The Eversion of Kathak PDF

THE EVERSION OF KATHAK
BY
AISHWARYA VASHISTHA
Batch 2012-2014
Submitted to
National Institute of Fashion Technology
In Partial Fulfilment of the requirements

For the degree of
Master of Design
Department of Design Space
Faculty Guide- Ms. Susmita Das Pal
NATIONAL INSTITUTE OF FASHION TECHNOLOGY

Mumbai
THE EVERSION OF KATHAK
By Aishwarya Vashistha
M. Design- 2014
Submitted by Ms. Aishwarya Vashistha to NIFT in partial fulfilment of the requirements

for the degree of Master in Design of National Institute of Fashion Technology, at
Mumbai and hereby certify that in the judgement of the following members of jury it is
worth of acceptance.
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II
The Eversion of Kathak

DECLARATION
I Aishwarya Vashistha hereby declare that the project titled The Eversion of Kathak is
authentic and original and is the outcome of my contribution and research. The project
was carried out under the guidance of Ms. Susmita Das Pal the Post Graduate
Department of Design Space, Mumbai. No portion of this work has been submitted in
support of an application for another degree or qualification to National Institute of
Fashion Technology or any other University or professional organization.
Signature of the Student:

Place: Mumbai
Date:
III
The Eversion of Kathak

ABSTRACT
The aim of this dissertation project is to do a descriptive study of Kathak- An Indian classical
dance form that is one of the most popular, experimental and widely accepted not only in
India but all over the world. This was accomplished through qualitative methods of primary
and secondary data collection and analysis, namely in-depth interviews and textual as well
as visual analysis of the history of the dance forms in various aspects like costume, makeups, composition, dance movements, stage elements and textual sources. An elaborative
historical research was done in many old libraries; visiting places like Lucknow Kathak
Gharana, Pandit Birju Maharajs house etc.; photographing live shows and interviewing
national and international performers, experts and teachers.
The study revealed amazing facts regarding Kathak elements which are discussed in the
chapters further in detail. Also, many drawbacks are figured out that are responsible for
making Kathak lose its traditional essence which could probably one day make it entirely
different from what it was when it started. There are both pros and cons of the innovations
happening worldwide. On one hand, where it is making Kathak totally a new art form with
every new choreography and on the other hand there is no record of its original elements
which is harming the dance form in a way.
The study concluded the problems of Kathak and the reasons responsible for harming its
originality; consequences of which may be dangerous for Kathaks traditional heritage. It
also suggests the solutions on which concerned people can work on and take the research
forward by implementations of the identified solutions.
Keywords: Innovations Harm.
IV
PREFACE
India's cultural heritage dates back to 5000 years. Very few countries in the world has a
social and religious structure which withstood invasions and persecution and yet kept its
identity by being resilient enough to absorb, ignore or reject all attempts to radically change
or destroy them. Indian culture is unique because of its diversity and variety in physical,
religious, racial, linguistic and artistic fields. In India religion is a way of life being an integral
part of Indian tradition. Many dances, theatrics and folklore are religious and based on
Indian mythology and folk legends. One has to have background knowledge of Indian
mythology to enjoy and appreciate the Indian Arts.
My study also began by talking and researching about Indian heritage and somehow started
dealing with Katha (story telling) and its various kinds of traditions - Purana-Pravachana,
Kathakalakshepa and Folk traditions. The story telling traditions that are still living by
keeping the prestigious cultural heritage of India still alive like Pandavani, Yakshagana,
Nangiar Koothu, Kaavad, Baul, Kathakali and Kathak are all so popular, interesting and have
a wide history of themselves. While Kathakali fascinated strongly due to its colourful
costume and make up, similarly, Kathak had its attraction in its simplicity and soberness
which was leading me towards a detailed comparative study of the two.
As per the suggestions from the panel in the mid jury, the focus was finally shifted only to
Kathak. As each of the Indian dance form has its amazing history and Kathak is a North
Indian dance form that has not only gone through hundreds of innovations but also survived
during the foreign invasions of the country. It has now reached a level that is completely
different from what it was when it started. It kept living, going through ups and downs,
facing challenges, criticism and appreciation but still lived.
This implies how strong an Indian art form can be that instead of all the interference it is still
one of the favourite dance forms that have not only gained national encouragement but
also international platform to maintain its individuality.
Therefore, the main purpose of study is the evolution of Kathak through the years and the
innovations that have taken place from past to present in terms of costumes, stage props,
compositions and many other possible aspects.
-
Aishwarya
ACKNOWLEDGMENT
I would not have been able to complete my Dissertation Project without the kind support
and help of many individuals and organizations. I would like to extend my sincere thanks to
all of them.
I am highly indebted to my mentor Ms. Susmita Das Pal for her guidance and constant
supervision towards my Project. I would like to thank our course co-ordinator Ms. Disha
Gupta for providing necessary information and guidelines regarding the project and Mr.
Nitin Kulkarni and Ms. Rebecca Phillip also for their support in deciding my topic for
Dissertation.
I would like to express my gratitude towards my Family and friends for their encouragement
and moral support which helped me in completion of this project.
I would like to express my special gratitude to Ms. Shruti Sadolikar (Vice chancellorBhatkhande University) for granting me permission to access the library and Ms. Veena
Singh, Pandit Arjun Mishra, Pandit Anuj Mishra, Padmshree Shovana Narayan, Rameshwari
Jee for their kind co-operation in helping me with the project and for giving me such
attention and time.
My thanks and appreciations also go to my teachers in developing the project and people
who have willingly helped me out with their abilities.
VI
CHAPTER 1
1.1
1.2
1.3
1.4
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3
BACKGROUND
OBJECTIVES
SIGNIFICANCE OF THE STUDY
RESEARCH METHODOLOGY
CHAPTER 2
2.1 INTRODUCTION TO INDIAN CLASSICAL ART

2.2 KATHAK- THE INDIAN CLASSICAL DANCE FORM
2.2.1 KATHAK-THE NAME
2.2.2 HISTORY & DEVELOPMENT
2.2.3 THE NAUTCH
2.3 KATHAK GHARANAS
2.4 ELEMENTS OF KATHAK
2.4.1 HISTORY OF KATHAK COSTUMES
2.4.2 CONTEMPORARY COSTUMES AND MAKE-UPS
2.4.3 COMPOSITIONS
2.4.4 KRISHNA CUSTOMS IN KATHAK
2.5 COMPARATIVE STUDIES OF KATHAK
2.6 TEXTUAL SOURCES OF KATHAK
2.7 PROMINENT KATHAK ARTISTS
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CHAPTER 3
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3.1 KATHAK IN BOLLYWOOD

3.2 INNOVATIONS IN KATHAK: THEIR CAUSES AND CONSEQUENCES
3.3 OBSERVATIONS AND SUGGESTIONS
3.4 INTERVIEWS
3.4 CONCLUSION
3.4 LIMITATIONS
3.5 STRENGTHS
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BIBLIOGRAPHY
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GLOSSARY
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VII
TABLE OF FIGURES
FIGURE 1 INDIA, MUGHAL PERIOD, C.1675,

FIGURE 2 THE INSIDE VIEW-1
FIGURE 3 THE INSIDE VIEW-2
FIGURE 4 THE BACK VIEW
FIGURE 5 THE FRONT GATE VIEW
FIGURE 6 BHARAT DURING RAMAYANA TIMES
FIGURE 7: GANDHAR BUDDHA 2ND CENTURY B.C; TOKYO NATIONAL MUSEUM
FIGURE 8 THE MAURYAN EMPIRE
FIGURE 9- THE DIDARGANJ YAKSHI
FIGURE 10 3RD CENTURY B.C.
FIGURE 11 A STYLISTIC FEMALE ANTARIYA
FIGURE 12 3RD CENTURY B.C.
FIGURE 13- COMPARING COSTUMES
FIGURE 14- COMPARING COSTUMES
FIGURE 15 KUSHAN EMPIRE
FIGURE 16 COSTUME CATEGORIES DURING KUSHAN KINGDOM
FIGURE 17 1ST CENTURY A.D. - KUSHAN PERIOD COSTUMES; KANISHKA (FROM THE WARRIOR CLASS)
FIGURE 18 PERSIAN CLOTHING
FIGURE 19 PERSIAN CAPS AND GARMENTS
FIGURE 20 GUPTA EMPIRE
FIGURE 21 5TH CENTURY A.D. GUPTA PERIOD- DEOGARH
FIGURE 22 GUPTA PERIOD SCULPTURES DEPICTING SIDE SLIT KURTA AND CHURIDAR/PYJAMA
FIGURE 23 GUPTA PERIOD SCULPTURE DEPICTING KURTA -5THCENTURY AD-DEOGARH
FIGURE 24 GUPTA PERIOD -5TH CENTURY AD DEPICTING LEHENGA-CHOLI, DUPATTA AND DHOTI -BIKANER
FIGURE 25 MUGHAL KINGDOM
FIGURE 26 KATHAK DANCE IN FRONT OF BADSHAAH DAARASHIKOH
FIGURE 27 TAMASHA OF BHAAT AND NAT
FIGURE 28 ANARKALI-CHURIDAAR
FIGURE 29 LEHENGA, CHOLI, DUPATTA
FIGURE 30 ANARKALI-CHURIDAAR
FIGURE 31 SAREE
FIGURE 32 DIFFERENT STYLES OF MEN'S KATHAK COSTUME
FIGURE 33 PANDIT ANUJ MISHRA IN MUGHAL CHARACTER
FIGURE 34 PANDIT ANUJ MISHRA AS KRISHNA & NEHA SINGH AS RADHA
FIGURE 35 PAINTING DEPICTING RAAS LEELA
FIGURE 36 AN ARTIST PERFORMING BHARATNATYAM
FIGURE 37 FOLK DANCES OF INDIA
FIGURE 38 NATYASHAALA (STAGE CONCEPT): NATYASHASTRA
FIGURE 39- MAHARAJ BINDADEEN
FIGURE 40- PANDIT SHAMBHOO MAHARAJ
FIGURE 41- MS. SHOVANA NARAYAN
FIGURE 42 -PANDIT ANUJ MISHRA
FIGURE 43- PANDIT BIRJU MAHARAJ
FIGURE 44 MEENA KUMARI IN PAKEEZAH
FIGURE 45 VAIJANTIMAALA IN DEVDAAS
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VIII
FIGURE 46 MADHUBAALA IN MUGHAL-E-AZAM

FIGURE 47 MADHURI DIKSHIT IN DEVDAAS
FIGURE 48 KANGANA RANAUT IN RAJJO
FIGURE 49 KAREENA KAPOOR IN AGENT VINOD
FIGURE 50 MANJIRI CHATURVEDI PERFORMING SUFI-KATHAK
FIGURE 51 AN ARTIST PERFORMING KATHAK-YOGA
FIGURE 52 KATHAK MAESTRO PANDIT CHITRESH DAS AND TAP DANCER JASON SAMUELS SMITH
FIGURE 53 PANDIT ANUJ MISHRA
FIGURE 54 PANDIT ARJUN MISHRA
FIGURE 55 MS. SHOVANA NARAYAN
FIGURE 56 MR. SURENDRA SAIKIYA
FIGURE 57 MS. VEENA SINGH
FIGURE 58 MS. RASHMEE
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IX
CHAPTER 1
INTRODUCTION
1.1 Background
The classical dance forms of India are the one which combine music, dance, poetry, stories,
acting and many more, therefore along with being aesthetically appealing the classical
dance forms are the prestigious cultural heritage of our country. As we all know there are
eight different classical dance forms in India and Kathak is one of them. The greatest Impact
of Bhakti movement on Indian literature, music and dance lead to the innovation and
change in the Dance forms in the country. It has evolved in terms of innovation in costume,
make-up, stage props etc. Most of the development of Indian dance is linked to the 2nd
century Bharatas Natyashastra, which is the most important source for establishing the
characteristics of Indian dance and drama and some other textual sources as well.
Historically, the chief aim of the composition of the epics was to instruct the indigenous
population of the sub continent in the knowledge of God. This time can be said as parallel to
Greek theatre. After Hinduism, Buddhism came into being and later on Islam. In 8th century
when Islam was firstly brought by Arabs and then by Turks, they preached that all men were
brothers under one God, there was only one path to heaven which lay through the
teachings of the prophets and that it was morally dangerous to make representations of
living things. This attitude seriously affected Kathak because they not only concerned with
many Gods and Goddesses but also portrayed them in human forms. This made the dance
doubly sacrilegious to the Muslims and therefore it was vehemently condemned. Kathak
had to find Hindus to continue their original form. Later under less severe rulers they were
permitted to dance with impunity.
1|The Eversion of Kathak
1.2 Objectives
To study Kathak as a classical dance form and the evolution of the same in
terms of costumes, stage props and stories.
To study the innovations taken place in Kathak throughout the years and the
important elements those are now diminishing.
To study the sociological, cultural and political influence on Kathak
1.3 Significance of the Study

Like any other classical art form, Kathak is an ancient art form which started as an oral story
telling traditions or the Katha and was narrated by Kathakars who were mainly from the
community called Kathak. Since Kathak has seen various eras therefore has gone through
many changes and innovations which gradually became its tradition.
The study of its evolution and innovation will not only hold a record of a systematic
transformation in the dance form but also tells us how little things have affected the art.
Kathak has not only changed in design aspects of costumes and make-ups but also in
sociological aspects that are discussed in the document. We need to know and preserve our
cultural heritage so that people do not remain ignorant about them.
1.4 Research Methodology

Secondary Research
This was done by collecting articles from books, journals, Internet and referring to various
libraries that are listed below:
1.
2.
3.
4.
National Centre for Performing Arts, Churchgate, Mumbai

Bhatkhande Music Institute (Deemed University), Qaiserbagh, Lucknow
Rashtriya Kathak Sansthan, Maharaja Mahmoodaad, Qaiserbagh, Lucknow
Sangeet Natak Academy, New Delhi
Primary Research
Non participant observation and focused group interview was done, both backstage and as
audience. Formal Interviews were conducted with Kathak scholars and artists. They are:
1.
2.
3.
4.
Padmshree Ms. Shovana Narayan, National & International Performer

Pandit Arjun Mishra, Teacher, Choreographer and Artist
Pandit Anuj Mishra, National & International Performer
Ms. Rameshwari Jee, D/O Pandit Shambhoo Maharaj
5. Ms. Veena Singh, Kathak Reader, Bhatkhande Music Institute (Deemed University),
Lucknow
6. Ms. Rashmee, Teacher, Bhatkhande Music Institute (Deemed University)
CHAPTER 2
STUDY OF THE DANCE FORM
2.1 Introduction to Indian Classical Art

