Lokogandhar

Abstract

Kathak, one of India’s eight classical dance forms, has evolved through centuries, influenced by diverse cultural, religious, and socio-political movements. This paper examines the historical development of Kathak, tracing its transformation from a form of devotional storytelling in Hindu temples to a refined courtly art under Mughal patronage. The influence of the Bhakti movement and Sufism played a crucial role in shaping Kathak’s narrative depth, emphasizing its spiritual and expressive qualities. A key aspect of Kathak’s evolution is the emergence of distinct Gharanas, or stylistic schools, which reflect regional and historical influences. The study explores the four majors Gharanas—Lucknow, Jaipur, Benares, and Raigarh—each characterized by unique artistic techniques, rhythmic structures, and performance styles. These traditions, shaped by their respective socio-political contexts, contributed to Kathak’s rich and diverse heritage. The paper further investigates the shifting patronage of Kathak, detailing its decline during British rule when many traditional art forms suffered neglect. However, the post-independence era witnessed a significant revival, as efforts were made to restore Kathak’s classical status and integrate it into formal artistic and educational frameworks. Today, Kathak continues to evolve, blending traditional aesthetics with contemporary innovations. The growing emphasis on structured education and global appreciation highlights the dance’s adaptability and enduring appeal. By examining Kathak’s journey from sacred temple performances to a global stage, this paper underscores its historical resilience and artistic dynamism. The study concludes by reflecting on the modern Kathak landscape, where tradition and innovation coexist, ensuring the dance form’s relevance in the 21st century.

Introduction

Music, Instrumental music, Dance, Poetry, Stories, a combination of Acting and more form the characteristic of “Indian classical dance” (“The Evolution of Indian Classical Dance Traditions,” 2023), which makes this “dance”

(TIMESOFINDIA.COM, 2023)   (Classical Dances of India– Clases De Danza En Madrid Por Vinatha Sreeramkumar, n.d.)

aesthetically appealing. The dance style reflects the prestigious cultural heritage of our country. As we all know that there are eight different classical dance forms in India, and Kathak dance is one of them. The biggest influence was on Indian literature, music and dance, which led to the invention of the Bhakti movement and changed the style of dance in the country.

 It has evolved in terms of innovations in clothing, such as make-up, stage props, etc.

Much of the development of Indian dance dates back to the 2nd century with “Bharata’s Natyashastra”

 Sen, R. (2024, October 31). The Rasa Theory in Bharata Muni’s Natya Shastra. Caleidoscope | Indian Culture,

(Natya Shastra: Bharat Muni: Free Download, Borrow, and Streaming: Internet Archive, 2012)   the most important source for its establishment. Features of  “Indian dance” (Coomaraswamy et al., n.d.)  and drama and some other textual sources also predominate. Historically, the main aim of epic composition was to instruct the tribals.

The population of the subcontinent had the knowledge of God, which can be said to be parallel to the Greek theatre mentioned in this period. Hinduism was followed by Buddhism and later Islam. When Islam was first conquered by the Arabs and then by the Turks in the 8th century, they preached that all men were brethren under one God, and there was only one way to heaven.

The teaching of the prophets and their presentation is a morally dangerous living thing. This attitude strongly influenced the Kathaks as they were concerned not only with the many gods and goddesses whom they depicted in human form. This formation of dance established it principally dedicated to Muslims and was consequently powerfully influenced.

The “Kathak dance Hindu’s” (Skiba Katarzyna, 18.04.2016.)

“Kathak Dance in Hindu Temple”

had to find ways to retain their true form. Later they were under less strict rulers, Kathak dancing was allowed with impunity.

Hypothetical

The term “Genre” or “Garana” (Toppo, S. 2023, March 5. The Rich History and Cultural Significance of Kathak Gharana, Nd.)

(Dixit, 2022)  refers to that particular art form, which is passed down from generation to generation. Simply put, a gharana means a “house” in which each living member follows his ancestors. There are many famous genre names in music; each genre has its artistic structure. or represents a style. In the history of music, a genre is born when an artist practices his art until his performance seems indistinguishable from other artists and then he passes this legacy on to his next generation; thus, from one generation to the next This form of art has been passed on to other generations, giving rise to genres.

There are three main styles of Kathak dance: “Lucknow Gharana, Benares Gharana and Jaipur Gharana, and another Gharana’s name is Raigarh Gharana.” (Sla, D. 2024, May 30)

Four Gharanas of Kathak Dance

These genres seem to differ from each other based on their specific artistic talents.

Historical method, descriptive method, survey method and interpretive method are used in the presented research paper.

According to scholars, the root of “gharana” is derived from the Sanskrit word “griha”. The language in Hindi it is generally called “Ghar”. The word ghar is formed from the Sanskrit ‘griha’, and the word ‘gharna’ is derived from house. The identification of gharana, which has some unique characteristics, is actually a trademark of the vintage gurukul methodology. In the Sanskrit language, these terms were called ‘Amnaya’. Each and every disciple was a representative of an Amnaya. The word ‘amnaya’ after came to be known as ‘Charan’. Throughout the Mughal period, the word ‘charan’ became ‘gharana’.” (Kosh & Upadhyay, 2023)

According to scholars, another reason for the birth of the genre is considered to be the non-expansion of the art by the artists. Because after the 16th century, the term gharana came into use, and at that time, most of the good artists lived there with the patronage of the kingdom. Each state patronised their high-class artists as well as honoured them in their courts, but they were against sending their artists to other states, because of which the artists did not work in the same state.

This geographical distance limited the art with the artists and the artists of each place became experts in their own art style, due to which the differences between the artists of each place can be seen. Skilled artists bearing the title of “Acharya”

Kathak dance of Rudrashtakam by Acharya Pratishtha

(Religion World, 2023)  “began teaching their disciples and from here the form of the genre was determined.” [Let’s learn Kathak – I. (n.d.)].

Under Kathak dance, the term “Gharana” refers to a particular style of Kathak dance. At the same time, Kathak artistes present at the same venue perform that, aamd, tukda, paran etc. These different styles make the narrator of one genre different from another. There are mainly three styles of Kathak dance: Benare’s style, Lucknow style and Jaipur style, but now Raigarh style also has its own artistry due to new dance styles. The Benares Gharana is considered to be an offshoot of the Jaipur Gharana, while the Raigarh Gharana followed the Laksha-Lakshan tradition by incorporating the aesthetics of the Jaipur and Lucknow Gharana. It can be considered an artistic achievement of post-independence India Byohar (2019). Every genre is believed to originate from a master artist, who laid the foundations of that genre by establishing a new style through innovative experimentation with the power of his prodigious genius. According to the current belief, a tradition cannot be called a gharana until it has been passed down for at least three generations. In other words, each genre must have three qualified artists: the guru or founder; His disciple or son; and his son’s disciple or disciple’s disciple.

Effects of Prominent Gesture

Bhakti Movement:

The Bhakti gesture originated in Tamil Nadu in the seventh century and spreads northward. While the Southern movement advocated devotion to Shiva, Vishnu and their avatars, the Northern Bhakti gesture focused on Lord Rama and “Krishna”

There is one Krishna, the gopis, they surround him in a circle in a dance procession, but to each of them it seems that Krishna is only dancing with her.

 both of whom are believed to be incarnations of Vishnu. Despite this, neither Shiva nor Vishnu sects declined. In fact, for all its history the Bhakti Movement coexisted peacefully with other movements in Hinduism. The Bhakti Movement was a medieval Hindu religious movement that promoted the belief that salvation was attainable by all. The movement is closely related to Islamic Sufism, which emerged around the same time: both advocated that personal expression of devotion to God was the way to become one with Him. It was initially considered unorthodox because it rebelled against casteism and ignored the Brahminical ritual, which according to Bhakti Sadhakas was not necessary for salvation. Over time it became ‘orthodox’ due to its widespread popularity among the masses and even receiving royal patronage, and continues to be one of the most important means of religious expression in modern India. Between the 14th and 17th centuries, a great Bhakti movement spread across central and northern India started by a loosely connected group of teachers or saints.

 “Ramananda, Ravidas, Srimanta Sankara Deva, Chaitanya Maha Prabhu, Vallabha Acharya, Surdas, Mira Bai, Kabir, Tulsidas, Namadeva, Gnaneshwar, Tukaram and other mystics” (Bhakti Movement – Ramananda, Kabir, Guru Nanak, Chaitanya, Gnanadeva, Namadeva, Ekanatha, n.d.)  led the Bhakti gesture in the North while Annam Acharya, Bhadrachal Ramdas, Tyagaraja and others led the Bhakti movement in the South. preached They taught that people could only express their overwhelming love for God by throwing away the heavy burdens of ritual and caste and the subtle complexities of philosophy. This period was marked by an abundance of devotional literature in vernacular prose and poetry in the ethnic languages of the various states or provinces of India. Even though many numerous prophets concentrated their attention on Krishna or Rama, this did not mean that the Shiva denomination was disenfranchised. In the twelfth century Basava founded the Veera Shaiva school or Veera Shaiva religion. He rejected the caste system, denied the supremacy of the Brahmins, condemned rituals and emphasized devotion and the worship of one God, Shiva. His followers were called Vir-Shaivas, meaning “steadfast Shiva-worshippers”. One of the prominent figures in this tradition is Akka Mahadevi, a contemporary of Basava. Many of Ramprasad Sen’s songs are devotional works in Bengali. His songs, known as Shyama Sangeet, date from the 17th century, and cover a bewildering range of emotional responses to Mother Kali, detailing philosophical statements based on “Vedanta” (The Vedanta: Internet Archive, 2021c)  teachings and more visible expressions of his love for the goddess.

Mirabai: A symbol for women’s freedom

“Meerabai” (Ward, M. 2024, June 27)  was one of the devotee poets. This Bhakti movement was conducted for large numbers of worships and rituals related with the spirituality of God by Hindus, Muslims and Sikhs of the Indian subcontinent. For example, kirtan in a Hindu temple, qawwali in a dargah (by Muslims) and gurbani singing in a gurdwara all arised from the Bhakti movement of medieval India (800-1700). The leader of this Hindu revival movement was Shankaracharya, a great ideologist and an eminent philosopher. And this gesture was pledged by

“Shree Chaitanya Mahaprabhu,” (Chaitanya-Charitamrita Compact A summary study of Shri Chaitanya Mahaprabhu’s life story By Das Sutapa, 2015)

 Nama Deva, Tukaram and Jayadeva. The main achievement of the movement was the abolition of idolatry. Followers of the Bhakti movement in the 12th and 13th centuries included saints like Bhagat Namdev and Sadhak Kabir Das, who emphasized devotional songs in praise of the Lord through their own compositions. Guru Nanak, the first Sikh Guru who was the founder of Sikhism was also a Nirgun Bhakti Sadhak and communal proponent. Many religious reformers continued to rise in the sixteenth and seventeenth centuries. The main light of Rama Dharma was the saint-poet  Tulsidas. It speaks of communal harmony among different religious groups in medieval India through the teachings of saints like Kabir.

Sufi Movement

Sufism emerged as an ascetic gesture from within Islam in the eighth-ninth centuries. The “Sufi Movement” (Dr. Pathak Vivek )  consists of fraternal orders in which leaders train and assist disciples in the philosophical principles and ritual practice of Sufism. Such rituals and practices include writing and reciting poems and hymns; Some of the most famous and beautiful literature in the Islamic world was written by Sufis. Sufis engage in a variety of rituals intended to help them realize union with God, such as distinctive forms of religious prayer (dhikr, literally “remembrance”), including the recitation of God’s name, as well as physical rituals such as those practiced by the so-called “whirling dervishes”, a Turkish Sufi order that practices meditation and contemplation of God through rotation. The Sufi movement had two aims: to improve their own spirituality and to serve mankind. Sufism, which began as a reform movement, emphasized free-thinking, liberal ideas, and tolerance. They believed in the equality of all men and the brotherhood of man. Their concept of universal brotherhood and the humanistic ideas of the Sufi saints appealed to the Indian mind. There was a gesture similar to Sufism, called the Bhakti gesture, had already begun in India on the eve of the Muslim rout. So generous Sufis were welcomed in India. The Sufi movement proved to be very helpful in bridging the gap between the followers of the two religions and uniting Hindus and Muslims.The Sufi movement gained

momentum during the reign of “Akbar” (Dancers from Malwa Perform before Akbar, by Dharmdas and Kesav Kalan. Pakistan and India, 16th century | V&A Images. n.d.).  ,

 who adopted a liberal religious policy under the influence of Sufi saints. Sufism reached India in the twelfth century AD and its influence grew considerably in the thirteenth and fourteenth centuries. In India, the Chishti and Suhrawardi silsilas were the most prominent among the 14 silsilas mentioned by “Abul Fazal. ”

A-miniature-showing-Abul-Fazl-presenting-the-Akbarnama-to-Emperor-Akbar

Artist : Govardhan (fl. 1596–1640)

Object type manuscript illumination

Description en:Abu’l-Fazl ibn Mubarak presenting Akbarnama to the Grand Mogul Akbar. Mughal miniature.

Date between 1603 and 1605

Medium: paper, pigment and gold

Dimensions height: 431 mm (16.9 in), width: 261 mm (10.2 in)

Collection: Chester Beatty Library   Accession number: In 03.176

(Chester Beatty Library) Place of creation

The Chishti order was founded in India by Khwaja Moinuddin Chishti. His dargah at Ajmer became a center of reverence for both Muslims and Hindus. After his death in 1236 AD, his devotees continued to celebrate an annual festival in Ajmer but the most famous Sufi saint of the Chishti sect lived a simple austere life and won the devotion of both Hindus and Muslims of all faiths through his vast learning, religious knowledge and tolerance. The liberal principles of the Sufi sect moderated the attitudes of the orthodox Muslims and encouraged many Muslim rulers to adopt a tolerant attitude towards their non-Muslim subjects which greatly contributed to the evolution of various Indian languages. Such as Urdu, Punjabi, Sindhi, Kashmiri and Hindi.

The impact of the Sufi movement was genuinely felt on few of the prominent poets of this period, such as “Amir Khusrau” (Tripathy, A., & Tripathy, A. 2023, March 21)

and Malik Muhammad Jayasi, who wrote poems in Persian and Hindi worship Sufi philosophy. The epic poem “Padmavat, also known as Padmawat,”

Queen Nagmati rashly asks her new parrot who is more beautiful, she or his former owner Princess Padmavati of Sri Lanka. Naturally, she gets a displeasing answer.” An illustrated manuscript of Padmavat, c. 1750Rani Padmini, popularly referred to as Padmavati. c. 1765

was composed in 1540 by Sufi poet Malik Muhammad Jayasi.

Origin of Kathak dance

There are two religious legends about the origin of Kathak as a dance style. They are as follows: In ancient times Lord Indra held a big festival and when the competitive dance was performed, Lord Shiva’s wife Parvati performed the fastest dance steps and her dance was much better than any other. So, Indra rewarded Parvati. Although, she was his wife, Shiva was angry that she was slighted by him, as he considered himself the best. He advises Indra to hold a contest between Shiva and Parvati again. Shiva executed quick steps and quick turns but Parvati danced faster. Shiva became extremely angry and threatened to destroy the world by rampage. Parvati pretended to be a bad dancer and conceded victory to Shiva. Thus, he calms his anger and he tries to expand and propagate the Kathak style of dance through Parvati. Another legend is again about Shiva where Shiva had a wonderful ring which had a magical power. If one puts it on someone’s head and casts a mantra, the person falls into pieces. Shiva was pleased with him and gave a ring to a demon. Satan tried to kill Shiva, Parvati got worried and planned to save her husband and said to Satan “Your dance is very beautiful, can you dance for me” and Satan started dancing in pride. Soon he placed his hand on his head and started turning which had the ring on it. Meanwhile, Parvati hastened to chant the mantra and the devil’s body disintegrated. Believers in the story believe that this is why Kathak dances always begin with a God-like standing posture

In divine grace, Lord Shiva and Parvati dance in celestial harmony, embodying eternal love and cosmic balance.

before being crushed. According to Pandit Rajaram Dwivedi, Kathak dance music originated in Lucknow in 1635 or 1636. Some say that the name ‘Kathak’ was coined by late Mr. Ramdas Kathik who was an appointed teacher at Mary’s Music Institute “present: Bhatkhande Music Institute, deemed to be University.” (Bhatkhande Music Institute University in India, n.d.)

