Madhyama Purna – (4th Year)
Total Marks: 250 Minimum Passing Marks: 90
Theory: 100 Marks Minimum Passing marks for theory: 35
Practical: 150 Marks Minimum Passing Marks for Practical: 53
Grades
Pass Class IIIrd Grade IInd Grade Ist Grade Distinction
60+30=90 90 to 124 125 to 149 150 to 200 201& above
Theory:
1. History of Kathak Dance. Knowledge of Temple tradition and Darbaar / Court tradition of Kathak
dance.
Kathak is derived from the Sanskrit word “Katha” meaning “story and is one of Indian classical dance forms belonging to northern and north-western Indian regions.
“Katha kahe so kathak kahave”
Originally, the professional story-tellers or bards who recited or sang stories from epics and mythology with elements of dance were called kathakas. And eventually this art of story-telling with songs and dances came to be known as “Kathak”.
The traditions of the Kathakas were hereditary, and dances were passed from generation to generation. There are literary references from 3rd and 4th centuries BCE which refer to these Kathakas.
By the 13th Century a definite style had emerged and technical features like mnemonic syllables and bol developed.
Bhakti movement during 15th-16th century had tremendous impact on Kathak. Kathak was used to narrate Rasalilas from the lives of Radha-Krishan(Sri Krishna’s exploits in the holy land of Vrindavan), and Krishna-leela (Krishna’s childhood tales). During this time, on one had the dance was being performed by Kathavachakas in temples and on the other hand folk elements were also beginning to influence it.
From 16th century onwards the dance form absorbed certain features of Persian dance and Central Asian dance which were imported by the royal courts of Mughal Era. It also influenced Eurasian dance forms like Flamenco.
During Mughal era, dancers were enticed from the temples to the courts through gifts and royal favors and this caused a shift in the focus of Kathak, from a purely religious art form to court entertainment. As the dance form moved away from the temple through folk dances to the court, it gathered many accretions of the themes on which the narrative dance could treat, resulting in a broader catchment of material for abhinaya pieces and a less stylized and slightly informal presentation style which often incorporated improvisation and suggestions from the courtly audience. The fusion of cultures developed Kathak in a singular manner, but although it was by now substantially different from other Indian dance forms, the roots of the style remained same, particularly in the hand-formations during story-telling and some body-postures.
Many emperors and princely rulers contributed to the growth and development of Kathak into different gharanas, or schools of dance. During early 19th century, the Nawab of Oudh, Wajid Ali Shah, not only enjoyed giving patronage to dancers, but also himself enjoyed dancing. Taught by Durga Prasa, he had also choreographed a dance, Rahas. He brought teachers to his palaces, aiding the expansion of technical vocabulary, and forming the basis of the Lucknow gharana, emphasizing sensuous, expressive emotion. The Lucknow gharana placed emphasis on the abhinaya and natya elements or expressional qualities of the dancing; it was famed for its subtlety and grace (nazakat). This contrasted sharply with the Jaipur gharana, which became renowned for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Royal courts in Rajasthan enjoyed Kathak as a sophisticated art form, fostering the growth of the Jaipur gharana. The Benares gharana was also created in this time.
During this period, Kathak was also extensively performed by courtesans, who themselves developed the art in parallel to its refinement in court. They frequently performed abhinaya on lighter classical music of such as dadra, kajri and tappa as well as thumri. Their performance style of Kathak also differed from the court style, involving more of what in Kathak is termed nakhra (mischievous playfulness). As the dance teachers of these courtesans were also often the dance teachers of the court dancers, there was a fairly free interchange of ideas between the two milieus, and this helped consolidate the repertoire of Kathak.
Around mid-19th century, the advent of British Rule in India sent Kathak into sharp decline. The Victorian administrators publicly pronounced it a base and unlovely form of entertainment, despite often privately enjoying the pleasures of the courtesans. Indeed, by associating Kathak solely with the coutesans and then associating the courtesans with out-and-out prostitution, Kathak acquired an unwholesome image: the entirely British concept of nautch. Kathak was, to Victorian eyes, an entertainment designed solely for the purposes of seduction. During these times of cultural hardship, the role of these courtesans in preserving the art forms should not be underestimated. Famous courtesans such as Gauhar Jan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion.
Kathak first received world's attention in the early 20th century through Kalka Prasad Maharaj, whose sons Acchan, Lacchhu and Shambhu Maharaj, went on carry forward the tradition for the next generation, both as dancers in their own right and later as dance gurus.
Today, Kathak has regained its popularity after the period of decline during the rule of the British Empire (where it was frowned upon by Victorian administrators), and it is now one of the classical dance forms of India. Kathak's current form is a synthesis of all the input it has had in the past: court and romantic aspects sit comfortably side-by-side with the temple and mythological/religious. Different dancers have worked on the form in different ways. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj, Lachhu Maharaj and one of the great current dancers still alive today, Birju Maharaj) has been very successful in spreading the popularity of Kathak. Another disciple of Acchan Maharaj is Sitara Devi, daughter of Sukhdev Maharaj of Banaras. Her lively, zestful and fiery performances have impressed many audiences. Shambhu Maharaj also trained Smt. Kumudini Lakhia, who, along with Birju Maharaj, has introduced the relative innovation of multi-person choreographies in Kathak, which was traditionally a solo dance form. She has gained a strong reputation for combining purely classical movements and style with distinctly contemporary use of space. The late Rohini Bhate greatly enriched Kathak's rhythmic repertoire by creating a large corpus of dance compositions, while Durga Lal of the Jaipur gharana was famed for his speed and easy style of performance.
