{"id":265,"date":"2017-10-02T17:47:13","date_gmt":"2017-10-02T14:47:13","guid":{"rendered":"http:\/\/disco.teak.fi\/asia\/?p=265"},"modified":"2021-10-19T14:24:39","modified_gmt":"2021-10-19T11:24:39","slug":"kathak-the-indo-persian-dance-style","status":"publish","type":"post","link":"https:\/\/disco.teak.fi\/asia\/kathak-the-indo-persian-dance-style\/","title":{"rendered":"<em>Kathak<\/em>, The Indo-Persian Dance Style"},"content":{"rendered":"\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-265 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in101.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in101.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-1084\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-1084'>\n\t\t\t\tElegant arm and hand gestures of <em>kathak<em> <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in102.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in102.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-1085\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-1085'>\n\t\t\t\tTypical arm poses of <em>kathak<\/em> <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>The present form of <i>kathak<\/i> dance is a fruit of the fusion of indigenous Indian tradition with Islamic culture in the northern parts of India during the golden age of the Moghul dynasty from the 16<sup>th<\/sup> century to the beginning of the 18<sup>th<\/sup> century.<\/p>\n<p>Many of <i>kathak\u2019s<\/i> elements, such as the poems depicting Hindu mythology and the division of the dances into pure <i>nrtta<\/i> and mimetic <i>abhinaya<\/i> sections, stem from an older local Hindu tradition. However, in its aesthetics as well as some of its technical aspects, characterised by linear poses and pirouettes, <i>kathak<\/i> clearly reflects the Islamic influences received, to a great extent, from Persia.<\/p>\n<h2>Its History<\/h2>\n<p>Sculptural evidence shows that prior to the arrival of Islam the northern parts of India also had their own <i>lasya<\/i> dance styles, more or less loosely connected to the tradition of the ancient <i>Drama Manual<\/i>, the<i> Natyashastra<\/i>. They lost their popularity, however, during the gradual islamilisation of northern India, a process that started as early as in the 9<sup>th<\/sup> century AD.<\/p>\n<p>The roots of <i>kathak<\/i> seem to lie in the storytelling tradition of ancient northern India, practised by the nomadic storytellers called <i>kathaks<\/i>. They elaborated their narration with dance poses, gestures and facial expressions. Another source may be the temple dances performed by the northern <i>devadasis<\/i>.<\/p>\n<p>Although Islam, in principle, has a negative attitude towards dance, the Islamic rulers were, however, admirers of many aspects of Indian culture. Thus the northern Indian storytelling tradition and dance were adapted according to the tastes of the rulers and minor nobility of the Moghul dynasty. Simultaneously, <i>kathak<\/i> was also practised in the smaller Hindu courts of Rajasthan.<\/p>\n<p><i>Kathak\u2019s<\/i> poems, enacted by the <i>abhinaya<\/i> technique, still depict episodes from Hindu mythology in a pure <i>bhakti<\/i> spirit. In fact, <i>kathak<\/i> developed side by side with <i><a href=\"http:\/\/disco.teak.fi\/asia\/raslila-a-devotional-dance-opera\/\">raslilas<\/a><\/i>, the northern Indian pilgrimage plays dedicated to Lord Krishna. Both genres were deeply influenced by the Vishnu <i>bhakti<\/i> movement. <i>Raslila<\/i> adopted <i>kathak<\/i> as its dance technique, while <i>kathak<\/i> borrowed the Krishna-<i>bhakti<\/i> themes from <i>raslila<\/i>.<\/p>\n<p>In the Mughal court context, with its non-Hindu audience, <i>kathak<\/i>, however, lost its direct religious meaning. Instead of devotion, the new audiences valued virtuosity, which is still a dominating characteristic of <i>kathak<\/i> today.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-265 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in103.jpg'><img width=\"440\" height=\"596\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in103.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-2-1086\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-1086'>\n\t\t\t\tAn 18th century miniature painting showing a duo pirouette, Indian Museum, Calcutta <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>Northern Indian miniature paintings (book illustrations) serve as an important source for throwing light on the later evolution of <i>kathak<\/i>. The paintings clearly show, for example, the development of the <i>kathak<\/i> costume as well as various combinations of instruments used to accompany it.<\/p>\n<p>Gradually, particular <i>kathak<\/i> schools or <i>gharanas<\/i> evolved in northern India. The most important ones are the schools of Jaipur, Lucknow, and Benares with their slightly different styles and emphases. The period of British colonial rule sent <i>kathak<\/i> into decline. <i>Kathak<\/i> was still practised in its original courtly context, but the British regarded it as low entertainment and gave it an unwholesome image by calling it <i>nautch<\/i> dance, more or less meaning \u201cprostitute\u2019s dance\u201d.