1. Brief history of Kathak dance. (Atleast 10 to 15 sentences)
"Katha Kahe So Kathak Kahave"
Kathak dance is believed to be oldest Indian Classical dance, which originated form Keertan concept and is dated as old as Vedas.
When a dancer depicts a story (Katha) through his/her dance, dancer is called Kathakar or Kathak. And over the period of time, the dance style also got the name "Kathak".
The stories a Kathak dancer show-cases from the dance, is typically related to Indian mythology. Some examples are. Ganesh-
Vandana, Shiv-Vandana, Sarasvati-Vandana, Krishna-Makhan-Chori, Raas-Leela etc.
Although Kathak is Bhav- pradhan nritt (dance), but it also has Shudhha Nritt aspect, which is pure dance. Various compositions
performed in Shudhha Nritt are Tora/Tukra. Aamad, Paran, Kavitt, Gat-Nikas, tatkaar, Tihayee etc.
There are mainly 3 gharanas in Kathak: Lucknow Gharana, Jaipur Gharana and Banaras Gharana. There are arguments on considering 4th gharanas as well, called Raighar Gharana. While Lucknow Gharana is know for its Bhav nritt, Jaipur gharana is known for fast
spins and intricate tatkaar, and Banaras Gharana is know for taking spins from both sides. While Lucknow Gharana uses Natawari
bols ("Ta", "Thei", "Tat") a lot in its Shudha Nritt compositions, Jaipur and Banaras Gharana is known for using more of Paran bols.
Pandit Bindadin Maharaj from 18th century had a very prominent impact on Lucknow
gharana and is considered as a Father of Lucknow Gharana. Pandit Birju Maharaj, who is from same family is the living legend in
today's time. Pandit Sukhdev Maharaj, Pandit Gopi Kishan ji maharaj were the legendary figures of Banaras Gharana. From Jaipur
Gaharana, Pandit Rajendar Gangani ji is a reputed and very well know artist and Guru.
A Kathak dancer wears metal bells on both feet, typically made of bronze. These bells are knitted in strings. Dancers ties one string
on each foot to create a melodious sound with the footwork patterns done on the rhythmic taal cycle.
Kathak dance is performed by male as well as female dancers. Male dancers wear Pajami or tights along with long Kurta/ UNgerkha
and ties a chunni around the waist. Female dancers typically wear lahanga, long skirt along with pajami, blouse or short kurti and
chunni. Costumes are made in vibrant colors and with shiny work on top. Lahangas have lot of gher/ flayer which looks
mesmerizing with Kathak spins.
During Mugal Era (15th century to 18th century), Kathak had a transformation due to impact of Mugal Emperors in India. Dancers were
asked to dance in Courts rather than Temples or Arts platforms. Instead of singing bhajans or stuties for Indian deities, they were
asked to sing praises for the Mugal emperors. Some refused to do so, but some agreed to attain better living. Not all Mugal
emperors were demanding kathak dancers to perform for their entertainment, some were true admirers of Kathak dance style as
well, such as, Nawab Wazid Ali Shah.
During Mugal era, Anarkali costumes were introduced. These anarkali frock style costumes were worn along with pajami, jacket,
chunni and a cap with feathers in front of cap, called kalagi. Dancers started performing on Gazals and sufi songs, Salami
compositions (Tukra) were introduced to greet king and audience.
Although there was some downfall in name of Kathak during Mugal era, but it stayed alive due to Kathak admirers and again
regained its popularity from later part of 18th century. Today Kathak is a universally acclaimed Indian Classical Dance style and has
attained its global admiration.
2. Define:
Aamad: Aamad are those compositions in Kathak, which have below characterstics:
a: Aamad means entrance (Its a Persian word). Aamad are performed towards the beginning of performance
b: Uses Natawari Bol (sounds of 'Ta', 'Thei', 'Tat')
c: Right side movements are accompanied by similar movements done on Left side.
d: Done typically in Vilambit or Madhya Laya. dancer covers the stage in Aamad performance.
Example of Aamad:
Ta Thei Tat S | Aa Thei Tat S |
x 2
Thei S Thei S | Thei S Tat Tat |
0 3
Ta
x
Toda: refer Praveshika Prathem Theory Guide
Tukda: refer Praveshika Prathem Theory Guide
Tatkar : refer Praveshika Prathem Theory Guide
Paran: Kathak compositions which uses the bol (sounds) of Pakhawaj (the drum instrument) are called Paran.
Example in Teentaal:
DhitDhit TaTrak DhitTa GheGheTita |
x
KataTete GhadiGhan Dha-S-Trak DhitTa |
2
GheGheTita KataTete GhadiGhan Dha-S-Trak |
0
DhitTa GheGheTita KataTete GhadiGhan |
3
Dha
x
Chakradar: Any Kathak composition, in which, exact same pattern of bols (sounds), repeat itself 3 times, is called Chakkradar.
(Sada: The compositions which are NOT chakkradar, are Sada.)
Kavit: Kavitt means poetry. Kathak compositions which use the words from language called Brij Bhasha (Language), are called Kavitt.
Example in Teentaal:
Jamu naKe Tata Para | Nacha taKa nahi ya S |
x 2
Ta S Ta S Thai ya S | Ta S Ta S Thai ya S |
0 3
Triti Chhoom Triti Chhoom | Chhoom Chhoom ChhaNa NaNa |
x 2
Tigda DigDig Thei Tigda | DigDig Thei Tigda DigDig |
0 3
Thei
x
Tihai: Tihayee means 3 times. Many Kathak compositions have Mukhara (beginning) followed by a Tihayee (a pattern repeating 3
times). When there is no Mukhara and only Tihayee is there, its typically performed by showcasing intricate footwork. Its a
tradition to end Various segments in Kathak with Tihayees, such as Thaat, Tatkaar variations (Upaj, Baant, Lari) to generate a
mesmerizing impact.
Anga, Pratyanga & Upanga:
The concept of Human anatomy was well understood in ancient India.A human body was presented as an inverted tree. This tree has roots at the top (head) and the branches (limbs) connected by the stem (body). For the benefit of study not just for dance but for Ayurveda, spirituality etc as well the Human body was mainly divided into 3 broad divisions
1. Anga : This forms the major classification of the body parts, infact a gross demarcation or surface marking of the body into 6 major parts. They are
Natya Shastra Slokam on Anga
Anganyatra ShiroHastou Vaksha Parshwa Kateetatou
Paadaviti shaduktaani Greevamapyaparae Jaguhu
2. Pratyanga : Pratyanga is defined as "the structure or organ located in relation to the main part or the human organs".These are thus the sub structures or the sub organs or secondary parts that are attached to the minor organs (Upanga) located in relation to the major organs or parts of the human body. Following 6 are the Pratyanga.
