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1.2 History of Kathak: Gharanas (schools) in Indian classical Kathak style. Kathak - classical dance form of northern and northwestern India. The origin of Kathak dance must narrator of ancient literature, Kathak, which retold the Katha or the story from the sacred epics and the Puranas, the accompanying story expressive gestures and dance. The word "Kathak" is used in the Brahma Mahapurane meaning "dancer", "actor“, "singer. " This word can also be found in the Mahabharata and Natyashastre. In the ancient Pali language the word "Kathako" means "explanation. " In the Nepali language, the word "kathiko" means "one who explains, " or "teacher". There is also a version that the term derives from the word "katha"- which means, in Sanskrit, the "plot". In Hindi the word means "plot", "history. " Katha Kahe with Kathak - "the one who tells a story - Kathak. Originating in ancient temples, Kathak became the most popular form of court art during the reign of the Muslims in India. Dance has become more developed in the technical part, complicated rhythms, increased diversity of plastic movements. Following the drum beats kicking dancer intricate rhythms, culminating in a dance contest with a drum-tabla. Kathak technique characterized by its numerous turns, soft plastic hand movements. In this style, mudras (hand gestures) are performed very gently, only hinting at those forms, which are clearly visible in other styles. In this style, expressed the mutual influence of Hindu and Muslim traditions. Relationship with the Hindu religion - in a semantic filling. Often in Kathak dance themes use state of nature and animals. Very typical Kathak Vandana - descriptions of the Godhead, his actions and the invocation of God. Muslim influence - a costume that resembles suits the peoples of Iran, Afghanistan and Central Asia. Unlike other styles, which simulates a dance costume draped saris, in suits in Kathak performers used a long skirt, sun, emphasizing the rapidity of turns. Choreographic compositions in the style of skating rinks - this idea that has a storyline based on certain stories. The main subjects are the Indian mythology and scenes from the life of the gods. 1.2.1 Jaipur Gharana - one of the three schools of Kathak. This school marked the beginning of the earliest known Kathak dancers Bhanudzhi, an admirer of Lord Shiva and Shiva Tandava dance master handed down from father to son and evolving over time, the school has led to the modern vremini having somobytnyh dancers. one of the brightest representatives of this school of dance at the current stage is allocated singer Rajendra Kumar Gangani. In Jaipur gharane emphasized that the abstract rhythmic element is much more expressive content, and it attaches very great importance, Kathak, this style focuses on the Tandava. 1.2.3 Lucknow Gharana of Lucknow gharana .- Kathak owes its origin to Sri Ishuari Prasadzhi who lived in the Handi Teshil Allahabad. 1.2.4 Benares gharana - a different direction Jaipur style of Kathak, which flourished in Benares. Benares gharana also known as Janaki Prasad Gharana. The style is distinguished by grace and precision, as well as the use of dance beats exclusively for their rhythmic structures. 1.2.5 Three varieties Nritta, Nritya, Natya. Nritta, or pure dance - an abstract dance, consisting of movements and postures, devoid of dramatic content. Performed at ease and fun. Of all the moods of the dance can be only joy. To convey the joy - that's the meaning of the dance. Unlike other Indian classical dance, pure dance technique of Kathak is based on very natural poses of the body and feet of dancers. Thus, the basic position of Kathak performer - is rectified body and legs. For comparison, recall that, for example, a Bharat Natyam is one of the basic poses - it aramandi or semi-Plies with spaced apart, and divorced his knees with his hands. In Odissi - it tribhanga or triple bend - in this posture the dancer bends his neck, bent at the waist and bend your knees. Nrittya - a combination of pure dance and the transfer of emotions through gestures and facial expressions. Nrittya - plexus of various feelings and moods. During the execution of the dance poem read out, and most importantly - involve all sorts of gestures and the position of the fingers (hasta) has meaning. In the Indian cultural tradition, they are divided into nine categories, called Navarasa - nine basic moods and emotions. They are: Shringara - love, Hasya - joy, Karuna - compassion, Veera - heroism, Rudra - anger, Bhayanaka - fear, Bibhatsa - disgust, Adbhuta - surprise, Shanta - Peace. Natya - a kind of dramatic art, that is, a dance performance with or without him. In general, strictly speaking, this kind of dramatic art. Dancer tells a story or developing any particular topic. All three aspects were considered to be closely related to each other and go back to the same tradition. Indeed, many elements of the dance were not born out of strict adherence to classical texts, and passed from generation to generation through the tradition of theatrical performance. 