<\/p>\n<p>Since the mid-20<sup>th<\/sup> century <i>kathak<\/i> has undergone a phenomenal process of revival. The Maharaj family of dancers gave the dance new impetus and also expanded its repertoire to include duos, trios and group works. As has always been the case, <i>kathak<\/i> is today practised by both female and male dancers. It is now regarded as one of the \u201cclassical\u201d forms of Indian dance, while it is studied and performed over the whole of India as well as in Pakistan, Bangladesh, and the Western world.<\/p>\n<h2>The Music and the Poetry<\/h2>\n<p>In a similar way as the solo dance forms described above, so, too, has <i>kathak<\/i> evolved in an intimate interrelationship with the classical music tradition of the region of its birth. While <i>bharatanatyam<\/i>, <i>kuchipudi<\/i>, and partly also <i>mohiniattam<\/i>, are accompanied by the classical southern Indian <i>Carnatic<\/i> music, the accompaniment of <i>kathak<\/i> belongs to the northern, <i>Hindustani<\/i> school of music.<\/p>\n<p>The small orchestra accompanying <i>kathak<\/i> usually consists nowadays of four or five musicians including two percussionists, one of whom plays the <i>tabla<\/i>, a vocalist, and one or two musicians playing stringed instruments, such as <i>sitar, sarod<\/i> or <i>sarangi<\/i>. A small, Western-influenced harmonium may also be included.<\/p>\n<p>The music employs the Hindustani <i>raga<\/i> system, and many of the basic forms of Hindustani music are adapted for the <i>kathak<\/i> repertoire. The classical Hindustani music genres used in <i>kathak<\/i> include, among others, <i>thumri<\/i>, <i>dhrupad<\/i> and <i>ghazal<\/i>.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-3 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 12%;\n\t\t\t}\n\t\t\t#gallery-3 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-3' class='gallery galleryid-265 gallery-columns-8 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in104.jpg'><img width=\"640\" height=\"400\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in104.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-3-1087\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-1087'>\n\t\t\t\tThe dialogue in <em>kathak<\/em> between the dancer and the <em>tabla<\/em> drummer is of the utmost importance <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>The relationship of the partly improvised music and dance is a close one indeed. The seamless co-operation of the <i>tabla<\/i> player and the dancer is of the utmost importance. Many of the compositions include <i>bols<\/i>, or rhythmic words or rather syllables, marking the rhythmic pattern and partly helping the dancer to memorise the <i>tala<\/i> or the rhythmic time cycle. Often the dancer himself or herself sings these syllables.<\/p>\n<p>The pure <i>nrtta<\/i> sections of <i>kathak<\/i> are characterised by extremely intricate rhythmic patterns. Often the <i>tabla<\/i> player and the dancer have a kind of competition in which the drummer first performs a rhythmic pattern, which the dancer then immediately repeats and elaborates while the drummer again reiterates the dancer\u2019s version and again provides a new and even more intricate pattern.<\/p>\n<p>In these rhythmic elaborations, or \u201cplays\u201d with the time cycle, the borderline between dance and music disappears and <i>kathak<\/i>, in fact, approaches pure mathematics. The virtuosic quality of <i>kathak<\/i> depends a great deal on the handling of the rhythm, which is intensely observed, and even loudly counted, by the spectators, who are connoisseurs.<\/p>\n<p>In the <i>abhinaya<\/i> sections, lyrical, even devotional, forms of Hindustani music are employed, such as <i>thumri<\/i> and <i>ghazal<\/i>. The texts sung by the singer and enacted by the dancer mostly recount short episodes of Krishna\u2019s life. Mystical Urdu love poems are also included in the repertoire.<\/p>\n<h2>The Technique<\/h2>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-4 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-4 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-4' class='gallery galleryid-265 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in104b.jpg'><img width=\"416\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in104b.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-4-1088\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-4-1088'>\n\t\t\t\tVirtuosity of <em>kathak<\/em> <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in104c.jpg'><img width=\"413\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in104c.