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Kathak at the royal courts
Kathak faced a transformation when entered the Royal Courts in the early
19 th century when a string of ruling dynasties from mainly Central
Asia invaded Northern India .
God in Islamic tradition seen as an abstract, formless and complete entity. To some this seemed to be in contradiction with the numerous deities in the Hindu religious pantheon with human like qualities. Nritta or pure dance developed as a major part of the repertoire emphasizing the abstract beauty of movement and rhythm. Ghunghroo (ankle bells) became an indispensable element of Kathak as rhythm gained importance. A whole new range of rhythm patterns were introduced in Kathak.
Kathak, during this period, reached a wider audience through performances in both religious as well as secular settings. The gatherings of music and dance lovers would be intimate in which the dancer would easily be able to establish an artistic connection with the audience.
The masters who belonged to the traditional storyteller families and were devotees of one or the other deities themselves also kept the narrative element in Kathak alive. These Kathakaars considered it to be their sacred duty to sing and dance in order to spread the message of God amongst the masses.
Written by Sushmita Ghosh