Kathak

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Dancer performing the chakkarwala tukra, one of the popular highlights of Kathak

Kathak performance by Sharmila Sharma and Rajendra Kumar Gangani at the Guimet Museum (November 2007) Kathak (Hindi: , Urdu: )is one of the eight forms of Indian classical dances, originated from northern India. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or storytellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. It was quintessential theatre, using instrumental and vocal music along with stylized gestures, to enliven the stories. Its form today contains traces of temple and

ritual dances, and the influence of the bhakti movement. From the 16th century onwards it absorbed certain features of Persian dance and Central Asian dance which were imported by the royal courts of the Mughal era. There are three major schools or gharanas of Kathak from which performers today generally draw their lineage: the gharanas of Jaipur, Lucknow and Banaras (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later) Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions. The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means s/he who tells a story, or to do with stories. The name of the form is properly katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated,s/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is Kathak'.

Contents
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1 Repertoire o 1.1 Pure Dance (Nritta) o 1.2 Expressive Dance (Nritya) 2 History of Kathak o 2.1 Change in the Bhakti Era o 2.2 In the Mughal Period o 2.3 Later court influences o 2.4 During the Raj o 2.5 Today 3 Gharanas o 3.1 Lucknow Gharana o 3.2 Jaipur Gharana o 3.3 Banaras Gharana o 3.4 Raigarh Gharana 4 Relationship with other art forms o 4.1 Kathak Yoga o 4.2 Flamenco 5 Ghunghru 6 Costume o 6.1 Female costume o 6.2 Male costume 7 See also

8 References

[edit] Repertoire
[edit] Pure Dance (Nritta)
The structure of a conventional Kathak performance tends to follow a progression in tempo from slow to fast, ending with a dramatic climax. A short danced composition is known as a tukra, a longer one as a toda. There are also compositions consisting solely of footwork. Often the performer will engage in rhythmic 'play' with the time-cycle, splitting it into triplets or quintuplets for example, which will be marked out on the footwork, so that it is in counterpoint to the rhythm on the percussion. All compositions are performed so that the final step and beat of the composition lands on the 'sam' or first beat of the time-cycle. Most compositions also have 'bols' (rhythmic words) which serve both as mnemonics to the composition and whose recitation also forms an integral part of the performance. This recitation is known as padhant. Some compositions are aurally very interesting when presented this way. The bols can be borrowed from tabla (e.g. dha, ge, na, tirakiTa) or can be a dance variety (ta, thei, tat, ta ta, tigda, digdig and so on). Often tukras are composed to highlight specific aspects of the dance, for example gait, or use of corners and diagonals, and so on. A popular tukra type is the chakkarwala tukra, showcasing the signature spins of Kathak. Because they are generally executed on the heel, these differ from ballet's pirouettes (which are properly executed on the toe or ball of the foot). The spins usually manifest themselves at the end of the tukra, often in large numbers: five, nine, fifteen, or more, sequential spins are common. These tukras are popular with audiences because they are visually exciting and are executed at great speed. Other compositions can be further particularised as follows:

Music to Kathak is normally provided by tabla and sitar players 1. Vandana the dancer begins with an invocation to the gods. 2. Thaat (the first composition of a traditional performance; the dancer performs short plays with the time-cycle, finishing on sam in a statuesque standing (thaat) pose); 3. Aamad (from the Persian word meaning 'entry'; the first introduction of spoken rhythmic pattern or bol in to the performance); 4. Salaami (related to Ar. 'salaam' - a salutation to the audience in the Muslim style); 5. Kavit (a poem set on a time-cycle; the dancer will perform movements that echo the meaning of the poem) 6. Paran (a composition using bols from the pakhawaj instead of only dance or tabla bols) 7. Parmelu or Primalu (a composition using bols reminiscent of sounds from nature, such as kukuthere (birds), jhijhikita (sound of ghunghru), tigdadigdig (strut of peacock) etc. 8. Gat (from the word for 'gait, walk' showing abstract visually beautiful gaits or scenes from daily life) 9. Ladi (a footwork composition consisting of variations on a theme, and ending in a tihai) 10. Tihai (usually a footwork composition consisting of a long set of bols repeated thrice so that the very last bol ends dramatically on 'sam')

[edit] Expressive Dance (Nritya)

Aside from the traditional expressive or abhinaya pieces performed to a bhajan, ghazal or thumri, Kathak also possesses a particular performance style of expressional pieces called bhaav bataanaa (lit. 'to show bhaav or 'feeling'). It is a mode where abhinaya dominates, and arose in the Mughal court. It is more suited to the mehfil or the darbar environment, because of the proximity of the performer to the audience, who can more easily see the nuances of the dancer's facial expression. Consequently, it translates to the modern proscenium stage with difficulty. A thumri is sung, and once the mood is set, a line from the thumri is interpreted with facial abhinaya and hand movements while seated. This continues for an indefinite period, limited only by the dancer's interpretative abilities. Shambhu Maharaj was known to interpret a single line in many many different ways for hours.

