Kathak Dance Research Articles

Impact Of Mind Sound Resonance Technique On Work-Related Flow Inventory And Sleep Quality Among Enthusiast Kathak Dancers From Different Professional Backgrounds

BackgroundKathak is one of the most popular Indian classical dance forms. Working professionals out of passion enjoy kathak dance but due to work engagements and reduced sleep quality, discontinue the practice of Kathak. Mind Sound Resonance Technique has been proven to improve sleep quality. Investigation among practitioners of Khatak is low and the literature survey supports the basis for this study. The present research aims to explore the influence of MSRT on the work-life inventory and sleep quality among Kathak dancers who are working professionals.ObjectivesThe objective of the study is to assess the potential benefits of enhancing work enjoyment and sleep quality of Kathak dancers from different professional backgrounds through applications of Mind Sound Resonance Techniques.MethodsA single group pre-post study on (N=29) working professionals trained in Kathak were conveniently selected for the study. MSRT was imparted to all the participants for 20 minutes, per two times for 12 weeks. The pre and post-assessments were done on work-life inventory, job satisfaction, absorption, work enjoyment, and intrinsic work motivation using the Work-Related Flow Inventory (WOLF) and sleep quality using the Pittsburgh Sleep Quality Index.ResultsCronbach alpha measuring the reliability score of WOLF was (α = 0.8). Within-group analysis the total score of work-life balance and sleep quality was found to be statistically significant from pre- to post (p<.001).ConclusionThe results indicate improvement in various domains of work-related flow inventory and sleep quality. Thus, rejecting the null hypothesis. We conclude that the Yogic relaxation technique employed in this study attunes the body-mind system to be relaxed and practitioners can bring a balance in their work-life and pursue their interests and passion to lead a fulfilled life.

KATHAK DANCE EDUCATION AS A SOURCE OF SPIRITUAL DEVELOPMENT

In a constant effort towards development in the physical, intellectual, social, and emotional wellbeing, the human tendencies always keep visiting and revisiting the spiritual dimension for an upper sense of validation. All human activity somehow takes refuge and develops through the presence of this spiritual faculty. Where classical dance holds a well-esteemed status in the deliverance of the spiritual goals human beings possess, Kathak dance continues to illuminate an artist’s life by the spiritual role it offers. The paper studies how education in Kathak can yield this universal purpose of spiritual growth. Various reflections in the style and structure of the Kathak education further strengthens the fact that learning and dancing Kathak truly invokes a remarkable spiritual upsurge. This acknowledgement of the Supreme Power by the inner self ascertains persistence, value, harmony and thus fosters a spiritual evolution in its true sense.

Blood Lactate and Heart Rate Responses Between Active and Passive Recovery Modes Over a 15-Minute Recovery Period in Female Dancers After Kathak Dance.

Introduction: Dance is physically demanding and results in blood lactate (BL) accumulation and elevated Heart Rate (HR). Researchers recommend using either Active Recovery (AR; eg, low-to-moderate intensity-exercise) or Passive Recovery (PR; eg, complete rest) modes after activity. We compared BL and HR responses between AR or PR over a 15-minute recovery period following a Kathak dance. Methods: Twelve female dancers (31.0 ± 6.0 years; 161.5 ± 4.9 cm; 55.5 ± 5.8 kg) performed 2 dance testing sessions (Day 1 = AR, Day 2 = PR) 48 hours apart. Each session started with a 10-minute warm up followed by dancers performing four 2-minute stages of Kathak dance, with three 1-minute periods between stages where we recorded HR and their Rate of Perceived Exertion (RPE:scale = 6-20) to match the intensity of both sessions. Post-dance, we recorded dancers' BL and HR at 1, 3, 5, 10, and 15 minutes while they recovered via AR or PR. Separate 2(mode) × (time) Repeated-Measures-ANOVA followed by simple-main-effects testing and adjusted Bonferroni-pairwise-comparisons examined differences in BL and HR responses across modes and time(α = .05). Results: Dancers' HR and RPE were similar across sessions. No mode × time interaction existed in BL (F4,8 = 3.6, P = .06). BL levels were similar across modes (F1,2 = 0.5, P = .5). BL levels reduced over time (F4,8 = 6.0, P = .02), but Bonferroni-comparisons did not reveal any pairwise differences. In HR a significant mode*time interaction (F4,36 = 11.0, P = .01, η2 = .55) was observed. Both Active and Passive recovery modes achieved absolute HR levels by 15 minutes, with PR mode stabilizing within 5 minutes. Conclusions: Over a 15-minute recovery period after Kathak dance, dancers' BL and HR responses were similar across time in both AR and PR, with HR being higher in AR. Dancers' HR remained similar from 1 to 3 minute post dance recovery and then dropped over time. Thus, dancers can rest up to 3 minutes and still maintain the same elevated HR. Overall, dancers can choose either AR or PR as their recovery mode based on their individual preferences.