Indian Classical Dance is one of the most comprehensive and oldest dance forms in the
world. The Natyashastra lays down two aspects of dance Nritta- pure dance and Nrityainterpretative dance. Nritta is the expression of rhythmic movement primarily through use
of the hands and feet often in specific poses and uses gestures and facial expressions to
show the poetic or emotional meaning while combining rhythmic gaits and postures.
In India, most classical dances evolved as a temple art. Many Indian dynasties from the 6th
century onwards have contributed to this art form. This interest in temple art was brought
about by spurts of building temples in the 9th and 10th centuries. The Devadasis (servants
of God) performed dance at the temples. In the early 19th century, four brothers known as
the Tanjore Quartet defined dance tradition. Dance was one of the mediums of worship.
Thereafter, temple dancing was institutionalized and kings patronized the dancers.
Indian classical music can be categorized into two genres; Hindustani - system is a melodic
scale, consisting of notes from the basic seven and Carnatic Music that is the classical music
of Southern India and one of the worlds oldest and richest musical traditions.
IMPACT OF PROMINENT MOVEMENTS
Bhakti Movement
The Bhakti movement was a Hindu religious movement of the medieval period that
promoted the belief that salvation was attainable by everyone. The movement is closely
related to Islamic Sufism, which appeared around the same time: both advocated that a
personal expression of devotion to God is the way to become at one with him. The Bhakti
movement originated in 7th century in Tamil Nadu and spread northwards. While the
southern movement favoured devotion to Shiva, Vishnu and his avatars, the northern
devotional movement was centred on Rama and Krishna, both of whom are believed to be
incarnations of Vishnu. Despite this, the sects of Shiva or of Vishnu did not go into decline.
In fact, for all of its history, the Bhakti movement co-existed peacefully with the other
movements in Hinduism. It was initially considered unorthodox, as it rebelled against caste
distinctions and disregarded Brahmanic rituals, which according to Bhakti saints were not
necessary for salvation. In the course of time, however, owing to its immense popularity
among the masses (and even gaining royal patronage) it became 'orthodox' and continues
to be one of the most important modes of religious expression in modern India.
During the 14th17th centuries, a great Bhakti movement swept through central and
northern India, initiated by a loosely associated group of teachers or saints. Ramananda,
Ravidas, Srimanta Sankardeva, Chaitanya Mahaprabhu, Vallabhacharya, Surdas, Meera Bai,
Kabir, Tulsidas, Namdev, Dnyaneshwar, Tukaram and other mystics spearheaded the Bhakti
movement in the North while Annamacharya, Bhadrachala Ramadas, Tyagaraja among
others propagated Bhakti in the South. They taught that people could cast aside the heavy
burdens of ritual and caste, and the subtle complexities of philosophy, and simply express
their overwhelming love for God. This period was also characterized by a spate of devotional
literature in vernacular prose and poetry in the ethnic languages of the various Indian states
or provinces.
While many of the Bhakti mystics focused their attention on Krishna or Rama, it did not
necessarily mean that the sect of Shiva was marginalized. In the twelfth century Basava
founded the ViraShaiva School or Virashaivism. He rejected the caste system, denied the
supremacy of the Brahmins, condemned ritual sacrifice and insisted on Bhakti and the
worship of the one God, Shiva. His followers were called Vira-Shaivas, meaning "stalwart
Shiva-worshipers". One of the prominent figures in this tradition is Akka Mahadevi, a
contemporary of Basava.
Seminal Bhakti works in Bengali include many songs of Ramprasad Sen. His pieces are
known as Shyama Sangeet. Coming from the 17th century, they cover an astonishing range
of emotional responses to Ma Kali, detailing philosophical statements based on Vedanta

teachings and more visceral pronouncements of his love of Devi. Mirabai was one of the
bhakti poets.
This movement was responsible for many rites and rituals associated with the worship of
God by Hindus, Muslims and Sikhs of Indian subcontinent. For example, Kirtan at a Hindu
Temple, Qawaali at a Dargah (by Muslims), and singing of Gurbani at a Gurudwara are all
derived from the Bhakti movement of medieval India (800-1700). The leader of this Hindu
revivalist movement was Shankaracharya, a great thinker and a distinguished philosopher.
And this movement was propounded by Chaitanya Mahaprabhu, Namadeva, Tukaram, and
Jayadeva. The movement's major achievement was its abolition of idol worship. Followers
of Bhakti movement in 12th and 13th Century included saints such as Bhagat Namdev, and
Saint Kabir Das, who insisted on the devotional singing of praises of lord through their own
compositions. Guru Nanak, the first Sikh Guru and founder of the Sikhism, too was a
Nirguna Bhakti Saint and social reformer. The sixteenth and seventeenth centuries
continued to witness the rise of many religious reformers. The leading light of the Rama cult
was saint-poet Tulsidas. It advocated communal harmony among various religious groups in
medieval India through the teachings of saints like Kabir.
Sufi Movement
Sufism arose from within Islam in the 8th-9th centuries C.E. as an ascetic movement. The
Sufi movement consists of fraternal orders in which leaders train and assist disciples in the
mastery of Sufism's philosophical principles and ritual practices. Such rituals and practices
include writing and reciting poetry and hymns; some of the most famous and beautiful
literature of the Islamic world has been written by Sufis. Sufis engage in a variety of ritual
practices intended to help them realize union with God, such as distinct forms of ritual
prayer (dhikr, literally "remembrance"), including the recitation of God's names, as well as
bodily rituals such as those practices by the so-called "Whirling Dervishes," a Turkish Sufi
order that practices meditation and contemplation of God through spinning.
The Sufi Movement had twofold aims: To make their own spiritual progress and to serve
the mankind. Sufism, which started as a reform movement, laid emphasis on free-thinking,
liberal ideas and toleration. They believed in the equality of all human beings and
brotherhood of man. Their concept of universal brotherhood and the humanitarian ideas of
the Sufi saints attracted the Indian mind. A movement similar to Sufism, called the Bhakti
cult, was already afoot in India on the eve of the Muslim conquest of the country. The
liberal-minded Sufis were, therefore, welcomed in India. The Sufi movement proved very
helpful in bridging the gap between the followers of the two religions and in bringing the
Hindus and the Muslims together.
The Sufi movement gained impetus during the reign of Akbar who adopted a liberal religious
policy under the influence of the Sufi saints. The Sufism reached India in the 12th century
A.D. Its influence grew considerably during the thirteenth and fourteenth centuries. In India,
Chisti and Suhrawardi Silsila were most prominent (out of 14 silsilhas mentioned by Abul
Fazal.
Chisti order was founded in India by Khwaja Moinuddin Chisti. His dargah at Ajmer became
a centre of veneration for both the Muslims and Hindus. After his death in 1236 A.D., his
devotees continued to celebrate an annual festival at Ajmer. But the most famous Sufi saint
of the Chisti order was Nizamuddin Auliya. He led a simple austere life and lived in Delhi. By
his vast learning, religious knowledge, and tolerant attitude to all religions, he earned
devotion of both the Hindu and Muslim masses. The Sufi Movement in India helped in
establishing peace and amity among the Hindus and Muslims.
The liberal ideas and unorthodox principles of Sufism had a profound influence on Indian
society. The liberal principles of Sufi sects restrained orthodox. Muslims in their attitude and
encouraged many Muslim rulers to pursue tolerant attitude to their non-Muslim subjects.
Most Sufi saints preached their teachings in the language of common man that contributed
greatly to the evolution of various Indian languages like Urdu, Punjabi, Sindhi, Kashmiri and
Hindi. The impact of Sufi Movement was deeply felt on some renowned poets of the period,
like Amir Khusrau and Malik Muhammad Jayasi who composed poems in Persian and Hindi
in praise of Sufi principles.
2.2 Kathak- The Indian Classical Dance Form

2.2.1 Kathak-The Name
According to Pandit Rajaram Dwivedi, Kathak Nritya sangya is been originated from
Lucknow in 1635 or 1636. Some say that the name Kathak is given by Late Mr. Raamdas
Kathik who was an appointed faculty in Marris Music Institute (present: Bhatkhande Music
Institute, Deemed University). It is true that all the currently existing classical dance forms
were named in the 4th decade of 20th century. Bharatnatyam was named by Srimati
Rukmani Devi, Manipuri by Gurudev Ravindra Nath Thakur and Kathakali by Poet Vallathol
Narayan Menon. These names are not mentioned in any of the books written earlier.
Similarly in North India when the dance classes started in Marris College of Lucknow, Late
Mr. Ramdas Kathik (Ramdatt Jee), (who was maternal uncle of Late Shri Shambhoo Maharaj
and traditional Kathak dancer of Ayodhya) was appointed as a faculty and named the dance
form as Kathak. Professor Kalyanpurkar came to Lucknow from Bombay as a faculty
appointed in Marris College, Lucknow when one day the Founder/President of the college
and Raja of Dariyavaad Late Rai Umanaath Bali said that the dance they teach (Tukde, Paran
and Gaths) is not Kathak and to show what original Kathak means, he called Traditional
Kathaks from Dariyavaad State (A place near Ayodhya). But since the name was already
popularised it was difficult to change and since then it was permanently named as Kathak.
According to Pandit Raja Ram Dwivedi (as per his research and writings) this dance is
termed as Natwari in all the old sources, also Late Shree Jagannath (Achhan) used to call
his dance as Natwar Nritya.
When the dance form was named as Kathak, a detailed research of the relevant (preexisting) words was done, as a result words like: Kathik, Kathiko, Kahub, Kathak came into
limelight. Traditional dancers of Ayodhya used to call themselves Kathik while Rajasthani
tradition called it Kathhak ()
Pandit Rajaram Dwivedi, editor of sangeet (1641), which was a monthly magazine, Pandit
Ganesh Prasad Dwivedi and other intellectuals have always used the word Kathik, Kathiko
word is found in Pali and Nepali dictionaries. Kahub is found in Kalpsutra and other Jain
books.
Mythological Origin
There are two religious legends related to the origin of Kathak as a dance form. They are as
follows:
In ancient times God Indra held a big festival and when the competitive dance performance
was given, Parvati, wife of God Shiva, executed the most rapid dance steps and her dance
was far better than any other. Therefore God Indra gave the reward to Parvati. Though, she
was his wife, Shiva was indignant that he was belittled by her, because he considered
himself as the best one. He suggested Indra to keep a competition again between Shiva and
Parvati. Shiva executed rapid steps and quick turns but Parvati danced even faster. Shiva got
extremely angry and threatened to destroy the world with Tandava. Parvati pretended to be
a bad dancer and conceded victory to Shiva. Thus, she calmed down his anger and he tried
to extend and promote Kathak style dance through Parvati.
Another legend is again about shiva where Shiva had a wonderful ring that had a magical
power. If anybody keeps it on anyones head and made an incantation, the person got
crushed into pieces. Shiva gave the ring to a rakshasa (devil) being pleased with him. Devil
tried to kill Shiva, Parvati got worried and planned to save his husband and said to the devil
your dance is so splendid, Can you dance for me and the devil in pride started dancing.
Soon he started doing turns putting his hand on his head which had the ring. Meanwhile,
Parvati hurried to chant incantation and the devils body got crushed into pieces. Believers
of the story think it is because of this only that in the beginning of Kathak dance there is
always a pose of standing still like the devil did before being crushed.
2.2.2 History & Development

The story of Kathak begins in ancient times with the performances of professional
storytellers called Kathakars who recited or sang stories from epics and mythologies with
some elements of dance. The tradition of the Kathakars was hereditary and dances passed
from generation to generation. By the 13th century a definite style had emerged and soon
technical features like mnemonic syllables and bol developed. Although history of Kathak
has been a debatable issue as it was the style which evolved gradually during the course of
several centuries, imbibing diverse influences. Till then this dance continued to flourish in
the precincts of the temples till 14th and 15th centuries A.D In the 15th and 16th century at
the time of Bhakti movement, rasleela had tremendous impact on Kathak. The dance of the
form even made its way to the kathavaachaks who performed in temples.
However, in 15th century with the rise of Mughal Empire and with the establishment of a
state religion which did not believe in dance as a form of worship, some changes took place.
It acquired distinctive shape and features and encountered different forms of dance and
music most especially dancers from Persia. As a result, dancing figures disappeared in
temple structure. The beginnings of the Kathak dance can be traced back to the dance
illustrated in Jain paintings and manuscripts. The last Nawab of Oudh Wajid Ali Shah was
himself a musician, dancer and poet. During his rule Lucknow Gharana came into being.
By about the 16th century, the tight churidar pyjama appeared as the standard dress of the
dancer. Despite wearing a full-skirted lehenga; the churidar pyjama below is seen. The
anklets become a common feature of the paintings of this period. Before the 17 th century
the women danced to accompaniment of the mridanga and the majira. Many paintings of
the period are illustrations of the ragas and the raginis on one hand and the nayikas on the
other. While the dance was not popular in the Mughal court however the music was liked.
Thumri and Khayal (North Indian classical music) were closely associated with this dance.
Kathak was influenced by the dancers and musicians from Persia.
Till this time the dance had completely shifted from purely religious to entertainment.
Dancers from Middle East spread their ideas to Kathak dancers as they borrowed ideas from
Kathak to implement in their own dance. Slowly the two dances became one as a common
link between Hindu and Muslim culture. It remained a solo dance form based on personal
interpretation and emotional values.
Kathak became two distinct styles in the atmosphere, theme, costume and music. The
temple style defines the mythological and spiritual importance, and the court style gave its
attention to rhythmic displays, fast footwork and an enhanced body balance. The major
theme of Kathak shifted from devotional to romantic ideas. In recent times, both the styles
have been integrated into one distinct style that merges both the spiritual physical aspects
into one unified dance form. It was also during this period Kathak was performed by the
tawaifs, who actually developed the dance form in parallel to its refinement in the court.
The beginning of the colonial domination in Indian landmass saw a steep decline in the
dance form of Kathak. The British administration associated the dance form as sole form of
tawaifs culture and thought it was basically for the purpose of seduction. But in recent
times Kathak as a dance form has again regained its popularity after the period of decline
and now it is one of the eight dances officially sanctioned classical dance forms of India.
10 | T h e E v e r s i o n o f K a t h a k
Muslim Influence
Indian dance has always been religious in origin and temple dancers have been an integral
part of its maintenance. No Indian dancing has deviated further from this original intent
than Kathak. For some centuries now, Kathak has not been scared nor has it been in
temples. Owing partly to the less devout character of north India as compared with the
south, and partly because the Muslim rulers of north India greatly influenced the art and
expunged it of many of its Hindu sentiments, kathaks connection with religion is now
attenuated almost beyond recognition.
In the atmosphere of the Muslim courts, Indians danced not to please their Gods, but to
please their overlords; not for spiritual reward, but for immediate remuneration. The erotic
aspect of the dance was not even slenderly disguised with spiritual fervor.
Kathak developed as a court dance to be performed before rulers who, although Indianized,
were originally foreigners of an alien religion from Persia and Arabia. The indigenous
elements of the dance became overgrown with the tastes of its patrons. This hybrid
combination produced in Kathak a special charm and individuality.
The greatest contribution of the Muslims to the
dance was their patronage. They encouraged
the art and made it possible for large numbers
of artists to pursue their gifts. Muslim aversion
to pictorial representation in art made meaning
and mudras greatly decline in Kathak. Kathak
has neither the interpretive powers of padas,
nor has it a pure abstractness comparable to
nritta parts of Bharatas Natyashastra and
Kathakali. It has instead fostered and
developed suggestiveness and virtuosity.
Kathak suggests the emotion of a phrase rather
than depict its words. It retains its intellectual
elements through brilliance of execution and
subtlety of performance. The enjoyment of a
performance is largely a mental exercise rather
than an experience in feeling.
Figure 1 India, Mughal period, c.1675,

