Стиль Катхак в системе индийского классического танца

         Sign Language in Hindu dance has its origin from the Yajur Veda, the symbolic formula sacrificial rituals. Originally gestures were intended to cause uplift during the ceremonies, conventionally speaking as a ritual. Ideography complex symbols represent the gods.

        Indian dancer expresses his hands the life of the universe putting a lot of characters and plots in each addition of finger and hand movements. Familiarizing themselves with the designation of each finger hands, you know how important it is for Hindus possession of gestures and finger configuration. Only with this knowledge comes the understanding of dance sculpture, where hand movements are the initial value.

       Fingers express 5 basic, main elements they are  Air - Vayu, Fire - Agni, the Earth - Prisvi or Dhumi, ether (space, sky) - Akash and Water - Jala.

      Together, these five elements called Panch Mahabhut in India. Each of these elements has its own character, properties, each associated with a specific direction and shape, color, taste, smell, and part of the house.

                    

 There are three types of Haste

 

       1. Asamyuta Hastas - gestures of one hand, carrying some meaning.

      2. Samyuta Hastas - gestures with both hands, as having a certain value.

       3. Nritta Hastas - decorative gestures, those with no particular value, are pure dance (technique).

       Thus, a detailed analysis of seven major styles of Indian classical dance has shown a history of origin and specific nature development of each style, depending on the state's natural features and distinct human manifestations associated with these objective characteristics. Despite some differences in manifestations, they are all based on the Hindu religion. Style of Kathak distinguished from  it’s generalization of the two religious directions: Hindu and Muslim. Relationship with the Hindu religion - In a semantic filling. Muslim influence is reflected in the technique the dance and costume that resembles costumes of people of Iran, Afghanistan and Central Asia. The next distinctive aspect of Kathak style from the other classic styles is the presence of three schools that are being united by a common style reflects the narrow specific features of manifestation of the dance.

 

       Chapter 2. Famous Dancers Kathak style

       Indian tradition puts the teacher on a higher level of reverence among the people Guru is a teacher - the most important person in my life any of us. Mother - this is the first teacher. When a child begins to grow up, he learns to perceive the world in which he lives. He goes to school, where he meets someone who teaches him to live and understand our surroundings.

       2.1 Rajendra Kumar Gangani - a famous guru, performer and choreographer, is unsurpassed in technique and style productions Jaipur gharana to this day. His technique is different complex variations of movement and exceptional speed performance of various combinations of legs and pirouettes.

       Rajendra Gangani has extraordinary charm that attracts a hypnotic gaze of spectators, the audience zamiryaet of admiration and dissolves completely in his dancing to the ringing of gunguru, which ends a flurry of applause and recognition of it as the best in the style of Jaipur Gharana.

    Performances Rajendra Kumar Gangani always been difficult technique, beautiful pictures and a variety of novelty of their works.

        2.2 Prerna Shrimali  - one of the greatest dancers of Kathak style, Jaipur gharana today. Magic Grace, a virtuoso footwork, excellent abhinaya - here are a few features that characterize the style of performance Prerani-ji. Prerna Shrimali one of those rare nowadays Kathak dancers, who are equally strong in technique and lyricism have as an actor and a thinker, a virtuoso and poet. In 1995, Prerna Shrimali set dance-art-poetry performance «Reaching For Each Other», where she participated as a dancer.

       2.3 Pandit Birju Maharaj legendary dancer and a guru in the style of Lucknow Gharana. Recognized as the best, unique and extraordinarily talented in the performance of Abhinaya (facial expressions). His mastery of reincarnation in different characters such as - a naughty little Krishna (Hindu god), the girl waiting for her lover, a brave and noble Ram (Hindu god) makes the audience believe in the reality of the situation. Through the technique of the feet, he composes new songs on a modern theme, for example: telephone sounds, trains, horses, today's dialogue between man and a woman, and so on.

