About the Author
Swimming and Kathak may not have a mutual relationship but the renowned dancer Bharti Gupta has been able to establish a relationship between the two and the combined effect is aptly reflected in her personality.
Dr. Bharti has been able to pursue many diverse fields and establish an equation among them to derive maximum advantage. An M.A. in political science followed by B.Ed, an ace swimmer at national level, a master exponent of Kathak dance, a Sangitacharya from Prayag Sangeet Samiti for her thesis on Adhyatm (spirituality) in Kathak are only a few of mile-stones in her life which are indeed interesting as well as inspiring.
Dr. Bharti started her training under senior Gurus at a tender age of ten. Her performances exhibit the virtuosity of both Lucknow and Jaipur Gharanas. She is committed to innovations and experimentation.
She has performed both in India and overseas and continues to perform. She was honoured with a Gold medal at Design Expo at Nagoya, Japan. She was awarded Shringarmani in 1992 (Mumbai) and Pragyan Samman at Delhi (1994). These days she teaches Kathak at Mumbai, is an examiner for Gandharva Sangeet Vidyalaya, free lance Journalist and engaged in research work on Kathak.
Contents
Preface
v-vi
CHAPTER - l
1-30
1.
Origin of Dance
1
2.
Tandava and Lasya
3
3.
History of Indian Dance
6
4.
Classical Dances of India
13
5.
Folk Dances of India
21
6.
Comparative Study of Kathak Dance and Folk Dance
30
CHAPTER - 2
31-55
Gharanas of Kathak
31
A Comparative Study of Lucknow, Jaipur and Banaras Gharanas
36
Biographies of Kathak Gurus
38
Western Dances
51
Modern Dances
53
CHAPTER - 3
56-110
Catagories of Nayaks (Heroes) and Nayikas (Heroines)
56
Ashta Nayika or Avasthagat Nayika
61
Mudras: Hand Gestures
63
Rasa and Bhava
75
Rasa Nishpatti
80
Abhinaya
85
7.
The Ten Prans of Taal
91
8.
Standard Words relating to Dance
95
9.
Accessories used in Kathak Dance
106
CHAPTER - 4
111-119
Natya, Nrit and Nritya
111
Selection and Use of Anklets (Ghunghroos)
112
Good and Bad Qualities of Dancers
113
Successful Performance, Rule, Sequence and Precautions
115
Shirobhed
117
Drushtibhed
118
Bhrukruti or Bhru Sanchalan
119
CHAPTER - 5
120-154
Storylines of Kathak
120
Types of Musical Instruments
135
Knowledge of Musical aspect
139
Introduction of ‘Ragaas’
141
Singing Styles
145
Bhatkhande or Vishnudigamber Taal Notation
149
Types of Taal Formations in North and South India
150
A Comparative Study of Taal System in Kamatic and Hindustani Style
154
CHAPTER - 6
155-215
Thah, Dugun, Tugun and Chowgun of Different Taals
155
Dance Notations in Jhaptaal
193
Dance Notations in Ektaal
199
Dance Notations in Dhamaar
204
Dance Notations in Panchamsawari
210
Dance Notations in Teentaal
216
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