Let’s explore Nritya and Kathak Dance! the rich heritage of this Indian classical art form, its history, techniques, and foundational concepts, and learn about the taal systems and gharanas.
Natan bhed
What is Nritya (Dance)
To completely understand NRITYA, it is essential to comprehend the fundamental concepts of Natya and Nritta. Natya encompasses the dramatic and expressive aspects of dance, while Nritta refers to the rhythmic and technical elements. By understanding the interplay between these two concepts, one can gain a deeper understanding of the complexities of Nritya.
- Natya – The simple meaning of Natya is to play a drama. When an actor imitates or imitates the gait, attire, manner of speaking, etc. of a historical or mythological character, then it is called drama.
- Nritta – The dance action which is devoid of emotion is called Nritta. Rhythm has priority in this dance. In fact, when different types of laya and taal are displayed through body movements, then that action is called dance.
- Nritya – The third art that was born from the union of these two arts, drama and dance, is called dance. This dance is full of passion and expression of emotions. The process of displaying emotions by moving body parts according to the rhythm is called dance.
Intorduction to Kathak
Kathak is a famous classical dance of North India. Kathak means storyteller. As the saying goes, “Katha Kare Sa Kathak Kahve”. Kathak is believed to have originated from sage Valmiki who first taught Luv-Kush how to sing Ramayana
through music. That is why, in ancient times, Kathak people were called Kushi-lav.
It is believed that these Kathaks were appointed in temples, where they presented mythological stories to the public through music and dance. The dance performed by these Kathaks is the Kathak dance. During the Mughal period, Kathak dance was divided into two streams. Some people traditionally served in temples and some people reached the royal courts of Hindu or Muslim kings and nawabs and started dancing as per their interest. From here the taal-based and highly decorative form of Kathak emerged. At present three gharanas of Kathak dance are famous.
- Jaipur Gharana
- Lucknow Gharana
- Banaras Gharana (Janaki Prasad Gharana)
Jaipur Gharana is representative of the Hindi style of Kathak dance and is rhythm-oriented, while Lucknow Gharana is emotion-oriented with Muslim influence.
Tatkar ~ Dance lyrics
In Kathak dance, the stamping of feet with laya and taal is called Tatkar or Tatkar. The meaning of Tatkar is not just to show the movement of the rhythm with the footwork. Just as a skilled Tabla player expands a rhythm by playing Kaida-Palta-Gat-Rela etc., similarly, a Kathak dancer tries to create the sound effect of different types of rhythms by using their feet. Apart from this, kathakas seems to be doing the impossible task of getting the sound of each bol played on the Tabla-Pakhawaj as it is with their feet.
Thaat
First of all, the dancer enters the stage and stands in a posture. Then dancer moves eyes, eyebrows, neck, and wrists with the rhythm. In between, dances on small pieces of composition , and changes his standing posture. This method of starting the Kathak dance is called Thaat. There is no display of emotion in thaat, rather there is a rhythmic and beautiful movement of the body. Thaat is called the prelude to the Kathak dance.
Salaami/ Namaskar
Salami is also called namaskar. Earlier in the royal courts, the dancer used to salute the king with the dance toda, which is also called Salaami. The salute ends in such a way that the posture of Salaam or Namaskar comes on Sam. Even after the end of Muslim and British rule, the word salami continues to be used. It is appropriate to call it Namaskar.
Aamad
Amad is a word in the Persian language that means arrival and entering. Based on this word, people have made the definition of Aamd in Kathak dance that when a Kathak dancer enters the stage dancing a particular type of bols (syllables), then this action is called Aamd. But this definition of Amad is not appropriate because traditionally in Kathak dance, Amad is danced after Thaat. This means that the dancer is already present on the stage to perform, so the question of his re-entering does not arise. Hence in the vilambit laya, after thaat dancing on a complete composition and coming on sam for the first time , is called amad.
Toda or Trotakam
Any rhythmic composition made only from dance syllables,. which is not less than one cycle is called Toda. In the dance tradition of Raigarh, it was named Trotakam and generally, Toda is called Tukda or a dance piece.
Taal
Taal is the scale to measure the speed of time in music. For example, with the help of a clock, we divide day and night into hours, hours into minutes, and minutes into seconds and thus it becomes very easy for us to know the duration of any work. Similarly, the speed of the musicians is controlled by dividing the notes of a raga or the lyrics of a dance into taals, taals into Vibhaags (divisions), and Vibhaags into matras.
Laya
The speed of time in music is called Laya . For example, when we walk, sometimes our pace speeds up due to necessity, and sometimes when we go out for a walk, our pace slows down. Generally, we walk at a pace that is neither very
fast nor very slow. Similarly, the change in our speed or gait is the change in the speed of our walking, and this speed is called Laya in music.
There are three types of rhythm.
Vilambit laya ~ When the act of singing, playing, or dancing is done slowly, then the speed of time is called vilambit laya.
Madhya Laya ~ When music is practiced neither very fast nor very slow, but at a smooth and normal pace, then it is called Madhya Laya.
Drut Laya ~ When the act of singing, playing, or dancing is done very quickly or rapidly, then it is called drut laya.
