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K A TH A K
PRESENTED BY :
GARIMA SACHAN
• Kathak is a classical dance form of
north India.
• The word Kathak is derived from
sanskrit word ‘katha’ means story and
‘kathakars’ means storytellers.
• Kathakars enacted the stories of
Hindu mythology with a combination of
songs, mime and dance to entertain
and to evoke devotion.
 In ancient times, nomads known as ‘kathakas’
recited stories of epics with some elements of
dance.
 There are literary references from the 3rd and 4th
centuries which refer to kathakas. The two texts
are in the archives of Kameshwar library at
Mithila.
 There are also two verses from the
Mahabharata which refer to Kathakas.
 By the 13th century a definite style had
emerged and soon technical features developed.
PURE DANCE (NRITTA)
a progression from slow to fast, ending with a dramatic climax
A short dance composition is known as a tukra, a longer one as a toda.
PURE DANCE(NRITTA)
A progression from slow to fast ,
ending with a dramatic climax.
Footwork
Bols (rhythmic words)
Signature spins
EXPRESSIVE DANCE (NRITYA)
The traditional expressive or abhinaya pieces
Facial expressions
Gestures
Conveying a meaning
 In the 15th-16th century at the time the Bhakti
movement, Rasalilas had a tremendous impact on Kathak.
IN THE MUGHAL PERIOD
 After the 16th century, the dance reached the Mughal court where it
encountered dancers from Persia.
 Dancers were offered gifts of gold, jewels and royal favor.
 Dance competitions were held frequently.
Dancers imported from the Central Asia spread their ideas to Kathak
dancers.
 straight-legged position
 rhythmic footwork with150 ankle bells on each leg.
 signature 'chakkars' (spins)
 abhinaya( the art of expression).
 body postures like tribhangi position
COURT INFLUENCES
LUCKNOW GHARANA
 Founder - Ishwari Prasad.
 It came into existence in the early 19th century in
the court of Nawab Wajid Ali Shah, the ruler of Awadh.
Gurus-Thakur Prasad Maharaj and his grandsons
Achchan Maharaj, Lachu Maharaj and Shambhu Maharaj.
 Presently, Birju Maharaj is considered the chief
representative of this gharana.
 Expressional qualities, graceful movements, elegance
and natural poise with dance.
JAIPUR GHARANA
Founder- Bhanuji.
 It developed in the courts of the Kachchwaha
kings of Jaipur in Rajasthan.
 Gurus- Jai Lal , Sunder Prasad,Narayan
Prasad, Kundanlal Gangani , Sunderlal Gangani
and Durga Lal.
complex and powerful footwork, multiple spins,
and complicated compositions in different talas.
Presently the prominent artist of this gharana are
Rajendra Gangani, Prerana Shrimali, Pratishtha
Sharma.
BENARAS GHARANA
Founder- Jankiprasad.
Exclusive use of the natwari or dance bols.
Differences in the thaat and tatkaar, and chakkars .
Also a greater use of the floor.
 Gurus- Chunnilal ,Krishna Kumar ,Sitara Devi.
RAIGARH GHARANA
Founder- Raja Chakradhar Singh.
Gurus- Pt. Kartik Ram, Late Pt. Phirtu Maharaj, Pt.
Ramlal, Yasmin Singh, Anuradha Singh, Mohini
Moghe, Bhagwaandas Manik, Bhupendra Bareth.
Development of new Kathak and tabla compositions.
DURING BRITISH RULE
 The advent of British Rule in India sent
Kathak into sharp decline.
 The Victorian administrators publicly
pronounced it unlovely form of entertainment.
 Kathak acquired an image of the British concept of
nautch.
 The role of the tawaifs in preserving the art
forms should not be underestimated.
 In the early 20th century, Kalka Prasad Maharaj,
whose sons Acchan, Lacchhu and Shambhu
Maharaj, went on carry forward the tradition
generation, as dance gurus.
PRESENT SCENARIO
 Today, Kathak has regained its popularity and it is now one of the
eight officially sanctioned classical dance forms of India.
 Different dancers have worked on the form in different ways:
 Sitara Devi(daughter of Sukhdev Maharaj of Banaras) has impressed
many audiences by her lively, zestful and fiery performances.
 Kumudini Lakhia along with Birju Maharaj, has introduced the
relative innovation of multi-person choreographies in Kathak, which was
traditionally a solo dance form.
 Rohini Bhate greatly enriched Kathak's
rhythmic repertoire by creating a large corpus
of dance compositions.
