PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 27 Music Of Kathak Geetam Vaadyatatha Nrityam trey Sangeet Muchayet Acharya Sharangdev has noted in Sangeet Ratnakar that songs, musical instruments and dance, all three combine in a harmonious manner to develop music. But if we talk about just dance then music is pertaining to a vocal or instrumental play. This assists the dance process. Therefore dance is a special stream of learning where one can find the unison of songs, musical instruments and dance moves. Therefore, on the issue of music played for dance, one can discuss in detail. Whether dance is classical or folk, it is not possible to perform without the assistance of a song or play of musical instrument. During dance, the artist requires a certain set of sounds like beats, rhythm on which he conducts his/her movements, this is nothing but music. Kathak is well known for the coordination between rhythm, beats and dance steps. The following discussion shall throw light on specific music (vocal/ instrumental) used to compliment Kathak performance. Kathak dance is quite an ancient art. Its traditions date back to performances in temples. As time changes, there was steady change in vocal/instrumental assist to the dance. Tracing the history of 1 Kathak dance, we can visualise the following significant changes that took place with regards to music. 1. Vedic age music: Vocals, instrumentals and dance were prevalent from the Vedic ages. One cannot say that in those times, the dance performed is not Kathak. But the tradition of narration going on from those times led to the seeding and development of Kathak as a dance form. According to Rigveda, the vocals were mostly spiritual in nature, performed during community programmes. The story was based on Brahmin or Kshatriya protagonist and the theme revolved around patriotism, bravado, achievements in battlefield or winning a war. Assisting the vocal narration would be musical instruments like Dundubhi/दꅍु दभु ि, Bhumidundubhi/िूभिदꅍु दभु ि, Naali/नाली (Naadi), Venu/वेण,ु Kshoni/ऺोणी, Gaggar/ग嵍गर, Goudha/गौधा, ग, Bakurad Aghati/बकु राद अघाती . Yajurveda andﴂPing/पऩ Arthaveda mention ‘Saam/साि’ in the vocals. This form of song began to be known as Devastuti (spiritual) or Virpurushstuti (regal rule). In terms of artistes on stage there would be the protagonist (soot), a singer (shailush) and a veena player, vanshi player, conch player, kaahal/काहल player, dundubi/दꅍु दभु ि player and a ganak (taaldhari/तालधारी). In the dance recitals, a glimpse of the prevailing issues in dance or music was mentioned in a creative manner. Here again you find mention of music instruments, vocals and dance during Katha Vaachan. 2. Music in Kathak dance performed in temples: From the Vedic ages, the tradition of narrating epic stories in the temple was quite popular. The narrator who told the story was called a 2 ‘Kathak’. Such people would sing and talk about kings and princesses, brave soldiers and rulers and martyred heroes. Amongst other raagas, dhrupad and bhajan were usually used to sing the folk stories. They would retell the story in a graceful and rhythmic and interesting manner. Dance and songs would also be infused most of the times. Singing, instrumental music or dance moves were conducted in temples on a community ,गीﴂजीरा, Sarangi/सारﴂझ, Manjeera/िﴂbasis. Jhanjh/झा ग as musical instruments were also used. In middleﴂ Mridang/िदृ of the narration one could easily find Shloka/�लोक, Doha/दोहा, and Chaupai/चौऩाई recitals. Because of this harmonium and dholak/ढोलक were used to create music. Experts also address Kathak as Dhrupad/ध्रुऩद dance as this form of dance would be performed in conjunction with Dhrupad song recital. 3. Music in Kathak during Moghul rule: The Moghul Dynasty ruled over India during the Middle Ages. They brought with them the arts and traditions from Persia. These had a deep impact on the Indian traditions and arts. During this period, the singers and dance performers traded patronage from the Hindu temples to the courts of the provincial rulers. The form of devotional music and dance at the Temples remained unaltered, but owing to nurturing under the patronage of Moghul courts, the form of dance underwent a shift from the spiritual to materialistic. According to the likes and interests of the Kings, Nawabs and Badshahs, the music and dance performances in the royal courts became more and more ornamental. Kathak observed very deep and lasting impact 3 owing to which Kathak underwent some definitive changes with regards to the clothing, words and presentation and dance movements visible in the art even till date. Under Musilm patronage, Kathak became a common arts form, and also faced som significant changes and developments. During the