~ History Of Indian Classical Dance ~

[MysteRy]

History Of Indian Classical Dance

India's contemporary classical dances trace their origin far back in Indian history. Dance like any other aspect of Indian culture and tradition has developed over thousands of years. It is a very influential art form, for sculptures and pieces of literature from the past all depict some form of dance. Classical Indian dances today trace their roots to a book called the Natyasastra which forms the basis of all the performing arts today.

The first concrete evidence of dance in India can be traced back to the period of the Indus Valley Civilization, , where beautiful bronze sculptures of a dancing girl have been found. Other sculptures found at the Indus Valley Civilization sites indicate that dance was a well developed art. Moving into the Vedic age, we once again find evidence of the continuing tradition of dance with the Vedas speaking eloquently on the art form. Dance was respected as a profession as well as a social activity. Even the Gods have been shown to appreciate dance, with Lord Krishna known as the Supreme Dancer. Essentially one can divide the history of dance in India into two periods, the first one from the 2nd Century BC to the 9th Century BC and the second from the 10th Century BC to the 18th Century BC. During the first period, Sanskrit was the premier language for arts and hence had an influence on dance as well. This resulted in the dances being more or less uniform throughout the country. This period followed the Natyasastra with very little deviation from the principles it set down, and hence during this period dance, drama and music were one. The second period is characterized by regional diversifications and experimentations with newer ideas. Regional languages which had come up played an important role in diversifying the dance traditions, as did the inclination to deviate from the principles of the Natyasastra . They however still followed the essential concepts of the Natyasastra . The classical dance forms of Bharatnatyam, Kathak, Orissi, Kathakali and Manipuri began developing during this period. Another notable literary work on dance that was written during this period is the Abhinaya Darpana .

Indian dance almost died out during the British rule, but a tradition of over five thousand years could not be wiped out that easily, and by the early part of the 20th Century a revival of the dances took place, and today there are many excellent artistes for each dance. The articles and images in our dance section will give you a brief idea of what each dance is, but to fully appreciate and understand them you would have to watch a dance recital. Indian dancers perform in many parts of the world so check the guides for upcoming events in your area. You may also be able to get videos of past performances. Our sections on each dance includes information about some of the prominent artists of that dance form, which would be a good starting point to begin your quest with.

India's contemporary classical dances trace their origin far back in Indian history. Dance like any other aspect of Indian culture and tradition has developed over thousands of years. It is a very influential art form, for sculptures and pieces of literature from the past all depict some form of dance. Classical Indian dances today trace their roots to a book called the Natyasastra which forms the basis of all the performing arts today.

The first concrete evidence of dance in India can be traced back to the period of the Indus Valley Civilization, , where beautiful bronze sculptures of a dancing girl have been found. Other sculptures found at the Indus Valley Civilization sites indicate that dance was a well developed art. Moving into the Vedic age, we once again find evidence of the continuing tradition of dance with the Vedas speaking eloquently on the art form. Dance was respected as a profession as well as a social activity. Even the Gods have been shown to appreciate dance, with Lord Krishna known as the Supreme Dancer. Essentially one can divide the history of dance in India into two periods, the first one from the 2nd Century BC to the 9th Century BC and the second from the 10th Century BC to the 18th Century BC. During the first period, Sanskrit was the premier language for arts and hence had an influence on dance as well. This resulted in the dances being more or less uniform throughout the country. This period followed the Natyasastra with very little deviation from the principles it set down, and hence during this period dance, drama and music were one. The second period is characterized by regional diversifications and experimentations with newer ideas. Regional languages which had come up played an important role in diversifying the dance traditions, as did the inclination to deviate from the principles of the Natyasastra . They however still followed the essential concepts of the Natyasastra . The classical dance forms of Bharatnatyam, Kathak, Orissi, Kathakali and Manipuri began developing during this period. Another notable literary work on dance that was written during this period is the Abhinaya Darpana .

Indian dance almost died out during the British rule, but a tradition of over five thousand years could not be wiped out that easily, and by the early part of the 20th Century a revival of the dances took place, and today there are many excellent artistes for each dance. The articles and images in our dance section will give you a brief idea of what each dance is, but to fully appreciate and understand them you would have to watch a dance recital. Indian dancers perform in many parts of the world so check the guides for upcoming events in your area. You may also be able to get videos of past performances. Our sections on each dance includes information about some of the prominent artists of that dance form, which would be a good starting point to begin your quest with.