 Durga Lal of the Jaipur gharana was famed
for his speed and easy style of performance.
ANY QUESTIONS ??

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Kathakppt

  • 1.
  • 2. K A TH A K PRESENTED BY : GARIMA SACHAN
  • 3. • Kathak is a classical dance form of north India. • The word Kathak is derived from sanskrit word ‘katha’ means story and ‘kathakars’ means storytellers. • Kathakars enacted the stories of Hindu mythology with a combination of songs, mime and dance to entertain and to evoke devotion.
  • 4.  In ancient times, nomads known as ‘kathakas’ recited stories of epics with some elements of dance.  There are literary references from the 3rd and 4th centuries which refer to kathakas. The two texts are in the archives of Kameshwar library at Mithila.  There are also two verses from the Mahabharata which refer to Kathakas.  By the 13th century a definite style had emerged and soon technical features developed.
  • 5. PURE DANCE (NRITTA) a progression from slow to fast, ending with a dramatic climax A short dance composition is known as a tukra, a longer one as a toda. PURE DANCE(NRITTA) A progression from slow to fast , ending with a dramatic climax. Footwork Bols (rhythmic words) Signature spins EXPRESSIVE DANCE (NRITYA) The traditional expressive or abhinaya pieces Facial expressions Gestures Conveying a meaning
  • 6.
  • 7.  In the 15th-16th century at the time the Bhakti movement, Rasalilas had a tremendous impact on Kathak. IN THE MUGHAL PERIOD  After the 16th century, the dance reached the Mughal court where it encountered dancers from Persia.  Dancers were offered gifts of gold, jewels and royal favor.  Dance competitions were held frequently. Dancers imported from the Central Asia spread their ideas to Kathak dancers.  straight-legged position  rhythmic footwork with150 ankle bells on each leg.  signature 'chakkars' (spins)  abhinaya( the art of expression).  body postures like tribhangi position
  • 8. COURT INFLUENCES LUCKNOW GHARANA  Founder - Ishwari Prasad.  It came into existence in the early 19th century in the court of Nawab Wajid Ali Shah, the ruler of Awadh. Gurus-Thakur Prasad Maharaj and his grandsons Achchan Maharaj, Lachu Maharaj and Shambhu Maharaj.  Presently, Birju Maharaj is considered the chief representative of this gharana.  Expressional qualities, graceful movements, elegance and natural poise with dance.
  • 9. JAIPUR GHARANA Founder- Bhanuji.  It developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan.  Gurus- Jai Lal , Sunder Prasad,Narayan Prasad, Kundanlal Gangani , Sunderlal Gangani and Durga Lal. complex and powerful footwork, multiple spins, and complicated compositions in different talas. Presently the prominent artist of this gharana are Rajendra Gangani, Prerana Shrimali, Pratishtha Sharma.
  • 10. BENARAS GHARANA Founder- Jankiprasad. Exclusive use of the natwari or dance bols. Differences in the thaat and tatkaar, and chakkars . Also a greater use of the floor.  Gurus- Chunnilal ,Krishna Kumar ,Sitara Devi. RAIGARH GHARANA Founder- Raja Chakradhar Singh. Gurus- Pt. Kartik Ram, Late Pt. Phirtu Maharaj, Pt. Ramlal, Yasmin Singh, Anuradha Singh, Mohini Moghe, Bhagwaandas Manik, Bhupendra Bareth. Development of new Kathak and tabla compositions.
  • 11. DURING BRITISH RULE  The advent of British Rule in India sent Kathak into sharp decline.  The Victorian administrators publicly pronounced it unlovely form of entertainment.  Kathak acquired an image of the British concept of nautch.  The role of the tawaifs in preserving the art forms should not be underestimated.  In the early 20th century, Kalka Prasad Maharaj, whose sons Acchan, Lacchhu and Shambhu Maharaj, went on carry forward the tradition generation, as dance gurus.
  • 12. PRESENT SCENARIO  Today, Kathak has regained its popularity and it is now one of the eight officially sanctioned classical dance forms of India.  Different dancers have worked on the form in different ways:  Sitara Devi(daughter of Sukhdev Maharaj of Banaras) has impressed many audiences by her lively, zestful and fiery performances.  Kumudini Lakhia along with Birju Maharaj, has introduced the relative innovation of multi-person choreographies in Kathak, which was traditionally a solo dance form.  Rohini Bhate greatly enriched Kathak's rhythmic repertoire by creating a large corpus of dance compositions.  Durga Lal of the Jaipur gharana was famed for his speed and easy style of performance.