Pratyangaani twathaSkandou Baho Prushtam tadhodaram Ooro Janghae
shadityahuraparae Manibhanddakou Janoonikooraparamiti Traymapyathikam Jaguhu
3.Upanga : These are the minor parts that co oridinates with the Pratyanga. As per Natyashastra there are 12 Upanga. They are as follows
Dhristi bhrooputataraschaKapolou NasikaKanuhu Adharodashanaa Jihwa Chubukam Vadanam tatha
Upangaanidwadashita Anyanyangani santicha Paarshnee gulbauta thangulya Karayoha paadayostale
Gat-Bhav: When a Gat Nikas showcases a story, such as Makhan-Chori, Cher-Char, Kaliya-Mardan, its called Gat-Bhav (expression). Like Gat-Nikas, Gat-Bhav also starts with Gat-Palata and ends with tihayee. Since Gat-Bhav is a story telling composition, it requires change of characters performed by single dancer. That is also done with adding Gat-palatas in between the presentation.
Hasta-Mudra: Hand Gestures involving, palm and fingers are called Hast-Mudra. There are 28 Asanyukta Hast Mudra (single hand gestures) and 23 Sanyukta Hast Mudra (joined hand gestures), defined in "Abhinay Darpan", a book written around 1000 years back.
"Katha Kahe So Kathak Kahave"
Kathak dance is believed to be oldest Indian Classical dance, which originated form Keertan concept and is dated as old as Vedas.
When a dancer depicts a story (Katha) through his/her dance, dancer is called Kathakar or Kathak. And over the period of time, the dance style also got the name "Kathak".
The stories a Kathak dancer show-cases from the dance, is typically related to Indian mythology. Some examples are. Ganesh-
Vandana, Shiv-Vandana, Sarasvati-Vandana, Krishna-Makhan-Chori, Raas-Leela etc.
Although Kathak is Bhav- pradhan nritt (dance), but it also has Shudhha Nritt aspect, which is pure dance. Various compositions
performed in Shudhha Nritt are Tora/Tukra. Aamad, Paran, Kavitt, Gat-Nikas, tatkaar, Tihayee etc.
There are mainly 3 gharanas in Kathak: Lucknow Gharana, Jaipur Gharana and Banaras Gharana. There are arguments on considering 4th gharanas as well, called Raighar Gharana. While Lucknow Gharana is know for its Bhav nritt, Jaipur gharana is known for fast
spins and intricate tatkaar, and Banaras Gharana is know for taking spins from both sides. While Lucknow Gharana uses Natawari
bols ("Ta", "Thei", "Tat") a lot in its Shudha Nritt compositions, Jaipur and Banaras Gharana is known for using more of Paran bols.
Pandit Bindadin Maharaj from 18th century had a very prominent impact on Lucknow
gharana and is considered as a Father of Lucknow Gharana. Pandit Birju Maharaj, who is from same family is the living legend in
today's time. Pandit Sukhdev Maharaj, Pandit Gopi Kishan ji maharaj were the legendary figures of Banaras Gharana. From Jaipur
Gaharana, Pandit Rajendar Gangani ji is a reputed and very well know artist and Guru.
A Kathak dancer wears metal bells on both feet, typically made of bronze. These bells are knitted in strings. Dancers ties one string
on each foot to create a melodious sound with the footwork patterns done on the rhythmic taal cycle.
Kathak dance is performed by male as well as female dancers. Male dancers wear Pajami or tights along with long Kurta/ UNgerkha
and ties a chunni around the waist. Female dancers typically wear lahanga, long skirt along with pajami, blouse or short kurti and
chunni. Costumes are made in vibrant colors and with shiny work on top. Lahangas have lot of gher/ flayer which looks
mesmerizing with Kathak spins.
During Mugal Era (15th century to 18th century), Kathak had a transformation due to impact of Mugal Emperors in India. Dancers were
asked to dance in Courts rather than Temples or Arts platforms. Instead of singing bhajans or stuties for Indian deities, they were
asked to sing praises for the Mugal emperors. Some refused to do so, but some agreed to attain better living. Not all Mugal
emperors were demanding kathak dancers to perform for their entertainment, some were true admirers of Kathak dance style as
well, such as, Nawab Wazid Ali Shah.
During Mugal era, Anarkali costumes were introduced. These anarkali frock style costumes were worn along with pajami, jacket,
chunni and a cap with feathers in front of cap, called kalagi. Dancers started performing on Gazals and sufi songs, Salami
compositions (Tukra) were introduced to greet king and audience.
Although there was some downfall in name of Kathak during Mugal era, but it stayed alive due to Kathak admirers and again
regained its popularity from later part of 18th century. Today Kathak is a universally acclaimed Indian Classical Dance style and has
attained its global admiration.
2. Define:
Aamad: Aamad are those compositions in Kathak, which have below characterstics:
a: Aamad means entrance (Its a Persian word). Aamad are performed towards the beginning of performance
b: Uses Natawari Bol (sounds of 'Ta', 'Thei', 'Tat')
c: Right side movements are accompanied by similar movements done on Left side.
d: Done typically in Vilambit or Madhya Laya. dancer covers the stage in Aamad performance.
Example of Aamad:
Ta Thei Tat S | Aa Thei Tat S |
x 2
Thei S Thei S | Thei S Tat Tat |
0 3
Ta
x
Toda: refer Praveshika Prathem Theory Guide
Tukda: refer Praveshika Prathem Theory Guide
Tatkar : refer Praveshika Prathem Theory Guide
Paran: Kathak compositions which uses the bol (sounds) of Pakhawaj (the drum instrument) are called Paran.
Example in Teentaal:
DhitDhit TaTrak DhitTa GheGheTita |
x
KataTete GhadiGhan Dha-S-Trak DhitTa |
2
GheGheTita KataTete GhadiGhan Dha-S-Trak |
0
DhitTa GheGheTita KataTete GhadiGhan |
3
Dha
x
Chakradar: Any Kathak composition, in which, exact same pattern of bols (sounds), repeat itself 3 times, is called Chakkradar.
