India S Kathak Dance In Historical Perspective

Kathak, the classical dance of North India, combines virtuosic footwork and dazzling spins with subtle pantomime and soft gestures. As a global practice and one of India's cultural markers, kathak dance is often presented as heir to an ancient Hindu devotional tradition in which men called Kathakas danced and told stories in temples. The dance's repertoire and movement vocabulary, however, tell a different story of syncretic origins and hybrid history - it is a dance that is both Muslim and Hindu, both devotional and entertaining, and both male and female. Kathak's multiple roots can be found in rural theatre, embodied rhythmic repertoire, and courtesan performance practice, and its history is inextricable from the history of empire, colonialism, and independence in India. Through an analysis both broad and deep of primary and secondary sources, ethnography, iconography and current performance practice, Margaret Walker undertakes a critical approach to the history of kathak dance and presents new data about hereditary performing artists, gendered contexts and practices, and postcolonial cultural reclamation. The account that emerges places kathak and the Kathaks firmly into the living context of North Indian performing arts.

Kathak, the classical dance of North India, combines virtuosic footwork and dazzling spins with subtle pantomime and soft gestures. As a global practice and one of India's cultural markers, kathak dance is often presented as heir to an ancient Hindu devotional tradition in which men called Kathakas danced and told stories in temples. The dance's repertoire and movement vocabulary, however, tell a different story of syncretic origins and hybrid history - it is a dance that is both Muslim and Hindu, both devotional and entertaining, and both male and female. Kathak's multiple roots can be found in rural theatre, embodied rhythmic repertoire, and courtesan performance practice, and its history is inextricable from the history of empire, colonialism, and independence in India. Through an analysis both broad and deep of primary and secondary sources, ethnography, iconography and current performance practice, Margaret Walker undertakes a critical approach to the history of kathak dance and presents new data about hereditary performing artists, gendered contexts and practices, and postcolonial cultural reclamation. The account that emerges places kathak and the Kathaks firmly into the living context of North Indian performing arts.

All The Major Dance Styles Of The Indian Subcontinent Share A Common Root System Of Ethical And Aesthetic Values. Hence No Single Style Can Claim To Be Purer Or Older Than Any Other. Kathak- The Style That Grew, Took Shape And Flourished In The Northern Regions Of The Subcontinent-Has Been Misunderstood And Misinterpreted On Account Of Ignorance And Prejudice From Various Quarters. This Book Sets Out, Therefore, To Rectify Incorrect Perceptions By Presenting Historical Facts And Placing Kathak Dance In Its Proper Cultural Context. The Background Of The Dance Is Explained In Detail; The Religious, Social And Political Influences Over The Centuries Are Recounted; Myth, Theory And Reality Are Expounded Upon; Current Trends Are Described And Future Possibilities Examine; And, Not Least, The Sheer Beauty Of Kathak Is Exposed To Both The Eye And The Intellect. This Book Provides Not Only Information On Technique And Training But Also Tells The Dance Lover What To Look For In A Typical Kathak Performance. It Will, Indeed, Assist The Reader Better To Appreciate And Understand A Great Dance Style. The Names And Addresses Of Recognised Dance Schools And Teachers, Both In India And Abroad, Will Prove Useful, As Will The Glossary And Bibliography. India S Kathak Dance: Past, Present, Future Is Essential Reading For All Those Who Wish To Be Acquainted With India S Immense Cultural And Artistic Achievements.

Indian Classical Dance and the Making of Postcolonial National Identities explores what happens when a national-cultural production is reproduced outside the immediate social, political and cultural context of its origin. Whereas most previous studies have analysed Indian classical dance in the context of Indian history and culture, this volume situates this dance practice in the longstanding trasnational linkages between India and the UK. What is the relation between the contemporary performance of Indian classical dance and the constitution of national, diasporic and multicultural identity? Where and how does Indian dance derive its productive power in the postcolonial moment? How do diasporic and nationalist representations of Indian culture intersect with depictions of British culture and politics? It is argued that classical Indian dance has become a key aspect of not only postcolonial South Asian diasporic identities, but also of British multicultural and transnational identity. Based on an extensive ethnographic study of performances of Indian classical dance in the UK, this book will be of interest to scholars of anthropology, sociology, South Asian studies, Postcolonial, Transnational and Cultural studies, and Theatre and Performance studies.

