Gharanas in Kathak

Kathak is an ancient classical dance of North India, which developed from a story telling

tradition in temples. Due to changed political conditions in the Northern part of India, kathak was patronised by various kings and reached the royal courts from the temple courtyards. The dance gurus served as teachers in the royal court and this gave rise to distinct styles of kathak dancing according to the likes and dislikes of the respective kings. Thus, according to the different areas of Maharajas, the different stye of dancing flourished and gave rise to the Gharana system in kathak dance. There came into existence 3 main gharanas of kathak. The court dancers and teachers of the Muslim rulers gave rise to the Lucknow gharana and on the other side, the teachers and court dancers of the Hindu kings gave rise to the Jaipur and Banaras gharana.

(a) Jaipur gharana

The Jaipur gharana developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan.

Importance is placed on the more technical aspects of dance, such as complex and powerful

footwork, multiple spins and complicated compositions in different taals. There is also a

greater incorporation of compositions from the Pakhawaj such as parans. Importance is given to tatkar, laykari, Kavita toda, Gat Bhav, etc.Well known exponents are Hari prasad ji, Hanuman Prasad ji, Durga Prasad ji, Mohanlal ji, etc.

(b) Lucknow gharana

The Lucknow style or kathak dance is characterized by graceful movements, elegance and

natural poise with dance. Artistically designed dance compositions, like thumris, dadras,

horis, along with Abhinay and creative improvisations are the hallmarks of Lucknow gharana.

Importance is given to face expressions, soft & subtle movements of body, Nikas gat, Thumri

Bhav, etc. Well known exponents are Bindadin Maharaj, Achchan Maharaj, Birju Maharaj, Shambu Maharaj, etc.

(c) Banaras gharana

The Banaras gharana is characterized by the exclusive use of the Natwari, which are different

from the tabla and Pakhawaj bols. There are differences in the Thaat and tatkar and chakkars

are kept at a minimum, but are often taken from both the right- and left-hand sides with

equal confidence. There is also a greater use of the floor, for example during taking of sam.

Main exponents are Janaki Prasad ji, Chunni Ram ji, Hiralal ji, Bihari lal ji, etc.