Kathak Exam Theory

Anjali

2 pataka hands join the palms.

• shows respect and salutations to deities

• Can be held on the face to show prayers

Kapota

2 pataka hands meet only at the base, sides and ends.

• shows respectful agreements

• Shows addressing a preceptor

Karkata

Fingers of one hand going through opening of the other fingers hand

• Pulling a branch down

• Showing the belly

Swastika

2 pataka hands put across each other at the wrists.

• Can denote a crocodile

Dola

2 pataka hands placed on thighs.

• Used in the beginning of Natya

Pushpaputa

2 sarpashirsha hands met on one side.

• Taking of water

• Giving flower offerings to the gods

Utsanga

Mrigashira hands placed on upper hands of opposite hands.

• Embraces display of armlets

• coaching of boys

Shivalinga

Ardachandra held by left hand and Shikhara by the right

• Shows phallic symbol

Katakavardana

Svastika made by 2 kartari mukha hands placed at the wrist.

• used in marriage

• used to show worshiping

Kartarisvastika

Svastika made by 2 kartari hands placed at the wrist.

• denotes tree

• denotes branches

Shakata

Middle finger of Bhramara hands is stretched.

• playing a demon

Shankha

Thumb of shikara hand meets other thumb and clings by forefinger

• shows conch shell

Chakra

When the palms of Ardhachandra hands are put across each other

• can denote a chakra (wheel)

Samputa

When the fingers of Chakra hands are curved

• represents covering things

• can also represent a box

Pasha

When the forefingers of Suchi hands are close to each other and they bend inwards

• denotes a mutual quarrel

• also denotes a chain

Keelaka

The little fingers of the Mrigasheersha hands are close to each other and they bend inwards

• can denote affection

• also denotes a jocose talk

Matsya

One hand is placed on the back of another hand and the two thumbs are out and stretched

• denotes a fish

Koorma

When the tips of the thumbs and little fingers of Chakra hands are bent

• denotes a tortoise

Varaha

A Mrigasheersha hand is placed above another Mrigasheera hand and the thumb of one hand meets the other and vice versa

• denotes a boar

Garuda

The palms of two Ardhachandra hands are placed horizontally with the two thumbs on each other

• denotes a Garuda (eagle)

Nagabandha

Place both hands in Sarpa Shirsha mudra and cross the wrists so the hands are intertwined

• denotes a pair of snakes

• denotes a binding of snake’s coil

Khatva

Hold the left hand in Chatura mudra and place the right hand in Shikhara mudra above it

• denotes a cot/ bed

• denotes a throne/ seat

Bherunda

Place both hands in Kapittha mudra and hold them side by side with the wrists close together

• denotes the mythical Bherunda bird

• denotes a pair of powerful birds

Def of Abhinaya

Art of expressive storytelling. It's derived from abhi (towards) and naya (to lead) - means to carry the spectator towards the emotions and meaning of the performance. It combines facial expression, hand gestures, hand and neck movements and narritives. Ex: Jamuna ke Tat Par

Aangik according to Abhinaya Darpan

Aangik derives from the word “anga”, which means body parts and it’s the expressing of emotions, ideas and stories through the movements of the body. It also includes the use of Pratyanga and Upanga (minor and smaller body parts) such as hands, eyes, head, face, and neck to demonstrate expressions on a deeper level.

Vachik according to Abhinaya Darpan

Vachik derives from the word “Vacha”, which means speech or words. This refers to the expression of emotions, ideas and stories through the use of sound. Through vachik, a dancer expresses their storytelling through vocal expression and lyrical content.

Aaharya according to Abhinaya Darpan

Aaharya derives from the word “Aahara'“, which means to bring, collect or adorn. This refers to the physical appearance and decorations used in a dance performance such as costume, jewlery, makeup and stage props. Through this, the dancer can convey a story through visual elements.

Saatvik according to Abhinaya Darpan

Saatvik derives from the word '“Sattva”, which means purity, truth or inner feeling. This refers to the expression of deep emotions that arise from the dancer’s mind and heart. Through this, a dancer portrays emotions such as joy and fear through natural feelings and responses.

Dhristi Bhed according to Abhinaya Darpan

Dhristi Bhed derives from “Dhristi”, which means gaze or glance. This refers to various looks utilized in dance to convey emotions and narratives. It also involves the precise movements and positioning of the eyes to convey different moods. This overall helps to enhance storytelling and emotional depth.

Paad Bhed according to Abhinaya Darpan

Paad Bhed derives from “Paad”, which means foot. This refers to the variations of foot movements and tatkar used in dance. It encompasses different styles and techniques to demonstrate nuances and emotions of a story. This overall helps to enhance the artistry and narrative of the dance performance.

