Kathy which is a major classical dance forms of North India literally means a story-teller or Astrakhan. In ancient India, there were Astrakhan or bards who used to recite religious and mythological tales to the accompaniment music, mime and dance. These rhapsodies and minstrels were associated with temples and shrines. Their particular dance-forms, which had its origin in simple story-telling, later came to be known as Kathy. Kathy is danced by both men and women. A Kathy dancer is not required strictly to adhere to fixed steps and stages in a fixed order.
He or she can change the sequence Of stages to suit his or her aptitude and style of dancing. There is a sort of contest during the performance in which the drummer plays and weaves a complex design which in turn is danced by the dancer, specially in the which is technically known as jag dickhead. It is a kind of friendly challenge and competition between the two full of innovations and improvisations. Kathy, which originated in northern India, represents one of the eight forms of Indian classical dances. The name Kathy has been derived from the Sanskrit word ‘Kathy’, meaning story.
Thus, ‘Kathy’ means the one who tells a story. Kathy focuses more on the footwork of the anger, The movements are skillfully controlled and performed straight-legged, by dancers wearing the ankle bells (gunrooms). The costumes and themes of Kathy are often similar to those in McHugh miniature paintings. History Initially, dancers known as ‘swastikas’ used to perform in village squares and temple courtyards across the country, unfolding mythological and moral tales from the ancient scriptures. They used to support their recitals vivid hand gestures and facial expressions.
Music and dance were used by them to illuminate the story and to enliven it up. With time, this dance took the form of Statesmanship and Hardhat in southern India and came to be known as Kathy in the north. Kathy faced a drastic transition due to the influence of McHugh dance and music. In fact, it is believed to have gone through its greatest transformation around 15th century. Primarily a temple ritual, the dance form later changed to fit royal court entertainment, mainly due to the Persian and McHugh influences. The ‘astrakhan’ developed a style for pure entertainment of the emperors.
After the decline of McHugh Empire, these performers were patronized by other kings, such as those in Restaurants and other minor princely states, Costume Female Costume Sari is the traditional costume for women in Kathy. It can be worn either in an everyday style, or tied up to allow greater freedom of movement during dance. However, more commonly, length-chili is worn by women dancers, with an optional Odin or veil. Then, there is the McHugh costume, which consists of an angora, with tight fitting above the waist and the skirt portion explicitly cut on the round, to enhance the flare Of the lower half during turns.
The legs are covered by the churchyard. Peaked cap, band or small waistcoat and a belt made of sari or precious stones are the optional accessories. Male Costume Talking about the traditional costume for men, in the classical dance of Kathy, they go bare-cheated. Below the waist is the dhoti, which is usually tied in the Bengali style. The dhoti is tied with many pleats and a fan finish is given to one of the ends. The McHugh costume for Kathy comprises of Kurt. Churchyard. The Kurt can he a simple one and is at least knee-length, Men may wear an angora as well and also have an option of wearing band.
Their optional accessories include the small peaked cap, Shunning Shunning (or gunrooms) forms an important constituent of the Kathy dance. It comprises of small bells that are tied around the ankles off Kathy dancer, The Kathy bells are different from those used in other Indian classical dance styles, as they are not affixed to a pad or strip of leather. Rather, they are individually woven along a thick string. Elements Kathy is the beautiful result Of the Hindu and Muslim cultures. It embodies and reflects the dance characteristics of both the cultures.
Drama, mood and sentiment and pure dance technique comprise Of the three main aspects Of this dance style. The elements of Kathy include linear and circular extensions of the odd, controlled hand and body movements and intricate, rhythmic footwork and fast pirouettes. These elements, when combined with a dancers divine and spiritual state, make it one of the most ministering dance forms in the world. In the Indian culture, classical dance has a lot efficiencies. It is not merely meant for entertaining oneself, but it serves as a fabulous way to express the innate feelings of heart.
It is one of the best means to get connected to God. The theoretical aspect related to Indian classical dance can be traced back during the period of Natty Strata of Barbara Mini (400 C). In the ancient times, dance as performed to appease the deities and was considered a vital element of spirituality. Dance performances took place inside the sanctum of the temple. As per the scriptures, this dance form was referred to as Gamma Martina, Classical dances of India also found their way in the royal courts and they were popularly known as Caretaker.