[MysteRy]

Indian Classical Dance - Theory and Technique

Indian dance did not develop in isolation, it is more of a combination of music, art and drama and hence the classical dances of India usually follow most of the techniques and guidelines laid down for theatre. Dances are typically in the dance-drama form, where the dancer is conveying a story to the audience with the help of dance symbols. Indian dances differ significantly from Western Dance forms. Western dancers are concerned more with space, and their dance movements involve moving around in space. Hence they are characteristic by great leaps into the air, or the rapid movement from one place to another. Western dancers create movement by reaching into space and carving out intricate movements in the air, and the central aim is to make movement appear free from gravity. Indian dancers on the other hand have a very different concept, they do not concern themselves with spaces but with time. The central aim of Indian dance is to make a pose so perfect that it appears timeless. Hence the movements take place in time and must be perfectly synchronized with the rhythm, in order to create a series of perfect poses. A perfect pose would be able to capture time for a moment, and in a limited space. As a result most Indian dances, except for certain movements in Kathakhali, do not feature any major leaps or other sudden changes in space.

Indian dance does not concern itself with the layout of the muscles in the human body and instead focuses on the joints and the bone structure. Indian dancers are always trying to achieve the perfect pose. This is only possible after clearly understanding bone and joint structure of the body. The basic theory of Indian dance assumes the body to be a mass which is equally divisible along a central median. When weight is perfectly balanced the samabhanga position emerges. When there is a slight imbalance the abhanga position is achieved and when there are two deviations on opposite sides then a thrice deflected position appears known as the tribhanga . According to the Natyasastra there are two broad classifications for the different parts of the body, they are the major and minor limbs (the angas and the upangas ). The angas are the head, hands, chest, waist, hips and feet. The upangas are the eyes, eyebrows, nose, lips, chin and mouth. Indian dance movements are divided into several units of movement, depending on which parts of the body are used, and combinations of certain events also have certain names. Movement with one foot is known as a chari and movement with both feet is known as a karana . A karana is also used to refer to a unit of movement which combines both hands and feet. There are a few other terminologies like for instance when contact with the ground is maximum it is known as bhaumi and when there is any effort to release from gravity it is known as akasiki . A circular movement is called a rechika , turns are known as bhramiris , jumps or elevations are known as utplavanas . These are just a few of the terms used in dance, and each of the classical dances have their own set of such terms.

An integral part of Indian classical dances is drama and dancers are expected to convey stories to the audience using their dance movements. Speech is replaced by music and movement, and it is set against a particular rhythmic cycle. A dancer has to assume different roles without the opportunity to change costume and hence must be able to display the different characters distinctly. There is an entire language made up from various signs and almost anything can be conveyed. As Nandikesvara, the author of the Abhinaya Darapana said "Where the hands go eyes follow, where the eye goes, there the mood follows and where the mind goes there arises the sentiment".

We shall now take a look at the basic ideas of stage presentation. Since Indian dance is closely linked with drama, it carries over many drama concepts into its structure. Indian dance can be divided into three broad principles

- Dharmis or the modes of presentation: These deal with the way it is presented, either in a stylized way ( natya ) or in a realistic way ( lokadharmi ) with the former used more often.

- Vrittis or the styles: There are a number of styles used in a dance like, graceful ( Kaiseki ), grand ( Sathvati ), energetic ( arbhati ) and verbal ( bharati ). Bharati however is rarely used in dance.

- Abhinaya or Types of acting: This deals with the various technicalities of acting like gestures ( angarika ), vocal ( vachika ), costume and make up props ( aharya ), and the involuntary/temperement/emotional ( sattvika ).

There are a number of terms which are used to describe the gestures ( angrika ) in the acting part of the dance.

- Mukhaja or of the face: This involves movements using the eyebrows, eyelids, eyeballs, nose, lips, chin and mouth

- Sarira or the body: This uses the major limbs, and the movements are done by the head, chest, waist, hips, thighs, hands and feet

- Chestakrita : This uses the entire body.

The theory of Indian dance is very complex and the above is just a brief introduction to give you a basic idea of what Indian dance is all about. We deal with the specifics of each dance when we talk about them separately.