Two Girls joining hands and performing a Kathak
Dance-Victoria & Albert Museum
Muslim rulers predisposition for young men led Kathak to develop into an epicene art, a
blend of tanadava and lasya. Kathak is natural when performed either by men or women, as
it requires neither violence nor excessive daintiness. It is the only dance of India, over which
controversy has not raged as to the propriety of both sexes performing it, although the
majority of dancers are female.
Change in Bhakti Era

During the era of fervent worship of Radha-Krishna, Kathak was used to narrate tales from
the lives of these figures. Popular performances included Sri Krishnas exploits in the holy
land of Vrindavan, and tales of Krishna leela (Krishnas childhood). In this time, the dance
moved away from the spirituality of Temple.
Later Court Influences

Many specific emperors contributed to the growth and development of Kathak into
different Gharanas, or schools of dance, named after the cities in which they developed. The
Nawab of Awadh, Wajid Ali Shah, not only enjoyed giving patronage to dancers, but danced
himself, taught by Durga Prasad. He himself choreographed a dance, rahas, that he danced
himself with the ladies of his court. He brought teachers to his palaces, aiding the expansion
of technical vocabulary, and formed the basis of the Lucknow Gharana, emphasizing
sensuous, expressive emotion. The Lucknow Gharana placed emphasis on the abhinaya and
natya elements or expressional qualities of the dancing; it was famed for its subtlety and
grace (nazakat). This contrasted sharply with the Jaipur Gharana, which became renowned
for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Even after
the Mughals, courts in Rajasthan enjoyed Kathak as a sophisticated art form, fostering the
growth of the Jaipur Gharana. The Banaras Gharana was also created at this time.
During the Raj

With the advent of British rule in India, Kathak went into sharp decline. The Victorian
administrators publicly pronounced it a base and unlovely form of entertainment, despite
often privately enjoying the pleasures of Tawaifs. Indeed, by associating Kathak solely with
the tawaifs with out and out prostitution, Kathak acquired an unwholesome image: the
entirely British concept of Nautch. Kathak was, to Victorian eyes, an entertainment designed
solely for the purpose of seduction. During these times of cultural hardship, the role of the
tawaifs in preserving the art forms should not be underestimated. Famous tawaifs such as
Gauhar Jaan were instrumental in the maintenance and continuation of Kathak, even as it
was officially denigrated by the prevailing political opinion.
2.2.3 The Nautch

Name, by which Indian dances as we know today was universally known right up to the first
quarter of the century, was Nautch. Bharatnatyam, Orrisi, Ballet and the rest are all labels
that have gained currency during the past 50 years or so. Earlier, all the dances especially to
western commentators, was just plain Nautch. Performers were known as Nautch girls.
These professionals became a part of Indias cultural life in Mughal era. Mughals brought a
lot of good and bad things to the country. They considered entertainment as a necessity,
and one of their favourite diversions was dance. This led to the importation on a large scale
of dancing girls from Persia who brought in their own dance, which was promptly adapted
to suite their masters gradually a new form of dance began to emerge and this became the
Nautch. Europeans and other travellers who visited India between 16 th and 19th centuries
(for over 400 years); it was regarded as a decadent art, a vulgar pursuit.
If the word nautch is familiar in the west, it is due rather more to the use to which they put
the dance than to the dance itself. Nautch for a long time has been synonymous with the
inmates of brothels, and even today. For a slight gratuity, most North Indian prostitutes will
supply the customer with a brief dance prelude before the more serious business of the
evening.
In course of time, Kathak evolved from the Nautch. Other contributory factors were the
dance content of sacred Rasleela plays of Braj, which revolved around Krishna and his
childhood stories. Element of storytelling is very strong in these plays, and this is derived
from the professional narrators who were committed to the temples of Braj. They were
known as Kathakars and from this sprang the style of Kathak.
Kathak after Independence

If we talk about the history of Indian culture during late 19 th and early 20th century, the
condition was very pathetic. After the end of Nawabs of Owdh and British invasion, the
national respect that was given to Kathak almost vanished and their daily earning was only
limited to teaching dance to the prostitutes. Kathak dance which once used to furnish in
temples started decorating the evenings of Brothels. Due to voluptuary environment Kathak
evolved large changes in its form time to time. British did not have much interest in Indian
arts; therefore they never encouraged Kathak as a dance form. Due to its linkages to the
brothels and prostitutes, Kathak was seen as renounceable and useless thing. During this
deplorable time which Kathak was going through, the encouragement and contribution of
some important personalities cannot be forgotten. Maharaj Kalka Prasad, Maharaj
Bindadeen, Madam Menaka were some of them who had a remarkable approach in keeping
Kathak in its purest forms.
India got independence in 1947. During the promotion of National awareness, various art
forms faced reformation. Kathak, which is an inseparable part of Indian cultural heritage,
started being appreciated by people and got encouragement as well as respect. Its
development was done at a national level, and that is how not only in India but it is one of
the popular dance forms all over the world.
Kathak has the qualities of beauty, sanctity, depth, universality and power to fascinate the
ordinary crowd. Other than Kalka and Bindadeen, Gharanas, gurus and instructors also
played a major role in establishing Kathak for what it is today. The list involves the name of
Achhan Maharaj, Lachhu maharaj, Shambhoo Maharaj, Birju Maharaj, Sundar Prasad jee,
Gaurishankar Jee, Kundanlaal Gangaani, Mohanrav Kalyanpurkar, Hazarilaal Jee, Sunayan
Jee, KrishnaKumar, Raja Chakradhar Singh, Kartikraam, Sitaaradevi, Gopikrishna, Ramgopal,
Damyanti Joshi, Maya Rav, Roshan Kumari, Rani Karna, Kapila Vtsyayan, Rohini Bhate, Uma
Sharma, Kumudini Laakhiya, Urmila Naagar, Jagdish Gangaani, Rajendra Gangaani,
Shovana Narayan, Shashi Sankhala, Prerna Sreemali etc. These Kathak artists have done a
lot of labor to overdress it.
Kathak Today
Today we see Kathak as an amalgamation of temple and court style both. Other than
spiritual side of the sweet pageant of Radha and Krishna, more emphasis is on the romantic
face of the same. People are losing on the spiritual connect with Kathak. The major aim of
the dance is now limited to entertain the audience and nothing more. The costumes, make
ups, stage arrangement, light and sound arrangement all have changed in every aspect.
Due to westernization, Kathak dance form got amalgamated with Ballet (Dance Drama) in
which stories based on mythological literature were witnessed. Udayshankar did a
remarkable work in composition of Ballet-Kathak fusion that contained Kathak elements
(although it was not purely Kathak) majorly.
Late Lachhu Maharaj and Pt. Birju Maharaj have also done notable hard work in developing
the compositions based on the same, which has also been represented several times on
national and international platforms. These days choreographic compositions based on a
theme are very popular with the developing technology.
In modern times government has encouraged Kathak dance form to a much larger extent by
developing Kathak Kendra in different cities, Keeping dance and music (classical) as a subject
in colleges and universities and also creating international platform for the dancers. Other
than this, honouring the artists with the title of Padmshree is also a big step towards
encouragement. Kathak shows on televisions, live shows at various centres and historical
places, stating and writing about Kathak are also very helpful. Although Kathak dance in
bollywood is not considered as a good thing by classical critics because the perspective
entirely changes in terms of makeup, costumes, techniques and other elements that define
Kathak.
Conclusion is that the Kathak what we are seeing today is very different from the one which
used to be in earlier times. Starting from a temple dance it went through the courts and
later to brothels which kept on changing it widely. There is no particular incident that how it
changed from a spiritual worship to a source of romance and entertainment. Muslim
influence brought a lot of Urdu words like aamad, nikas, adaa, salaami etc. Today we see
Kathak as completely new art form that has gone through a lot of innovations and has
evolved into a novel art.
2.3 Kathak Gharanas

The development of Gharanas played a major role in keeping Kathak alive.
Lucknow Gharana
The Lucknow gharana actually developed in the courts of the Nawab of Oudh in Lucknow,
Uttar Pradesh. It particularly gives importance to grace, elegance and natural expressions in
the dance. Abhinaya or expressional acting, especially improvised plays a very strong role in
this style, and Birju Maharaj, Shambhoo Maharaj and Lachhu Maharaj were all famed for
the naturalness of and innovativeness of their abhinaya.
Figure 2 The Inside View-1
Figure 3 The Inside View-2

Figure 5 The Front Gate View
Figure 4 The Back View

The back portion is Pandit Birju Maharajs house and rest of the plot is given to the Government
for developing Kathak Museum
JAIPUR GHARANA
The Jaipur gharana developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan.
The significance is placed on the more technical aspects of dance, such as complex and
powerful footwork, multiple spins, and complicated compositions in different talas. There is
also a greater incorporation of compositions from the Pakhwaj, such as, Parans.
BANARAS GHARANA
The Banaras gharana was also developed by Jankiprasad. It is characterised by the
exclusive use of the Natwari or Dance bols, which are different from the Tabla and Pakhwaj
bols. There are differences in the Thaat and Tatkaar, and chakkars are kept at a minimum
but are often taken from both the right and the left hand sides with equal confidence. There
is also a greater use of the floor. Though the style developed in Varanasi, today it flourishes
in Bikaner.
RAIGAD GHARANA
The Raigarh Gharana was established by the Maharaja Chakradhar Singh in the princely
state of Raigarh in Chhattisgarh in the early 20th century. The Maharaja invited many
luminaries of Kathak (as well as famous percussionists) to his court, including, Kalka Prasad
(the father of Achhan, Lacchu and Shambhoo Maharaj) and his sons, and Pandit Jailal from
the Jaipur Gharana. The confluence of different styles and artists created a unique
environment for the development of new Kathak and tabla compositions created from
various backgrounds.
COMPARATIVE STUDY OF THE GHARANAS

LUCKNOW GHARANA
JAIPUR GHARANA
BANARAS GHARANA
This Gharana had its origin at

Lucknow. It prospered here.
The centre of this gharana

was Jaipur in Rajasthan.
This Gharana evolved at

Banaras
It was founded by Shri Ishwari

Prasadjee
It was founded by Shri

Bhanu Ji.
It was founded by Shri Janki

Prasad.
Lord Krishna had inspired Shri

Ishwari Prasad in his dreams
to revive the Natwari style of
dance
Shri Bhanu Ji was trained in

Tandava style by a sage.
Janki Prasad came to

Banaras and created this
new style.
This gharana was patronized

by the Nawab of Oudh and
Muslim rulers and hence the
influence of Muslim culture is
evident.
This Gharana was

patronized by Hindu kings
and hence is influenced
entirely by Hindu culture
This Gharana imbibes both

the Tandava and Lasya and
the influence of Hindu
religion is evident.
In this style, Lasya is important The Gharana involves

and depicts soft bhavas
special preparations in
(sentiments).
which stress is laid upon
purity of footwork.
This tandava dance

characterises this gharana
and hence the spirit of
bravery is reflected in this
style.
Thumris are more often used.
Prayers of Lord Shiva and

Krishna are mostly used.
Devotion is the main

theme.
Use of Kavitas (poems) is

Kavitas (poems) are more
nominal. Emoting is based on
often used.
singing of thumris and ghazals.
Kavitas (poems) and thumris

both are equally used.
Bols of Tatkar are tigda dig dis

tigda dig dig
Bols of tatkars are ta thai

thai tat.
While bols are same as luck

now Gharana, in Padnikasi,
feet are tapped 6 times.
Due to Muslim influence, the

costume usually comprises
Angarkha and pyjama. There is
not much difference between
the costume of men and
women dancers.
In this Gharana, usually

Bandi (vest) and dhoti are
worn by male dancers and
lehenga and choli by
female dancers.
The male dancers wear only

dhoti and nothing above
waist. Female dancers wear
lehenga and choli.
Bhramari is not much used.
Bhramari is more often

used.
Bharamari is more often

used.
2.4 Elements of Kathak

2.4.1 History of Kathak Costumes
Today if we refer to any website or book we see the two styles of costumes: Hinduism
Inspired and Islam inspired. Where they say that lehenga and sarees were all related to
Hindu clothing and anarkali suits and churidaar was all given by Muslim invasion which is
not true. If we deeply study the History of Indian costumes, one can easily understand the
evolution of costumes in the dance form. The origin of Kathakars dates back to the Vedic
period when the epics like Ramayana and Mahabharata were written with the very first
story tellers who are believed to be Luv and Kush; sons of Lord Rama and Sita.
Vedic Period:
The Harappa civilization was followed by Vedic
or Rig-Vedic culture which was completely
opposed to it. The Vedic culture was founded by
the Aryans. They were immigrants and arrived
in India between 2000 and 1500 BC. The origin
of the Aryans is still an unsettled affair. The
coming of the Aryans to India was a great event
in Indian history. The Aryans were considered to
be one of the world's most civilized
communities. They were far ahead of other
races of their time. The original homeland of
Aryans has remained a subject of long and
protracted controversy. Regarding the original
Figure 6 Bharat during Ramayana times
home of the Aryans the historians have held
divergent views. Communities of Kathakars wandered around the
countryside conveying the stories of these great epics and myths to
the people by means of poetry, music and dance, all three of which
were closely linked. As per the findings saree or dhoti of fabrics
cotton and linen existed during Vedic period. There is also a mention
of unending saree gifted to Draupadi by Krishna in Mahabharata.
After the invasion of the Aryans, silk fabric also came into the
country and now except cotton and linen, silk was also used in the
garments. In the fifth century B.C. there arose in north India a new
religion which was to begin with, very different from the Vedic
Figure 7: Gandhar Buddha religion then prevalent. It was founded by prince Siddhartha of the
2nd century B.C; Tokyo sakya tribe who forsaking riches and power, preached equality
National Museum
among all men and by his own example showed the path to self realisation. He came to be
known as Buddha or the enlightened one and his teachings spread across the countries of
Asia. One piece cloth was the major costumes of the Buddhists and it can be seen in the
sculptures and the statues found.
Maurya Period:
Mauryan Empire was the first empire to
unite almost all of India under a single
government. The empire lasted from
about 324 to about 185 B.C. Under the
rule of Chandragupta Maurya, which
ended about 298 B.C., the empire included
much of what are now northern India,
Bangladesh, Pakistan, and Afghanistan.
Chandraguptas son Bindusara and
Bindusara's son Asoka expanded the
empire far into South India. The empire's
Figure 8 The Mauryan Empire
capital was Pataliputra (now Patna).
During this period the unstitched clothes continued to be worn.