1.3 Basic emotions and Hastie (hand gestures) Sign Language in Hindu dance has its origin from the Yajur Veda, the symbolic formula sacrificial rituals. Originally gestures were intended to cause uplift during the ceremonies, conventionally speaking as a ritual. Ideography complex symbols represent the gods. Indian dancer expresses his hands the life of the universe putting a lot of characters and plots in each addition of finger and hand movements. Familiarizing themselves with the designation of each finger hands, you know how important it is for Hindus possession of gestures and finger configuration. Only with this knowledge comes the understanding of dance sculpture, where hand movements are the initial value. Fingers express 5 basic, main elements they are Air - Vayu, Fire - Agni, the Earth - Prisvi or Dhumi, ether (space, sky) - Akash and Water - Jala. Together, these five elements called Panch Mahabhut in India. Each of these elements has its own character, properties, each associated with a specific direction and shape, color, taste, smell, and part of the house. There are three types of Haste 1. Asamyuta Hastas - gestures of one hand, carrying some meaning. 2. Samyuta Hastas - gestures with both hands, as having a certain value. 3. Nritta Hastas - decorative gestures, those with no particular value, are pure dance (technique). Thus, a detailed analysis of seven major styles of Indian classical dance has shown a history of origin and specific nature development of each style, depending on the state's natural features and distinct human manifestations associated with these objective characteristics. Despite some differences in manifestations, they are all based on the Hindu religion. Style of Kathak distinguished from it’s generalization of the two religious directions: Hindu and Muslim. Relationship with the Hindu religion - In a semantic filling. Muslim influence is reflected in the technique the dance and costume that resembles costumes of people of Iran, Afghanistan and Central Asia. The next distinctive aspect of Kathak style from the other classic styles is the presence of three schools that are being united by a common style reflects the narrow specific features of manifestation of the dance. Chapter 2. Famous Dancers Kathak style Indian tradition puts the teacher on a higher level of reverence among the people Guru is a teacher - the most important person in my life any of us. Mother - this is the first teacher. When a child begins to grow up, he learns to perceive the world in which he lives. He goes to school, where he meets someone who teaches him to live and understand our surroundings. 2.1 Rajendra Kumar Gangani - a famous guru, performer and choreographer, is unsurpassed in technique and style productions Jaipur gharana to this day. His technique is different complex variations of movement and exceptional speed performance of various combinations of legs and pirouettes. Rajendra Gangani has extraordinary charm that attracts a hypnotic gaze of spectators, the audience zamiryaet of admiration and dissolves completely in his dancing to the ringing of gunguru, which ends a flurry of applause and recognition of it as the best in the style of Jaipur Gharana. Performances Rajendra Kumar Gangani always been difficult technique, beautiful pictures and a variety of novelty of their works. 2.2 Prerna Shrimali - one of the greatest dancers of Kathak style, Jaipur gharana today. Magic Grace, a virtuoso footwork, excellent abhinaya - here are a few features that characterize the style of performance Prerani-ji. Prerna Shrimali one of those rare nowadays Kathak dancers, who are equally strong in technique and lyricism have as an actor and a thinker, a virtuoso and poet. In 1995, Prerna Shrimali set dance-art-poetry performance «Reaching For Each Other», where she participated as a dancer. 2.3 Pandit Birju Maharaj legendary dancer and a guru in the style of Lucknow Gharana. Recognized as the best, unique and extraordinarily talented in the performance of Abhinaya (facial expressions). His mastery of reincarnation in different characters such as - a naughty little Krishna (Hindu god), the girl waiting for her lover, a brave and noble Ram (Hindu god) makes the audience believe in the reality of the situation. Through the technique of the feet, he composes new songs on a modern theme, for example: telephone sounds, trains, horses, today's dialogue between man and a woman, and so on. His work has been influenced by Muslims, it expresses gestures borrowed from Arabic dancing. More attention in the dance is on the wrist, sounding ghungru, facial expression of the dancer. All the terminology of dance translated into Urdu, as a result of great influence of Persian literature. Delicacy and elegance are characteristics of this school, which is particularly distinguishes Birju Maharaj. 