DANC 046: Kathak (SC)

2014, by Margaret Walker. "Through an analysis both broad and deep of primary and secondary sources, ethnography, iconography and current performance practice, this enquiry 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."

2012, by Shovana Narayan. "Kathak, northern India's most popular dance form, originated in the Indo-Gangetic plains. The text on Kathak provides an excellent overview of the form, incorporating a wealth of information on its origin and salient features. Tracing its over 2000-year-old history, it answers many of the questions that frequently plague interested viewers as well as connoisseurs. It corrects, and puts into proper perspective, a number of misconceptions that are related to the dance form.”

2008 by Pallabi Chakravorty. “The first critical study of Kathak dance within the discourses of the modern and the global, tracing the arc of two centuries of Kathak: the colonial nautch dance, classical Kathak under nationalism and postcolonialism and 'innovation' and 'new directions' under transnationalism and globalization. It blends various approaches from anthropology, ethnomusicology, and performance, media and gender studies to map the journey of Kathak from baijis and tawaifs to the global stage. The book uses dance as a lens to explore the interaction between the actors and forces of cultural change from power and patronage to television and film.”

2006, by Sangeet Natak Akademi. "This is a pioneering study of classical Indian dance in the way of contemporary philosophical aesthetics. Concentrating in Kathak, it seeks, on the one hand, to determine the nature of such set numbers as thata, amad, tatkar; and, on the other hand, to illumine our experience of watching a good Kathak recital. Care has also been taken to bring out the meaning of aesthetic predicates, and of many other terms, such as mukhvilas, layakari, bol, bol ka dharma or majaz, and bamani collocations of rhythmic syllables, which freely occur in our talk about Kathak. The more serious students of this dance form should find valuable suggestions in what this book has to say on the laws of syllabic integration and on creative devices, such as regulating changes of music between adjacent numbers by availing of laya which inheres in bols, as distinguished from the basic pace which only underruns them, and fuller utilization of the dhruvapada-dhamar forms of vocal music for evocation of deeper effects in Kathak. The two appendices-'Art as Expression' and 'The Rasa Theory'-should be of help to all those who may like to study our dances and music from an expressly aesthetical angle. The book may be said to meet our long-standing need for a full-length analytical study of Kathak as art, and to indicate the lines on which similar works could be attempted on our other forms of classical dance."

2002, by Birju Maharaj. "Due to the paucity of good books with authentic information on Kathak dance, the need for a book like Ang Kavya was greatly felt. Earlier, dance movements had no established names, and hence it was difficult to refer to them without actually showing them. Pt. Birju Maharaj created a nomenclature of the hands and feet positions, and over a period of time critically discussed it with scholars and practitioners. Further, in order to facilitate documentation, easy notation symbols have been created which are simple to understand and reproduce.These names, with the corresponding figures, notations and some abstract line drawings have been compiled in this book, the first of its kind"

1999, by Reginald Massey. "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."

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