Indian dance did not develop in isolation, it is more of a combination of music, art and drama and hence the classical dances of India usually follow most of the techniques and guidelines laid down for theatre. Dances are typically in the dance-drama form, where the dancer is conveying a story to the audience with the help of dance symbols. Indian dances differ significantly from Western Dance forms. Western dancers are concerned more with space, and their dance movements involve moving around in space. Hence they are characteristic by great leaps into the air, or the rapid movement from one place to another. Western dancers create movement by reaching into space and carving out intricate movements in the air, and the central aim is to make movement appear free from gravity. Indian dancers on the other hand have a very different concept, they do not concern themselves with spaces but with time. The central aim of Indian dance is to make a pose so perfect that it appears timeless. Hence the movements take place in time and must be perfectly synchronized with the rhythm, in order to create a series of perfect poses. A perfect pose would be able to capture time for a moment, and in a limited space. As a result most Indian dances, except for certain movements in Kathakhali, do not feature any major leaps or other sudden changes in space.

Indian dance does not concern itself with the layout of the muscles in the human body and instead focuses on the joints and the bone structure. Indian dancers are always trying to achieve the perfect pose. This is only possible after clearly understanding bone and joint structure of the body. The basic theory of Indian dance assumes the body to be a mass which is equally divisible along a central median. When weight is perfectly balanced the samabhanga position emerges. When there is a slight imbalance the abhanga position is achieved and when there are two deviations on opposite sides then a thrice deflected position appears known as the tribhanga . According to the Natyasastra there are two broad classifications for the different parts of the body, they are the major and minor limbs (the angas and the upangas ). The angas are the head, hands, chest, waist, hips and feet. The upangas are the eyes, eyebrows, nose, lips, chin and mouth. Indian dance movements are divided into several units of movement, depending on which parts of the body are used, and combinations of certain events also have certain names. Movement with one foot is known as a chari and movement with both feet is known as a karana . A karana is also used to refer to a unit of movement which combines both hands and feet. There are a few other terminologies like for instance when contact with the ground is maximum it is known as bhaumi and when there is any effort to release from gravity it is known as akasiki . A circular movement is called a rechika , turns are known as bhramiris , jumps or elevations are known as utplavanas . These are just a few of the terms used in dance, and each of the classical dances have their own set of such terms.

An integral part of Indian classical dances is drama and dancers are expected to convey stories to the audience using their dance movements. Speech is replaced by music and movement, and it is set against a particular rhythmic cycle. A dancer has to assume different roles without the opportunity to change costume and hence must be able to display the different characters distinctly. There is an entire language made up from various signs and almost anything can be conveyed. As Nandikesvara, the author of the Abhinaya Darapana said "Where the hands go eyes follow, where the eye goes, there the mood follows and where the mind goes there arises the sentiment".

We shall now take a look at the basic ideas of stage presentation. Since Indian dance is closely linked with drama, it carries over many drama concepts into its structure. Indian dance can be divided into three broad principles

- Dharmis or the modes of presentation: These deal with the way it is presented, either in a stylized way ( natya ) or in a realistic way ( lokadharmi ) with the former used more often.

- Vrittis or the styles: There are a number of styles used in a dance like, graceful ( Kaiseki ), grand ( Sathvati ), energetic ( arbhati ) and verbal ( bharati ). Bharati however is rarely used in dance.

- Abhinaya or Types of acting: This deals with the various technicalities of acting like gestures ( angarika ), vocal ( vachika ), costume and make up props ( aharya ), and the involuntary/temperement/emotional ( sattvika ).

There are a number of terms which are used to describe the gestures ( angrika ) in the acting part of the dance.

- Mukhaja or of the face: This involves movements using the eyebrows, eyelids, eyeballs, nose, lips, chin and mouth

- Sarira or the body: This uses the major limbs, and the movements are done by the head, chest, waist, hips, thighs, hands and feet

- Chestakrita : This uses the entire body.

The theory of Indian dance is very complex and the above is just a brief introduction to give you a basic idea of what Indian dance is all about. We deal with the specifics of each dance when we talk about them separately.

[MysteRy]

Bharatanatyam - Introduction

Bharatanatyam is perhaps the oldest amongst the contemporary classical dances of India. Bharatanatyam is characterized by the use of the ekaharya lasyanga style in which one dancer-actor plays many different roles. This dance form goes back a long way in history and early records appear as sculptures on temple walls and in literature. After the 10th Century AD its development took place mainly in South India and eventually was restricted to an area which forms the state of Tamil Nadu today. The medieval southern kings like the Cholas and Pallavas were great patrons of this dance form and during their reign it received tremendous support. The dance survived the British period and in fact was able to develop further during the colonial period. It remains a popular dance form till date, almost fifteen hundred years since its inception.