(Sada: The compositions which are NOT chakkradar, are Sada.)
Kavit: Kavitt means poetry. Kathak compositions which use the words from language called Brij Bhasha (Language), are called Kavitt.
Example in Teentaal:
Jamu naKe Tata Para | Nacha taKa nahi ya S |
x 2
Ta S Ta S Thai ya S | Ta S Ta S Thai ya S |
0 3
Triti Chhoom Triti Chhoom | Chhoom Chhoom ChhaNa NaNa |
x 2
Tigda DigDig Thei Tigda | DigDig Thei Tigda DigDig |
0 3
Thei
x
Tihai: Tihayee means 3 times. Many Kathak compositions have Mukhara (beginning) followed by a Tihayee (a pattern repeating 3
times). When there is no Mukhara and only Tihayee is there, its typically performed by showcasing intricate footwork. Its a
tradition to end Various segments in Kathak with Tihayees, such as Thaat, Tatkaar variations (Upaj, Baant, Lari) to generate a
mesmerizing impact.
Anga, Pratyanga & Upanga:
The concept of Human anatomy was well understood in ancient India.A human body was presented as an inverted tree. This tree has roots at the top (head) and the branches (limbs) connected by the stem (body). For the benefit of study not just for dance but for Ayurveda, spirituality etc as well the Human body was mainly divided into 3 broad divisions
1. Anga : This forms the major classification of the body parts, infact a gross demarcation or surface marking of the body into 6 major parts. They are
- Shira (Head)
- Hastas (Palm of the hands)
- Vakshas (Chest)
- Parshwa (2 sides of the Body)
- Kati (2 sides of the Waist)
- Padas ( Legs)
Natya Shastra Slokam on Anga
Anganyatra ShiroHastou Vaksha Parshwa Kateetatou
Paadaviti shaduktaani Greevamapyaparae Jaguhu
2. Pratyanga : Pratyanga is defined as "the structure or organ located in relation to the main part or the human organs".These are thus the sub structures or the sub organs or secondary parts that are attached to the minor organs (Upanga) located in relation to the major organs or parts of the human body. Following 6 are the Pratyanga.
- Skanda (Shoulder)
- Bahu (Arms)
- Prashtam (Back)
- Udaram (Stomach)
- Uru (Thighs)
- Janghas (Shanks)
Pratyangaani twathaSkandou Baho Prushtam tadhodaram Ooro Janghae
shadityahuraparae Manibhanddakou Janoonikooraparamiti Traymapyathikam Jaguhu
3.Upanga : These are the minor parts that co oridinates with the Pratyanga. As per Natyashastra there are 12 Upanga. They are as follows
- Dhristi (Eyes)
- Bhru or Bhrukuti (Eye Brows)
- Puta (Eye Lids)
- Tara (Eye balls)
- Kapola (Cheeks)
- Nasi( Nose )
- Hanu ( Jaws)
- Adhara ( Lower Lips)
- Dasana ( Teeth)
- Jithva ( Toungue)
- Cubukam (Chin)
- Vadanam (Face)
Dhristi bhrooputataraschaKapolou NasikaKanuhu Adharodashanaa Jihwa Chubukam Vadanam tatha
Upangaanidwadashita Anyanyangani santicha Paarshnee gulbauta thangulya Karayoha paadayostale
Gat-Bhav: When a Gat Nikas showcases a story, such as Makhan-Chori, Cher-Char, Kaliya-Mardan, its called Gat-Bhav (expression). Like Gat-Nikas, Gat-Bhav also starts with Gat-Palata and ends with tihayee. Since Gat-Bhav is a story telling composition, it requires change of characters performed by single dancer. That is also done with adding Gat-palatas in between the presentation.
Hasta-Mudra: Hand Gestures involving, palm and fingers are called Hast-Mudra. There are 28 Asanyukta Hast Mudra (single hand gestures) and 23 Sanyukta Hast Mudra (joined hand gestures), defined in "Abhinay Darpan", a book written around 1000 years back.
3.A. Define Folk Dance. Names of any five Indian folk dances.
Folk dances are the dance forms which evolves over the period of time through the celebrations at regional festivals. They have
below characteristics:
a: They are done to celebrate various festivals.
b: Songs are in regional language.
c: Costumes are regional costumes showcasing celebration mood of the community.
d: As the name suggests, Folk dances are done in big groups.
d: People do not seek formal training for those dance steps. Simple steps done in group brings out the charm and beauty of the
dance.
Examples:
Bhangara (from Punjab),
Gidhdha (from Punjab),
Garaba (from Gujarat),
Dandiya (from Gujarat),
Bihu (from Assam),
Koli (from Maharashtra)
GHoomar (from Rajasthan) etc.
3.B. Names of all seven Indian classical dance styles and their states.
Kathak (from North India: UP (Uttar Pradesh) & Rajasthan)
Bharatnatyam (from TamilNadu)
Kuchipuri : (from Andhra Pradesh)
MohiniAttam (from Kerala)
Kathakali (from Kerala)
Madipuri (from Madipur)
Odissi (from Odisha (formerly Orissa))
Folk dances are the dance forms which evolves over the period of time through the celebrations at regional festivals. They have
below characteristics:
a: They are done to celebrate various festivals.
b: Songs are in regional language.
c: Costumes are regional costumes showcasing celebration mood of the community.
d: As the name suggests, Folk dances are done in big groups.
d: People do not seek formal training for those dance steps. Simple steps done in group brings out the charm and beauty of the
dance.
Examples:
Bhangara (from Punjab),
Gidhdha (from Punjab),
Garaba (from Gujarat),
Dandiya (from Gujarat),
Bihu (from Assam),
Koli (from Maharashtra)
GHoomar (from Rajasthan) etc.
3.B. Names of all seven Indian classical dance styles and their states.
Kathak (from North India: UP (Uttar Pradesh) & Rajasthan)
Bharatnatyam (from TamilNadu)
Kuchipuri : (from Andhra Pradesh)
MohiniAttam (from Kerala)
Kathakali (from Kerala)
Madipuri (from Madipur)
Odissi (from Odisha (formerly Orissa))
4. Asanyukta-hasta-mudra: Definition and usages:
Asamyuta Hastas. Single Hands Gestures
ANGUSTHA: THUMB FINGER
TARJANI: FORE FINGER
MADHYUMA: MIDDLE FINGER
ANAMIKA: RING FINGER
KANISHTHA: LITTLE FINGER
(Note: Madhyama and Visharad students should memorize shlokas as well, along with meaning and usage).
