Kathak dance is one of the most dynamic theater arts in the world. Kathak is characterized by rhythmic footwork danced under the weight of more than 100 ankle bells, spectacular spins, and the dramatic representation of themes from Persian and Urdu poetry alongside those of Hindu mythology. The word Kathak is derived from katha, meaning "the art of storytelling." The movement of hands and body as well as facial expressions used by the Kathakars to enrich the narrative has given birth to Kathak. With dance, music and mime these storytellers of ancient India would bring to life the great scriptures and epic so ancient times, especially the great Indian epics like the Mahabharata, Ramayana and the Puranas of Sanskrit literature.

Origin of Kathak
The earliest reference to the art of Kathak is found in Mahabharata, the great epic poem written about five centuries before. At this early phase the art of Kathak was performed by a group of Brahmins in praise of the lord. Around the 16th century AD, when the royal courts of the Hindu maharajas and the Muslim nawabs patronized the art, it acquired secular elements and sophistication especially in the pure dance or Nritta aspect. Here it encountered other different forms of dance and music, where the 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 the dance competitions were held frequently. The environment of the North Indian Moghul courts caused a shift in focus from a purely religious art form to entertainment. Dancers from the Middle East spread their ideas to Kathak dancers, as they borrowed ideas from Kathak to implement in their own dance. Slowly, the two dances became one, as a common link between the Muslim and Hindu culture.

Kathak began to shift away from other traditional dances, such as Bharatnatyam. To emphasize the bright and elaborate rhythmic footwork as many as 150 ankle bells were worn on each leg. It was also during this period that the so-called whirling dervishes introduced the signature chakars (spins) of Kathak. 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. Kathak remained a solo art form, based on personal interpretations and emotional values. The beautiful jewellery and costume of the dancers combined with poetic narration to tell fabulous tales of drama, triumph, and tragedy. The music, regalia, atmosphere, and themes developed through the fusion of cultures in a way that no other dance could. Although now substantially different from the other Indian dance forms, the roots of the style remain the same, and as such, it displays a lineage with the others, particularly in the hand-formations during story telling, and some of the body-postures.

However, with the advent of British Rule in India, Kathak went into sharp decline. It was publicly pronounced as an unlovely form of entertainment, despite the British officers 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; an entertainment factor 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 Jaan were instrumental in the maintenance and continuation of Kathak.

Today, Kathak has regained its popularity after the British period and is is been recognized as one of the seven classical dance forms of India. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj, Lachhu Maharaj and one of the greatest current dancers still alive today, Birju Maharaj) has been extremely successful in spreading the popularity of Kathak. Birju Maharaj and Smt. Kumudini Lakhia have both introduced multi-person choreographies, the latter using pure classical movements and style with distinctly contemporary use of space. The kathak dance tradition of Lucknow is undoubtedly one of Indias finest cultural achievements, and with so many outstanding exponents nationally and internationally it will continue to tell its stories for generations to come.

Style And Technique of Kathak
The technique of Kathak today is characterized by fast rhythmic footsteps, accompanied by music, where the dance movements include numerous pirouettes executed at lightning speed and ending in statuesque poses. The interpretative portion, based on tales of Radha and Krishna and other mythological tradition, contain subtle gestures and facial expressions.

Music in Kathak
The musical Instruments, which are used to accompany Kathak, are Bansuri, Dilruba, Esraj, Ghungharu, Harmonium, Pakhawaj, Santoor, Sarangi, Sarod, Sitar, Surmandal, Tabla and Tanpura. The great masters of the kathak dancer, Maharaj Bindadin and his brother kalka were composes of thumris, bhajans and padas. These bhajans and padas were written specially for the dance and it is clear from their wording that the writers were providing words for movements.

Kathak makes a great use of a number of Hindustani musical compositions, which have been entirely composed for the purpose of dance. The Dhamar, Bhajan Thumri, Tappa, Dadra Kavitha etc are the Hindustani musical compositions, which provide a vast scope for the presentation of sancharibhava on the part of the Kathak-dancer. As a lyric, thumri consists only of one sthayi and one antra. The Dadra and the Ghazal are love lyrics and are danced at relaxed pace and smooth tempo. The Dhamar and Hori composition are related to Radha-Krishna legend and Rasa Lila with the gopis, the cowgirls of the Braja -mandala. The hori is a set composition of north Indian music that is usually sung to the deepachandi tala. The lyric revolves round the theme of the Holi festival. The dhamar takes its name from the tala of 14 beats called dhamar and is usually sung or performed in a mood of obeisance.

Performance of the Kathak Dancers
Kathak can be divided into two main parts, namely nritta and abhinaya on the one hand, and tandava and lasya on the other. The nritta portions are presented in a sequence beginning with the traditional entry, known as the amada. Through the amada, the dancer makes his entry into the stage and the invocations to the Hindu god Ganesa were changed into the salami or the court salutation.

Costume And Jewellery in Kathak
The Kathak female dancers have to wear a Ghaghara (long skirt), choli (blouse) and a veil. For the men, the costume includes Dhoti-Kurta or Kameez-Churidar-Vest. Besides many ornaments in gold and silver for head, neck, arms, hands fingers, waist and feet, the small ankle bells are also an essential part of adornment. The tinkling bells not only accentuate the movement of the dancing foot but also help in dancing many complex patterns and designs, which are hallmarks of Kathak. As per the jewellery, they include: Bangles, Earrings, Hair and Finger ornaments (e.g. Jhumar, Tika, Panja) and Belt Bells - 50 or100 bells for each foot Hair accessories - Tassel (Parandi), hair attachment and Bindi.

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Indian Kathak Dancers