The birth of ghaghara was noticed in some parts.
Antariya in kachha style, utariya across the head or casually
draped on the shoulders, kayabandh or the girdle. The cloth
became finer with the increase in status of the person adorning
it. Cotton continued to be used as traditional textile and silk
called cinamsuka was imported from China along silk route.
Figure 9- The Didarganj Yakshi

depicting the dhoti wrap of the
Vedic Period, Patha Museum
Figure 12 3rd Century B.C.

Nati Pirouetting
Figure 11 A Stylistic
Female Antariya
Figure 10 3rd Century B.C.
In the above figures we see the lady wearing a ghaghara that creates a circular shape while
pirouetting while in the second figure we can see utariya worn over head, a much stylised
antariya and a kayabandh. In the third figure we see Nati with damaru in the hands wearing
a skirt/ghaghra. These can be compared by the present day Kathak costumes as shown
below.
Figure 14- Comparing Costumes
Figure 13- Comparing Costumes
0-500 A.D.
Until this period the stitches were introduced in the country but Gods and Goddesses were
depicted in the dresses without stitches.
Kushan Dynasty
The name Kushan is derived from a
Chinese name Gui-shang, a branch of
the Yuezhi, a group of people
speaking the Tocharian language.
They were originally driven out of
China, when the Chinese built a large
wall to keep out nomads and
uncivilized tribes. The Kushans
overthrew the Indo-Greek kingdom
and the Indo-Parthian kingdom and
established themselves in Bactria for
some years, before they pushed
down into India. They ended up
ruling all the Gangetic plain down to
Patna, making Mathura their
Southern capital. Their Northern
capital was near modern day Kabul,
called
Purusapura
Peshawar).
(modern
Figure 15 Kushan Empire
There were in all 15 Kushan rulers from 1 AD to 375 AD. The rule of the Kushans linked
seagoing trade of the Indian Ocean with the commerce of the Silk Road from China to
Europe through the Indus Valley. Cultural exchanges also flourished, and the Kushan time
saw a fusion of Greek and Buddhist cultural elements, expanding into Asia as Mahayana
Buddhism. In the 1970s a tomb was discovered near Kabul, containing richly decorated
bodies and artefacts, which has been approximately dated at around 100 AD. In the tomb
there were 5 noble ladies, one maidservant and a man in warrior dress (shown here on the
right) who could have been a family member or a guard. Here below are the details of the
clothing and jewellery of the ladies.
The Kushan society lasted nearly 400 years. 15 kings ruled. In the early stages everyone
wore Persian style garments, and the people they were ruling wore Hindu style garments
from the Mauryan times. Gradually the two costume styles mixed and eventually by the
time of the Guptas, most people were wearing Hindu style garments. The royal court ladies
and courtiers wore a very Hindu style. So the costumes worn during the Kushan period can
be divided into several categories.
Figure 16 Costume categories during Kushan kingdom
The Shalwar Kameez has a very significant place in

the History of the Textiles and traces its roots back
to the invasion and subsequent rule of the Indian
subcontinent by central Asians as far back as 400
CE. Evidence of Persian influence on Textiles and
Clothing in India can be traced to the Kushan
Empire (001 AD). Coinage and stone palettes
found from the Indo-Scythian/Parthian period
show Greek and Persian influences in clothing. The
palettes depict people dressed in caps or headbands, ruched long sleeved Tunics, calf-length
Coats worn loose crossed-over from right to left
and secured with leather or metal belt and baggy
trousers.
The Kushan dress evolved from a nomad culture
based on the use of the horses. This costume very
well resembles the anarkalis and shalwar suits of
the present day.
Figure 17 1st Century A.D. - Kushan
Period Costumes; Kanishka (From the
warrior class)
Persian Rule
Due to the Islamic invasion in the 11th century,
Persian fashions were incorporated in the
everyday wardrobe. Men and women would
wear long trousers with a long tunic that came
down to their knees. Some women wore long
veils that would cover their trousers. Silver and
gold jewellery became popular among Indian
women. Women also started sporting the bindi,
which is a red dot on the forehead.
Figure 18 Persian Clothing
Figure 19 Persian Caps and garments
Persian Caps and dresses were introduced

in India. The major inspirations were taken
from the motifs of Persia that were
introduced later in carpets and other
textiles.
Gupta Dynasty
The Gupta Empire extended across presentday northern India and portions of presentday Pakistan and Bangladesh from about
A.D. 320 to about 500. At this time, India
became a centre of art, learning, and
medicine. As traditional Hindu monarchs,
the Guptas were strong supporters of Vedic
religious beliefs and rituals. Hinduism had
reached its peak Manu Smriti dictated a
rigid class system and Buddhism declined.
During this time many types of cut and sewn
garments started to exist in the country and
the proofs are found in various sculptures of
gupta times.
Figure 20 Gupta Empire
Figure 21 5th Century A.D. Gupta Period- Deogarh
The sculptures in the right clearly show women in dancing posture wearing cut and sewn
garments resembling kurta pyjama.
Other
sculptures
resembles garments
like kurta with side
slit which is very
similar
to
the
silhouette
of
lucknawi side cut
kurtis (local name).
Figure 22 Gupta Period Sculptures depicting side slit Kurta and

churidar/Pyjama
Figure 24 Gupta Period -5th century AD

Depicting Lehenga-choli, dupatta and
Dhoti -Bikaner
Figure 23 Gupta Period Sculpture depicting Kurta 5thCentury AD-Deogarh
After 5th century A.D. stitched antariya evolved as ghaghara and Kanchukas were also
noticed. Kanchukas were the close fitting garments closing the upper body. During and after
6th century A.D. men started wearing lungi instead of dhoti/saree. In 7th century A.D. when
Indo Scythians came, they brought new textures and materials with them which makes
present day scenario. So, it is clear from the above discussion that saree, dhoti, lehengacholi, kurta-churidar/pyjama already existed in the country before Mughals conquered the
nation. Therefore, there is nothing such as Hindu and Islamic costume in Kathak dance form.
It is only the style that was prominent in both the cultures. Today also while depicting
compositions like jahaan-ara, Mughal-e-azam the artist wears anarkalis and veil because it
was prominent during their rule and the characters in reality used to wear those. Same is
the case with compositions based on Radha-Krishna and any other Hindu character.
Mughal Empire
Central Asian Muslims established the empire in 1526. By about 1600, the Mughals
controlled most of what are now north and central India, Afghanistan, Bangladesh, and
Pakistan. The empire lasted until the 1700's.
The greatest Mogul emperor
was Akbar (ruled 15561605),
who subdued some of the
strongest Hindu states. Akbar's
grandson Shah Jahan (ruled
162858) was the builder of the
Taj Mahal. He was deposed by
his son, Aurangzeb (16581707),
who extended the Mogul
domains but aroused fierce
resistance by the Maratha
Confederacy, a group of Hindu
states in central India. Shortly
after Aurangzeb's death the
Persians invaded India and
Figure 25 Mughal Kingdom
sacked Delhi. Many Indian states
declared their independence,
and Mogul power gradually dwindled away, although the empire survived in name until
1858. Muslims found this kind of devotions unsuitable for the patronage but they liked the
music and dance detached from worship. Therefore they sent for dancers and musicians
from Persia and Central Asia. These dancing girls were known as: Dominis, Hansinis, Lolonis,
and Hourkinis. All of them had their distinctive style of dancing.
Mughals brought political unity,

economic stability and social
justice. Akbar married a Rajput
princess and Kathak entered its
golden era. Fatehpur Sikri was the
new centre for dancers, poets and
musicians.
Figure 26 Kathak dance in front of Badshaah Daarashikoh
There was a huge Persian influence

on the costumes and interestingly
new costumes were introduced.
Men wore a jacket and women
wore a choli- a fitted blouse with
short sleeves (midriff bare). Both
had tight trousers called chust
pyjamas. Over this they wore
plisse skirt made of stiff material in
three tiers several inches above
the knee. It resembled the tutu of
western ballet which was not
invented until very much later.
17th Century, Indian Museum, Calcutta
They also took transparent scarf of silk or

Muslin odhni or dupatta head dress consisted
of a muslin Turban.
During Jahangirs era the dancers wore chust
pyjama in a bright colour over which was worn
a high neck diaphanous dress- Angarkha. Soft
flowing bell-shaped skirt was of full length and
like the sleeves was left unlined.
For women, embroidered waistcoat of rich
satin emphasized the body line and odhni. For
men, double breasted angarkha which fastened
on their left with chust pyjamas. Palms and
bare feet were dyed in henna. Numerous
miniatures of 18th and 19th century show the
dancers in the costume.
Figure 27 Tamasha of Bhaat and Nat

In Akbars court, 17th century- Courtesy: Baagla
Family, Haathras
2.4.2 Contemporary Costumes and Make-ups

Traditional (and perhaps
more specifically Hindu)
costume
sometimes
consists of a saree,
whether worn in an
everyday style, or tied up
to allow greater freedom
of movement during
dance. However, more
commonly, the costume
is
a lehenga
choli
combination, with an
optional odhni or
veil.
The lehenga is
loose
ankle-length skirt, and
Figure 29 Lehenga, choli, Dupatta
Figure 28 Anarkali-churidaar
the choli is a tight fitting
blouse, usually shortsleeved. Both can be highly ornately embroidered or decorated. The lehenga is sometimes
adapted to a special dance variety, similar to a long Ghaghara, so that during spins, the skirt
flares out dramatically.
Figure 31 Saree
Figure 30 Anarkali-churidaar
The traditional costume for men is to be bare-chested. Below the waist is the dhoti, usually
tied in the Bengali style, which is with many pleats and a fan finish to one of the ends
(although it is not unknown for dancers to tie the garment more simply). There is the option
of wearing a men's bandi too. For Islamic compositions, the costume is kurta-churidar.
The kurta can be a simple one, or again, adapted for dance to incorporate wider flare, but is
usually at least knee-length. Men may also wear an angarkha; particularly older variety
costumes include the small peaked cap too.
Figure 32 Different Styles of Men's Kathak Costume
There is no specification in costume or make-ups in

Kathak. These elements have become much
customized and contemporised as well. The artist
wears clothes as per their wish and also keeping in
mind the backdrop of the stage, the occasion and the
compositions. The traditional followers of the
Natyashastras aharya abhinaya exist no more now.
As we know Bollywood is the biggest common
platform of arts and artists and Kathak being one of
the most popular classical Indian dance form, is also a
part of Bollywood Industry to a huge extent. The
exploitation of Kathak is reflected very clearly in
bollywood songs and dances. They are not only ruining
the traditional essence of the art form in terms of
costume, make ups and character depiction but also
creating a misconception regarding the same.
Figure 33 Pandit Anuj Mishra in

Mughal character
2.4.3 Compositions
Kathak survived mostly in Rasleelas. During British rule the paintings of Mrs. Belnos and
Solvyns titled as Nautch are a big evidence of the costumes worn in Kathak. Kathak as
divided into 16 sections: Bhadohi- Mirzapur district, Mathapati- Matha, Manvari,
Bhunsaina, Gonraha- Gonda, Usari, Nandik, Rajaipur, Notepur, Naikan, Jangali, Mangali
(Azamgarh & Gorakhpur). The Kathak dancers were same as Brahmins; the only difference
between them was that the Kathakars cannot take Dana (endowment) like Brahmins. Due
to belief of Prostitution (created by Britishers) and their linkages to Dancers- the dance form
was after some time at the verge of vanishing but at the same time foreign Dancers came to
India and the dance form was being encouraged with the appreciation. Madam Menaka (A
famous Dancer) introduced innovation with the help of Shantiniketan and made Kathak
more presentable on the stage.
Kathak is composed by two parts, Tala and Gatha. Tala is a part of footwork and is the most
important element of Kathak. We have mens tala and womens tala. It is said that mans
tala originated from god Shiva and womens tala originated from Parvatis movements
(Tandava and Lasya). Gatha is a gesture. Various meanings are expressed through different
mudras as in other Indian Dance forms.
Mostly the Kathak Dance Themes are related to Lord Krishna. For example, a dance of
depicting the childhood pranks of Krishna, A sprang dance in which Krishna plays merrily
with milkmaids (Gopis), and (it is very lovely dance expressing the picking of flowers, the
flying of a kite or playing in water.)
A dance of young Krishnas love or a dance of Krishna who dallies with Gopis in Vrindavan
woods in the moonlit night and plays a flute leaning to a tree, or some romantic stories of
his beloved Radha. Some themes are about Lord Shiva and Parvati, and some are about
Shiva and Rakshasa, or other new themes appearing one after the other.
The compositions of Kathak were known as Kathanak. Some of the famous Kathanak are:
Ahilya Uddhaar
Putna Vadh
Bheelni (Shabri) Bhakti
Maharas
Madhavanal Kaam kandala
Meera Giridhar
Rukmini Parinaya
Usha Anirudhh
Kaliya Daman
Ganga Vataran
Geet Govind
Tripurasur Vadh
Daan Leela
Panghat Leela
Vaaman Avatar
Shiv Tandava
Sudaama Leela
Parvati Mangal
Bhasmasur Vadh
Madan Dahan
Makhan Chori (Ukhal Bandhan)
Mareech Vadh
Raam Leela
Udvav Leela
Urvashi
Krishna Leela
Gaj aur Graah
Govardhan Leela
Dashavtar
Draupadi Cheer haran
Lakshman Shakti
Vishwamitra- Menaka
Sati anusuya
Surdaas
2.4.4 Krishna Customs in Kathak

