Kathak

Kathak, one of the eight recognised classical dance forms of India, originated in the northern regions of the country, particularly in Uttar Pradesh. The term “Kathak” is derived from the Sanskrit word “Katha” meaning story, and “Kathakar”, meaning storyteller. True to its name, Kathak evolved as a performing art that narrates stories through graceful movements, rhythmic footwork, facial expressions, and intricate spins.
Over centuries, Kathak transformed from a devotional temple art into a sophisticated court dance, absorbing influences from Hindu and Islamic cultures. Today, it stands as a dynamic and versatile form of Indian classical dance, known for its expressiveness (abhinaya), rhythmic virtuosity (nritta), and aesthetic synthesis.

Historical Background

The origins of Kathak date back to ancient times, when itinerant bards and temple storytellers—known as Kathakars—travelled across northern India narrating tales from the Mahabharata, Ramayana, and Puranas. These performances combined narration, music, mime, and dance, aiming to convey moral and spiritual lessons to the masses.

• Temple and Bhakti Period (8th–13th Century): In its earliest form, Kathak was a devotional art performed in temples to praise Hindu deities, especially Lord Krishna. The dance served as an expression of Bhakti (devotion) and was closely linked to Vaishnavism, portraying episodes from Krishna’s childhood and divine love for Radha.
• Mughal Influence (16th–18th Century): With the establishment of the Delhi Sultanate and later the Mughal Empire, Kathak underwent a major transformation. It moved from temple courtyards to royal courts, shedding its purely religious character and adopting elements of Persian and Mughal aesthetics.
  • Under Emperor Akbar and later rulers, Kathak flourished as a courtly entertainment form, emphasising elegance, rhythm, and sensual grace.
  • The Mughal period introduced Persian poetry, Islamic gestures, and an enhanced sense of rhythm, giving Kathak a more secular and stylised form.
• Colonial Period and Revival (19th–20th Century): During British rule, traditional patronage declined, and Kathak faced suppression. However, the dance survived in the courts of princely states such as Lucknow, Jaipur, and Varanasi.In the 20th century, pioneers like Birju Maharaj, Shambhu Maharaj, and Acchan Maharaj revived Kathak, bringing it to the national and international stage as a respected classical form.

Etymology and Meaning

The word Kathak is derived from Katha (story), reflecting its origin as a narrative art form. The dancer (Kathaka) acts as both storyteller and performer, using hand gestures (mudras), facial expressions (abhinaya), and rhythmic patterns (tala) to convey tales of gods, heroes, and emotions.

Styles and Gharanas (Schools)

Over time, Kathak developed several regional styles or gharanas, each emphasising distinct aspects of technique and expression. The three principal gharanas are:

1. Lucknow Gharana:
   • Founded under the patronage of the Nawab of Awadh (Wajid Ali Shah).
   • Emphasises grace, expressiveness, and abhinaya.
   • Known for delicate movements, intricate gestures, and emotive storytelling, especially Bhakti themes like Raas Leela.
   • Famous exponents: Bindadin Maharaj, Shambhu Maharaj, Birju Maharaj.
2. Jaipur Gharana:
   • Flourished under the Rajput kings of Jaipur.
   • Highlights vigorous footwork (tatkar), complex rhythmic patterns, and energetic spins.
   • Emphasis on nritta (pure dance) rather than narrative expression.
   • Famous exponents: Pandit Durga Lal, Pandit Gauri Shankar, Sunder Prasad.
3. Banaras (Varanasi) Gharana:
   • Developed in the spiritual environment of Varanasi.
   • Combines rhythmic complexity with expressive abhinaya.
   • Known for its devotional purity and use of traditional Thumri and Pad.
   • Famous exponents: Janaki Prasad, Sitara Devi, Kavita Thakur.

Each gharana contributes to Kathak’s diversity, reflecting the cultural environment and patronage under which it evolved.

Technique and Elements

Kathak is structured around three main components of classical dance:

• Nritta: Pure dance movements focused on rhythm and form.
• Nritya: Expressive dance conveying emotions and narratives.
• Natya: Dramatic enactment involving character portrayal and storytelling.

