Aadyantara
Pravaha: A Journey in Kathak
Historically, all Indian classical dances draw their origin from the Natya shastra, however they evolved in transmission to suit the circumstances of the dancers and the customs of the particular era. Thus dance as we know it today has been enriched by the myriad strands that constitute the colourful fabric of Indian life.
Pravaha: is a journey of dance as a medium of invocation to a medium of expression. When the dance spread from the temples the gradual shift to presentation of difficult layakaris to gain patronage became evident. Here the dancer learnt to communicate with her audience, through words and through her dance. Stories set to the base of thumri and dadra served to embellish the dancer’s bhaav. Later dance was set to musical segments like the tarana in various ragas. The recital brings out some these influences that have shaped and enriched kathak. The opening invocation is to Lord Shiva as depicted in the ‘Shiv Panakshara’. The following segment of kathak nritta highlights the layakaris and paranas set in teen taal. The thumris portray the emotions of the gopika and her longing for her beloved Krishna. The thumris ‘kahna bin sooni lage nagaria’ and ‘aiso haathilo chail’ bring out the conflicting emotions of the gopika who yearns to be with Krishna yet shows her displeasure when He arrives. The recital concludes with tarana which amalgamates the dance, bol and sargam.
Historically, all Indian classical dances draw their origin from the Natya shastra, however they evolved in transmission to suit the circumstances of the dancers and the customs of the particular era. Thus dance as we know it today has been enriched by the myriad strands that constitute the colourful fabric of Indian life.
Pravaha: is a journey of dance as a medium of invocation to a medium of expression. When the dance spread from the temples the gradual shift to presentation of difficult layakaris to gain patronage became evident. Here the dancer learnt to communicate with her audience, through words and through her dance. Stories set to the base of thumri and dadra served to embellish the dancer’s bhaav. Later dance was set to musical segments like the tarana in various ragas. The recital brings out some these influences that have shaped and enriched kathak. The opening invocation is to Lord Shiva as depicted in the ‘Shiv Panakshara’. The following segment of kathak nritta highlights the layakaris and paranas set in teen taal. The thumris portray the emotions of the gopika and her longing for her beloved Krishna. The thumris ‘kahna bin sooni lage nagaria’ and ‘aiso haathilo chail’ bring out the conflicting emotions of the gopika who yearns to be with Krishna yet shows her displeasure when He arrives. The recital concludes with tarana which amalgamates the dance, bol and sargam.
© Aadyantara 2011| info@aadyantara.org, aadyantara@gmail.com