Grivabeth def. and variations

Grivabeth means neck movements and the types of them are -

1. Sundari - neck is moved to and from horizontally.

• Denotes begging of affection

2. Tiraschina - neck making upward movements on both sides like a gliding snake.

• Represents a snake

3. Parivartita - neck moving from right to left like a half moon.

• Denotes female dancer in Lasya

4. Prakampita - neck is moved backward and forward like a pigeon's neck.

• Denotes a pigeon

Shriobeth def. and variations

Shirobeth means the head movements and these are the types:

1. Sama (level) - head is motionless and not bent or raised.

• In sitting for prayers

2. Udvahita (raised up)

• Denoting a flag or moon in the sky

3. Adhomukha (down cast face)

• Denotes grief or stress

4. Alolita (rolling) - head is moving in rounds

• Can show intoxication

5. Dhuta (shaken sideways)

• Can denote fever and revenge

6. Kampita (nodded) - shake up and down

• Denotes saying "do stop"

7. Paravratta (turned around) - face moves from full right to left

• Shows anger or shame

8. Utksipta (thrown up) - head turned aside and raised.

• Denotes commands

9. Parivahitta (widely moved) - head moved side to side facing downwards

• Denotes infatuation

Jaati

Jaati refers to a classification of rhythmic patterns used in types of footwork and compositions. There are two main types of Jaati -

1. Laya Jaati - Focused on speed. It takes one kind of group of bols and fits it into different layas the best we can. Ex: layakari (dogun, chogun, etc.)

2. Bol jaati - identifies what kind of rhythmic bols and syllables are used and how they are constructed. Refers to the nature of the bols and not the speed

• tisra Jati (3 matras) - dhane dikit

• Chaturasara Jati (4 matras)- gadigana

• Khand Jati (5 matras) - taka takita

• Misra Jati (7 matras) - takita takadhimi

Kavitta

Kavitta is a poetic rhythmic composition that combines poetry, bols and abhinaya to narrate a story. It is often characterized with expressions, graceful ang (body usage) and emphasis on the poem's words. Ex: Jamuna ke tat par

Chalan

A rhythmic composition derived from a kayda, but tends to be more flexible. It uses variations of bols and sometimes new bols are introduced. It concludes on sum and typically performs in madhya laya.

Laadi

A rhythmic composition made up of short, repetitive bols. Emphasizes speed and is primarily performed in drut laya. It also concludes on sum

Giniti

A count-based rhythmic composition where the dancer performs footwork according to numerical counting (ginna) rather than bols or syllables. Ex: 12, 123, 12, 123. It is usually performed in madhya laya

Chakradar toda

A toda is a rhythmic composition, usually shorter than a paran, that is composed of bols and footwork. Chakradar means threefold - the same composition is repeated three times. Together, this means a toda that is repeated three times with a slight gap in between each time repeated which is performed in madhya laya and ends on sum.

Chakradar paran

Derives from paran and chakradar. Paran - long rhythmic composition composed of Pakhawaj bols. It focuses on hand and footwork.

Chakradar - threefold - repeat the composition three times. In all, this creates a paran repeated three times with a slight gap in between that is usually in madhya laya and ends on sum.

paran

Rhythmic dance composition composed of Pakhawaj bols that is performed with strong footwork and body movements to express tandava (vigorous) aspects of Kathak while also mainting grace. Peforms on madhya laya and ends on sum.

Toda

A fixed rhythmic composition composed of nritta bols (ta, thun, tigda) that is performed with controlled footwork and handwork along with structured body movements. Performed on madhya or dhrut laya and ends on sum.

Tihaai

A rhythmic composition that is repeated three times with equal spacing and ends on sum. It can be practiced at the end of a layakari or done by itself. It is usually done on vilambit or madhya laya.

Paran Judi Aamad

Derives from the words paran - usage of pakhawaj bols during dance to reciprocate footwork, body movements and hand movements. Judi - paired/ joining two sections into a composition and then Aamad - a composition used at the beginning of a Kathak performance. Together, these create a composition often a vilmabit or madhya speeds with graceful body and hand movements. Ex: Dha taka Thunga

Aamad

Aamad derives from the word of arrival. It's the formal opening dance a dancer makes before a performance. This helps to introduce the taal and emotions of what the performance will be like. Focuses on slow movements (thaats, chaal). It is composed of natwari bols (ta thei) and performed in vilambit speed.

Thaat

A slow, stylized introductory movement or pose sequence that highlights the dancers stance, balance and expressions. Has gentle moves and very delicate hand movements to show the gracefulness of the dancer - always performed in vilambit laya and can also start on the first beat or any beat in a taal.

Theka

The standard bols of a taal played on the tabla/ pakhawaj. This helps to maintain laya, and mark sam, taali and khaali for the dancer. Supports footwork patterns.

Kaida

A rhythmic composition made using a fixed set of bols developed through multiple systematic variations (paltas). Each variation has strict rules, and always ends on sum. Usually performed in madhya laya (or dhrut)

Gat-nikas

A stylized and graceful walk/ movement pattern through which a dancer shows character moods, or situations from everyday life settings. It also contains subtle hand gestures and eye movements to show a narrative of a story without words.

