PAPER 4

Detail Study Of , 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

1 be further sub-divided into 8 main types. The North – 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. 2. 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

2 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 / ऩु셁षसू啍त 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 / ऩथृ ीवासुक्啍त. 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, 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, , , , Puranas, Mahabhashya, the

3 books of the Jains and Buddhists, as well as , 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, Purana, Padma Purana, Brahmavaivarta Purana, Kalika Purana, 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 / का핍यप्रकाश by

Mammatta / म륍मट, Nrityaadhyaya / न配ृ याध्याय by Ashokmalla /

अशो啍म쥍ऱ, Sangeetratnakar by Shadingadev, Nrityaratnakosh /

न配ृ यर配नकोष by Kumbhakarna / कु 륍भकर्ण, Natyadarpana by

Ramachandra Gunnabhadra, Alokvritti / आऱोकवक्ृ 配त written by

Dhanika / धननक, Nartan-Nirnaya written by Pundareeka Vitthala, Roopvilas by Roopshahi, Prataprudrayashobhushanna by

Pratapshahi, Shringarprakash, Saraswatikanthabharanna / सरवतीकंठाभरर्, Sahityadarpana, Rasaarnnavasudhaakar, etc. are

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

Granthas like Maadunul / मादनु ुऱ, Musik / मुससकी,

Anoopsangeetratanakar / अनूऩसंगीतर配नाकर, Anoopsangeetvilas / अनूऩ

संगीतववऱास, Anoopsangeetaankush / अनूऩ संगीतान्कु श 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, 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 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. 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. 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, , 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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