Performance of Ṭhumrī in Kathak Dance

Abstract: During the eighteenth century, Lakhnau, the capital of the royal state of Awadh, emerged as the refined center for the arts. Over the next centuries, kathak maestros and elite tavāifs (soiree singers and dancers) enthralled patron connoisseurs with their exquisite ṭhumrī performances, receiving lavish rewards. Ṭhumrī exemplified an aesthetic synthesis of the devotional (bhakti) and worldly themes based on undifferentiated love situated in the śṛṅgāra rasa (amorous, erotic sentiment). This essay is an attempt to highlight the infinite performative possibilities improvised by the dancer through imaginative interpretations of the ṭhumrī song-text and the connoisseur spectator’s interactive response in culturally specific meaning-making. Ṭhumrī performance epitomized the poetic “nāyikā,” who dominated prolific classic and regional literature over the millennia.

THE BANARAS GHARANA OF KATHAK DANCE: A STUDY FROM THE PAST TO PRESENT

The word “gharana” is related to that particular art, which is passed down from generation to generation. In simple words, a gharana means a “house” in which every member living follows his ancestors. In the field of music, the names of many famous gharanas are derived; each gharaana represents its own different artistic structure or style. If seen in the history of the music world, the gharanas were born when one artist practiced his art until his presentation did not seem to be different from other artists and then he passed this legacy to his next generation; in this way, from one generation to another, this form of art flowed, which gave birth to the Gharana.Mainly in the field of Kathak dance, the names of three gharanas are found: Lucknow Gharana, Banaras Gharana, and Jaipur Gharana. These gharanas seem to be different from each other on the basis of their specific artistic talents. Banaras Gharana is famous for its strong movement and devotional presentation. Janaki Prasad and Sukhdev Maharaj are considered to be the two founders of Banaras Gharana. Janaki Prasad was born in Rajasthan, but he made Banaras his workplace. On the other hand, Sukhdev Maharaj was born in Banaras, but He rendered his musical services in the court of the King of Nepal, after which his children stayed in Banaras and strengthened the Banaras Gharana. Presently, all the artists representing the Banaras Gharana are related to this lineage.The presented research article describes the genealogy of past and present artists of Banaras Gharana of Kathak and their contribution to Kathak dance.

Assessment of Foot Deviations and Associated Foot Injuries and its Effect on Foot Functional Activity among Amateur Adolescent Female Kathak Dancers in Selected Dance Schools in Bengaluru

Background & purpose: Kathak is a north Indian classical dance form that requires fast rhythmically sophisticatedfootwork and fast turns, which puts the dancers at risk of foot injuries. Any foot deviations or reduced foot functionare associated with an increased risk of a foot injury. This study aims to assess foot deviations and related footinjuries and their effect on functional activity and create awareness among kathak dancers about foot position andits risk factor for injury. Methods: This study included 100 recruited subjects based on the inclusion and exclusioncriteria. Demographic data and other variables were collected and recorded, and measures like foot posture andfunction indexes were used.Results: The foot posture index mean and SD of the left feet for the subjects recruited in the present study were1.83 and 1.43 and of the right feet were 1.89 and 1.54 respectively. The overall foot functional index score mean andSD, for the subjects recruited in the present study were 9.76 and 10.39.Conclusion: The present study concluded by stating that the foot posture index was normal and didn’t haverestrictions on foot usage while performing the kathak dance form. Whereas with the foot function index, it wasobserved that the pain experienced by subjects was severe which restricted their activity pattern and hinderedtheir dance performance.