Lord Krishnas romantic love for Radha symbolised mans love for God. Always depicted as
an engaging young man of dark complexion and as such represented a major concession by
the fair skinned Aryans to the original dark skinned inhabitants of the Indian subcontinent.
Art of medieval India was dominated by Krishna theme. Krishna legends became a
permanent feature of Kathak repertoire. In Mahabharata, Arjun appears as a disciple of Lord
Krishna and there we come to know his major teachings that are about Duty. The episodes
of his teachings were excellent subjects for poetry, music and dance which in Vaishnavism
were important mode of worship.
The Natyashastra describes ras and rasak as secondary forms of drama, but today the
meaning is more specific and refers to the Ras which Krishna danced with the Gopis of
Vrindavan.
Krishna as a young man was so attractive that all the Gopis were in love with him and longed
for him constantly. Krishna, seeing that their love was sincere, promised each one that he
would fulfil her desire by dancing with her by moonlight. One night, when the moon was
full, the silvery notes of Krishnas flute echoed through the forest. Each Gopi left her home
for the banks of the Yamuna, drawn by the irresistible call of the flute. Here Krishna awaited
them. He projected himself in such a way that each Gopi had a Krishna as a partner. They
formed a big circle and the dance began. So, enchanting was the dance that even the gods
and goddesses were envious and wished they too could join in. The dance lasted for six
months, yet when the Gopis returned home they found that their husbands and families did
not even know they had been away.
There are five chapters in the
Bhagwad Puraana devoted to a
description of the Ras. The Rasleela is
found as a folk-drama in many parts
of India, but the Rasleela of Braj
deserves special mention. It was here
in the home of Krishna legends, that
it was first enacted in its present
form and has been danced in an
unbroken tradition since
the
sixteenth
century.
The
stage
techniques employed in Rasleelas are
very simple. The stage, on the same
level as the audience, is quite bare
except for a small square platform on
which there are two seats, for Radha
and Krishna. The only curtain used is
held up by two men when a special
dramatic effect is required, such as
before the jhankis or tableaux or
sometimes before the introduction of
a character. Jhankis puncture the
whole dance-drama and are an
important feature of it. They have
retained their authenticity and look Figure 34 Pandit Anuj Mishra as Krishna & Neha Singh as
Radha
like sixteenth century miniatures
brought to life.
The Rasleela may be divided into three distinct parts, the prologue or nitya ras, the Sangeet
or didactic piece and finally the leela or play proper. The dance drama has a traditional
opening with Radha and Krishna seen seated. First the chorus sets the mood by singing
devotional songs. The Gopis then offer a puja and invite Radha and Krishna to join the dance
in the ras mandal which is the actual dance area. They form a circle and the ras begins.
The nitya ras introduces the chief characters but its main interest lies in its dance content. It
is the only part of the dance-drama where stylized dance movements and interesting
rhythmic pieces called parmuls, are used. These have a strong affinity with the Kathak style
of the story tellers of the North Indian temples. There are special parmuls for the
introduction of each character. This function of the parmuls can be compared with that of
the pravesar Nritya of sattra ras, which has similar dance pieces with distinctive bols for
Radha, Krishna and the Gopis. Parmuls are danced at speed and have fast pirouettes. The
nitya ras also contains short dance pieces rather like the gaths of Kathak, and even
incorporate graceful chaals and eyebrow movements. The interesting choreography of the
nitya ras makes a colourful and exciting opening to the Rasleela.
The Sangeet which comes next contains a sermon and devotional songs and poems sung by
the chorus, since, for vaishnavites, the arts were a means of devotion and were used by
them to teach people the traditions and practices of their religion, it was not unusual to find
direct instruction such as sermons and expositions, sandwiched between acts in dance
dramas. The Sangeet also served to remind people of the religious aspects of the RadhaKrishna legends.
The third and last part of dance drama is the leela or main play. For this one story is chosen
from the great wealth of Vaishnavite mythology. The selected story is then danced from
beginning to end in one long sequence, without breaks or divisions into acts.
This part of the Rasleela is entirely in the folk tradition. The gestures and abhinaya are a
part of everyday language, used and known instinctively by the villagers. There is no single
pattern of presentation the characters may recite or sing their lines, and the chorus may
repeat them. Sometimes the lines are explained in prose as they are being recited. The
recitations are punctuated by short dances which include gaths, and by jhankis. Although
the dancers appear to vary their styles a great deal they do, nevertheless, follow the chosen,
carefully planned patterned of presentation. Much of the tradition of sixteenth century
Vaishnavism has been preserved in the Rasleelas.
The numerous Radha Krishna miniatures show the same structure of presentation and the
same costumes as are worn today, namely ghaghara, choli and dupatta for women and
dhoti for men. Even the language has a sixteenth century flavour, and the similes used give
an insight into the social conditions of those times.
There is much speculation as to whether the Rasleela, which is a folk art, has borrowed from
the classical style of north India. Certainly there are many points of similarity between the
two, but these may have arisen because both deal with the same Vaishnavite themes,
although Kathak is by no means restricted to these. Bhava in the mime of the Rasleela, like
that of Kathak, is natural although not as developed.
2.5 Comparative studies of Kathak

Kathak and Rasleela
If we talk about the
similarities of Kathak
and Rasleela, both have
emerged from the same
geographical area i.e.
North India. Bhava in
Rasleela is not much
developed. It shares
much Vaishnavite poetry
which
incorporated
dance bols and was
intended
to
be
expressed
through
singing as well as
dancing. Kavita torah
Figure 35 Painting depicting Raas leela
(Kathak) and Kavita
(Rasleela) with dance bols are examples of this. Both the dances were at peak at the same
time. Certain elements like gaths from Kathak permeated into the Rasleela through the
influence of the professional Kathak dancers, so numerous and popular at that time. Until
comparatively recently, the rasleela was performed mostly in temple courtyards, and this
sustained its religious character. The dance itself is far from the austere solemnity
associated with religion in western thinking. People enjoyed the Rasleela. Through music,
poetry and dance they brought the happiness of their own lives to their worship, but the
religious experience was, nonetheless, profound. The dance is no longer confined to the
temples, but has not in any way lost its religious significance.
During the festivals of vasant, holi and janmashtami, the fairs of Vrindavan and Mathura
resound to the rhythms of the mridang and the streets are crowded with pilgrims and
visitors. The temples, decorated with buntings and marigolds, are filled with the heavy
perfume of incense and the rhythmic chanting of Sanskrit hymns. The intermittent call of
the conch shell penetrates the noise and bustle to remind the happy crowd that this is
essentially a religious festival. These festivals would not complete without performances of
rasleela in the ras mandals, dance enclosures, and the open spaces around the town.
Meanwhile, the quiet glades and mango groves, so favoured for love trysts, pulsate with the
fullness of life and the voice of the koel echoes to the throb of the distant drums.
Kathak and Bharatnatyam

Kathak is a traditional dance that although started at
the same time when Bharatnatyam and therefore has
lots of similarities between them. Also, both the dance
forms were women central, but if we talk about
dissimilarities, there are many which make it two very
different Indian classical dance forms. Due to the
impact and interference of various cultures and
traditions, Kathak is not depended to any particular
textual source or book while if we see the techniques
of Bharatnatyam, it is completely emerged from Bharat
Munis Natyashastra and also depends upon various
instructions written in Sangeetratnaakar by
Shaangadeva. Earlier there were various names of
Kathak like natwari nritya, dhrupadnritya etc while
Figure 36 An Artist performing
Bharatnatyam was known as Daasiattam in earlier
Bharatnatyam
period. As Guru-shishya Parampara played a major
role in Kathak, although it does not continues the
same way till today but holds a strong position in the history of Kathak, Gurus were known
as Nritya-Guru or dance gurus, while in Bharatnatyam they were known as Nattuvan. The
performance of Kathak has few elements in sequence like that, aamad, bol, tode-tukde,
paran-kavit, gat bhaav and tatkaar. The sequence of Bharatnatyam consists of Allarippu,
Jaatiswaram, shabdam, varnam, padam and tillana. Dance form with emotions and
expressions is performed on a technique named thumri which is in braj language and
Bharatnatyam is done in Tamil or Telugu language. Tarana of Kathak is very similar to tillana
of Bharatnatyam; the elements in both are very similar to each other.
If we see the costume of the two, Kathak has a simple costume majorly ghaghara or lehenga
but these days people also wear anarkali suits and sarees; but in Bharatnatyam the costume
is very different from Kathak. They wear vibrant coloured costume with sarees made of silk.
Kathak is a north Indian dance based on Hindustani music of North India and uses the music
instruments like Harmonium, Baasuri, sitar, sarangi, tabla and pakhwaaj while
Bharatnatyam which is based on South Indian Carnatic music. There are a number of
musicians and instrumentalist who provide the musical accompaniment. Typically there is
one or more vocalist, a person reciting the dance syllables, and a mridangam. Additionally,
one usually finds violin, vina (saraswati vina), or venu (bamboo flute). There is also a
thallam (manjira) which is usually played by the person reciting the dance syllables. The
overall style of the Bharat Natyam musical accompaniment is not unlike other Carnatic
performances. Kathak has two styles of dancing namely Temple and court style and it
established in courts during Mughal era. Kathak once used to be purely a spiritual dance
form but Bharatnatyam was and is still focused on spiritual and religious elements.
Bharatnatyam is a proper temple dance and had never compromised with the same. Being a
temple dance it comprises of the compositions made on Dev stuti i.e. prayer dances
dedicated to Gods and Goddesses and includes tough dance movements and techniques but
Kathak has a majority of compositions based on Krishna rasleela that is romantic and the
dance movements and techniques are soft and gentle. Kathak compositions were done by
people like Surdaas, Tulsidaas, Meerabai etc based on Braj language and thumris which
requires more foot work but the dancers have a freedom of body movements.
Bharatnatyam has the strictness to follow movements and techniques as per the written
textual sources and the major compositions were done by people like Swati Tirunal and
Purandardaam who focused them to religious narrations. Lastly, the priority in
Bharatnatyam dance form is the acting and the body movements unlike Kathak which
focuses on the Ghoonghru and foot work and is the most experimental dance form of all.
Kathak and Folk Dances

Folk tradition is region based tradition inspired by its own area and their customs. They have
various costumes and make ups for their communities like Dhobis, Jatav, Kahaar, Kanjar,
Gadariya, Kumhar Kori, Barua, Ahir, Bediya, Banjaras, Nat and dhadhi etc. Folk tradition can
laos be seen in minor communities and tribes which may be their only medium of
entertainment. Kathak has not much differentiation in their costumes and make ups as they
have three major gharanas: Lucknow, Jaipur and Banaras and the dressing is according to
them only. With respect to their gharanas, Kathak has its own style, emotion and expression
which they convey through that, aamad, padant, gat nikas and tode-tukde. Each of them is
unique in itself. Folk tradition have very simple rhythm and measures like Kaharava, daadra
etc while Kathak has tough and complicated rhythms.
If we concentrate on the compositions of the two dances we see a major difference in them.
When folk tradition has traditional folk stories to narrate, Kathak presents the creation and
composition of Literature and poems. In folk dances, which is presented in a group has a
single rasa in one composition unlike the navarasas used in Kathak which was earlier a solo
dance because of being in the court but these days due to choreographies it may or may not
be presented in a group. There are no rhythmic measures in the folk dances or padhant but
in Kathak- padhant is as important as dancing. There are no stages in folk tradition, the
artists perform on the ground itself but a Kathak performance requires proper stage and
special arrangements of sounds and lights are done. Where folk dances are replications of
our ancient traditional heritage, in Kathak we can see the extreme Mughal influence clearly.
Figure 37 Folk Dances of India
2.6 Textual Sources of Kathak

The interest in a virtually rediscovered heritage of classical dancing in India in the early
twentieth century tells us that the art of dancing attracted not only scholars but also
performing artists. This led to an eager search for the historical sources of the art form and
this effort corresponded with the larger need of the nineteenth century Indian renaissance
to authenticate its national identity by finding roots in a glorious past. A new born faith in
the richness of the tradition was nourished by the fact that numerous treatises on dance
and drama have come down to us from the classical age. These were written between the
second and seventeenth century CE, the earliest being the Natyashastra, attributed to
Bharata Muni. These works have exerted a profound influence on modern studies in
classical Indian dancing. In particular, in their quest for the roots of the tradition, both
scholars and artists have tried to establish a direct relationship between all the classical
styles and the Natyashastra.
The enthusiastic interest in the reconstruction of the history of dancing highlighted what
was seen as the unbroken continuity of a tradition. While there is no doubt that the
tradition was indeed continuous, we must not think of it as an unchanging one. Any critical
comparison of the technique of present day classical Indian dancing with the art described
in Bharatas Natyashastra shows art forms that significantly differ in details of techniques as
well as in broader aesthetic direction. How did this come about? Our only way to trace the
evolution of dancing lies through the rich corpus of Sanskrit manuals on dancing and
discussions in musicological literature in general. A study of this material reveals that there
came a time in the long history of the art when the tradition that was described by Bharata
and codified by his immediate followers encountered the influx of many traditions of
dancing that had been excluded by those early writers as minor and incidental to the
principal tradition they were describing. The encounter of these sets of traditions marked a
major turning point in the history of dancing in India and changed its artistic orientation
even while the groundwork of the art remained the same. It is to this historical point in the
evolution of dancing that we must trace the dance styles we see today. How this came
about is best seen in the evidence we have about the rise of the style known today as
Kathak. For this purpose we shall have to search in the textual material on dancing that has
come down to us, beginning with the Natyashastra.
A historical survey will show that our understanding of the evolution of dancing in India
rests not only upon the Natyashastra but also upon the texts that followed the
Natyashastra. This is true especially with regard to the many desi styles that fed the
mainstream of the art through the centuries. It is, thus, vital to consider these later texts to
assess classical dancing in its historical context.
Natyashastra
Although Natyashastra is not followed by Kathak but since it is the oldest textual source of
dance and drama therefore we see some elements that relate to Kathak as well. The 21 st
chapter of the Natyashastra deals with the Aharya Abhinaya i.e. the costumes and the
make-ups. Kathak-, who was a story teller, also enacted the stories. This can be limited with
ekapatraharya lasyanga of Natyashastra where a solo dancer enacts the content of song
or story with the help of four kinds of abhinaya: angika, vachika, aharika and satvika.
Angika represents the body movements where hand movements are very similar to that
written in Natyashastra. Vachika abhinaya is related to spoken words and singing. Satvika
abhinaya is about expressions of psychic states, intimately associated with emotional
conditions and aharya is about acting. The Nayak and nayika bheda that is mentioned in
Natyashastra is also followed in Kathak dance. They are as listed and described below.
Nayak Bheda
1. Based on character:
Dhirodhata
Proud, jealous & dishonest

Ravana & Kansa
Dhirodatta
Modest & calm

Firm conviction & reserved
Rama & Buddhha
Dhirlalita
Lovers of art & Easy going

Mild tempered & want comfort
Mostly Kings
Dhirprashanta
High noble caste & social status