2.4 Sasvati Sen is famous, talented dancer of style kathak Lucknow gharana. It has been regarded as one of the unmatched students Birge Maharaj. Today it is one of the most outstanding representatives of the Lucknow-Gharana. The strongest aspect of her performance is abhinaya, which has always received the highest praise from audiences and critics. Sasvati Sen is a choreographer as individual composition and dance dramas. Such masters of the execution and famous teachers bring ancient traditions to life again, the students and the audience sense a taste, sweetness and influences of majesty of centuries-old art of Indian classical dance. Conclusion Thus, having made a detailed analysis of Indian classical dance style of Kathak, and specifically, we concluded that this style, despite the fact that there is a significant distinguishing quality, is an integral part of both the Indian classical dance, and the entire Indian culture. Kathak style reflects not only the aesthetics of the school and the state where he is thriving, but represents a historical record of an entire epoch of the Mughals. This is the only style of classical Indian dance, which exerted a mutual influence of Hindu and Muslim traditions. The dominant style of Kathak - Nritta, pure dance, the distinctive feature is the footwork. On their ankles from the artists a lot of bells, as in any other Indian style of dance, the dancer beats off his feet a number of rhythmic patterns and variations. Kathak style contributed to the development of an incredibly complex dance rhythms and display of these rhythms by leg movements. Often a dancer and musician competed in skill transfer all kinds of rhythms. This skill - a fundamental part of the style. The structure of the traditional performance of Kathak is a progression from slow pace to a very rapid, ending a dramatic climax. Characteristic of Kathak, a lot of quick turns, the soft movement of hands and an element of percussion accented rhythmic patterns kicking dancers, which rolled up a special set of anklets with bells - gungru. The beauty of Kathak are perfect harmonious plastic movements of hands and bends of the body, giving a visual expression of rhythmic stance. Variations of tempo, permutation cycle of ticks in cross-rhythms, quick circular movements and sudden motionless posture - that's the technical side of Kathak. Fluid motion, grace and poise are its aesthetic characteristics. Unlike other Indian classical dances, the dancer does not expose your knees bent forward or sideways and does not commit the deep slopes of the body. Performance features promote and costume, which is visually distinguished from other styles of Kathak, where a dance costume resembles a sari. The costumes used Kathak long skirt, sun, emphasizing the dynamic cornering. Make-up, as a rule, natural, with a pronounced underlined eyes. An important feature of the style of Kathak is a high potential manifestations of individuality Executive rich opportunities for individual improvisation. The study reached the following conclusions regarding the specific features of Kathak style, its strengths, which differ from all other existing styles of Indian classical dance. They are: - the basic position of the dancer - a natural on straight legs; - rhythm - the foundation of this art, the emphasis of style in the legs - Tatkar - diverse and complex rhythmic patterns, knocked out feet, heels, toes dancer. - improvisation - Kathak performer is not necessarily subordinate to the composition, rather, Larry theme music, where improvisation becomes a separate number "dzhugalbandi; - pirouettes chakkar - in Kathak many turns and half-twist in opposite directions, the compositions can be found up to several dozen pirouettes; - recitation of syllables (bol) - before the execution of a dancer voices a rhythmic pattern; - unusually gentle hand movements; - the whole story is passed through mime dance. Accent Art abhinai the ability to express the dancer's one theme in different ways with infinite shades of emotion; - a soft blend of Kathak, Muslim and Hindu culture. This study is expected to be contribute to a deeper, serious approach to the study of classical Indian dance style of Kathak. Bibliography 1 Балвант Гарги. Театр и танец Индии. Москва, 1963 г. 2.Dr. Bharti Gupta. Kathak Sagar. 3.Enakshi Bhavnani. The dance in India. 1965. 4.Leela Vankataraman, Avinash Pasricha. Indian Classical Dance: Tradition in Transition. Lustre Press, Roli Books, 2005. 5.Regenald Messey “Indian’s Kathak dance Past, Present, Future” 1999. 6.Leela Venkataraman, Photographs: Avinash Pasricha. The dancing phenomenon Birju Maharaj. Lustre Press, Roli Books, New Delhi 2001. 7.Бирджу Махараджа, Официальный сайт: ссылка скрыта 8.Тарасова Елена. ссылка скрыта profile-elena_tarasova.html. 9.Ashish Khokhar. Shriram Bharatiya Kala Kendra A History. Lustre Press, Roli Books, New Delhi. 10.Ranjana Srivastana. 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