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What are the Bol of Tatkaar?
The Tatkaar's Bol are: Ta Thei Thei Tat Aa Thei Thei Tat
Padabheda
In ancient Sanskrit language "Pada" means feet and "Bheda" means types. According to "Abhinaydarpan" there are 6 types of various feet positions used while performing any form of classical dance. They are:
1.Samapada
2. Udghateetapada
3.Aratalasanchara pada
4.Anchita pada
5. Kunchita pada (2x)
6. Suchi pada
Sama
The first beat of every Taal is known as Sama. In Indian Music and Dance all the musical as well as rhythmic compositions conclude on Sama. Sama is the final finish of any rhythmic or musical compostion. At the same time it is the start of every Taal.
Shirobhedas as per "Abhinaya Darpan"
The Abhinaya-Darpan Grantha describes nine types of Shriobheda (Head Movements) :
1. Sama_Shira - When our head is in a normal position as we look straight, it is known as Sama Shira. Use: The beginning of dance / Thaat or Toda
2. Udhwathita - When we raise our head as we look up, this position is known as Udhwahita Shira. Use: Looking at the sky/stars, offering prayers, taking something kept on the upper level.
3. Adhomukha - When we look down by bowing our heads down, it's known as Ahomukha. Use: To express: shyness, insult, sorry, sorrow, defeat, looking down at something, peeping in a well.
4. Alolitha - When we drop our head with a loose neck and in a round movement, it's known as Aalolita. Use: To express: sleep, drowsiness, drunk person, possessed person, devil's laughter
5. Dhuta - When we move the head from left and right or vice versa, it's known as Dhuta. Use: To express: No, negative, failure, sympathy, fear, to look around.
6. Kampita - When we move our head vertically up and down, it's called Kampita Shira. UseL To express: Yes, agreement, acceptance, to call someone closer, inquire - who, where, what?
7. Parawarta / Paraawarta - When we move our head to the right or left with a sharp turn, it's called Paraawarta Shira. Use: To look right or left, to look at someone behind, anger, disagreement, depression, loneliness.
8. Utkshipta - Make a sharp turn on the right or left, i.e., Parawarta, and move the head up and down like Kampit. Use: To ask for help to distribute things, to call people.
9. Pareevahita - Drop your head back and then tilt it either on the right or left side. It's called Pariwahita Shira. Use: To wear earrings, personify a thief entering a home.
Greevabheda
In Sanskrit language "Greeva" means neck. The Greevabhedas are the various neck movements that are used while performing classical dance. There are four types of Greevabhedas:
1. Sundari
2.Tiraschinna
3.Pareevartita
4. Prakampita
Vilambit Laya
The Laya which is very slow or almost half or less than half of the speed Madhya Laya is known is as Vilambit Laya. This Laya is normally used in Indian classical vocal during Khayal Gayki.
Madhya Laya
Madhya means medium. The Laya which is neither fast nor slow is known as Madhya Laya.
Names of Indian Classical Dances and states
Kathak-Uttarpradesh
Bharatnatyam-TamilNadu
Kuchipudi-Andhra Pradesh
Kathakali-Kerala
Mohiniyattam- Kerala
Odissi-Orrisa
Manipuri-Manipur
Name the famous Kathak dancers of previous generations
Late Padmashri Gopi Krishna
Late Maharaj Krishna Kumar
Pandita Rohini Bhate
Sitara Devi
Late Damayanti Joshi
Kumudni Lakhiya
Roshan Kumari
Late Madhurita Sarang
Birj Maharaj
Name a few well know dancers of current generation
Shashwati Sen
Archana Joglekar
Shama Bhate
Rajendra-Nirupama
Manisha Sathe
Rajendra Gangani
Aamad
Aamad" is a Persian word which means to enter or to arrive. When a Kathak dancer begins the rhythmic aspect with a particular Toda, that Toda is known as an Aamad. Normally Kathak dancers used to begin their performance with a Paran "Dha Ta Ka Thunga..." set in Vilambit Laya. Over the period of time, this Paran became popular as Aamad.
Many times Kathak dancers connect a Natwari Bol "Ta Thei Ta Ta Thei..." to the Paran "Dha Ta Ka Thunga..." and present that as Aamad. In a Kathak performance Aamad is placed after "Thaat."
Matra
The beats that form Taal is known as Matras. A single beat is a Matra. Matra is the smallest segment of Taal.
Drut Laya
Drut means fast. Therefore the Laya that is double the speed of Madhya Laya is known as Drut Laya. In Indian classical vocal music Drut Laya is used for singing compositions like Tarana and Tirwat. Wheres in Kathak Drut Laya is used while performing Gat Nikas and Gat Bhaav.
