Definitions
For Laya, Sama, Matra, Taali & Khaali refer to previous years Theory Guide: Prarambhic Theory Guide
Gat-Nikas: Gat means Gati, speed or chaal (walk) and Nikas means "coming out" (its a pharasi word). When a dancer takes some gat-palata and comes out with a posture such as Murali (flute), ghunghat, mataki (earthen pot) etc and then shows various graceful ways to walk, its called Gat-Nikas. Mostly Gat-Nikas are started with Gat-Palata and ended with GatPalata followed by quick walk and Tihayee.
Gat-Palta: Palata (turns) done as part of Gat-Nikas are called Gat-Palata. They are also known as Kawach-Palata. These palatas typically requires turning from Right hand side first then from left hand side. Gat - Palata are done for :
1> To show beginning of the Gat-Nikas or Gat-bhav.
2> Change of Character in Gat-bhav. (When a Gat-nikas also show-cases a story such as Makhan-chori, its called Gat-bhav)
Tatkar: Footwork pattern on the theka of a taal is called Tatkaar.
Toda: A small dance piece in Kathak style, typically starting from Sam and ending on Sam is called Toda. This involves Kathak Hastaks, bhamari (spins) and footwork patterns.
Tukda: Defined in different ways by different gurus. Some say Tukra is smaller composition that Tora, and typically is of only one Avartan(Taal-cycle) long. Some say Tukra and Tora are same.
Thaat:: Various graceful stands taken on Sam of a taal cycle is called Thaat. Traditionally Thaat is done towards the beginning of performance of Shudha Kathak Nritt (pure dance) and its done in Vilambit laya.
Rang Manch Pranaam: When a Toda or Tukara is done to do a Namaskar to stage, and Guru, audience and Musicians, its call Rang-Manch-Praman. The ending pose of a Rang-Manch-Pranam is in Namaskar mudra.As the name suggests, its done towards the beginning of the performance.
Salami: During Mugal era, ending pose of Rang-Manch-Pranam was replaced with a salami pose. Any tora ending with salami pose and its to greet the audience is called Salami.
Baant: Variations of Tatkaar (footwork) patterns in a given Taal cycle. Pattern starting with Right foot has a counter pattern which starts from left foot. Footwork pattern and counter pattern both complete within the taal cycle and can be repeated as many times a dancer would like to.
Gat-Nikas: Gat means Gati, speed or chaal (walk) and Nikas means "coming out" (its a pharasi word). When a dancer takes some gat-palata and comes out with a posture such as Murali (flute), ghunghat, mataki (earthen pot) etc and then shows various graceful ways to walk, its called Gat-Nikas. Mostly Gat-Nikas are started with Gat-Palata and ended with GatPalata followed by quick walk and Tihayee.
Gat-Palta: Palata (turns) done as part of Gat-Nikas are called Gat-Palata. They are also known as Kawach-Palata. These palatas typically requires turning from Right hand side first then from left hand side. Gat - Palata are done for :
1> To show beginning of the Gat-Nikas or Gat-bhav.
2> Change of Character in Gat-bhav. (When a Gat-nikas also show-cases a story such as Makhan-chori, its called Gat-bhav)
Tatkar: Footwork pattern on the theka of a taal is called Tatkaar.
Toda: A small dance piece in Kathak style, typically starting from Sam and ending on Sam is called Toda. This involves Kathak Hastaks, bhamari (spins) and footwork patterns.
Tukda: Defined in different ways by different gurus. Some say Tukra is smaller composition that Tora, and typically is of only one Avartan(Taal-cycle) long. Some say Tukra and Tora are same.
Thaat:: Various graceful stands taken on Sam of a taal cycle is called Thaat. Traditionally Thaat is done towards the beginning of performance of Shudha Kathak Nritt (pure dance) and its done in Vilambit laya.
Rang Manch Pranaam: When a Toda or Tukara is done to do a Namaskar to stage, and Guru, audience and Musicians, its call Rang-Manch-Praman. The ending pose of a Rang-Manch-Pranam is in Namaskar mudra.As the name suggests, its done towards the beginning of the performance.