THE SIGNIFICANCE OF UNIFORMITY IN KATHAK NRITTA HASTA

This paper talks about the significance of uniformity in the Nritta Hastas of Kathak dance across gharanas and eras. Kathak, an Indian classical dance form, hails from North India. Nritta Hastas refer to hand gestures or movements used in Indian classical dance. Often interchanged with” “hasta mudra”, “Nritta Hastas” encompass all hand movements and gestures, whereas “mudras” are more indicative of emotions and literal depictions of objects present in our environment.Kathak has evolved to appeal and cater to the spectators of today’s times - with lightning fast spins and hand movements along with intricate footwork. However, this has caused unfavorable negotiations with the original technique and overall uniformity of Nritta Hastas, thus resulting in the deterioration of quality in dance performances. For example, prioritizing the ability to execute multiple spins in quick succession, aiming to impress the audience with their speed and agility, leads to neglecting the intricate hand movements and mudras, which are essential for conveying the nuanced emotions and storytelling aspects of the dance. The purpose of this research paper is to shed light on the importance of maintaining uniformity by adhering to techniques, methods and pedagogies mentioned in ancient scriptures pertinent to Indian classical dance.

Health-related components of physical fitness and adiposity indicators: a comparative study among Kathak dancers and non-dancers of North India

ABSTRACT The present study aims to do a comparative analysis of health-related components of physical fitness and adiposity levels between Kathak dancers and non-dancers. Participants included 206 female Kathak dancers and 235 physically active controls, ages 18–45 years. Participants performed handgrip strength test and modified push up test for assessing upper body muscular strength and endurance, half sit-up test for abdominal strength and endurance, wall sit, and squat test for lower body strength and endurance, and v-sit and reach test for flexibility. Eight somatometric measurements were recorded based on the ISAK Protocol for assessing the adiposity levels. Basic descriptive statistics were calculated to assess the distribution of various health-related components of physical fitness and adiposity indicators across the sample. Pearson correlation assessed the association between health-related components of physical fitness, age, and years of learning dance. Results revealed that of all the adiposity indicators, only waist-to-hip ratio was significantly higher in Kathak dancers than the non-dancers (M = 0.77 vs. 0.74, p = .028). Kathak dancers endorsed significantly higher scores in all the tests assessing muscular strength, endurance, and flexibility (p < .001) compared to controls. Kathak dance can be taken up as a form of exercise by females of all age-groups that may prevent the development of obesity and improve muscular strength. However, within Kathak dancers, there were high number of participants who reported lower abdominal endurance and lower back flexibility levels, which emphasize the need to encourage supplementary exercise training among Kathak dancers.

A Pedagogy of Decolonial Choreography: Reflections of A South Asian Dance Practitioner

ABSTRACT Focusing on Sri Lankan dance and placing it on the broader spectrum of South Asian dance, I propose a pedagogical process that engages critically with colonial past and present realities, a pedagogy that I term decolonial choreography. A South Asian dancer born and bred in Sri Lanka, I studied and performed the Kandyan dance of Sri Lanka and the Kathak dance of India, and received a PhD in the United States. I have also taught South Asian dances in high schools and universities in the US. Based on my experience as a researcher, educator, and choreographer, I present a pedagogy of decolonial choreography that can be used when teaching and performing South Asian dances in postsecondary dance education. Instead of teaching South Asian dances as exotic, orientalist cultural expressions, decolonial choreography introduces novel critical choreographies resulting from its analytical engagement with South Asian dance and its colonial and postcolonial histories.