2. Detailed knowledge of Jaipur, Lucknow and Banaras Gharana (Repertoire)
See previous years’ notes
3. Definition and usages of nine types of eyebrow movements as per ‘Abhinaya Darpan’.
According to Bharat NatyaShastra the movements of the eye-brows are Seven in number:
4. Definition and types of Tandav and Lasya.
Tandav and Lasya is a cordinal division of Indian classical dance recognized by the ancient authorities.
Tandav: is energetic, forceful, masculine, robust, expansive variety of dance which has its origin from Lord Shiva and consists of Karana’s, Angahara’s and Rechaka’s etc. as its parts. It’s full of furious, fearful, odious and such other sentiments.
Legend goes that Lord Shiva danced Tandav after killing the Demon “Tripur”. Later on Lord Shiva imparted the knowledge of this dance to his Gana “Tandu” and hence the dance form came to be known as “tandava”.
Dha-gin, dha-ka-da, yu-ng, dh-ti-ka etc. are the primary bols of Tandav.
Lasya: is that variety of dance which is feminine in its character and requires delicate, graceful and lyrical movements, tender feelings and arouses erotic sentiments. It has its origin from Goddess Parvati.
Legend goes that after killing the Tripur demon, when Lord Shiva was dancing, he became very angry and to calm him down Goddess Parvati performed the Lasya that was full of erotic sentiments.
Aforesaid all three varieties of Nartan: Natya, Nritta and Nritya bear this Tandav and Lasya characteristic in themselves.
Tandava:
The Tandava dance form was originated by Lord Shiva. Lord Shiva has been credited with many dance forms; of these foremost is Tandava dance. According to 'Shivopasnadak', Shiva after killing the demon 'Tripurasur' went into rapture (ullas) and danced. This dance form was re-enacted by his disciple, 'Tandu' Muni who popularized it. This dance form, practised by Tandu Muni, came to be known as 'Tandava'. This dance form involves expressions reflecting Courage (Veerta), Extreme anger (Roudra), Hatred (Vibhatsa), Enjoyment (Anand) and Anger born out of grief and sympathy (Karuna Janit Krodh). To express these rasas, tne dancer twists his limbs aggressively, which is not considered appropriate for the women. In the course of this dance, the fire of anger seems to peak, the earth seems to tremble as if the whole world is going through a process of destruction.
'Tandava' dance form has seven sub-classifications :
The instruments played in Tandava are 'Nada Pradhan' (Percussion instruments) with echo effect, as if surrounding and enveloping entire environment; e.g. Ghariyal, Jhanjh, Dumroo, Mrudang, Chang, Dhausa, Naubat etc.
The appropriate costume for Tandava performance is usually 'Male' dress i.e. the dancer ties his hairs like a Jata (Bun) showing half moon and river Ganga and wears an 'Angvastram' akin to the lion skin worn by Lord Shiva. The dancer applies 'Tripunda' (a Shaiva sign) on his forehead, takes Trident in one hand and Dumroo in the other. He also applies Bhasmi (Ashes) on his body.
Lasya :
After the demon 'Tripurasur' was killed by Lord Shiva, he danced in rage i.e. Tandava. Then to pacify and please him, Goddess Uma performed a soft and Shringarik dance, which is called 'Lasya'. Goddess Uma taught this dance to Usha, the daughter of Daitya Banasur. She popularized this dance form in Vrindavan.
The dance is extremely soft in movements and shringarik in expressions and this is performed more effectively by female dancers. The Raas Nritya of Mathura, Halisak of South India, Kathak, Bharatnatyam, Manipuri, Oddissi, Mohiniattam, Kuchipudi etc, which are performed today in various regions owe their origin to 'Lasya'.
Three types of Lasya Nritya are practised today :
In this dance, instruments with soft sound, high bass are used such as 'Manjira', 'Flute', 'Ghunghroo' (anklets), 'Madal, 'Khol, 'Tabla', 'Tumburu' etc.
The costumes used are extremely shringarik and attractive. The female dancers use Chunnatdar Dhoti, broad Waist Bandh and Patka. They also wear garlands of flowers in their hairs and Chunnis of bright and dark colours. The hands and neck are adorned with pearls and flowers.
5. Ability to write Aadhi(1/2), Pauni(3/4), Kuwadi(1.1/4), Aadi(1.1/2 also known as Dedhi),
Barabar(equal), Biadi(1.3/4 known as Paune do) laya of Teental.
details here.
6 (a). Define and elaborate ‘Abhinaya’.
(b). Define and elaborate 4 types of Abhinaya, namely
1) Aangik
2) Wachik
3) Aaharya
4) Satwik
The Sanskrit word “Abhinaya” is made up of the prefix “Abhi” meaning “towards” and the root “Ni” that implies “to carry”. Thus it means carrying/representing a play to/towards spectators. According to Sahitya Darpan that representation is called the imitation of visualization of the conditions (physical and mental) of the characters in a drama. But the aesthetic significance of the imitation will be clear when the main object of the Indian plays, viz, the evoking Ras in the spectators, is taken into consideration. For this reason, the word Abhinaya may be said to be the means for disclosing to spectators the beauty or manifold pleasurable aspects of the play which can not be adequately appreciated by simply reading its text. Therefore, in spite of an apparent similarity between Abhinaya and Acting, the latter term, whenever it is used in connection with Indian plays, does not mean, quite the same thing.
