Kathak

The word "Kathak" is used in Brahma Mahapuran for dancers, actors and singers. In Mahabharata and Natyashastra one can find the word "Kathak" too. In Pali language "kathako" means "lecture". In Nepalese language the word "kathiko" is available which means 'who explains' or 'teacher'.

In excavation of Mohanjodro and Harappa, which are one of the most ancient civilizations in the world, people found some sculptures, which represent a sort of dance poses. Their hand gestures and body poses are quite similar to the existing kathak dance forms.

The most ancient known Indian book on art is "Natyashastra" which was written by Saint Bharat about 500 BC. After that "Sangeet Ratnakar" - basically music oriented book - which was written by Sharang Dev in 13th century, is the next strongest support to Kathak word. In its Nrityadhyay (chapter of Dance) it is written:

Kathaka Bandinshchatra Vidyavantah Priyamvadah Prashansakushlashchaanye Chatura Sarvamatushu

It means: "who explains the characters and educated and sweet and soft speaking person, who is expert in explaining and is from good descent (i.e. Brahman), clever in making poems and explaining them is Kathak".

Long long ago when nat, bharat or kushilav people were explaining religious and mythological stories in the temple premises with the help of dance and music they had good position in the society. Later on some immoral practices became the cause of their degradation and they were expelled from the society. With time they came back again with a new face where they sang, danced and explained the religious stories and also had share in the religious ceremonies. Most of them were Brahman and they lived very strict and religious life. Again they retained name, position and money. Some technical words of Kathak dance like 'Tatkar', 'Gat' are used in ancient dance and music books like Sangeet Darpan, Sangeet Makrand and Kohal Rahasya.

Muslim invasion in Kathak

Muslim king came to India and ruled more than 800 years. All Muslim kings brought dancers, poets, musician and other artist form Persia and Arab countries. To adapt their art to India and to establish its form in India they used many tactics. They are the following:

1. Indian music and dance was connected with Hindu religion very deeply so that they destroyed Hindu temples, the books about art were also destroyed.
2. Some Indian instruments were changed, for example tabla was made by cutting the pakhawaj in two pieces and each was played with entirely different technique so that experts in playing pakhawaj could not compete with new artists, whom was given preference at the king's court.
3. They stopped supporting Hindu artists, forced them to change religion and name and demoralized among persian artists.
4. Good teachers and dancers were forced to dance for the king and not for the God. Spiritual values of dance were ignored and only materialistic values were approved. The dancers were asked to dance with glass of wine in hands and offer it to the king. If during dance wine fell on the ground dancer and teacher were punished, beaten and tortured. If dancer danced successfully, he was lifted up with prizes and intimacy with the king. As a result dance become game of foot rather then the whole body work. Love events or the dance in which there was description of love between Krishna and Radha, were remaining as it is because that satisfied the dirty thoughts of the king and courtiers. On the other hand dance included many gestures from Arab dances and work of wrist, Ghungru and facial expression were added a lot to dance.
5. It was difficult for the king to speak Hindi words, that is why all the vocabulary of dance was supplanted by Urdu words; Urdu and Persian literature was introduced in Kathak dancing. Gazal, rubai, tarana are some of the compositions which were added to Kathak that time continue to be an important feature till today.
6. Dance and music at king's court was performed alongside with some circus, magic show or other lower forms of art. For example one can see the pictures painted in 14th to 19th century showing courtiers enjoying circus and dance at the same time.

Here start the different schools and traditions, which are now famous as gharana. Different Hindu and Muslim kings and nawab of different states gave support to different artists and there dance changed its shape in accordance with the condition and the mood of the sponsor. Mainly in three places dancers were concentrated and after these places the three main gharana of Kathak are named.

In Jaipur City Hindu kings supported Kathak and taandav oriented Kathak dance was cultivated and called 'Jaipur Gharana'.

In Avadh, which later on was named Lucknow, Nawab Wajid Ali Shah, who himself was a good dancer, invited many Kathak artists and teachers. Lasya oriented Kathak dance was established in this tradition. Influence of Muslim culture was clearly visible in it. Softness and elegance was the specialty of this Gharana. This Gharana was named as 'Lucknow Gharana'. In Banarus third Gharana was established.

Biographies of Exponents of Kathak

Achchhan Maharaj

He was the eldest son of late Kalka Prasad. His real name was Jagannath Mishra. He was famous as Achchhan Bhaiya ( Good Brother). This dancer had no parallel in bhav telling (showing feelings during dance). He had full control on taal, laya. He was as innocent as a small child and remained kind and simple through his life. He mostly performed stories about Krishna's life. He was not thin but this never became a hurdle in his performance and speed of dance. He excellently performed acting of woman in her different stages of life and situation. Achchhan Maharaj used to say, "what is beauty, magic of movement of eyes and face". Whenever someone visited him, he always heard some new composition on his lips.He loved very much his younger brothers Lachhu Maharaj and Shambhu Maharaj and imparted training them with full enthusiasm. That time no dancer could dance tatkar as fast as he did. He had one son 'Brij Mohan Mishra' who is now famous as 'Pandit Birju Maharaj'. Acchan Maharaj died in 1944. That time his son was very young. Whatever he taught him one can see that his son is now legendary dance in Kathak world.

