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HE ALWAYS  TOLD HIS LITTLE PRINCESS STORY OF THE PRINCE WHO WOULD TAKE HER AWAY IN A BEAUTIFUL WORLD SHE HAD NEVER SEEN BUT LITTLE DID HER DADDY KNEW HE WAS THE ONLY PRINCE IN HER LIFE WHO WOULD SHOW HER THE BEAUTIFUL WORLD.

The Ashta-Nayika is a collective name for eight types of nayikas or heroines as classified by Bharata in his Sanskrit treatise on performing arts – Natya Shastra. The eight nayikas represent eight different states (avastha) in relationship to her hero or nayaka. As archetypal states of the romantic heroine, it has been used as theme in Indian painting, literature, sculpture as well as Indian classical dance and music.

As per Ashta Nayika, there are eight nayikas.

Vasakasajja

Vasakasajja (“one dressed up for union”) or Vasakasajjika is waiting for her lover returning from a long journey. She is depicted in her bed-chamber filled with lotus leaves and garlands. She is dressing herself for the union with her lover and “eager with expectation of love’s pleasure”. Her beauty is compared by Kesavadasa to Rati – the Hindu love goddess, waiting for her husband, the love god Kamadeva. A Vasakasajja sculpture is found in the Lakshmana Temple in Khajuraho and the National Museum, Delhi.

The Ragavibodha associates the raginis Bhupali and Todi with Vasakasajja

Virahotkanthita

Virahotkanthita (“One distressed by separation”) or Utka (as described by Keshavadasa) is the distressed heroine pining for her lover, who, due to his preoccupation, fails to return home. She is depicted waiting for him, sitting or standing on a bed or out in the pavilion.

The Ragavibodha identifies the raginis Mukhari, Pauravi and Turushkatodi with the Virahotkanthita, while the Sangitadarpana names Patamanjari in this category.

Svadhinabhartruka

Kalahantarita refusing advances of a lover

Svadhinabhartruka (“one having her husband in subjection”) or Svadhinapatika(as named by Keshavadasa) is the woman who is loved by her husband and controls him. He is subjugated by her intense love and pleasing qualities.He is devoted and faithful to her  In paintings, this nayika is depicted with a nayaka, who applies mahawar on her feet or a vermilion tilak (mark) on her forehead. In Jayadeva’s Gita Govinda as well as in the poem Kuru Yadunandana, Radha is portrayed as a Svadhinabhartruka. In the latter, Radha commands her lover, the god Krishna, to rearrange her makeup which is in disarray due to their fierce coitus.

Many raginis like Malashri, Travanika, Ramakriti, Jaitashri and Purvi are associated with Svadhinabhartruka

Kalahantarita

Kalahantarita (“one separated by quarrel”) or Abhisandhita (as named by Keshavadasa) is a heroine separated from her lover due to a quarrel or jealousy or her own arrogance. Her lover is usually depicted leaving her apartment disheartened, while she too becomes heartsick and repentant without him.In other portrayals, she is depicted refusing the advances of her lover or refusing a wine cup from him. In Gita Govinda, Radha is also portrayed as Kalahantarita in an instance.

Khandita

Khandita (“one enraged with her lover”) is an enraged heroine, whose lover had promised her to spend the night with her, but instead comes to her house the next morning after spending the night with another woman. She is depicted offended, rebuking her lover for his infidelity.

In the Sangitadarpana, the ragini Varati represents the Khandita Nayika.

Vipralabdha

Vipralabdha (“one deceived by her lover”) , is a deceived heroine,who waited for her lover the whole night. She is depicted throwing away her jewellery as her lover did not keep his promise.This happens when a lover meets a Khandita and promises a tryst and breaks his promise.

The Sangitadarpana associates Vipralabdha with the ragini Bhupali. However, the Ragavibodha presents the raginis Varati and Velavati as Vipralabdhas.

Proshitabhartruka

Proshitabhartruka (“one with a sojourning husband”) or Proshitapatika (as named by Keshavadasa) is the woman whose husband has gone away from her for some business and does not return on the appointed day. She is depicted seated mourning, surrounded by her maids, but refusing to be consoled.

The Ragavibodha describes the raginis Dhanashri and Kamodi as Proshitabhartrukas.