[edit] History of Kathak

This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (April 2009) The story of Kathak begins in ancient times with the performances of professional storytellers called kathakas who recited or sang stories from epics and mythology with some

elements of dance. The traditions of the kathakas were hereditary, and dances passed from generation to generation. There are literary references from the third and fourth centuries BC which refer to these kathakas. The two texts are in the archives of Kameshwar Library at Mithila. An extract runs as follows: maggasirasuddhapakkhe nakkhhate varanaseeye nayareeye uttarpuratthime diseebhage gangaye mahanadeeye tate savvokathako bhingarnatenam teese stuti kayam yehi raya adinaho bhavenam passayi (Prakrit text, 4th century BC). Translation: in the month of magha, in the shukla-paksha nakshatra, to the north west of Varanasi, on the banks of the Ganges, the shringar dance of the kathaks in praise of God pleased Lord Adinatha. A 3rd century BC Sanskrit shloka (Mithila, late Mauryan period): ...anahat...nrityadharmam kathakacha devalokam... Translation: ...sound...and the Kathaks whose duty is dance for the divine peoples There are also two verses from the Mahabharata which also refer to Kathaks: Kathakscapare rajan sravanasca vanaukasahadivyakhyanani ye ca'pi pathanti madhuram dvijaha (Mahabharata, verse 1.206.2-4, Adiparva) Translation: With the king on the way to the forest were the Kathakas pleasing to the eyes and ears as they sang and narrated sweetly.

Noted Kathak dancer Shovana Narayan, recipient of the Padma Shri Shovana Narayan notes: 'Here the emphasis on pleasing to the eyes is indication of the performing aspect of the Kathakas.' The other verse is in the Anusasanika Parva. In the post-Christian era, there is also reference to Kathak in the Harsha-charita of Bana. By the 13th century a definite style had emerged and soon technical features like mnemonic syllables and bol developed. In the 15th-16th century at the time the Bhakti movement, Rasalilas had a tremendous impact on Kathak. The form of dance even made its way to the Kathavachakas who performed in temples.

[edit] Change in the Bhakti Era

During the era of fervent worship of Radha-Krishna, Kathak was used to narrate tales from the lives of these figures. Popular performances included Sri Krishnas exploits in the holy land of Vrindavan, and tales of Krishna-Leela (Krishnas childhood). It was in this time, the dance moved away from the spirituality of the temple and began to be influenced by folk elements.

[edit] In the Mughal Period

It was when the dance reached the Mughal court after the 16th century that Kathak began to acquire its distinctive shape and features. Here it encountered other different forms of dance and music, most especially dancers from Persia. Dancers were enticed from the temples to the courts by gifts of gold, jewels and royal favour. Patronage soared as a social class of dancers and courtiers emerged in the royal palaces, where dance

competitions were held frequently. The environment of the North Indian Mughal courts caused a shift in focus for Kathak, from a purely religious art form to court entertainment. Dancers imported from the Middle East spread their ideas to Kathak dancers, as they borrowed ideas from Kathak to implement in their own dance. Kathak absorbed the new input, adapting it until it became an integral part of its own vocabulary. Kathak began to shift away from other traditional Indian dances, such as Bharatanatyam. The demi-pli stance of most other Indian dance forms gave way to straight legs taken from the Persian dancers. To emphasize the flamboyant and elaborate rhythmic footwork as many as 150 ankle bells on each leg were worn. It was also during this period that the signature 'chakkars' (spins) of Kathak were introduced, possibly influenced by the socalled whirling dervishes. The straight-legged position gave a new vitality to the footwork, which wove percussive rhythms in its own right, whether together with or in complement to the tabla or pakhawaj. By this stage, the varied influences had introduced great flexibility into Kathak in terms of presentation and narrative dance. As it moved away from the temple through folk dances to the court, it gathered many accretions of the themes on which the narrative dance could treat, resulting in a broader catchment of material for abhinaya pieces, and a less stylized and slightly informal presentation style which often incorporated improvisation and suggestions from the courtly audience. The fusion of cultures developed Kathak in a singular manner, but although it was by now substantially different from the other Indian dance forms, the roots of the style remained the same, and as such it still displays a consanguineity with the others, particularly in the hand-formations during story-telling, and some of the body-postures, for example the tribhangi position, which is common to most Indian dance forms.

