Kathakarsor story-tellers, are people who narrate stories largely based on episodes from the epics, myths and legends.
It probably started as an oral tradition. Mime and gestures were perhaps added later on to make the recitation more effective.
Vaishnavite cult which swept North India in the 15th century. and the resultant bhakti movement contributed to a whole new range of lyrics and musical forms.
Dance in Raslila, however, was mainly an extension of the basic mime and gestures of theKathakarsor story-tellers which blended easily with the existing traditional dance.
In both Hindu and Muslim courts, Kathak became highly stylised and came to be regarded as a sophisticated form of entertainment.
Under the Muslimsthere was a greater stress onnrityaandbhava giving the dance graceful, expressive and sensuous dimensions.
The weight of the body is equally distributed along the horizontal and vertical axis.
full foot contact is of prime importance where only the toe or the ball of the foot are used, their function is limited.
no deflections and no use of sharp bends or curves of the upper or lower part of the body.
Torso movements emerge from the change of the shoulder line rather than through the manipulations of the backbone or upper chest and lower waist muscles.
Both the drummer (here the drum is either a pakhawaj, a type of mridangam, or a pair of tabla) and the dancer weave endless combinations on a repetitive melodic line.
A poetic line set to music is interpreted with gestures in other numbers, such as thetumri,bhajan,dadra- all lyrical musical compositions.
Both innritta(pure dance) and theabhinaya(mime) there is immense scope for improvisation of presenting variations on a theme.
Being the only classical dance of India having links with Muslim culture, it represents a unique synthesis of Hindu and Muslim genius in art.
Further, Kathak is the only form of classical dance wedded to Hindustani or the North Indian music.
3.KUCHIPUDI- ANDHRA PRADESH
'At times, even though the dramatic situation did not demand, solo dancing was being presented to punctuate the presentation and to enhance the appeal. One such number istarangaminspired by theKrishna-leela taranginiof Teerthanarayana Yogi.
To show the dexterity of the dancers in footwork and their control and balance over their bodies, techniques like dancing on the rim of a brass plate and with a pitcher full of water on the head was introduced.