1. PATAKA (Flag)
PRASARITAGRAAH SAHITA
YASYANGULYO BHAVANTIHI
KUNCHITASCHA TATHANGUSTHA
SA PATAKA ITI SMRUTAHA
Meaning: When all fingers are straightened and kept close to one another, it is the Pataka hasta.
Usages: This hasta is used to describe clouds, forest, river; to open a door, to beat; it is used in Natyarambhe position (the beginning of dance).
2. TRIPATAKA (Flag with three fingers)
PATAKE TU YADA VAKRANAMIKA
TVANGULIBHAVET
TRIPATAKAH SA VIGNEYAHA
KARMACHASYANIBODHATA
Meaning: If in the Pataka hasta the ring finger is kept bend, it is the Tripataka hasta.
Usages: crown, a tree, raising tongues of flame, a lamb, an arrow.
3. KARTARIMUKHA (Scissors' blades)
TRIPATAKE YADA HASTE
BHAVETPRUSHTAVALOKINI
TARJANI MADHYAMAYASCHA
TADASAU KARTARIMUKAHA
Meaning: When in the Tripataka hasta the index finger faces the back of the middle finger, it is the Kartarimukha hasta.
Usages: separation, corner of an eye, lightning.
4. ARDHACHANDRA (Crescent Moon)
YESYANGULASTU VINATAHA
SAHANGUSTHENA KAPARAM
SORDHACHANDRO HI VIGNEHAKARA
KARMASYA VAKSYATE
Meaning: When the thumb is bent outside, the rest of the fingers are brought together and the shape resembles a bow, it is the Ardhachandra hasta.
Usages: half Moon, a waist, to greet people of lower castes.
5. ARALA (Bent)
ADYA DHANURLATA KARYA
KUNCHITANGUSTHAKA TATHA
SESHA BHINNORDHVAVALITA
HYARALANGULYA SMRUTAHA
Meaning: When the index finger is bent like a bow and the thumb is bent without touching the other fingers and the rest of the fingers are straightened and kept closely together, it is the Arala hasta.
Usages: drinking nectar, poison, pride, courage, beauty, contentment, a gesture of blessing.
6. SHUKATUNDA (Parrot's beak)
ARALASYA YADA VAKRA ANAMIKA
TVANGULIR BHAVET
SHUKATUNDASTU SA KARAHA KARMA
CHASYA NIBODHATA
Meaning: When the ring finger of Arala hasta is bent, it is the Shukatunda hasta.
Usages: a parrot's beak, shooting an arrow.
7. MUSHTI (The first)
ANGULYO YASYA HASTASYA
TALAMADHU GRASAMSTITAHA
TASAMUPARI CHANGUSTAHA SA
MUSHTIRITI SANGNITAHA
Meaning: When all fingers are bent towards the palm and the thumb is placed on top of the other four fingers, it is the Mushti hasta.
Usages: holding hair, fighting, showing strength.
8. SHIKHARA (Peak)
ASYAVA TU YADA MUSHTE
URDHVANGUSHTA PRAYUJATE
HASTA SA SHIKHARO NAMA TADA
GNEYA PRAYOKTRIBIHI
Meaning: If the thumb of the Mushti hasta is lifted up, it is the Shikhara hasta.
Usages: a bow, lips, painting feet, a pillar; to show how hair stands on end.
9. KAPITTA (Wood apple)
ASYAVA SHIKHARAKHYASYA
MUKHENGUSHTHENIPIDITA
YADA PRADESINI VAKRA SA
KAPITTHASTADA SMRUTAHA
Meaning: When in Shikhara hasta the forefinger is kept curved and pressed to the thumb, it is the Kapitta hasta.
Usages: weapons (a sword, a bow), throwing a spear, shakti (female energy), milking a cow, an arrow.
10. KATAKAMUKHA (Bracelet's lock)
UTKSHIPTAVAKRA TU YADA
ANAMIKA SAKANIYASI
ASYAIVA TU KAPITTASYA
TADASOU KATAKAMUKAHA
Meaning: If the ring finger and the little finger of the Kapitta hasta are raised up and the middle finger is bent forward, then it is the Katakamukha hasta.
Usages: Hotra (sacrifice), Havya (a ritual of fire offering), an umbrella, a garland of flowers, churning.
11. SUCHI (Needle)
KATAKAKHYE YADA HASTE
TARJANI SAMPRASARITA
HASTA SUCHIMUKHO NAMA TADA
GNEYA PRAYOKTRIVIHI
Meaning: When the forefinger of the Kapitta hasta is stretched out, it is the Suchi hasta.
Usages: it is used to describe number one; the whole world.
12. PADMAKOSHA (Lotus bud)
SYANGULSTU VIRALAHA
SAHANGUSHTENA KUNCHITAHA
URDHVA HYAMSAGATAGRASCHA SA
BHAVET PADMAKOSHAKAHA
Meaning: All the fingers including the thumb are kept separately and their ends are slightly curved, it is the Padmakosha hasta.
Usages: lotus, fruits of a Bilva tree, women breasts.
13. SARPASIRSHA (Snake's head)
ANGULYA SAHITA SARVA
SAHANGUSHTENA YASYA TU
TATHA NIMNATALASCHAIVA SA TU
SARPASIRA KARAHA
Meaning: When all fingers including the thumb are kept close to one another and are slightly bent towards the palm, it is the Sarpasirsha hasta.
Usages: a snake's hood, the offering of water to gurus and sages, pouring water, the movement of the Earth.
14. MRIGASIRSHA (Deer's head)
ADHOMUKHINAM SARVASAM
ANGULNAM SAMAGAMAHA
KANISHTANGUSHTAKAURDHVU
SA BHAVET MRIGASIRSHAKAHA
Meaning: If all fingers of the Sarpasirsha hasta are stretched out and bent forward (besides the thumb and the little finger which are raised up), then it is the Mrigasirsha hasta.
Usages: To express a woman, calling, deer's head, cheeks.