Brahmans & Vaishyas
2. Based on Situation:
Uttam
Madhyam
Adham
Speaks Truth
Well-behaved
Kind hearted
Helpful
Control his sense
Ready to sacrifice comfort
Well-behaved
Clever
Expert in art & craft
Wicked & Mischievous
Ill mannered, deceitful & angry
Jealous, proud & passionate sinful
Harmful and men of evil design
3. Based on Religion:
Pati
Uppati
Anakul
(favourable)
Vaak chatur (cunning

in talks)
Dakshin (clever &

dextrous)
Kriya chatur
(Cunning in actions)
Vaishik
Rnani
(proud)
Proshit (staying
in aforeign
country)
Dhrishta
(impertinemt)
Shatha
(dishonest)
Anabhinga
(inexperienced)
As per Natyashastra the eight ingredients that indicate a satwik hero are: Sobha (lustre),
Vilas (luxury), Madhurya (Sweet or joy), Gambhirya (serious), Sthairrya (calm), Tej (Valor),
Lalitya (graceful), and Audaarya (Munificence).
Nayika Bheda
1. Based on Nature
Divya- The one with good qualities
Adivya- The one with average qualities
Adivydivya- The one who is noble and has godly qualities in her.
2. Based on Appearances
Swadhinpatika - Contended
Khandita- Disconsolate at being betrayed
Abhisareeka- One who reaches an appointed spot to meet her love
Kalantarita- One who has quarreled with the love and is repentent.
Vipralabdha - One who is disgraced by the lover unresponsive of signals
Proshita-Patita- One whose husband is abroad and is distressed at his absence
Vasakasajja- One who adorns herself with ornaments waiting for her love
Virahatakanthita-frustrated by the non-arrival of her love at the appointed time
3. Based on Appearance
Padmini- Less hair on her body, taste for fine arts
Chitrani- Modest, humorous, loves music, nose like til flower and eyes like blue lotus
Shankhini- Thin, immodest, proud and angry
Hastini- Flabby, body full of hair, violent, walks like an elephant
4. Based on Qualities and temperaments

Uttama- Well wisher of Husband
Madhyama- Responses to wishes of one, other than husband
Adhama- Wicked & mischievous
As per Natyashastra the nayika bheda followed in Kathaka are as follows:
Undoubtedly, the Natyashastra remains the single most important source of our knowledge
of Indian dancing. However, it is also necessary to note that the Natyashastra does not by its
own admission, record every form of dancing known at the time, especially the popular and
regional styles that it terms as desi. The evolution of those styles is a neglected area of
dance studies. Yet references to these styles in Sanskrit works on dance and drama indicate
their vigorous continuity through the ages, indeed, Kathak, one of the five major styles in
India today, appears to be descended from one of these so called non classical styles of
early India. The evidence for this view comes from a sixteenth century work, the
Nartananirnaya of Pundarika Vitthala.
Natyashaala described in Natyashastra
Figure 38 Natyashaala (Stage Concept): Natyashastra

Nartananirnaya- an early textual source of Kathak

Of all the groups of treatises, perhaps the most remarkable is the Nartananirnaya, in as
much as it devotes itself exclusively to desi types of dancing. Although it follows the
sangitratnakara in describing some desi dances, for the most part it reports a different desi
style. When we look closely at the technique of that style we begin to see certain striking
similarities with the technique of Kathak. One cannot say that the style described in the
Nartananirnaya matches Kathak exactly, but one may certainly view that style as the
precursor to Kathak. The book was written by Pundarika Vitthala for the pleasure of Akbar,
the moghul ruler, as it stated in the colophon:
In this world this simple sangita is created with a lot of varieties in order to please King
Akbar, May it please the heart of the good-hearted ones. Nartananirnaya, 4.914
In Nartananirnaya, the author says- That dance is known as Jakkadi which is devoid of effort
and action. The song sung by the experts from Persia using udgraha, swara etc. and
vernacular is known as Jakkadi which is the favorite of the yavanas.
Since all the modern scholars believe that Kathak is influenced by Persian dance forms,
Pundarika Vitthalas statement provides the strongest possible argument for tracing the
ancestry of Kathak to the style he describes. The Nartananirnaya seems, therefore, to be the
proper textual source for Kathak. The claim becomes stronger still when one examines
points of techniques.
Other works like Manosollasa by somesvaradeva, the sangeetasamayasutra by parsvadeva,
the sangeetratnakara by sarangadeva, the nrittaratnavali by Jayasenapati, the
sangitmakaranda by Narada, the sangeetopanisat saroddhara by Sudhakalas,
sangeetdamodara by subhankara, the Nrittadhyaya by Asokamalla, the Nrtyaratnakosa by
Marana Kumbha, all deal at least partly with different kind of desi style. In doing so, these
texts occasionally mention about dance movements that are similar to Kathak; but none of
the texts offers the methodical and inclusive account found in the Nartananirnaya.
Sangitadarpana by Damodara however, is a later work, originating in the reign of Jahangir,
son of Akbar, approaches the completeness of the Nartananirnaya in describing the same
desi traditions. Clearly, Nartananirnaya has the precedence over all other books.
The Nartananirnaya has four chapters, on rhythm, drum, song and dance. In the chapter on
tala, or rhythm, the author describes only those talas that are applicable to the dance he
describes. The technical terms used in this chapter match those used by Kathak dancers.
Nirmala joshi gives a list of such terms in her short article, technical terms pertaining to
dance in general and used in Kathak. She regards them as pranas, or the life- blood of
talas. They are almost identical with the different sadhanas mentioned in the chapter on
tala in the Nartananirnaya. For instance, in Kathak we find the division of yati, or the
rhythmic arrangements of the tempo into five categories. They are sama, srotagata,
gopuchhika, pipilika and mrdangi. The Nartananirnaya has one more, Kharjurika; but other
than that it lists the same types of Yati, even in detail. Another term, Kuvada, used in Kathak
to indicate the climax of a complex rhythmic pattern, can also be found in Nartananirnaya.
A major characteristic of Kathak is that, although, like other forms of classical dance, it
follows the same basic rules for the movements of the individual parts of the body, it has its
own way of reinforcing those movements. A good example may be taken from Maya Raos
article, The hastas in Katha.
In Kathak the body as a whole is visualised as the prime medium of expression for
instance, if the dancer intends to represent the moon, not only will his hands show the
ardha Chandra Hasta, but his body will also bend in an arch to suggest the idea of the
crescent moon. It is written in Nartananirnaya when a performer stands in sampada with
her waist bent in the shape of half moon and she rotates her body, it is lavani.
Two of the most distinctive movements of Kathak are chakkars and tatkars. A chakkar is a
rapidly spinning movement while a tatkar means to stamp on the ground with one foot or
both feet marking the rhythm with the ankle bells. Chakkars can be identified as the
chakrabharamaris mentioned in the Nartananirnaya, which describes them as spinning
movements.
Chakrabhramari is performed by spinning like a wheel in the middle of khandasuchi
It is true that the term Bhramari was known long before the Nartananirnaya Bharata
refers to them- but they were not given the prominence they receive in the Nartananirnaya.
Revolving movements are integral to all Indian styles, but in classical styles other than
Kathak the movements are never fast enough, nor sustained enough to achieve the
aesthetic form that a chakkar creates in Kathak. It is the speed of revolution that sets it
apart and it is precisely this element of fast spinning, comparable to the pirouette that we
find in the description of chakrabhramari is in Nartananirnaya.
In its discussion of revolving movements the Nartananirnaya also describes tirapabhramari.
Revolving obliquely with both the legs after crossing them is tirapabhramari.
According to D.G.Vyas, Kathak has a movement termed tirapa. Surely, this is more than a co
incidence. Another dance that Vyasa includes in Kathak is urupa. The term urupa again is
found in the Nartananirnaya which places it in the category of bandhanrta, that is, dance
sequences set by rules.
As for tatkar, it clearly corresponds with the gharghara of the Nartananirnaya. The
movement is Gharghara is stamping the ground to make the sound of ankle bells.
Gharghara can be of six kinds, namely, pandivata, siripidi, patava, alagapataka, sirihira and
khaluhula. Padvita is to stamp the ground alternately with one or both heels touching the
ground with the toes. Siripidi is to move forward and backward repeatedly and alternately,
touching the ground with the sole of one foot. Patava is to strike the ground with the sole of
one foot. Alagapata is to shake both feet delicately and alternately in the air like pendular
mrdangas. Sirihira is to place one foot in sama while the other is extended forward. The
shank is shaken. Or both the feet are placed naturally and the shank is shaken to bring out
the sound of the ankle bells. According to experts in dancing, khaluhula is to stamp the
ground with the heel of the left foot while touching the ground with the toes. The other foot
is moved round to the right and to the left touching the ground with toes.
To this list of parallels we may add rasa nritya, which is one of the best known dances of the
Kathak style. It also appears in Nartananirnaya, which describes it, significantly enough, as a
spring festival dance, a description that fits the Kathak rasa perfectly. The history of rasa is a
long, involved and often puzzling one, and the Nartananirnaya is not the only work to
mention it, but the reference to rasa nritya surely argues a connection between the
Nartananirnaya and Kathak.
In Nartananirnayaa dance termed as Jakkadi, a Persian dance is described in a way that
resembles very much to Kathak.
Where the song is sung by the dancer in the language of the yavanas, holding her veil,
words uttered with Kalla, gajara etc. and beautified with ahanga, the dance should be
performed being adorned with various three layas. When this dance is performed with soft
movements adorned by bhramaris, where the kriya is done with sounded beat in accordance
with the difference between dhruva and samya that dance, which is devoid of effort and
action, is known as jakkadi. The song sung by the experts from Persia using udgraha, swara
etc., and vernacular is known as jakkadi which is the favourite of yavanas.
This can be compared with the ghunghat gat of Kathak where the dancer places her right
hand on her head to hold her veil firmly, and with her left hand raises the veil from her face
while she moves forward with her eyes lowered.
The evidence presented here is more suggestive than conclusive. However, it seems to
establish a clear and exclusive connection between Kathak and the Nartananirnaya, in so far
as we find the two sharing not only similar technical features but more importantly, certain
configurations of movements. Moreover, these parallels involve not trivial characteristics
but distinctive features of the Kathak repertoire, such as chakkars or tatkars. Nor must we
disregard the Persian inheritance traditionally ascribed to Kathak, which draws it all closer
to the Nartananirnaya, which, according to its author, describes among others the Persian
style. Given this evidence it seems likely that we have found in the Nartananirnaya a definite
textual source for Kathak.
2.7 Prominent Kathak Artists

Maharaj Bindadeen
Maharaj Bindadeen is most respected name in the field of
Kathak dance. He was the eldest son of Maharaj Durga
Prasad jee of Lucknow. His full name was Vrindavan Prasad.
He was born in 1838 A.D. and died in 1918 A.D. At the age
of nine years his dance training was started. For four years
he had practiced only four bols of tatkar Tig da dig dig up
to 12 hours daily. On the basis this hard practice only he
could collide with famous Pakhwaj player Kudau Singh in
very young age. He could compose new Parans very easily
and quickly. His demonstration of Bhava was also most
attractive. He was also capable to perform some surprising
Figure 39- Maharaj
dance items, as dancing on Gulal (colored dust) and making
Bindadeen
a picture, dance on nails, sword or batashas (a soft sugar
made things) etc. maharaj Bindadeen was a Vaggeyakar (composer of the words as
well as tunes of a song) of high quality. It is said that he had composed about 1500
thumris and popularised the presentation of Bhava on it, which is considered as his
most important contribution to Kathak dance. Many of these thumris are still use to
sing by dancers and singers. Famous singers of his time like gouharjan, johra bai and
others had taken training of thumri from him. Maharaj Bindadeen was a great
devotee of Lord Krishna. Among the Muslim atmosphere of Lucknow and surrounded
by prostitutes he firmly passed his pious Hindu life and was always attempting for
the progress of Kathak dance with his younger brother Maharaj Kalka Prasad. Pair of
Kalka_Bindadeen was as famous as the pair of Ram-Laxman. King of Nepal, Nawab of
Bhopal and many other dignitaries of that time had honoured him by giving him
ample wealth. He was also a noble teacher, who gave training in dance with
liberality. Most of the credit goes to him for giving shape to Kathak dance in
whatever form it is seen today.
Pandit Shambhoo Maharaj

Shambhoo maharaj was the youngest of the three famous sons of Kalka Prasad and
nephew of Maharaj Bindadeen. He was born in 1908 A.D. at Lucknow. He was trained
in Kathak, first by his uncle and then by his eldest brother Achhan Maharaj. Apart
from concentrating on dancing, Shambhoo Maharaj also learnt classical Hindustani
music, especially the Thumri-Anga, which he mastered under the guidance of
Rahimuddin Khan, younger brother of the prominent

exponent of Thumri of that time Moizuddin Khan. As
he was proficient in both dancing and Thumri he could
show his merit in Nritya and Nritta with great
excellence, and hence occupied a unique position
among the top notchers of dancing. He won numerous
awards and titles, among them; Nirtya Samrat was
bestowed upon him at the music conference at Dehra
Dun, Abhinaya Chaktavarti at Madras and Padmashri
by the Indian Government. He was also the recipient
Figure 40- Pandit Shambhoo
Maharaj
of the Sangeet Natak Academy, New Delhi award. True

to the ideals of his Gharana, Shambhoo Maharaj
excelled in Bhava and revived to a great extent the use of Ashtapadis, and of certain
Thumris and Bhajans and other Nritya pieces in Kathak. Among his innumerable
disciples, a great number of them feature as prominent Kathak dance exponents of
the present day. He endeavoured hard to restore Kathak dance as the pure Natwari
Nritya in its pristine glory and prestige. He was the Head of the Dance Department of
Bharatiya Kala Kendra from 1955. He died suddenly of heart failure on 4th November
1970. Shambhoo Maharaj was the father or four children, among whom two died in
their childhood, leaving the other two alive viz , a son Krishna Mohan Nath, and a
daughter Remeshwari.
Padmshree Ms. Shovana Narayan

Shovana Narayan is a Kathak Maestro and an outstanding
dancer. She is an incarnation of the great artistic and
social traditions of India. She created a new and
innovative style of performing arts by enriching it with a
deeper and wider canvas of expression and dimensions.
She has been awarded with Padmashri in 1992 and
Sangeet Natak Academy Awards in 1999. Shovana
Narayan established herself as a dancer during 1970s and
the last four decades have seen her captivating audiences
in numerous dance festivals. Trained by legendary Kathak
maestro Pandit Birju Maharaj and Kundanlal Gangani at
Figure 41- Ms. Shovana
Kathak Kendra, Delhi, Shovana Narayan is known for her
Narayan
strong urge for experimentation. She has set a unique
trend by redefining dance and often considered as a living legend in the field of art.
Narayan is the first ever professional dancer who combines a fully fledged career as a
senior serving civil servant in the Government of India. Shovana Narayan has also
worked with many western dancers and musicians. Some of her choreographic works
like "Moonlight Impressionism" and "The Dawn After" have been successful in
bringing out the true colour of different dance and musical forms. Shovana Narayan
is an alumnus of Miranda House, Delhi University. She is married to Dr. Herbert Traxl,
former Austrian Ambassador to India. Shovana Narayan was the first dancer to work
on philosophical themes and on the lives of contemporary sages such as
Vivekananda, Ramana Maharshi, Ramkrishna Paramhansa and Mahatma Gandhi. She
is also the first dancer to have rejuvenated the soliloquy tradition, the narrative
tradition of the North-Indian dance form in "Shakuntala".
Pandit Anuj Mishra