Bhatkhande Music Institute University is located in Lucknow, Uttar Pradesh, India. The university was established in 1926. It is accredited by University Grants Commission, India.

It is true that all classical dances that exist today were named in the fourth decade of the 20th century. Bharatanatyam was named after Srimati Rukmani Devi, Manipuri Gurudev Rabindra Nath Tagore and Kathakali poet Ballathal Narayan Menon. These names are not mentioned in any book written earlier. Similarly, when dance classes were started at Mary’s College in Lucknow in North India, late Sri Ramdas Kathak (Ramdatta Ji), (who was maternal uncle of the late “Pandit Shambhu Maharaj” (Shambhu Maharaj | Sahapedia. /n.d.).

and a traditional Kathak dancer of Ayodhya) was appointed and named as a faculty.

Dance form as ‘Kathaka’. Prof. Kalyanpurkar came to Lucknow from Bombay as a teacher posted at Mary’s College, Lucknow when one day the founder/president of the college and Raja of Dariabad Late Rai Umanath Bali said that the dances they taught (Tukra, Paran and Gath) were not Kathak. And what is meant by original Kathak, he called the traditional Kathak from Daryaabad state (a place near Ayodhya) but since the name had already become popular, it was difficult to change it and since then it was permanently named as ‘Kathaka’. According to Pandit Raja Ram Dwivedi (according to his researches and writings) this dance is called ‘Natwari’ in all old sources, Late Sri Jagannath (Achan) also called his dance as ‘Natwar Nritya’. (Sethi Arshiya /n.d.).   When the dance form was named Kathak, the relevant (pre-existing) words were studied in detail, resulting in words like: Kathik, Kathiko, Kahub, Kathak came into the limelight. Traditional dancers of Ayodhya called themselves ‘Kathika’ and Rajasthani tradition called Kathak (Kathak) Pandit Rajaram Dwivedi, editor of ‘Sangeet’ (1641), a monthly magazine, Pandit Ganesh Prasad Dwivedi and other intellectuals have always used it. The word ‘Kathic’, Kathiko is found in Pali and Nepali dictionaries. ‘Kahub’ is found in ‘Kalpasutra’ and other Jain texts.

Genre of Narrator

According to scholars, the primary source of the genre is derived from the Sanskrit word grha. The Hindi word ghar is derived from Sanskrit griha and the word gharana is derived from ghar. A house that has some distinctive characteristics for its identity is called Gharana. Each genre has different footwork and body movements. Raja Chakradhar Singh of Raigarh emerged as a sensitive patron of the arts in the early 20th century. Due to the deep affection and respect of Raja Sahib, the best and veteran dancers and gurus of Lucknow, Jaipur and Benares together took refuge in Raigarh Durbar. Together they defined different dimensions of artistic creation. There were many disputes among scholars in the Raigarh court as well.

Kathak dance from any state

The dispute resurfaced in 1936 at the court of Raja Chakradhar Singh at Raigad. This dance apparently gave birth to the genre due to the conflict between Achanna Maharaj and Jayalal Maharaj. Raja Chakradhar Singh was a well-educated man. He studied ancient traditions and music as well as understood the needs of the present and future. After consulting wise gurus, he formulated certain criteria that fall under different genres.

According to this, the present four genres of Kathak dance have been adopted. 1)- Lucknow Gharana

2)-Jaipur Gharana 3)-Banaras Gharana 4)-Raigad Gharana

The Gharanas of Kathak Dance:

According to scholars, the origin of the word ‘Gharana’ is derived from the Sanskrit word ‘griha’. Ghar’ is called ‘house’, and from this word ‘Gharana’ was named. The gharana system actually reflects the education symbolized by the old gurukula system and each gharana has certain characteristics and the gharanas are divided into certain categories. These categories are derived from the Sanskrit word ‘amnaya'(Hinduism, n.d.) . In this system of education every disciple of a gurukula was considered a member of an Amnaya. “The word ‘amnaya’ later came to be known as “charan”. During the Mughal period, this word ‘charan’ became known and famous as ‘gharana’”(Jaiswal & Upadhyay, 2023a) . While pointing to another reason for the origin of the word ‘gharana’,” they explained that it was considered by the artists as the reason for the non-expansion of art. After the sixteenth century, various “gharanas” Artists in Kathak dance lived as guest artistes under the patronage of kings and sometimes as permanent sabha dancers. Due to the love of artist culture, high-class dance artists in various states were honoured with various honours, including high scholarships Artists did not move from one royal court to another, sometimes geographical distance limited their art with the artists in Kathak dance of that time, so the Kathak dancers of each royal court varied in dance and genre dance styles according to geographical reasons and the preference of the king of that kingdom. Skilled dance artists began to initiate and teach their disciples under various titles, sometimes Acharya, sometimes Pandit, sometimes Vidushi etc. and from here the different forms of the genre were determined. Kathak dance artists of various “genres” were performed in the royal court to entertain the King and his entourage. In Kathak dance, there are three main styles of Kathak dance: 1. Banaras style, 2. Lucknow style and 3. Jaipur style and another is Raigarh style. The Banaras Gharana evolved from the Jaipur Gharana, however the Raigarh Gharana dance style followed and to some extent imitated the aesthetics of the Jaipur and Lucknow Gharana. Each genre is believed to originate from a master artist who, through his innovative and prodigious talent, establishes a new dance style by experimenting with various props and characteristics. Genre and its origin It is said that a tradition of a genre cannot be called a genre until it has lasted for at least three generations. In other words, there must be three qualified artists in that genre, one genius of that genre, as the origin of the genre and its naming. There must be a guru or founder, his disciple or son, and his son’s disciple or disciple’s disciple.

Jaipur Gharana:

The dance style of the Jaipur Gharana developed and excelled under the patronage of the Rajput rulers of Rajasthan, India. One of the genres of this genre is the strong religious flavour characteristic of Sanatan Dharma. The gharana, renowned for its incredible vitality, veer rasa, and powerful and quick motions is the “Kathak dance’s Jaipur Gharana”(Kathak, Indian Classical Dance Art, 1989) . The Rajput lords of Rajasthan were the primary patrons of the development of this Kathak dancing technique. Instead of representing a particular family, the Jaipur Gharana Rajasthan and the rest of the country are home to hundreds of Kathak dancer families. Stated differently, it is a combination of different musical traditions. The Raasleela was written by Vallabhdas, a Kathak dancer. Then, Maharaja Mansingh of Jaipur dispatched Vallabhdas from Amer to Vrindavan to learn the Raas dance. This art form has always been promoted and advanced by the Kathak gurus and Maestros. When Maharaja Jai Singh (1699–1743 CE) constructed City Palace, 36 Kaarkhanas were part of it. The department in question was Gunijankhana. Gunijankhana’s function was comparable to that of Parikhanaat Lucknow. “Around 750 members of the Gunijan community were recruited for Gunijankhana”(Kathak, Indian Classical Dance Art,1989)  initially, encompassing a variety of singers, musicians, and dancers. At that time, there was a green bungalow situated in the city palace where artists would perform music and dance and play instruments from morning until evening. Additionally, nightly performances were held at the Bhagwan Rajrajeshwar temple near the city palace from 6 to 9 PM. A manager was appointed to oversee the operations of the Gunijkhana. State-sponsored artists, musicians, and dancers were supported by departments such as gunijankhana, taalimkhana, paatarkhana, and aalamkhana. The Jaipur Gharana is noted to have a connection with the Gharana of Anadi Maharaj Sawal Dasji (Shyamlalji). In earlier times, this Gharana was particularly well-known in Rajasthan. The disciples and relatives of this Gharana performed in various states. Gradually, the artists from this Gharana gained recognition and began traveling across different regions of India, although some chose to stay and establish themselves in various parts of Rajasthan. Dr. Jaichanda Sharma outlines the lineage of the Sawal Das Gharana as follows: Jeevandas – Sawaldas (Shyamaldas) Dedraj, Mangtuji, Gopiram, Govindram, Anand Prakash, Janki Prasad, Chunnilal, Sablaji, Dudaji, Motiram, Hukmaji, Dularam, Biharilal, Kishanlal, Mohanlal, Sohanlal, Puranlal, Madanlal, Ramlal, Hariprasad, Ganeshilal, Hanuman Prasad, Omkar, Pandit Gopal Krishnakumar. “Bhanu ji (Let’s Learn Kathak – I by  Acharya Pratishtha · 2015.Pdf, n.d.)  was the patron and one of the founders of Shihma institutions of this genre, Bhanu ji was a great devotee of Devadidev Mahadeva. Bhanu ji is said to have been educated by a supreme Vaishnava. Jointly the largest contributors to this Jaipur genre of Kathak dance were brothers Hari Prasad and Hanuman Prasad, descendants of Bhanuji. Hanuman Prasad is described as a very pious man. At that time the standard of piety was high and it is said of him that the doors of the Asaya temple were closed for the night late in the festival of Holi or Dol. In spite of this, his measure of bhakti rasa was also very strong, so he used to dance in the courtyard outside the temple even though the doors were closed. His Kathak dance was so characterized by the intensity of Bhakti Rasa that at the top of his dance Bhakti Katha the bells of the temple miraculously came to life and the doors of the temple miraculously opened automatically. The story described may seem irrelevant but the relevance of this dance clearly indicates the power of his Guruji’s dance. Another descendant of Bhanuji is identified as Jai Lal, who rose to fame as one of the kathak artistes of the Jaipur gharana. Jayalal dabbled in Kathak dance at a very young age and became highly proficient in two percussion instruments, Pakhwaz and Tabla, in addition to dance. Due to his mastery of Tabla and Pakhwaj, he gained a great mastery of rhythm and rhythm, thus his rhythmic quality earned him a reputation at the top of the Jaipur gharana in Kathak dance. As a result of his mastery of Pakhwaj, he incorporated the longest paran of Pakhwaj into Kathak dance.

 As a result of Pakhwaj’s involvement in pure dance, his respect for the pure dance of Jaipur style(Morelli, 2010)  has left an impression on the dance styles of this style.

Bhanuji was the first promoter of the Jaipur gharana who learned Tandava dance from a saint. His son Malu Ji who taught his father’s dance to his two sons Lalu Ji and Kanu Ji. Kanuji also trained in Natbari dance from Vrindavan. His two sons are Gidha Ji and Sheja Ji. The first is a Tandava and the second is a Lasya. Gidha ji had five sons, among whom Shri Dulha ji gained special fame in the field of dancing. He had equal rights over Tandava and Lasya and settled in Jaipur. They had two sons, Sri Hari Prasad and Hanuman Prasad. Both of them excelled in choreography and were employed at “Gunijan Khana in Jaipur”(Ummah, 2019) .

At the same time that the Kalka-Bindadin duo was becoming famous in Lucknow, the pair of brothers in Jaipur were known as Dev-Pari. “Hanuman Prasad” (Vidyapeeth, 2024)  Ji had 3 sons: Sri Mohanlal, Chiranjilal and Narayan Prasad. Sri Narayan Prasad is the representative dancer of this era. His two sons Sricharan Giridhar and Tej Prakash indulged in dance in the tradition of their forefathers. Many relatives of Hari Prasad, Hanuman Prasad were also dancers like Shyam Lal, Chunnilal, Durga Prasad, Govardhan Ji etc. The Jaipur Gharana has many branches, of which two sons of Chunnilal, Sri Jai Lal, Sri Sundar Prasad Ji have gained special fame. Apart from their families, these two brothers also received dance lessons from Bindadin Maharaj Ji of Lucknow. Jai Lal Ji had 1 son Sri Ram Gopal who lived in Calcutta and taught dance. Jai Lal Ji’s daughter Jayakumari also gained special fame in Kathak dance. Pandit Kundan Lal and Pandit Sundarlal Gangani,(Skiba, 2016)  who were close relations of Pandit Narayan Prasad ji, were also renowned in the field of Kathak. The elder of these two brothers, Guru Kaundanlal Gangani Ji, was the senior guru of the Kathak Kendra in Delhi. These individuals took their talent and started teaching dance and music while obtaining state shelters from the authorities of the time, from Kashmir in the north to Karnataka in the south, Assam, Bengal, in the east, and Sindh in the west.It is discovered that these artists traveled from the following places: Panaji in Goa, Ujjain, Gwalior, Indore, Datiya, Raigarh in Madhya Pradesh, Calcutta in Bengal, Allahabad (Prayag), Banaras, Lucknu Surajpur in Uttar Pradesh, Khairpur, Hyderabad, Shikarpur in Sindh (Pakistan), and Jamnagar in Kathaiwada, Rajkot, Rajpipla, Somnath, Dwarka, Baroda, and Surat in Gujarat. “According to Sawai Madho Singh II’s (1880–1922) Gunijankhana records, the department employed 38 singers and female dancers”(Kathak, Indian Classical Dance Art, 1989)  in addition to roughly ten male dancers. Twenty Sarangivadak and sixteen Pakhavajvadak were assigned to accompany them. The sons of Shri Girdhari ji were Shri Harihar Prasad and Hanuman Prasad, who were appointed to Gunijankhana. Shyamlalji and his son were the names of the dancers hired for Gunijankhanas prior to the states’ integration. Badriprasad, Pandit Harihar Prasad ji, Pandit Chunnilal ji, Pandit Natthulaji, and the female dancers were Guahar Jaan, Hanuman Prasad, and Pandit Narayan Prasad. There was no child born to Pandit Hariprasad ji. Shri Mohanlal ji, Pandit Chiranjilal ji, and Pandit Narayanprasad ji were the three sons of Pandit Hanuman Prasad ji. In addition to being a skilled dancer, Pandit Mohanlal ji was also a skilled signer. He had the good familiarity with Dhrupad, Dhamar, Khayal, and Thumri, as well as stage performance experience. For a short year, Pandit Narayan Prasad and Pandit Chiranjilal both taught Kathak. Dance at Delhi’s Gandharva Mahavidyalay. The older of Pandit Narayan’s children Prasadji, Shri Charan Girdhar “Chand,” and the late Shri Tejprakash, his younger son Tulsi has also helped to preserve Jaipur Gharana’s reputation. brothers’ cousins of Pandit Shyamal, Pandit Durgaprasad, “Pandit Harihar Prasad, Pandit Hanuman Prasad,”(India’s Kathak Dance, Past Present, Future.Pdf, n.d.)  Both Goverdhan ji and Pandit Chunnilal were exceptionally talented dancers. The offspring of Pandits Sundar Prasad ji, Jailal ji, and Chunnilal ji significantly impacted the field of Kathak dance. They played a crucial role in revitalizing the grandeur and reputation of the “Jaipur Gharana”(Essential Elements of Kathak By Pratishtha Saraswat or Acharya Pratishtha.Pdf, n.d.)  within Kathak. The children of Pandit “Jailal ji”,(Gharanas of Kathak et al., n.d.)  son Shri Ram Gopal and daughter Jai Kumari, achieved prominence in this artistic realm. There is limited information regarding Pandit Shyamlal ji. Nonetheless, Shivlal and his son-in-law, Pandit Narayan Prasad, showcased their musical talents as well. Durga Prasad ji was trained by his maternal uncle, Pandit Nayak Natthulal. Prakash, the son of Khemchand Pandit Govardhan, gained fame as a music director in films. Guni Gandharva Pandit Laxman Prasad Jaipurwale, who was married to Badriparasad from Khoodi village, was a celebrated vocalist recognized for his talents. “Pandit Hanuman Prasad,(Jaipur Kathak Gharana, n.d.)  son of Gangaram, who taught at the Hill Grange School in Bombay, must be mentioned among the other Jaipur gharana exponents and educators.” Maina, Dhanni Bai, Sambhar Ki Sargar, Kamar Jaan, and her daughter Kamla. These artists were also asked to play at other darbars.