Bharatanatyam is perhaps the oldest amongst the contemporary classical dances of India. Bharatanatyam is characterized by the use of the ekaharya lasyanga style in which one dancer-actor plays many different roles. This dance form goes back a long way in history and early records appear as sculptures on temple walls and in literature. After the 10th Century AD its development took place mainly in South India and eventually was restricted to an area which forms the state of Tamil Nadu today. The medieval southern kings like the Cholas and Pallavas were great patrons of this dance form and during their reign it received tremendous support. The dance survived the British period and in fact was able to develop further during the colonial period. It remains a popular dance form till date, almost fifteen hundred years since its inception.

[MysteRy]

Bharatanatyam - Theory and Technique

The basic theory of Indian dance assumes the body to be a mass which is equally divisible along a central median. When weight is perfectly balanced the samabhanga position emerges. When there is a slight imbalance the abhanga position is achieved and when there are two deviations on opposite sides then a thrice deflected position appears known as the tribhanga . Bharatanatyam is unique in the fact that the movements it conceives are either straight lines or triangles. The head forms the first unit and moving the head laterally is a common feature. The next unit is the torso which is moved as a whole and this is a characteristic feature of Bharatanatyam. Finally  the lower limbs are either seen as a straight line or as the two sides of a triangle in space. Other key aspects in Bharatanatyam are nritta (dance) and abhinaya (acting).

A Bharatanatyam dancer begins from the samapada position which is a simple position in which the dancer's feet are facing forward. The body of the dancer is neither relaxed nor taut. This pose is followed by turning the feet sideways and is known as kalai tiruppadal . After this position comes the ardhamandali in which the feet remain facing sideways and knees also bent sideways. This is the most important position in Bharatanatyam. The dancer then either extends the arms or places them on the waist. Earlier we had talked about the Bharatanatyam emphasis on creating triangles, in this position the triangle would be structured like this.

-The line that joins the two shoulders can be taken to be the base of one triangle and the waist forming the apex.

-From the waist another triangle is conceived with the thighs acting as the sides and the line joining the two knees as the base.

-The third triangle is formed in the region occupied by the two calves and line joining the two knees.

-The arms also form triangles for the bent arm held at the waist forms a triangle.

The above was a brief analysis of just one particular position to enable you to understand the Bharatanatyam concept of triangles, there are many different positions and combinations.

Foot contact is important in Bharatanatyam. The foot touches the ground and the weight is equally distributed when the dancer is in the first position. When the foot is stamped flat on the ground it is known as tattu . The second type of foot contact is when only the toes of one foot touch the ground and the third type of position occurs when the toes are raised and only the heel touches the ground. Various permutations and combinations of one or two feet movements are used to come up with different sequences. These are all usually done in the ardhamandali position. A unit of movement that combines the feet, knees, torso, arms and hands is known as the adavu. Adavus form the basis of Bharatanatyam technique and can be broadly divided into nine groups, with each group further sub divided into different styles. All Adavus are set to a tal  (time cycle) and all but a few are executed in the ardhmandali position. To maintain symmetry a movement is executed first with the right foot and then by the left foot. This gives one half of the body a static quality whilst the other depicts movement. We shall now take a look at the nine basic Adavus

1.   The dancer begins by stamping in single units known as tei ya tei ye . After beginning on this the dancer may go on to execute other patterns by changing the number of times the foot is stamped or the sequence.

2. This adavu is known as ei yum dat ta tei um ta ha and in this a foot is placed with the heel grounded and toes pointing upwards. The basic movements of this adavu is extending one leg while keeping the other bent with the foot facing sideways. The extension and contraction of the legs takes place in various directions and different combinations. Some beautiful movements are created, with arms and torso following leg extensions, striking poses are characteristic of Bharatanatyam dance.

3. This is known as tat tei tam and it is a combination of flat feet with a jump on the toes. This adavu features the toe-heel movements. Some important movements of this adavu include jumping on the toes in the ardhmandali position. Usually the movements of this adavu are executed in the ardhmandali position with no leg extensions although some movements feature leg extensions to the back with an opposite twist of the torso.