Bharat Muni in his Natya Shastra has divided this Abhinay into 4 different branches:
2) Wachik“Vacha” means the speech, hence Vachika Abhinaya means verbal expression or imitation. It is the use of proper pronounciation, modulation of voice, accent and rhythm. Though it is mainly related with drama but it is also useful in dance at the time of reciting Bols and singing the song for Abhinaya.
3) AaharyaGreen-room activities are known as Aharya Abhinaya. The costume and the appearance of the actor help him in his work. They reveal the sex, race, sect or class, social or other position of the character represented. Thus the part which costume and physical decoration etc play, is called the Aharya Abhinaya.
4) SatwikThis is the representation of eight psychic conditions arising from the vital principle itself. These 8 conditions are- motionlessness (Stambha), perspiration (Sweda), horripilation (Romancha), change of voice (Vaiswarya), trembling of breathing (Vepathu), change of color (Vaivarnya), tears (Ashru) and fainting (Pralaya).
7. Write definition and usages of the following Sanyukta Hasta Mudras: Chakra, Samputa, Pash,
Keelaka, Matsya, Koorma, Warah, Garud, Nagbandh, Khatwa and Bheruda.
<at the end of this page>
8. Life story of the following Kathak maestros and their contribution to Kathak:
(a) Pandit Achchan Maharaj
(b) Pandit Shambhu Maharaj
(c) Pandit Lachchu Maharaj
(d) Pandit Narayan Prasad
(e) Pandit Jaylaal
(a) Pandit Achchan Maharaj
Pt. Achchan Maharaj ji was the eldest son of Maharaj Kalka Prasad ji. His full name was Jagannath Prasad, but as his nature was very good (‘Achchha’ in Hindi), he was called “Achchhe Bhaiya” and eventually became renowned as “Achchan”.
He was born in 1893 in his maternal house at village Lamuha, district Sultanpur, Uttar Pradesh, India.
He got training in dance from his father and uncle Maharaj Bindadin. Since, Pt. Bindadin Maharaj ji had no children of his own, he gave the utmost training to his nephew Pt. Achchan Maharaj ji. Maharaj Kalk Prasad ji (Pt. Achchan Maharaj ji’s father), used to reside in Benaras and propogate the Kathak style of dancing and thumri singing of his Gharana from that place.
Achchan Maharaj ji was a master in his field and there are numerous stories related to his dance and about how he outwitted his rivals in the field. He served for a long time as a court dancer at Rampur, Raigarh and some other states of Northern India. But ultimately he came back to Lucknow. He loved Lucknow very much and used to say that the climate of Lucknow is as healthy for a dancer as is the climate of hill-area for a patient of T.B.. Though his body was unwieldy but when he danced he virtually transformed himself and became a model of grace and agility. True to the tradition of Lucknow Gharana he excelled in Bhava, but he was also an exponent in Nritta.
He died in 1946 and with his demise the Lucknow Gharana truly lost a foremost representative. He is survived by son, Pt. Birju Maharaj, who has proved himself to be a worthy successor.
(b) Pandit Shambhu Maharaj
Pt. Shambhu Maharaj was the youngest of the 3 famous sons of Pt. Kalika Prasad ji. He was born as Shambhunath Mishra in 1910 at Lucknow. He was trained in Kathak, first by his uncle Maharaj Bindadin and then by his eldest brother Pt. Achchan Maharaj.
Apart from concentrating on dancing, Shambhu Maharaj also learnt classical Hindustani music, especially the Thumari anga from Ustad Rahimuddin Khan of Benaras.
Shambhu Maharaj had an extra-ordinary command on Bhava. He also made earnest efforts to revive the use of Ashtapadi and certain Thumaris and Bhajans and other Nritya pieces in Kathak.
In 1952, he joined the Bharatiya Kala Kendra (later, Kathak Kendra), New Delhi. He became the head of the Dance (kathak) department. He was honoured with the Sangeet Natak Akademi Fellowship in 1967 and Padmashri in 1956, besides being titled Nritya Samrat and Abhinaya Chakravati.
He had 2 sons, Krishnamohan and Rammohan and a daughter, Rameshwari. Amongst his pupils, the most noted exponents of kathak are his nephew Birju Maharaj, Kumudini Lakhia, Damayanti Joshi, Maya Rao, Bharati Gupta, Uma Sharma and Rina Singha. His son Rammohan Maharaj was also his disciple and continues to perform his style.
He was established as a popular Kathak dancer since very young age, and till his death on 4th November 1970 he enjoyed a reputation which was an envy of every kathak dancer. He was an able teacher too and had trained hundreds of pupils.
(c) Pandit Lachchu Maharaj
Pt. Lachchu Maharaj was an Indian classical dancer and choreographar of Kathak. He came from a family of illustrious kathak exponents in Lucknow and also worked as film choreographer for Hindi cinema.