15. Kangula
LANGULATRETAGNI SAMSTITA MADHYA
TARJANYANGUSHTAKASTATHA
ANGULENAMIKA VAKRA TATHA
CHORDHVA KANIYASI
Meaning: When the little finger is raised up, the ring finger is kept bent and the other three fingers are separated, it is the Kangula hasta.
Usages: various fruit, fire, angry objections of a woman.
16. ALAPADMA (Lotus)
AVARTI NYA KARATALE
YASYANGULYO BHAVANTI HI
PARSVAGATAVIKIRNASCHA SA
BHAVET ALAPADMAKAHA
Meaning: When all fingers are separated from one another and are turned towards the palm in a circular way, it is the Alapadma hasta.
Usages: a lotus, a breast, beauty.
17. CHATURA (Four)
TYSRAH PRASARITA YATRA TATHA
CHORDHVA KANAYASI
TASAM MADHYASTATHANGUSHTAHA
SA KARASCHATURASMRUTAHA
Meaning: When three fingers are spread out, the little finger is lifted up and the thumb is kept within the palm, it is the Chatura hasta.
Usages: to show something little, artfulness.
18. BHRAMARA (Bee)
MADHYAMANGUSTASAMDAMSO
VAKRA CHAIVA PRADESHINI
URDHVAMANYA PRAKEERNA CHA
ANGULYO BHRAMARE KARE
Meaning: When the middle finger and the thumb touch each other and the forefinger is bent and the other two fingers are separated and raised, it is the Bhramara hasta.
Usages: a bee, a wing.
19. HAMSASYA (Swan's beak)
TARJANIMADHYAMANGUSHTAHA
TRETAGNISTHA NIRANTARAHA
BHAVEYURHAMSVAVAKTRASYA
SESHA DVE SAMPRASARITE
Meaning: When the forefinger and the thumb are kept without any gap and the remaining fingers are stretched out, it is the Hamsasya hasta.
Usages: softness, holding a garland, tying something up.
20. HAMSAPAKSHA (Swan's wing)
SAMAHPRASARITASTISRA TATHA
CHORDHVA KANIYASI
ANGUSHTA KUNCHITASCHAIVA
HAMSAPAKSHA ITI SMRUTAHA
Meaning: If three fingers are held straightened like a wing of a swan and the little finger is raised and the thumb is kept bent, it is the Hamsapaksha hasta.
Usages: touching the chin as a gesture of apologizing or embarrassment, showing respect.
21. SANDAMSA (Pincers)
TARJANYANGUSHTASANDAMSO
HIRALSYA YATHA BHAVET
ABHUGNATALAMADYASCHA SA
SANDAMSA ITI SMRUTAHA
Meaning: When the thumb and the forefinger of the Arala hasta are bent like pincers and the palm is a little hollow, it is the Sandamsa hasta.
Usages: wearing a garland, picking up flowers, picking up blades of grass, leaves, hairs or threads, holding or pulling out an arrow, removing a thorn; painting eyes, writing a letter.
22. MUKALA (Bud)
SAMANATAGRA SAHITA
YASYANGULYO BHAVANTI HI
URDHVA HAMSAMUKHASAIVA
BHAVEN MUKULAHA KARAHA
Meaning: When all the fingers of the Hamsasya hasta are bent and kept close to one another on their tips, it is the Mukula hasta.
Usages: a lotus bud; taking food; blowing a kiss to somebody; giving something as a present.
23. URNANABHA (Spider)
PADMAKOSHASYA HASTASYA
ANGULYA KUNCHITA YADA
URNANABHA SA VIGNEYAHA
KESHACHOVRYAGRUHADISHU
Meaning: When the fingers in the Padmakosha hasta are bent harder, it is the Urnanabha hasta because it resembles a spider.
Usages: scratching the head, receiving stolen property, leprosy, lions, tigers, holding a stone.
24. TAMRACHUDA (Cock)
MADHYAMANGUSHTASANDAMSO
VAKRA CHAIVA PRADESHINI
SHESHETALASHE KARTAVYA
TAMRACHUDE KARANGULI
Meaning: If the middle finger crosses with the thumb, the index finger is kept bent and the remaining two fingers are pressed against the palm, it is the Tamrachuda hasta.
Usages: to reproach, to strike, to beat time, to demonstrate self-confidence, rapidity and thus to indicate any kind of gesticulation.
ANGUSTHA: THUMB FINGER
TARJANI: FORE FINGER
MADHYUMA: MIDDLE FINGER
ANAMIKA: RING FINGER
KANISHTHA: LITTLE FINGER
(Note: Madhyama and Visharad students should memorize shlokas as well, along with meaning and usage).
1. PATAKA (Flag)
PRASARITAGRAAH SAHITA
YASYANGULYO BHAVANTIHI
KUNCHITASCHA TATHANGUSTHA
SA PATAKA ITI SMRUTAHA
Meaning: When all fingers are straightened and kept close to one another, it is the Pataka hasta.
Usages: This hasta is used to describe clouds, forest, river; to open a door, to beat; it is used in Natyarambhe position (the beginning of dance).
2. TRIPATAKA (Flag with three fingers)
PATAKE TU YADA VAKRANAMIKA
TVANGULIBHAVET
TRIPATAKAH SA VIGNEYAHA
KARMACHASYANIBODHATA
Meaning: If in the Pataka hasta the ring finger is kept bend, it is the Tripataka hasta.
Usages: crown, a tree, raising tongues of flame, a lamb, an arrow.
3. KARTARIMUKHA (Scissors' blades)
TRIPATAKE YADA HASTE
BHAVETPRUSHTAVALOKINI
TARJANI MADHYAMAYASCHA
TADASAU KARTARIMUKAHA
Meaning: When in the Tripataka hasta the index finger faces the back of the middle finger, it is the Kartarimukha hasta.
Usages: separation, corner of an eye, lightning.
4. ARDHACHANDRA (Crescent Moon)
YESYANGULASTU VINATAHA
SAHANGUSTHENA KAPARAM
SORDHACHANDRO HI VIGNEHAKARA
KARMASYA VAKSYATE
Meaning: When the thumb is bent outside, the rest of the fingers are brought together and the shape resembles a bow, it is the Ardhachandra hasta.
Usages: half Moon, a waist, to greet people of lower castes.
