PAPER 4

Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different

Gharana-s, Present Status, Institutions, Artists

Module 21 Books And Literature Of Kathak

Books are a collection of written or printed pages using which an

incident or a fact can be preserved and kept safe for time
immemorial in a written form. These books play an extremely
important role in enriching the knowledge during the lifetime of a
human being. As there are different types of books, if men choose
the right books and study them, the books serve like a true friend
and always guide them. Also, these books are like friends who never
ask for anything in return but always increase in our knowledge in
turn.

Books are available in different languages and on different subjects.

Subjects falling under the visual arts and performing arts were
generally handed down the generations in the form of oral tradition
before the advent of literacy and the publishing of books in which
that knowledge can be written down and preserved for the future.

India is a country of various cultures and traditions, and with such a

rich cultural heritage there are numerous popular dance styles,
which can be principally divided into two types – folk dance and
classical dance. Folk dance covers multiple dance forms performed
across the 29 different states of India, while the classical dance can

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be further sub-divided into 8 main types. The North Indian classical
dance – Kathak is one of the eight types of classical dance. In this
dance, nritta as well as bhava are principal, thus making the
literature for this dance extremely vast. Due to this, information
about Kathak can also be found in books on other topics.

Thus, history of the dance can be got from books on history in

general, and from the drawings, we get information on the different
mudras of dance, while from poetry and literature, and we get
information on the literature about the dance. In this way, the books
relating to and describing the Kathak dance can be classified into
different branches, which help us understand the different topics
and aspects of the dance. These are as below:

1. Vedas
2. Puranas
3. Granthas
4. Books based on academic syllabus
5. Investigative books
6. Contextual granthas

Taking help from all these different types of books, we can choose
appropriate syllabi according to our requirement in class and find
solutions for our queries.

Vedas / वेद:

The word ‘Veda’ has its roots in ‘vid / ववद’, to which a prefix ‘ghayaan
/ ज्ञान’ is joined, and its meaning is ‘knowledge’. Thus, the meaning of
the word ‘Veda’ is the stack of knowledge or collection of

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knowledge. The knowledge obtained by the ancient seers and the
real knowledge of the Indian culture can be obtained only from the
Vedas and Vedic literature. In the ancient times, the names of
different objects, as well the action of men are obtained from the
Vedas itself. In the Vedas, along with information on different topics,
there are also descriptions of various arts in multiple places,
including discussions on nritya.

For instance, in Rig Veda, one of the compositions draws similarities

between Usha and a dancer, while there is discussion on dance and
musical instruments in yet another composition. Similarly, in the
Purushsukta / ऩुरुषसूक्त of the Vajasaneya Samhita of the Yajur Veda,
there is mention of the people of the Shailoosh / शैऱूष caste being the
organizers of natak professionally. Apart from Rig Veda, the Atharva
Veda also mentions song and dance in one of its compositions in the
pruthivasukti / ऩथ
ृ ीवासुक्क्त. The Yajur Veda also mentions the

‘Vanshanatrin / वंशनात्रिन’ as a profession, which means, a person

who dances on bamboo. Apart from this, the Sama Veda is
considered to be the origin of music. In this way, Brahma compiled
the knowledge of text, song, acting and rasas in the four Vedas, and
compiled the fifth Veda in the form of Natya Veda, which not only
talks about Natya, but also about singing, playing instruments and
dance, thus becoming an extremely important compilation for all
three.

The granthas or volumes of the Vaidikottar age, like Ashtadhyaayi,

Ramayana, Mahabharata, Arthashastra, Puranas, Mahabhashya, the

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books of the Jains and Buddhists, as well as Kama Sutra, all of which
mention dance in one way or the other.

Puranas:

The Puranas are a complete dictionary for Indian culture. It talks

about subjects like religion, spirituality, history, science, arts, etc.
Among the 18 Puranas, the Harivansh Purana, Vishnudharmottar
Purana, Brahma Purana, Vishnu Purana, Padma Purana,
Brahmavaivarta Purana, Kalika Purana, Shiva Purana, etc. talk about
dance.