He was born in 1907 to Pt. Kalika Maharaj and was the 2nd of his 3 famous sons. He received extensive training from Pt. Bindadin Maharaj, his uncle and the court dancer of the Nawab of Awadh, for nearly 10 years. He also learnt the percussion instruments: Pakhawaj and Tabla and also pioneered in Hindustani Classical vocal music.
Later, he moved to Mumbai, where the emerging film industry helped him to bring Kathak to a far wider audience. Lachchu Maharaj was acclaimed for the choreography of dance sequences in movies like Mughal-e-azam, Chhoti Chhoti Batein, Pakeezah as well as his ballets like Goutam Buddha, Chandravali and Bharatiya Kissan. He was also the founding Director of the Kathak Kendra started by the Uttar Pradesh Government in Lucknow.
Among many prestigious awards he won were the President’s Award and the 1957 Sangeet Natak Akademi Award, the highest award for performing artists, conferred by the Sangeet Natak Akademi, India’s National Academy for Music, Dance and Drama.
He Died in 1978. In September 2007, a 2-day festival was organized in Lucknow to celebrate his birth centenary where the students of the dance institution founded by him staged a ballet “Megh Malhar”. A book honoring him was also released at this festival.
(d) Pandit Narayan Prasad
Pt. Narayan Prasad was the youngest son of Hanuman Prasadji of Jaipur. He was born in 1908 in Jaipur. His dance training was started at the age of 8 years by his father and uncle Hari Prasadji and at the age of 12 years he came before audience as a child artist. Since then a long chain of dance performances in various music conferences throughout the country which gave him great name and fame.
In 1957, he was honoured by the title of “Nrityaacharya” by Gandharva Mahavidyalaya mandal at Belgaon. Since 1950, he was serving at the Gandharva Mahavidyalaya, Delhi and he died in 1958 at Delhi.
He is survived by 2 sons, Charan Girdhar “Chand” and Tej Prakash “Tulsi”. Both of them are in dance field at Delhi;
Pt. Narayan Prasadji had equal command on Laya and Bhava, both the sides of Kathak Dance. He was at ease whenever presenting Layakaris in difficult Talas. On the other side he was supposed to be a master of Shringar Rasa (Erotic Sentiment) among the dancer of Jaipur gharana.He was also an excellent singer and Tabla-Pakhawaj player. He was a devotee of Lord Krisna and on the basis of Krishna-Leela he had composed a number of Kavittas and Thumaris. He was also a Bountaous teacher, who trained hundreds of students in Kathak dance.
(e) Pandit Jaylaal
Acknowledged, by common consent, as the doyen of Jaipur Gharana, Pt. Jaylal Mishra was born about 1885 at Jaipur and he died in 1949 at Calcutta.
He obtained training in dance from his father Chunnilalji, his uncle Durga Prasadji and also from Pt. Bindadin Maharajji of Lucknow gharana.
He was first attached to the court of Jaipur and after that he also served as the court dancer in the State of Jodhpur, Sikari, Raigarh and Maihar. He lived in Nepal too. Raja Chakradhar Singh of Raigarh had great respect for him. Pt. Jaylalji stayed at Raigarh for about 8 years and taught Kartik Ram, Kalyan Das, Firatu Das and Barman Lal.
He married twice. He had a son Ram Gopal from his first wife and daughter Jaikumari through his second marriage. Both his children were best dancers of their times, especially, Jaikumari was famous for being uncompetable in Layakaris, Tatkar and Chakkar.
Pt. Jaylal was also an expert in Table and Pakhawaj and was also a qualified musician. Famous tabla-players of that time had also accepted him as a great master of Laya and Tala. Easy presentations of difficult Talas, astonishing use of various layas, large Parans, pramelus, jatis parans, pakshi parans, tandava bhedas and impressive padhanta were his specialities.
At the fag end of his life he was working at Vani Vidya Vithi at Calcutta, where he trained a large number of students in kathak.
9. Ability to write the notations of all the todas in Teental, Rupak and Dhamar.
ABGMV MANDAL (KATHAK SYLLABUS)
Total Marks: 250 Minimum Passing Marks: 90
Theory: 100 Marks Minimum Passing marks for theory: 35
Practical: 150 Marks Minimum Passing Marks for Practical: 53
Grades
Pass Class IIIrd Grade IInd Grade Ist Grade Distinction
60+30=90 90 to 124 125 to 149 150 to 200 201& above
Theory:
1. History of Kathak Dance. Knowledge of Temple tradition and Darbaar / Court tradition of Kathak
dance.
Kathak is derived from the Sanskrit word “Katha” meaning “story and is one of Indian classical dance forms belonging to northern and north-western Indian regions.
“Katha kahe so kathak kahave”
Originally, the professional story-tellers or bards who recited or sang stories from epics and mythology with elements of dance were called kathakas. And eventually this art of story-telling with songs and dances came to be known as “Kathak”.
The traditions of the Kathakas were hereditary, and dances were passed from generation to generation. There are literary references from 3rd and 4th centuries BCE which refer to these Kathakas.
By the 13th Century a definite style had emerged and technical features like mnemonic syllables and bol developed.
Bhakti movement during 15th-16th century had tremendous impact on Kathak. Kathak was used to narrate Rasalilas from the lives of Radha-Krishan(Sri Krishna’s exploits in the holy land of Vrindavan), and Krishna-leela (Krishna’s childhood tales). During this time, on one had the dance was being performed by Kathavachakas in temples and on the other hand folk elements were also beginning to influence it.