5. ARALA (Bent)
ADYA DHANURLATA KARYA
KUNCHITANGUSTHAKA TATHA
SESHA BHINNORDHVAVALITA
HYARALANGULYA SMRUTAHA
Meaning: When the index finger is bent like a bow and the thumb is bent without touching the other fingers and the rest of the fingers are straightened and kept closely together, it is the Arala hasta.
Usages: drinking nectar, poison, pride, courage, beauty, contentment, a gesture of blessing.
6. SHUKATUNDA (Parrot's beak)
ARALASYA YADA VAKRA ANAMIKA
TVANGULIR BHAVET
SHUKATUNDASTU SA KARAHA KARMA
CHASYA NIBODHATA
Meaning: When the ring finger of Arala hasta is bent, it is the Shukatunda hasta.
Usages: a parrot's beak, shooting an arrow.
7. MUSHTI (The first)
ANGULYO YASYA HASTASYA
TALAMADHU GRASAMSTITAHA
TASAMUPARI CHANGUSTAHA SA
MUSHTIRITI SANGNITAHA
Meaning: When all fingers are bent towards the palm and the thumb is placed on top of the other four fingers, it is the Mushti hasta.
Usages: holding hair, fighting, showing strength.
8. SHIKHARA (Peak)
ASYAVA TU YADA MUSHTE
URDHVANGUSHTA PRAYUJATE
HASTA SA SHIKHARO NAMA TADA
GNEYA PRAYOKTRIBIHI
Meaning: If the thumb of the Mushti hasta is lifted up, it is the Shikhara hasta.
Usages: a bow, lips, painting feet, a pillar; to show how hair stands on end.
9. KAPITTA (Wood apple)
ASYAVA SHIKHARAKHYASYA
MUKHENGUSHTHENIPIDITA
YADA PRADESINI VAKRA SA
KAPITTHASTADA SMRUTAHA
Meaning: When in Shikhara hasta the forefinger is kept curved and pressed to the thumb, it is the Kapitta hasta.
Usages: weapons (a sword, a bow), throwing a spear, shakti (female energy), milking a cow, an arrow.
10. KATAKAMUKHA (Bracelet's lock)
UTKSHIPTAVAKRA TU YADA
ANAMIKA SAKANIYASI
ASYAIVA TU KAPITTASYA
TADASOU KATAKAMUKAHA
Meaning: If the ring finger and the little finger of the Kapitta hasta are raised up and the middle finger is bent forward, then it is the Katakamukha hasta.
Usages: Hotra (sacrifice), Havya (a ritual of fire offering), an umbrella, a garland of flowers, churning.
11. SUCHI (Needle)
KATAKAKHYE YADA HASTE
TARJANI SAMPRASARITA
HASTA SUCHIMUKHO NAMA TADA
GNEYA PRAYOKTRIVIHI
Meaning: When the forefinger of the Kapitta hasta is stretched out, it is the Suchi hasta.
Usages: it is used to describe number one; the whole world.
12. PADMAKOSHA (Lotus bud)
SYANGULSTU VIRALAHA
SAHANGUSHTENA KUNCHITAHA
URDHVA HYAMSAGATAGRASCHA SA
BHAVET PADMAKOSHAKAHA
Meaning: All the fingers including the thumb are kept separately and their ends are slightly curved, it is the Padmakosha hasta.
Usages: lotus, fruits of a Bilva tree, women breasts.
13. SARPASIRSHA (Snake's head)
ANGULYA SAHITA SARVA
SAHANGUSHTENA YASYA TU
TATHA NIMNATALASCHAIVA SA TU
SARPASIRA KARAHA
Meaning: When all fingers including the thumb are kept close to one another and are slightly bent towards the palm, it is the Sarpasirsha hasta.
Usages: a snake's hood, the offering of water to gurus and sages, pouring water, the movement of the Earth.
14. MRIGASIRSHA (Deer's head)
ADHOMUKHINAM SARVASAM
ANGULNAM SAMAGAMAHA
KANISHTANGUSHTAKAURDHVU
SA BHAVET MRIGASIRSHAKAHA
Meaning: If all fingers of the Sarpasirsha hasta are stretched out and bent forward (besides the thumb and the little finger which are raised up), then it is the Mrigasirsha hasta.
Usages: To express a woman, calling, deer's head, cheeks.
15. Kangula
LANGULATRETAGNI SAMSTITA MADHYA
TARJANYANGUSHTAKASTATHA
ANGULENAMIKA VAKRA TATHA
CHORDHVA KANIYASI
Meaning: When the little finger is raised up, the ring finger is kept bent and the other three fingers are separated, it is the Kangula hasta.
Usages: various fruit, fire, angry objections of a woman.
16. ALAPADMA (Lotus)
AVARTI NYA KARATALE
YASYANGULYO BHAVANTI HI
PARSVAGATAVIKIRNASCHA SA
BHAVET ALAPADMAKAHA
Meaning: When all fingers are separated from one another and are turned towards the palm in a circular way, it is the Alapadma hasta.
Usages: a lotus, a breast, beauty.
17. CHATURA (Four)
TYSRAH PRASARITA YATRA TATHA
CHORDHVA KANAYASI
TASAM MADHYASTATHANGUSHTAHA
SA KARASCHATURASMRUTAHA
Meaning: When three fingers are spread out, the little finger is lifted up and the thumb is kept within the palm, it is the Chatura hasta.
Usages: to show something little, artfulness.
18. BHRAMARA (Bee)
MADHYAMANGUSTASAMDAMSO
VAKRA CHAIVA PRADESHINI
URDHVAMANYA PRAKEERNA CHA
ANGULYO BHRAMARE KARE
Meaning: When the middle finger and the thumb touch each other and the forefinger is bent and the other two fingers are separated and raised, it is the Bhramara hasta.
Usages: a bee, a wing.
19. HAMSASYA (Swan's beak)
TARJANIMADHYAMANGUSHTAHA
TRETAGNISTHA NIRANTARAHA
BHAVEYURHAMSVAVAKTRASYA
SESHA DVE SAMPRASARITE
Meaning: When the forefinger and the thumb are kept without any gap and the remaining fingers are stretched out, it is the Hamsasya hasta.
Usages: softness, holding a garland, tying something up.
