H-M synthesis: Kathak

by Guest Tue Feb 28, 2012 1:25 am

Indo-Islamic heritage
Kathak is recognized by fine dramatization of poetry in Urdu and Khari boli or Braj-bhasha. Kathak has evolved as an ensemble of Indo-Islamic music and dance. This repertoire is the most beautiful show-piece of Ganga-Jamuni Tehzeeb.

From temples to kingly courts: A dance for men only
Mughal kings preceding Aurangzeb had adapted Kathak to courtly celebratory expression. On absorbing Mughal influence, Kathak came to be danced by both the sexes. Prior to Mughal patronage Kathak was strictly for men.

Lasting Mughal influence
Mughal miniature paintings and illustrations in Ain-e-Akbari and Tareekh-e-Khandan-e-Timuria show court dancers, instantly recognizable as Kathaaks.
Some modulations in Kathak from Mughal influence have lived as enhancers till date:
The Amada or salutary entry is stylishly Mughal.
The dancer's dress is inspired by a blend of Hindu-Persian fashion.
The churidar, close fitting slacks, is a reminder of those royal days of Kathak.
Kathak at the Nawabs' court at Lucknow
Kathak was introduced to Lucknow by the patronage of Nawab Asif ud Daula. It was the migration of Pandit Prakashji Misra from Handia near Allahabad to Lucknow that set the stage for Lucknow Gharana Kathak. He became the head of the genealogical tree bearing ace kathaks like Pandit Durga Prasad, Maharaj Bindadeen and Kalka, Achchan Maharaj, Lacchu Maharaj, Shambhu Maharaj, Birju Maharaj and Arjun Maharaj.

Nawab Wajid Ali Shah, the royal kathaak

The last nawab of Awadh, Nawab Wajid Ali Shah was known for his active contribution to culture. Parikhana in Qaiserbagh complex pulsated with his love for Kathak - a culmination of poetry, music, drama and spiritual fortitude.

Nawab Wajid Ali Shah recognized the holistic element of Kathak. He became a disciple of Pandit Durga Prasad. He perfected his Kathak, when he ruled Lucknow and continued to dance Kathak when in exile at Matiya Burj, Kolkata. He found a natural repository of all arts to rest in Kathak.

Since then, Kathak continues to evolve as a blend of Nritta and Abhinaya. Rhythm and mime are the king and queen of Kathak. Their progeny - Tora, Tukra, Paran and Nritya bloom in hundreds of variations, as stylized by Kathak gurus, musicians and performers down the centuries.

The Lucknow Gharana is rich with Thumri, Bhajan and Pada. Most of these were written with rhythm, mime and movement in mind for Kathak performances. The keeper of the keys of Lucknow Gharana Kathak, treasure these compositions handed to them by their seniors. Most of them were composed by the great masters Bindadeen and Kalka. Birju Maharaj, hailing from the family of Bindadeen and Kalka, also writes prolifically.

Traditional presentation of Kathak depicts speed progression. It builds a tempo and accompanying energy infuses in the audience too. Initially using Vilambit beat the artist acclimatizes and fine tunes herself and the audience to vibrate with her rhythm. Then she moves on, graduating to a faster tempo, making sure the audience's being is moved by the beat and accompanying expression. Reaching a crescendo with Drut beat, the dancer is at the acme of body-mind-soul unity with her inner response to the beat and music, and to be sure, the audience is transported to this higher world within and without!

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