 Many of Kathaka families used to live in Rajasthan and operate Gharanas under their own names, as was previously mentioned. “The genealogical structure of Jaipur Gharana” which have been given bellow:

Bhanu ji

Maluji

                                                                                                                                 Lalu ji            Moti ji                                                    Kanu ji

Gopal ji                         Gangaram                           Hariram        Giridhari ji                 Seja ji

Shankarlal   Shivlal Pannalal  Laxmanprasad    Mahadevprasad  Ramdevprasad    Kundanlal    Sohanlal

 Badriprasad                            Kishanlal              Satyanarayan

Baijinathprasad Dulha ji

                              Pushkarraj                      Gokulchandra

          Hariprasad                                 Hanumanprasad

Kamal                 Harish          Govindaprasad

                                                                                            Mohanlal           Chiranjilal                   Narayanprasad

Shiraj     Naresh     Harshraj      Hitesh     Charanjirdhar    Tejprakash  Vinodkumar Promadkumar

(Geneological Structure of Jaipur Gharana, n.d.)

In modern time Indian Kathak dancer Pt. Rajendra Gangani ji is renowned for his inventive approach and technical prowess. One of the most prominent practitioners of the Jaipur Gharana Kathak style is reached in high by Gangani ji. In 2003, Indian President A. P. J. Abdul Kalam presented Gangani ji along with the Sangeet Natak Akademi Award for his services to the Kathak field.

A few of these artists began instructing dance and music at Sangeet Shalas, and some worked in radio stations since the funding provided to these following the states’ integration artists from these states were halted and compelled to consider their livelihood.

Lucknow Gharana:

“During the rule of Asaf-ud-Daula (1775–1798 A.D.) and Wajid Ali Shah (1847–1856), the Lucknow gharana of Kathak dance evolved. As was previously observed, Ayodhya and Benaras were the centers of the Kathak dancers. Mathura and Braj were the epicenters of the Rasadhari tradition. The line of teachers of the modern Kathak goes back beyond the time of the Muslims. There were over a hundred Kathak castes in Benaras in 1825, according to James Prinsep’s census of the city. According to F. Buchanan’s 1807–1814 survey of Bihar, there are fifty-eight Kathak enterprises in the region’s major towns.

 The profession was established at this point, and its representatives were dispersed throughout North India.”( Lucknow Kathak Gharana – Dasharath et al., n.d.)

One of the three main genres of Kathak dance, Lucknow Gharana was founded by Pandit Ishwariprasad, a great devotee of the Bhakti movement, who left a lasting legacy in the world of Indian classical music with his dedication to maintaining the uniqueness of Lucknow Gharana and reviving Lucknow Gharana dance. The dance style of Kathak dance was introduced in the royal court of Lucknow with some of its distinctive features, which later became known as “Kalka Bindadin Gharana”(Indian Classical Dance, Kapila Vatsyayan 1974 et al., n.d.)  and finally Lucknow Gharana of Kathak dance. “Durga Prasad Ji’s three sons – Bindadin Maharaj and Kalka Prasad and Bhairon Prasad”( Contribution Of The Poetry Of Torch Bearers Of The Lukhnow And Jaipur Gharana-s, 2019) ; Even after the Nawab’s exile, Classical music along with Kathak dance continued in his court from the time of “Wajid Ali Shah,”(The-Life-and-Times-of-the-Nawabs-of-Lucknow_Wajid Ali Shah.Pdf, n.d.)  who was appointed to his court. The way the Lucknow style of Kathak dance developed and exists today is a direct result of the contributions of Bindadin and Kalka Prasad ji. Pandit Birju Maharaj ji showed interest in adapting Kathak and ballet as dance performances for the modern stage as an expression of his erudition and knowledge of dance.

Lucknow Gharana Kathak Dance:

An ardent devotee of the Bhakti movement was “Pandit Ishwari Prasad Mishra” (Kathak Attire Evolution: From Ancient to Modern Era, 2024)  who was the founder of the Lucknow Gharana, one of the three main genres of Kathak dance. Sri Ishwari Prasad born in 1856 AD in Lucknow, the capital of Utter Pradesh, pandit Ishwari Prasad took Kathak dance training from her father Tagore Prasad. Pandit Ishwari Prasad blended the traditional Kathak dance style with elements of Persian and Urdu culture to make this dance style uniquely Lucknow. He left a lasting legacy in the world of Indian classical music with his dedication to maintaining the uniqueness of Lucknow Gharana and reviving Lucknow Gharana dance. In his early life, Ishwari Prasad lived in a village called Handia in south-eastern Uttar Pradesh.

The Lucknow style of Kathak dance was founded by pandit Ishwari Prasad under the patronage of Wajid Ali Shah, the last Nawab of Oudh (Ayodhya). The Lucknow style of Kathak dance is blended with beauty, precision, delicacy, expressiveness, accompanied by classical music such as Thumri, Dadra, Bhajan, Tappa etc. Shri Ishwari Prasad ji, the original founder of the Lucknow style of Kathak dance, settled in the region called Handia under Prayagraj (Allahabad) and spread this genre. The main inhabitants of the Handia region were storytellers and reciters. Sri Ishwari Prasad got vision of Lord Krishna in a dream and got inspired towards the Lord and wrote the book called ‘Nritya Bhagavata’. “Ishwari Prasad ji trained his three sons – Adgu ji, Khadgu ji and Tularam ji in Lucknow style of Kathak dance.”( Genealogy Of Kathak Gharana-s, 2019)  As Ishwariprasad ji trained his children in Kathak dance, his three children passed on the Lucknow gharana dance style to the next generation. Distraught by Ishwari Prasad ji’s sudden death due to snakebite, Khadgu ji and Tularam ji stop their dance practice. Later, Adgu ji also gave his three children – Prakash ji, Dayal ji and Harilal ji completed training in Lucknow gharana dance style. Prakash Ji moved to Lucknow with his two brothers after the death of his father Adgu Ji and was appointed as a dancer in the royal court.

Pandit Ishwari Prasad Mishra He and his descendants brought the dance style to Lucknow first called ‘Natabari dance’, later he wrote a book on this dance. Khadgu Ji, Tularam Ji and Aadgu Ji were initiated to become sadhus (saints) wearing ocher robes. “Adgu ji’s three sons Prakashji, Dayalji and Harilal ji took this religious dance style art from the temple to Raj Nagar in Lucknow under the patronage of emperors Shuja-ud-daula and Asif-ud-daula.”(Genealogy Of Kathak Gharana-s,, 2019)  The dance style of Kathak dance was introduced in the Raj Darbar in Lucknow through some of its distinctive features, which later came to be known as the “Kalika Bindadin Gharana” and finally the Lucknow Gharana of Kathak dance. Ishwari Prasad’s education and teaching laid the foundations of the Lucknow Gharana. Prominent Kathak artists who were among his disciples of one of the prominent Lucknow genres were: like – “Wajid Ali Shah, Lashu Maharaj, Shambhu Maharaj, Maya Rao, Damayanti Joshi and Birju Maharaj.”(Kathak Gurus, Maharaj, 2021)

The Lucknow genre of Kathak dance evolved into a distinct dance style with a specialty under the patronage of Wajid Ali Shah ‘Akhtar’, the last Nawab of Awadh (Ayodhya). The colonization of the Mughal Empire and their power declined so much that nothing was left of Delhi except the name of Mughal imperialism, so by the end of the 18th century, poets, musicians, dancers and artists in the royal court of the Mughal Empire, although the royal court of Delhi was the centre of art and culture, they gradually moved to Delhi. left the royal court and started going to Lucknow. As a result of this incident, the Nawabs of Awadh (Ayodhya) gave an opportunity to the Nawab Durbar in their own capital, Lucknow, to display the art of these artists and regain their glory,

 so that the artists would not suffer any economic and artistic loss. After the migration of artists and immigrants from Delhi to the Lucknow court, they were welcomed and a new treasury was created for the artists. This led to the provision of grants to the artists as well as their pension system. As a result of this incident, the Nawab of Lucknow’s kind-hearted heart swelled with admiration for the elegance and beauty of the whole world. After Nawab Wajid Ali Shah’s accession to the throne in 1847 AD when he was only twenty years old, he included in his court the classical art of all religions of India as a promise. Loyalty to his craft and his respect for artists, some of which naturally led to his patronage of all artists determined to surpass his predecessors. Wazed-Ali Shah built the then famous Kaiser Bagh Palace and Imperial Garden Palace at a cost of twenty million rupees. He established a dance art centre called “Pariyon Ka Khana”(The Cultural and Litterary Contribution of Nawab Wazid Ali Shah et al., n.d.)  or ‘House of Fairies’ to train dancers to a higher standard. He gave importance to beauty as well as dance. So, he arranged for the beautiful dancers of that time to be trained and accommodated in that institution. His devotion to a rt and education made him an accomplished musician and dancer. His love for dance led him to receive dance initiation from his guru “Pandit Durgaprasad.”(Ummah, 2019)  He respected and loved his guru so much that he gave him the highest position in his court.  Wajid Ali Shah being a music lover himself, his palace always resounded with the riches of song, music and dance.

He produced plays on Persian themes based on the Indian themes of Ras Lila, for which he himself organized many productions of Rahas. This sensual love was able to be fully developed and expressed in its shringarik form thanks to the presence of Lord Krishna and his Raas leela; in fact, certain nritya kavitts became extremely emotional over it.

Here are a few Kavitts from the Gharana of Lucknow:

1) Sheesh Mukut Bansi Mukh Baaje

शीश मुकुट बंसी मुख बाजे

Chapal nayan Kundal Khanke

चपल नयन कुंडल खनके

Mor mukut peetambar sohe

मोर मुकुट पीताम्बर सोहे

Mand mand madhuri muske

मंद मंद मधुरी मुस्के

Mand mand madhuri muske

मंद मंद मधुरी मुस्के

Mand mand madhuri muske

मंद मंद मधुरी मुस्के

The poet claims that Lord Krishna is wearing a peacock feather crown and playing a flute on his lips. He has beautiful ear rings on his ears, and his eyes twinkle mischievously. He is Wearing his signature yellow suit, Radha glances at him and smiles to herself. The last three lines of this kavitt’s which was created a tihai, or rhythmic flourish, within the poetry structure! (Sethi Arshiya, n.d.-b.)

2)     Aap hi kul purvajon ki mukti

      आप ही कुल पूर्वजो की मुक्ति

      hetu kiyo bhagirath bhakti

      हेतु कियो भगीरथ भक्ति

bhagirath tap dhyaan lagayo

      भगीरथ तप ध्यान लगायो

          prasanna brahma hue darshan paayo

      प्रसन्न ब्रह्मा हुए दर्शन पायो

         gangdhaar kul moksha hi payin hain

        गंगाधर कुल मोक्ष ही पायीं है

       dhaar gang kou rok na payin hain

         धार गंग कोउ रोक ना पायीं है

3) Shiv ki jata ekmatra saharą

शिव की जटा एकमात्र सहारा

jo rok sake veg gang dhara

जो रोक सके वेग गंग धरा

tab keen kripa shiv bhagirath par

तब कीन कृपा शिव भगीरथ पर

baandhyo gang veg gang sir jata par

बांध्यो गंग वेग गंग सिर जटा पर

dhanya hue bhagirath brahma gyaan ko paaye

धन्य हुए भगीरथ ब्रह्म ज्ञान को पाये

dhanya hue bhagirath bhol kripa ko paayo

धन्य हुए भगीरथ भोल कृपा को पायो

dhanya hue bhagirath kul ko moksha dilaye

धन्य हुए भगीरथ कुल को मोक्ष दिलाये

He organized the stage along with directions and instructions, he used to explain in detail how to play the role of each theatrical character on the stage and how to stage the play. Rahas were Indo-Persian ensemble ballets, most of which were performed not only on stage, but also off stage through competitive performances. Apart from dance dramas, different musicians such as Sikandar Piya, Lallan Piya etc. performed music accompanied by Dadra, Thumri and Ghazal in his darbar. The court dance of Nawab Wajid-Ali-Shah was directed and composed by one of the court’s most important poets, “Syed Agha Hasan Amanat, who adapted the dance-drama into Urdu verse, Indrasabha or Indra’s Court.”(Hansen, 1998)  His Urdu-language assembly of the Gods of Hinduism (Indra Sabha), the first of his notable works, is a dance drama that incorporates the terminology of Hindu secularism into a rich Persian poetic sensibility.

Apsara – Temple Sculpture from Belur, Karnataka, Made in India

“The Apsaras” ( Damsels et al. 2019, Apsara-Belur-DU33_l, n.d.)  of Indraloka appeared as Puri (Peris) of the caucasus in his dance plays. His dance plays off a match of Mughal and

Indian costume, so the deities of Indra’s court are adorned in Mughal attire to create a dream world of beauty and luxury, which Persian poets relish the sight of with heavenly bliss and feeling. His original style of thought, which is characteristic of dance drama, draws parallels with Indra’s meeting with the god Indra and the Sanskrit classic “Vikramorvasiam written by Pandit Kali Dasa”(Vikramorvasiyam by Kalidasa 1879.Pdf, n.d.)  drawing subtle parallels from Urdu-Persian dance drama back to the core concepts of Hindu drama, with songs, music, dance, poetry and costumes. This dance drama later spread widely in the Nawab’s court through the Kathak, which gave rise to an innovative thought of Kathak dance. Even though he went into exile, the Kathak dance of the Lucknow gharana did not cease, Pragas Ji and his three sons – Durgaprasad, Thakur Prasad and Mansingh continued this tradition of Kathak dance. Durga Prasad Ji’s two sons – “Bindadin Maharaj”(Joshi Nirmala et al., n.d.)  and “Kalika Prasad”;(Pandit Kalika Prasad, n.d.)  from the time of Wajid Ali Shah, who was

  Pandit Kalika Prasad (1842-1913) and Pandit Bindadin Maharaj (1830-1918) (Torchbearer, 2015)

employed in his court, the Kathak dance in his court even after the exile of the Nawab. In the early 19th century, under Nawab Wazid Ali Shah, he has produced 21 gats in all for his Rahas, of which 5 gats are for Kaharwa dance and 16 gats are for Kathak dance. He made reference to these gats in his work “Banni.” The total number of Gats mentioned in these texts are: Saut ul Mubarak, Nawab Wazid Ali Shah made: 14 GATS, Ghunchae-Raag, Mohammad Mardaan Ali Khan (1863) made: 14 GATS, Madan ul Musiqui, Mohammad Karam Imam (1856) made: 21 GATS, Sarma i Ishrat, Sadiq Ali Khan Dehlavi (1874) made: 19 GATS; Bani, Nawab Wazid Ali Shah (1878) made: 21 GATS, Naghmat ul Hind, Karamutullah Khan (1925) made: 14 GATS. The researcher has gathered pictures of these gats and their intended execution in the table of content which have been given bellow:

 The images of Gats from Bani (Bani by Wajid Ali Shah Akhtar _ Rekhta, n.d.)  and Sarma i Ishrat (Manzar, n.d.)  are given below:

The Lucknow genre of Kathak dance as it flourished and exists today is a direct result of the contributions of Bindadin and Kalika Prasad ji. Kalika Prasad ji was as adept at dancing as he was masterful in rhythm and unflinching in his outward firmness. The fame and popularity of Kalika Prasad and Bindadin Maharaj’s dance spread across the country, resulting in their dance duo becoming nationally famous. “Pandit Kalika Prasad was married to Sri Mati Jagadei and had three sons – Jagannath Prasad, Baijnath Prasad and Shambhu Nath.”(Gharana’s of Kathak et al., n.d.)  All three became great dancers and became famous as Acchan Maharaj, Lachu Maharaj and Shambhu Maharaj. Between them the brothers developed a style that possessed lyrical grace as well as technical precision. Kalika Prasad ji’s elder son

“Jagannath Prasad (Acchan Maharaj)” (Father-of-Pandit-Birju-Maharaj-Jagannath-Maharaj-Popularly-Known-as-Pandit-Acchan-Maharaj, n.d.)

was married to “Mati Maha Devi and had three daughters – Vidyavati, Saraswati, Chandravati and a son Brijmohan.”( Birju Maharaj  et al., 2023)  Vidyavati was married to Shri Sundarlal Shukla and his two sons – Munna Shukla Ji and Satish Shukla Ji. Acchan Maharaj’s second daughter Saraswati Devi was married to Sri Yogeswara Prasad Mishra and had five daughters. Acchan Maharaj’s youngest daughter Chandravati was married to Sri Dayaram Ji. Sri Om Prakash and Thakur Prasad were their sons. Mansingh had a son named Bhairo Prasad. Thakur Prasad ji’s children are not mentioned.

