Nrityadhee Kathak Griha

BHARATA MUNI AND HIS NATYASHASTRA

The title Natyashastra combines two words - "Natya" and "Shastra." In this context, "Natya" refers to the art of dance and theatre technique, while "Shastra" represents the concept of science.

The Natyashastra delves into the scientific aspects of dance and theatre, providing a comprehensive understanding of the techniques involved. It serves as a guidebook that explores the intricate connection between artistic expression and the principles that govern them. By merging the worlds of creativity and scientific knowledge, the Natyashastra offers valuable insights into the rich tradition of Indian performing arts.

The Natyashastra, also known as the Drama Manual, begins with a myth about the origin of theatre in India. According to this myth, theatre and dance played a central role in Indian culture. The art of theatre, called Natya, was created by the God Brahma, who was tasked with providing mankind with a fifth Veda. This new Veda, unlike the previous four, could be understood by everyone, including those who didn't know Sanskrit.

Brahma created the Natya Veda with the help of other gods and taught it to the legendary sage Bharata, who documented this knowledge in the Natyashastra. While the origins of the book are shrouded in mythology, the work itself is a living reality. The Natyashastra is considered one of the world's largest and most comprehensive manuals on theatre and dance, forming the foundation of classical forms of performance in India.

Over the centuries, the instructions of the Natyashastra became established through practical theatre work. Although the compilation of this treatise most likely dates back to the second century AD, the traditions, and practices it contains are even older. It likely preserves information and techniques that were passed down orally through generations.

THE CONCEPT OF RASA IN NATYASHASTRA

According to the "rasa theory" in Natyashastra, the inherent and fundamental emotion in humans is joy. This joy resides within oneself and can be expressed through spiritual and creative means. The ultimate aim of performing arts is to allow individuals to personally experience or relive this feeling of joy.

Actors strive to take the audience on an artistic journey. Rasa is created by skill-fully combining and expressing Vaibhav (extravagance), Anubhav (emotional responses), and vyabhicharibhava (transitory emotions). The book elaborates on the use of eight different emotions, including love, humor, sadness, fear, anger, disgust, and heroism, to emotionally connect with the audience.

MUDRAS: SYMBOLIC HAND GESTURES IN INDIAN CLASSICAL DANCE

Hand gestures, known as mudras, lie at the heart of Indian classical dance. The Natyashastra lists 24 mudras, while the Abhinaya Darpana includes 28. These mudras form the basis of the terminology and meaning associated with them. Each mudra can be classified based on how the fingers are spread, curved, or stretched to create a specific gesture.

According to the Natyashastra, experts should use mudras in accordance with established practices, paying attention to their movement, objects, context, quantity, appropriateness, and technique. The centre of expression lies in the palm of the hand, while the wrist acts as a pivotal point for all hand movements.

These gestures can be divided into two categories: Asamyukta, referring to motions made with one hand, and Samyukta, referring to gestures made with both hands. Here are a few examples of mudras.

ABSTRACT AND EXPRESSIVE DANCE

Dance and drama share a connection as they both convey the range of human emotions. While drama relies on words and physical actions, dance utilises music and motion. For instance, a solo dance like lasya, created by Parvati, can effectively portray a part of the story in a dramatic performance. To express narratives or ideas through dance, the Natya Shastra classifies various positions, including 13 head positions, 36 eye positions, 9 neck positions, 37 hand positions, and 10 body positions.

THE ESSENCE OF RASA: CREATING EMOTIONS IN INDIAN ARTS

A unique creation of Indian arts and rhetoric is the concept of rasa in plays and poetry. Rasa refers to a delightful sensation that evokes the imagination of the audience or reader, making it a challenging concept to interpret. It is a distinct feeling that arises through the expression of bhava, the emotional element.

Expressing bhava allows the production and progression of rasa in the minds of the viewers. Rasa and bhava are interconnected, as rasa cannot exist without bhava, and bhava lacks meaning without the advancement of rasa. Rasa can be seen as the soul of bhava, while bhava represents its physical body. Without rasa, the feelings conveyed by bhava would be empty.

Bharata, in his Natyashastra, dedicates significant attention to rasa and bhava. He explains that rasa is created when vaibhav (extravagance), anubhav (emotional responses), and vyabhichari bhava (transitory emotions) are combined. The arrangement of causes, effects, and auxiliary factors within the minds of receptive viewers generates rasa. Analogously, just as food is enhanced with various spices, rasa emerges through the interplay of these elements. When combined with different bhavas, rasa becomes the source of bliss, known as ananda.