20. HAMSAPAKSHA (Swan's wing)
SAMAHPRASARITASTISRA TATHA
CHORDHVA KANIYASI
ANGUSHTA KUNCHITASCHAIVA
HAMSAPAKSHA ITI SMRUTAHA
Meaning: If three fingers are held straightened like a wing of a swan and the little finger is raised and the thumb is kept bent, it is the Hamsapaksha hasta.
Usages: touching the chin as a gesture of apologizing or embarrassment, showing respect.
21. SANDAMSA (Pincers)
TARJANYANGUSHTASANDAMSO
HIRALSYA YATHA BHAVET
ABHUGNATALAMADYASCHA SA
SANDAMSA ITI SMRUTAHA
Meaning: When the thumb and the forefinger of the Arala hasta are bent like pincers and the palm is a little hollow, it is the Sandamsa hasta.
Usages: wearing a garland, picking up flowers, picking up blades of grass, leaves, hairs or threads, holding or pulling out an arrow, removing a thorn; painting eyes, writing a letter.
22. MUKALA (Bud)
SAMANATAGRA SAHITA
YASYANGULYO BHAVANTI HI
URDHVA HAMSAMUKHASAIVA
BHAVEN MUKULAHA KARAHA
Meaning: When all the fingers of the Hamsasya hasta are bent and kept close to one another on their tips, it is the Mukula hasta.
Usages: a lotus bud; taking food; blowing a kiss to somebody; giving something as a present.
23. URNANABHA (Spider)
PADMAKOSHASYA HASTASYA
ANGULYA KUNCHITA YADA
URNANABHA SA VIGNEYAHA
KESHACHOVRYAGRUHADISHU
Meaning: When the fingers in the Padmakosha hasta are bent harder, it is the Urnanabha hasta because it resembles a spider.
Usages: scratching the head, receiving stolen property, leprosy, lions, tigers, holding a stone.
24. TAMRACHUDA (Cock)
MADHYAMANGUSHTASANDAMSO
VAKRA CHAIVA PRADESHINI
SHESHETALASHE KARTAVYA
TAMRACHUDE KARANGULI
Meaning: If the middle finger crosses with the thumb, the index finger is kept bent and the remaining two fingers are pressed against the palm, it is the Tamrachuda hasta.
Usages: to reproach, to strike, to beat time, to demonstrate self-confidence, rapidity and thus to indicate any kind of gesticulation.
:5. Life story of a renowned Kathak dancer.
Pandit Birju Maharaj
Brijmohan Mishra, popularly known as Pandit Birju Maharaj , born on 4 February 1938), is the leading exponent of the LucknowKalka-Bindadin gharana of Kathak dance in India. He is a descendant of the legendary Maharaj family of Kathak dancers, which includes his two uncles, Shambhu Maharajand Lachhu Maharaj, and his father and guru, Acchan Maharaj. Even though dancing is his first love, he also has an excellent command over Hindustani classical music and is an accomplished vocalist as well. He took Kathak to new heights by choreographing new Kathak dance dramas.He is also the founder of kalashram. He has toured extensively around the globe, given thousands of performances and held hundreds of workshops for kathak students.
After working along with his uncle, Shambhu Maharaj at Bhartiya Kala Kendra, later the Kathak Kendra, New Delhi, he remained head of the latter, for several years, till his retirement in 1998 when he opened his own dance school, Kalashram, also in Delhi.
Early life and background:
Birju Maharaj was born in the house of noted Kathak exponent, Jagannath Maharaj, popularly known as Acchan Maharaj of Lucknow Gharana, who served as court dancer in Raigarh princely state. Birju was trained by his uncles, Lachhu Maharaj and Shambhu Maharaj and his father, and he gave his first recital at the age of seven. On 20 May 1947, his father died when he was nine .After a few years of struggle, his family moved to Delhi.
Career:
Birju Maharaj started teaching the dance form at the young age of thirteen, at the Sangeet Bharti in New Delhi. He then taught at the Bharatiya Kala Kendra in Delhi, and at the Kathak Kendra (a unit of the Sangeet Natak Akademi) where he was Head of Faculty, and director, retiring in 1998 after which he opened his own dance school, Kalashram, also in Delhi. He composed the music, and sang, for two dance sequences in the Satyajit Ray's Shatranj ke Khilari, and choreographed the song Kaahe Chhed Mohe from the 2002 film version of novel Devdas. In addition, he has also choreographed Kathak dance sequences in Dedh Ishqiya as well as Umrao Jaan, and Bajirao Mastani directed by Sanjay Leela Bhansali.
Awards and honours:
Birju Maharaj has won many accolades, including Padma Vibhushan in 1986, Sangeet Natak Akademi Award and the Kalidas Samman. He also received honorary Doctorate degrees from Banaras Hindu University(Varanasi) and Khairagarh University.
Pandit Birju Maharaj
Brijmohan Mishra, popularly known as Pandit Birju Maharaj , born on 4 February 1938), is the leading exponent of the LucknowKalka-Bindadin gharana of Kathak dance in India. He is a descendant of the legendary Maharaj family of Kathak dancers, which includes his two uncles, Shambhu Maharajand Lachhu Maharaj, and his father and guru, Acchan Maharaj. Even though dancing is his first love, he also has an excellent command over Hindustani classical music and is an accomplished vocalist as well. He took Kathak to new heights by choreographing new Kathak dance dramas.He is also the founder of kalashram. He has toured extensively around the globe, given thousands of performances and held hundreds of workshops for kathak students.
After working along with his uncle, Shambhu Maharaj at Bhartiya Kala Kendra, later the Kathak Kendra, New Delhi, he remained head of the latter, for several years, till his retirement in 1998 when he opened his own dance school, Kalashram, also in Delhi.
Early life and background:
Birju Maharaj was born in the house of noted Kathak exponent, Jagannath Maharaj, popularly known as Acchan Maharaj of Lucknow Gharana, who served as court dancer in Raigarh princely state. Birju was trained by his uncles, Lachhu Maharaj and Shambhu Maharaj and his father, and he gave his first recital at the age of seven. On 20 May 1947, his father died when he was nine .After a few years of struggle, his family moved to Delhi.