Lachu Maharaj created a fusion of the Kathak dance of the Lucknow genre as well as the East and the West, and as a result he composed several ballets which he performed in Bombay at that time, one of the most important of which was the Malotimadhava. He experimented with film dances in the fusion of classical Kathak dance, often working experimentally with Dagarbhai, Moinuddin and Aminuddin, who were the main exponents of the classical style of North Indian classical music. “Pandit Shambhu Maharaj took the Kathak dance of Lucknow Gharana to another height.”(Kalyanpurkar Mohanrao, Shambhu Maharaj n.d.)  Kathak dance artists trained by him also revived various ghazals, thumris and bhajans among them Damayanti Joshi, Bharti Gupta, Gopi Krishna, Kumudini Lakhia, Sitara, Maya Rao and Reena Singh. Among the patrons of the Bharatiya Kala Kendra were “Pandit Shambhu Maharaj”

(Pandit Shambhu Maharaj, n.d.)  (1912- November 4, 1970)(I. Dance, n.d.)

and Pandit Birju Maharaj who for many years developed the dance movement at the Kala Kendra, which later evolved into the Kathak Center in New Delhi, to promote their education.

 Nirmala Joshi, whose contribution to building and establishing this Kathak Centre is undeniable and whose tireless efforts have been put in place, has engaged the best teachers of Kathak and Hindustani Margay Sangeet to train the gifted and talented students to make her dream come true. Finally, this Kathak Centre came into existence in 1952 AD in a new form under the association of Pandit Shambhu Maharaj, as the head guru successfully guiding the deserving students in the art of dance. He personally performed some of these Bols, which gives them a certain character. He also imparted similar lessons to his students.

Amad

“Amad” is the Persian word for “coming” or “adventure.” A planned sequence of Natawari syllables precedes a traditionally recognized Pakhawaj Paran in this composition. The following Amad was especially beloved by Shambhu Maharaj. His movements were wide enough to cover the entire stage and were quite graceful.

धा    त    क्का   युं ।    गा   ऽ   धा   गे ।     दिं     गे     ता   ऽ ।   धा    दिं    ता   ऽ ।

घे    ता    किट  था ।    तू     का    धुं   गा ।   तकि  टत   का ऽ ।  तीट   कता   गुदि  गुन ।

ता   थेई   तत्    थेई | आ     थेई   तत्   थेई।  येई   ताथैई  ऽता  थेई ।    धुई   थेई   तत्   तत् ।

ता

X

Here is another Amad in which he deviated a little from the convention that every syllable of the Bol must be produced by the feet. He gave this con- venational Amad lines as well as postures which were very refreshing.

तत्   तत्    ता    तुक |   दूण    दण   झिट   किट |    यो    थुडं   ऽग   तक |   धुं   तक    दृद्धि    गण |

 थेई   ऽ    ऽ    तक |   धुं     तक     दधि     गण |   थेई     ऽ     ऽ    तक ।    धुं   तक    दद्वि     गुण ।

ता    थेई   तत्   थेई । आ    थेई       तत्      थेई ।   थेई   ताथेई  ऽता   थेई |   येई   ऽ      ऽ        तत् ।

ता

X

Pieces made entirely of the Pakhawaj syllables are referred to as Parans. Shambhu Maharaj had a strong fondness for this Paran.

Paran:

किट     तक    शुं     शुं ।   ना     ति     ट     ता ।         ऽ          धा     दिं     ता   ।      किट      धा      दिं           ता   ।

X                                       २                                       0                                            ३

के        ति       ट     धा ।   दिं     ता     कत्    ऽ ।       ति           ट     धा     दिं    ।     ता          ऽ       किङ     ध्छेत् ।

X                                       २                                       0                                           ३

ऽ        था     दिं     ता ।   कृ    ति      ट       धा ।    ऽ          धुं          ऽ     त   ।     धा         ऽ          क       ति   ।

X                                        २                                     0                                             ३

ट        धा     ऽ       धुं ।    ऽ     त      धा       ऽ ।     के         ति          ट     धा ।        ऽ       धुं           ऽ           त   । धा

X                                    २                                 0                                          ३                                         X

  “Pandit Birju Maharaj Ji” (Pndit Birju Maharaj, n.d.)  was the resident Guru of Kathak Kendra, one of the leading Kathak Centres in the country, after Pandit Birju Maharaj Ji retired in 1998, he was replaced by Pandit Munna Shukla Ji. He was the son of Pandit Achhan Maharaj Ji and nephew of Pandit Bajinath Prasad famously known as Pandit “Lachhu Maharaj” Ji and also nephew of Pandit Shambhu Maharaj. The quality of dance education is considered to be surprisingly high, despite the lack of funding for students and staff and the severe constraints of foreign accommodation, with the obligation to receive dance training and work. Even on the holidays of the Kathak centre many aspiring dance artists can be seen performing the dance while practicing in the corridors of the centre. Their tireless efforts to get Kathak education is undoubtedly commendable, Birju Maharaj ji his colleague, teacher for making this effort a success and implementation. With the help of Vidushi Saswaty Sen, their relentless

Pandit Birju Maharaj: Credit: Hindustan Times / Contributor, Editorial #:501585840, Collection: Hindustan Times, Date created: 16 December, 2015; Upload date:16 December, 2015, Max file size: 2392 x 3912 px (20.25 x 33.12 cm) – 300 dpi – 3 MB

(Lachhu_Maharaj_2001_stamp_of_India, n.d.)  Overall Size -39.1 mm x 29 mm, Printed By-Eagle Press Private Ltd. A commemorative postage stamp in 9th October 2001

efforts became a reality through teaching. Pandit Birju Maharaj ji showed his interest in adaptingKathak and ballet as dance performances for the modern stage as an expression of his scholarship and knowledge of dance. Because in the present time, to continue and popularize the style of dance, one of the objectives of Maharaj ji was to entertain the audience by performing a new style of dance by combining the East and the West. Maharaj Ji himself was an accomplished dance artist and choreographer, his mastery of the dance led him to advise and teach his disciples that the dance should be performed on stage with precision, a means of connecting the flow of dance between the performer and the audience. As choreographers will play a leading role. Later, during the ballet dance performance at the Birju Maharaj Manch, he designed the dance costumes in such a way that there was no difficulty in the dancer’s footwork while performing the dance and the contribution of the Dagar brothers’ music in making the dance genre more relevant was also undeniable.

So, in this text highlights the significant contributions of Sri Ishwari Prasad to the Lucknow Gharana of Kathak dance, blending traditional styles with Persian and Urdu influences. The legacy of Lucknow Gharana was carried forward by subsequent generations, including prominent artists like Wajid Ali Shah, Lachu Maharaj, and Pandit Birju Maharaj, who played a pivotal role in preserving and promoting this unique dance form. “Genealogical chart of Lucknow Gharana”(Critical History of Kathak Dance Margeret Edith Walker (Thesis).Pdf, n.d.)  which have been given bellow:

Pandit Ishwari Prasad

Argu Ji         Khargu Ji              Tularam Ji

Prakash Ji            Dayal Ji          Hiralal Ji

Durga prasad Ji          Thakur prasad Ji                Mansingh Ji

Bindadin Maharaj Ji               Klakaprasad Ji               Bhairav Ji

        Achhan Maharaj Ji             Lachhu Maharaj Ji               Shambhu Maharaj Ji

Vidyavati Ji    Saraswati Ji    Birju Maharaj Ji     Chandravati ji      Kishan Mohan      Ram Mohan

Munna                           Satish     Jai Kishan Ji               Deepak Ji                Om Prakash Ji

Shukla Ji                   Shukla Ji

The list of Pandit Birju Maharaj ji’s disciples is almost never ending but some of his prime disciples were Smt. Rani Karna ji, Pratap- Priya Pawar, Saswati Sen ji, Baswati Sen ji, Shri Krishna Mohan ji, Shri Rammohan ji, Omprakash ji, Munna Shukla ji, Madhumita Roy ji, Malti Shyam Ji, Shri JaiKishan, Kazi Ripon Ji, Shri Deepak Ji etc. This tradition of their Kalka Bindadin Gharana is being carried on today by Pt. Krishna Mohan Maharaj ji and Rammohan Maharaj ji, sons of Pt. Shambhu Maharaj and Pt. Jai Kishan Maharaj ji, Deepak Maharaj ji, sons of Pt. Birju Maharaj Ji.

Banaras Gharana:

These methods have provided an insightful exploration of the rich history and present state of the artists belonging to the “Banaras Gharana of Kathak dance.”(Jaiswal & Upadhyay, 2023b)  The focus on the genealogy of the gharana and the significant contributions of its artists to the field of Kathak dance has been thoroughly examined, shedding light on the lineage and artistic traditions of the gharana. This style o kathak dance delves into the detailed genealogies of “Janaki Prasad and Pt. Sukhdev Maharaj,” (Mohan Khokar, Gharanas Schools of Kathak, n.d. 2015b)  highlighting their pivotal roles in shaping the artistic heritage of the Banaras Gharana. It offers a comprehensive understanding of their influence and the enduring impact they have had on the gharana’s evolution over time. Furthermore, the remarkable contributions of former artists such as “Sitara Devi” (Times, n.d. Kathak queen Sitara Devi still youthful at 91, 2014) , Mr. Chaturbhuj Mishra, and Nataraja Gopi Krishna are extensively discussed, emphasizing their instrumental roles in popularizing and expanding the artistic prowess of the Banaras Gharana of Kathak dance. The present artists of the gharana, including Pt. Mata Prasad Mishra, Pt. Ravi Shankar Mishra, and Vishal Krishna, are also acknowledged for their unwavering dedication to preserving and promoting the unique artistic legacy of the Banaras Gharana. Overall, the article stands as a comprehensive and invaluable resource for students, researchers, and enthusiasts of Kathak dance, providing profound insights into the history, genealogy, and artistic contributions of the Banaras Gharana.

The Kathak Dance of Benares Gharana:

Now I am explaining about Kathak dance style of Benares Gharana demonstrates the use of historical method, descriptive method, survey method and explanatory method. By imbibing the aesthetic and artistic beauty of each genre and presenting it in Kathak dance, the dancer strives to innovate in his dance performance. Among the three major genres of Kathak dance, “Banaras Gharana” is associated as a “little-known” genre, but in reality, it would not be logical to call this genre a “little-known” genre as the present generation of Banaras Kathak dance artists are proficient at home and abroad. Dance performance and promotion and spread of this genre, education and initiation. Hence it would be relevant to call this genre a well-known genre. Two lineages of this genre are often mentioned, the notable one being Pandit Janaki Prasad and the other Pandit Sukhdev Maharaj. “The genealogical chart of Pandit Janki Prasad”(Jaiswal & Upadhyay, 2023a)  which have been given bellow:

Pandit Janki Prasad (Banaras Gharana)

 Pandit Sawal Das (Shyamal Das)

Pandit Anand Prakash

               Pt. Chunni Lal Ji            Pt. Janki Prasad Ji

                                                                        Sable Ji

                                                                             Duda Ji

                                                Hukuma Ji                                   Moti Lal Ji

                   Dula Ram Ji                              Ganeshi Lal Ji

Biharilal Ji        Heeralal Ji        Purna Ji    Hanuman Prasad      Shivlal      Gopaldas

Kishanlal       Mohanlal   Sohanlal   Madanlal     Ramlal   Chunnidevi    Sukhdev    Kundanlal    Durgaprasad

                                                                Naval Kishor   Vanshidhar    Omkar Prasad

                                                                                Joyti Prasad       Krishna Kumar

                                                          Ashiq Hussain (Addopted Son)

                                                                      Ashok Kumar      Vijay Kumar               Chandan Kumar

An undeniable contribution to the foundation of the Benares Gharana was Pandit ‘Janaki Prasad’, who hailed from Bikaner in Rajasthan. He was a member of the Shyamal Das family. He taught the Kathak dance of the Banaras style of dance to his brother Pandit Chunnilal Ji’s son Sabla Ji and Sabla Ji’s son Duda Ji. Later, Dudaji’s sons Hukumaji and Motiji were also educated in Kathak dance by their great-grandfather. While Pandit Janki Prasad ji had no sons, Hukuma ji had two sons who did, Dulharam and Ganeshilal. Pandit Dulharam ji established an educational center in Kashi as his workplace. There he taught music to his three sons Biharilal, Hiralal and Puranlal. Among his three sons, Bihari Lal was also a famous court dancer in the royal court of Holkar Maharaj of Indore, who had three sons Kishanlal, Mohanlal and Sohanlal, and of the three brothers, Kishanlal was educated in Mumbai and the other two brothers were trained in Dehradun. Among the three sons of Pandit Dulharam, Hiralal Ji, the second son, was an accomplished dance artist, while Puran Lal, the third son of Dulharam Ji, also made a notable contribution to the Kathak dance of Benares gharana. Puranlal Ji’s two sons, Madanlal and Ramlal made Patiala their workplace. On the other hand, Ganesha Lal Ji gave birth to three sons, namely Hanuman Prasad, Shiva Lal and Gopal Das. First son of Ganeshlal Ji, “Hanuumaprasad ji was first employed as a dancer in the royal courts of Jammu, Patiala, Bikaner and later in Nepal”, (Prasad, n.d.2019)  and had a daughter named Chunni. Nabal Kishore, Banshidhar and Amkar Prasad were the three sons of Devi Hui who promoted dance in Delhi. Ganeshilal’s second son Shiblal was a high-class tabla player in the royal court of Raja Chakradhar Singh of Raigad. Among the three sons of Shiblal Ji, only Maa Kundanlal Ji excelled in dancing, while the other two sons, “Sukdev and Durgaprasad” (Nagar Dr. Vidhi, n.d.) , considered business as a source of livelihood. Gopaldas Lahar, Ganeshlal’s third son, made Patiala his place of business and trained his friend’s son Bhurekhan in dance, whom he later adopted as a son and renamed Jyoti Prasad. A son was born to him, who was named Krishna Kumar. Krishna Kumar and Jyoti Prasad were trained in dance by his father’s elder brother Pandit Hanuman Prasad. Krishna Kumar Ji was the father of three sons, they were Ashok Kumar, Vijay Kumar, Chandan Kumar. Talking about the identity of the second lineage of the Benares Gharana, the first to be mentioned is Pandit Sukhdev Maharaj, popularly known as Sukhdev Maharaj Vamsavali. Pandit Sukdev Maharaja was born in a Brahmin family in Benares and was appointed as a court dancer in the royal court of Nepal and married Mahlodevi, daughter of Raj Guru of the King of Nepal and they had 5 children. They adopted Alokananda, Tara Devi, Sitara Devi, Durgaprasad, Chaubey Maharaj whom they adopted and trained Chaubey Maharaj in dance. On the other hand, their other four children received classical music education from their father and identified Kolkata for their training. Stay there. Taradevi’s son was Gopikrishna who took the Banaras Gharana to the ultimate stage of his genius. Sitara Devi who married Pratab Barot and became known as the supreme artist of the Benares genre gave birth to a son named Ranjit Barot and later unfortunately lost the son. Due to their lack of interest in music, they adopted Chaubey Maharaj’s two daughters Jayanthi Mala and Priya Mala as daughters and trained both of them in Banares style of dance. Pandit Durgaprasad ji had 5 other children, namely Mohan Mishra, Brajraj Mishra, Shyam Mishra, Ram Mishra and Annapurna Devi. Another part of genealogical structure of Pandit Sukhdev Maharaj of Banaras gharana of Kathak Dance which have been given next page:

Pt. Sukhdev Maharaj (Banaras Gharana)

