ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
THE SIGNIFICANCE OF UNIFORMITY IN KATHAK NRITTA HASTA 1 Dean
and Professor, School of Performing Arts, World University of Design, Sonipat,
Haryana, India
1. INTRODUCTION The body is an instrument through which the
dancer explores an integration of technique, observation, and creativity Chakravarty (2018). In Kathak
dance, this integration is visible through “Upaj” (loosely translated to spontaneous improvisation), which is also
an integral aspect in this art form. Kathak is one
of the eight Indian classical dance forms belonging to the northern belt, and
earlier practitioners of Kathak dance were known as Kathakars
or storytellers Chatterjee and Bandyopadhyay (2014). These stories
performed by the Kathakars, covered episodes from
various epics, myths and legends! This age-old
traditional dance form was ahead of its time. Kathak gives
dancers the freedom to synthesize their training with experience whilst gauging
the spectator’s level of
understanding to create spontaneous and unique compositions on the spot Sarkar (2016). Such
intensive training received by Kathak dancers eventually prepares them to fully
embody a given character through the use and authentic hand movements and
gestures to portray the same on stage Deshpande (2017). The movements
in Kathak are not just limited to the portrayal of characters but also include
broad and expansive movements with sharpness and power, as well as smaller and
subtle movements with grace and elegance Singh (2019). There is
beauty in the execution of every hand movement, provided it is performed with
immaculate and in-depth understanding of the same. The Kathak
dance form has undergone changes from its original form of storytelling while
travelling to different parts of the country to a globally popular art form
dominated by technical repertoire and precision Pandey (2018).The sharp,
angular hand gestures and intricate footwork combined with lightning-fast spins
are some of the mesmerising factors of this everlasting traditional art form -
besides the Abhinaya (expression-based) aspect(Sahapedia,
n.d.). 2. ABOUT NRITTA HASTAS AND UNDERSTANDING ITS IMPORTANCE IN KATHAK Nritta hastas in Indian classical dance forms encompass hand
movements that synchronize with the upper body and footwork, distinct from
hasta mudras, which are gestures specifically used for object depiction Nair (2017). The terms
should not be used interchangeably, as nrittahastas
encompass complete arm movements coordinated with the upper body and footwork,
while hasta mudras solely depict elements from our environment like flowers,
animals, pens, and paper Goswami (2017). To summarize,
nrittahastas represent whole hand movements, while
hasta mudras are gestures for object representation. Chapters 9 and
32 of the Natyashastra and Abhinaya Darpana, respectively, are dedicated to nrittahastas in Indian classical dance Garg and Goyal (2018). The root
thought while practisingnrittahastas has been
explained beautifully through this shloka in the Abhinaya Darpanam:
“Yatho Hasta ThathoDrishti, YathoDrishtiThatho Manah
Nandikeśvara and Vallabh (2013) Just as how one
cannot create a sentence without understanding words, a Kathak student cannot
improve upon their movements without understanding how to execute a particular
hand movement. Hastas are synonymous with letters in an alphabet that allow Indian
classical dancers to create words, sentences, phrases
and stories. Nritta hastas in Kathak have continually
developed over time. While aesthetics have a
significant role to play in shaping and beautifying the once sharp and somewhat
stiff movements, the introduction of concepts that challenge conventional norms
of storytelling has also led to exploring a different movement vocabulary in
this dance form. 3. UNIFORMITY OF NRITTA HASTA IN KATHAK When delving
into the essence of Kathak dance, a glance at the modern Indian texts reveals,
Lt. Pt. Birju Maharaj’s “Anga Kavya” elaborates
extensively on approximately forty nrittahastas
(addressed as “Nritya Hastakas), which have become
prevalent amongst today's Kathak practitioners and students! Maharaj (2002) It’s easy accessibility across online and offline platforms has aided
in its popularity over the years. While there is
attention to detail on the visual aesthetics of Kathak dance, there is not
enough textual emphasis on nrittahastas. Despite
undeniable evidence across different shastras and other forms of literature,
there seems to be a lack of awareness regarding nrittahastas
in the realm of the Kathak world. In other words, the attention toward "nrittahastas" in Kathak dance has not been uniform and
formalised across educational and vocational institutions across the globe. Every practitioner of Indian classical dance can affirm the relentless
and never-ending practice required to refine their nrittahastas,
particularly when guided by the strictness of a mentor or Guru. During regular
practice sessions, a mentor or teacher may provide corrections to a student's
movements, such as aligning their fingers or using upper arm strength to
elevate their hand. However, these corrections often remain limited to the
immediate context of the practice session, lacking a broader systematic
approach to the development and mastery of Nritta Hastas. In her
interview with The Hindu, world-renowned Kathak Guru and However, when
we look at her work today, it is characterised by breathtaking
spins, long leaps, and a paced yet confidently stylised gait that contradicts
the traditional slow and calculated "chaal"
in the Kathak repertoire. To quote The Hindu's Another example
of how expansive Kathak's movement vocabulary can become To quote a
statement from an interview with him on Darbar's official website by George
Howlett - “Khan has always
lived at the confluence of these tensions - classically trained, but not a
classicist."(https://www.diginow.co.uk/, n.d).