Anuradha Guha

Kumari Anuradha Guha is a famous dancer and student of Late Shri Shambhu Maharaj. She got appreciation both in and outside India. From very tender age her inclination was towards classical dance and music. Whenever she gets opportunity in home she used to tie ghungroo and dance. Her parents understood her feelings and took her to the Great Guru Shri Shambhu Maharaj.

Along with dance she learned vocal from Shri K.C.Dey. Even at the age of 8-9 years she was able to sing 2-3 hours different compositions. When she was young she learned under Shri Nalin Ganguli who was student of Shri Achchhan Maharaj and later on she took advanced training under Shri Shambhu Maharaj.

This talented dancer from Bangal State of India perfomed in very tender age in many Indian States like Bihar, Bangal, Assam etc.

Kartik Ram - Kalyan Das

They were born in Mhanwarmal village in Bilaspur in 1910. One can not say keeping them apart. Both dancers lived like one soul in two bodies. Initially they were trained by Pandit Shivnarayan, later by Shri Jaipal, Lachchhu Maharaj and Shambhu Maharaj also gave Kathak knowledge to them. Kartik Ram and Kalyan Das of them were expert in folk dances, which also make their Kathak dance more creative. King of Raigarh gave them financial protection. He also arranged music training for them. Exponent singers from Kathak world Shri Jailal and Shri Achchhan Maharaj educated them for singing. Till King Chakkradhar Singh lived no one could able to compete Kartik Ram and Kalyan Das in dance. Now very few people know about them. Later on they worked as teachers in Indra Kala Sangeet Vidyalaya, Khairagarh and in Chakradhar Nritya Kendra, Bhopal.

Kundan Lal Gangani

He was dancer of jaipur tradition. His dance training was done by his uncle Shri Narayan Prasad. When Narayan Prasad gone to Raigarh he went with him there. Then he went to Bombay for 15 years where he taught number of students. In his students many film actress namely Swarnlata, Paro and Zabeen. In 1953 he joined the directorship of dance department of Baroda University. He died on 16th July 1984.

Kumudini Lakhiya

Kumudini Lakhiya started her career when Kathak was loosing its reputation and interest among public. Ram Gopal who was one of famous dancer those days took her in his tour for performance abroad. In that tour she got appreciation both in Europe and America. She performed in Edinburgh festival in 1956 with Shri Ram Gopal. There they performed the dance 'story of Tajmahal'. She learned Kathak under Guru Rahdhe Lal Mishra (Jaipur School), Ashique Husain, Sunder Prasad. She got National Scholarship to continue further training with Guru Shambhu Maharaj from Ministry of Culture. She worked with Pandit Birju Maharfj. All artists who worked with her were impressed with her creative thinking. She started 'Kadamb' institute in Ahemdabad city after she got married with Shri Rajni Lakhiya. She was also in contact with Shri Ram Bhartiya Kala Kendra. In 1980 Kumudini Lakhiya was honored with Gujrat State award for Music and Dance and in 1982 from National Sangeet Natak Academy award.

Maharaj Krishna Kumar

He was follower or Jankiprasad gharana of Banaras school. His father Pandit Gopal and uncle Hanuman Prasad were also famous Kathak dancers. He took music training firstly from Hanuman Prasad and later on from Ashique Hussain.

M.R Kalyanpurkar

Shri Manohar Rao Kalyanpurkar was a science student. He gave up his studies from university and started learning Kathak. He studied Kathak under Guru Sunder Prasad, Shri Achchhan Maharaj and Shri Shambhu Maharaj. In 1937 he founded his own school in Lucknow. In 1939 he was deputee head of department of Indian classical dances in Meris Myu Collage in Lucknow. He was an excellent dancer as well as an outstanding teacher. He made a lot of new compositions and kavitt (a kind of poem used in dance). he directed many dance ballet, some of them are "Shakuntala", "Maltimadhav", "Meghdut", "Vikramorvshiyam" and "War & Peace". He was the committee member for selection of national scholarship for talented dancer.

Neera Batra

She learned kathak from Guru Munna Shukla (Lucknow Gharana) and from Shri Kundan lal Gangani (Jaipur Gharana). Now she is settled in Delhi and busy in the field of Kathak.

Neelima Azeem

She is the grand daughter of famous writer and cinametographer Khwaza Ahmad Abbas. Primary education of Kathak was given her by Smt Reba Vidyarthi. Later on Guru Munna Shukla and Pandit Birju Maharaj imparted her advanced training of Kathak. She is always very innovative Kathak dancer and nowadays she is busy in acting in TV serial and films.

Priya and Pratap Pawar

Husband and wife, they are students of Pandit Birju Maharaj. In 1973 they went to Georgetown of America and impart Kathak training in Indian Cultural Center till 1977. Later on he joined Kathak Kendra Delhi for some time. Now he with his wife permanently settled in London and imparting training of Kathak Dance there.

Prerna Shrimali

Form very tender age her parents recognized her talent and sent her to learn Kathak from Shri Kundan Lal Gangani of Jaipur Gharana. She studid thoroughly Indian folk dance. She went to different places to learned and understand the theme and thaughts behind the folk dance of Rajesthani Tribes and Gypsies. Prema Shrimali always tried to do experiment with Kathak and do something new.