Paattu Prasad Mishra (Sarangi Player)

Shri Ramdas Mishra (Singer and Sarangi Player)

     Baldev Maharaj (Son)                 Sukhdev Maharaj (Son)                                       Sarju Devi

        (Tabla Player)                  (Singer, Dance Master, Sarangi Player)                     (Daughter)

   Badko Devi (Wife)                                                                          Mahalo Devi (Wife)

 Kishan Prasad Mishra                Tirthraj Mishra     Shailkumari      Bindu Devi

(Dance, Singer,Instrument)    (Teacher)            (Teacher)       (Teacher)

1. Govind Prasad Mishra (Son) (Dancer, Tabla Player)

2. Bal Mukund Mishra (Son) (Sarangi Player)

3. Madhav Mishra (Son) (Dancer, Choreographer)

4. Rishiraj Mishra (Son) (Tabla Player)                   Abhay Mishra       Raksha Mishra

5. Shashiraj Mishra (Son)

6. Ravi Kishan (Son) Dancer, (Choreographer)   Shivranjini Mishra

                Vankatesh Mishra (Balaji)

Aditya Mishra

Mohit Krishna Mishra    Pritam Mishra     Priya Mishra     Pawan Mishra     Namveen Mishra

(Dancer) (Dancer)                (Tabla Player)

Akshay Mishra       Dani Mishra (Dancer, Singer)

  Sushma Pandey              Nirmal Mishra                   Rajesh Mishra                     Ranu Mishra

                                            Shraddha Mishra                Shruti Mishra

Krish Mishra (Singer)          Aayushi Mishra

 Daughter Daughter         Daughter Son          Son

Alakananda    Trivedi Devi Sonthalia   Sitara Devi   Durga Prasad Mishra   Chaturbhuj Mishra

(Dancer)                        (Tara Devi)         (Dancer)       (Pandey Maharaj)          (Chaube Maharaj)

          Gopi Krishna Sonthalia   Ranjit Barot

    Shampa Krishna          Malika Barot

Mohan Krishna   Brijraj Mishra     Shyam Kumar Mishra    Ram Krishna    Annapurna Mishra

1. Kushal Krishna                          1. Sheeba Dwivedi

2. Bishal Krishna,                    2. Mayuri Mishra       Payel Mishra      Rachna Sharma

3. Shreyana Krishna

Jayantimala Mishra     Vijayanthimala Mishra       Priya Mala   Bal Krishna Mishra      Narendra Mishra

             Rishika Mishra (Dancer) (Jaiswal & Upadhyay, 2023a)

Kathak dance artists of Benares genre and their contribution to Kathak dance:

1) Pandit Sukhdev Maharaj: “Pandit Sukhdev Maharaj” was born in 1888 AD in

(Pandit Sukhdev Maharaj With Daughter Sitara Devi and Grandson Gopi Krishna, n.d.)  (Acharya  Pandit Sukhdev Maharaj : Sitara Devi :, n.d.)

Varanasi and had a keen interest in music from an early age. He was a scholar of Sanskrit language as well as a classical musician a good poet. After serving in the royal court of the King of Nepal on his return to Benares, he studied “Natyasastra” and composed many paranas based on this scripture, among them the ‘Radha-Krishna’ and ‘Shiva-Parvati’ paranas.

These paranas were included in the Banaras genre through Tandava and Yoga Kriya in Kathak dance. Pandit Sukhdev Maharaj went against the society for his love for Kathak dance and trained his three daughters Alokananda Devi, Taradevi, Sitara Devi in Banaras style of Kathak dance. Pandit Sukhdev Maharaj wears Shiva Paran, Durga Paran, for Kathak Dance of Benares Gharana.

He composed many ‘paranas’ including Kali Parana, Rama Parana, which have been performed with music and in various ways through Pakhwaz and Tabla with Benares style Kathak dance.

2) Sitara Devi: – After Pandit Sukhdev Maharaj migrated from Nepal to Kolkata, he gave birth to a daughter in 1916 AD, who later came to be known as Sitara Devi. Pandit Sukhdev Maharaj started training “Sitara Devi”

(Sitara Devi, n.d.) (Biopic on Legendary Kathak Danseuse Sitara Devi in the Works -The Asian Age, n.d.)

  in Kathak dance from the age of 5 to make her daughter proficient in Kathak dance. In her early life, Sitara Devis tudied Benare’s style Kathak dance under Pandit Shambhu Maharaj in Kolkata and later moved to Mumbai to excel in dance lessons under Pandit Achchan Maharaj.

             In 1930 AD, “Sitara Devi” (Devi, 2012)  was instrumental in organizing Bombay’s famous musical institution “Three Arts Circle”. Mrs. Atia Begum danced in front of poet “Guru Rabindranath Tagore”(Priyanka, 2018)  at Faizi’s palace. Impressed by her dancing charm, poet ‘Guru Rabindranath’ bestowed upon her the title of Kathak Queen and ‘Shyam Ragini’. Sitara Devi later acted as a heroine in various Hindi films in Mumbai as well as enthralled the audience with her dancing.  She won the ‘Gawahar Swarna Padak’ award for her acting in Mehboob Khan’s film ‘Watan’, ‘Nadi Kinaree’, Alhilal, Holi, Roti, Hulchul, Phool, Anjali etc. “She was awarded the Sangeet Nataka Akademi Award in 1969 AD for his dedication, commitment, contribution to Kathak dance.”(Sitara Devi, 2014)  She set a world record by performing dance for 13 hours continuously at Birla Auditorium on April 13, 1970 AD in Mumbai. Subsequently, she was awarded the ‘Nritya-Vilas’ award by the Government of Maharashtra, and the ‘Padma Shri’ award by the Government of India. Sitara Devi, she spent her entire life dedicated to Kathak dance. This had an impact on the society, the society boycotted her and her family but she always kept the flag of her dance artistry abroad high. No one will ever forget her dedicated contribution to the Benares genre of Kathak dance.

3)  Shri Chaturbhuj Mishra:  Shri Chaturbhuj Misra was born in 1923 AD in the family was

(Chaube Maharaj_Kathak Book Sunil Kothari, n.d.)

born in 1923 AD in the family of Pandit Sukhdev Maharaj in an environment of industrial culture in Calcutta. From his childhood, he always saw his three sisters Tara Devi, Sitara Devi and Alkananda Devi dancing and inspired by their dancing, he started dancing himself. Seeing his attraction and love for dance, Maharaj asked his father to teach him dance. Acchan Maharaj gave him formal education in Kathak dance and made him famous by performing his dances in different parts of the country and in the royal court. Chaubey Maharaj was an accomplished Kathak dancer as well as an accomplished tabla player: he had long associated tabla virtuosity with Sitara Devi’s Kathak dance, which helped catapult them to public prominence. Apart from popularizing the Banaras genre of Kathak dance, he spread his dance to different parts of India through various new forms of tabla and pakhawaj. Famous for his dancing, the famous Kathak of India was considered among the various scholarly classes of dance. All those with whom he danced were attracted to his dancing. He rendered the difficult rhythms with great fluency and ease. His prowess in dressing, dressing and dancing made him the epitome of Achchan Maharaj.

4) Nataraja Gopi Krishna:

  (Nataraja Gopi Krishna, with Sukhdev Maharaj, 1950  n.d.)

Gopi Krishna was born in Calcutta in 1933 AD to Taradevi. He was the grandson of Pandit Sukhdev Maharaj. He took dance training from Pandit Achchan Maharaj, Lacchu Maharaj and Pandit Shambhu Maharaj but used his grandfather’s dance techniques and specialties in his dances. At the age of just 13, he received the title of ‘Natraj’ at the Bengal Conference in Kolkata presidedS over by Lal Babu. In Mumbai’s film world, actress Madhubala was taught dance and became known as a choreographer in Bollywood. After that he trained actresses like Asha Parikh, Geeta Bali, Waheeda Rehman, Baijayanthimala, Meena Kumari, Hema Malini etc. to dance according to their characters. He first performed Tandava dance through ‘Angaras’ and ‘Karan’ while

performing the Banaras genre of Kathak dance. He presented the Banaras genre in a new way in the court of the world by performing dances on the stage through the medium of different singers through the facial expression of standing on a plate in the song Tarana. Apart from dance and choreography, he made the Banaras genre world famous by enthralling the audience with his performance in the film Gopikrishna.

3. Current Kathak artists of Benares genre:

1)  Mata Prasad Mishra:

“ Mata Prasad Mishra”(A. K. Dance et al., 2012)  was born on 6th July 1968 AD in Varanasi in a culturally rich family of musicians. His father, Shri Mahesh Prasad Mishra ji was a sarangi player as well as an accomplished singer. His mother, besides instilling him in music, was a music lover herself and his mother, Smt. Lakshmina Devi, was also a skilled homemaker. Early on, his devotion to the tabla was strong from an early age, inspired by the dances of his great grandfather Chandrasekhar Mishra, and at the age of 6 he began taking Kathak dance lessons from renowned Banaras Kathak dancer “Vidushi Alkananda Devi.”              (Some Prominent Gurus of Kathak, Asiva Noor Rachmayani, 2015b)  She was trained in tabla as well as dance under Panchu Maharaj ji. Apart from Tabla and Dance, Mata Prasad did her Master’s Degree in Sociology. Mata Prasad Mishra took the Banaras Gharana to another height in India through various cultural campaigns through the Kathak dance, tabla and music education acquired from her forefathers, as a result of which she received several awards, such as the Sringramani Award, the Kala Prakash Award, and the 2019 Ch. Sangeet Natak Akademi Award and was also selected as a B-Grade Artist by All India Radio. Despite the fact that he was born in Benares, he transformed different parts of India into a place of work. So, he showcased his talent at various platforms in India, including Sankat Mochan Sangeet Samaroh (Varanasi), Kathak Utsav (Delhi), Shivaranjan Sangeet Samaroh (Mumbai), Sharadchandrika Kathak Kendra (Delhi) etc. He gained fame by performing cultural programs in India as well as abroad. He made the name of Benares and India famous by performing dance and acting on the international stage in countries like Spain, Switzerland and Japan among other countries. Mata Prasad Mishra, he has taken the Banaras genre of Kathak dance to another height by maintaining the tradition of Guru Shishya by conducting various workshops in the country and abroad as well as performing cultural programs at home and abroad.

3) Pandit Ravi Shankar Mishra: “Pandit Ravi Shankar Mishra” was born in 1969 AD in the womb of 4th Agasth Sundar Devi in a Pandit family. His father was Pandit Nageswar Prasad Mishra. Pandit. Ravi Shankar excelled in mixed dance as well as tabla and was

(Ravi Shankar Mishra, Banaras Gharana, n.d.)

working in the music department of Banaras Hindu University.  Pandit Ravi Shankar Ji got an informal part by pursuing a master’s degree in Hindi for excellence in literature. He went to Kashmir with his father, mother to represent the Banaras genre of kathak dance while doing his master’s degree, where he earned the title of ‘Pahadu’ for his mastery of tabla.

 He first received tabla training from his father, Nageshwar Prasad Ji, then learned tabla from his cousin. He was inspired to dance by Mata Prasad Misrar and started taking dance lessons and techniques with Alkananda Devi. Due to the cultural education environment in his family, he excelled in music, dance and tabla from an early age and was awarded various awards from different parts of the country. He has educated various students in Benaras genre through combination of song, music and dance. He continues to impart theoretical and practical knowledge about Banaras genre through workshops in the country and abroad. He was awarded with ‘Songeet Bhaskar’, ‘Songeet Praveen’, ‘Songeet Martand’, ‘Nritya Prakash’, and ‘Songeet Natak Academy’ awards in 2019, among other awards. He has showcased his talent at various times as a guest artist on radio and Indian national television. He was also associated with the Hindi film industry. He portrayed his acting talent in the Hindi movie ‘Tulsi Das’. Since 1998, he has performed ‘Flamenco-Kathaka’ dance in numerous cities in India and Europe, starting from Benares to ‘Jerez’, in collaboration with a Chinese flamenco dancer named ‘Anna La’. He is honoured as a dance director and dance teacher in Geneva at the “Ateliers d’ ethnomusicology”. He often participates as an international dance and music director at the “La Croce des” event. He also holds the position of Permanent Member of ICCR.

“He also describes the beauty of Indian Classical Dance, especially the Banaras Gharana, and the devotion required to learn it.”(Mishra et al., n.d.)

So, we can say that, the Kathak Dance of Banaras Gharana is a rich and diverse dance style that encompasses historical, descriptive, survey, and explanatory methods. The genre is far from ‘little-known’, as the present generation of Banaras Kathak dance artists are proficient at home and abroad, contributing to the promotion and spread of this genre through education and initiation. The two lineages of the Banaras Gharana, led by Pandit Janaki Prasad and Pandit Sukhdev Maharaj, have played pivotal roles in shaping and preserving this art form. Notable artists such as “Sitara Devi, Pandit Mata Prasad Mishra, Pandit Ravi Shankar Mishra, and Vishal Krishna have further elevated the Benares Gharana through their exceptional talents and contributions, showcasing the genre on national and international platforms.”(Jaiswal & Upadhyay, 2023b)  Their dedication and commitment to Kathak dance have earned them prestigious awards and accolades, solidifying the influence and significance of the Benares Gharana in the world of performing arts. Their efforts have not only preserved the traditional elements of the Benares Gharana but also brought innovation and modernity to this ancient art form, ensuring its relevance and appeal to contemporary audiences. Overall, the Kathak Dance of Benares Gharana stands as a testament to the enduring legacy of Indian classical dance, with its artists continuing to uphold and innovate within this vibrant and culturally significant tradition. The genre’s rich history, coupled with the remarkable contributions of its artists, cements its position as a cornerstone of India’s cultural heritage, celebrated and revered both within the country and around the world.

Raigarh Gharana:

The Raigarh Gharana is one of the prominent styles of Kathak dance, known for its gracefully complex footwork and expressive dance with its various limb movements through the artist’s dance. This genre was established in the early 20th century under the patronage of “Raja

(Chakradhar Singh, Raigarh Gharana, n.d.)

Chakradhar Singh” of Raigarh. He was a great supporter of the arts and brought together the best dancers, dancers and gurus of the Lucknow, Jaipur and Benares genres to create a distinct style. The Raigarh genre is noted for its versatility, incorporating elements of various dance and music styles, including thumri, ghazal, toda and boll. The genre is also known for its emphasis on technical precision and expressive storytelling. Chakradhar Singh, formally known as “Raja Chakradhar Singh was the Raja of Raigarh and Chief of Bargarh ruled by the Gond dynasty.”(“Kathak, Indian Classical Dance Art,” 1989)  Raja Chakradhar Singh was the

ruler of Raigarh state from 1924 AD until his death in 1947 AD at the time of independence.

The Patron of the Arts: The Legacy of Raja Chakradhar Singh:

In the heart of a vibrant kingdom, where the melodies of classical music and the graceful movements of dance echoed through the streets, lived a ruler whose passion for the arts knew no bounds. This was the story of Raja Chakradhar Singh, a man whose unwavering dedication to the preservation and advancement of Indian culture left an indelible mark on the artistic landscape of his time. “Born into a noble lineage ((19 August 1905),”(“Kathak, Indian Classical Dance Art,” 1991)  Chakradhar Singh ascended the throne with a vision that extended far beyond the realm of political affairs. From a young age, he had been captivated by the rich tapestry of India’s artistic traditions, and he was determined to ensure that they not only survived but also flourished under his rule. As the sovereign of the kingdom of Sangeet, Chakradhar Singh set out on a mission to transform his capital into a hub of artistic excellence. He invited renowned musicians, dancers, and scholars from across the country to come and share their knowledge and expertise with the people of Sangeet. True to his word, the ruler

(Moti Mahal Palace in Raigarh, n.d.)

spared no expense in creating the perfect environment for the arts to thrive. He commissioned the construction of grand performance halls, where the most renowned artists could showcase their skills before appreciative audiences. He also established a network of schools and training centres, where aspiring musicians and dancers could hone their craft under the guidance of master practitioners. “One of the art forms that particularly captivated Chakradhar Singh, the classical dance style of Kathak.”  ( Nritya Vichar नृत्य विचार_ Maharaja Chakradhar Singh_ An Art devotee and Connoisseur of Kathak, 2020) He recognized the incredible potential of this dynamic and expressive form, and he set out to elevate it to new heights. To this end, Chakradhar Singh invited the most renowned Kathak dancers and choreographers to his capital, offering them unparalleled resources and patronage. He encouraged them to experiment, to push the boundaries of the art form, and to develop new techniques and styles that would captivate audiences across the land. The result was a flourishing of Kathak that had never been seen before. Under the tutelage of the masters assembled by Chakradhar Singh, the dance form evolved, becoming more refined, more expressive, and more deeply rooted in the cultural heritage of the “kingdom of Raigarh.”