Granthas:

The Natyashastra is a famous grantha written by the Acharya of

Natya, Nritta and music – Acharya Bharata. Apart from
Natyashastra, there is Abhinavabharti written by Abhinavgupta,
Dashroopak by Dhananjaya, Bhavaprakashan by Shardatanaya,
Abhinayadarpana by Nandikeshwar, Kavyaprakash / काव्यप्रकाश by
Mammatta / मम्मट, Nrityaadhyaya / नत्ृ याध्याय by Ashokmalla /
अशोक्मल्ऱ, Sangeetratnakar by Shadingadev, Nrityaratnakosh /

नत्ृ यरत्नकोष by Kumbhakarna / कुम्भकर्ण, Natyadarpana by

Ramachandra Gunnabhadra, Alokvritti / आऱोकवक्ृ त्त written by
Dhanika / धननक, Nartan-Nirnaya written by Pundareeka Vitthala,
Roopvilas by Roopshahi, Prataprudrayashobhushanna by
Pratapshahi, Shringarprakash, Saraswatikanthabharanna /

सरस्वतीकंठाभरर्, Sahityadarpana, Rasaarnnavasudhaakar, etc. are

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not only useful for natya, but also discuss dance and are a huge well
of knowledge.

Granthas like Maadunul / मादन

ु ुऱ, Musik / मुससकी,

Anoopsangeetratanakar / अनूऩसंगीतरत्नाकर, Anoopsangeetvilas / अनूऩ

संगीतववऱास, Anoopsangeetaankush / अनूऩ संगीतान्कुश have chapters

related to dance discussing it in the form of Bhavamanjari / भावमंजरी.

There are also other similar useful granthas like Anoopsangeetvinod,
Nartan Sarvaswam written by Raja Chakradhar Sinha, Murajvarna
Pushpakara, Taaltoyanidhi, Radha Govinda Sangeet Samayasaar
written by Sawai Jaisingh, etc.

Books based on academic syllabus:

Books based on academic syllabus include those books which

provide limited information for levels of secondary, higher
secondary, University, or specific to particular examinations. Such
books that discuss the Kathak dance are as below –

1. Kathak Prasang by Rashmi Vajpeyi

2. Kathak Darpana by Teerathram Aajaad
3. Kathak Nartan Part I by Dr. Vidhi Naagar
4. Kathak Nartan Part II by Dr. Vidhi Naagar
5. Kathak Nritya Shiksha Part I by Dr. Puru Daadhicha
6. Kathak Nritya Shiksha Part II by Dr. Puru Daadhicha
7. Kathak Gyaneshwari by Teerathraamaajaad
8. Eitihaasik Paripakshya me kathak nritya (Kathak dance in a
historical perspective) by Dr. Maya Taak

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 9. Kathak Nritya Mala – Guru Vikram Sinhe
10. Bhartiya Sanskriti me Kathak Parampara (The Kathak
Traditions in Indian Culture) by Mandavi Sinha
11. Kathak Nritya by Laxmi Narayan Garg
12. Kathak Nritya Parichaya (Introduction to Kathak Dance)
by Subhashini Kapoor
13. Kathak Nritya Shastra by Dr. Geeta Raghuveer
14. The Dance Vocabulary of Indian Classical Dance by
Mandakranta Bose
15. Dances of India – History, Perspectives and Prospects by
David Waterhouse

These books provide information useful from examination point of

view.

Investigative Books:

Investigative books are those in which the writer talks about an

important topic, compiles all available information on it and then
presents his or her own analysis, based on his or her own
investigation, thus expressing his or her own opinion.

