Evolution of Kathak: From Storytelling to Dance

The literal meaning of the word kathak is associated with katha, which is the art of story-telling. The saying "Katha Kahe So Kathaka Kahave" translates to "one who tells a story is a story-teller". According to M. Monier Williams, katha refers to conversation, story, speech, tale, or fable. It also signifies singing in praise or communicating information. Therefore, kathakars were initially a caste of story-tellers who were connected to temples in specific regions of Northern India.

The kathakars used to travel through rural areas, sharing tales of the Epics and other Legends.

The storytelling was done through the combined art forms of poetry, music, and dance, with all three mediums seamlessly integrated. The ultimate goal of the kathaks was to enlighten people about the Gods and Mythological Legends. Kathak has a rich historical background, originating from the Vedic period. This era is characterized by vivid descriptions and narratives that provide valuable insight into the thoughts of the writers and composers. Over time, Kathak dance has evolved from its religious and mythological roots.

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During the time of the Ramayana, an ancient legend beloved by Hindu households for generations, music and dance were widely practiced. The Ramayana recounts the story of Rama, a prince from Ayodhya, and his dedicated wife Sita. Rama is revered as Lord Vishnu's seventh incarnation. Skilled storytellers would recite these tales within the Ramayana, while Rama's courageous sons Lava and Kusha would perform it using verses composed by Sage Valmiki. They also incorporated elements of acting known as Abhinaya.

From then on, nomadic bards who recited the Ramayana were known as ‘Kushilavas’. In fact, the term kushilavas has been associated with dancers and actors as well. Similarly, numerous mythological tales were conveyed through gestures, postures, and abhinaya. Another anecdote from the Ramayana reveals how Ravana, the king of Lanka, offered worship to Lord Shiva through song and dance. The story also includes Ravana's assault on Rambha, one of the main Apsaras. According to Kapila Vatsyayan, the Apsaras are the most significant mythological characters in the Ramayana, who performed and danced both in heaven and on earth.

There are various other instances in the Ramayana that illustrate important events and moral concepts. These include the grand act of breaking Shiva’s bow in “Sita Swayamvar”, the evil plotting of Kaikayee, the Banishment of Rama to a fourteen-year exile, Sita’s kidnapping by Ravana, and the ensuing war that led to Rama’s victory and Sita’s rescue. Thus, the Ramayana is filled with incident and moral teachings. Additionally, there are mentions of dance performances from the Mahabharata. This period also marked the beginning of worship and adoration of Bramha, Vishnu, and Mahesh through music and dance.

Krishna is the ‘Sutradhara’ and an expert dancer. The Mahabharata portrays episodes of Krishna’s life, including his adoption and upbringing by a family of cowherds. The tales of his childhood involve stealing butter and the milkmaids, referred to as “MakhanChori”. His youthful dance with Radha and Braj narees is called “Rasa Lila”. The enchanting dance he shares with Gopis or Milkmaids on the bank of Yamuna river on moonlit nights is known as “MahaRaas”. One story, “Kaliya Daman”, narrates Krishna's victory over the poisonous snake Kaliya and his dance on its hoods.

The story of “Govardhan Dharan” narrates how Krishna lifted and held the Govardhan mountain to shield the people of Vrindavan from a heavy downpour. Another significant incident from the Mahabharata is known as “Vastraharan”, where Krishna preserves the dignity of Queen Draupadi, a Pandava. According to the tale, Dushasana, one of the Kaurava brothers, attempted to disgrace her by stripping her of her clothing. Draupadi appealed to Krishna for help, and miraculously, as each layer of her saree was removed, the number of sarees continued to multiply. This particular event is a popular subject in Kathak dance.

The Mahabharata recounts how the Kauravas unjustly took away the kingdom of the five Pandava brothers. It also portrays the intense battle of Kurukshetra, where the Pandavas triumphed after enduring much suffering and violence. This epic tale includes Krishna's role as Arjuna's Charioteer during the battle. The conversation between Krishna and Arjuna on the battlefield serves as the text for the Bhagavad-Gita, a renowned philosophical work. Thus, it becomes clear that music and dance had progressed in terms of content, form, and style to facilitate systematic instruction during the time of Mahabharata.

The training provided is comprehensive and includes instruction on rules and regulations. Natyashastra, a comprehensive work consisting of 36 chapters, covers a wide range of subjects. The first three chapters delve into the origins of Natya, theater construction, Rangapooja, among other topics. Chapters four and five focus on different forms of Dance. Chapters six and seven explore the concepts of Rasa and Bhava. From chapter eight to fifteen, various dance poses are discussed. Abhinaya is extensively described from chapter fifteen to twenty-two, while costumes are elaborated upon from chapter twenty-two to twenty-eight.

Chapters 28 to 34 of the Natyashastra discuss music and musical instruments, while the last two chapters focus on different characters and costumes. Within the text, the divine character and dance of Lord Shiva, known as Nataraja, are described. Lord Shiva is considered both the king of actors and dancers and the supreme Lord of Dance. The moon on his head symbolizes his complete control over his senses, while the serpents wrapped around his body represent his mastery over essential life forces. His raised foot over the wicked demon is a symbol of victory over the ego.

This divine art form is performed by Shiva and his wife Goddess Parvati. Lord Shiva's dance, known as "Tandava", represents his violent nature as the destroyer of the Universe. On the other hand, Goddess Parvati's dance, called "Lasya", is characterized by gentle, graceful, and erotic movements, often referred to as the feminine version of Tandava. As a result, Bharata attributes to dancing a divine origin, encompassing literary and religious aspects in both its ideology and technique, as well as serving aesthetic secular purposes according to Kapila Vatsyayan.