Key Technical Features:

1. Tatkar (Footwork): The foundation of Kathak lies in its intricate and rhythmic footwork. Dancers wear ghunghroos (ankle bells) to accentuate the beats and perform complex rhythmic patterns in sync with the tabla.
2. Chakkars (Spins): One of Kathak’s signature movements—rapid, controlled spins executed with grace and precision, reflecting both energy and poise.
3. Mudras (Hand Gestures): Derived from the Abhinaya Darpana, mudras are used to symbolise objects, emotions, and actions, aiding the narrative.
4. Abhinaya (Expression): Facial expressions and body language convey bhava (emotion) and rasa (aesthetic sentiment). Themes range from devotion (bhakti) to romance (sringara).
5. Tihai and Toda: Intricate rhythmic compositions repeated thrice (tihai) to conclude a cycle, or performed as short rhythmic sequences (toda, tukra).
6. Costume and Posture: Kathak is performed in an upright stance, with elegant hand and eye coordination, symbolising dignity and restraint.

Costume and Music

Costume: Kathak costumes vary slightly between gharanas and between male and female dancers but always emphasise grace and fluidity.

• Female Dancers:
  • Traditional Anarkali-style costume or lehenga-choli with dupatta.
  • Embellished with zari work and jewellery.
  • Long, flowing skirt accentuates spins.
• Male Dancers:
  • Angrakha or kurta with churidar, dupatta tied across the chest, and jewellery or waist sash.
• Both wear ankle bells (ghunghroos) that enhance rhythmic resonance.

Music:

• Based on Hindustani classical music, using ragas and talas.
• Common talas: Teentaal (16 beats), Jhaptaal (10 beats), Ektaal (12 beats), Dhamar (14 beats).
• Instruments: Tabla, Pakhawaj, Sarangi, Sitar, Harmonium, and Flute.
• Songs used in Kathak include Thumri, Taranas, Bhajans, and Ghazals.

Abhinaya and Themes

Kathak’s abhinaya (expressive storytelling) is its soul. The dancer interprets poetry and music through expression and gesture, evoking emotional resonance.
Common Themes:

• Mythological: Stories of Krishna, Radha, and Rama.
• Devotional: Bhajans and compositions praising deities.
• Romantic and Sufi: Love as divine union, influenced by Bhakti and Sufi poetry.
• Abstract: Pure rhythmic and aesthetic pieces highlighting technique and artistry.

Rasa (Aesthetic Emotions): Kathak employs the Navarasa—love, joy, wonder, courage, peace, anger, fear, disgust, and compassion—to create emotional depth.

Performance Format

A Kathak recital usually unfolds in a specific sequence, combining technical and expressive elements:

1. Vandana: Invocation to a deity, guru, or the audience.
2. Tatkar: Rhythmic footwork patterns.
3. Tihai, Toda, Tukra: Intricate rhythmic compositions and improvisations.
4. Gat Nikas: Graceful walk or gait portraying characters and daily life scenes.
5. Abhinaya: Expressive storytelling through bhajans, thumris, or ghazals.
6. Tarana or Tillana: Concluding fast-paced rhythmic composition, showcasing virtuosity.

This sequence reflects a gradual progression from pure dance to expressive narrative, merging technical skill with emotional depth.

Training and Pedagogy

Kathak is taught through the guru-shishya parampara (teacher–disciple tradition), emphasising discipline, devotion, and gradual mastery. Students undergo rigorous training in rhythm, gesture, expression, and improvisation.
Prominent institutions preserving Kathak include:

• Kathak Kendra (New Delhi) – National Institute of Kathak under the Sangeet Natak Akademi.
• Lucknow Bharatiya Kala Kendra.
• Bhatkhande Music Institute (Lucknow).
• Gandharva Mahavidyalaya (Mumbai).

Renowned Gurus and Exponents

Kathak’s revival and global prominence owe much to legendary gurus and performers who defined its aesthetics and pedagogy:

• Pandit Bindadin Maharaj – Founder of the Lucknow gharana and composer of numerous Kathak compositions.
• Acchan Maharaj, Lachhu Maharaj, and Shambhu Maharaj – Renowned teachers and performers from the Maharaj family.
• Pandit Birju Maharaj (1938–2022) – The most celebrated Kathak maestro of modern times, who popularised the art worldwide.
• Sitara Devi, Saswati Sen, Shovana Narayan, Maya Rao, and Kumudini Lakhia – Prominent exponents who carried the tradition forward.

Aesthetic and Cultural Significance

Kathak represents a cultural synthesis—a confluence of Hindu temple ritual and Mughal court refinement, devotional spirituality and poetic elegance. It bridges the Lokadharmi (realistic) and Natyadharmi (stylised) traditions of Indian aesthetics: natural storytelling infused with symbolic gesture and rhythmic abstraction.
The dance embodies the Nāṭyaśāstra’s aim: to evoke rasa—the aesthetic experience that uplifts both performer and audience.