kathak

Kathak dance Kathak is one of the [|classical dance] forms of [|India] (originally from [|North India] ). It is a narrative dance form characterized by fast footwork, spins and innovative use of emotion in the expressions and movements of the dancer. It has today a form that has been influenced at various times in the past by mythological narratives by //kathakas//, temple dances, the [|bhakti movement] (both Vaishnavism and Shaivite), and Persian influence of the Mughal courts in the [|16th century] onwards; and these elements are readily discernible. Performers today generally draw their lineage from three major schools of Kathak: the Jaipur //gharana//, the Lucknow //gharana// and the Banaras //gharana// (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//. Performance ** 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. 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. Adapted from Wikipedia: [|www.wikipedia.org] Photographs of many of the hand gestures used in kathak can be found on the following website along with other information: http://www.kanakasabha.com/kanakasabha/index.jsp
 * Hand gestures **