Even today, contemporary Indian dancers follow the guidelines outlined in the Natya Shastra. It's worth noting that while we discussed solo dance earlier, the choice between solo or group performances depends on the specific context and requirements.

CONCLUSION

The Natyashastra offers a unique and encompassing philosophy of dramatic performance, deeply ingrained in South Asian aesthetics. Bharata's understanding of theatre's impact on spectators, akin to Aristotle's Poetics in Greek Drama, revolves around the Sanskrit concepts of bhava and rasa. His insights continue to illuminate and challenge our understanding of the potential of theatrical performances.

The Natyashastra, an ancient text on Indian dramaturgy, is widely recognized for providing a solid foundation and framework for India's philosophy and practice of performing arts. Bharata's Natyashastra has shaped the traditional form of plays, akin to how Panini influenced the Sanskrit language.

Hasta Mudras: The Graceful Hand Gestures of Indian Classical Dance

Mudras are enchanting hand gestures in classical dance that carry deep significance, setting them apart from regular gestures. In Indian dances, these hand movements are known as mudras. The term "mudra" comes from the Sanskrit word "mud," which represents pleasure. From this word, joyful terms like "amod" and "pramod" also find their origin. Adding the suffix "ra," meaning "to give," completes the term "mudra.

In ancient scriptures, it is believed that a hand gesture is not just a physical position of our hands, but a sacred action that brings joy to the gods. By using these gestures, worshippers can find liberation from hostility, anger, and other negative qualities. These hand gestures are also called "Hasta-abhinaya," emphasising their significance in ancient Indian dance texts like Bharata's Natyashastra and Abhinaya Darpan. Various dance forms, each with their own dedicated writings, have further explored this topic, expanding on the knowledge passed down by Bharatmuni. In these texts, hand gestures are highly respected and considered equally important as the alphabet in the language of dance.

Bharata Muni, a highly respected figure, categorised hand gestures into three groups: asamyukta, samyukta, and nritta hasta. Asamyukta hasta refers to gestures made with one hand, while samyukta hasta involves gestures created with both hands. Nritta hasta specifically refers to hand gestures used in dance. According to Bharata's Natyashastra, there are a total of 64 hand gestures, including 24 asamyukta, 13 samyukta, and 27 nritta hasta. However, according to Abhinaya Darpan, there are 32 asamyukta hasta and 23 samyukta hasta, making a total of 55 hand gestures. Notably, the concept of nritta hasta is not separately recognised in Abhinaya Darpan.

It is essential for students to learn about these mudras from their teachers or Gurus. These mudras serve as the language of dance, allowing dancers to express their ideas and thoughts in a beautiful and meaningful way. They are like the alphabet of Indian Classical dance, without which expression would lose its significance and artistic value.

TEENTAAL IN KATHAK: STRUCTURE, NOTATION, AND TATKAR

Teentaal is a popular taal in kathak, specifically in the northern style of taal system called "the Hindustani Taal System". In this post, we'll explore how Teentaal is used in kathak by discussing its format and structure. Teentaal consists of 16 beats (matra), which are divided into four segments, each containing four matras called Vibhag. Here's the notation of Teentaal:

x Dha Dhin Dhin Dha|2 Dha Dhin Dhin Dha|0 Dha Tin Tin Ta |3 Ta Dhin Dhin Dha| x


To count Teentaal, the kathak dancer claps on the first beat, claps on the 5th beat, waves on the 9th beat, and finally claps on the 13th beat. These three claps (Hindi teen 'three' + taal 'clap') give the rhythm its name. The first clap is called 'Sum', and it marks the beginning and end of the rhythm cycle.

In Kathak, the dancers use footwork to produce dance syllables known as Tatkaar. The primary Tatkaar syllables in Kathak are Ta Thei Thei Tat and Aa Thei Thei Tat, which are used to create the rhythm of Teentaal.

Ta Thei Thei Tai - For Ta Thei Thei, we hit flat, and for Tat, we use our heel, starting with the right foot and then the left foot.

Aa Thei Thei Tai - For Aa Thei Thei, we hit flat, and for Tat, we use our heel, starting with the left foot and then the right foot.