Anuj Mishra belongs to the famous traditional family of
Musicians, Gharana of Banaras. His forefather, Late Shri.
Shiv Kishore Mishra was a renowned sarangi player.
Pandit Anuj Mishra is a famous Kathak Dancer &
Maestro. The training of Anuj Mishra started at the age
of 4 years by tying a ganda by his father. He has also
worked with famous choreographer like Malllika
Sarabhai, Rukumini Chatterjee, Karine Saporta, etc. Due
to his studies he could not continue his Kathak dance
training but after completing his high school Anuj Mishra Figure 42 -Pandit Anuj Mishra
was given rigorous training of Kathak by his father Pandit
Arjun Mishra. He is a son of the famous Kathak artist Pandit Arjun Mishra Born in
traditional family of musicians in Banaras, Arjun Mishra has started his training in
vocal and tabla at age of 5 under his father late Pandit Nanhu Mishra. Two years later
he began to be trained in Kathak Dance under the guidance of late Pandit Ram
Narayan Mishra in Gurukul style. His final grooming and specialization were under
Guru Pandit Birju Maharaj in Delhi Kathak Kendra. In 1998 Guru Arjun Mishra has
established in Lucknow the Kathak Academy, a centre for Kathak Training for
Lucknow Gharana where he assiduously keeps up his triple roles of Dancer, Guru and
Choreographer. In Kathak Academy the training is based on Guru-ShishyaParampara., the student get individual attention, special intensive classes and
support to grow and mature into a complete performing artiste.
Anuj Mishra represents 11th generation of a family steeped in traditional music. His
father, Pt. Arjun Mishra trained with Shri Ramnarayan Mishra of Kolkata and later
with Pandit Birju Maharaj. Though the Kathak training of Anuj Mishra started late, he
has outshined himself in dance and has been performing in India and abroad with
various dancers and choreographers of repute and in solo concerts.
Pandit Birju Maharaj

Brijmohan Mishra popularly known as Pandit Birju
Maharaj (born February 4, 1938) is the leading
exponent of the Lucknow Kalka-Bindadeen gharana
of Kathak dance in India. He is a descendant of the
legendary Maharaj family of Kathak dancers,
including his two uncles, Shambhoo Maharaj and
Lachhu Maharaj, and his father and guru, Acchan
Maharaj. Even though dancing is his first love, he
also has an excellent command over Hindustani Figure 43- Pandit Birju Maharaj
classic al music and is an accomplished vocalist as
well. He took Kathak to new heights by choreographing new Kathak dance dramas.
He is also the founder of kalashram. He has toured extensively across the globe,
given thousands of performances and held hundreds of workshops for Kathak
students.
After working along with his uncle, Shambhoo Maharaj at Bhartiya Kala Kendra, later
the Kathak Kendra, New Delhi, he remained head of the latter, for several years, till
his retirement in 1998 when he opened his own dance school, Kalashram, also in
Delhi.
Birju Maharaj was born in the house of noted Kathak exponent, Jagannath Maharaj,
popularly known as Acchan Maharaj of Lucknow Gharana, who served as court
dancer in Raigarh princely state. He was trained by his uncles, Lachhu Maharaj and
Shambhoo Maharaj and his father, and he gave his first recital at the age of seven.
On 20 May 1947, his father died when he was nine. After a few years of struggle, his
family moved to Delhi.
Birju Maharaj started teaching the dance form at the young age of thirteen, at the
Sangeet Bharti in New Delhi. He then taught at the Bharatiya Kala Kendra in Delhi,
and at the Kathak Kendra (a unit of the Sangeet Natak Academy) where he was Head
of Faculty, and Director, retiring in 1998 after which he opened his own dance
school, Kalashram, also in Delhi. He composed the music, and sang, for two dance
sequences in the Satyajit Ray's Shatranj ke Khilari, and choreographed the song
Kaahe Chhed Mohe from the 2002 film version of novella Devdas.
Birju Maharaj has won many accolades, including Padma Vibhushan in 1986, Sangeet
Natak Academy Award and the Kalidas Samman. He also received honorary
Doctorate degrees from the Banaras Hindu University (Varanasi) and the Khairagarh
University. He was the recipient of the Lata Mangeshkar Puraskaar in 2002, Bharat
Muni Samman and National Film Award for Best Choreography for Vishwaroopam
(2012).
CHAPTER 3
ANALYSIS
Summing up the primary and secondary research, the study brought various findings
through observations, interviews, reading and analyzing the information gathered into
limelight. Starting from the historical contents of the dance form, leading to the
developments and growth that occurred as a result of the influence of various cultures and
landing on to Kathak of present day, the research witnessed both pros and cons that are
explained in this chapter.
3.1 Kathak in Bollywood

Bollywood has always been a huge platform of showcasing any idea in the form of art
making it more glamorised and contemporary. For making Kathak one of the most popular
dance form, bollywood has also played a major role in providing Kathak a larger platform to
reach the common people, but it also has its own pros and cons. There was a time when
Kathak was shown in very traditional and authenticated forms in the movies like pakeezah
Devdaas and Mughal-e-azam.
Figure 45 Meena Kumari in Pakeezah
Figure 46 Vaijantimaala in Devdaas
Figure 44 Madhubaala in Mughal-e-azam

As time passed and bollywood industry

became more glamorised and exposed,
Kathak started to be presented in a way it
never existed. The last authenticated Kathak
dance in bollywood was seen in Devdaas by
Madhuri Dixit.
Traditional and old artists who believe
Kathak to be very close to their hearts feel
sad about the fact that these days
bollywood show mujras and it is being
mistaken with Kathak. The incorrect
messages are being sent out through such
sequences where Kathak generally
reduces to mujra sequences.
Figure 47 Madhuri Dikshit in Devdaas
These misconceptions are also reaching the minds of people. Purely Kathak elements are
used to show seductive mujras which are vulgar to a certain extent for the traditional spirit
of Kathak.
Padmshree
Ms. Shovana
Narayan in her
interview says
that After all,
kathak
was
originally done
by
temple
priests
who
would enact
out
stories
using dance
as a medium.
It was only towards the end of the Mughal rule that it received patronage from rulers like
Nawab Wajid Ali Shah who became a 'gandabandh shagird' of Thakur Prasad and Bindadin
Maharaj, both of whom were forefathers of Pt Birju Maharaj. Despite formalization and
efflorescence of rhythmic parameters, kathak retained its devotional flavour. With such a
haloed background, it is unfortunate that people associate kathak with mujras and think
that only dancing girls did it. I guess, many would be shocked to hear that it was originally
done by temple priests. However, I try not to judge Bollywood dances (which are really a
mish-mash of the various dance forms) and look at them only as a popular form of
entertainment.
Figure 49 Kareena Kapoor in Agent Vinod
Figure 48 Kangana Ranaut in Rajjo
3.2 Innovations in Kathak: Their causes and consequences

Throughout the years Kathak has gone through many changes and innovations, some
became a tradition and some just a form of entertainment forgotten right after the
performance but each of them were unique in itself. Some of the major contemporary
innovations are discussed below.
Kathak has always evolved; it never remained in a static form. The major innovation which
we see today in Kathak is that dancing is faster and more virtuosic. Although it is made
possible by advanced training but also in response to expectations by audiences who live in
fast-paced environments. Exposure to other artistic forms inevitably finds its way into the
art. Hand clapping, for instance, did not exist forty years ago but now it exists in the dance
form.
We also hear new terminologies blended with Kathak and
are performed successfully on national and international
platform such as: Sufi-Kathak, Kathak-Flamenco and
Kathak-Yoga. Not only this, but there are various other
dance forms that have been experimented with Kathak,
like Kathak- hip hop and Kathak- salsa, although they are
not so popular as the others. Manjiri Chaturvedi
introduced Sufi-Kathak which is one of the popular fusion
created from Kathak. It was composed and choreographed
under the guidance of artist and Guru Pandit Arjun Mishra.
Now Manjiri Chaturvedi is promoting Kathak blends like
Sufi Kathak where the classical interprets the Sufi poetry
under this category, Pandit Figure 50 Manjiri Chaturvedi
performing Sufi-Kathak
Chitresh Das from Kolkata
needs a special mention. He has created Kathak-Yoga in which
the dancer recites, plays the tabla and does the footwork.
If we talk about the old tradition termed as Guru-Shishya
parampara which explains the dedication and bond of a
teacher and a student, has completely changed and today it is
very clear that the gurus role has changed. No longer has the
guru had lifelong control over the shishya. Dancers today are
trained in institutions, in lessons, with curriculum and often
change teachers. Along with the shift in costumes, there is a
shift in instruments from mridanga/manjira to tabla and many
others as well.
Figure 51 An artist performing
Kathak-Yoga
Pandit Chitresh Das and Smith met each

other during the American Dance Festival in
2005, in North Carolina. One day, Das and
his wife approached Smith with the idea of
a dance collaboration of some sort. Thus,
India Jazz Suites was born. The show first
premiered in San Francisco in 2005 and
went on to tour the US and India.
Das learnt about tap dance, jazz and Afro
American culture by attending black
Figure 52 Kathak maestro Pandit Chitresh Das and festivals and tap jamming in New York to
the tunes of jazz saxophonist Charlie
tap dancer Jason Samuels Smith
Parker. Smith visited the biggest Shiva
temple in Coimbatore and stayed till the evening aarti. For the two artistes, it was more
than just the dance. This style is again an interesting innovation in the field of Kathak.
These innovations are in a way good for Kathak until and unless they dont harm the
essence of the dance form. The innovations not only increase the popularity and make the
art form acceptable worldwide but also make it more and more experimental. Although
there are few concepts which should not be mixed with Kathak as it transmits a wrong
message and incorrect knowledge regarding the same.
Tradition becomes our security, and when the mind is secure it is in decay.
Jiddu Krishnamurti
3.3 Observations and Suggestions

The study concluded several problems which if taken care of and solved can keep Kathak in
its traditional and original aura. There are various elements which are either missed out due
to less public demand or not conveyed in the right manner. The observations as well as
some possible solutions are suggested in this section.
If we see Kathak performances today, there is no system or sequence in the execution of
Kathak elements. Artists present aamad, gatbhav, tatkar, thumri as per their wish which
creates confusion in the minds of people who see or learn. So it is better if the performer at
the time of learning is told the sequence and is asked to perform in the same manner. This
will help the art form grow in a systematic way.
A true Kathak dance is equal combination of nritta, nritya and natya; but these days people
are only focusing on nritya part. The compositions like Murli and Matki have become very
overrated gats of Kathak. The compositions need more choreographic innovations to keep
the versatility of the art form alive.
Since there is no particular textual source for Kathak, therefore there is no particular
costume for Kathak; Dancers even dress up in an absurd manner that should not be
acceptable and should be objected as well as rectified. In Bharatnatyam, the costume and
make-ups are defined and therefore fixed. Bharatnatyam dancers also have some specific
brands which cater to the artist category like Nalli silks likewise even Kathak can have some
specific brands so that the uniformity can be maintained in it.
There is no unity in the Gurus and Guru-Shishya parampara has completely came to an end.
The experience of the artists say that if they leave a particular academy and goes to a
different guru because of some genuine reason, the new guru totally discards the previous
learning and teaches the dance form from a new node. The gurus also need to take care of
the unity.
Earlier when Kathak was used to be performed in a small crowd, some of the very beautiful
compositions like baithaki bhaav which is performed in a sitting posture, attracted all the
hearts and minds but due to present day auditorium concept, where an audience of 25003000 people and more are there to watch the performance these kind of choreographies
have completely came to an end. More of the chamber concepts should be brought which
can keep these forms alive.
Regarding costumes there is a lot of misconceptions in the minds of people created due to
incorrect information on the websites and other sources. The confusion about which
costumes started when and due to whose influence are wrongly interpreted which is
already discussed in the chapter elements of Kathak under the section of History of Indian
costumes. This needs to be corrected and validated.
3.4 Interviews
During the primary research various people related to Kathak field were interviewed. An
open ended interview was conducted and their views were deeply analyzed and included in
the findings. The people who were interviewed were:
Figure 54 Pandit Arjun Mishra

Figure 53 Pandit Anuj Mishra
Pandit Arjun Mishra and his son Pandit Anuj Mishra, both are very similar in thoughts
regarding Kathak. While Pandit Arjun Mishra is a Kathak maestro, Pandit Anuj Mishra is one
of the most renowned Kathak dancers from India who not only performs in the country but
had also performed various innovative Kathak compositions like Kathak-flamenco
internationally as well. Pandit Arjun Mishra is one of the leading gurus in Lucknow, fighting
with cancer since a year; he has amazing liveliness in himself and loves his profession
unconditionally. In between the conversations, he expresses random mudras while saying
general words. His son and daughter both are international performers; Anuj Mishra has an
outstanding name in Kathak today.
Sixty four years old Ms. Shovana Narayan, honoured by
padmshree established herself as a dancer during 1970s and the
last four decades have seen her captivating audiences in
numerous dance festivals. Trained by legendary Kathak maestro
Pandit Birju Maharaj and Kundanlal Gangani at Kathak Kendra,
Delhi, Shovana Narayan is known for her strong urge for
experimentation. She has set a unique trend by redefining dance
and often considered as a living legend in the field of art. Very
down to earth and utmost sweet in her talks Shovana jee
expresses her sadness towards the limited audience of Kathak in
India and lack of interest in the youths towards the art form.
Figure 55 Ms. Shovana

Narayan
Ms. Veena Singh, A Kathak reader, performer and teacher in

Bhatkhande Music Institute (deemed University) tells the reasons why she thinks Kathak has
become so experimental and also appreciates government for various initiatives taken to
popularise Kathak and extends her gratitude to the artists who are continuing this dance as
a tradition. Ms. Rashmee is a teacher in Bhatkhande University and Mr. Surendra Saikiya is
also a teacher at Uttar Pradesh, Sangeet Natak Academy at Lucknow.
Figure 58 Ms. Rashmee
Figure 57 Ms. Veena Singh
Figure 56 Mr. Surendra

Saikiya
3.4 Conclusion
Kathak is one of the major classical dances of India and one of the most dynamic theatre
arts in the world. It began with the community of artists known as Kathakas, whose
hereditary profession was to narrate history while entertaining. With dance, music and
mime these storytellers of ancient India would bring to life the great scriptures and epics of
ancient times. From its early form as a devotional expression dedicated to the Hindu gods,
Kathak gradually moved out of the temples and into the courts of the rulers; the Hindu
maharajas and the Muslim nawabs (kings). With these rulers' cultural wealth and
preoccupation with lavish entertainment, a class of dancing girls and courtesans emerged to
entertain the palaces. Much later, Kathak enjoyed a renaissance and gained prominence
among the kings and zamindars not only as a form of entertainment, but as a classical art
form.
Therefore it is very clear that Kathak, which we see today, is not the one which used to be in
earlier times. Analyzing all the problems that were concluded at the end of research, related
to different aspects of the dance form, like costume, stage concept, awareness etc. can be
categorised under one major problem and that is Kathak is losing its traditional essence,
which if not taken care of can harm the classical heritage.
Since as a research student and lack of time it is not possible to work on the solution of each
and every aspect of the problematic area but the possible solutions can be suggested which
can be carried out by different fields of people in a better way. Some of them are discussed
below.
Awareness through Exhibitions:

