Pure Dance (Nritta)
The structure of a conventional Kathak performance tends to follow a progression in the pace from slow to fast, ending with a dramatic climax. A short dance composition called tukra, and as a whole. There are also compositions consisting solely of footwork. Often, the artist will participate in the rhythmic "playing" with the time cycle, for example, split into triplets or quintuplets to be marked on the footwork, so it is a counterpoint to the rhythm of the percussion.
All compositions are designed so that the final phase and, perhaps, the settlement lands to "Sam" (pronounced like the English word "sum", and therefore not more, in the archaic sense zero) or the first cycle time beat. Most of the compositions is also the 'Bols' (rhythmic words), serving both the mnemonic of the composition and whose recitation is an integral part of the presentation. This is called padhant states. Some compositions are aurally very interesting when presented this way. Bols can be borrowed from tabla (eg, DHA, GE, na, na "ti" "ka" na DHI "), or it may be a variety of dance (TA, thei, tat, ta ta, tigda, digdig , They tram, etc.).
Tukra are often made to highlight specific aspects of dance, for example by walking or the use of curves and diagonals, and so on. One type is the popular tukra tukra chakkarwala signature spins of Kathak. Because usually run in the heel, these differ from ballet pirouettes (which are executed properly in the toe or ball of the foot). The tour usually manifest themselves in the final of the tukra, often in large numbers: five, nine, fifteen, or more, sequential orders are common. These tukra are popular among the public, as they are visually exciting and are executed at high speed. Other compositions can be particularized as follows:
Vandana dancer begins by invoking the gods.
Thaat (the first composition of a traditional interpretation, the dancer performs plays in the cycle time, the finish of the samples in a permanent sculpture (thaat) states);
Aamad (the Persian word meaning "coming", the first introduction of spoken rhythmic pattern or bowl in the exercise);
Salaam (related to Ar "Salaam" -. A salute to the audience in the Muslim style)
Kavitt (poetry September period of time, makes the dancer movements echo the importance of poetry)
Paran (a composition using pakhawaj bowls instead of dancing alone or bowls table)
Parmelu or Primalu (a composition using containers reminiscent of the sounds of nature, such as kukuthere (birds), jhijhikita (noise ghunghru) tigdadigdig (neck of the peacock), etc.
Gat (the word for "walk, walk," visually beautiful show airs abstract or scenes of everyday life)
Ladi (a composition comprising the footwork variations on a theme, and ends in a tihai)
Tihai (usually a footwork composition consisting of a wide range of bowls repeated three times last Bowl ends dramatically on "Sam")
Expressive dance (Nritya)
Not only are traditional pieces or expressive abhinaya run Bhajan, Ghazal and thumri, Kathak is also in possession of items of particular expressive style of performance called (bhaav shows Lett. 'Or' feeling ') bhaav Bataan. It is a condition in which abhinaya dominates, and was born at the Mughal court. E 'rather than a darbar Mehfil or the environment, as close to a public performer, who can more easily see the nuances of dance expression. So it becomes a modern proscenium stage is difficult. thumri hand, and when the mood is set, the line is interpreted abhinaya thumri movements of the face and hand while seated. This will continue for the time being limited to the interpretive skills of the dancer.
Shambhu Maharaj was known to interpret a single line in different ways for hours, but the whole family Maharaj (
Maharaj Acchan, Lachhu Maharaj, Shambhu Maharaj and Birju Maharaj Sun Achhan Maharaj) found a considerable reputation for naturalness and the ability innovate in their abhinaya.
