DRESSING SENSE OF KATHAK

IN KATHAK MAINLY THREE TYPES OF DRESS CODE USED


FIRST CODE IS KURTI

A GHAREDAR KURTI , CHURIDAR PAYAJAMA AND A LONG DUPATTA

SECOND CODE IS GHAGRA CHOLI AND DUPATTA

GHAGRA MUST NOT BE TOO LONG......THERE IS CHANCE THEY DISTURB DANCING






THIRD CODE IS SARI OR DHOTI WITH A DUPATTA

SOME IMPORTANT DEFINITION

DHWANI: Sound. The sensations received by our ears are called sound.

NADA: The musical sound। Frequencies of Nada are regular. There are three qualities of Nada: Nada ki Tarta (pitch), Nada ki Tivrata (intensity), and Nada ka Kaal (duration).

NATYA: The theatrical or dramatic representation (Abhinaya) in dance is called "Natya". There are four kinds of Abhinaya.

• Angika Abhinaya: In Angika Abhinaya the meaning or an idea is conveyed through bodily gestures.
• Vachika Abhinaya: When the meaning is conveyed through words.
• Aharya Abhinaya: Through costumes and appearance of actors.
• Sattwika Abhinaya: This is the representation of eight psychic conditions arising from the vital principle itself। These eight conditions are: Motionlessness, perspiration, horrification, change in voice, change of color, trembling, tears, and fainting.

• NRITYA: The dance, which suggests flavour (Rasa) and mood (Bhava), is called Nritya. Nritya is an important aspect of classical Indian dance and it implies the rendering of the meaning of a song or story थ्रौघ suggestive facial expressions, codified gestures of the hands, and symbolic postures of the body.
  
  NRITTA: Nritta is meant to convey a sense of pure joy of movement and rhythm. In Nritta, a mood is conveyed through technical aspects of dance.

TANDAVA: Having being first performed by Tandu, an attendant of Shiva, the dance, is called Tandava. The aggressive and masculine aspects of dancing are called Tandava. The heroic sentiment (Veer Rasa) is prominent in this type of dancing. It is said that when Lord Shiva, destroyed the demon race, he danced the Tandava Nritya.

LASYA: The delicate and feminine aspects in dancing are called Lasya. Lasya was first performed by Shiva's counterpart "Parvati". The erotic sentiment (Shringar Rasa) is prominent in Lasya.

ANGA: The six major limbs of body, such as, head, hands, chest, torso, waist and feet. Many include neck among these.

PRATYANGA: The parts of body that connect the major limbs, such as, shoulder blades, arms, back, belly, thighs, and knees.


PARHANT: The metrical recitation of the dance syllables or bols before executing pure dance number in Kathak. In Parhant, the clapping is maintained to indicate the beats of the taal.

GAT-BHAVA: Gat-bhava is a part of Gat। In gat-bhava emotions are expressed without any accompaniment of song or words. In Gat-bhava any action or theme is interpreted through mime. .

MUDRA: The word Mudra means a definite position of a definite part of body.

There are two types of Mudras - Bhava Mudra and Anukaran Mudra.

In Bhava Mudra different emotional and psychic reactions are portrayed through different parts of the face. In Anukaran Mudra the dancer shows any object through different parts of body. In dance there are 24 Hast Mudras (Hand gestures).

CHAKKARDAAR TORA: When a Tora or a Toda is performed three times; it is called a Chakkardar Tora.