[edit] Later court influences

Many specific emperors contributed to the growth and development of Kathak into different gharanas, or schools of dance, named after the cities in which they developed. The Nawab of Oudh, Wajid Ali Shah, not only enjoyed giving patronage to dancers, but danced himself, taught by Durga Prasad. He himself choreographed a dance, Rahas, that he danced himself with the ladies of his court. He brought teachers to his palaces, aiding the expansion of technical vocabulary, and formed the basis of the Lucknow gharana, emphasizing sensuous, expressive emotion. The Lucknow gharana placed emphasis on the abhinaya and natya elements or expressional qualities of the dancing; it was famed for its subtlety and grace (nazakat). This contrasted sharply with the Jaipur gharana, which became renowned for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Even after the Moghuls, courts in Rajasthan enjoyed Kathak as a sophisticated art form, fostering the growth of the Jaipur gharana. The Banaras gharana was also created in this time. During this period, Kathak was also extensively performed by tawaifs, who themselves developed the art in parallel to its refinement in court. They frequently performed abhinaya on lighter classical music of such as dadra, kajri and tappa as well as thumri. Given the tawaifs' environment, their performance style of Kathak also differed from the court style, involving more of what in Kathak is termed naKhra ('mischievous

playfulness'). As the dance teachers of these tawaifs were also often the dance teachers of the court dancers, there was a fairly free interchange of ideas between the two milieus, and this helped consolidate the repertoire of Kathak.

[edit] During the Raj

The advent of British Rule in India sent Kathak into sharp decline. The Victorian administrators publicly pronounced it a base and unlovely form of entertainment, despite often privately enjoying the pleasures of the tawaif. Indeed, by associating Kathak solely with the tawaifs and then associating the tawaifs with out-and-out prostitution, Kathak acquired an unwholesome image: the entirely British concept of nautch. Kathak was, to Victorian eyes, an entertainment designed solely for the purposes of seduction. During these times of cultural hardship, the role of the tawaifs in preserving the art forms should not be underestimated. Famous tawaifs such as Gauhar Jan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion.

[edit] Today
Today, Kathak has regained its popularity after the period of decline during the rule of the British Empire (where it was frowned upon by Victorian administrators), and it is now one of the eight officially sanctioned classical dance forms of India. Kathak's current form is a synthesis of all the input it has had in the past: court and romantic aspects sit comfortably side-by-side with the temple and mythological/religious. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj, Lachhu Maharaj and one of the great current dancers still alive today, Birju Maharaj) and his students including Saswati Sen have been very successful in spreading the popularity of Kathak. Another disciple of Acchan Maharaj is Sitara Devi, daughter of Sukhdev Maharaj of Banaras. Her lively, zestful and fiery performances have impressed many audiences. Shambhu Maharaj also trained Smt. Kumudini Lakhia, who, along with Birju Maharaj, has introduced the relative innovation of multi-person choreographies in Kathak, which was traditionally a solo dance form. She has gained a strong reputation for combining purely classical movements and style with distinctly contemporary use of space.

[edit] Gharanas
Main article: Gharana Because of the linear nature of the passing of knowledge from guru to shishya, certain stylistic and technical features began to fossilise and became hallmarks of a particular school, guru or group of teachers. The different styles are known as gharanas, and these are:

[edit] Lucknow Gharana

The Lucknow Gharana developed in the courts of the Nawab of Oudh in Lucknow, Uttar Pradesh. It particularly emphasises grace, elegance and naturalness in the dance. Abhinaya or expressional acting, especially improvised, plays a very strong role in this style, and Birju Maharaj, Shambhu Maharaj and Lachhu Maharaj are or were all famed for the naturalness of and innovativeness of their abhinaya.

[edit] Jaipur Gharana

The Jaipur Gharana developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan. Importance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas. There is also a greater incorporation of compositions from the pakhawaj, such as parans.

[edit] Banaras Gharana

The Benaras Gharana was developed by Janakiprasad. It is characterized by the exclusive use of the natwari or dance bols, which are different from the tabla and the pakhawaj bols. There are differences in the thaat and tatkaar, and chakkars are kept at a minimum but are often taken from both the right- and the left-hand sides with equal confidence. There is also a greater use of the floor, for example, in the taking of sam. Though the style developed in Benaras, it flourishes today from Bikaner.

[edit] Raigarh Gharana

This was established by the Maharaja Chakradhar Singh in the princely state of Raigarh in Chhatisgarh in the early 20th century. The Maharaja invited many luminaries of Kathak (as well as famous percussionists) to his court, including Kalka Prasad (the father of Acchan, Lacchu and Shambhu Maharaj) and his sons, and Pandit Jailal from Jaipur gharana. The confluence of different styles and artists created a unique environment for the development of new Kathak and tabla compositions drawn from various backgrounds.

[edit] Relationship with other art forms

[edit] Kathak Yoga
See main article: Kathak Yoga Kathak Yoga is a technique created By Pandit Chitresh Das, and is not related to Yoga. The dancer has to recite the taal, sing a melody, and perform complex footwork and spins all within the same composition, and frequently with two or more of these elements occurring simultaneously. The aim is to unify the various aspects of Kathak, so that the dancer is constantly aware of the precise relationship of whatever composition is being danced (whether a song or a dance composition) to the rhythm cycle.