Vibhaag
Every Taali and Khaali form a new Vibhaag in a Taal. The total number of Taali plus the total number of Khaali equals the total number of Vibhaags in a Taal. Due to Vibhaag understand the internal rhythmic design of a Taal. For example Teentaal consists of 16 Matras and every Taali or Khaali arrives after every 4 Matras. There are 3 Taali and one Khaali in Teental. Therefore 3+1=4. The total number of Vibhaag in Teental are four. This can be written as Teentaal Vibhaag: 4-4-4-4
Keharwa Taal
Keharwa Taal consits of 8 Matras. It has 2 Vibhaags of 4 Matras each. Taali and Sama are on the first beat and Khaali arrives on the 5th Matra. It is said as:
Dha Ge Na Tee
Na Ka Dhe Na
Dadra Taal
Dadra Taal has a cycle of 6 Matras. There are 2 Vibaags of 3 Matras each. Sama and Taali are on the first Matra and Khaali is on the 4th Matra. It is said as:
Dha Dhee Na
Dha Tu Na
Laya
The regulated time of spent in music is known as Laya. Laya can be measured by clapping at an equal distances. The tik tok of a clock and the heart beat of a man are some of the best examples of Laya. If the Laya is disturbed the man falls sick and the clock gets disturbed. There are 3 types of Laya: Vilambit, Madhya, and Drut Laya.
Tatkaar
Tatkaar means footwork. When a rhythmic sound is created by thumping our feet on the floor, it is known as Tatkar. "Ta Thei Thei Tat Aa Thei Thei Tat" are the Bol/syllables of Tatkar. Tatkaar is the base and soul of Kathak dance. Powerful footwork is the specialty of Kathak. The example of Tatkaar performed with Theka is as follows :
Theka : Dha Dhin Dhin Dhaa | Dha Dhin Dhin Dhaa |
Tatkaar: Ta SS Thei SS | Thei SS. Tat SS |
Foot : Right SS Left SS | Right. SS. Left SS. |
Theka : Dha Tin Tin Ta | Ta Dhin Dhin Dha |
Tatkaar: Aa SS Thei SS | Thei SS. Tat SS |
Foot : Left SS Right SS | Left. SS. Right SS. |
Paran
A powerful rhythmic composition formed out of the Bols which are peculiarly played on Pskhaawah is known as Paran. Sometimes some special Parans start from any odd no. of Matra and finish on Sama. Most of the time Paran concludes with a Tihai. Example of a Paran which has concluded with a Tihai :
Dhagina Dhaan Dita Taa, Kdan Dha Kata Dha SS,
Kat Kat S, Kdan Dha Kata Dha S, Kat Kat S,
Tihai - Kdan Dha Kata Dha, Kdan Dha Kata Dha, Kdan Dha Kata
Dha ||
Chakradaar
Chakradaar
When a rhythmic composition is repeated three times it is known as Chakradaar. There can be Chakradaar Tihai, Chakradaar Toda, and Chakradar Paran. Precisely when a toda or tihai or paran is repeated three times and finished on Sama, it is known as Chakradaar - Tihai/Toda/Paran respectively. Example of Chakradaar Toda:
(Tram thei, Tram thei, Tigda dig dig, tigda dig dig thei) --- to be repeated three times.
Kavit
When a poem is set in a Taal (rhythmic meter) and performed with expressions or Bhav according to the words of the poem, it is known as "Kavit". Many times rhythmic syllables are interwoven in a Kavit.
Example : Giri Dhar, Brija Dhar, Murali Adhar dhar, Shankh Chakra Dhar, Gadaa Padma Dhar, Sheesh Mekut Dhar, [Gopi sanga dhar, Tat tat thei, Tat tat thei, Tat tat thei] - 3
Tihai
When a rhythmic composition (Bol) is repeated three times and finished on Sama, it's known as Tihai.
Example: Tig Da Dig Dig | Thei SS Tig Da |
Dig Dig Thei SS | Tig Da Dig Dig |
Gat-Bhav
Gat-Bhav
When a short story or incident is presented in druta laya through expressions and body language it's known as Gat-Bhav. This is truly a challenge for a dancer and the dancer does not have any song to interpret or any words for support. The only support is the rhythmic meter of any Taal (mostly teentaal) in dhrut-laya. There is no Toda or Tukda. The total emphasis is on facial expressions and body language. Most of the time stories revolving around the life of Lord Krishna are performed through Gat-Bhav. For example :
1. "Makhan Chori - Krishna the butter thief"
2. "Kaliya-daman - Krishna defeating the serpent Kaliya"
Name well known Tabla players who accompany Kathak dancers
Ustad Zakir Hussain, Ustad Shafat Ahmed Khan, Pandit Suresh Talwalkar, Pandit Vibhav Nageshkar, Kalinath Mishra, Vijay Ghate, Mukundraj Deo, Anish Pradhan, Arvind Kumar Aazad.
Apart from the above Tabla players, the well known Tabla maestros of the previous generation who accompanied Kathak dancers were Pandit Kishan Maharaj, Late Ustad Allahrakha, Late Pandit Samta Prasad and Late Pandit Ramdas Sharma (Pakhawaj player).
Thaat
ThaatClick the card to flip
The rhythmic aspect of Kathak begins with Thaat. After presenting the invocation the dancer begins with small rhythmic syllables and strikes a pose on Sama. Many a time, the dancer uses eyebrow, neck movements or wrist movements to subtly suggest Sama. Thaat is the rhythmic blossoming of body movements