Keeping in mind the problem of misleading information conveyed to the audience through
incorrect data on websites and books, bollywood interpretation and other sources, there
arises a need of clearing all the misconceptions which can be initiated by the Curator
(exhibition Designers). Curators, beyond selecting exhibitors and administering the logistics
of display, are the mediators between the artwork and its audience. If artists are
composers, then curators are their musicians; their purpose is to give voice to the artists
work, their creations, in a way that is intelligible to viewers. The curators instrument, the
material they shape to deliver the various artistic voices, is the exhibition space. The curator
considers the exhibition spaces dimensions, sociohistorical context, expected audience, and
infrastructure (e.g., lighting) in making decisions about how and where to locate artwork to
generate and mould the parameters of the exhibition experiencethe aesthetic and
intellectual scope of the space. For this study, the real historical contents can be shown
through photographic works as well as a small live performance of the original dance form.
This can be done on a special classical occasion (For e.g. at the events that are organised in a
memory of a big artist) which invites more and more people to participate in it.
Communicating authenticity
Another way is opened for the communication Designers and researchers, who can design a
solution to communicate the traditional elements of Kathak that existed and has been
ruined because of over contemporisation. This can be done by popularising the elements in
a form of simple and easily available products or services that reach the audience directly.
Designing of a package that includes diary, calendar etc. is one of the areas that could be
thought of.
Developing Stage Concepts

Space designers/Event planners can think of developing chamber concepts for Kathak to
bring back the graceful compositions of sitting postures like Baithaki-Bhaav once again. By
doing this the traditional and cultural essence of Kathak can be kept alive and the people
worldwide would come to know some of the really great choreographic they have missed all
these years.
Developing Brands
Costume/Fashion Designers could work on developing a brand which could cater Kathak
costumes to the artists. This will not only leave a remarkable impression but also give an
identity as well as uniformity to the whole lot of Kathak performers. Since there is no textual
source or written rules for the costume and make up like that in Bharatnatyam which has
Natyashastra as a source; therefore a brand development will give Kathak costumes an
identity of its own.
There are various other opportunity gaps that have been analyzed in the research.
Concerned researchers and designers can refer to the study and come up with interesting
solutions that will contribute in retaining the real essence of the art form.
Without tradition Art is a flock of sheep without a shepherd

But without innovation... it is a corpse
-Winston Churchill
3.4 Limitations
Methodological Limitations:
Rigor is more difficult to maintain, assess, and demonstrate.
It is sometimes not as well understood and accepted as quantitative research within the
scientific community
Findings can be more difficult and time consuming to characterize in a visual way.
The sample size for the in depth interviews (although only experts were involved) is less.
The analysis could have been different if the sample size was more.
In the mid of the study it was concluded that some of the websites and articles contained
incorrect information therefore only historical libraries were referred for further research.
Therefore, due to lack of reliable data, the study had limited focus.
The qualitative research carried out was self analyzed and observatory. Since it is
independently verified, concerned people may or may not agree with the same.
Researcher Limitations:
Visit to some of the people, organizations and libraries were denied during the primary
research which could have affected the problems and suggestions in various ways.
The researcher's presence during data gathering, which is often unavoidable in qualitative
research, could have affected the subjects' responses.
Research quality was heavily dependent on the individual skills of the researcher and more
easily influenced by the researcher's personal opinions.
3.5 Strengths
Since it was a qualitative study, therefore the issues were examined in detail and in depth.
Interviews were not restricted to specific questions and were guided/redirected by the
researcher in real time.
The research framework and direction were quickly revised as new information emerged.
The data based on human experience that is obtained is powerful and sometimes more
compelling than quantitative data.
Subtleties and complexities about the research subjects and/or topic are discovered that are
often missed by more positivistic enquiries.
BIBLIOGRAPHY
Web Links Referred:
http://www.kathakalischool.com/Kathakali-Costumes.html [2nd Feb, 14]
http://en.wikipedia.org/wiki/Kathak#Costume [3rd Feb, 14]
http://mahamultipedia.com/forms/4 [5th Feb, 14]
http://web.mit.edu/bnaatyam/www/images/dance.html [5th Feb, 14]
http://edhvani.in/narration-in-kathakali-a-study-with-reference-to-ravnotbhavam [2nd Feb, 14]
http://www.indianetzone.com/44/history_kathak.htm [3rd Feb, 14]
http://intuitpub.blogspot.in/2013/01/vaishnavite-bhakti-movement-and-indian.html [5th Feb, 14]
http://knowindia.gov.in/knowindia/culture_heritage.php?id=10 [5th Feb, 14]
http://archive.indianexpress.com/news/bhakti-movements/1153435 [5th Feb, 14]
http://www.indianetzone.com/44/gharanas_kathak.htm [15th Feb, 14]
http://chitra.hpage.co.in/kathakali-evolution_1207340.html [12th Feb, 14]
https://www.facebook.com/media/set/?set=vb.750583741&type=2 [10th May, 14]
http://www.ehow.co.uk/facts_7745475_costumes-during-postvedic-period.html [5th May, 14]
http://world4.eu/ancient-costumes/ [4th May, 14]
http://2ndlook.wordpress.com/2009/02/17/what-happened-to-alexanders-loot-from-india [3rd
May, 14]
http://ibnlive.in.com/news/indias-got-talent-winner-wants-to-bring-kathak-back-tobollywood/457188-44-124.html [2nd May, 14]
http://timesofindia.indiatimes.com/city/delhi/Bollywood-mujras-must-not-be-mistaken-forkathak/articleshow/22232546.cms [2nd May, 14]
http://onlinedarshan.com/Temples-India-artistic-heritage/Birth-of-classic-form.htm [1st May, 14]
http://www.gaurijog.com/history-of-kathak.html [29th Apr, 14]
http://www.buzzle.com/articles/vedic-period-costumes.html [28th Apr, 14]
http://indiancultureindance.blogspot.in/2012/02/primary-information-about-kathak.html [27th Apr,
14]
http://www.indianetzone.com/1/kathak.htm [27th Apr, 14]
http://upload.wikimedia.org/wikipedia/commons/5/52/Yakshini.jpg [25th Apr, 14]
http://history.howstuffworks.com/asian-history/history-of-india1.htm [24th Apr, 14]
http://hadoopmag.com/curator-and-exhibitor-a-better-way-to-use-and-manage-apache-zookeeper/
[6th May, 14]
http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/innovativekathak/article2457210.ece [6th May, 14]
http://www.goethe.de/ins/in/lp/kul/mag/kus/dat/kol/en8423818.htm [7th May, 14]
http://www.rediff.com/movies/slide-show/slide-show-1-classical-dance-forms-inbollywood/20120425.htm#5 [20th Feb, 14]
https://www.google.com/search?newwindow=1&biw=1366&bih=624&tbm=isch&sa=1&q=1995%2B
devdas%2Bvaijayantimala&oq=1995%2Bdevdas%2Bvaijayantimala&gs_l=img.3...71598.91501.0.916
85.26.26.0.0.0.0.971.4426.8j9j7j6-1.25.0....0...1c.1.43.img..22.4.825.UV1B4a-lK24 [25th Feb, 14]
http://asiasociety.org/blog/asia/interview-new-delhi-transplanted-trinidadian-pursues-his-kathakdream [25th Feb, 14]
http://www.dnaindia.com/pune/report-when-you-breathe-dance-an-interview-with-hrishikeshpawar-1983240 [26th Feb, 14]

http://www.dnaindia.com/lifestyle/report-why-s-pt-chitresh-das-dancing-at-70-1979920 [27th Feb,
14]
https://www.youtube.com/results?search_query=rajjo+kangana+mujra+dance [28th Feb,14]
http://www.moviezadda.com/celebrities/prachi-shah/parties-events/prachi-shahs-kathakperformance-@-iskon-temple-auditorium/image/12 [28th Feb, 14]
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14]
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Books Referred:
Sunil Kothari (1989) Kathak- Indian Classical Dance Art; Abhinav Publications
Pallabi Chakravorty (2009) Bells of Change: Kathak Dance, Women and Modernity in India; Seagull
Books
Govind Sadashiv Ghurye (1966) Clothing and dress, Popular Prakashans
Chhaya Bhatnagar (1981) Bharat ke Shastriya Nritya, Young man & Co., Delhi-6
Kittsu Sakakibara (1992) Dances of Asia, Bharat Bhushan Mehendiratta- Abhishek Publications,
Chandigarh
James R Brandon (1993) The Cambridge Guide to Asian Theatre; Cambridge University Press
Shubha Srinivasan (2012) Masked Identities- Safeguarding Indias Intangible Cultural heritage;
Observer Research Foundation
Mandakranta Bose (2001) Speaking of Dance- The Indian Critique; D.K. Printworld (p) ltd.
Nirumpama Chaturvedi (2007) Encyclopedia of Indian Dances; Amnol Publications pvt. Ltd.
Pallavi Chakraborty & Nillanjana Gupta (2010) Dance Matters- Performing India; Routledge
Rina Singha & Reginald Massey (1967) Indian Dances: their history and growth
Zehra Tyabjee (1987) Dance of the Golden hall; Indian council for cultural relations
Dr. Maya Tak (2006) Aitihaasik pariprekshya mein Kathak nritya; Kanishk Publishers, Distributors
Shikha Khare (2007) Kathak- saundaryatmak Shastriya Nritya: Gehen adhyan evam chintan; Kanishk
Publishers, Distributors
Dr. Puru Dadheech (1987) Kathak Nritya Shiksha: Dwitiya Bhaag; Bindu Prakashan, Ujjain
Dr. lakshmi Narayan Garg (1994) Kathak Nrityal; Sangeet Karyalaya, Hathras
Dr. Bharti Gupta (2004) Kathak Saagar; Radha Publications, New Delhi
GLOSSARY
1. Abhinaya- Acting
2. Ada- It is used in two different sense; to present and an attractive attention
3. Ang- A limb
4. Ardha- Half
5. Avartan- A circle of tal
6. Bol- A common noun for all kinds of rhythmic compositions used in dance.
7. Chakkardar- Any toda-tukda which is repeated thrice and then it completes or reaches on
sama, the starting point of any tal
8. Druta laya- A kind of laya which is very fast
9. Gat- A typical item in Kathak dance sequence.
10. Gat Bhaava- In this the dancer takes a theme, story or episode and interprets it through
mime. It has no recitation but only suggestive and allusive facial expressions.
11. Gat-Nikas- Nikas means to come out
12. Gharana- School
13. Hastak- A kind of hand movement
14. Katha- Story
15. Kathak- A classical Indian Dance form
16. Kavita- A poetic composition set to some tal
17. Khali- Void
18. Laya- Rhythm. The speed of time passed in an action of singing, playing or dancing.
19. Matra- The beats
20. Mukhara- A small composition of 1 or 2 matras used at the end of tal circle.
21. Natyashaala- Stage concept
22. Natyashastra- An early textual source written by Bharat Muni
23. Nawab- King
24. Nayak- Actor
25. Nayika- Actress
26. Nritya- Dance
27. Padhant- Derived from the Sanskrit word pathana means recitation. In Kathak, Guru or the
dancer himself recites the bolas to be danced; marking time of the Tal with his hands claps.
This action is called padhant
28. Palta- A variety of Hastak which is specifically use in gat-nikas and gat-bhava
29. Paramelu- the term paramelu is composed of the two words para means different and
mela means union
30. Paran- A rhythmic composition of minimum one circle of any tal and made of pakhwaj
syllables
31. Sangeet- Music
32. Tal- The metre or the time0measure
33. Tali- Clapping
34. Tatkar ke Tukde- todas or tukras made of tatkar syllables only i.e. Ta Thei Thei Tat
35. Theka- Basic syllables of the tabla prefixed for some tal
36. Tihai- When one small rhythmic piece is repeated thrice and normally ends on Sam
37. Toda Tukra- A rhythmic composition of minimum one Avartan (circle) of any tal and made of
dance syllables only is named as toda or tukda.
38. Tukra- Tukra means a piece
39. Vibhag- In every tal all the matras or beats are divided into few parts. These divisions of
matras are vibhaag
I am a proud Indian.
What matters to India... Matters to me
Not only I have respect towards its cultural heritage I also Love them
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THE EVERSION OF KATHAK

National Institute of Fashion Technology

In Partial Fulfilment of the requirements

Faculty Guide- Ms. Susmita Das Pal

NATIONAL INSTITUTE OF FASHION TECHNOLOGY

Submitted by Ms. Aishwarya Vashistha to NIFT in partial fulfilment of the requirements

Signature & Date

____________________________ ______________________________________ _______________________

Remarks regarding fulfilling further requirements:

Signature of CC-Design Space:

The Eversion of Kathak

Signature of the Student:

The Eversion of Kathak

2.1 INTRODUCTION TO INDIAN CLASSICAL ART

3.1 KATHAK IN BOLLYWOOD

FIGURE 1 INDIA, MUGHAL PERIOD, C.1675,

FIGURE 46 MADHUBAALA IN MUGHAL-E-AZAM

1|The Eversion of Kathak

1.3 Significance of the Study

2|The Eversion of Kathak

1.4 Research Methodology

National Centre for Performing Arts, Churchgate, Mumbai

Padmshree Ms. Shovana Narayan, National & International Performer

3|The Eversion of Kathak

2.1 Introduction to Indian Classical Art

4|The Eversion of Kathak

IMPACT OF PROMINENT MOVEMENTS

of emotional responses to Ma Kali, detailing philosophical statements based on Vedanta

6|The Eversion of Kathak

7|The Eversion of Kathak

2.2 Kathak- The Indian Classical Dance Form

8|The Eversion of Kathak

2.2.2 History & Development

9|The Eversion of Kathak

Figure 1 India, Mughal period, c.1675,

Change in Bhakti Era

Later Court Influences

During the Raj

2.2.3 The Nautch

Kathak after Independence

2.3 Kathak Gharanas

Figure 2 The Inside View-1

Figure 3 The Inside View-2

Figure 5 The Front Gate View

Figure 4 The Back View

COMPARATIVE STUDY OF THE GHARANAS

This Gharana had its origin at

The centre of this gharana

This Gharana evolved at

It was founded by Shri Ishwari

It was founded by Shri

It was founded by Shri Janki

Lord Krishna had inspired Shri

Shri Bhanu Ji was trained in

Janki Prasad came to

This gharana was patronized

This Gharana was

This Gharana imbibes both

In this style, Lasya is important The Gharana involves

This tandava dance

Thumris are more often used.

Prayers of Lord Shiva and

____ _