• R- Right Foot
• L- Left Foot
• f- Flat
• h- Heel

R-Ta(f) L-Thei(f) R-Thei(f) L-Tat(h)

L-Aa(f) R-Thei(f) L-Thei(f) R-Tat(h)

The philosophy behind the three syllables used in Tatkar - Ta, Thei, and Tat - is that Ta represents masculine or male energy, Thei represents feminine or female energy, and Tat represents what is born from the union of Ta and Thei.

In conclusion, Teentaal is a foundational taal in the Kathak dance tradition and serves as a building block for more complex and elaborate compositions. Its rhythmic structure and footwork syllables, such as Tatkaar, are fundamental elements that allow Kathak dancers to express themselves through intricate movements and musicality. Understanding the significance and usage of Teentaal is crucial for any student or enthusiast of Kathak dance.

MASTER THE BASICS OF KATHAK DANCE WITH NRITYADHEE DANCE ACADEMY'S BEGINNER CLASSES

Come learn the basics of Kathak dance with Nrityadhee Dance Academy's beginner classes! Whether you're a complete beginner or have some experience, we welcome dancers of all levels to join us on this exciting journey.

Beginner classes in Kathak are designed to give students a comprehensive introduction to the fundamental elements of this classical dance form. These classes are typically structured to cover a range of topics, including pranam (greeting), tatkar (footwork), kharanths (stances), tal (rhythmic structures), hastaks (hand gestures), chakkars (spins), abhinaya (expression), and bols (recitation of dance compositions).

In these classes, students learn various step and footwork patterns that form the building blocks of Kathak dance. They also learn about the different stances, or kharanths, which are used to create different postures and movements. Rhythmic structures, or tal, are also introduced to students, along with the recitation of different bols (syllables) that form the basis of Kathak compositions.

Hand gestures, or hastaks, are another important aspect of Kathak dance that students learn in beginner classes. These gestures are used to convey different meanings and emotions, and they are an essential component of the dance form.

In addition to these technical elements, beginner classes also introduce students to the cultural influences and history of Kathak, as well as the concepts of storytelling and music that are an integral part of this dance form.

Overall, beginner classes in Kathak provide students with a strong foundation in the basic elements of this classical dance form, setting them on a path towards a deeper understanding and appreciation of Kathak.

Our classes are available both in-person and online, giving you the flexibility to learn Kathak dance in a way that suits your schedule and location. Join us today and discover the joy of dance!

KATHAK IN THE MUGHAL ERA: A GLORIOUS GOLDEN AGE

Kathak, a classical dance form that originated in North India, reached new heights during the Mughal era from the 16th to the 18th centuries. The Mughal emperors were great patrons of music, dance and the arts, and their encouragement and support of Kathak led to its evolution into a refined and sophisticated art form. Kathak dancers enjoyed a royal status and were held in high esteem for their mastery of the dance form.

During this period, Kathak performances were a highlight of the royal courts. The Mughal emperors were particularly fond of Kathak and invited the finest dancers to perform. These performances were known for their elegance, grace, and intricate footwork, as well as their incorporation of storytelling through mime and gesture.

The evolution of Kathak during this period was also influenced by Persian and Central Asian dance styles, which were favoured by the Mughals. The incorporation of these elements, along with the use of classical music that had its roots in Persian and Central Asian music, added depth and complexity to the dance form.

Let us look at the contribution of each Mughal emperor towards the development of Kathak.

THE FUSION OF CULTURES: THE GLORIOUS ERA OF KATHAK UNDER EMPEROR AKBAR

During the Mughal Era, Kathak dance flourished and attained the status of an esteemed art form, thanks to the patronage and support of Emperor Akbar. Known for his love for culture and the arts, Akbar encouraged the development of several art forms, including Kathak, which he elevated to a royal art form. Under his guidance, Kathak evolved and transformed into a highly stylised and refined dance form, captivating audiences with its intricate footwork and graceful movements.

Emperor Akbar's court was a melting pot of Hindu and Islamic cultures, and Persian and Central Asian dance styles also found a place in the art scene. This blending of cultures gave rise to a distinct style of Kathak known as Mughal Kathak. This dance form incorporated elements of storytelling, as the dancers used gestures and mime to convey the lyrics of the songs. The music of the era, which was rooted in Persian and Central Asian music, was also used as accompaniment for the dance.

Kathak under Akbar's patronage reached new heights, and the dance form's influence continues to be felt even today. The fusion of Indian and Persian cultures gave rise to a unique and distinct style of Kathak that has stood the test of time.

