Kathak has a very beautiful and important place in all of the Classical dance form of India. Kathak has the monopoly over north India in terms of classical Dance. Kashmir in north to Kanyakumari in South, tripura in East to Pakistan in west kathak is popularly known as a classical dance. This is the first dance form of kushilav and charna nritta other than tandav and lasya. Kathak has mutated itself according to the present scenario be it freshness, newness, in terms of freedom, stage, scope of creativity, acceptance of new ideas with amalgamation of old ones and leave scope of criticism and analysis too.
Kathak has an important place in the classical dance styles of India. From north to south and east to west – this dance form is omnipresent, popularised, and well-known. Kathak is also one of the first Indian classical dance forms that have developed extensively by adapting all aspects of the social, cultural, and traditional conditions of every era in its art.
Another synonym of Kathak is found in Sanskrit shlokas known as “Kushilav”. According to our mythological stories, Luv and Kush sang the Ramayana composed by Maharishi Valmiki in the court of Lord Ram, which influenced the public. It also helped them establish themselves. Their way of performing these musical stories was adopted by the masses as means of livelihood and that’s how they adopted the identity of the Kushilavas. Through this adoption and propagation, Valmiki Ji is identified as the first “Kathak” (verb). Kathak Dance From Which State
The advent of Islamic rule around the 13th century influenced Indian civilization to a great extent. The culture and art had an impactful influence on Kathak dance.
Dancers also began to disintegrate due to the dismantling of temples. Whoever reached the court of any king/nawab, started developing their dance according to his interest. To prove themselves superior in the court, they started creating prodigious dance pieces.
In this era, one could see the advent of Gharanas. The dance forms in the courts of Hindu kings were considered to be Jaipur Gharana and of Muslim kings – Lucknow Gharana.
Today, whatever form of Kathak dance is perceived as, is because of the efforts of Kathakaars of the courts in the last 200-300 years.
The performance of Kathak dance can be broadly categorized into two parts: the nritta paksha (technical aspect) and the bhava paksha or abhinaya paksha (expressional aspect).
In most performances, we see the dancer commence their performance through a Bhajan, Stutee, Vandana, etc. This is then carried forward through the nritta/technical aspect consisting of foot-work, thaat, uthaan, aamad, paran, etc.
After nritta paksha, the dancer presents abhinaya. Examples of abhinaya without words include gat-nikas, gat-bhav. Examples of abhinaya paksha with words include thumri, pada, bhajan, etc.
All students and artists of any and every Indian classical dance style tie their ghungroo on their ankles. However, the actual use of these ghungroos, especially in the Kathak is unique. Just as how a musician has an instrument of their own, Indian classical dancers have their ghungroos. In Kathak, whatever syllables are played on any instrument, is replicated through footwork.