There are numerous classical dancers, who have established a niche for themselves in this creative field. They have made an incredible contribution in popularizing the varied dance forms of India abroad, Manlike Sarah She is a well known Occupied and Permanently dancer of India. She is the daughter Of renowned artists. Her mother is a great dancer and father is a famous scientist. Well, eve are talking about the celebrated dancer Manlike Sarah- In this article, we Will present you With the biography Of Manlike Sarah.
Savannah Nary maestro of Kathy dance, she is a well known name that appears on the top in the list of eminent classical dancers of India. Her wonderful performances have left the people awestruck. Her teacher is none other than the famous Birds Maharaja. Well, we are talking about the great Indian Kathy dancer Savannah Nary. Sonar Amassing An eminent Indian classical dancer, she is the maestro of Odious dance form. She is also proficient in performing other dance forms such as Occupied, Probationary and Chaw, Well, we are talking about the great Indian dancer Sonar Amassing, who has made Indians proud.
In this article, we will present you with the biography of Odious dancer Sonar Amassing, one of the most prominent dancers of India. Yemeni Garnishment’s Born in the year 1940 to a Deluge family at Academician in Attainable, Yemeni Garnishment’s is an eminent Probationary dancer, who has swayed the entire country With her fabulous dance performance. She is also well known for her Occupied dance style. When she was five years old, she started learning Probationary dance from the Saltshaker School Of Dance in Achaean. Birds Maharaja Bandit Birds Maharaja is a legendary Kathy dancer.
He belongs an illustrious family of dance masters of the Locknut agrarian. His tuft uncles Shaman and Laugh Maharaja, and his father Cancan Maharaja were all well-known Kathy dancers. Apart from Kathy, Bandit Birds Maharaja is also an accomplished vocalist, This dance form traces its origins to the the nomadic hard of ancient northern India, known as Stalks, or story tellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions.
It was quintessential theatre, using instrumental and vocal music along with stylized gestures, to enliven the stories. With the advent of McHugh culture, Kathy became a sophisticated chamber art Patronized by art loving rulers, the practitioners of Kathy worked at refining its dramatic and rhythmic aspects, delighting elite audiences with their mastery over rhythm and the stylized mime. The technique of Kathy today is characterized by fast rhythmic footwork set to complex time cycles.
The footwork is matched by the accompanying percussion instruments such as table and pajama, and the dancer and percussionists often indulge in a virtuoso display Of rhythmic wizardry-The dance movements include numerous pirouettes executed at lightning speed and ending in Statuesque poses. The interpretative portion, based on tales Of Radar and Krishna and other mythological lore, contains subtle gestures and facial expressions. Locknut, Bananas and Jasper are recognized as the three schools, r agrarian, where this art was nurtured and where the interpretative and rhythmic aspects were refined too high standard.
Kathy (Hindi: Urdu: ???? ) is one of the eight forms of Indian classical dances, originated from northern India. This dance form traces its origins to the nomadic bards of ancient northern India, known as Stalks, or storytellers. These bards, performing in village and vocal music along with stylized gestures, to enliven the stories. Its form today contains traces of temple and ritual dances, and the influence of the backbit movement. Prom the 16th century onwards it absorbed certain features of Persian dance and Central Asian dance which were imported by the royal courts of the McHugh era.
There are three major schools or agrarian Of Kathy from Which performers today generally draw their lineage: the agrarian of Jasper, Locknut and Bananas (born in the courts Of the Schwa Ragout kings, the Nab Of Duh, and Varnish respectively); there is also a less prominent (and later) Aright agrarian Which amalgamated technique from all three preceding agrarian but became famous for its own distinctive compositions. The name Kathy is derived from the Sanskrit word Kathy meaning story, and attack in Sanskrit means s/he who tells a story, or to do with stories.