 (Geography, Topography and Climate of Raigarh, n.d.)

 As the years passed, the reputation of Sangeet as a centre of artistic excellence spread far and wide. Visitors from distant lands came to witness the breathtaking performances, and the kingdom’s artists were invited to share their talents in other parts of the country and beyond.

 The legacy of Raja Chakradhar Singh lives on in the very fabric of Indian culture, remarked one of the kingdom’s elders. His unwavering commitment to the arts has left an indelible mark on our society, and generations to come will continue to reap the benefits of his vision. Indeed, the impact of Chakradhar Singh’s patronage was felt far beyond the borders of Sangeet. The Kathak dance form that he helped to nurture and elevate went on to become one of the most celebrated classical dance traditions of India, influencing generations of artists and captivating audiences around the world. Through his unwavering dedication to the arts, Raja Chakradhar Singh had not only enriched the cultural landscape of his own kingdom, but had also made an invaluable contribution to the enduring legacy of Indian artistic expression. His name would forever be etched in the annals of history as a true champion of the arts, a visionary whose legacy would continue to inspire and uplift generations to come.

The Reign of Chakradhar Singh:

It was a time of great cultural renaissance in the kingdom of Raigarh, during the illustrious

(Raja Chakradhar Singh Birasat, n.d.)

reign of King Chakradhar Singh. The once-sleepy capital had become a vibrant hub of artistic expression, with the patronage of the benevolent monarch drawing the finest exponents of the “Kathak dance form from across the heritage land of Raigarh.”

 At the forefront of this cultural renaissance were the promoters of the Jaipur Gharana and the Lucknow Gharana, both of whom had gained prominence and received the generous patronage of the king. Alongside them, the experts of the Banaras genre had also found a home in Chakradhar Singha’s court, further enriching the artistic tapestry of the kingdom. Amidst this confluence of talent, the “Raigarh Gharana of Kathak had been established, flourishing under the king’s unwavering support and philanthropy.” (Dr. Sharma Vijaya, n.d.-b),2015b)  This new school of dance produced a dazzling array of luminaries, from accomplished dancers to skilled singers and musicians, all of whom contributed to the cultural legacy of the reign. One such luminary was Pandit Jagannath Prasad, a virtuoso of the Jaipur Gharana, who had been summoned to the royal court by the king himself. As he stepped into the grand audience hall, Chakradhar Singh greeted him warmly, his eyes shining with anticipation. With those words, the maestro began to move, his feet tracing intricate patterns on the ornate floor, his body undulating with the rhythmic cadence of the music. The court was spellbound, their eyes transfixed by the sheer virtuosity of his performance. As the final notes faded, the audience erupted in thunderous applause, their admiration for the Kathak master evident in their fervent ovation. Chakradhar Singh rose from his throne, a broad smile spreading across his face. “The king then turned his attention to another distinguished guest, Guru Kalaka Prasad, who had arrived with his sons, all of them exponents of the Lucknow Gharana.”(Dharan Nysa, 2021)  Chakradhar Singh greeted them with equal warmth and enthusiasm, eager to witness the unique style and interpretation of the Kathak tradition that they had to offer.

 As the Lucknow Gharana dancers took the stage, their graceful movements and intricate footwork captivated the audience, seamlessly blending the technical virtuosity of the Jaipur Gharana with the lyrical expressiveness of their own school. The king watched, enraptured, as the performers wove a tapestry of stories through their dance, transporting the court to realms of mythic grandeur and spiritual transcendence. In the years that followed, the reign of “Chakradhar Singh would become synonymous with a golden age of Art devotee and Connoisseur of Kathak,”(Oak, n.d.-b, 2020)  as the Raigarh Gharana flourished under his unwavering patronage and support. “The court became a melting pot of artistic talent, drawing the finest practitioners from the Jaipur, Lucknow, and Banaras schools, all of whom contributed to the rich cultural tapestry of the kingdom.”(Reign of Chakradhar Singh, 1947)  Through the vision and generosity of Chakradhar Singh, the Kathak dance form reached new heights of artistic expression, inspiring generations to come and cementing the legacy of the Raigarh Gharana as a beacon of excellence in the annals of Indian classical dance.

The Birth of Raigarh Gharana, Chakradhar Singh’s Masterpiece:

In the heart of the ancient Indian subcontinent, where the echoes of centuries-old traditions still reverberated, a young man named Chakradhar Singh embarked on a journey that would forever change the landscape of Kathak dance. Born into a family of esteemed royalty, Chakradhar possessed an insatiable curiosity and a deep appreciation for the rich cultural tapestry that surrounded him.

From a young age, Chakradhar was captivated by the mesmerizing movements and intricate rhythms of Kathak, a dance form that had long been the pride of the region. He would spend countless hours observing the masters, studying their techniques, and immersing himself in the history and philosophy that underlined this ancient art. As Chakradhar Singh grew older, he began to recognize the nuances and subtle variations that existed within the different schools, or “gharanas,” of Kathak. He marvelled at the distinct styles and interpretations that had evolved over time, each reflecting the unique cultural and geographical influences of their respective regions.

The word of Chakradhar Sing’s innovative approach spread, dancers from across the region flocked to his doorstep, eager to learn and be a part of this revolutionary

(Raja Chakradhar Singh, n.d.)

movement. Under his tutelage, they honed their skills, mastering the intricate footwork, the graceful hand movements, and the nuanced facial expressions that became the hallmarks of the Raigarh Gharana. Raja Chakradhar Singh took great pride in nurturing this new generation of Kathak artists, instilling in them not just the technical proficiency, but also the deep understanding of the art form’s spiritual and philosophical underpinnings. He encouraged them to embrace their individuality, to find their own unique voices within the framework of the Raigarh Gharana.  The years passed, the Raigarh Gharana grew in stature and reputation, its compositions of thumris, ghazals, tors, and bolls becoming recognized for their sheer artistry and innovation. Dancers from across the country and beyond flocked to Raigarh, eager to learn from the master himself and to be a part of this exciting new chapter in the history of Kathak. Chakradhar watched with a sense of profound satisfaction as his creation blossomed, knowing that he had not only preserved the legacy of Kathak but had also expanded its horizons, paving the way for future generations to explore the limitless possibilities of this timeless art form. As the sun set on Chakradhar’s remarkable life, his legacy continued to shine bright, a testament to the power of creativity, innovation, and the unrelenting pursuit of artistic excellence. The Raigarh Gharana, the youngest of all the Kathak traditions, stood as a testament to the vision and the dedication of one man who dared to challenge the status quo and, in doing so, forever transformed the landscape of Indian dance. The following year, in 1939, the All-India Music Conference organized a special welcome party for the Viceroy of India, Lord Linlithgow. Once again, Chakradhar Singh’s influence was felt, as he orchestrated a performance that showcased the best of Indian classical arts. Karthik Kalyan took centre stage, his Kathak dance supported by the rhythmic brilliance of Chakradhar Singh on the Tabla.

Whether the viceroy watched in awe, Chakradhar Singh’s role as a patron and promoter of the arts became even more evident. He had not only assembled a troupe of talented performers but had also created an environment where they could thrive and showcase their skills to the highest echelons of society. Chakradhar Singh’s vision extended beyond the confines of the conference, as he actively sought to support and nurture the careers of other classical musicians and dancers. Among the artists who found patronage in his court were the renowned Pandit Makhan Lal Chaturvedi, Dr. Ramkumar Verma, Pandit Mahavir Prasad Dwivedi, and Pandit Padumlal Punnalal Baku. Chakradhar Maharaj was a skilled pakhawaj and Tabla musician. When Kartik Kalyan performed Kathak dance during the 1943 Khairagarh music conference in Chhattisgarh, Maharaja for the dance, Chakradhar Singh played the tabla. Let’s now examine a few Raigarh Gharana compositions:

1) A “joda, Krishna Lasya Kavitts” (Kavitts of the Different Gharanas of Kathak, 2015b) , Raja Chakradhar Singh wrote the composition.

Kunu       Kita        kara         gida |    Kita       tata       kuku      dhidhi    |

कुणु          कित        कर              गिद ।    कित        तत       कुकु              धिधि    |

X                                                             2

Phira       tachu      -ma             to-|     din         chik       chan      chan    ||

फिर         तछु            मा                तो ।    दिन         चिक       छन              छन    ||

0                                                             3

Chana     naga        tata         thei- |   Chuma    kucha     -ma             ta-   |

छन           नग            तत             थई ।    छुम           कूच           मा                त    |

X                                                              2

Thun       thun       thuma   kuthei |    -ya          thei          jhin        jhin   ||

थून           थून           ठुम्          कुथेई   ।     या            थेई            झिन        झिन    ||

0                                                                3

Sunu      kita           tak         chum |     trik        thei         china     kachi    |

सुनु           कित         तक            छुम   |     त्रिक         थेई            छिन       कची     ।

X                                                               2

Naka     thei         jhin              jhin |     jhina      kita          chana   nana   ||

नक        थेई          झिन                झिन |     झिन        किट            छन           नन   ||

0                                                               3

Nana    nana      china         ghina |     thei       – –             runu        jhunu      |

नन         नन          छिन             घिन    |     थेई        – –              रुनु               झुनू        ।

X                                                                 2

Thei       tata        thei             runu |    jhunu      thei           tata            thei   ||

थेई         तत         थेई                  रुनु   ।      झुनू           थेई           तत                थेई    ||

0                                                                3

Runu      jhunu       thei          tata |    thei            – –           kunu             kita   |

रुनु           झुनू         थेई               तत   ।      थेई             – –            कुणु             किट   |

X                                                                2

Kara       gida          kita            tata |    kuku      dhidhi       phira        tachu ||

कर        गिद           किट              तत   |       कुकु         धिधि            फिर          तछु   ||

0                                                                  3

-Ma           to-       din               chik |    chan          chan        chana       naga   |

मा             तो          दिन              चिक ।     छन              छन           छना            नग    |

X                                                               2

Tata         thei-   chuma        kucha |   -ma             ta-            thun       thun   ||

तत           थेई        छुम                कूच   |      मा              त               थून            थून   ||

0                                                               3

Thuma     kuthei      -ya      thei |     jhin        jhin            sunu                kita   |

ठुम              कुठई           या        थेई |     झिन         झिन             सुनु                किट    |

X                                                              2

Tak            chum        trik      thei |   china       lachi            naka           thei   ||

तक             छुम            त्रिक        थेई |    छिन         लची              नक                थेई   ||

0                                                               3

Jhin           jhin          jhina     kita |   chana      nana            nana          nana   |

झिन            झिन          झीना      किट ।      छन        नन                 नन                  नन   |

X                                                                2

China       ghina          thei         – -|     runu      jhunu           tei               tata   ||

छिन           घिन              थेई           – -|     रुनु         झुनू                 तेई                 तत   ||

0                                                               3

Thei         runu        jhunu     thei |     tata        thei             runu           jhunu   |

थेई            रुनु          झुनू             थेई ।     तत          थेई               रुनु                झुनू     ।

X                                                               2

Thei          tata          thei          —    |     kunu       kita             kara          gida   ||

थेई            तत            थेई            —    ।     कुणु          कित             कर             गिद    ||

0                                                               3

Kita         tata          kuku   dhidhi |   phira         tachu         -ma              to-    |

किट         तत           कुकु          धीधी |   फिर            तछु               मा                 तो    |

X                                                              2

Din          chik         chan       chan |   chana         naga           tata          thei    ||

दिन           चिक         छन           छन ।   छन             नग               तत              थेई     ||

0                                                              3

Chuma       kucha    -ma           ta-   |   thun         thun          thuma     kutheil ।

छुम               कुछ        मा              ता   |     थून            थून               ठुम             कुथेई |

X                                                                2

-ya                 tehi       jhin          jhin |   sunu           kit             tak        chum   ||

या                    तेही       झिन        झिन   |     सुनु            किट              तक         छुम   ||

0                                                                   3

Trik                 thei       china   kachi  |     naka         thei             jhin          jhin |

त्रिक                थेई          छिन       कची |     नक           थेई               झिन             झिन |

X                                                                      2

Jhina               kita       chana   nana |   nana         nana           china      ghina ||

झीना                 कित          छन         नन |     नन             नन                छिन         घिन   ||

0                                                                    3

Thei                  – –        runu     jhunu |    thei          tata                thei      runu   |

थेई                     – –         रुनु             झुनू ।     थेई            तत                  थेई            रुनु ।

X                                                                     2

Jhunu               thei       tata          thei |   runu       jhunu               thei       tata ||

झुनू                   थेई        तत              थेई |      रुनु           झुनू                 थेई            तत ||

0                                                                        3

Thei|| थेई ||

X

In this specific composition, “Krishna Lasya / कृष्ण लास्य, it is revealed in its initial, explicit reading, there was nothing that was typical of Krishna.( (Sethi Arshiya, n.d.-b), 2015b) ” It is interesting, therefore, that the composition mostly relies on the bolls of dancing and contains very few words from Tabla 12 and Pakhavaj. Tandava is less prevalent when Tabla and pakhavaj bolls are excluded, and Lasya is highlighted by the Nritya. Therefore, this piece could effectively capture the delicate beauty of Krishna’s dance in the hands of a skilled dancer.

“These luminaries of Indian classical music and dance found a safe haven in Chakradhar Singh’s court, where they were able to hone their skills and share their art with appreciative audiences.”(Chakradhar Singh as a classical musician, 1947)  Chakradhar Singh’s support was not merely financial; he also provided them with the resources and platform they needed to thrive, ensuring that the rich tapestry of Indian classical arts continued to flourish. Through his unwavering dedication to the arts, Chakradhar Singh left an indelible mark on the cultural landscape of India. His legacy as a patron, performer, and visionary continues to inspire generations of artists, who strive to uphold the same passion and commitment that he embodied. In the annals of Indian classical music and dance, the name Chakradhar Singh will forever be remembered as that of a true maestro, whose impact on the arts was as profound as it was lasting.

In addition to his love of dancing and music, Maharaja Chakradhar Singh also had a passion for literature. He was proficient in Oriya, Urdu, Sanskrit, and Hindi. He authored numerous books on literature and dance/music. Following his study of the old books and shastras, Raj Chakradhar set out to write his own treatises. These included “Taal Bal Pushpakar,” (Kavitts of the Different Gharanas of Kathak , 2015b)  which had to do with the skill of playing the Tabla. Another was a set of Tabla bandishes called “Taal Tayonidhi.” The term “Raag Ratna Manjusha” refers to traditional Indian Raags and Raagini.

On the other way of writing out the thousands of compositions that Raja Saheb himself authored and gleaned from the Gurus of many disciplines, he also textualized the fundamentals of Kathak from numerous Kathak gharanas. His two lengthy treatises, “Muraj Paran Pushpakar ” on the Pakhawaj and its Parans (muraj denotes Pakhawaj and Paran is a form of rhythmic composition) and “Nartansarvaswam” on dancing, contain these Parans and other concepts. The former was such a massive collection, weighing 6.5 kg, and the latter was associated with banishes and bolls of dance.

The Legacy of Pt. Kartik Ram: Preserving the Raigarh Gharana of Kathak

In the heart of India’s cultural landscape, where the echoes of classical dance traditions reverberate through the ages, stood the towering figure of Pt. Kartik Ram. As a prominent exponent of the Raigarh Gharana of Kathak, he dedicated his life to preserving and promoting this unique style of dance, leaving an indelible mark on the art form.