[edit] Flamenco

There are many striking similarities between Kathak and the Flamenco dance of the Spanish gitanos, most notably in the lack of much deviation from the vertical axis, percussive footwork, and dependence on (sometimes complex) rhythmic cycles. It is generally supposed that the Romani people emigrated from India sometime in the 11th century. One group would later enter Spain via North Africa, having first passed westward through Iran (then Persia) and the fringes of the Ottoman Empire. In these places, they encountered the very same cultural influences that were to later arrive in India through the various Mughal incursions and have such an impact on Kathak. Thus, flamenco and Kathak both received the same cultural ingredients but in two very different circumstances: the itinerant gypsies carried their Indian art forms' traditions with them and absorbed new influences as they travelled, while Kathak stayed rooted in India and received the same input as a result of those influences (Persian and aspects of Middle-Eastern dance) being imported by a new regime. The similarity of Kathak and flamenco is therefore explained by the same process (the grafting and mixing of Persian and Middle-Eastern dance elements on to an Indian base) working in two different ways. Now of course the two traditions have had some seven or eight centuries in which to diverge; yet it is remarkable that the similarities between the two remain such that there have been many successful collaborative performances between Kathak and flamenco dancers (notably Sandra La Espuelita) without much need to dilute either style to accommodate the other.

[edit] Ghunghru
Ghunghru or ghunghroo are the small bells the dancer ties around his or her ankles. The Kathak bells are different from those of other Indian dance styles, as they are not affixed to a pad or strip of leather, but rather are individually woven along a thick string. The usual number of bells is 100 on each ankle, although for the initial stages of learning or for children, 25 and 50 belled strings are widely available to allow the dancer to get used to them. There is a more or less accepted upper ceiling of 150 bells on each ankle. Greater figures than this tend to involve the topmost circle of bells being tied further and further up a dancer's calf. This is generally regarded as unsuitable, because it is at some distance from the point of impact, giving rise to the upper levels of bells being prone to delayed sounding given the intervening space and amount of leg. Greater numbers are also unnecessarily difficult to control since they are more likely to sound at unwanted moments, being affected by the movement of the whole of the lower leg, rather than just the ankle.

[edit] Costume
As the dance style itself has changed to reflect the different milieus in which it found itself, so too has the costume and performance dress of the dancers.

[edit] Female costume

Traditional (and perhaps more specifically Hindu) costume sometimes consists of a sari, whether worn in an everyday style, or tied up to allow greater freedom of movement during dance. However, more commonly, the costume is a lehenga-choli combination, with an optional odhni or veil. The lehenga is loose ankle-length skirt, and the choli is a tight fitting blouse, usually short-sleeved. Both can be highly ornately embroidered or decorated. The lehenga is sometimes adapted to a special dance variety, similar to a long ghaghra, so that during spins, the skirt flares out dramatically. Mughal costume for women consists of an angarkha (from the Sanskrit anga-rakshaka 'limb-keeper') on the upper body. The design is akin to a chudidaar kameez, but is somewhat tighter fitting above the waist, and the 'skirt' portion explicitly cut on the round to enhance the flare of the lower half during spins. Beneath this, the legs are covered by the chudidaar or figure hugging trousers folded up giving the look of cloth bangles. Optional accessories are a small peaked cap and a bandi or small waistcoat to enhance the bust-line. A belt made of zari or precious stones is also worn on the waist.

[edit] Male costume

The traditional costume for men to be bare-chested. Below the waist is the dhoti, usually tied in the Bengal style, that is with many pleats and a fan finish to one of the ends (although it is not unknown for dancers to tie the garment more simply). There is the option of wearing a men's bandi too. The Mughal costume is kurta-churidar. The kurta can be a simple one, or again, adapted for dance to incorporate wider flare, but is usually at least knee-length. Men may also wear an angarkha (see Female Costume, above). Particularly older variety costumes include the small peaked cap too.

The following traditional story of ancient Hindu gods demonstrates the intention structuring the roots of classical Indian dance or Nat. When the world was still, the great Shiva Nattaraj danced the universe into existence with his mighty step and cosmic drum. As time passed, the humans and the gods appealed to Lord Bhrama for a form of entertainment that could elevate the performers as well as the audiences into exalted states of consciousness. Bhrama then appeared to the sage Bharata Muni, who recorded the Natiya Shastra, Bhrama's exact instructions on the organic science of dance and drama.