The name of the form is properly ????? Kathy, with the geminate dental to show a derived form, but this has since simplified to modern-day ??? Kathy. Kathy cake so Kathy is a saying many teachers pass on to their pupils, which is generally translated, ‘s/he who tells a story, is a Kathy’, but which can also be translated, ‘that which tells a story, that is Kathy’. Kathy is the 15th classical dance in India to day Contents [hide) * I Repertoire 01. 1 Pure Dance (Inertia) o I _2 Expressive Dance (Inertia) ;k 2 History of Kathy 0 2. 1 Change in the Backbit Era 2. 2 In the McHugh Period 0 2. Later court influences 0 2. 4 During the Raja 0 2. 5 Today 3 Agrarian 03. 1 Locknut Agrarian 0 3. 2 Jasper Agrarian 0 3. 3 Bananas Agrarian 0 3. 4 Aright Agrarian * 4 Relationship with other art forms 04. 1 Kathy Yoga 0 4. 2 Flamenco * 5 Shunning * 6 Costume 0 6. 1 Female costume 0 6. 2 Male costume * 7 See also 8 References * 9 External links {edit] Repertoire [edit] Pure Dance (Inertia) The structure of a conventional Kathy performance tends to follow a progression in tempo from slow to fast, ending With a dramatic climax. A short danced composition is known as a taker, a longer one as a today.
There are also compositions consisting solely Of footwork. Often the performer Will engage in rhythmic ‘play’ with the time-cycle, splitting it into triplets or quintuplets for example, which will be marked out on the footwork, so that it is in counterpoint to the rhythm on the percussion. All compositions are performed so that the final step and beat of the composition lands on the ‘Sam’ or first beat of the time-cycle. Most compositions also have ‘bolls’ (rhythmic words) which serve both as mnemonics to the composition and whose recitation also forms an integral part tooth performance.
This recitation s known as pedant. Some compositions are aurally very interesting when presented this way. The bolls can be borrowed trot table (e. G. Add, GE, an, traits) or can be a dance variety (TA, thee, tat, TA TA, taiga, digit and so on), Often takers are composed to highlight specific aspects of the dance, for example gait, or use of corners and diagonals, and so on. A popular taker type is the awkwardly taker, showcasing the signature spins of Kathy_ Because they are generally executed on the heel, these differ from ballet’s pirouettes (which are properly executed on the toe or ball of the foot).
The spins usually manifest themselves at the end of the taker, often in large numbers: five, nine, fifteen, or more, sequential spins are common. These takers are popular with audiences because they are visually exciting and are executed at great speed. Other compositions can be further particularities as follows: Music to Kathy is normally provided by table and sitar players 1. Vandal the dancer begins with an invocation to the gods. 2. That (the first composition Of a traditional performance; the dancer performs short plays with the time-cycle, finishing on Sam in a statuesque standing (that) pose); 3.
Arena (frown the Persian word meaning ‘entry’; the first introduction of spoken rhythmic pattern or boll in to the performance); 4. Salaams (related to Ar. ‘salaam’ . A salutation to the audience in the Muslim style); S. Kavas(a poem set on a time-cycle; the dancer Will perform movements that echo the meaning of the poem) 6. Para (a composition using bolls from the pajama instead of only dance or table bolls) 7. Apparel or Primal (a composition using bolls reminiscent of sounds trot nature, such as shutters (birds), Katharine (sound of shunning), addicting (strut of peacock) etc. . Gate (from the word for ‘gait, walk’ showing abstract visually beautiful gaits or scenes from daily life) 9. Laid (a footwork composition consisting of variations on a theme, and ending in a Thai) 10. Thai (usually a footwork composition consisting of a long set of bolls repeated thrice so that the very last boll ends dramatically on ‘Sam’) [edit] Expressive Dance (Inertia) Aside from the traditional expressive or binary pieces performed to a Baja, shall or thumper, Kathy also possesses a particular performance style of expression pieces called behave Bataan (lit. To show beau or ‘feeling’). It is mode where binary dominates, and arose in the McHugh court. It is more suited to the miffed or the durbar environment, because Of the proximity Of the performer to the audience, who can more easily see the nuances of the dancer’s facial expression. Consequently, it translates to the modern proscenium stage with difficulty. A thumper is sung, and once the mood is set, a line from the thumper is interpreted with facial binary and hand movements while seated. This continues for an indefinite period, limited only by the dancer’s interpretative abilities.
Shamble Maharaja was known to interpret a single line in many many efferent ways for hours, [edit] History of Kathy This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (April 2009) The story of Kathy begins in ancient times with the performances of professional story-tellers called swastikas who recited or sang stories from epics and mythology with some elements of dance.