The effect of Kathak Dance Movement on Balance and Gait in Parkinson’s Disease- An Experimental Study

INTRODUCTION: Difficulties with gait and balance are common among individuals with Parkinson's disease (PD). Several different exercise programs have been suggested to address balance and gait problems to improve the quality of life and patient compliance with PD exercises. Dance may be an effective tool for addressing these problems because it includes key elements of dynamic balance, can improve functional mobility, and is, at the same time, enjoyable and engaging. OBJECTIVES: The purpose of this study was to assess the effect of Kathak dance movement in addition to conventional physiotherapy on balance and gait in Parkinson's disease patients. METHODS AND MATERIALS: A total of 44 patients diagnosed with Parkinson's disease were included in the study with a mean age of 63.20 + 8.5 years. Patients were randomly divided into two groups, the control group received conventional physiotherapy, and the experimental group received the same along with Kathak dance movements which were Tatkar and Gatnikas. The intervention was given three days a week for four weeks. Pre-and post-assessment for balance and gait was assessed by scales including TUG test, Tinetti, FOG-Q, and UPDRS-III. The within-group comparison was made using Wilcoxon Signed rank test and between the group using the Mann Whitney U test to see the effect of treatment intervention. Results: The mean age of participants for both groups were 64.18±8.53 and 62.23±6.21, respectively. The comparison showed a significant difference in TUG, Tinetti, and FOG-Q within the group with p&lt;0.01. The between-group comparison showed no significant difference between the two treatments interventions with p=0.361 for TUG, p=0.479 for Tinetti, and p= 0.73 for FOG-Q. CONCLUSION: Both groups showed similar improvements in balance and gait in PD patients. Thus, we conclude that the Kathak Dance movement can be used to complement conventional physical therapy exercises.

Recognition of Emotion in Indian Classical Dance Using EMG Signal

Indian classical dance forms like Kathak are an enrichment of Indian culture and tradition. These dance forms glorify its beauty by expressing nine emotions (Navras) such as Adbhut (amazed), Bhayanaka (fearful), Hasya (humorous), Karuna (tragic), Raudra (fierce), Shringar (loving smile), Veer (heroic), Bibhatsa (disgusted), and Shant (peaceful). Identifying correct emotions is an important task. The objective of this research work is to recognize Navras in the Kathak dance. Proposed research work can assist dance teachers in an accurate and unbiased evaluation process of dance examination. This research work analyzed the Electromyogram (EMG) signals acquired from eleven subjects. The EMG signals collected from the various locations on the face and neck represent the emotions and head movement. The EMG signals are processed to extract integrated EMG (IEMG) features. This research introduced a new feature named 'difference in IEMG feature' for improving the accuracy of emotion recognition. For the classification of nine emotions, the Least Square Support Vector Machine (LSSVM), Nonlinear Autoregressive Exogenous Network (NARX), and Long- and Short-Term Memory (LSTM) classifiers were used. The classifiers' performance is judged with head motion and without head motion. The classification accuracies are calculated using a maximum, variance, and mean of the feature. LSSVM, NARX, and LSTM classifiers achieved 60.80%, 81.67%, and 92.28% classification accuracies, respectively, using the IEMG feature and head motion. Using the new feature, LSSVM, NARX, and LSTM classifiers achieved 64.29%, 81.27%, and 93.63% classification accuracies, respectively. The overall classification accuracy improved by 1.46% by using the new feature.

Comparison of fitness variables between sedentary girls and female kathak dancers

Dance is expression of feelings through body movements. Dance is a part of culture of human society. Dance may be of various types like military, religious, festive and so on. Dance may also be classified as folk, classical etc. In India dance is a cultural heritage continuing through ages. Dance is a wonderful fitness work out rejuvenating and refurbishing human body with vigor, fitness and endurance. Dance not only promote physical fitness it has a wide range of positive impact on behavioral setup too. The author being a physical educationist by profession and passionate for dance made up her mind to conduct a research on dace and fitness and very specifically premeditated to compare the health related fitness of sedentary girls and girls involved in regular Kathak dance practice. kathak is a classical dance form of India involving numerous body movements. It involves turns, twists, rotations and several other body movements converging to sound fitness. As a part of her Ph.D. research in this area the scholar ascertained that the Kathak females are better in fitness variable Cardio respiratory endurance, muscular endurance and body composition than the sedentary girls.