EMPEROR JAHANGIR: A PATRON OF KATHAK AND A SKILLED DANCER

Emperor Jahangir, Akbar’s son and successor also patronised Kathak and was known to be a skilled dancer himself. He was an ardent patron of the arts, and Kathak was one of the many art forms that he supported during his reign. Jahangir was not just a connoisseur of art, but also an artist in his own right, and he often indulged in dance and music performances. He had a deep appreciation for the beauty and grace of Kathak and encouraged its further development and refinement.

Under Jahangir's patronage, Kathak continued to flourish, and the dance form underwent further evolution. Jahangir's love for Kathak inspired many musicians and dancers to create new compositions and choreographies, which contributed to the growth and popularity of the art form. Jahangir's support for Kathak, along with his own artistic abilities, played a significant role in shaping the dance form and cementing its place in the cultural heritage of India.

FROM TAJ MAHAL TO KATHAK: EMPEROR SHAH JAHAN'S LEGACY

Emperor Shah Jahan, known for his patronage of the arts, was also a supporter of Kathak, the classical dance form of North India. During his reign, which is often referred to as the "Golden Age of the Mughals," he commissioned the construction of several notable architectural masterpieces, including the Taj Mahal, one of the world's most iconic buildings.

But Shah Jahan's love for the arts was not limited to architecture alone. He was also a great patron of artists, musicians, and dancers, and he encouraged the development of the arts in his court. Kathak flourished during his reign under the influence of his queen, Mumtaz Mahal, who was a great supporter of the art form.

As a result of the royal patronage and support, Kathak evolved further and became even more sophisticated during this period. It continued to incorporate elements of Persian and Central Asian dance styles, while also developing a more nuanced and intricate style. The art form was known for its graceful movements, intricate footwork, and storytelling abilities.

Shah Jahan's support for the arts and his patronage of Kathak helped to solidify its place as an important part of the cultural heritage of India.

KATHAK IN THE SHADOWS: SURVIVING UNDER EMPEROR AURANGZEB'S REIGN

The reign of Emperor Aurangzeb was a period of restrictions on the arts, and Kathak was no exception. Aurangzeb was known for his conservative views and disapproval of music and dance, which he saw as un-Islamic. As a result, Kathak faced significant challenges during this time.

Despite these challenges, some artists continued to practice and develop the art form in secret. They risked persecution and punishment for going against the imperial decree. However, they believed that the beauty and expressiveness of Kathak were worth the risk.

In some instances, Kathak was performed in private settings or in the homes of wealthy patrons who supported the art form. These performances were held in secret, away from the prying eyes of the authorities.

Over time, the ban on the arts was lifted, and Kathak was once again able to flourish openly. However, the perseverance of those who continued to practice and develop the art form in secret during the time of restrictions played a vital role in the preservation of Kathak as a classical dance form.

Despite the challenges and restrictions, the dedication of these artists ensured that Kathak continued to evolve and flourish, and their contributions remain an important part of the history of this beautiful dance form.

THE LAST NAWAB OF AWADH: WAJID ALI SHAH AND THE REVIVAL OF KATHAK IN LUCKNOW

During the reign of Nawab Wajid Ali Shah in the 19th century, Kathak experienced a significant transformation. The Nawab was a great lover of music and dance, and he himself was a talented dancer and composer. He was a patron of the arts and actively encouraged the development of Kathak.

Under his patronage, Kathak evolved into a more sophisticated and stylised art form. He introduced new themes and stories into Kathak and elevated the art form to a new level of refinement. The Nawab himself was a prolific composer and created many new pieces of music for Kathak.

During his reign, Kathak also became more popular among the general public, and many new dance schools were established in Lucknow. These schools were open to both men and women and were instrumental in spreading the art form beyond the royal court and into the wider community.

However, the reign of Nawab Wajid Ali Shah was short-lived, and after the British deposed him in 1856, Kathak suffered a significant setback. Many of the dancers and musicians were forced to leave Lucknow, and the art form went into decline.

Despite this, the legacy of Nawab Wajid Ali Shah lived on, and his contribution to the development of Kathak is still remembered today. Many of the compositions that he created are still performed, and his influence can be seen in the continued evolution of Kathak.

Overall, the Mughal period was a golden age for Kathak. The dance form flourished under the patronage of the Mughal emperors and evolved into a sophisticated and intricate art form. Today, Kathak remains a vibrant and much-loved dance form in India, and its legacy during the Mughal period is still celebrated by dancers and audiences alike.