The traditions of the swastikas were hereditary, and dances passed from generation to generation. There are literary preferences from the third and fourth centuries BC which refer to these swastikas, The two texts are in the archives of Somewhat Library at Mantilla. An extract runs as follows: maggasirasuddhapakkhe nighthawk perseverance nearby authoritative discharge gangway maintenance Tate Savonarola pomegranate these suit Kenya yeah array Dinah behaving papayas (Portrait text, 4th century BC).
Translation: in the month of magma, in the shall-pasha Anastasia, to the north west of Varnish, on the banks of the Ganges, the shirring dance of the stalks in praise of God pleased Lord Dinah. A 3rd century BC Sanskrit school (Mantilla, late Marry period): … Nathan,.. Nonhereditary Katharine developed … Sound,.. And the Stalks whose duty is dance for the divine peoples There are also two verses from the Inhabitant which also refer to Stalks: Catastrophe raja caravansary vanaukasahadivyakhyanani ye cap’s patient Muhammad divided (Inhabitant, verse 1206. -4, Diaper) With the king on the way to the forest were the Swastikas pleasing to the eyes and ears as they sang and narrated sweetly. Noted Kathy dancer Savannah Nary, recipient Of the Pad Sari Savannah Nary notes: ‘Here the emphasis on ‘pleasing to the eyes’ is indication of the performing aspect of the Swastikas. ‘ The other verse is in the Unmasking Parka. In the post-Christian era, there is also reference to Kathy in the Harsh. Charity of Ban. By the 13th century a definite style had emerged and soon technical features like mnemonic syllables and boll developed.
In the 15th-16th century at the time the Backbit movement, Rascals had a tremendous impact on Kathy, The form of dance even made its way to the Saskatchewan who performed in temples. [edit] Change in the Backbit Era During the era of fervent worship of Radar-Krishna, Kathy was used to narrate tales from the lives of these figures. Popular performances included Sir Krishna exploits in the holy land of Virginian, and tales of Krishna-Ella (Krishna childhood). It was in this time, the dance moved away from the spirituality of the temple and began to be influenced by folk elements. Edit] In the McHugh Period It was when the dance reached the McHugh court after the 16th century that Kathy began to acquire its distinctive shape and features. Here it encountered there different forms of dance and music, most especially dancers from Persia. Dancers were enticed from the temples to the courts by gifts of gold, jewels and royal favor. Patronage soared as a social class Of dancers and courtiers emerged in the royal palaces, where dance competitions were held frequently.
The environment Of the North Indian McHugh courts caused a shift in focus for Kathy, from a purely religious art form to court entertainment. Dancers imported from the Middle East spread their ideas to Kathy dancers, as they borrowed ideas from Kathy to implement in their own dance. Kathy absorbed he new input, adapting it until it became an integral part of its own vocabulary. Kathy began to shift away from other traditional Indian dances, such as Permanently, The deem-Pl stance of most other Indian dance forms gave way to straight legs taken from the Persian dancers.
To emphasize the flamboyant and elaborate rhythmic footwork as many as 150 ankle hells on each leg were worn. It was also during this period that the signature ‘charka’ (spins) to Kathy were introduced, possibly influenced by the so-called whirling dervishes. The straight-legged position gave a new vitality to the footwork, which wove recursive rhythms in its own right, whether together with or in complement to the table or pajama. His stage, the varied influences had introduced great flexibility into Kathy in terms of presentation and narrative dance. As it 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 catchments of material for binary 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 Kathy in a singular manner, but although it was by now substantially different from the other Indian dance forms, the roots of the style remained the same, and as such it still displays a consanguinity With the Others, particularly in the hand- formations during story-telling, and some of the body-postures. For example the training position, which is common to most Indian dance forms. [edit] Later court influences Many specific emperors contributed to the growth and the development of Kathy into different agrarian, or schools of dance, named after the cities in which they developed.
The Nava of Duh, Hajji All Shah, not only enjoyed giving patronage to dancers, but danced himself, taught by Durra Parkas. He himself choreographed a dance, Arras, that he danced himself with the ladies to his court. He brought teachers to his palaces, aiding the expansion of technical vocabulary, and formed the basis of the Locknut agrarian, emphasizing sensuous, expressive emotion. The Locknut agrarian placed emphasis on the binary and natty elements or expression qualities of the dancing; it was famed for its subtlety and grace (mazurka).
