I. Preconceptions about the Indian People
I imagine the Indian people to be a diverse community with rich cultural traditions and amazing art styles. I've read some of their stories in short stories, and they come across as a friendly country with a great appreciation for animal life (virtually every like).
Furthermore, I see them as a society that recognizes the importance of dance and frequently engages in it. Their dress code is mainly full skirts for women and long trousers for men; I believe they are a patriarchal culture that seeks to hide a woman's integrity by the dress code.
Penultimately, they are a culture with a diverse variety of foods, mainly greens since they value the lives of animals. Last but not least, I preconceived the people of North India as a hospitable group that is welcoming to strangers owing to their culture which I preconceived is based heavily on Buddhism.
The Preconceptions about the Dance
I perceived the Indian dance as slow graceful and subtle movements that exercise the body’s muscles and seek to enhance the positive forces within the dancer's body much like Yoga is meant to have on a person's body.
Additionally, I preconceived the dancing style as rich with the historical elements of the Indian culture thus making the dance in Northern India an instrument to communicate feelings, moods, and emotions. The body language and facial expression changes can be varied differently to convey different messages to the audience.
Last but not least, I took their dancing as a means of conveying messages and traditions to the audience with the ability to adapt to every audience with a significant degree of specificity.
Other Assumptions
The Choreography Is Guided by Rules.
Based on the rhythm and timing of the dance steps, there are rules to adhere to when practicing the dance. The complex timing and rhythm of the dance assure that the art of Kathak is taught through a long and involving process.
For instance, the movement of the arms in a geometric manner, the waist movement, and the stance of the dance are all complex part of the choreography that requires time and commitment to master.
II. Background Research On Kathak Dance
Background
Kathak dance originated from Travelling bands of North India, also known as Kathakers or storytellers in the ancient Hindu tradition. This dance genre evolved during the Bhakti movement, which constituted characteristics with regards to deity affiliations (Pallabi 108-109), the dance then spread to other communities through nomadic Kathaks who taught other communities the way of the dance and gradually made it widespread.
The Kathaks communicate stories through rhythmic foot movements, hand gestures, facial expressions and eye work. Kathak dance matches the description of contemporary dance where unique aspect of contemporary dance is that it rejects the importance of the legs that many traditional dance styles stress (Saxena 10.3). Instead, contemporary dance focuses on movement of the torso, which enables much more fluid, languid movement, rather than sharp and pointed movements The shoulder line and its deflection (with one shoulder depressed and the other raised) is used at its best in the execution of movements known as the Kasak masak (Calvo 15,8).
Participants
Kathak is a dance that is practiced by both Indian and Muslim young men and women. Indian female dancers wearing a sari or a long light weight skirt while their male counterparts in silk dhoti draped around the waist, then usually covered with a silk scarf tied on top. For the Muslim dance females in a long skirt and during pajamas while the male dancers dress same as the Hindu. Jewelry is an accompaniment to both the male and females, being gold and stone for males (Saxena 10.3).
Where The Kathak Is Performed
Kathak dance is regarded as sophisticated dance and is performed in the Hindu and Muslim courts for entertainment. The performing art centered or including legend figures from ancient Indian mythology epics, particularly from Lord Krishna's life was popular North Indian kingdoms (Saxena10.3).
Purpose of Kathak Movement Form
The choreography in this Northern India dance form is divided into three stages, each with its unique features and meaning: The invocation (Vandana) is meant to introduce the audience to the performance, the pure dance is called a (nritta), and the expressive dance is called a (nritya) (Pallabi 109). In the invocation, the pure dance consists of complex movements of the neck, eyebrows, and wrists are introduced. Intricate rhythmic patterns are made using flat feet. The final part is done in a more poetic manner where the lyrics are recited to the audience, more like explaining the dance (Saxena 10.3).
III. Viewing the Dance
Space
The invocation (Vandana) consists of the dancer coming to stage and offering respect to his or her guru and the musicians on the stage. A combination of gestures and facial expressions is used to invoke the gods in the pure dance, nritta, complex movements of the neck, eyebrows, and wrists are introduced and in the final part, (the expressive dance), a meme is introduced as a form of lyric explanation of the dance (Pallabi 108-109). The dancers are wearing long skirts and ornaments on the head and there is a statue of a Hindu deity to which they tend before they start dancing.
Time
The timing in Kathak dance integrates both slow movements of the torso and spontaneous sharp movements of the head. On the other hand, the expression stage of the dance, meme is used meaning the dancers have to integrate both slow and rapid movements to depict life situations (Calvo 15,8).
Energy
The energy in Kathak dance varies from part to part. In the invocation the dancers seek to invoke the gods, therefore, the movements are slow rhythmic patterns. In the pure part, also called Nritta, the dancer initially performs a sequence of and slow movements of eyebrows, neck, and wrists. The speed gradually shoots up as the dancer increases energy as they complete a sequence of bol. Each bol comprising of short sections includes spectacular footwork, turns, and gestures (Calvo 15,8).
IV. Synthesis and Summary
Impact on Assumptions
Some of my assumptions were altered while some stayed the same after the enlightening from the research. The assumption of a complex society that expresses its culture through dance was confirmed correct. However, the assumption that their culture was based on Buddhism was disproved since the statues of the deities in the videos are those of Hindu deities from the Hindu religion.
The Impact of the Background Research On the Viewing Experience.
The research conducted o this classical North Indian dance laid a good foundation for the viewing. Preparation on the movement, rhythm, and timing of the movement of the dance. The background check lays the fountain on what to expect in the viewing. I was able to better understand and synthesize the various aspects of the dance.
Information Learnt
Kathak is a dance style that has existed for a long time and was spread by the nomadic kathak tribes. Additionally, I learned that Indians prescribe to Hindu rather than Buddhism which are significantly different. Last but not least, I learned that the Kathak is comprised of intricate dance moves of the hands and head and is primarily for appeasing the gods and deities.
Findings of the Paper.
The findings that I would like to share are the history of Kathak dance, its sequence timings and dress code of Kathak dance and the Importance of Kathak dance as contemporary dance to Northern India.
The Impact of the Paper On a Perspective of the World.
Through the research, I have learnt that the world is complex and much bigger than many people believe t to be. It contains a lot of things to be discovered and can be sufficiently be compare to dance. It is complex yet simple and discoverable as long as one is willing to learn.
Works Cited
B, Calvo-Merino, et al. “Action observation and acquired motor skills: an FMRI study with expert dancers.” Cereb Cortex 22 December 2005: 1243-1249. Document.
Chakravorty, Pallabi. “From Interculturalism to Historicism: Reflections on Classical Indian Dance.” Dance Research Journal (2001): 108-119. Journal.
Saxena, Sushil Kumar. Hindustani Sangeet and a Philosopher of Art: Music, Rhythm and Kathak Dance (New vistas in Indian performing arts). New York: D.K. Print World Ltd; 2001 edition , 2001. Book.
Pali Chandra. Learn Kathak (Basic Dance Steps) – Tatkaar (Foot Work) – Pali Chandra. Online
video clip. https://www.youtube.com/watch?v=4wXJWaqFbQ. YouTube., 20 Apr. 2017. Web. 20 Apr. 2016.
Triwat Dance School. “Kathak Dance by Mehfil”. Online video clip. https://www.youtube.com/watch?v=4wXJWaqFbQc. YouTube., 20 Apr. 2017. Web. 20 Apr. 2016.
