served ,n foot work and . emen s. us, Adhunrk Nntya .
high ligh ts the as t d
folk dance forms . To sum each oth er to form Pataka Mudra oath etc
whi ch
v1rt~e~ of all oth er classical and aram bha , night, sword, an ideal king, clouds, horse, taking
it up, today's generatio~~ : an e(Adhunik Nritya) . Use- naty
s ance sty e is Modern Dance styl

1•
I
~I•: .>i ,,,, ;~
,;-~;
h , a'c,. ,,.·)
J.,
...... .; ~!,:' - ~" ~

• i- t '.
' . ,• • ·' · y~\

~·,. ::, :ill

Slap To Deny
Blessings

c1anCf: mm lss
54 /-J~.ini:-l tr-ID}
 2
. Tripataka - . k hasta is bend half
.
The finger adJacen t to little finger in Pata a
T . taka Mudra .
ways to form ,npa . on flames of fire,
an arrow, a lamp , a crown, a p1ge ,
Use- to denote
tree, thunder and to apply tilak etc.

3. Ardhapataka -

. fi' nger from the Pataka hasta

The little finger and the nng
are bend half ways to form Ardhpataka Mudra.

Use - to denote a knife, a tower, leaves, wn·ti ng p ad and

also to indicate two .

4. Kartarimukha -

te

J
The index finger and the middle finger are stretch ed in opposi
and the thumb is touchin g the bottom of the middle
directions
finger in Tripataka hasta to form Kartarimukha Mudra. l\i ttl
Il t t
Use- to denote lightening, separation of couple, falling,
weeping, plundering and corner of an eye

\.,, ~--...; . : . .Ir

~,1 - .
~ ;
\
~·
- '
. ' ~U,
Corner of an Eye Lightning Tying Hair

s61~mm ~ tr-an Is7

 s Mayura- h
• d the Ring finger are touching each ot er
The tip of the thumb an d' stra ight to form the Mayura
while the other fingers are stan ,ng
Mudra.

Use- to show peacock, bird, creeper, bind i.

Ghungat

6. Ardhachandra-
The thumb in the Pata ka Mudra is stretched away from
the remaining fingers to form the Ardhachandra Mudra .

Use- to denote a half moon, a spear, meditation, prayers,

to seize th e throat, to touch the limb.

Moon Crown Seize the Throat

Elephant

7. Arala-

The index finger and th e thumb are brought close to each other but not
touching each other, whil e th e fin ge rs stand still to form the Ara la Mudra.

Use- A basic mudra of Kat hak, to denote drinking po ison, nectar, to

denote storm etc.

Basic Kathak Pose Thaat

Flute

s2 Id~mr;t I~ c1anC£tran is9

r
s. Shukatundaka-
The Ring finger in the Arata Mudra is bent halfway to
form Shukatunda Mudra.
Use- to denote beak of a bird, a spear, shooting of an
arrow.

Bird Bea
Beak

9. Mushti-
The close fist forms the Mushti Mudra. The thumb in this
Mudra can be piace inside as well as outside the fist.
I
I
Use- to denote the fist , grasping hair, fighting , wrestli ng and
I holding th ings .

Carry Pot Waman (Batu)

Wrestling

10. Shikhara-

The thumb 111 the Mw;hn lv'ludra is stretched

straight to form the Shikhara Mudra .
i' Use- to den ore a sound mo bell a pe- k a b
j •
pillar, certainty.
r:, - , d , OW, a '··• I "

' . :Ji·. l,
~~.jj
Apply Tilak A Sounding Bell

6o l~tr-att ~ traTI I61

r
11. Kapitha-
. ti nger of the Shikhara mudra is touching the thumb to form
The Ring
the Kapitha Mudra.
Use- to denote goddess Laxmi, churning butt~rmilk , holding
symbols, offering light or incense sticks, grasping the ropes of
cows.

!:
I!
I
I,
I'
12. Katakamukha -
I• The thumb, the index finger and the middle finger
I:
are touching each other while the remaining fingers
/'
are stretched opposite to each other to form the
I Katakamukha Mudra.
I
!
Use- to denote plucking of flowers, necklace, or
! i '!
garland, speaking etc.

~~-
13. Suchi-

The thumb and the middle finger are touching each --· ·
other and the index finger in the Mushti Mudra is -
stretched straight to form the Suchi Mudra. -
~se- to denote supreme soul, digit one, thin
.J
figure, listening, circumference of chakra and decline of day.

'
s2 l~ ~
dance: tr-an i 63
 14. Chandrakala•
~
The index finger and the thumb are forming right
an le with each other while the other three fingers
ar: closed to touch the palm to form the Chandrakala

Mudra .
,I Use- to denote the face, the moon, Lord Shiva 's crown .

15. Padmakosha•
All the five fingers are brought close to each
I: other without touching ,form ing a hollow shape
I
to get a Padmakosha Mudra.
Use- to denote round objects like a ball, fruits,
I
breast of a woman, a flower bud and having meals.

16. Sarpashirsha-

AII the fingers in the Pataka Hasta are bent to form a

snake like shape to get the Sarpashirsha Mudra .

U~e- to de_
n ote a snake, to sprinkle, nourishing, to
drink, depict a pitcher.

Calling Pitcher
Snake

641 ~ tr.aft ~ tran 16s