Salami: During Mugal era, ending pose of Rang-Manch-Pranam was replaced with a salami pose. Any tora ending with salami pose and its to greet the audience is called Salami.
Baant: Variations of Tatkaar (footwork) patterns in a given Taal cycle. Pattern starting with Right foot has a counter pattern which starts from left foot. Footwork pattern and counter pattern both complete within the taal cycle and can be repeated as many times a dancer would like to.
Identify the symbols of Taal notations:
Sam : X
Taali from 2nd vibhag onwards: 2,3,4.... (1st taali is sam, so instead of showing with number1, its shown with X)
Khali: o
Vibhag: |
Matra: curvy underline under the full text to be said on that Matra/beat.
Taali from 2nd vibhag onwards: 2,3,4.... (1st taali is sam, so instead of showing with number1, its shown with X)
Khali: o
Vibhag: |
Matra: curvy underline under the full text to be said on that Matra/beat.
Information and Theka of Dadara and Kaharawa taal:
Dadara Taal:
Matra/beats = 6
# of Taali = 1, taali on matra#1
# of Khali = 1, khali on matra # 4
# of Vibhag = 2
Theka:
1 2 3 4 5 6
Dha Dhi Na | Dha Tu Na |
x o
Kaharawa Taal
Matra/beats = 8
# of Taali = 1, taali on matra#1
# of Khali = 1, khali on matra # 5
# of Vibhag = 2
Theka:
1 2 3 4 5 6 7 8
Dha Ge Na Ti | Na Ka Dhi Na |
x o
Matra/beats = 6
# of Taali = 1, taali on matra#1
# of Khali = 1, khali on matra # 4
# of Vibhag = 2
Theka:
1 2 3 4 5 6
Dha Dhi Na | Dha Tu Na |
x o
Kaharawa Taal
Matra/beats = 8
# of Taali = 1, taali on matra#1
# of Khali = 1, khali on matra # 5
# of Vibhag = 2
Theka:
1 2 3 4 5 6 7 8
Dha Ge Na Ti | Na Ka Dhi Na |
x o
Names of 5 Kathak Gurus of current time:
Guru Pandit Birju Maharaj
Guru Sashwati Sen
Guru Pandita Ranjana Srivastava
Guru Pandita Manisha Sathe
Guru Shambhavi Dandekar
Guru Sashwati Sen
Guru Pandita Ranjana Srivastava
Guru Pandita Manisha Sathe
Guru Shambhavi Dandekar
Names& usages of 10 Asanyukta hasta Mudras as per Abhinay Darpan
Patatka : To bless, To say No, To stop someone, To open/close doors, To show surprise when hand on open mouth
Tri-Pataka : To Show King or crown, To apply Teeka/Tilak, To make paste of chandan
Ardha Pataka: To show flow of water stream, to separate men and women, To show river bank
Kartarimukh: eyes, 3rd eye of Lord Shiva, #Two, to show ghunghat
Mayur: peacock
Ardhachandra: half moon
Araal: Main posture in Kathak to stand in Utpatti stand, to show writing something, Tulsidaas the poet, Bramha, Mang-teeka
Shukatunda: Arrow while showing Bow-and Arrow,
Mushthi: to show power, bheem lifting gada, Goddess Durga, Trishool of Lord Shiva. holding someones hand from wrist.
Shikhar: Top pf mountain, to apply teeka/tilak, to show Lord Ganesha's trunk (upside down shikhar)
Tri-Pataka : To Show King or crown, To apply Teeka/Tilak, To make paste of chandan
Ardha Pataka: To show flow of water stream, to separate men and women, To show river bank
Kartarimukh: eyes, 3rd eye of Lord Shiva, #Two, to show ghunghat
Mayur: peacock
Ardhachandra: half moon
Araal: Main posture in Kathak to stand in Utpatti stand, to show writing something, Tulsidaas the poet, Bramha, Mang-teeka
Shukatunda: Arrow while showing Bow-and Arrow,
Mushthi: to show power, bheem lifting gada, Goddess Durga, Trishool of Lord Shiva. holding someones hand from wrist.
Shikhar: Top pf mountain, to apply teeka/tilak, to show Lord Ganesha's trunk (upside down shikhar)