      His work has been influenced by Muslims, it expresses gestures borrowed from Arabic dancing. More attention in the dance is on the wrist, sounding ghungru, facial expression of the dancer. All the terminology of dance translated into Urdu, as a result of great influence of Persian literature. Delicacy and elegance are characteristics of this school, which is particularly distinguishes Birju Maharaj.

       2.4 Sasvati Sen is famous, talented dancer of style kathak Lucknow gharana. It has been regarded as one of the unmatched students Birge Maharaj. Today it is one of the most outstanding representatives of the Lucknow-Gharana. The strongest aspect of her performance is abhinaya, which has always received the highest praise from audiences and critics. Sasvati Sen is a choreographer as individual composition and dance dramas.

Such masters of the execution and famous teachers bring ancient traditions to life again, the students and the audience sense a taste, sweetness and influences of majesty of centuries-old art of Indian classical dance.

 

       Conclusion

       Thus, having made a detailed analysis of Indian classical dance style of Kathak, and specifically, we concluded that this style, despite the fact that there is a significant distinguishing quality, is an integral part of both the Indian classical dance, and the entire Indian culture. Kathak style reflects not only the aesthetics of the school and the state where he is thriving, but represents a historical record of an entire epoch of the Mughals.

This is the only style of classical Indian dance, which exerted a mutual influence of Hindu and Muslim traditions.

       The dominant style of Kathak - Nritta, pure dance, the distinctive feature is the footwork. On their ankles from the artists a lot of bells, as in any other Indian style of dance, the dancer beats off his feet a number of rhythmic patterns and variations. Kathak style contributed to the development of an incredibly complex dance rhythms and display of these rhythms by leg movements. Often a dancer and musician competed in skill transfer all kinds of rhythms. This skill - a fundamental part of the style.

      The structure of the traditional performance of Kathak is a progression from slow pace to a very rapid, ending a dramatic climax. Characteristic of Kathak, a lot of quick turns, the soft movement of hands and an element of percussion accented rhythmic patterns kicking dancers, which rolled up a special set of anklets with bells - gungru. The beauty of Kathak are perfect harmonious plastic movements of hands and bends of the body, giving a visual expression of rhythmic stance. Variations of tempo, permutation cycle of ticks in cross-rhythms, quick circular movements and sudden motionless posture - that's the technical side of Kathak. Fluid motion, grace and poise are its aesthetic characteristics. Unlike other Indian classical dances, the dancer does not expose your knees bent forward or sideways and does not commit the deep slopes of the body.

      Performance features promote and costume, which is visually distinguished from other styles of Kathak, where a dance costume resembles a sari. The costumes used Kathak long skirt, sun, emphasizing the dynamic cornering. Make-up, as a rule, natural, with a pronounced underlined eyes.

       An important feature of the style of Kathak is a high potential manifestations of individuality Executive rich opportunities for individual improvisation.

      The study reached the following conclusions regarding the specific features of Kathak style, its strengths, which differ from all other existing styles of Indian classical dance.

 

They are:

- the basic position of the dancer - a natural on straight legs;

- rhythm - the foundation of this art, the emphasis of style in the legs - Tatkar - diverse and complex rhythmic patterns, knocked out feet, heels, toes dancer.

- improvisation - Kathak performer is not necessarily subordinate to the composition, rather, Larry theme music, where improvisation becomes a separate number "dzhugalbandi;

- pirouettes chakkar - in Kathak many turns and half-twist in opposite directions, the compositions can be found up to several dozen pirouettes;

- recitation of syllables (bol) - before the execution of a dancer voices a rhythmic pattern;

- unusually gentle hand movements;

- the whole story is passed through mime dance. Accent Art abhinai the ability to express the dancer's one theme in different ways with infinite shades of emotion;

- a soft blend of Kathak, Muslim and Hindu culture.

This study is expected to be contribute to a deeper, serious approach to the study of classical Indian dance style of Kathak.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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