From 16th century onwards the dance form absorbed certain features of Persian dance and Central Asian dance which were imported by the royal courts of Mughal Era. It also influenced Eurasian dance forms like Flamenco.
During Mughal era, dancers were enticed from the temples to the courts through gifts and royal favors and this caused a shift in the focus of Kathak, from a purely religious art form to court entertainment. As the dance form moved away from the temple through folk dances to the court, it gathered many accretions of the themes on which the narrative dance could treat, resulting in a broader catchment of material for abhinaya pieces and a less stylized and slightly informal presentation style which often incorporated improvisation and suggestions from the courtly audience. The fusion of cultures developed Kathak in a singular manner, but although it was by now substantially different from other Indian dance forms, the roots of the style remained same, particularly in the hand-formations during story-telling and some body-postures.
Many emperors and princely rulers contributed to the growth and development of Kathak into different gharanas, or schools of dance. During early 19th century, the Nawab of Oudh, Wajid Ali Shah, not only enjoyed giving patronage to dancers, but also himself enjoyed dancing. Taught by Durga Prasa, he had also choreographed a dance, Rahas. He brought teachers to his palaces, aiding the expansion of technical vocabulary, and forming the basis of the Lucknow gharana, emphasizing sensuous, expressive emotion. The Lucknow gharana placed emphasis on the abhinaya and natya elements or expressional qualities of the dancing; it was famed for its subtlety and grace (nazakat). This contrasted sharply with the Jaipur gharana, which became renowned for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Royal courts in Rajasthan enjoyed Kathak as a sophisticated art form, fostering the growth of the Jaipur gharana. The Benares gharana was also created in this time.
During this period, Kathak was also extensively performed by courtesans, who themselves developed the art in parallel to its refinement in court. They frequently performed abhinaya on lighter classical music of such as dadra, kajri and tappa as well as thumri. Their performance style of Kathak also differed from the court style, involving more of what in Kathak is termed nakhra (mischievous playfulness). As the dance teachers of these courtesans were also often the dance teachers of the court dancers, there was a fairly free interchange of ideas between the two milieus, and this helped consolidate the repertoire of Kathak.
Around mid-19th century, the advent of British Rule in India sent Kathak into sharp decline. The Victorian administrators publicly pronounced it a base and unlovely form of entertainment, despite often privately enjoying the pleasures of the courtesans. Indeed, by associating Kathak solely with the coutesans and then associating the courtesans with out-and-out prostitution, Kathak acquired an unwholesome image: the entirely British concept of nautch. Kathak was, to Victorian eyes, an entertainment designed solely for the purposes of seduction. During these times of cultural hardship, the role of these courtesans in preserving the art forms should not be underestimated. Famous courtesans such as Gauhar Jan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion.
Kathak first received world's attention in the early 20th century through Kalka Prasad Maharaj, whose sons Acchan, Lacchhu and Shambhu Maharaj, went on carry forward the tradition for the next generation, both as dancers in their own right and later as dance gurus.
Today, Kathak has regained its popularity after the period of decline during the rule of the British Empire (where it was frowned upon by Victorian administrators), and it is now one of the classical dance forms of India. Kathak's current form is a synthesis of all the input it has had in the past: court and romantic aspects sit comfortably side-by-side with the temple and mythological/religious. Different dancers have worked on the form in different ways. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj, Lachhu Maharaj and one of the great current dancers still alive today, Birju Maharaj) has been very successful in spreading the popularity of Kathak. Another disciple of Acchan Maharaj is Sitara Devi, daughter of Sukhdev Maharaj of Banaras. Her lively, zestful and fiery performances have impressed many audiences. Shambhu Maharaj also trained Smt. Kumudini Lakhia, who, along with Birju Maharaj, has introduced the relative innovation of multi-person choreographies in Kathak, which was traditionally a solo dance form. She has gained a strong reputation for combining purely classical movements and style with distinctly contemporary use of space. The late Rohini Bhate greatly enriched Kathak's rhythmic repertoire by creating a large corpus of dance compositions, while Durga Lal of the Jaipur gharana was famed for his speed and easy style of performance.
2. Detailed knowledge of Jaipur, Lucknow and Banaras Gharana (Repertoire)
See previous years’ notes
3. Definition and usages of nine types of eyebrow movements as per ‘Abhinaya Darpan’.
According to Bharat NatyaShastra the movements of the eye-brows are Seven in number:
- Sahaja
- Patita
- Utkshipta
- Rechita
- Kunchita/Nikunchita
- Bhrukuti
- Chatura
4. Definition and types of Tandav and Lasya.
Tandav and Lasya is a cordinal division of Indian classical dance recognized by the ancient authorities.
Tandav: is energetic, forceful, masculine, robust, expansive variety of dance which has its origin from Lord Shiva and consists of Karana’s, Angahara’s and Rechaka’s etc. as its parts. It’s full of furious, fearful, odious and such other sentiments.
Legend goes that Lord Shiva danced Tandav after killing the Demon “Tripur”. Later on Lord Shiva imparted the knowledge of this dance to his Gana “Tandu” and hence the dance form came to be known as “tandava”.
Dha-gin, dha-ka-da, yu-ng, dh-ti-ka etc. are the primary bols of Tandav.
