Kathak - Theory and Technique

An interesting aspect of Indian dance is that it usually resembles poses seen in sculptures, however as you have read earlier, our records of Kathak are from paintings. Kathak therefore is a lot like a painting, it conceives space in only two dimensions and hence its patterns are done in a straight line. Space is treated front to back and no attempt is made to make three dimensional patterns. Even when the dance does a spin it is down along the central median with no deflections taking place. Kathak takes the human form to be a straight line and therefore there are very few deflections of the vertical median. The sam pada position (when the dancer stands straight and there is equal distribution of weight) is an important one in Kathak. In no other classical Indian dance style is flat foot dancing so important. Kathak requires minute

foot work and the reason for the emphasis on footwork is because it can only be executed if the weight is delicately balanced on each foot. Kathak dancers therefore move the weight of the body when they move their feet, making for light movements as opposed to the more terse movements see in other styles. Unlike other dance forms that enumerate various leg and hand positions, Kathak dancers are judged on how they are able to execute rhythmic patterns on a basic metrical cycle.

Kathak conceives the torso in a way that is quite different from other dance forms. Unlike Bharatanatyam it does not take it to be a single unit and unlike Manipuri it does not divide it into two units. Instead the only portion that is moved is the shoulder line which enables the dancer to manipulate the upper torso (for instance one shoulder could be moved up while the other lowered). This approach gives the dance a peculiar fluidity as do its characteristic torso poses. The arms have definite movement but do not attempt to make any sort of geometrical pattern. Another characteristic feature of the Kathak dance style are its jumps and spins. Kathak is the only dance to lift both feet simultaneously in a jump. Unlike any other classical dance form, Kathak jumps do not attempt to cover space and instead the jump itself is considered a movement, and not a means of changing position. In a spin the dancer maintains the central axis of the body, using one foot as a anchor and the other to make the circle, similar to how a compass draws a circle. These spins, known popularly as chakkaras are usually the concluding sequences in the dance. Kathak lays emphasis on the movements of the eyebrows and its approach to neck movement is similar to that of Bharatanatyam, i.e. the neck is moved from side to side.

An interesting aspect of Indian dance is that it usually resembles poses seen in sculptures, however as you have read earlier, our records of Kathak are from paintings. Kathak therefore is a lot like a painting, it conceives space in only two dimensions and hence its patterns are done in a straight line. Space is treated front to back and no attempt is made to make three dimensional patterns. Even when the dance does a spin it is down along the central median with no deflections taking place. Kathak takes the human form to be a straight line and therefore there are very few deflections of the vertical median. The sam pada position (when the dancer stands straight and there is equal distribution of weight) is an important one in Kathak. In no other classical Indian dance style is flat foot dancing so important. Kathak requires minute foot work and the reason for the emphasis on footwork is because it can only be executed if the weight is delicately balanced on each foot. Kathak dancers therefore move the weight of the body when they move their feet, making for light movements as opposed to the more terse movements see in other styles. Unlike other dance forms that enumerate various leg and hand positions, Kathak dancers are judged on how they are able to execute rhythmic patterns on a basic metrical cycle.

Kathak conceives the torso in a way that is quite different from other dance forms. Unlike Bharatanatyam it does not take it to be a single unit and unlike Manipuri it does not divide it into two units. Instead the only portion that is moved is the shoulder line which enables the dancer to manipulate the upper torso (for instance one shoulder could be moved up while the other lowered). This approach gives the dance a peculiar fluidity as do its characteristic torso poses. The arms have definite movement but do not attempt to make any sort of geometrical pattern. Another characteristic feature of the Kathak dance style are its jumps and spins. Kathak is the only dance to lift both feet simultaneously in a jump. Unlike any other classical dance form, Kathak jumps do not attempt to cover space and instead the jump itself is considered a movement, and not a means of changing position. In a spin the dancer maintains the central axis of the body, using one foot as a anchor and the other to make the circle, similar to how a compass draws a circle. These spins, known popularly as chakkaras are usually the concluding sequences in the dance. Kathak lays emphasis on the movements of the eyebrows and its approach to neck movement is similar to that of Bharatanatyam, i.e. the neck is moved from side to side.