Covering eight classical dance forms of India Bharatanatyam, Kathak, Kuchipudi, Kathakali, Manipuri, Mohiniattam, Odissi and Sattriya Leela Venkataraman seamlessly weaves together a historical perspective with the contemporary scenario. Stripped of their association with the temple and the court, classical dance traditions in India went through a series of unprecedented change in the period marking the last few years of British rule and thereafter. From becoming part of the nationalist struggle when India was trying to rediscover its lost identity, to sharing the international stage today with dance forms from all over the world, the last sixty-six years have seen many changes in perspective and presentation of Indian Classical Dance some intentional, others involuntary. While looking at these years closely and their impact on dance forms, one realises that this is a phase in an ongoing process, with each new generation of dancers and musicians adding to an already rich tapestry of tradition."

This book studies the intersection of performance and nationalism in South Asia.It traces the emergence of the culture of nationalism from the late nineteenth century through to contemporary times. Drawing on various theatrical performance texts, it looks at the ways in which performative narratives have reflected the national narrative and analyses the role performance has played in engendering nationhood. The volume discusses themes such as political martyrdom as performative nationalism, the revitalisation of nationalism through new media, the sanitisation of physical gestures in dance, the performance of nationhood through violence in Tajiki films, as well as K-Pop and the new northeastern identity in India. A unique contribution to the study of nationalism, this book will be useful for scholars and researchers of history, theatre and performance studies, cultural studies, postcolonial studies, modern India, Asian studies, political studies, social anthropology and sociology.

Previous studies have analysed Indian classical dance as an expression of Indian religious and nationalist culture, examining the art form solely in the context of Indian history and culture. In investigating performances of Indian classical dance in the UK it is possible to argue that classical Indian dance has become a key aspect of the mutual constitution of not only postcolonial Indian and South Asia diasporic identities, but also of British multicultural and transnational identity. Indian Classical Dance and the Making of Postcolonial National Identities explores what happens when national cultural production is reproduced outside the immediate social, political and cultural context of its construction. The chapters in this volume addresses the questions: * What is the relation between the contemporary performance of Indian classical dance and the constitution of national, diasporic and multicultural identity? * Where/how does Indian dance derive its productive power in the postcolonial moment? * How do diasporic and nationalist representations of Indian culture intersect with depictions of British culture and politics? Based on an extensive ethnographic study of performances of Indian classical dance in the UK, this book should be of interest to scholars of anthropology, sociology, South Asian studies, Postcolonial, Transnational and Cultural studies and Theatre and Performance studies.

Kathak, the classical dance of North India, combines virtuosic footwork and dazzling spins with subtle pantomime and soft gestures. Its repertoire and movement vocabulary show its syncretic origins---it is a dance that is both Muslim and Hindu, both devotional and entertaining, and both male and female. Histories of kathak dance, however, claim that it began as a temple dance, originally performed by a clan of Brahman storytellers called Kathaks who recounted the Hindu epics with expressive gestures. The dance is still largely disseminated by hereditary dance families from the Kathak caste, who are said to have preserved the ancient form while migrating to the Muslim courts. Difficulties arise, however, when one attempts to discover the early form of kathak and to trace its development through the courts. The history of kathak, as it has been written until now, contains numerous gaps, contradictions and paradoxes. Through a broad yet in-depth analysis of primary and secondary sources, ethnography and iconography, this dissertation undertakes a critical examination of the history of kathak as it exists in publications and popular knowledge, calls many of the accepted "facts" into question, and hypothesizes a different account. In the process of dismantling the accepted version, which promotes a past which is not only specifically male and Hindu, but also linear, I uncover a web of closely related traditions which only combined in the early twentieth century to form a dance called kathak.