‘You are not invisible’: a qualitative study examining ritual, pedagogical relationships, and student visibility in kathak dance

ABSTRACT This paper examines how rituals contribute to developing pedagogical relationships among Asian American youth and their teacher in a kathak dance program. The research draws from ethnographic data collected at a community-based organization. It is driven by the following research question: How do pedagogical relationships with immigrant youth in a classical Indian dance class promote student visibility? It suggests ethnic practices, customs and rituals embedded in class can give youth crucial visibility by staff, which counters social narratives situating Asian American youth as ‘silen[t] and contain[ed],’, or invisible. Importantly, rituals built into the framework of a dance class over time ensure a longevity to students’ presence. This paper contributes to the discourse on dance education by highlighting culturally relevant pedagogical relationships to reveal unique contextual information about each mover.

Institutions of Change: Kathak dance from Courts to Classrooms

This paper is a study of the progress of Kathak from the erstwhile courtesan culture to the contemporary classroom, structured practice. It aims to highlight the works of contributors like Nirmala Joshi and Sumitra Charat Ram as the pioneers of institutional Kathak that completely divorced its cultural past in the Mughal courts. Amidst all this cleansisng of Kathak history, Madame Menaka, one of the first female Kathak dancers to perform on the proscenium stage and to legitimise her presence by her association with insitutions of Kathak stands out. Madame Menaka truly deserves more attention in dance history and this paper aims to celebrate her life and works in Kathak. These artists and art entrepreneurs have never come together on the same platform for their contributions in the field of art and culture as they do in this paper. Their works lie scattered in biographies and articles that perform a discrete study on each of them. This paper is therefore an attempt to draw a linear development of Kathak through the works of female art contributors.

Development of the interrelations of tabla and kathak dance: an analytical study (with special reference to the compositions of tabla and kathak dance)

Both the tabla and the Kathak dances are rhythmic and hence there seems to be harmony among them. In the past, mridang was compatible with dance. But later when the dance included aspects such as adornment, miraculousness, pigmentation, etc., the solemn open and strongly relevant of Pakhawaj was unable to reconcile these aspects. In such a situation, the tabla instrument was used for association with Kathak dance, which is considered to be the sophisticated and developed form of mridang (pakhavajdha). The accompaniment of the tabla instrument proved successful in presenting almost all aspects of the dance accurately. Lucknow and the Banaras Gharana have played an important role in the association of Kathak dance. For the consistency of Kathak dance, the tabla players created and selected the characters, character groups, compositions according to the characters of the dance, compositions etc. The result of this is that with time, tabla playing material developed. Looking at the present form of Kathak.Dance also highlights the fact that tabla playing material has also played an important role in the development of Kathak.Nritya and its dance material. On this basis, both can be called complementary to each other. Music scholars also support the fact that while on one hand the tabla compositions have contributed to the enrichment of the Kathak dance, on the other hand various Kathakas have played an important role in the development of the tabla instrument. Based on the facts, the period of the Kathak dance and the revival of the tabla is considered to be the late 1700 century. It can be said that the tabla style and Kathak dance developed simultaneously. The tabla playing material; compositions and Kathak dance material; the development and expansion of compositions also continued to grow due to the tabla association with Kathak dance. The purpose of the proposed paper is to investigate and analyze the development of interrelations of the works of tabla and Kathak dance.

A heroine in the pangs of separation or a soul longing for the divine? Re-appropriated voices in the poetry of kathak dance repertoire

The Polish Journal of the Arts and Culture. New Series » 2016 » 4 (2/2016) » A heroine in the pangs of separation or a soul longing for the divine? Re-appropriated voices in the poetry of kathak dance repertoire A A A