Beginning with the ecstatic expression of gypsies and temple devotees, Kathak, literally translated as "storytelling" has evolved over thousands of years. With time and history, it has developed into a highly refined system of rhythm and movement, capable of communicating complex human dynamics as well as abstract form and composition. During the Middle Ages, the Mughal dominion of India impacted Kathak with a shift in focus and style. Mughul art and music aimed at patterns and precision, creating a new, richly textured dimension to the scope of Kathak dance. It has since been preserved by particular gharanas or families still alive today. Three main schools are Lucknow, Jaipur, and Benares. Regional differences lend perspective and flavor to the different styles. Pundit Birju Maharaj, master of the Lucknow gharana, is the foremost authority on the perfect execution of Kathak, in addition to being the lineage foundation for Nyika Nritta. Indian dance was originally designed to enrich people's lives by arousing aesthetic centers of pleasure with skill and concentration. Listening, watching and participating in a state of relaxed body and mind, artists and audiences are enabled to embark on a spiritual odyssey of sound, sight, and vibration. Its versatility allows for a gamut of stage presentation, with a range of artistic applications to educate, entertain, and mystify. Integrating with the present, Mudra has adapted the ancient sciences of movement to provide an energizing method of transcendence. With eyes in both worlds, Mudra unveils the limitless potential available when the science and wisdom of sacred arts join with the electric power of technology. The final result is a dazzling experience for any audience or classroom. The development and evolution of Indian dance is intrinsically connected to Indian philosophy and spirituality. Hindu beliefs state the supreme energy available in dance and music gave birth to the universe. This cosmically creative process is personified by Nattaraj, another representation of Shiva, known as the King of Dance. Sound and rhythm naturally followed the dance of Shiva, structuring the basis for a harmonious lifestyle devoted towards peace and tranquility. Dance manifested as the soul's transcendence to higher levels of being. Rhythmic expression of movement facilitated a mechanism capable of accessing the higher mind of humanity. In addition to qualities of stability, balance, commitment, and focus, skillful acumen in expression and delivery were cultivated. Mythology and allegorical interpretation inhabited art,dance, and music in the Indus Valley. The lives of the deities, both realizations and mistakes, were dramatized and embellished with music and meaningful gesture (mudra). Consequentially, temple dances were infused with spiritual meaning. Divine intention based the physical perfection possible in great dancing; "... a dancer who has absolute mastery over a great technique should be able to evoke spiritual subtleties which have nothing to do with the muscular control of his arms and legs." (Ambrose, 1950) The physical beauty of both the gods and the dancers inspired divine attributes of the universal supreme being, connecting the human mind with spiritual ideals. The principals of male and female or tandava and lasya are fundamental components within the dance and religion of India. Both polarities passionately communicate pure love. In the language of dance, tandava encompasses vigor and strength. Tandava moves about with fiery technique. (Ambrose, 1950) Lasya is gentle and softer, "weaving astonishment" with expressive powers. Many Hindu dyads mirror different faces of archetypal sources for masculine and feminine. Shiva and Parvati are the embodiment of tandava and lasya; Krishna and Radha characterize the sharing of their divine love; rhythm and melody lyrically express the differences between the two; and dance is the union.

The love shared by Krishna and Radha is an important theme for many Indian dances. Providing a divine context, it allows for exploration of interpersonal issues occurring in human relationship. Krishna is the eighth avatar of Vishnu, the Preserver god in the Hindu trilogy. Characterized in two different lights, Krishna can be depicted as the wise sage dictating the Bhagavad Gita in the epic Mahabharata; or he is also shown as the mischievous and clever lad flirting with all the gopis, or young girls. The geographic setting of Krishna's life is located along the Yamuna River, in the northern region of India. The stories and songs composed around the life of Krishna are known as the Ras Lila. A complete set of rhythmic syllables emanated from Krishna as he danced on the head of the great snake Kaliya. The legend tells of Krishna, whilst playing with his friends, had an ambitious idea to throw his ball across the river Yamuna, where Kaliya Daman lived. After the ball fell into the water, Krishna was committed to retrieving it. He then dove into the river and battled the great snake. The ensuing dance upon the snake's head symbolizes Krishna's victory. He was thus given the name Natwari, meaning the best dancer. Bols or syllables like Ta, Tei, That, Digi, Tram, Tigdha, etc. are all considered Natwari bols. As a northern dance, Kathak naturally inherited both the bols and mythological significance Krishna played. Kathak, the "whirling dance of the north" (Ambrose,1950), tells a story of beauty and divinity with its power of movement and expression. Kath, the root of Kathak, in fact means the art of storytelling. A Kathak or Kathakar was someone who told stories. Based on the Natya Shastra, written by the sage Bharata Muni, Kathak, like other styles of Indian dancing, has a specific set of directions pertaining to every aspect of its production. According to this highly precise treatise setting out the rules pertaining to the science of stage and theatrical presentation, three distinct principals known as nritta, nritya, and natiya, constitute the scope of dance or nat (to dance). Nritta encompasses technique and abstract movement where music is always present and a theme is not required. The correct placement and execution of feet and limbs with grace and rhythmic precision are what is implied by nritta. It should, however, convey a sense of pure joy, "sublime and ethereal" (Unknown Author). Natiya includes the entire gamut of expression and gesture - abhinaya, and mood -bhava. Nrittiya is composed by combining both nritta and natiya, using movement, rhythm and expressive components for delivery. All three are characterized by rasa, aesthetic flavor. The treatise proceeds: ...What is said traditionally by our ancestors must be kept in view. Having made the invocation, etc., the dancing may begin. The song should be sustained in the throat; the mood (bhava) must be shown by the glances; time (tala) is marked by the feet. For wherever the hand moves, there the glance follows; where the glances go, the mind follows; where the mind goes the mood follows; where the mood goes, there is the flavor (rasa). (Ambrose from Natiya Shastra, 1950) There are nine emotional flavors coloring the canvas of life, capable of being communicated through Indian dance and facial expression. The nava rasa are as follows: Shringar (Beauty and attraction), Karuna (Compassion and