Career:
Birju Maharaj started teaching the dance form at the young age of thirteen, at the Sangeet Bharti in New Delhi. He then taught at the Bharatiya Kala Kendra in Delhi, and at the Kathak Kendra (a unit of the Sangeet Natak Akademi) where he was Head of Faculty, and director, retiring in 1998 after which he opened his own dance school, Kalashram, also in Delhi. He composed the music, and sang, for two dance sequences in the Satyajit Ray's Shatranj ke Khilari, and choreographed the song Kaahe Chhed Mohe from the 2002 film version of novel Devdas. In addition, he has also choreographed Kathak dance sequences in Dedh Ishqiya as well as Umrao Jaan, and Bajirao Mastani directed by Sanjay Leela Bhansali.
Awards and honours:
Birju Maharaj has won many accolades, including Padma Vibhushan in 1986, Sangeet Natak Akademi Award and the Kalidas Samman. He also received honorary Doctorate degrees from Banaras Hindu University(Varanasi) and Khairagarh University.
- Filmfare Award for Best Choreography for song 'Mohe Rang Do Laal' from 'Bajirao Mastani' in 2016.
- He was the recipient of the Lata Mangeshkar Puraskaar in 2002.
- Bharat Muni Sammaan[7][8]
- 2012 National Film Award for Best Choreography: Vishwaroopam (2012)[9]
- 2016 Filmfare award: Bajirao Mastani (Best choreography)
- 2017 *Tamil Nadu State Film Award for Best Choreographer- Vishwaroopam (2013)
6. Names of well-known Tabla player who accompany Kathak at present.
Ustad Zakir Husain, son of Pandit Alla Rakha Khan, is a very well know Tabla artist , and accompanies Pandit Birju Maharaj in his Kathak recitals.
Anindo Chatterjee : A very renowned Tabla artists and a great Kathak accompanists :
Pt. Birju Maharaj and Pt Anindo chatterjee : https://www.youtube.com/watch?v=u4e-DSi8u7E
https://www.youtube.com/watch?v=vNxvu0ZOH28
7. Compulsory Question: Ability to write the notations of:
1. In Teentaal:
Tihai:
TaThei TheiTat AaThei TheiTat |
x
Thei S TaThei TheiTat |
2
AaThei TheiTat Thei S |
0
TaThei TheiTat AaThei TheiTat |
3
Thei
x
Simple Aamad:
Ta Thei Tat S | Aa Thei Tat S |
x 2
Thei S Thei S | Thei S Tat Tat |
0 3
Ta
x
Paranjudi Aamad:
Dha Ta Ka Thun | Ga S Dha Ge |
x 2
Di Ge Ta S | Dha Dhin Na S |
0 3
Dhit Ta Kit Dha | Tak ka Thun ga |
x 2
Taki Tata Ka S | Tita Kata Gadi Gana |
0 3
Ta Thei TaTa Thei | Aa Thei TaTa Thei |
x 2
Thei t-The i t- Thei | Thei Thei Tat Tat |
0 3
Ta
x
Toda:
Tat S Tat S | Tig Da Dig Dig | Tig Da Dig Dig |
x 2 0
Tat S Tat S | The Ee Ya The | Ee Ya Tram S |
3 x 2
Tat Tat TigDa DigDig | TigDa DigDig Tat Tat | Thei
0 3 x
Paran:
DhitDhit TaTrak DhitTa GheGheTita |
x
KataTete GhadiGhan Dha-S-Trak DhitTa |
2
GheGheTita KataTete GhadiGhan Dha-S-Trak |
0
DhitTa GheGheTita KataTete GhadiGhan |
3
Dha
x
Kavit:
Jamu naKe Tata Para | Nacha taKa nahi ya S |
x 2
Ta S Ta S Thai ya S | Ta S Ta S Thai ya S |
0 3
Triti Chhoom Triti Chhoom | Chhoom Chhoom ChhaNa NaNa |
x 2
Tigda DigDig Thei Tigda | DigDig Thei Tigda DigDig |
0 3
Thei
x
2. In Jhaptaal:
Jhaptaal is a taal with:
10 Matra
4 vibhag
3 taali
1 khali
Taali comes on matra number 1, 3 and 8
Khali comes on matra number 6
Theka
Dhah/Barabar
1 2 3 4 5 6 7 8 9 10
Dhi Na | Dhi Dhi Na | Ti Na | Dhi Dhi Na |
x 2 0 3
Dugun
1 2 3 4 5 6 7 8 9 10
DhiNa DhiDhi | NaTi NaDhi DhiNa | DhiNa DhiDhi | NaTi NaDhi DhiNa |
x 2 0 3
Tihai:
TaTheiTheiTat AaTheiTheiTat | Thei TaTheiTheiTat AaTheiTheiTat | Thei
x 2 0
TaTheiTheiTat | AaTheiTheiTat Thei S | S
3 x
TaTheiTheiTat | AaTheiTheiTat Thei TaTheiTheiTat | AaTheiTheiTat Thei |
2 0
TaTheiTheiTat AaTheiTheiTat Thei | S S |
3 x
TaTheiTheiTat AaTheiTheiTat Thei | TaTheiTheiTat AaTheiTheiTat | Thei
2 0 3
TaTheiTheiTat AaTheiTheiTat | Thei
x
Toda:
Tat S | Tat S Tig | Da Dig | Dig Tig Da | Dig Dig |
x 2 0 3 x
Tat S Tat | S The | Ee Ya The | Ee Ya | Tram S
2 0 3 x 2
Tat | Tat TigDa | DigDig TigDa DigDig | Tat Tat | Thei S
0 3 x 2
Tat | Tat Thei | S Tat Tat | Thei
0 3 x
Aamad:
Ta Thei | Tat S Aa | Thei Tat | S Ta Thei |
x 2 0 3
Tat Aa | Thei Tat Thei | S Thei | S Thei S |
x 2 0 3
Tat Tat | Ta S Tat | Tat Ta | S Tat Tat |
x 2 0 3
Ta
x
Paran:
Dhan Dha- | Takita Dha- Takit | Dhigit Takit | Dhigit Dhagin Dhagin |
x 2 0 3
Dhagin Nagin | Nagin Nagin DhitDhi | tDhit TakTa | kTak Takit Dhan |
x 2 0 3
Takit Dhan | Takit Dhan Dha | S Takit | Dhan Takit Dhan |
x 2 0 3
Takit Dhan | Dha S Takit | Dhan Takit | Dhan Takit Dhan |
x 2 0 3
Dha
x
3. Write notations of Thekas of Dadra and Keharwa Taal
refer Praveshika Pratham Theory Guide