4. This is known as tei hat tei hi and its distinctive feature is that both sets of toes hit the ground simultaneously when the heels are stamped. This adavu is not performed in the ardhmandali position and the dancer uses the heel to toe position and performs the movements with an erect posture. Some lovely movements are thus created involving the extending and closing of the arms etc.

5. The fifth adavu is known as tat tei ha ha and in this the dancer can use all the various possible permutations and combinations possible in the tala system. The dancer first stamps on the right foot, followed by the second foot and then a jump on the heels on the third beat and finishing with stamping only the right foot on the fourth beat. This is repeated several times and creates the complex rhythmical structure that gives Bharatanatyam a distinctive identity.

6. The sixth adavu is known as tai te ta. In this particular adavu a dancer attempts to build movement by using only a single foot or leg in groups of three beats.

7. This adavu is known as di di tai and has almost sixteen classifications and is a classic example of how different permutations and combinations can be performed around a three beat structure. This adavu is often used to provide the climax ( tirmanams ) in Bharatanatyam. In its simplest form it involves the extension and contraction of a leg. The legs extend, contract and stamp the ground in line with the three beats. The arms meanwhile move around in circular patterns and several other movements.

8. This is known as the poi adavu which has movements which are soft and silent with graceful hops and jumps. There are several varieties of this adavu but it is distinguished by silent shifting of the position of the feet as opposed to the extension and contraction of the leg that is usually performed. Some of the jumps that are done in Bharatanatyam belong to this adavu .

9. This adavu is called ta dit dit tai and the arms provide variation while the feet are stamping in the ardhamandali position. When combined with the 7th adavu they produce some fantastic patterns.
Adavus differ from one dance family to another but the essential concepts of an adavu are diligently followed. > they produce some fantastic patterns.

Adavus differ from one dance family to another but the essential concepts of an adavu are diligently followed.

[MysteRy]

Bharatanatyam - Repertoire

The repertoire of a Bharatanatyam dance is extensive and we shall deal with those used in a solo dance as the Bharatanatyam of today is largely performed solo. We shall take a look at a typical Bharatanatyam solo dance recital.

Alarippu
The recital opens with the alarippu which is an invocation sequence set to the beat of a drum known as the mridangam. Through simple movements the dancer constructs rhythmical patterns. The basic and most significant movements are presented in an ascending order, quite like the introduction of the chief notes on the melodic scale. The dancer begins with the point of perfect equilibrium (sambhanga) and remains standing. The movements of the neck, shoulder and arms are then introduced following which the dancer moves into the ardhamandali position. The movements of all the major and minor  limbs are executed in a simple form, and this sequence can perhaps be described as a warm up to the main performance. The central theme for this sequence is a salutation to the God of Dance.

Jatisvaram
This is the next piece in the composition and in this sequence the dancer weaves several patterns depending on the musical accompaniment. It is set to five units of the tala of Carnatic music and this basic metric cycle guides the musician as well as the dancer. The dancer introduces more complex movements and full sequences of certain adavus are presented. The combinations are still simple and the dancer simply presents patterns as combinations of adavus. The dance is set to the full line of a svara or note and is guided and conditioned by the nature of the svara. A melody consists of twenty four beats but the time interval between individual notes can differ. A dancer when composing a recital must tie the dance and music together, for the music guides the dance. The dancer will then either do a note to note synchronization or in some cases deliberately avoid  synchronization. The jatisvram is an opportunity for a dancer to present as much of pure dance as possible and also is an opportunity to experiment with the presentation of adavus and rhythmic patterns.

Sabdam
The following piece is known as the sabdam and is also set to a composition of carnatic music. This is when the dancer introduces mime into the performance, as acting is an important part of Bharatanatyam dance. This sequence acts as a bridge that wraps the introductory elements and prepares for the major Varnam sequence that follows.

Varnam
After all the major elements of the recital have been introduced., the dancer begins the Varnam sequence which is perhaps the most intricate and complex one of the lot. It also gives the dancer tremendous scope to improvise on the theme. It begins with the dancer presenting a number of sustained adavu grouped together and weaves these together in three tempos making the composition very elaborate. This particular sequence requires total synchronization between the dancer, the singer and the drummer. The theme of this sequence usually is about either Lord Vishnu or Lord Shiv. The dancer slowly builds up the sequence and at the climax a sense of deep devotion and adoration are brought out along with the human yearning for the divine. The dancer has a fair amount of freedom to improvise on the music and literary word. Various gestures depicting images are presented and this sequence calls for the imaginative faculties of the dancer. Without such a  capability the dancer would be unable to present the complex story line with the relevant gestures.