Foot Postural Deviations in Female Kathak Dancers

Background: Kathak is a very complex dance form in which greater emphasis is laid on foot work thus putting substantial amount of stress over the feet. The purpose of this study was to investigate the foot postural deviations amongst the Kathak dancers.Methods: Screening of 40 Female Kathak Dancers was done for the study from Department of Dance, Punjabi University, Patiala on the basis of inclusion criteria. Subjects were assessed for Postural deviations via. Foot Posture Index, Medial Longitudinal Arch Angle, Navicular Drop, Rearfoot angle and Forefoot angle.Results: Percentile analysis of Foot Posture index scores suggested that a large population of kathak dancers (approx 92.5 %) have pronated feet. Most of the Kathak dancers showed increase in Rearfoot angle (approx. 90%), Forefoot angle (approx.75%) and Navicular drop (approx. 97%) and decrease in Medial Longitudinal Arch angle (approx. 95%). Analysis of Coefficient of Correlation suggested a significant positive relationship of Foot Posture Index scores with Rearfoot angle (r = 0.40, p= 0.0087), Navicular Drop (r = 0.62, p= < 0.0001) and Forefoot angle (r = 0.51, p=0.0007) and a significant negative correlation with Medial Longitudinal Arch angle (r = -0.42, p= 0.0059).Conclusion: From the observations, it can be concluded that with time kathak dancers start developing certain Postural Deviations at Foot which can lead to hyperpronation. These changes if not treated on time may lead to various degenerative changes in the Foot and Ankle thus leading to the instabilities and can also make them susceptible to foot and ankle injuries, shin pain, etc. Thus, the study recommends that the dancers should be educated and trained about the foot problems associated with kathak dance and their prevention.

Redefining hybridity in contemporary Kathak dance

The article aims to examine the extent to which the present day mobility of dance professionals and global, cultural flows hybridize Kathak art and practice in India. It focuses on innovative approaches and cross-cultural productions of selected Indian artists, highlighting the signifi cance of their entanglement in the global networks of dance professionals and cultural markets as key factors of refashioning Kathak tradition. I shall explore the emerging pursuit of these artists toward pluralistic aesthetics, juxtaposing it with the phenomenon of the colonial mimicry (Bhabha 2004). I intend to address the following questions: What motivates the choreographers to use the hybrid language of dance? Is this language a strategy of innovation, consciously and willingly chosen by the artists, or rather the inheritance of colonial past, nowadays unwittingly reproduced through globalization? Does the cultural hybridity facilitates liberation of the dance from Orientalist and colonial discourses? What is its potential to reproduce national identity and to raise intercultural dialogues through the dance? Are these two objectives irreconcilable? This essay is based on fieldwork conducted primarily in Kolkata in 2015. Among several leading metropolitan centers of Kathak development, that I have researched (New Delhi, Mumbai, Kolkata, Ahmedabad, Lucknow, Bangalore), Kolkata appears to provide an environment particularly susceptible to the influx of concepts, techniques and practices from other cultures. This is apparent in the stage productions of Padatik, Rhythmosaic Dance Company, and Anurekha Ghosh Company, which will be discussed here as examples illustrating the dynamics of cultural hybridization and contextualized against changing, socio-cultural and economic conditions.

Between Boundaries of Tradition and Global Flows: Reimagining Communities in Kathak Dance

The aim of the paper is to examine the ongoing transformation in Kathak art and practice, in response to demands of global markets, sensibilities of new audiences, and the artists' personal need for self-expression. The paper explores why classical Indian dancers push the barriers of Kathak tradition, and how they redefine the idea of authenticity. Do the innovative choreographies indicate an increasing shift toward individualization, transnationalism, and cultural pluralism, or rather do they attempt to renegotiate the notions of “Indianness”? To what extent is genre hybridity considered as an emerging aesthetic value that reflects complex, multi-layered identities of the performers?

Cultural Geography of Kathak Dance: Streams of Tradition and Global Flows

The article deals with the modern history of Kathak, explored from regional perspectives. It focuses on the Lucknow gharānā (“school”) of Kathak, which sprung up mainly in courts and salons of colonial Avadh as a product of Indo-Islamic culture. The paper investigates how the shift of hereditary artists from Lucknow to Delhi affected their tradition in newly founded, state-supported institutions. It also examines various trends of further modernization of Kathak in globalized, metropolitan spaces. The tendency of Sanskritization in national dance institutes (Kathak Kendra) is juxtaposed with the preservation of ‘traditional’ form in dance schools of Lucknow (nowadays becoming more provincial locations of Kathak tradition) and innovative / experimental tendencies. The impact of regional culture, economic conditions and cosmopolitanism are regarded as important factors reshaping Kathak art, practice and systems of knowledge transmission. The paper is based on ethnographic fieldwork, combined with historical research, conducted in the period 2014–2015.