Moghul era, Abul-Fazal mentions in his Aain-e-Akhbari that there was presence of musical instruments such as Pakhawaj, Rabab/रबाब तर accompanying the dancer and singer at mostﴂand Jantar/ज Kathak performances. King Wajid Ali Shah of Moghul era initiated the Rehes/रेहेस dance form, inspired by the Raas. He is credited with adding numerous innovations to the dance form. His musical troupe would feature musicians playing tabla, dholak, Khamta/खिता, nakkar/न啍कार, sarangi, manjeera, pakhwaj, sur singaar, flute etc. Raas-Nritya, which is similar to Rehes, was also developed simultaneously. This forms an important element of any modern day Kathak presentation. It is during Moghul era that Kathak performances on Ghazal recitation became a trend. 4. Music in contemporary Kathak performances: Since the onset of modern times till date Kathak has faced numerous changes. Much experimentation was witnessed in traditional Kathak. But in order to maintain the sanctity of the purest form of Kathak, the artistes performed Kathak in a set chronology of acts. The songs and music were also traditional for such performances. The dancer began by venerating his clan’s god, followed by performance of authentic Kathak moves and a dance performance/enactment in the end. Generally the veneration 4 was to Lord Shiva, Krishna, Vishnu, Ganesha or Devi Stuti. Sometimes dances were performed to Vedic Shlokas. Tabla, harmonium and flute were generally used during this period. After completing the pure form of Kathak, a ‘Lehera’ was presented along with music from Harmonium, Sitar, Sarangi and Sarod. True to the word’s meaning, Lehera was like a wave, on a fixed rhythmic note till it reached the Samm/सि moment. The dance continued along with a continuous recitation of a song, expressed by the dancer. In the Lehera/लहेरा, one can visualize the three levels of rhythm – the fast, medium and delayed. Upon one’s interest or skill, the artiste can perform on either one or all three of the rhythms. The rhythm is given appropriate beat by the tabla and pakhawaj players. Day by day, we are witnessing less and less use of the pakhawaj in Kathak performances. Its sound has been supplemented with various forms of tabla, which deliver a different resonating sound. The finale performance in Kathak ends with an enactment. It is not necessary that the enactment has to happen in the end only. But normally, the performer keeps the enactment performance for the end. The enactment is usually around a theme or a popular literary creation. The pure and the enactment are the two vital aspects of a Kathak performance. Normally, the dance content presented in a Kathak performance belongs to the following types. 1) Bhajan: Bhajans or devotional songs are created by members of the Sagun as well as the Nirgun community. Songs revolving 5 around the life of Rama and Sita, are delivered in styles such as Rupak, Dadra, Kahrava, etc. 2) Hori/होरी: This ornamental form of songs is usually depicting .चर stylesﴂदी, Chaanchar/चाﴂKishnaraas, sung in Deepchandi/दीऩच Such songs when sung in Ghamaar style are also called ‘Ghamaar’. 3) Dadra/दादरा: This is similar to Thumri style but sung in Dadra style. Sung in medium to delay pace in a sing-song manner. 4) Thumri/ठु िरी: Kathak and Thumri have become as synonymous as a shadow to a life form. Thumri is ideal to express oneself during dance performance. The dancer literally understands to begin enactment once the Thumri style is played. Thumri-based compositions typically are patterned on Shringar Ras or female- oriented roles. ग: Chaturang is prevalent since the MatangﴂChaturang/चतुर (5 ग era. The song is divided into four sections, each havingﴂिात/ its own raga, four beats and four languages. In modern Chaturang performances, care is taken to maintain the chronology. Melody, poem or literature, songs from lyrics, Tabla-pakhawaj beats are seen in Chaturang. 6) Triva/त्रिवतt: Like Chaturang, Trivat exhibits blend of three sounds-Melody, pakhawaj and lyrics. 7) Ashapadi: Like other dance forms, even Kathak observes the tradition of blending Ashtapadi in the rhythm-raga. 8) Ghazal: It is a blended creation of Urdu and Persian phrases. Ghazal is an Arabic word for ‘Amorous creation’. Many times lyrics are uttered in Ghazal. 6 9) Taraana/तराना: It is Persian word, in which the composition contains words that don’t have any meaning. For example, Tadarey, Dani, De-re-na/ तदारे दानी दे-रे-ना. These words mimic the rhythmic sound of the musical instrument being played. Usually the word equivalent of Pakhawaj beats are blended in a Taraana. Musical instruments like dholak, damaru, ghattambh, cymbals, kartaal, khol, manjira, mridang, pakhwaj, table, harmonium, shehnai, sarangi, sarod, sitar, taanpura, swarmandal, jal-tarang, etc.