While his roots are in Kathak, Akram Khan has not shied away from experimenting
with the art form while keeping its core specialities alive. Keeping this
sentiment alive, he says - "Classicism is not about stasis - it is about
adherence to particular boundaries and creating using ideas within them. They
all show that traditional forms can evolve without losing their core”.
(https://www.diginow.co.uk/, n.d.-b) Dheerendra
Tiwari, a world-renowned Kathak exponent who has mesmerised spectators with his
clean yet intricate style of dancing, says - “There must be
some degree of uniformity of any art, as long as the
original form of that art is visible - preservation to that extent is alright.
However, if it remains as it is, the art form loses its ability to evolve and
progress, as I believe any art form depends on its space, time, and personality
(of the individual and art form) - more than the original form. When I speak of
space, it refers to the 'physical location', i.e., where one practices the art
form. Therefore, wherever an individual practices Kathak, the culture,
environment, certain sociological norms and many other
aspects add to the art form! Time refers to
'when' the individual practices the art form. If you see Kathak amongst artists
around fifty years ago, like I was watching just a few days back, I saw a
substantial difference in the 'anga-bhaav'
(aesthetics and presentation of nrittahastas). Seeing
the dance of some people, I could not even imagine that this used to be Kathak!
It made me think - 'Was this Kathak?' or 'Was this the original form of
Kathak?'. Therefore, I cannot even imagine what Kathak was 100 years ago! When we compare
Kathak fifty years ago to what it is today, we notice a distinct difference in
its original form and can trace its evolution when we watch performances today.
Moreover, in current times, many people use digital devices to a point where
they depend on them - further aiding in a shift in the presentation of the
dance form. Now we come to
'personality'. Art and art forms are beautiful and apt reflections of one's
personality. Let me explain the reason for this through an example. I know a
Tappa singer, and as many would know, tappa is a complicated and complex
singing style requiring a need for speed and clarity. As soon as she enters her
home, she finishes many tasks quickly. However, she does it with utmost perfection. Therefore, it matches his personality. On the other
hand, Thumri singers are gentle, with a hint of softness and subtlety in them.
Similarly, in dance, you can see one's personality very clearly, which further
manifests in their bodies.” (Tiwari Dheerendra, personal communication, 2022,
October 8th). Despite
countless years and decades of training and dancing, many Kathak dancers would
not know or understand the names of different nrittahastas,
let alone understand the finer nuances of the same. While different
gharanas (loosely translated to schools or styles) emphasise different
aesthetic perceptions, one can still not deny the underlying commonalities in
executing a particular nritta hasta or a set of nrittahastas. While nrittahastas
in Jaipur Gharana are broader, more expansive, and sharper, the same nrittahastas in Lucknow Gharana are more rounded, delicate,
and precise regarding the length and breadth of the movement. However, its
essence and execution are still the same. Dheerendra Tiwari adds - “It is through space (physical/geographical locations) that the
concept of 'Gharanas' came into existence. For instance,
if we look at Pune, we will notice that both the Jaipur and Lucknowgharanas
of Kathak are prevalent. However, Kathak in Pune (as a region) has its own
distinct form. If we look at Kathak in Delhi, we will see a difference; an
evolution, and if you see the same Kathak by Guru KumudiniLakhia
Ji in Gujarat, you will observe a difference in that art due to the impact of
the environment of that place. Similarly, if we look at Kathak in Pakistan by NahidSiddiqui Ji and Fasih-ur-Rehman
Ji, their bending techniques, and the way they execute a 'salami' are quite
different, adding more beauty and grace to the art form!” ((Tiwari Dheerendra,
personal communication, 2022, October 8th). Dheerendra believes that - “Kathak, like any other art form, depends more on space, time and
personality than uniformity in nrittahastas. It is
only to ensure that an artist does not commit any fundamental errors by
compromising the loss of originality of the art form to these three dimensions
that there is repeated emphasis on keeping uniformity intact. Kathak Gurus,
mentors and practitioners alike should maintain uniformity in nrittahastas till it becomes monotonous - because if every