Abhinaya Padams
After the elaborate Varnam sequence a period of relaxation follows and can sometimes stretch up to an hour. Short sequences called padams are presented and there is a considerable amount of drama enacted with short stories. A common theme is a lady in love waiting to be united with her lover. The literary imagery is extensive and the dancer must have a good understanding before attempting this sequence, otherwise it may come across as superficial. This is usually taught to Bharatanatyam dancers after they have reached a certain degree of maturity and capability.

Tilana
The recital is concluded with the Tillana which is a brilliant sequence of pure dance. It is a musical composition of mnemonics sung in a particular raga and set to a particular tala. The dance poses appear like beautiful sculptures. The dancer by this time is completely fluid in the way she presents her movements and re-inforces some earlier concepts in a more abstract form. A lot of concepts introduced in some of the earlier sequences are explored fully. All tempos are used and the movements are straight, triangle and diagonal designs in space. The choreography of their footwork also includes semi circular designs. The dance recital is ended in a fast tempo with a few concluding movements.

The basic sequences of Bharatanatyam dance have been illustrated above. Each family has their own different sequences and traditions. Much has changed however during the last fifty years. The constant cycle of re-discovering old techniques and adding to the repertoire is a healthy sign, for the biggest worry would be a dilution of styles.

[MysteRy]

Kathak - Introduction

The origins of Kathak cannot be pin pointed as with other Indian classical dances for it more or less evolved over centuries and over a geographically vast area. Some attribute it to the Mughal Empire, but then there is a contradiction for the state religion of that time did not patronize dance. However, some of the Mughal kings were known to be fond of art and music and it is speculated that Kathak developed during their reign. Unlike most of the other dances we are not able to find much evidence in ancient sculptures, however there is evidence of dance styles that form modern day Kathak. In these paintings one gets a detailed and descriptive insight into the development of this dance. The dance was given a shape by the Vaishnavaite (worshippers of Lord Vishu) traditions of North  India. Kathak dancers maintained a clear distinction between lasya + tandava and nritta + abhinaya even when performing before kings. The court atmosphere of that period was one where technical perfection was encouraged and hence Kathak imbibed the ideas of abstract design through rhythm from such an environment. Kathak dancers however retained the basic ideas of Indian dance, and viewed the concept of abstract as an invocation to God. Kathak focuses essentially on a sheer demonstration of technique.

The origins of Kathak cannot be pin pointed as with other Indian classical dances for it more or less evolved over centuries and over a geographically vast area. Some attribute it to the Mughal Empire, but then there is a contradiction for the state religion of that time did not patronize dance. However, some of the Mughal kings were known to be fond of art and music and it is speculated that Kathak developed during their reign. Unlike most of the other dances we are not able to find much evidence in ancient sculptures, however there is evidence of dance styles that form modern day Kathak. In these paintings one gets a detailed and descriptive insight into the development of this dance. The dance was given a shape by the Vaishnavaite (worshippers of Lord Vishu) traditions of North  India. Kathak dancers maintained a clear distinction between lasya + tandava and nritta + abhinaya even when performing before kings. The court atmosphere of that period was one where technical perfection was encouraged and hence Kathak imbibed the ideas of abstract design through rhythm from such an environment. Kathak dancers however retained the basic ideas of Indian dance, and viewed the concept of abstract as an invocation to God. Kathak focuses essentially on a sheer demonstration of technique.

[MysteRy]

Kathak - Theory and Technique

An interesting aspect of Indian dance is that it usually resembles poses seen in sculptures, however as you have read earlier, our records of Kathak are from paintings. Kathak therefore is a lot like a painting, it conceives space in only two dimensions and hence its patterns are done in a straight line. Space is treated front to back and no attempt is made to make three dimensional patterns. Even when the dance does a spin it is down along the central median with no deflections taking place. Kathak takes the human form to be a straight line and therefore there are very few deflections of the vertical median. The sam pada position (when the dancer stands straight and there is equal distribution of weight) is an important one in Kathak. In no other classical Indian dance style is flat foot  dancing so important. Kathak requires minute foot work and the reason for the emphasis on footwork is because it can only be executed if the weight is delicately balanced on each foot. Kathak dancers therefore move the weight of the body when they move their feet, making for light movements as opposed to the more terse movements see in other styles. Unlike other dance forms that enumerate various leg and hand positions, Kathak dancers are judged on how they are able to execute rhythmic patterns on a basic metrical cycle.

