Kathak Volume 1 A Theoretical Practical Guide

This book will be helpful for Prathama, Madhyama of Bhatkhande Sangit Vidyapith, Praveshika, 1st, 2nd, 3rd and 4th Year of Prayag Sangit Samiti, Prayagraj, Surnandan Bharati, Kolkata, Pracheen Kala Kendra, Chandigarh, Akhil Bharatiya Gandharva Mahavidyalaya, Pune along with 9th and 10th Board. I hope it benefits the budding talents of Classical dance of Kathak.

This book, "Tabla- A Quest A Theoretical & Practical Guide" Part-1 will be beneficial for the budding talents and students of Classical Instrument, Tabla. It will be helpful for Prathama and Madhyama of Bhatkhande Sangeet Vidyapith, First Year, Second Year and Third Year of Prayag Sangit Samiti, Prayagraj and equivalent examinations of Akhil Bharatiya Gandharva Mahavidyalaya, Pune, Pracheen Kala Kendra, Chandigarh and 9th and 10th Board Examinations. This is the only book describing the Lucknow Gharana of Tabla in detail along with the life sketches and founders and artists of all the Gharanas.

This is a course book on Indian Classical Dance Kathak with major basics of theory and practical for self kathak learning.

"Kathak: the dance of storytellers explores the philosophical and practical aspects of Kathak dance--its origin, development, and techniques. Investigating this compelling dance style from cultural and historical perspectives, the book delves into the essential principles of Kathak, its schools and major artists, the format of Kathak performance, repertoire, Kathak music, predominant trends in training, and the system of practice through the lens of theory and application. A rare resource, the text is a comprehensive read for dancers, teachers, and Kathak lovers"--Dust jacket flap.

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.

In 1902 The Gramophone Company in London sent out recording experts on "expeditions" across the world to record voices from different cultures and backgrounds. All over India, it was women who embraced the challenge of overcoming numerous social taboos and aesthetic handicaps that came along with this nascent technology. Women who took the plunge and recorded largely belonged to the courtesan community, called tawaifs and devadasis, in North and South India, respectively. Recording brought with it great fame, brand recognition, freedom from exploitative patrons, and monetary benefits to the women singers. They were to become pioneers of the music industry in the Indian sub-continent. However, despite the pioneering role played by these women, their stories have largely been forgotten. Contemporaneous with the courtesan women adapting to recording technology was the anti-nautch campaign that sought to abolish these women from the performing space and brand them as common prostitutes. A vigorous renaissance and arts revival movement followed, leading to the creation of a new classical paradigm in both North Indian (Hindustani) and South Indian (Carnatic) classical music. This resulted in the standardization, universalization, and institutionalization of Indian classical music. This newly created classical paradigm impacted future recordings of The Gramophone Company in terms of a shift in genres and styles. Vikram Sampath sheds light on the role and impact of The Gramophone Company’s early recording expeditions on Indian classical music by examining the phenomenon through a sociocultural, historical and musical lens. The book features the indefatigable stories of the women and their experiences in adapting to recording technology. The artists from across India featured are: Gauhar Jaan of Calcutta, Janki Bai of Allahabad, Zohra Bai of Agra, Malka Jaan of Agra, Salem Godavari, Bangalore Nagarathnamma, Coimbatore Thayi, Dhanakoti of Kanchipuram, Bai Sundarabai of Pune, and Husna Jaan of Banaras.