In 1910, Kartik Ram was born in the village of Bhanwarmal in the district of Bilaspur, Madhya Pradesh. Pt. Shivnarayan was his first instructor. Kartik Ram Ji was immersed in the rich

(Kartik Ram Ji, n.d.)

cultural heritage of the region from a young age. The Raigarh Gharana, known for its captivating blend of influences and its unparalleled storytelling prowess, captivated his heart and soul. From a tender age, he began his journey of mastering the intricate footwork, the expressive mudras, and the intricate rhythmic patterns that defined the Raigarh style. Under the tutelage of his revered gurus, Kartik Ram honed his skills, spending countless hours in rigorous riyaaz (practice) to perfect every nuance of the dance form. His dedication and unwavering commitment to his art were evident in the way he carried himself on stage, effortlessly weaving tales of the divine and the heroic through the fluid movements of his body. As the years passed, “Kartik Ram” (Sla,D. Vidyapeeth, 2024)  emerged as a towering figure in the world of Kathak. His performances captivated audiences across the country, as he seamlessly blended the traditional elements of the Raigarh Gharana with his own unique interpretations. His ability to transport the audience into the realms of mythology and history through his dance was unparalleled, leaving a lasting impression on all who witnessed his art. The Madhya Pradesh government gave Kartik Ram the “Shikhar Samman” (Institute for Indian Music & Research Centre, n.d.) year 1980–81.

Additionally, he taught Kathak dance at ChakradharNritya Kendra Bhopal and Khairagarh.

 But Kartik Ram’s true legacy lay not just in his own virtuosic performances, but in his unwavering commitment to passing on the traditions of the Raigarh Gharana to the next generation. He established a renowned dance academy, where he tirelessly trained aspiring dancers, instilling in them the values, the techniques, and the storytelling prowess that defined the Raigarh style.

The Maestro of Raigarh Gharana: Pt. Kalyandas Mahant

In the heart of the vibrant cultural landscape of India, a legacy was being woven, one that would leave an indelible mark on the world of Kathak dance. Amidst the bustling streets of Raigarh, a young man named “Pt. Kalyandas Mahant”(Ram & Maharaj, 1910)  was about to embark on a journey that would cement his place as one of the most influential artists of the Raigarh Gharana.

“On 10th October, 1921, born into a family steeped in the traditions of Kathak, Pt. Kalyandas Mahant” (Nrityashiksha, 2022b)  grew up surrounded by the rhythmic beats and graceful movements that defined this captivating art form. From an early age, he was drawn to the intricacies of Kathak, spending countless hours observing and learning from his elders, who were the custodians of the Raigarh style. As he honed his skills, Pt. Kalyandas Mahant’s dedication and passion for Kathak became evident. He was determined to not only master the technical aspects of the dance but also to delve deeper into its rich cultural heritage. Under the tutelage of the esteemed Pt. Bindadin Maharaj, he immersed himself in the nuances of the Raigarh style, absorbing every lesson and perfecting each intricate footwork and hand gesture. With unwavering dedication, Pt. Kalyandas Mahant devoted himself to the art of Kathak, spending countless hours in rigorous practice and study. He not only mastered the technical aspects of the dance but also delved deep into its rich cultural and historical context, imbuing his performances with a profound sense of authenticity and emotional depth. As Pt. Kalyandas Mahant’s reputation grew, so did his influence within the Raigarh Gharana. He became a sought-after teacher, imparting his knowledge and expertise to a new generation of dancers, ensuring that the unique style of the Raigarh tradition would continue to thrive.”The Raigarh Gharana is not just a dance form,” Pt. Kalyandas Mahant would often say to his students. “It is a living, breathing entity that reflects the very essence of our cultural heritage. It is our responsibility to honour and preserve its legacy, to ensure that its unique voice is heard across the world.”

Under his tutelage, the Raigarh Gharana flourished, gaining recognition and acclaim both nationally and internationally. Pt. Kalyandas Mahant’s students, imbued with the same passion and dedication, went on to become celebrated artists in their own right, carrying the torch of the Raigarh tradition to new heights.

 Pt. Kalyandas Mahant himself became a revered figure; his name synonymous with the Raigarh Gharana. His performances were marked by a seamless blend of technical virtuosity and emotional expressiveness, captivating audiences with his mesmerizing interpretations of Kathak. As the years passed, Pt. Kalyandas Mahant’s legacy only grew stronger. His students, now masters in their own right, carried the Raigarh Gharana to new corners of the world, sharing its unique style and inspiring a new generation of Kathak enthusiasts.

Today, the name Pt. Kalyandas Mahant stands as a testament to the power of dedication, passion, and the unwavering commitment to preserving the cultural heritage of India. His contributions to the Raigarh Gharana have left an indelible mark on the world of Kathak, ensuring that the unique voice of this tradition will continue to resonate for generations to come.

Sri Phirtu Das Vaishnava:

Known for his bol and paran, “Firtu Maharaj”(Rana Prerna, Upadhyay Ranjana, 2023, Pradesh et al., n.d.)  trained in Kathak under the Raigadh Darbar. He possessed unique control over both circular/loop type paran and long bol. He would captivate the audience at numerous Kathak symposia by rambling on for more than three to four hours. Jaylal Maharaj, Achchan Maharaj, and Sitaramji were the instructors of Firtu Maharaj. He formerly taught dance at Bilaspur, Raigadh, and Rourkela.

Pandit Ramanlal:

Raja Chakradhar Singh, his father Pandit Kartik Ram, and Jaylal Maharaj provided Pandit Ramanlalji (Rana Prerna, Upadhyay Ranjana, 2023)  with direct instruction. He continued to study after starting his training at the young age of four. He is currently the greatest representative dancer and Guru of the Raigadh gharana Kathak style, which was created in Raja Chakradhar Singh’s Darbar. He became famous by participating on nationally recognized dance platforms. Along with his father, he even observed the responsibilities of an Assistant Guru at the Chakradhar Dance Centre in Bhopal, where he taught his students the Raigadh gharana Kathak style. Through their dancing abilities, these pupils are propagating the Raigadh gharana style on a national and international level. He was instrumental in the creation and spread of the Raigadh gharana Kathak forms. He was honored by the Sangeet Natak Academy and won numerous accolades for his accomplishments in Kathak. In conclusion, Raigadh gharana is distinct and has its own traditions. Its roots remain firmly established to this day. The proper nurturing and promotion are what are needed. “This gharana possesses rich and heritage legacy of Anga Vinyas and Bandish compositions in a vibrant range—and there is a great need to conserve and protect the same,” as noted by renowned dancer Smt. Rashmi Vajpayee.

The Raigarh Gharana of Kathak dance is a prominent and unique style known for its gracefully complex footwork and expressive storytelling. Established in the early 20th century under the patronage of Raja Chakradhar Singh of Raigarh, this genre incorporates elements of various dance and music styles. The legacy of Raja Chakradhar Singh, along with the contributions of artists like V. Anuradha Singh and Pt. Kalyandas Mahant, Pt. Kartik Ram etc. have helped preserve and elevate the tradition of the Raigarh Gharana, ensuring its continued influence and impact on the world of Kathak dance.

The Captivating Costumes of Kathak Dancers:

Exploring the Ghaagra and Orhni:

Discover the rich heritage and vibrant styles of Kathak dancers’ costumes, with a focus on the

(Rani Roopmati wearing Ghaagra and Orhni , 18th Century CE, n.d.)

Accession Number- AM-MIN-1440

Museum Name Allahabad Museum, Allahabad

captivating “ghaagra and orhni.” Explore the evolution, design, and significance of these traditional attires.Kathak, the captivating classical dance form of India, is renowned for its mesmerizing performances and the intricate costumes that adorn its dancers. In the modern era, Kathak dancers have considerable freedom in their choice of costume, with a wide variety of permissible styles in use. These costumes are broadly inspired by either Hindu or Muslim traditions, each with its unique charm and cultural significance.

The Ghaagra and Orhni: Timeless Elegance Among the Hindu-inspired costumes, the oldest and most commonly used is the “ghaagra and orhni.” The ghaagra is a long, very full,

(Ghaagra and Orhni 2 during mughal empire , n.d.)

gathered skirt with a broad gold or silver border. Narrow silver or gold bands radiate all the way from the waist to the hem, creating a visually striking effect. The rich-colored silks used for the ghaagra must not be so heavy as to hinder the dancer during fast dance movements. Complementing the ghaagra is the orhni, a long, rectangular scarf that is draped over the dancer’s shoulders and head, adding to the overall elegance and grace of the ensemble. The orhni is typically made of the same material as the ghaagra, allowing the dancer to seamlessly transition between different dance poses and sequences.The “costumes”( Imperial Costumes and Designs During 16th and 17th Century, 2019)  worn by Kathak dancers hold deep cultural and symbolic significance. The “Ghaagra and Orhni” for instance, are not merely decorative elements but represent the rich heritage and traditions of the dance form.

(Ghaagra and Orhni during Mughal period 3, n.d.)  These

attires reflect the dancer’s connection to the divine, with the vibrant colours and intricate designs often evoking the imagery of Hindu deities and mythological narratives. Moreover, the costumes play a crucial role in enhancing the dancer’s movements and accentuating the rhythmic patterns of the performance. The flowing, voluminous Ghaagra and the graceful draping of the Orhni allow the dancer to execute intricate footwork and pirouettes with ease, while also creating a visually captivating spectacle for the audience.

Evolving Trends and Adaptations While the traditional Ghaagra and Orhni remain the most widely recognized Kathak costumes, modern dancers have also embraced a range of innovative styles and adaptations. Some have experimented with different fabric choices, such as lightweight chiffons or even fusion elements, to create a more contemporary aesthetic without compromising the essence of the dance form. Additionally, Kathak dancers have found creative ways to incorporate traditional elements into their costumes, blending the old with the new. This fusion of styles not only reflects the dynamism of the dance form but also showcases the adaptability and artistic vision of the performers.

The costumes of Kathak dancers, particularly the iconic ghaagra and orhni, are a testament to the rich cultural heritage and enduring tradition of this captivating dance form. As Kathak continues to evolve and captivate audiences worldwide, the exploration and celebration of these vibrant attires will remain an integral part of the Kathak experience, preserving the art’s timeless allure for generations to come.

The Captivating Attire of Kathak Dancers: Exploring the Choli, and Ornate Jewellery-

In the enchanting world of Kathak, India’s classical dance form, the attire of the performers holds a unique and captivating charm. The choli, worn with the ghaagra, is a defining element of the Kathak dancer’s ensemble, showcasing a harmonious blend of tradition and elegance.

(Choli, and Ornate Jewellery of a Mughal Kathak Dancer, n.d.)

The ‘choli’, typically of a contrasting colour to the ghaagra, is a cropped blouse that features intricate embroidered sleeve-bands. This design element not only adds visual interest but also serves a practical purpose, as the embroidered bands help to accentuate the graceful movements of the dancer’s arms during the performance. Complementing the choli is the ghaagra, a long, flowing skirt that cascades around the dancer’s legs. The interplay of colours between the choli and the Ghaagra creates a striking visual impact, captivating the audience’s attention.

The jewellery worn by Kathak dancers is a testament to the rich cultural heritage of India. “Armband or the Bazuband,” is divided into three hinged portions, with pear-shaped pieces on either side of the rectangular middle. With the nine celestial stones, or Navaratnam Kundan, set in gold in a floral arrangement on a green enamel background and framed by a border of diamonds set within leaf outlines on a red background, the armband functions as an amulet. The focal point of the two side pieces is a flower with ruby petals and a diamond centre set inside a diamond-set leaf border on a turquoise blue enamel ground. On a red background, the amulet’s reverse is enamelled with tiny white flowers and green leaves.

 (Bajuband 1599027963__DSC9452-Min, n.d.)  Jewellery Armband (bazuband)Gold, rubies, sapphire, cat eye, yellow sapphire, emerald, diamond, pearl, coral, hessonite, enamel North India, 19th Century, National Museum, New Delhi

To ensure the comfort and ease of movement during the performance, the weight of the earrings is often taken off the ear-lobes by fine gold chains or, more commonly, ropes of tiny seed-pearls that hook into the dancer’s hair. This innovative solution not only supports the dancer’s physical well-being but also creates a visually captivating effect, as the delicate chains or pearl ropes frame the face and accentuate the dancer’s features.

Completing the ensemble is the jewelled ‘tika,’ a decorative ornament worn in the middle of the forehead. This intricate accessory, often adorned with precious stones, adds an extra touch of elegance and tradition to the Kathak dancer’s attire, further enhancing the overall visual impact of the performance. “Bracelet”

(Bracelet, n.d.)   Gold Bracelet, Publisher: National Museum, New Delhi, Description: This is a multi-chained gold bracelet, studded with diamonds and featuring a gold Jahangiri paunchi with green enamelled work on the reverse of the central piece. Type: Jewellery, Received From: National Museum, New Delhi

(Neckless, n.d.)  90.940, Gold, diamonds, emeralds,Rajasthan, India,19th century, Received From: National Museum, New Delhi

and “necklaces” are often crafted in gleaming gold, reflecting the dancer’s regal and dignified bearing. The heavy earrings, also made of gold, are set with precious or semi-precious stones, adding a touch of opulence to the ensemble. With graded panels of lotus flowers set with diamonds on either side, the openwork foliate design of the necklace (kanthi) is centered on a lotus in full bloom. a fringe of emerald beads at the bottom and a row of pearls set in gold cups on top. Three gold chains are fastened to the necklace. On a white background, the reverse is enameled with flower designs in shades of red and green.

The attire worn by Kathak dancers is a true celebration of Indian culture and artistry. From the vibrant choli and ghaagra to the ornate jewellery and accessories, every element of the ensemble works in harmony to create a mesmerizing visual spectacle that captivates audiences worldwide. As the dancers gracefully move across the stage, they embody the rich heritage and timeless beauty of this captivating art form.

The Captivating Sari: The Emerging Costume of Kathak Dancers-

In the vibrant world of Indian classical dance, the Kathak tradition has captivated audiences worldwide with its mesmerizing movements and enchanting costumes. While the traditional ‘ghaagra and orhni’ ensemble has long been a beloved choice, another costume is gaining increasing popularity among Kathak dancers, “the sari.”

(Sari, n.d.)  Publisher: National Museum, New Delhi, Description: It is an off-white sari with golden zari border. The sari is made of textile material using woven technique.Type: Anthropology, Received From: National Museum. New Delhi

The Sari: A Regal Transformation The heavy silk sari, adorned with a wide gold border and pallav, has become a cherished choice for Kathak dancers. Unlike the conventional wear, where the pallav would drape over the left shoulder, for dancing, this part is skillfully taken around the waist and allowed to hang down from it on the left side. This strategic positioning showcases the sari’s full beauty, allowing the dancer to execute their intricate footwork and graceful movements with ease.

A complementary accessory an essential component of the Kathak dancer’s sari ensemble is the orhni, a shawl-like garment worn over the choli (blouse) and draped over the left shoulder. This delicate yet striking addition complements the overall aesthetic, creating a harmonious and visually captivating look.

Jewellery: The Crowning glory the jewellery worn by Kathak dancers with the sari is remarkably similar to that which accompanies the ‘ghaagra and orhni’ ensemble. The only notable addition is an ornate “girdle or belt”,

(Belt or Kamarband, n.d.)  Publisher: National Museum, New Delhi, Description: 82.259, Gold, diamonds, rubies, enamel, North India, 19th century, Taken From: National Museum. New Delhi

which serves to emphasize the slim, elegant silhouette of the entire ensemble. Eighty-four rectangular interconnecting plaques in two rows, each with a floral motif set with diamonds and cabochon rubies on a green and gold background, make up the gold belt (kamarband). The flower’s drop-shaped petal protrudes in a semicircle on one side, fitting into a matching semicircular recess in the subsequent plaque. the vertical arrangement of eight identical plaques in a clasp. The back is just plain gold.