According to Natyashastra, the interpretation of different moods of man accompanied by Bhava, Raga, and Tal is discussed. These elements are aimed at creating rasa or emotion in the spectators known as "Rasikaas." The prominence of "Sangeet" in society can be traced back to the 7th and 8th century. The art of sculptures also experienced significant advancements during this time period, with many sculptures depicting various dance poses. Temples served as the birthplace of these artistic expressions, where dancers or priests would perform dances praising the Lord and enacting mythological stories. Temples were established as gathering places for devotees to pray to God and listen to stories about Him.

The connection of the Temple is well-established, as seen in the art of "Kathavachakas" who continue this tradition today within the Temple boundaries and open spaces in the North. Over time, during the medieval period, the Bhakti movement influenced all of India. The extensive spiritual empire established by Vaishnavism in the North encompasses every aspect of life. By the 15th and 16th centuries AD, literature, music, dance, painting, and other fine arts thrived with support from the temples, priests, and devotees.

In particular, the Rasa Lilas in Braj and the neighbouring areas of Mathura in the North sustained the tradition that centered round Vishnu and his recognition as Krishna. The Bhakti movement inspired a whole new school of poetry, dance, and music. Krishna and Radha are the presiding deities of Vaishnavism, and it was on the basis of Leelas of Krishna that precious and distinctive art heritage of Vaishnavism was built up. Mirabai, Surdas, and Tulsidas, for example, wrote powerful devotional verses on longing and separation, expressing the yearning of the human soul for union with God.

The theme they chose was the love of Radha for Krishna. Vaishnavism greatly emphasized and highlighted the Krishna Leela, but its origins can be traced back to the times of Mahabharata and Bhasa. In Braj, the Rasa lila developed as a blend of music, dance, and storytelling, which was utilized to portray the Krishna Legends, specifically focusing on the Radha-Krishna concept and the stories of Krishna's youthful interactions with the gopis or milkmaids. Consequently, the earliest compositions in Kathak were influenced by the religious and stylized music of North India, particularly Dhrupad, Keertan, Hori, Dhamar, Pad, and Bhajan.

According to Mohan Khokar, Keertans are similar in style to dhrupad but can also be sung in chorus. Keertan is a spiritual practice that belongs to the path of Bhakti, meaning devotion. Specifically, Keertan refers to the chanting of sacred sounds or mantras. The Rasa Lila miracle plays of Braj used to be accompanied solely by keertan music. Keertans were created for both singing and dancing. On the other hand, Bhajans are strictly devotional songs praising deities such as Krishna, Shiva, Rama, Ganesha, Durga, and others.

The songs in Bhajan are performed in ragas, with the addition of improvised tunes. Bhajans draw inspiration from stories and teachings of saints, episodes from scriptures, and descriptions of Gods. They include compositions by Mirabai, Tulsidas, Surdas, Kabir, the Ashtachhap poets, and other composers, which are all part of the kathak repertoire. One of the famous Bhajans by Mirabai is: "Baso more nanun mein nandlal, Mor mukut makrakrit kundal, arun tilak diyo bhal, Mohni murat – saavari surat, naina bane bisaal, Adhar sudha – ras murli rajat, ur baijanti maal."

Chhudra ghantika kati tat sobhit, nupur sabad rasaal, Mira’ prabhu santan sukhdai, bhagat – bachhal gopal" With the arrival of the Mughals, Hindustani music underwent a significant transformation. The stylised music embraced the Mughal influence remarkably. The dancers shifted from performing in temple courtyards to palaces, which required changes in presentation as Muslim kings could not appreciate the deep emotions of devotional love. Kathak dance received patronage from Nawabs and Rajas. Previously focused on religious and devotional themes, it now became a form of entertainment.

The forms such as Thumri, Dadra, and Ghazal developed and became integral to Hindustani music. The term "Thumri" is a combination of "thumak" (or the chaal) and "rijhana" (or to please), signifying graceful foot stamping. Thumri is a verse that revolves around Krishna and Radha or Krishna and the Gopis, showcasing the divine romance of both separation and union. The renowned dancer and musician Wajid Ali Shah, the last Nawab of Oudh, was skilled in composing classical-style thumries, which were performed by kathak dancers.

His contemporaries and the court musicians, such as Kadarpiya, Akhtar Piya, Lallan Piya, Sikandar Piya, and others contributed to the popularity of his work. Despite being a Muslim, he had a fondness for the Radha-Krishna themes. He even performed a dance on the Rasa Lila, which he called 'Rahas'. Some of his famous thumries include: "Babul mora nehar chhuto jaye, Chaar kahar mil, doliya uthave, Apna begana chhuto jaye." Another Thumri: "Jab chod chale lucknow nagri, Tab hale 'ali' par kya guzri, Mahal mahal mein begum rove, Jab hum guzre duniya guzri."

According to Peter Lamarche Manuel, Bindadin Maharaj is considered a significant figure in the advancement of both Thumri and Kathak. Bindadin, along with his brother Kalka Prasad, created Thumries that were ideal for kathak dancing. Some well-known Thumri compositions by Bindadin Maharaj include "Mohe chhedo na", "nand ki suno challa", "Badi der bhai", and "ghar jane de mohe."