Sacred Dance of India

SR No.: 011117
Original Sutra Author: N/A
Author: Mrinalini Sarabhai
Publisher: Bharatiya Vidya Bhavan
Publication Year: 1979
Total Pages: 48
Language: English
Classification: Book_English
File Size: 8 MB

Page 28

and tukada and param The kavitas and parans are a distinguishing feature, as their descriptive lyrics are composed in rhythm
The Kathak dancer begins his performance with salutations to Ganesha, for it is stated in the Sangeet Sara, 'Commencing the dance, recite verses to Ganesha, and dance' It is interesting to compare Northern Indian and Southern Indian verses to Ganapati
The Kathak Dancer's prayer is
"Gan Gan Ganapati gaja mukha mangala gita Gita gita gida thun thum tat tat thei
Jaya Jaga vandana vakra tunda da ni dha taVighana haran, sukhakara, nadha gena dhage Dımı kıta dhımı kıta thudan-ga thudanGa dadhi gana thei thudan-ga thudan ga
dadhi gana thei thudan-ga thudan-ga dadhi gana thei" and the dancer from the Bhagavata Mela Natakam, sings
Tandava nrityakari Gajanana
Dhımıkıta dhımıkıta tala mridanga Brahma taladharı Gajanana
Tejasakoti suraganadhari vande sivagauri Gajanana
44
"3
(In Kuchipudi, the artist reproduces on a cloth screen stretched across the floor, the image of Lord Ganesha, by dexterous footwork)
The Amad is the pure dance to the sound of the rhythmic syllables and is followed by the thata, depicting the various poses, especially the basic poses of the Kathak dancer, with one hand held high, the other upon the waist, the eyes darting from side to side, with the eyebrows lifted alternately, and the graceful gliding movements of the neck
Sound syllables and the drums play an important and decisive role in this art form The Paramelu is a blending of sound and percussion, and the instruments in this piece are used with forceful effect The pakhawaj, one of the drums of Kathak, is particularly used for the paran and the dancer and drummer mingle in a harmonious duet with vigour and rhythmic alternation This is seen to advantage in the parhant and tattkara, which shows the dancer's grasp of rhythmic variations A special feature is the natvar when the dancer, after very rapid movements, is able to make the anklets quiver musically, as delicately as the dancing leaves in a gentle breeze
One of the most popular items, the Kramalaya, gives us the various rhythmic compositions, the intricate variations on known patterns and the mature artiste often creates new designs of percussion When the poems
Kavita are introduced, the lyrical aspect of Kathak is seen and the Sangeeta emphasises the musical recitation of the bols, a feature so prominent in Kuchipudi 'Gat-bhav' is bhava in its most eloquent form, expressed with musical accompaniment but without words Small incidents are exquisitely described such as nayika drawing her veil across her face, or flirting with Krishna, who teases her (Hori Gat)
In ancient drama, the actors sang, danced and spoke, and in the parhant, the dancer primarily recites the syllables of the rhythmic passages and then dances them
Many facets of Hindustani music have been harmoniously blended with Kathak Indeed it may be that they grew together, for most of the famous patrons and exponents were pakhawaj and tabla players