The sari’s growing popularity among Kathak dancers can be attributed to its ability to seamlessly blend tradition and modernity. The regal, flowing nature of the sari, combined with the dancer’s graceful movements, creates a mesmerizing visual experience for the audience. Additionally, the sari’s versatility allows Kathak dancers to experiment with different draping techniques, further showcasing their artistry and creativity. The “jewelled ‘tika,”

(Head ornament- sheeshphul or jewelled tika 1644486857_57, n.d.)  Publisher: National Museum, New Delhi, Description: 57.10/6, Gold, rubies, emeralds, diamonds, pearls, Rajasthan, India, late 19th century Taken From: National Museum. New Delhi

 an ornamental piece worn in the centre of the forehead, completes the look. This elaborate piece, which is frequently embellished with priceless stones, gives the Kathak dancer’s outfit an additional sense of refinement and tradition while also boosting the performance’s overall visual impact. The openwork flowerhead-shaped hair adornment (sheeshphul) is centered on a rose-cut diamond and encircled by concentric circles of petals studded with diamonds, emeralds, and rubies. Gold loops are used to thread a row of seed pearls around the edge.

 As Kathak dancers continue to captivate audiences worldwide, the sari has emerged as a costume choice that celebrates the rich cultural heritage of this art form. With its intricate detailing, elegant draping, and harmonious accessorization, the sari has solidified its place as a cherished and increasingly popular costume in the Kathak dance tradition.

The Captivating Attire of Hindu Kathak Dancers Before the Mughal Dynasty:

The art of Kathak, a captivating form of Indian classical dance, has a rich and storied history that predates the Mughal dynasty. During this pre-Mughal era, the costume worn by male Kathak dancers showcased a unique blend of elegance and tradition. At the heart of this attire was the silk dhoti, a garment that was central to the dancer’s performance.

The Silk Dhoti and Brocade Border: The before Mughal dynasty Hindu Kathak dancers’ costume for men consists of a silk dhoti with a brocade border. This “silk dhoti”( Kathak Dance – History, Costume & Exponents, n.d.) is draped around the waist and between the legs, creating a loose trouser-like effect that allows for free and fluid movement during the dance. The brocade border adds a touch of ornate beauty to the ensemble, reflecting the cultural heritage and artistic sensibilities of the time.

The Silk Scarf and Bare Upper Body: Complementing the silk dhoti is a silk scarf that is tied around the waist, adding a touch of elegance and refinement to the overall look. The upper part of the body is left bare, except for the sacred thread, which holds deep spiritual significance in Hindu traditions. This minimalist approach to the upper body allows the dancer to showcase the fluidity and precision of their movements, while also highlighting the intricate footwork that is integral to the Kathak dance form.

Additional Accessories and Jewellery:

Though the “silk dhoti”( Kathak – History, Costume, Evolution, Musical Instruments, n.d.)  and scarf form the core of the Kathak dancer’s attire, there are additional elements that contribute to the overall aesthetic. Occasionally, a loose-fitting jacket with short sleeves may be worn, adding a touch of warmth and protection without compromising the dancer’s range of motion. This captivating Varanasi kanthi necklace. Five hinged sections make up the openwork torque in Uttar Pradesh.

The necklace’s front features an octagonal stone in the center of a seven-flower arrangement studded with white sapphires. White sapphires adorn the petals, meandering creepers, and leaves that encircle the stone. The chain is shaped like a row of single stones at the back. A beautiful peacock with its head tilted back is depicted on either side of the central blossom, together with a pear-shaped floral pendant hanging below and a solitary pearl atop.

The jewellery worn by “Necklace kanthi”

(Necklace (Kanthi), n.d.)

with stones is a prominent feature, accompanied by a variety of smaller necklace. Small pieces of gilt jewellery in traditional patterns are also mounted on cloth and tied around the wrists and arms, further enhancing the dancer’s regal and captivating appearance.

The pre-Mughal dynasty costume of Hindu Kathak dancers for men is a testament to the rich cultural heritage and artistic traditions of India. The silk dhoti with its brocade border, the silk scarf, and the elaborate jewellery all come together to create a visually stunning and culturally significant ensemble. This attire not only reflects the dancer’s mastery of their craft but also serves as a window into the enduring legacy of Kathak and the enduring beauty of Indian classical dance.

The Evolution of the Kathak Costume: A Fusion of Traditions-

The Kathak dance form has a rich and diverse history, with its origins deeply rooted in the cultural tapestry of India. While the dance itself has evolved over the centuries, the accompanying costume has also undergone a fascinating transformation, blending traditional elements with more contemporary influences.

One of the most notable aspects of the Kathak costume is the incorporation of the Muslim influence, which, as the prompt suggests, was added much later but has become so closely associated with the dance form that many believe it to be a Muslim dance brought from Persia by the Mughals. The Kathak costume, as we see it today, is a harmonious amalgamation of various sartorial traditions. The angarkha, a long-sleeved tunic, remains the centerpiece of the ensemble, with the skirt now shortened to a calf-length to maintain the gossamer effect. The jewellery worn with the costume is delicate and light, complementing the airy nature of the Angarkha.

Armbands and Bracelets: Elegant Adornments

One of the defining features of the Kathak costume is the intricate “armbands” (Armband or bazuband, 1644486857_63, n.d.)  Armband (bazuband), 63.784, Gold, rubies, sapphire, cat eye, yellow sapphire, emerald, diamond, pearl, coral, hessonite, enamel,North India, 19th century

and bracelets. These accessories, often crafted from gold or silver filigree and adorned with coloured stones, add a touch of elegance and refinement to the overall ensemble.

The Unique Hand Ornament

Another distinctive element of the Kathak costume is the unusual hand ornament. This jewelled accessory is a circular ornament worn on the back of the hand, kept in place by delicate links attached to a bracelet around the wrist. This intricate design not only enhances the visual appeal of the costume but also adds a sense of graceful movement to the dancer’s gestures.

The Enduring Essence of Kathak Costume

Despite the evolving nature of the Kathak costume, the essence of the ensemble has remained largely unchanged since the time of Jehangir. The earrings, for instance, are still plain gold rings, each with a drop pearl and two smaller stones on either side. The necklace, too, may feature two rows of pearls, adding a touch of timeless elegance to the overall look.

The Kathak costume is a testament to the rich cultural exchange and fusion that has shaped the dance form over the centuries. While the Muslim influence has become an integral part of the ensemble, the costume still retains the essence of its traditional roots, seamlessly blending the past and the present. The delicate jewellery, the gossamer “Angarkha”,

(Angarkha, n.d.)  Angarkha, A stitched angarkha made of a coarse cotton fabric. Lt. 105 cm, 62.1282 Garment, Anthropology, National Museum, New Delhi, Publisher: National Museum, New Delhi,

and the unique hand ornament all contribute to the captivating visual spectacle that is the Kathak dance.

The Captivating Allure of the Jhumar or Chapka: An Ornament for the Head in Kathak Dance-

In the enchanting world of Indian classical dance, the Jhumar or Chapka holds a revered place as a unique and captivating ornament for the head. This fan-shaped piece of jewellery rests flat on the hair, with the apex of the triangle lying near the parting and the delicate jewelled ‘ribs’ of the fan shape radiating forwards to rest flat on one side of the head. Its elegant design and intricate craftsmanship make the Jhumar or Chapka a true embodiment of the rich cultural heritage of India.

Jhumar or Chapka: “Jhumar or Chapka”

 (Head ornament jhumar 1644486857_89, n.d.)  Jhumar or Chapka 89.1030, Gold, diamonds, pearls Lucknow, Uttar Pradesh, 19th century, National Museum, New Delhi

is an ornament for the head that may also be worn in Kathak dance, one of the classical dance forms of India. This exquisite piece of jewellery is characterized by its fan-shaped design, which rests flat on the hair, creating a stunning visual effect. The apex of the triangle lies near the parting of the hair, while the delicate jewelled ‘ribs’ of the fan shape radiate forwards to rest flat on one side of the head.

The Significance of the Jhumar or Chapka in Kathak Dance: The Jhumar or Chapka holds a special significance in the context of Kathak dance. As a renowned classical dance form, Kathak is known for its intricate footwork, graceful movements, and the use of various ornaments and accessories to enhance the overall performance. The Jhumar or Chapka is one such accessory that is often incorporated into Kathak dance routines, adding an extra layer of visual elegance and cultural authenticity to the performance.

The Craftsmanship and Artistry of the Jhumar or Chapka: The creation of a Jhumar or Chapka is a true testament to the skill and artistry of Indian jewellery makers. These ornaments are meticulously crafted using a variety of precious metals, such as gold and silver, and adorned with an array of sparkling gemstones, including diamonds, rubies, and emeralds. The delicate ‘ribs’ of the fan-shaped design are carefully constructed to ensure a seamless and harmonious appearance, while the overall structure is designed to rest comfortably on the head without compromising the dancer’s movements. The Jhumar or Chapka is a captivating and culturally significant ornament for the head that plays a vital role in the world of Kathak dance. Its elegant design, intricate craftsmanship, and deep-rooted cultural significance make it a true treasure of Indian heritage. As dancers and enthusiasts continue to embrace this iconic accessory, the Jhumar or Chapka will undoubtedly continue to captivate audiences and inspire generations to come.

The Alluring Styles of the Angarkha and Waistcoat in Indian Kathak Dance:

The angarkha and “waistcoat”

(Waistcoat, n.d.)  Keywords: Waistcoat, Garment, Publisher: National Museum, New Delhi, Description: It is a stitched waistcoat made of a twill woven silk with circular designs. There are two pockets at the front and one on the chest. Type: Anthropology, Received From: National Museum, New Delhi

are two integral components of traditional Indian dance costumes, particularly in the captivating Kathak dances featured in Indian films. These garments not only serve a functional purpose but also play a crucial role in enhancing the visual appeal and graceful aesthetics of the dancer’s performance.

The angarkha, a long, flowing coat-like garment, and the waistcoat, a close-fitting upper garment, vary greatly in their style and cut. While some dancers opt for a tight-fitting bodice in the same colour as the angarkha and “chust pajama” (a type of loose-fitting trousers), others prefer to create a striking contrast by choosing a different hue.

One of the most distinctive features of the waistcoat in Kathak dances is the neckline, which is often cut below the bust. This design choice serves to create a more alluring and captivating line, adding an element of sensuality and elegance to the dancer’s movements.

The Waistcoat: A Complementary and Captivating Element-

The waistcoat, on the other hand, serves as a complementary garment to the angarkha. Its close-fitting design and strategic placement of the neckline can have a significant impact on the overall aesthetic of the dancer’s performance.

In the Kathak dances of Indian films, the waistcoat’s neckline is often cut below the bust, creating a more alluring and captivating line. This design choice not only enhances the dancer’s movements but also adds an element of sensuality and grace to the performance.

The Interplay of Colors and Contrasts-

The choice of color and contrast in the angarkha and waistcoat can also contribute to the visual impact of the dancer’s ensemble. Some dancers opt for a monochromatic approach, wearing a tight-fitting bodice in the same color as the angarkha and chust pajama. This creates a harmonious and cohesive look that emphasizes the dancer’s fluid movements and graceful silhouette.

Conversely, other dancers choose to create a striking contrast by selecting a waistcoat in a contrasting color to the angarkha. This bold color pairing can add an element of drama and visual interest to the performance, drawing the audience’s attention to the dancer’s intricate movements and captivating presence.

The angarkha and waistcoat are essential components of traditional Indian dance costumes, particularly in the captivating Kathak dances featured in Indian films. These garments not only serve a functional purpose but also play a crucial role in enhancing the visual appeal and graceful aesthetics of the dancer’s performance.

Through the strategic design choices, such as the waistcoat’s neckline and the interplay of colors and contrasts, the angarkha and waistcoat contribute to the overall allure and captivating nature of the dancer’s presentation. As these elements continue to evolve and adapt to the changing trends in Indian cinema and dance, they remain a testament to the rich cultural heritage and artistic expression of this vibrant tradition.

Ghungroos: The Rhythmic Essence of Classical Indian Dance-

“Ghungroos”,

(Ghungroo, n.d.)  Size of this preview: 800 × 533 pixels. Other resolutions: 320 × 213 pixels | 640 × 427 pixels | 1,024 × 683 pixels | 1,280 × 853 pixels | 3,024 × 2,016 pixels. Original file (3,024 × 2,016 pixels, file size: 1.46 MB, MIME type: image/jpeg); ZoomViewer

 the iconic musical anklets, are an integral part of the captivating world of classical Indian dance forms. These small metallic bells, strung together in intricate patterns, serve to accentuate the rhythmic aspects of the dance and allow complex footwork to be heard by the audience. Ghungroos are worn immediately above the ankle, resting on the lateral malleolus and medial malleolus, and a string of ghungroos can range from 50 to greater than 200 bells knotted together.

The use of ghungroos can be traced back to the ancient Indian classical dance traditions, where they played a crucial role in enhancing the overall performance. From the graceful Bharatnatyam to the energetic Kathak, the mesmerizing Kuchipudi, the serene Mohiniyattam, the vibrant Lavani, and the elegant Odissi, ghungroos are an integral part of these dance forms, serving to amplify the intricate rhythmic patterns and the percussive elements of the choreography.

The sounds produced by ghungroos vary greatly in pitch, depending on their metallic composition and size. The larger bells typically produce a deeper, resonant tone, while the smaller ones create a higher-pitched jingling effect. This diversity in sound allows dancers to explore a wide range of rhythmic expressions, from the delicate and intricate to the powerful and energetic.

Ghungroos are not merely accessories; they are an extension of the dancer’s body, a physical manifestation of the music that accompanies the performance. The synchronized movements of the feet, combined with the rhythmic sounds of the ghungroos, create a captivating and mesmerizing experience for the audience. The intricate footwork, which is a hallmark of classical Indian dance, is further accentuated by the presence of these musical anklets, allowing the audience to fully immerse themselves in the rhythmic patterns and the emotional journey of the performance.

The craftsmanship and design of ghungroos are a testament to the rich cultural heritage of India. Traditionally, these anklets are handcrafted by skilled artisans, who meticulously select and assemble the individual bells to create the desired sound and visual effect. The materials used, ranging from brass to silver, and the intricate knot patterns, all contribute to the unique character of each set of ghungroos.

Ghungroos are an integral part of the classical Indian dance tradition, serving to accentuate the rhythmic aspects of the performance and allowing the audience to fully immerse themselves in the captivating world of these ancient art forms. The sounds produced by these musical anklets, combined with the intricate footwork and the graceful movements of the dancers, create a truly mesmerizing experience that continues to captivate audiences around the world.

Conclusion of Kathak Dance:

Kathak dance has its origins in the devotion towards Lord Krishna, with roots in the holy city of Varanasi. The dance form underwent evolution as it travelled through regions of North and Northwest India, incorporating unique styles and approaches. The Lucknow tradition believes that Kathak’s origins can be traced back to a dream experienced by Ishwari Prasad, where Lord Krishna himself revealed the steps and rhythmic patterns of the dance. Kathak is deeply intertwined with the tradition of Krishna Bhakti, and practitioners seek to embody the divine qualities of Krishna, such as his playful nature, enchanting beauty, and boundless compassion. Historically, Kathak dance arose in the Vedic period, when the epic poems of Rigveda, Mahabharata, and Ramayana were written. The word “Kathak” comes from ‘Katha’, meaning story, and the Kathakars roamed the countryside, conveying these epic stories through poetry, music, and dance. The main aim of the Kathakars was to impart knowledge about the gods and mythology of the Aryans to the indigenous people of the subcontinent. The article also references the word “Kathaka” in Sanskrit epics, such as the Mahabharata, which suggests that the word refers to a storyteller or narrator. However, this chapter concludes that there is conclusive evidence to link the modern Kathak dance form to the ancient Sanskrit word “Kathaka”. The author suggests that the word “Kathaka” was used to refer to storytellers, and not specifically to dance, and that the dance form has evolved over time through regional influences and traditions.

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Ph.D. Scholar (ICCR), Guided by Dr. Ami Pandya, Dept. of Dance, Faculty of Performing Arts, The Maharaja Sayajirao University of Baroda, Vadodara, Gujarat, India.