Lasya: is that variety of dance which is feminine in its character and requires delicate, graceful and lyrical movements, tender feelings and arouses erotic sentiments. It has its origin from Goddess Parvati.
Legend goes that after killing the Tripur demon, when Lord Shiva was dancing, he became very angry and to calm him down Goddess Parvati performed the Lasya that was full of erotic sentiments.
Aforesaid all three varieties of Nartan: Natya, Nritta and Nritya bear this Tandav and Lasya characteristic in themselves.
Tandava:
The Tandava dance form was originated by Lord Shiva. Lord Shiva has been credited with many dance forms; of these foremost is Tandava dance. According to 'Shivopasnadak', Shiva after killing the demon 'Tripurasur' went into rapture (ullas) and danced. This dance form was re-enacted by his disciple, 'Tandu' Muni who popularized it. This dance form, practised by Tandu Muni, came to be known as 'Tandava'. This dance form involves expressions reflecting Courage (Veerta), Extreme anger (Roudra), Hatred (Vibhatsa), Enjoyment (Anand) and Anger born out of grief and sympathy (Karuna Janit Krodh). To express these rasas, tne dancer twists his limbs aggressively, which is not considered appropriate for the women. In the course of this dance, the fire of anger seems to peak, the earth seems to tremble as if the whole world is going through a process of destruction.
'Tandava' dance form has seven sub-classifications :
- 'Tripur Tandava': The dance performed by Lord Shiva after killing the demon Tripurasur reflected Courage (Veerta) and Extreme anger (Roudra) and is known as 'Tripur Tandava'. The 'Bols' of this dance form are mostly in 'Adi Laya'.
- 'Anand Tandava' : After Shiva had slayed 'Tripurasur', Goddess Uma performed 'Lasya' dance which is an embodiment of Pleasure (Ullas) and Excitement (Umang) which pleased the angry Shiva. This dance is known as 'Anand Tandava'.
- 'Gauri Tandava': In this dance form, Shiva and Parvati dance together in 'Shringar Rasa'.
- 'Kalika Tandava': In order to destroy evil and wicked, Shiva dances expressing his Bhairav form, which is known as 'Kalika Tandava'.
- 'Sandhya Tandava': After the death of his wife 'Sati', Shiva carried her dead body on his shoulders and danced while in mourning. This dance starts with Karuna Rasa and ends with expressing Roudra (Extreme anger) and Bhayanak Rasa (Terrible). This dance form is known as 'SandhyaTandava'.
- 'Uma Tandava' : This dance form stresses the conjugal affection, love and attraction in its purest and simple form.
- 'Samhar Tandava' : The destruction of entire universe is reflected in 'Samhar Tandava'
The instruments played in Tandava are 'Nada Pradhan' (Percussion instruments) with echo effect, as if surrounding and enveloping entire environment; e.g. Ghariyal, Jhanjh, Dumroo, Mrudang, Chang, Dhausa, Naubat etc.
The appropriate costume for Tandava performance is usually 'Male' dress i.e. the dancer ties his hairs like a Jata (Bun) showing half moon and river Ganga and wears an 'Angvastram' akin to the lion skin worn by Lord Shiva. The dancer applies 'Tripunda' (a Shaiva sign) on his forehead, takes Trident in one hand and Dumroo in the other. He also applies Bhasmi (Ashes) on his body.
Lasya :
After the demon 'Tripurasur' was killed by Lord Shiva, he danced in rage i.e. Tandava. Then to pacify and please him, Goddess Uma performed a soft and Shringarik dance, which is called 'Lasya'. Goddess Uma taught this dance to Usha, the daughter of Daitya Banasur. She popularized this dance form in Vrindavan.
The dance is extremely soft in movements and shringarik in expressions and this is performed more effectively by female dancers. The Raas Nritya of Mathura, Halisak of South India, Kathak, Bharatnatyam, Manipuri, Oddissi, Mohiniattam, Kuchipudi etc, which are performed today in various regions owe their origin to 'Lasya'.
Three types of Lasya Nritya are practised today :
- 'Vikat Lasya': The dance form in which Laya, Taal, Bhavas are exhibited while performing, is called 'Vikat Lasya'.
- 'Visham Lasya' : By using 'Bhramari' through horizontal, circular and slanted movements, special footwork in Laya based dance, 'Visham Lasya' is performed.
- 'Laghu Lasya': By producing sound on earth through anklets and through Anchit Kunchit Padvinyas, 'Laghu Lasya' is performed.
In this dance, instruments with soft sound, high bass are used such as 'Manjira', 'Flute', 'Ghunghroo' (anklets), 'Madal, 'Khol, 'Tabla', 'Tumburu' etc.
The costumes used are extremely shringarik and attractive. The female dancers use Chunnatdar Dhoti, broad Waist Bandh and Patka. They also wear garlands of flowers in their hairs and Chunnis of bright and dark colours. The hands and neck are adorned with pearls and flowers.
5. Ability to write Aadhi(1/2), Pauni(3/4), Kuwadi(1.1/4), Aadi(1.1/2 also known as Dedhi),
Barabar(equal), Biadi(1.3/4 known as Paune do) laya of Teental.
details here.
6 (a). Define and elaborate ‘Abhinaya’.