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-4-1089\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-4-1089'>\n\t\t\t\tHand and arm poses of <em>kathak<\/em> <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>The basic standing position of a <i>kathak<\/i> dancer is with the left arm raised vertically and the right arm kept at shoulder level and bent forward at the elbow, the fingers of both hands decoratively extended. This basic stance already differs drastically from those stances that dominate the southern Indian <i>lasya<\/i> styles. It is asymmetric and linear in character, whereas, for example, in <i>bharatanatyam<\/i>, geometry and a stricter symmetry are favoured.<\/p>\n<p>However, as <i>kathak<\/i> evolved from an older Indian dance tradition, much of its technique still echoes the influence of the <i>Natyashastra<\/i> tradition. These features include the division of the dance into pure <i>nrtta<\/i> and mimetic <i>abhinaya<\/i> sections as well as the use of the <i>mudras<\/i>, the symbolic hand gestures. In <i>kathak<\/i> the hand gestures do not have such a central role as in other solo forms. They are merely natural extensions of the dance gestures, though, of course, they carry symbolic messages.<\/p>\n<p>The minute footwork, so dominating in <i>kathak<\/i>, is based on the so-called \u201cflatfoot\u201d technique, in which the whole sole of the dancer\u2019s foot touches the floor. When the feet are slapped with great energy and speed against the floor, it seems that the dancer is almost flying. Jumps are also included in the technique, which in general attempts at an impression of fluidity.<\/p>\n<p>The <i>nrtta<\/i> sequences, as mentioned above, are fireworks of rhythm. The dancer\u2019s loud footwork, emphasised by the small ankle bells <i>(ghunghru)<\/i>, give an essential addition to the aural aspect of the dance.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-5 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-5 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-5' class='gallery galleryid-265 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in105.jpg'><img width=\"400\" height=\"562\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in105.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-5-1090\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-5-1090'>\n\t\t\t\tBeginning of a pirouette <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in106.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in106.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-5-1091\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-5-1091'>\n\t\t\t\tEnd of a pirouette <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>&nbsp;<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-6 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-6 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-6 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-6 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-6' class='gallery galleryid-265 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in106b.jpg'><img width=\"416\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in106b.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-6-1092\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-6-1092'>\n\t\t\t\tA <em>kathak<\/em> pirouette <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>One of the characteristics of the <i>kathak<\/i> technique is the use of spins or pirouettes <i>(chakkar)<\/i>, rare in most forms of Indian dance. The pirouettes, executed on the heel, are usually concentrated at the end of the number and provide it with a final climax in which up to fifty pirouettes can be included. It is possible that the pirouette technique derives from the ecstatic <i>Sufi<\/i> dances of Central Asia.<\/p>\n<p>The <i>abhinaya<\/i> technique of <i>kathak<\/i>, although clearly related to the <i>Natyashastra<\/i> tradition, is more soft and less stylised compared with other solo forms discussed above. Neck movements are frequent but the facial technique is concentrated mainly on the eyebrows.<\/p>\n<h2>The Repertoire<\/h2>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-7 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-7 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-7 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-7 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-7' class='gallery galleryid-265 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in107.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in107.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-7-1093\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-7-1093'>\n\t\t\t\tLong sequences in <em>kathak<\/em> are performed in sitting or crouching positions <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>As is the case with the other solo dance forms described above, <i>kathak\u2019s<\/i> repertoire also consists of small dance numbers, representing or combining pure <i>nrtta<\/i> dance and mimetic <i>abhinaya<\/i> technique. Usually a <i>kathak<\/i> programme is constructed so that it progresses in tempo from a slow beginning, including invocations and ritual greetings, to an extremely dramatic and fast ending.