Kathak conceives the torso in a way that is quite different from other dance forms. Unlike Bharatanatyam it does not take it to be a single unit and unlike Manipuri it does not divide it into two units. Instead the only portion that is moved is the shoulder line which enables the dancer to manipulate the upper torso (for instance one shoulder could be moved up while the other lowered). This approach gives the dance a peculiar fluidity as do its characteristic torso poses. The arms have definite movement but do not attempt to make any sort of geometrical pattern. Another characteristic feature of the Kathak dance style are its jumps and spins. Kathak is the only dance to lift both feet simultaneously in a jump. Unlike any other classical dance form, Kathak jumps do not attempt to cover space and instead the jump itself is considered a movement, and not a means of changing position. In a spin the dancer maintains the central axis of the body, using one foot as a anchor and the other to make the circle, similar to how a compass draws a circle. These spins, known  popularly as chakkaras are usually the concluding sequences in the dance. Kathak lays emphasis on the movements of the eyebrows and its approach to neck movement is similar to that of Bharatanatyam, i.e. the neck is moved from side to side.

[MysteRy]

Kathak - Repertoire

Like any other dance form Kathak also deals withnritta and abhinaya. The nritta portions begin with a sequence known as the amadaaa. The amadaa is set to a sixteen beat metric cycle ta thei thei tat, aa thei , thei ,tat. The dancer uses the amadaa as the entry to the stage and as an invocation to Lord Ganesha. The amadaa ends with a few spinning movements and the dancer reverts to a static position. What follows is the thata which displays the various possible movements of the body. Sometimes this is done before the amadaa. After the initial sequences are completed the dancer presents pure dance sequences known as tora, tukra and parana .  These are named after the varying degrees of complexity of the beats of the accompanying instruments. The tora is presented first and it can be described as a formal pattern set to the sound patterns of the instrument known as the sitar. It is followed by the tukra which is often presented with spinning movements. The dancer first begins with a seemingly slow rhythmic pattern and then proceeds to build up a more complex structure based on the mathematical sequence of the beats. The structure can be built up from any beat but the last step should coincide with the last beat and hence requires a considerable amount of calculation by the dancer. The parana follows and is characterized by the stronger beats it is set to.

The above broadly talks about the main classifications of the Kathak nritta technique, however there are a number of sub divisions of the above mentioned three. The tohra, tukra and the parana all have various sub groups which are set to the beats of different percussion instruments. The nritta part of Kathak revolves around a repetitive melodic line known as the nagma . Both the accompanying musicians and the dancer weave through a vast number of rhythmic permutations. Another type of composition in Kathak is the nritya which can be described as a sort of mixture of nritta and abhinaya. The dancer performs parts of both techniques and then executes either of the two, depending on the musical sequences.

A unique feature of Kathak dance is that the dancers themselves recite the bols (the beats) unlike other dance forms like Bharatanatyam where the teacher does the reciting. In Kathak it is considered essential for the dancers to recite the bols in their presentation. The dancers in the process of this recitation are actually rehearsing their steps before actually executing them. The accompanying musicians will often repeat a bol recited by the dance which makes the dance patterns and the music patterns almost identical. This concept is known as the parhant . We shall conclude by explaining the section on nritta by explaining the tattakara . The tattakara is another method by which the dancers present their capabilities over rhythmic patterns. In this form, the dancer can insert intervals into the beat of a given metric cycle. For instance the dancers may execute a twelve beat pattern in a sixteen beat cycle by slowing down or execute a twenty four beat pattern by increasing their speed. The dancers are taught to be able to improvise on the basic sixteen beat pattern. Towards the end of the tattakara the dancer's capabilities in controlling weight  distribution are put to their toughest test. The dancer should be able to while executing rhythmic patterns restrict the jingling of almost a hundred bells on the feet to just one or two. This is one of the toughest aspects of the dancer's training, for the dancer must achieve a certain body axis and be absolutely static from the torso upward. It is even more difficult since this is performed towards the end of the dance when the dancer's feet are tired.