This contrasted sharply with the Jasper Harlan, which became renowned for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Even after the Moguls, courts in Restaurants enjoyed Kathy as a sophisticated art form, fostering the growth of the Jasper agrarian. The Bananas agrarian was also created in this time. During this period, Kathy was also extensively performed by taffies, vivo themselves developed the art in parallel to its refinement in court. They frequently performed binary on lighter classical music of such as drag, karri and tap as well as thumper.
Given the taffies’ environment, their performance Tyler of Kathy also differed from the court style, involving more of what in Kathy is termed Nashua (mischievous playfulness’). As the dance teachers Of these taffies 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 Kathy. [edit] During the Raja The advent of British Rule in India sent Kathy into sharp decline.
The Victorian administrators publicly pronounced tit base and unlovely form of entertainment, despite often privately enjoying the pleasures of the tiff. Indeed, by associating Kathy solely with the awaits and then associating the taffies with out-and-out prostitution, Kathy acquired an unwholesome image: the entirely British concept of nuthatch. Kathy was, to Victorian eyes, an entertainment designed solely for the purposes of seduction, During these times of cultural hardship, the role of the taffies in preserving the art forms should not be underestimated.
Famous taffies such as Chart Jan were instrumental in the maintenance and continuation of Kathy, even as it was officially denigrated by the prevailing political opinion. Edit] Today Today, Kathy has regained its popularity after the period Of decline during the rule of the British Empire (where avgas frowned upon by Victorian administrators), and it is now one Of the eight Officially sanctioned classical dance forms of India. Steak’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.
The work of the Maharaja family of dancers (Cancan Maharaja, Shamble Maharaja, Laugh Maharaja and one of the great current dancers still alive today. Birds Maharaja) and his students including Static Seen have been very successful in spreading the popularity of Kathy. Another disciple of Cancan Maharaja is Sitar Divide, daughter of Shushed Maharaja of Bananas. Her lively, zestful and fiery performances have impressed many audiences. Shamble Maharaja also trained SMS. Jumping Alkali, who, along with Birds Maharaja, has introduced the relative innovation of multi-person choreographers in Kathy, which was traditionally a 5010 dance form.
She has gained a strong reputation tort combining purely classical movements and surely with distinctly contemporary use of space. Edit] Agrarian Because of the linear nature of the passing of knowledge from guru to sashay, certain stylistic and technical features began to fossils and became hallmarks of a particular school, guru or group of teachers. The different styles are known as agrarian, and these are: [edit] Locknut Agrarian The Locknut Agrarian developed in the courts of the Nab of Duh in Locknut, Attar Pradesh.
It particularly emphasizes grace, elegance and naturalness in the dance. Binary or expression acting. Especially improvised, plays a very strong role in this style, and brothers, Cancan Maharaja, Laugh Maharaja, Shamble Maharaja and their nephew Birds Maharaja from Locknut agrarian, are or were all famed for the naturalness of and innovativeness of their binary. [edit] Jasper Agrarian The Jasper Agrarian developed in the courts Of the Chihuahua kings of Jasper in Restaurants. Importance is placed on the more technical aspects of dance. Such as complex and powerful footwork, multiple spins, and complicated compositions in different atlas. There is also a greater incorporation of compositions from the pajama, such as Para’s. [edit] Bananas Agrarian The Bananas Agrarian was developed by Sandpipers. It is characterized by the exclusive use of the antiwar or dance Bibb, which are different from the table and the pajama bolls. There are differences in the that and takers, and charka are kept at a minimum hut are often taken from both the right- and the left-hand sides with equal confidence.
There is also a greater use of the floor, for example, in the taking of Sam, Though the style developed in Bananas, it flourishes today from Bikinis. [edit] Aright Agrarian This avgas established by the Maharaja Charade Sings in the princely state of Aright in Chastiser in the early 20th century. The Maharaja invited many nunneries of Kathy (as well as famous percussionists) to his court, including Kale Parkas (the father of Cancan, Laugh and Shamble Maharaja) and his sons, and Paintball from Jasper agrarian.
The confluence of different styles and artists created a unique environment for the development Of new Kathy and table compositions drawn from various backgrounds. [edit] Relationship with Other art forms elite Kathy Yoga See main article: Kathy Yoga Kathy Yoga is a technique created By Bandit Stitches Ads, and is not related to Yoga. The dancer has to recite the tall, sing a melody, and perform complex outwork and spins all within the same composition, and frequently with two or more of these elements occurring simultaneously.
