Question

write an article on kathak
dance form in 120 150 words ​

Answer 1

Answer:

Born in the land of Uttar Pradesh, Kathak most probably had its origin in the Raasleela of Brajbhoomi. Influenced by Vaishnavism, with the central concept of Krishna as the divine dancer and Radha as his partner, the dance was originally associated with temples, and accompanied by keertans

It derived its name from kathika or story-tellers who recited verses from the epics with gestures, and music. Gradually, it assumed an elaborate style involving nritta and nritya. Under the Mughal rulers, it was influenced by Persian costumes and styles of dancing; Kathak thus branched off into the courtly stream.

The dance form, however, degenerated into lascivious styles and became what is derogatively known as ‘nautch’. The revival of the classical style came in the twentieth century through the efforts of Lady Leela Sokhey (Menaka).

Any discussion of Kathak would be incomplete without mentioning the gharanas—the most famous being Lucknow, Jaipur, Varanasi and Raigarh. Kathak achieved a peak in the reign of Nawab Wajid Ali Khan in Lucknow who learnt the dance himself from Thakur Prasad. Thakur Prasad’s sons, Bindadin Maharaj and Kalka Prasad, greatly enriched the form, both in the abinaya and the nritta aspects.

The sons of Kalka Prasad, Achchan Maharaj, Lachchu Prasad and Shambhu Maharaj did much to popularise the dance. The Jaipur Gharana, launched by Bhanuji, emphasises fluency, speed and long rhythmic patterns. The Lucknow Gharana pays more attention to expressiveness and grace. The gharana of Varanasi is said to have evolved in Rajasthan, and it developed a style of its own characterised by moderate tempo, grace and precision.

The Raigarh Gharana, not so well-known, is said to have developed under the patronage of Raja Chakradhar Singh who authored the books Ragaratna Manjusha and Martan Sarwaswa.

The typical characteristics of Kathak are its intricate footwork and pirouttes. It may be noted that the knees are not bent or flexed. Both Indian and Persian costumes are used. The themes range from dhrupads to taranas, thumris and ghazals.

A solo recital begins with Ganesh Vandana or a Salaami (Mughal style). Anand is the item through which a dancer enters upon the stage; then comes that comprising soft and varied movements. Items of pure rhythmic beauty—todas, tukdas—follow. Gat-nikaas give brief outlines of mythological episodes.

Explanation:

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Answer 2

Explanation:

Born in the land of Uttar Pradesh, Kathak most probably had its origin in the Raasleela of Brajbhoomi. Influenced by Vaishnavism, with the central concept of Krishna as the divine dancer and Radha as his partner, the dance was originally associated with temples, and accompanied by keertans.

It derived its name from kathika or story-tellers who recited verses from the epics with gestures, and music. Gradually, it assumed an elaborate style involving nritta and nritya. Under the Mughal rulers, it was influenced by Persian costumes and styles of dancing; Kathak thus branched off into the courtly stream.

The dance form, however, degenerated into lascivious styles and became what is derogatively known as ‘nautch’. The revival of the classical style came in the twentieth century through the efforts of Lady Leela Sokhey (Menaka).

Any discussion of Kathak would be incomplete without mentioning the gharanas—the most famous being Lucknow, Jaipur, Varanasi and Raigarh. Kathak achieved a peak in the reign of Nawab Wajid Ali Khan in Lucknow who learnt the dance himself from Thakur Prasad. Thakur Prasad’s sons, Bindadin Maharaj and Kalka Prasad, greatly enriched the form, both in the abinaya and the nritta aspects.

The sons of Kalka Prasad, Achchan Maharaj, Lachchu Prasad and Shambhu Maharaj did much to popularise the dance. The Jaipur Gharana, launched by Bhanuji, emphasises fluency, speed and long rhythmic patterns. The Lucknow Gharana pays more attention to expressiveness and grace. The gharana of Varanasi is said to have evolved in Rajasthan, and it developed a style of its own characterised by moderate tempo, grace and precision.

The Raigarh Gharana, not so well-known, is said to have developed under the patronage of Raja Chakradhar Singh who authored the books Ragaratna Manjusha and Martan Sarwaswa.

The typical characteristics of Kathak are its intricate footwork and pirouttes. It may be noted that the knees are not bent or flexed. Both Indian and Persian costumes are used. The themes range from dhrupads to taranas, thumris and ghazals.

A solo recital begins with Ganesh Vandana or a Salaami (Mughal style). Anand is the item through which a dancer enters upon the stage; then comes that comprising soft and varied movements. Items of pure rhythmic beauty—todas, tukdas—follow. Gat-nikaas give brief outlines of mythological episodes.

An interesting aspect of Kathak is the mime performed to the accompaniment of musical compositions in which just a single line is interpreted in a variety of ways through subtle variations in facial expressions and hastas.

A special feature of Kathak is padhant—in which the dancer recites complicated bols and demonstrates them. The concluding item is kramalya or takar which concentrates on intricate and fast footwork. Solo items apart, several ballets are being choreographed in the Kathak style by artistes like Kumudini Lakhia and Birju Maharaj.

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