Kathak - Classical Dance Form of North India

Kathak is a classical dance form of North India. It is a partially narrative dance form characterized by fast footwork (tatkar), spins (chakkar) and innovative use of bhav in abhinaya. It has today a form that has been influenced at various times in the past by mythological narratives by kathakas or ancient bards, temple dances, the bhakti movement (both Vaishnavism and Shaivite), and Persian influence of the Mughal courts in the 16th century onwards; and these elements are readily discernible.

The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means a story teller, or to do with stories. The name of the form is properly katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, 'she who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is Kathak'.

Performers today generally draw their lineage from three major schools of Kathak: the Jaipur gharana, the Lucknow gharana and the Banaras gharana (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later) Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.

The structure of a conventional Kathak performance tends to follow a progression in tempo from slow to fast, ending with a dramatic climax. A short danced composition is known as a tukra, a longer one as a tora. There are also compositions consisting solely of footwork. Often the performer will engage in rhythmic 'play' with the time-cycle, splitting it into triplets or quintuplets for example, which will be marked out on the footwork, so that it is in counterpoint to the rhythm on the percussion.

All compositions are performed so that the final step and beat of the composition lands on the 'sam' or first beat of the time-cycle. Most compositions also have 'bols' (rhythmic words) which serve both as mnemonics to the composition and whose recitation also forms an integral part of the performance. Some compositions are aurally very interesting when presented this way. The bols can be borrowed from tabla (e.g. dha, ge, na, tirakiTa) or can be a dance variety (ta, thei, tat, ta ta, tigda, digdig and so on).

Often tukras are composed to highlight specific aspects of the dance, for example gait, or use of corners and diagonals, and so on. A popular tukra type is the chakkarwala tukra, showcasing the signature spins of Kathak. Because they are generally executed on the heel, these differ from ballet's pirouettes (which are properly executed on the toe or ball of the foot). The spins usually manifest themselves at the end of the tukra, often in large numbers: five, nine, fifteen, or more, sequential spins are common. These tukras are popular with audiences because they are visually exciting and are executed at great speed. Other compositions can be sub-divided:

1. Vandana the dancer begins with an invocation to the gods.
2. Thaat (the first composition of a traditional performance; the dancer performs short plays with the time-cycle, finishing on sam in a statuesque standing (thaat) pose);
3. Aamad (from the Persian word meaning 'entry'; the first introduction of spoken rhythmic pattern or bol in to the performance);
4. Salaami (related to Ar. 'salaam' - a salutation to the audience in the Muslim style);
5. Gat (from the word for 'gait, walk' showing abstract visually beautiful gaits or scenes from daily life)
6. Kavit (a poem set on a time-cycle; the dancer will perform movements that echo the meaning of the poem)
7. Paran (a composition using bols from the pakhawaj instead of only dance or tabla bols)
8. Parmelu or Primalu (a composition using bols reminiscent of sounds from nature, such as kukuthere (birds), jhijhikita (sound of ghunghru) etc.)
9. Tihai (usually a footwork composition consisting of a long set of bols repeated thrice so that the very last bol ends dramatically on 'sam')
10. Ladi (a footwork composition consisting of variations on a theme, and ending in a tihai)