The History and Origins of Kathak Dance

Let us delve into the captivating world of classical Indian dancing and uncover the rich history and enchanting origins of the renowned Kathak dance form.

Kathak is one of the eight Indian classical dance forms and is unique in that it originated in the northern part of India. The term Kathak finds its roots in the Vedic Sanskrit word 'Katha', meaning "story", and 'Kathakar', meaning "the one who tells a story" or "related to stories". In the local language, a person who tells a story is called a "kathak." Kathak is a combination of three performing arts - music, dance, and drama. It is a stunning amalgamation of rhythm, expression, grace, and emotion that creates a truly unique and mesmerising experience for both the performer and the audience.

The history and evolution of Kathak are very interesting. It started as a folk dance, where Kathak dancers would travel from village to village, telling stories and passing on information. Kathak dancers, during the early stages of the dance form, used to travel from village to village carrying their instruments in bags. They would bring with them the tabla, sarangi, or pakhawaj, whichever instrument suited their preference, to accompany their performances. These traveling performers were successful in the villages as the folk form of Kathak was well received by the people.

Later, the pandits (priests) in the temples invited these Kathakar to come and narrate stories within the boundaries of the temple. Here, the context and content of the performance changed. The pandits gave them the puranas, Vedas, and stories from Mahabharat and Ramayana. This was the second stage of Kathak, where the dance became more mythologically oriented, with a focus on the gods and goddesses.

With the coming of the Mughals, these Kathakar were invited into the Mughal court, and the philosophy, content, history, literature, fashion, clothing, jewellery, instruments, and language changed. Urdu was introduced to the dance form, and there was a focus on technique to enhance the entertainment value of Kathak.

The British era in India imposed a ban on traditional dance, causing many dancers to abandon their livelihoods. These skilled artists were left with no way to earn a living, and some were even forced to resort to prostitution. However, the courageous "Notch girls" kept the flame of their culture and art alive. They were unable to perform in public, but they preserved their knowledge by teaching their family members in secret. This period marked the emergence of the "Gharana" system, as each family had their own unique style of dance that was passed down through generations. The three distinct gharanas that emerged in northern India each brought their own unique flavour to the art of Kathak. Jaipur, situated in the northern frontier, incorporated warrior-like movements and introduced concepts like parans and kaviitas. Aggressive movements and intricate footwork were the hallmarks of the Jaipur gharana. Lucknow gharana, on the other hand, focused on delicate and graceful movements, with an emphasis on ethos, romance, and sringar. Meanwhile, the Banaras gharana drew from the spirituality of its surroundings, incorporating the beauty of the river Ganga and introducing thumris, which were based on the bol banana. Though each gharana had its distinct style and repertoire, they were not isolated, and the knowledge of their unique approaches has been passed down through the "Guru Shishya Parampara" for generations.

After India gained independence, the country's leaders recognised the importance of preserving and nurturing the rich cultural heritage that had been passed down through generations. They invited Kathak gurus to come out of hiding and teach the younger generation, with the freedom that had been denied during the British era. This new acceptance breathed new life into the art form, and Kathak once again began to flourish. The establishment of institutions such as the Sangeet Natak Academy helped to further develop and preserve this beautiful dance form, which continues to flourish to this day.

It is truly fascinating to witness the evolution of Kathak over the years, and even more impressive to observe how this classical Indian dance form has persevered and flourished in the face of numerous challenges. Today, Kathak is not only performed in India, but also all over the world, with dancers from different backgrounds and cultures embracing and exploring the art form.

Importance Of Ghunghroo In Kathak: Ghungroos are an integral part of the traditional Indian dance form of Kathak, serving to enhance the musical and rhythmic elements of the performance. When worn on the ankles, they produce a melodious sound with each movement, adding fluidity and accentuating the beats. The placement of ghungroos on the ankles is crucial in conveying the story and emotions through sound and movement. These bells are an essential part of the dancer's costume, contributing to the overall aesthetic of the performance. Ghungroos can range from 50 to over 200 bells in a single string, adding to the musicality of the dance. The use of ghungroos in Kathak elevates the art form, making it a complete sensory experience for the audience.

Explore the elegance and grace of Kathak with our six-month foundation course at Nrityadhee Dance Academy. Open to individuals aged 4 years and above, no prior experience is necessary. The course is available both online and offline and upon completion, you will receive a certification in Kathak. Don't miss this opportunity to learn and grow as a dancer.
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