Tatkar

Systematic striking of feet in a specific pattern of bols. It's performed to a fixed taal and laya, creating the foundation for Kathak footwork. Emphasis on clarity and sometimes speed. Can be done at any speed (layakari done in vilambit)

Sum

The first and most important beat of a rhythmic cycle (taal). It is the point where all compositions usually start and end and where the dancer tries to land with precision after a sequence of movements. Furthermore, this can mark an artistic highlight with a clear ending posture.

Taali

Refers to the clapped beats within a rhythmic cycle (taal) that marks stressed divisions. These beats are marked by a hand clap and help the dancer keep track of the structure of the rhythm. It also helps to ensure an important guide for coordination.

Khali

Refers to the empty or unstressed beat in a rhythmic cycle (taal). It is indicated by a wave of the hand instead of a clap. This helps dancers to understand the structure of taal and maintain balance in timing.

Vibhag

Refers to the division of a rhythmic cycle (taal) into smaller groups of beats. These divisions make it easier for the dancer to understand, count and perform complex rhythm patterns. It is usually marked by a clap or wave of the hand.

• Teentaal (has 4 vibhags, each containing 4 beats)

• Jhaptaal (has 4 vibhags, with 2 containing 2 beats and 2 having 3 beats)

Avartan

One complete cycle of a rhythmic pattern (taal). It represents a full round of beats that a dancer performs on to a sequence, ensuring that all compositions end on sum. Understanding the avartan of each taal is key to maintaining timing and structure.

Theserajati Paran

Derives from paran and tesra jati -

Paran means a long composition often related to footwork and hand movements to represent tandava (vigorous) aspects of kathak instead of grace and poses. Thesera jati means - the grouping of three syllables per matra.

Baant

The division and arrangement of bols of a composition into different patterns while maintaining the speed of the taal. It is the rhythmic technique that shows the dancer’s understanding of laya, taal and layakari. Through this, the performer creates variations while keeping their rhythm and structure balanced.

Rangmanch Pranam

The traditional salutation performed by a dancer before the beginning of a performance. It is a gesture of respect and gratitude towards the stage, art form, guru and audience. The dancer also seeks blessings and prepares themselves mentally before presenting the dance.

Gat Palta

A type of gat that refers to the changing / alternating of movements and postures while performing a graceful walking pattern. It is used to enhance the presentation of nritta and abhinaya by utilizing creativity, control and grace.

Gat-Bhav

Based off the words ghat ( to shift) and bhav (emotions). The emotion of shifting and shaping emotions to show inner emotional movements and to show mainly narritive stories. Contains abhinaya (facial expressions, body movements and attention to details).

Ex: Makan Chori

Gat-Bhav hastamudras

Mushti - to hold the stick

Pataka - hands raised near the ears to show Krishna listening if anyone is coming (footsteps)

Hansasya - to break the pot with a ring they found in the area their in

Pushpuputa - whenever the kids take butter from the broken pot flowing butter and eating it

Jhoomar Gat-nikas

A type of gatnikas that is showcasing a story about finding a box with jewelery in it and enhancing the idea of how beautiful and prize worthy the jewelry is. It also contains a stylized walk, expressions and subtle hints of abhinaya (eye movements, wrists).

Def. of guruvandhana

A shloka that has a direct translation of guru (teacher) and vandana (salutations). This composition expresses love and gratitude towards one's guru. It also symbolizes the honor the teacher gives us of knowledge and life and that even if a student is imperfect, they will be respected and blessed with the guru's blessings. The guru's mentioned in the shloka are Guru Brahma (the creator), Guru Vishnu (manages life) and Guru Mahesh (the destroyer) to show that life is balanced and determined by all the gods we give our respect to.

Hand mudras and uses in Guruvandhana

Pushpaputa - to offer flowers to the guru's/ gods as a saltuation

Anjali - shows our respect and devotion to the divine

Hansasya - to show the writing on a pad

Shanka - to show the conch shell for Guru Bramha

Suchi - to show the path

Def. of Sriram Bhajan

A devotional praise encouraging inner devotion to Lord Rama's compassion and protection. The bhajan talks about Rama's divine beauty, lotus-like eyes, face and hands and also describes Rama as a righteous king, destroyer of evil forces, and that surrendering your heart to him helps you to find inner peace.

- Shri (an honorific)

- Rama-chandra (Lord Rama with a moon like face)

- Kripalu (compassionate)

- Bhaju (worship)

- Mana (O mind!)

- Haran (Remover)

- Bhava (worldly cycle of life and death)

- Bhay (fear)

- Dharunum (terrible, intense)

- Nava (new, fresh)

- Kanja (lotus)

- Lochana (eyes)

- Mukha (face)

- kara (hands)

- Pada (feet)

- Kanju-arunum (lotus with a reddish glow)

Hand mudras and uses in Sriram Bhajan

Shikar mudra - shows the executing of taking out a bow and it also is used to do a tilak

Mushti - symbolizes strength, determination and power of Lord Rama

Kapitth - shows holding a flower garland during Ram and Sita's wedding and the arrow in Rama's bow

Pataka - shows the "blessings" Lord Rama is able to give