sadness), Vira (Heroic pride and confidence), Raudra (Anger and ferocity), Bibhatsa (Disgust and aversion), Hasya (Laughter and joy), Bhayanaka (Fear and fright), Adbhuta (Surprise and wonder), and Shanti (Peace). Each composition, rhythmic or expressive, relates to a particular rasa. It is a dancer's responsibility to illuminate her dance with brilliantly animated expression and devotedly practiced skill, infusing the entire performance with aesthetic mastery. Within the Natya Shastra there are specific instructions explaining the presentation of dance and drama. Drums and music are a major factor in the accompaniment of the dancer who is bare footed; ankles wrapped with 100200 bells per foot. Timing is a crucial factor at any point. Rhythm or laya provides the foundation for a dancer's ability to be in taal or time. The dancer is able to metrically recite the syllables of the compositions correctly (pahrant), applying the appropriate tonal accents and intonations. (Unknown Author) The dancer claps the beats while speaking rhythmic poetry, always ending on sam, the first beat of the new cycle. (Natya Shastra) Traditional presentation of dance parallels the universal progression from slow to fast. Vilambit is slow and steady, allowing the artist to acclimate with equipoise and deliberate precision. Media is a medium paced time, gradually increasing speed to a comfortable and uplifting tempo. Finally in Droot, the artist has gained speed, velocity, strength, and mobility, culminating in a vehement display of technique and expressive power. The progression allows for a natural acceleration, providing a healthy way for the dancer and the audience to build energy. The dance begins with an invocation or devotional piece called a Vendena. This can be to any divine being and is often a slow song or prayer with music. The dancer then "enters" with a segment called amad, meaning welcome. Firstly, the dancer begins with a "decorative and graceful attitude," : that, characterized by crisp attractive movements and changes in direction (Unknown Author). Chal, meaning a stylized walk, can be used. Rhythmic compositions: tukra and teehai, based on percussive syllables (bols) are incorporated after the that portion. These are nritta, purely abstract dance and percussive sequences relying on technique alone. (Natya Shastra) The next portion, tatkar, is a fast and powerful footwork with complicated patterns and cross-rhythms forming an exercise, "... as however the feet can fly, the separate beats must be clearly discernable." (Ambrose, 1950) A dancer can then perform a ghat, "a short decorative passage performed in rather a lyrical manner to a gentle rhythm." (Unknown Author) The ghat embraces the idea of nritya, where technique and expression have joined with rhythm and music. Parans, heavier compositions using a deeper tonal drum called the pakawaj, are one of the last segments in the dance. They are resonant with dynamic energy requiring vigor and acuity. As speed gradually increases, chakars, any number from one to thirty "whirling pirouettes" can be turned with balance and accuracy. Chakars are one of Kathak's most fabulous trademarks. Based on ancient principles, whirling activates chakras, centers of energy in the body. For example, the whirling dervishes in Sufism, an esoteric school of Islamic belief, accesses the potential energy available when turning around oneself as the earth on its axis. Another unique feature in Kathak is the liberty and improvisation the dancer has in his repertoire. Strict dependence on order is not emphasized in nritta portions.