For example,

1. Tabla Music with Kathak Dance (Kathak Nritya ke saath Tabla

Sangeet) by Nageshwar Lal Karna
2. Kathak Kalpadruma by Chetana Jyotishi
3. Bhartiya Sanskruti me Lachhoo Maharaj (Lachhoo Maharaj in
Indian culture) by Mandavi Sinha
4. Anga Kavya (Body Poetry) by Pandit Birju Maharaj
5. Raigadh court in Indian music (Bhartiya Sangeet me Raigadh
Darbar) by Mandavi Sinha
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 6. Elements of Nritya in Puranas (Purano me Nrityatatva) by Dr.
Neeta Gaharvaar
7. The origin, development and styles of Thumri (Thumri ki
utpatti, vikas aur shailiyaan) by Shatrughna Shukla
8. Kathak Aksharoki Aarsi by Dr. Jyoti Bakshi
9. Kathak Bandisho ki Niheet Gannana – Dr. Geeta Raghuveer
10. Kathak se Kavitta by Dr. GeetaRaghuveer
11. The Lucknow Gharana of Kathak Nritya (Kathak Nrityaka
Lucknow Gharana) by Pandit Birju Maharaj and Dr. Madhukar
Anand
12. Bhartiya Nritya ki Varnamala Hastamudra me by Dr.
Vibha Dadhicha
13. Kathak: A Beautiful Classical Dance: An analysis and
discussion (Kathak: Saundaryaatmak shastriya nritya – ek
adhyayan aur chintan) by Shikha Khare
14. Kathak in Raigadhdarbar by P. D. Aashirvadam
15. Rhythmic Tatkar by Shovana Narayana
16. Madam Menaka by Damyanti Joshi

Sandarbh Granthas or Contextual Granthas:

Contextual books can be said to be those books which talk about the
particular topic of our interest but are not entirely based on that
topic. For example:

1. Kathak Prasang by Rashmi Bajpeyi

2. Lokranga Uttar Pradesh by Daya Prakash Sinha
3. Rasa Gunjan by Pandit Birju Maharaj
4. Marg (The Kathak part)
5. Raigadh Darbar me Kathak by Bhagwan Das Maannik
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6. Geet Govinda by Dr. Kapila Vatsyayana
7. Nartan Bheda by Dr. Bhagwan das Maannik
8. Nibandha Sangeet by Laxmi Narayana Garg
9. Nritya Nibandh by Dr. Puru Dadhicha and Dr. Vibha Dadhicha
10. Natyashastra ka Sangeet Vivechan by Dr. Puru Dadhicha
11. Lok Ranga (Uttar Pradesh) by Daya Prasad Sinha
12. Bharat ke Lok Nritya by Professor Sareef Mohammad
13. Nritta Sutram by Dr. Puru Dadhicha
14. Brija Lok Sangeet by Dr. Neesha Rawat
15. Natyashastriya Abhinaya Siddhant evam Prayog by Dr.
Archana Agrawal
16. Kathak aur Adhyatma by Bharti Gupta
17. Ayodhya ki Sangeet Parampara by Yatindra Mishra
18. Punjab ki Sangeet Parampara by Geeta Paintal
19. Nrityashala by Sudhakar
20. Ghananda Kavitta by Chandrashekhar Mishra
21. Jaatakon me Varnnit Samaj by Dr. Anil Kumar Sinha
22. Natya anuvada evam Bhartiya Rangamanch by Professor
A Achyutan
23. Wajid Ali Shah Rachit Dulhan by Dr. MeenaKumari
24. Kathak Raigadh Gharana by Dr. Baldeva
25. Apsara by M. L. Varadpande
26. Kathak by Shovna Narayana
27. Nritya Sumangali Devdasi tradition by Saskia C Kerenborn
28. Abhinaya Darpana: An Illustration by Anita Vallabh
29. Krishna Leela and other tales from Shrimad Bhagvatam by
Rajendra Tondon
30. Reading on music and dance by Gowri Kuppuswaya

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 31. Classic Indian Dance in Literature and Art by Kapila
Vatsyayan
32. Dance in Thumri by Projesh Bannerjee
33. Sangeetopanisat Saroddhara by Vakankary Sudhakalsa
34. Hindu Dance by Ri Ragini
35. Classical dance and Costumes of India by Ram Gopal
36. Tantra Mantra Yantra by Professor Ranjana Shrivastava
37. Dancing Divinities in Indian Art by Sucharita Khanna
38. Kathak: The World of Shobhana Narayana by Kamal K
Mishra
39. Kathak in Raigadh Darbar by P. D. Aashirvadam

Information regarding Kathak dance can be obtained from all the

above books in this way.