(b). Define and elaborate 4 types of Abhinaya, namely
1) Aangik
2) Wachik
3) Aaharya
4) Satwik
The Sanskrit word “Abhinaya” is made up of the prefix “Abhi” meaning “towards” and the root “Ni” that implies “to carry”. Thus it means carrying/representing a play to/towards spectators. According to Sahitya Darpan that representation is called the imitation of visualization of the conditions (physical and mental) of the characters in a drama. But the aesthetic significance of the imitation will be clear when the main object of the Indian plays, viz, the evoking Ras in the spectators, is taken into consideration. For this reason, the word Abhinaya may be said to be the means for disclosing to spectators the beauty or manifold pleasurable aspects of the play which can not be adequately appreciated by simply reading its text. Therefore, in spite of an apparent similarity between Abhinaya and Acting, the latter term, whenever it is used in connection with Indian plays, does not mean, quite the same thing.
Bharat Muni in his Natya Shastra has divided this Abhinay into 4 different branches:
- Angika (limb)
- Vachika (verbal)
- Aharya (costume)
- Sattvika (psychic)
2) Wachik“Vacha” means the speech, hence Vachika Abhinaya means verbal expression or imitation. It is the use of proper pronounciation, modulation of voice, accent and rhythm. Though it is mainly related with drama but it is also useful in dance at the time of reciting Bols and singing the song for Abhinaya.
3) AaharyaGreen-room activities are known as Aharya Abhinaya. The costume and the appearance of the actor help him in his work. They reveal the sex, race, sect or class, social or other position of the character represented. Thus the part which costume and physical decoration etc play, is called the Aharya Abhinaya.
4) SatwikThis is the representation of eight psychic conditions arising from the vital principle itself. These 8 conditions are- motionlessness (Stambha), perspiration (Sweda), horripilation (Romancha), change of voice (Vaiswarya), trembling of breathing (Vepathu), change of color (Vaivarnya), tears (Ashru) and fainting (Pralaya).
7. Write definition and usages of the following Sanyukta Hasta Mudras: Chakra, Samputa, Pash,
Keelaka, Matsya, Koorma, Warah, Garud, Nagbandh, Khatwa and Bheruda.
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8. Life story of the following Kathak maestros and their contribution to Kathak:
(a) Pandit Achchan Maharaj
(b) Pandit Shambhu Maharaj
(c) Pandit Lachchu Maharaj
(d) Pandit Narayan Prasad
(e) Pandit Jaylaal
(a) Pandit Achchan Maharaj
Pt. Achchan Maharaj ji was the eldest son of Maharaj Kalka Prasad ji. His full name was Jagannath Prasad, but as his nature was very good (‘Achchha’ in Hindi), he was called “Achchhe Bhaiya” and eventually became renowned as “Achchan”.
He was born in 1893 in his maternal house at village Lamuha, district Sultanpur, Uttar Pradesh, India.
He got training in dance from his father and uncle Maharaj Bindadin. Since, Pt. Bindadin Maharaj ji had no children of his own, he gave the utmost training to his nephew Pt. Achchan Maharaj ji. Maharaj Kalk Prasad ji (Pt. Achchan Maharaj ji’s father), used to reside in Benaras and propogate the Kathak style of dancing and thumri singing of his Gharana from that place.
Achchan Maharaj ji was a master in his field and there are numerous stories related to his dance and about how he outwitted his rivals in the field. He served for a long time as a court dancer at Rampur, Raigarh and some other states of Northern India. But ultimately he came back to Lucknow. He loved Lucknow very much and used to say that the climate of Lucknow is as healthy for a dancer as is the climate of hill-area for a patient of T.B.. Though his body was unwieldy but when he danced he virtually transformed himself and became a model of grace and agility. True to the tradition of Lucknow Gharana he excelled in Bhava, but he was also an exponent in Nritta.
He died in 1946 and with his demise the Lucknow Gharana truly lost a foremost representative. He is survived by son, Pt. Birju Maharaj, who has proved himself to be a worthy successor.
(b) Pandit Shambhu Maharaj
Pt. Shambhu Maharaj was the youngest of the 3 famous sons of Pt. Kalika Prasad ji. He was born as Shambhunath Mishra in 1910 at Lucknow. He was trained in Kathak, first by his uncle Maharaj Bindadin and then by his eldest brother Pt. Achchan Maharaj.
Apart from concentrating on dancing, Shambhu Maharaj also learnt classical Hindustani music, especially the Thumari anga from Ustad Rahimuddin Khan of Benaras.
Shambhu Maharaj had an extra-ordinary command on Bhava. He also made earnest efforts to revive the use of Ashtapadi and certain Thumaris and Bhajans and other Nritya pieces in Kathak.
In 1952, he joined the Bharatiya Kala Kendra (later, Kathak Kendra), New Delhi. He became the head of the Dance (kathak) department. He was honoured with the Sangeet Natak Akademi Fellowship in 1967 and Padmashri in 1956, besides being titled Nritya Samrat and Abhinaya Chakravati.
He had 2 sons, Krishnamohan and Rammohan and a daughter, Rameshwari. Amongst his pupils, the most noted exponents of kathak are his nephew Birju Maharaj, Kumudini Lakhia, Damayanti Joshi, Maya Rao, Bharati Gupta, Uma Sharma and Rina Singha. His son Rammohan Maharaj was also his disciple and continues to perform his style.