Originating in temples, Kathak later thrived in Moghul courts. Kathak had already evolved into a system of movement when the Moghuls arrived in northern India, bringing with them ornate melodies, rhythms, and patterns in music and dance. Although the Moghuls emphasized abstraction and ornamentation over native mythology and worship, Kathak managed to maintain its spiritual identity and relevance towards devotion. Feminine beauty also played a significant role in Kathak during the Moghul period. Until that time, Kathak had been strictly for men. The role of the dancer changed; the woman was to stimulate aesthetic pleasures in the king or wealthy lord, not portray the life of a god. Later, during the British era, Victorian chastity gave the nautch (dancing) girls an impure role in society. In reality, many of noble courtesans preserved some of the dances still prevalent today. Different families also kept traditions through oral transmission. In the courts of Lucknow, Nawab Wajid Ali Shah sponsored and cultivated both Kalka and Bindadin Maharaj, their family and their dance. Beginning with their father, Thakur Prasad Misra, Bindadin codified and transcribed Kathak as it is known today. As a lover of Krishna, he designed and composed entire repertoires of music and dance dedicated to Krishna and his life. Founding the Lucknow Gharana or family, he fathered three sons: Achan Maharaj, Lachu Maharaj, and Shambu Maharaj. Achan Mahraj is considered to have truly inherited some of his father's genius, being multitalented at tabla, (a pair of Indian drums), bhava (mood) and expression. Pundit Birju Maharaj is the heir to this renowned and formidable family. He has elaborated and embellished Kathak with his multitude of choreography, composition, and creativity. Today, Kathak can be used to tell any story. It can be performed with the virtuosity of one dancer or a collective symphony of dancers. Owing its versatility to the splendors of ancient Hindu science and tradition, Kathak paints a magical tapestry of music, rhythm, dance, expression, spirituality, and communication. Requiring dedication and authentic perseverance, Kathak takes decades to master. An attitude of respect and humility can only be rewarded with the gift of grace and understanding towards an elevated art form. Preserving the source of intent towards the story of temple dancing, Kathak moves forward with style and nobility, creating wonder in its footsteps.
Notes for essay pictures: 1. Ras Lila: Krishna playing with Radha and her friends along the Yamuna River (Courtesy Bhaktivedenta, A.C. : Krishna: The supreme Personality of Godhead) 2. Ras Lila: Krishna as Natwari, the great dancer, upon the head of the snake demon Kaliya Daman. (Courtesy Bhaktivedenta, A.C. : Krishna: The supreme Personality of Godhead) 3. Kathak dancers. Court Scene.19th century A.D. (Courtesy Kotari, Sunil. Kathak: Indian Classical Dance Art). 4. A painting of a tawaif (courtesan) of a court. (Courtesy Kotari, Sunil. Kathak: Indian Classical Dance Art). 5. Bindandin Maharaj 6 and 7. Pundit Birju Maharj. (Courtesy Kotari, Sunil. Kathak: Indian Classical Dance Art). End Notes: 1. Ambrose, Kay. Classical Dances and Costumes of India. 1950. A&C Black: London. 2. His Divine Grace : Bhaktivedanta, A.C.: Swami Prabhupada. Krsna: The Supreme Personality ofGodhead. Volume 1.1970. The Bhaktivedenta Book Trust: Bombay. 3.Kothari, Sunil. Kathak: Indian Classical Dance. 1989. Abhinav Publications: New Delhi. 4. Muni, Bharata, translated by A Board of Scholars. The Natya Shastra. Sri Satguru Publications: New Delhi. 5. Unknown Author; Unknown Title; Unknown Publication

Kathak and the path of tea The origins of tea are in China where it was developed and ritualized for many centuries. The Silk Road was responsible for the transportation of tea to the remaining Asian and European countries. Tea entered India, Turkey and Russia around 618-906AD with the Tang Dynasty. India began to cultivate its own tea in Assam and Darjeeling between 1835-1856. Ornamenting Himalayan society with aesthetic flavor and devotional ritual, tea became a pillar for gathering together and preserving the important function of storytelling in India, Asia and Eastern Europe. Tea serves as an important form of ritualized devotion. Hospitality and respect find expression in the act of preparing a good cup of tea. It is also warm and digestive after a meal, inspiring tales and legends to be shared. It is served on the streets, in chai (tea)shops, royal courts and humble homes. Kathak, a classical dance from Northern India, means storytelling. Also traveling on the Silk Road gypsies and troubadors danced with passion and revelation, infused with richly flavored teas. Offering tea symbolizes a kind gesture providing a graceful and elegant way to share knowledge and pass down heritage. Cultural developments around tea have accompanied the Silk Road Arts, creating a tapestry of meaning and appreciation to exotic tastes and refined pleasures. Tea and dance join in union to provide an atmosphere of devotion, reverence and commitment to the presence of divinity. Both are symbolic and actual offerings, satisfying inner and outer levels of perception. The stage is the dance of luminous awareness. The celestial dancers offer sacred amrita or elixir to the Guru, the naturally pure nature; compassionate and sublime. Fusion of diverse ethnic flavors is ancient history. Alchemical combinations source creativity; combining two elements creates a new and different third. Sharing a sacred ritual, tea ceremony and ancient temple dance embrace noetic and interactive experiences. Mudra:

a gesture towards health

From the depths of creation seeds are born to grow and prosper. Movement allows the petals to dance on their stem, carrying joy to our hearts with intoxicating perfume. Jewels from the earth bless us with potential and possibility, touching our skin with brilliance. Mudra communicates these precious gifts to the altar of sensory divinity. Generating the intention to deliver beauty and elements of the sacred to the community, Mudra is a collective vision of art, healing, music, poetry, movement, and decoration. Mudra will now specifically offer an integrated style of Asian Systems bodywork, aromatherapy, flower essences, jewel therapy, henna body art, and classes in classical storytelling dance of Northern India known as Kathak. The integration of Asian systems with Western modality has been an ongoing resolution manifesting throughout my life. I believe my experience and familiarity with the ancient principals of the east regarding bodywork, art, lifestyle, and spirituality supports the embodiment of Mudra, a gesture towards health. Creating a space of comfort rooted in earthly elegance, a session at Mudra offers restoration and regeneration of body, mind and spirit through dance, bodywork, aromas, flowers, and gems.