In Kathak dance, literature is an indispensible part of its bhava

paksha. This is one such dance style that brings together pure forms
of nritta, nritya as well as abhinaya, and abhinaya forms the principal
part here. In the old traditions of Kathak, a literary portion is taken
and its words are pondered over the entire night, this bhava is
expressed by the senior gurus, in which the dancer expresses the
serious bhavas with his or her abhinaya. The literature for Kathak
dance can be divided into two – devotional and finery (beauty).

The literary creations written under both these parts is expressed by

our expressions and acting. Just like a poet expresses his thoughts
through his poetry, and a reader reading the poetry can feel those
bhavas and emotions in his mind; a dancer expresses the bhavas of
the pada, chanda, savaiyadohe, bhajan, gazal, thumri, ashtapadi,
chaupai, dadar, saadara, dhruvapada, etc through his or her
expressions and abhinaya. Apart from this, in the gatabhava of
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Kathak dance, literary compositions are hidden, which a dancer
presents through her dance, expressing the emotions with her
expressions, like Kaaliyadaman, Govardhanaleela, Krishnaleela,
Draupadicheerharan, etc. All this has a literature, which the dancer
does not speak in the form of words on the stage, but expresses it
out through her expressions.

Pada:

In this, the padas of the poetic compositions of poets in Hindi and

some other languages are taken and acted out like those by Kabir,
Tulsi, Meerabai, Rasakhan, Rahim, Keshavadas, Bihari, Padmakar,
Ghanananda, Dhruvadas, etc.

Chhanda:

The chhandas in Hindi language are different from the chhandas of

Kathak. The latter are the poetic compositions of poets that are
performed in a stanza fashion in the poetic form and yati form.

Saviaya:

In music, savaiya means a rhythms of one and a one-fourth, while in

Hindi literature, a savaiya is a composition on which the dancer
expresses the bhavas.

Doha:

In Kathak dance, a Doha is taken and it is expressed out in a

performance by itself, or expressed prior to performing a bhajan.

Bhajan:

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In the traditional presentation of Kathak dance, it is a rule to perform
a bhajan or a vandana prior to performing the actual dance, in which
the dancer evokes prayer to a particular God Almighty.

Keertan:

Keertan is one in which the name of the aradhya is repeated again

and again. Such a performance is often seen towards the end of the
Kathak performance.

Gazal:

This is a tradition that originated during the Mughal era in which

Urdu and Persian words are used. This is used to express the bhavas
in Kathak dance too.

Thumri:

Thumri is an indispensible part of the Kathak dance. Most dancers

conclude their performances with a thumri. Thumri is based on the
male and female dancers/performers, while Kathak is also based on
their acting, thus, Thumri helps performers prove their skills, talent
and effectiveness of their acting skills.

Ashtapadi:

Ashtapadi is a literary creation with eight padas, for example, the

ashtapadi of the Geet Govinda. Apart from this, the Reetikaaleen
poets have also composed ashtapadi in their poetry, on which many
dancers perform.

Chaupai:

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This has four padas. It could be devotional or finery-oriented. These
chaupais are fit into a poetic form and expressed in a very simplistic
and smooth manner.

Dadara:

If we focus on the literary creation of the dadara, then its words are
principally finery oriented, on which the dancers perform the Kathak
dance.

Sadara:

This is a combined form of Dhruvapada and Khayal, and it is

supposed to have ten matras. Its words are finery and beauty
oriented. In the current times, it is difficult to encounter performers
who perform on sadaras.

Dhamaar:

Dhamaar, apart from being a type of taal, it is also a type of song. It

is supposed to have fourteen matras, and kathak dance can also be
done on it.

The aim of mentioning all these types of compositions here is to

simply clarify that the literary compositions taken for presentation in
Kathak dance are of extremely high stature, and the presentation of
these compositions is not bound by time. It is also to exhibit how the
Kathak dance has taken into its fold the compositions that have been
written and composed in different eras of time, and them its own,
due to which its literature is very wide and extensive.

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