He was established as a popular Kathak dancer since very young age, and till his death on 4th November 1970 he enjoyed a reputation which was an envy of every kathak dancer. He was an able teacher too and had trained hundreds of pupils.
(c) Pandit Lachchu Maharaj
Pt. Lachchu Maharaj was an Indian classical dancer and choreographar of Kathak. He came from a family of illustrious kathak exponents in Lucknow and also worked as film choreographer for Hindi cinema.
He was born in 1907 to Pt. Kalika Maharaj and was the 2nd of his 3 famous sons. He received extensive training from Pt. Bindadin Maharaj, his uncle and the court dancer of the Nawab of Awadh, for nearly 10 years. He also learnt the percussion instruments: Pakhawaj and Tabla and also pioneered in Hindustani Classical vocal music.
Later, he moved to Mumbai, where the emerging film industry helped him to bring Kathak to a far wider audience. Lachchu Maharaj was acclaimed for the choreography of dance sequences in movies like Mughal-e-azam, Chhoti Chhoti Batein, Pakeezah as well as his ballets like Goutam Buddha, Chandravali and Bharatiya Kissan. He was also the founding Director of the Kathak Kendra started by the Uttar Pradesh Government in Lucknow.
Among many prestigious awards he won were the President’s Award and the 1957 Sangeet Natak Akademi Award, the highest award for performing artists, conferred by the Sangeet Natak Akademi, India’s National Academy for Music, Dance and Drama.
He Died in 1978. In September 2007, a 2-day festival was organized in Lucknow to celebrate his birth centenary where the students of the dance institution founded by him staged a ballet “Megh Malhar”. A book honoring him was also released at this festival.
(d) Pandit Narayan Prasad
Pt. Narayan Prasad was the youngest son of Hanuman Prasadji of Jaipur. He was born in 1908 in Jaipur. His dance training was started at the age of 8 years by his father and uncle Hari Prasadji and at the age of 12 years he came before audience as a child artist. Since then a long chain of dance performances in various music conferences throughout the country which gave him great name and fame.
In 1957, he was honoured by the title of “Nrityaacharya” by Gandharva Mahavidyalaya mandal at Belgaon. Since 1950, he was serving at the Gandharva Mahavidyalaya, Delhi and he died in 1958 at Delhi.
He is survived by 2 sons, Charan Girdhar “Chand” and Tej Prakash “Tulsi”. Both of them are in dance field at Delhi;
Pt. Narayan Prasadji had equal command on Laya and Bhava, both the sides of Kathak Dance. He was at ease whenever presenting Layakaris in difficult Talas. On the other side he was supposed to be a master of Shringar Rasa (Erotic Sentiment) among the dancer of Jaipur gharana.He was also an excellent singer and Tabla-Pakhawaj player. He was a devotee of Lord Krisna and on the basis of Krishna-Leela he had composed a number of Kavittas and Thumaris. He was also a Bountaous teacher, who trained hundreds of students in Kathak dance.
(e) Pandit Jaylaal
Acknowledged, by common consent, as the doyen of Jaipur Gharana, Pt. Jaylal Mishra was born about 1885 at Jaipur and he died in 1949 at Calcutta.
He obtained training in dance from his father Chunnilalji, his uncle Durga Prasadji and also from Pt. Bindadin Maharajji of Lucknow gharana.
He was first attached to the court of Jaipur and after that he also served as the court dancer in the State of Jodhpur, Sikari, Raigarh and Maihar. He lived in Nepal too. Raja Chakradhar Singh of Raigarh had great respect for him. Pt. Jaylalji stayed at Raigarh for about 8 years and taught Kartik Ram, Kalyan Das, Firatu Das and Barman Lal.
He married twice. He had a son Ram Gopal from his first wife and daughter Jaikumari through his second marriage. Both his children were best dancers of their times, especially, Jaikumari was famous for being uncompetable in Layakaris, Tatkar and Chakkar.
Pt. Jaylal was also an expert in Table and Pakhawaj and was also a qualified musician. Famous tabla-players of that time had also accepted him as a great master of Laya and Tala. Easy presentations of difficult Talas, astonishing use of various layas, large Parans, pramelus, jatis parans, pakshi parans, tandava bhedas and impressive padhanta were his specialities.
At the fag end of his life he was working at Vani Vidya Vithi at Calcutta, where he trained a large number of students in kathak.
9. Ability to write the notations of all the todas in Teental, Rupak and Dhamar.
ABGMV MANDAL (KATHAK SYLLABUS)
Sanyukta Mudra Name www.youtube.com/watch?v=-LwoVD4F9As |
Usage |
Chakra |
This is used to express Chakra (weapon of Lord Vishnu) |
Samputa |
Used to cover things and to show the sacred box in which the idols are places, to give somebody a gift, shuffle the dice |
Pash |
This is used to show playful quarrel, chains, rope |
Keelaka |
Used to show affection, conversation of intimate friends and lovers |
Matsya |
Used to show fish and also one of the “avatars” from Vishnu’s ten incarnations. |
Koorma |
Used to show tortoise and also one of the “avatars” from Vishnu’s ten incarnations. |
Warah |
Used to show wild boar |
Garud |
Used to show Eagle |
Nagbandh |
Used to show snack around neck for Shiva or around stomach. |
Khatwa |
Used to express bed, crib for the baby or “Palkhi” (a carrier to carry people). |
Bheruda |
Used to express bird couple. |