Since her birth, Yamuna Wali has had an intimate connection with Asia and the creative splendors of the Silk Roads. Descending from Afghan and European heritage and born in northern India, she has been exposed to dance, art, music, culture, and spirituality from both East and West. Her gifted sense of rhythm, grace, and movement has bridged eastern and western modes of life and artistry. In addition to devoting much of her life to the perfecting study of yoga ,Kathak, classical dance of India, and the Silk Road Dances, she has also given much attention to the pursuit of knowledge and Western movement. She has recently received a Bachelors Degree in Expressive Therapy, combining psychology with various modes of expression. In the past several years, Yamuna has been working with gems, minerals and sacred objects, creating ornamental medicine jewels to decorate and heal both body and home. Uniting ancient arts with the progressive present has been profoundly inspiring Yamunas vision of art and performance. Beginning dance in the womb of her mother, she later established a link with the stage as a young child. Yamuna has accumulated rigorous years of training and a myriad experience of production and performance to create Nyika, an expressive mandala communicating the magic of creative alchemy through dance, movement, storytelling, art and healing. With eyes in both worlds, Nyika unveils the limitless potential available when the science and wisdom of sacred arts join to create a dazzling display for any audience.

Nyssia Choukour Wali, originally descending from ancient Afghan royalty, studied painting and decorative arts for several years at the Beaux-Arts de Paris. After completing her studies, she spent many years drawing and sketching the exotic faces of the Silk Road, arriving finally in India to continue her study of dance and yoga. Since 1974, she has specialized in Kathak, "the whirling dance of the North." Under the guidance of worldreknowned Pundit Birju Maharaj, she has become an outstanding performer, captivating audiences throughout Asia and the United States. In 1980, Nyssia founded Traditions Dance Company, where she taught, choreographed and produced numerous professional performances. Beginning as a child, Nyssia has also maintained a life-long commitment to the study and practice of Hatha-Yoga. In addition, her intuition and clairvoyance has made Nyssia a gifted palm reader. Recently, her inspiration for painting has taken new passion, expressing her talents, skills, and vision with mastery and brilliance. Enlivening all her paintings with magic and mystery, her broad palette ranges from abstract to narrative. Deeply motivated by depth and inner connection, Nyssia's art authentically communicates intention and respect. Nyssia Choukour Wali is available to give palm-readings. She also teaches yoga, Kathak dance, Afghan dance, and painting.

Energy is available to everyone equally. Eventually, however, all which is balanced leads to imbalance and back to balance again. As humans, we all connect to energy. I believe hands on modalities are powerful conduits for connecting energy to our bodies. The healing properties in herbs, flowers, and gems flow through contact to

the skin and body as well. Our body is our temple and our vehicle for living. It needs to be cared for consistently in order to have a vital and meaningful life. The healing arts are efficient methods to provide our bodies with energy and dynamic flow. Appreciation and movement can be generated from an energetically applied session of therapeutic touch. The key to somatic perception is touch, opening the gate to our physical embodiment. Both energizing and calming, Asian bodywork is beneficial in the process towards health and relaxation. Founded in ancient structure, Asian Bodywork is primarily based on the five element theory and corresponding meridian pathways in the body. Using a variety of techniques, points are stimulated along the pathways, thus tuning the organs and thereby affecting all aspects of health. Mudra offers the following modalities of bodywork: Shiatsu a Japanese technique of massage based on the meridian pathways in the body. Tsu-bo or pressure points are accessed through whole palm pressure and gentle rocking. Stretches and joint mobilization are also incorporated in the traditional shiatsu session. Acupressure using the same principles than Chinese medicine, acupressure points are stimulated in specific patterns based on an assessment of the clients needs. Tui-Na Traditional Chinese massage using particular hand techniques to achieve different effects on the system. Kunye Tibetan massage based on ancient texts for healing the body and establishing vitality.Magnets- Both Chinese and Japanese traditions use magnets to enhance relief. Based on the inherent polarities in the magnets, energy is conducted to and from tsu-bo points, thus balancing the system. Raindrop A deeply soothing application of essential oils along the spine and feet allowing full penetration of the oils into the affected areas. Combined with deep tissue massage, this is an aromatically blissful session. Hydrotherapy Application of heat and cold to achieve benefit to the tissue and system.

A safe and healthy connection between therapist and client is created through the exchange of intention and reception. Noetic associations are inspired through activating body awareness. The natural inclination for the body to heal itself is opened through somatic interaction. With creativity and aspiration, bodywork becomes a gentle and effective modality for kinesthetic application of body knowledge. Familiarity with our bodies ultimately leads to an increased sense of physical clarity and awareness. With conscious direction, a body worker creates a new dialogue for every body. The skeleton and muscles structure practical understanding; individuality motivates artistry.

We all need bodywork. In our stressful and active lives, our bodies can become imbalanced, causing aches, pains, and pathology. Applying a unique and eclectic perspective to my services, I persevere to progress in the field of health care and wellness. My offering to this everlasting continuity is to provide solid, skilled, and appropriate service in the healing arts. Circulating energy, the client becomes an integral component in the path towards balance. Every session is unique and dynamic while being grounded in structure and strategy to achieve goals set by both client and myself. My progression through the arts has created a foundation for integrating the spirit with body. In this alchemical process, energy is formed which can be of potential access to a therapeutic relationship.