Abhisarika

Abhisarika (“one who moves”) is a heroine, who sets aside her modesty and moves out of her home to secretly meet her lover. She is depicted at the door of her house and on her way to the tryst, defying all kinds of difficulties like the storm, snakes and dangers of the forest. In art, Abhisarika is portrayed often in hurry towards her destination.

The raginis Bahuli and Saurashtri are described having the traits of the daring Abhisarika

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here are some famous personalities in kathak who have helped kathak to grow. They also have contributed a lot in the field of kathak

Birju Maharaj

Birju Maharaj is a leading exponent and torch-bearer of Kathak dance form. He is the only son and disciple of Shri Achhan Maharaj and a familiar face of Indian Kathak dance all over the world. He has performed in several countries. He is a wonderful singer with a strong grip over, Thumri, Dadra, Bhajan and Ghazals. He gave his first performance at the age of seven. Pandit Birju Maharaj is not only a Kathak dancer but also a sensitive poet and captivating orator.

His constant attempt to take Kathak to a whole new level fructified when he managed to make people take note of this dance form, not only in India but in the western countries as well. Introduced to Kathak at a very young age, Birju went on to master the nuances of arguably one of the most difficult classical dances of India. Known for his facial expressions and nimble feet movements, Pandit Birju Maharaj is considered as the epitome of Kathak by many.

Shambhu Maharaj

Pandit Shambhu Maharaj (1910 – 4 November 1970) was a celebrated Guru of the Lucknow Gharana (school) of the Indian classical dance form, Kathak.

Shambhu Maharaj was born in Lucknow as Shambhunath Mishra. He was the youngest son of Kalka Prasad Maharaj who was at the court of the last Mughal ruler, the Nawab of Awadh Wajid Ali Shah. Kalka Prasad’s father was Thakur Prasad was known to have taught the intricacies of Kathak to the Nawab. While reporting Shambhu’s death in 1970, The Indian Express wrote, “The Kathak, as we know it today, can be wholly traced to this dilettante’s patronage and the body of work written at his court court for this mode of dance.” Shambhu received his training from his father, uncle Bindadin Maharaj and his eldest brother Achchan Maharaj. Dancer Lacchu Maharaj was also another his older brothers. He learned Hindustani classical music from Ustad Rahimuddin Khan.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 the Padmashri in 1956.

Rohini Bhate

Rohini Bhate  (14 November 1924 – 10 October 2008) was among the senior most Kathak dance exponents in India, who developed as a performer, teacher, writer, researcher and critic this Indian classical dance. During her career, she was awarded with several recognitions, such as the Sangeet Natak Akademi Award, and the Kalidas Samman.

Rohini studied Kathak from Jaipur and Lucknow gharanas. She created a large corpus of dance compositions, where she applyied an analytical and innovative approach to abhinaya. Due to her knowledge in Hindustani classical music, she often composed the music for her dance creations. According to the critic Sunil Kothari, her choreography for Shakuntala, directed by Vijaya Mehta, is noteworthy. Her choreography of Kālidāsa’s Ṛtusaṃhāra and Usba Sukta from Rigveda was also well acclaimed.

Durga Lal

Pandit Durga Lal (1948 – 21 Jan 1990) was a renowned Kathak dancer of the Jaipur Gharana. He was born in Mahendragarh, Rajasthan. He is known for playing the title main role in the 1989 dance drama Ghanashyam; the music of which was composed by Pandit Ravi Shankar and was produced by Birmingham Opera Company. For his contributions to the field of Kathak form of dance he was awarded Padma Shri, the fourth highest civilian award, by Government of India. He had also received the Sangeet Natak Akademi Award for the year 1984.