<\/p>\n<p>The <i>nrtta<\/i> numbers are divided into shorter <i>(tukra)<\/i> and longer pieces <i>(toda)<\/i>. <i>Tukras<\/i> usually concentrate on one particular aspect of dance, such as the gait or the pirouettes. <i>Nrtta<\/i> numbers include, among others, <i>tarana, chaturang, adana, sargam<\/i>, and <i>tatkar<\/i>.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-8 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-8 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-8 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-8 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-8' class='gallery galleryid-265 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in108.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in108.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-8-1094\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-8-1094'>\n\t\t\t\tKrishna in a ball game; the <em>abhinaya<\/em> sections often deal with Krishna\u2019s life <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>There are several kinds of <i>abhinaya<\/i> numbers in the repertoire. The longest and most elaborate of them is <i>thumri<\/i> in which the dancer interprets the sung poem by gestures and facial expressions while often sitting on the floor in a decorative pose. Thus the focus of the number is completely on the <i>abhinaya<\/i> mime technique as well as on the dancer\u2019s personal interpretation of the poem, which is often, to a great extent, improvised.<\/p>\n<p>The themes enacted in the <i>abhinaya<\/i> sections are taken from Hindu mythology. The most popular themes deal with Krishna\u2019s childhood and amorous youth with Radha and the <i>gopi<\/i> cowherd girls. Also common are themes related to the <i>Puranas<\/i> and the great epics, as well as to other <i>avatars<\/i> of Vishnu, particularly Rama.<\/p>\n<h2>The Costume<\/h2>\n<p>As already mentioned, the northern Indian miniature paintings give us information about the evolution of <i>kathak<\/i> costume. It seems that the skirt worn in the paintings by Krishna served as a kind of starting point for <i>kathak<\/i> dress. The full-length skirts of the women of the miniatures seem to be transparent, allowing a glimpse of the lower garments.<\/p>\n<p>Nowadays there are several variations of <i>kathak<\/i> costume. They can be divided into Hindu and Moghul types, the former being formerly used at the Rajasthan\u2019s Hindu courts and the latter in the Moghul context.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-9 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-9 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-9 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-9 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-9' class='gallery galleryid-265 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in109.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in109.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-9-1095\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-9-1095'>\n\t\t\t\tHindu-type costume for a male dancer <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>The woman\u2019s Hindu-type costume consists of a <i>sari-<\/i>like long skirt and trousers and often also the Moghul-influenced veil, while the men originally danced bare-chested, wearing a <i>dhoti<\/i> loin cloth, wrapped to form a kind of loose trousers.<\/p>\n<p>The Moghul costume for women consists of <i>churidar<\/i> trousers, a long skirt and a blouse. According to the practice of <i>purdah<\/i> as well as the Moghul court etiquette, the semi-transparent veil was and still is used by the female dancers. The male dancers wear <i>churidar<\/i> trousers and a <i>kurta<\/i> shirt that is at least knee-length. In all cases the materials of the costumes are usually highly ornamented and valuable. The woman\u2019s outfit also includes rich jewellery and the obligatory nose ring, which gained popularity during the Middle Ages.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The present form of kathak dance is a fruit of the fusion of indigenous Indian tradition with Islamic culture in the northern parts of India during the golden age of the Moghul dynasty from the 16th century to the beginning of the 18th century. Many of kathak\u2019s elements, such as the poems depicting Hindu mythology [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":2371,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[13],"tags":[43,44],"acf":[],"_links":{"self":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/265"}],"collection":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/comments?post=265"}],"version-history":[{"count":11,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/265\/revisions"}],"predecessor-version":[{"id":3424,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/265\/revisions\/3424"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media\/2371"}],"wp:attachment":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media?parent=265"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/categories?post=265"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/tags?post=265"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}