student has the same approach and methodology towards executing a movement, it
will look mechanical - as if someone has copy-pasted their style onto another
person. Thus, it will lead to the dancer losing their individuality.” (Tiwari
Dheerendra, personal communication, 2022, October 8th) It is a matter
of concern that the foundation of several Kathak students and practitioners is
not as solidified as it should be which indicates an alarming level of
oblivion, along with a dire compromise on the classicality of the same. An art
form heavily reliant on visual aesthetics and coordination cannot afford to
invite such callousness at any level, especially when there is a growing
concern about losing its roots and cultural heritage. Therefore, to bring a
change to this aspect, it must start at an institutional level. Just as there
are workshops, lecture demonstrations, theory classes and seminars covering
aspects related to various processes and milestones in the field of Kathak,
institutions must also organise workshops and lectures on adapting the language
and vocabulary of nrittahastas in everyday conversations.
More discussion should be encouraged around understanding the history and
cultural context of hand movements while also gaining knowledge about the shift
in its practice over time. 4. CONCLUSION In conclusion,
the essence of Kathak dance reveals the importance of understanding and
emphasizing nrittahastas, which unfortunately has
been overlooked in modern Indian texts and educational institutions. While
there is attention to visual aesthetics in Kathak, there is a lack of textual
emphasis on nrittahastas, resulting in a lack of
awareness and uniformity in their execution. Nritta hastas
are an indispensable part of Indian classical dance, and Kathak is no
exception. Kathak has constantly upheld the notion of "khulanaach",
meaning an implicit sense of freedom in the performance arena while confining
within certain boundaries. However, with the growing popularity of group
choreographies, uniformity and coordination in movements is becoming more and
more integral. The interviews
with various Kathak gurs shed light on the need for
preserving the original form while allowing for evolution and individuality.
The example of Lt. Pt. Birju Maharaj's "Anga Kavya" highlights the
accessibility and popularity of certain nrittahastas
in contemporary Kathak practice. However, it is concerning that many Kathak
dancers are not well-versed in the names and nuances of different nrittahastas. The diversity among gharanas further
demonstrates the influence of space, time, and personality on the execution of nrittahastas. The existence of different gharanas adds
variety to the execution of nrittahastas, but their
essence remains consistent. It is crucial to bridge the gap in knowledge and
understanding of nrittahastas among Kathak
practitioners, ensuring a solid foundation and preserving the classicality of
the art form. Institutions should incorporate workshops, lectures, and
discussions focused on the language, history, and cultural context of nrittahastas, facilitating a thorough understanding and
practice for dancers. By nurturing a strong foundation, artists can then
confidently explore and innovate within the boundaries of the art form,
breaking the rules like true artists. To address
these issues, institutions should incorporate workshops and discussions on nrittahastas to deepen understanding and preserve the
cultural heritage of Kathak. As Picasso famously advised, "learn the rules
like a pro, so you can break them like an artist." Bergs (2018). However, the
challenge arises when one is not adequately versed in all the rules of a
particular art form. Regrettably, numerous videos found on the internet under
the category of "Kathak" serve as evidence to support this assertion. Despite the concept
of "aesthetics" being visually perceptive (therefore also
subjective), it is imperative to understand the basic grammar underlying nrittahastas. While this paper does not aim to dissuade the
encouragement of exploring the boundaries of its movement language and
vocabulary, it is essential to acknowledge and be mindful of the fact that
Kathak, like any other Indian classical dance form, has its set of rules and
regulations that practitioners and students must always follow. The importance
of retaining uniformity in nrittahastas in Kathak
dance while encouraging individuality is something we all have
to collaboratively work for. As George
Howlett articulately echoed the sentiments of many artists -
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