Lal was a disciple of Sunder Prasadji. Along with being a Kathak dancer he was also a singer and would play Pakhvaj. He taught Kathak at the National Institute of Kathak Dance (Kathak Kendra), New Delhi. Lal’s brother Pandit Devi Lal was also a renowned Kathak dancer. Devi Lal’s wife Gitanjali Lal is also a Sangeet Natak Akademi Award winner (2007).both brothers died at an early age. After Durga Lal’s death his children and other art fraternity members have been organising an annual festival called Pandit Durga Lal Memorial Festival. He has two children, elder daughter Nupur and younger son Mohit. Nupur is Kathak performer and vocalist and Mohit is a percussionist. His disciples include renowned dancers Uma Dogra, Jayant Kastuar and Mangala Bhatt amongst others. Nighat Chaodhry is Pandit Lal’s notable student in Pakistan. In memory of Lal, Dogra has arranged the “Pandit Durga Lal Samaroh” for more than 15 years as of 2005. She has also made a documentary Nirvana Through Dance on him. Mangala Bhatt through her dance school Aakruti Kathak Kendra organises “Antarang” every year in memory of Pt.Durga Lal.

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L’oreal– shine black
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suhana masala– maa ki maamta
coca cola– the drink young India wants

• Ghee se pehle Amul khake Dekho.
• Amul butter can change your life.
• Healthy rehna he? toh Amul butter Khao.
• Amul he tasty Amul he best.
• “Amul” not only gives your food good taste but also keeps us healthy.

Hand mudras (hasta mudra) are the most important part of dancing in kathak. It makes the story easy to understand. Today we are going to learn about various dance mudras in kathak and its meaning.

Their are 2 types of hasta mudras :  samyukt ( double handed ) and asamyukt (single handed).

The word kathak is originated from the word “katha” which means story . The origin of Kathak is traditionally attributed to the traveling bards of ancient northern India known as Kathakars or storytellers.  Kathak dancers tell various stories through their hand movements and footwork, but most importantly through their facial expressions. Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu god Krishna, as well as independently in the courts of north Indian kingdoms.Kathak as a performance art survived and thrived as an oral tradition, learnt and innovated from one generation to another verbally and through practice. It transitioned, adapted and integrated the tastes of the Mughal courts in the 16th and 17th century particularly Akbar, was ridiculed and declined in the colonial British era, then was reborn as India gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts. According to Mary Snodgrass, the Kathak tradition of India is traceable to 400 BCE. The earliest surviving text with Kathak roots is the Natya Shastra, attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.

Bhakti movement era

Textual studies suggest that “Kathak” as a classical dance form likely started in Banares (Varanasi) and from there migrated northwest to Lucknow, Jaipur and other parts of north and northwest India. The Lucknow tradition of Kathak dance attributes the style to a Bhakti movement devotee named Ishwari from the Handia village in Allahabad, Uttar Pradesh, who credited Hindu god Krishna appearing in his dream and asking him to develop “dance as a form of worship”. Ishwari taught his descendants, who in turn preserved the learning and developments through an oral tradition over six generations ultimately yielding the Lucknow version of the Kathak dance – a family tree that is acknowledged in both Hindu and Muslim music-related Indian literature.

The evolution in Kathak dance theme during the Bhakti movement centered primarily around divine Krishna, his lover Radha and milkmaids (gopis) – around legends and texts such as the Bhagavata Purana found in the Vaishnavism tradition of Hinduism. The love between Radha and Krishna became symbolism for the love between Atman (soul within) and the supreme source (Cosmic soul everywhere), a theme that dance ballet and mimetic plays of Kathak artists expressed.

Mughal era

The Mughal era courts and nobles accepted Kathak as a form of aristocratic entertainment, which low income families were willing to provide. However, the dance became more abstract and erotic, less as a means of communication of spiritual or religious ideas, and in cases the dancers innovated by emphasizing the eroticism and sexuality the Muslim audience wanted while keeping the message such as those of Krishna-Radha embedded in the dance.

British Raj era

With the spread of colonial British rule in the 19th century India, Kathak along with all other classical dance forms were discouraged and it severely declined. This was in part the result of the Victorian morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism. Reverend James Long, for example, proposed that Kathak dancers should forget ancient Indian tales and Hindu legends, and substitute them with European legends and Christian tales. Missionaries recorded their frustration in Church Missionary Review when they saw Hindu audiences applaud and shout “Ram, Ram” during Kathak performances.

Kathak art alive as an oral tradition. Kathak teachers also shifted to training boys to preserve the tradition, as most of the 20th-century ridicule had been directed at Kathak “nautch girls”.

Kathak was brought to the attention of audiences outside India in the early 20th century through Kalkaprasad Maharaj.