Maatra
The smallest unit of time in music is called matra. Just as the mile is a bed or the foot is an inch and the smallest division of an inch is a centimeter, in the same way, matra is the mean of measuring taal. Generally, the period of one second can be considered as one Matrakaal.
Aavartan
One rotation or circle of any Taal (time cycle) is called aavartan. In fact, the word Aavartan means to rotate or a circle. For this reason, when one completes one round of any taal from the first maatra to the last maatra and then makes one round reaches on sam. For this reason, when any taal completes one cycle from the first maatra to the last and then comes back to the first maatra, it is called Aavartan of the taal.
Theka
The basic sections of the tabla of any taal are called theka. The lyrics of the theka are predetermined or well-known keeping in mind the taali (clap), khaali, vibhag (division),etc. of each taal. The taal could be identified only by the lyrics of the theka. Sometimes two taals can have similar taali, khaali, and vibhaag, etc. then we can know the taal only by listening to the lyrics of the theka. For Eg: Ekataal, Chautaal, Jhaptaal, Sooltaal etc
Sam
The first matra of any taal, which is usually a clap, is called Sam. Sam is the starting point of every taal. Therefore, it is of utmost importance to maintain the taal. No matter from which matra the composition begins, it always ends at sam, and from here one should get hold on the theka again.
Taali-Khaali
Taali-Khaali is used to indicate the Vibhaag in each taal, due to which the pace of the taal becomes clear to everyone. When the change of vhibhaag is indicated by clapping, then that action is called Taali, and when the change of vibhaag is
shown only by waving hand instead of clapping, then it is called khaali. In ancient times, these were called sashabd and nishabd respectively.
Ekgun
When one maatra is used in one maatra then it is called Thaah or Ekgun.
Dogun
When two matras are used in one matrakala then it is called Dogun.
Chaugun
When four matras are used in one matrakaal, it is called Chaugun.
Tihai
When any small piece composition repeats three times and end on sam, it is called a tihai.
There are two types of tihai~
1. Damdaar tihai ~ When there is a pause after the first and second palla, then it is called damdaar tihai.
2.Bedam Tihai ~ When all three pallas are recited together without pause then it is called Bedam Tihai.
Hastak
In Kathak dance, the act of moving hands with lay-taal is called Hastak. These hands have evolved traditionally in various gharanas of Kathak dance. It is different from hand gestures : sanyunkt or asanyukt hastHand gestures are made only with
the palm, and different meanings are expressed through them in acting. Whereas in Hastak, the entire hand is operated from shoulder to fingers.
Two main music systems of India – Hindustani and Carnatic music.
In layman language, only singing is understood as music, but in music, singing, playing and dancing is called music.
Thus, there were three parts of music ~ singing, playing, and dancing. It is said in Sangeet Ratnakar’ written by Shrangdev, “geetam, vadyam, tatha nrtiyam trayam sangeet muchyate.”
“गीतम, वाद्यम, तथा नृत्यं त्रयं संगीतमुच्यते.”
That is, singing and dancing, all three are called music and there is a close connection between them.
Hindustani Sangeet Padyati
It is prevalent in the northern states of India like West Bengal, Bihar, Odisha, Uttar Pradesh, Himachal Pradesh, Delhi, Madhya Pradesh, Gujarat, Jammu and Kashmir etc. The language of this system is Hindi and It is also called northern music ( Uttari Sangeet Padhyati ).
Carnatic or South Sangeet Padyati
This method is promoted in Tamil Nadu, Kerala, Karnataka, and Andhra Pradesh. Natya Shastra, Sangeet Parijat, and Sangeet Ratnakar texts are considered the base of both the methods. These two methods are definitely different from each
other, but many things are found common in both the methods.
Teen taal, Jhaptal, Dadra and Keharwa taal
Teentaal
There are sixteen matras in teen taal and four vibhag which are set of 4 matras each. In three rhythms there are three taali and one khali. The three taali occur on 1, 5,and 13. A khali occurs on the 9th matra.
Jhaptaal
Jhaptal has ten maatra, four vibhaag, three taali, and one khali. The taali are on 1, 3 and 8. There is a khali at 6.
Taal Dadra
In this Taal, Nrit is not performed but drama (abhinay) is performed. In Dadra there are 6 maatra, two vibhaag, one taali and one khali. The taali comes on one and the khali comes on four.
Keharwa
Keharwa has 8 maatras, two vibhag, one taali and one khaali. The taali comes at one and the khaali comes at five.
Nritya and Kathak beautifully blend storytelling, rhythm, and emotion, making them timeless art forms that continue to inspire. By understanding their history, techniques, and taal systems, we gain a deeper appreciation for the intricacies and elegance of Indian classical dance. Whether you’re a beginner or an enthusiast, exploring these elements helps you connect with the cultural heritage they represent. Keep learning, practicing, and celebrating the beauty of Kathak!
About the Author: – Neha Khunteta
Neha Khunteta is a highly experienced Kathak dancer and trainer with over 15 years of experience. She is the founder of Kathak By Neha, one of the Best Kathak Dance Academies. With her profound expertise and experience, Neha has established herself as one of the foremost educators in Kathak.
If you are interested in learning more about Kathak dance or finding out about Neha’s upcoming workshops and classes, please visit her website or contact her through the details provided in the blog.
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Email: neha@kathakbyneha.in or contact: +91-8619116616
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