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Kathak performances include Urdu ghazal and commonly used instruments brought during the Mughal period. [5] As a result, it is the only Indian classical dance form to feature Persian elements. [6] Kathak is found in three distinct forms, called "gharana", named after the cities where the Kathak dance tradition evolved – Jaipur, Banares and ...
Aditi Mangaldas (born 1960) is a Kathak dancer and choreographer, who is known for her classical Kathak as well as 'contemporary dance based on kathak" repertoire. [1] Mangaldas is hailed as one of the leading dancers in the field of Kathak in India as well as across the world. [2] Mangaldas has trained under Kumudini Lakhia and Pundit Birju ...
The following is a list of the Gurus of the Lucknow Gharana, beginning with the disciples of Ishwari Prasad: [2]. Wajid Ali Shah (1822 – 1887, Nawab of Oudh and patron of the arts)
Uma Sharma (born 1942) is a kathak dancer, choreographer and teacher. She also runs the Bharatiya Sangeet Sadan, a classical dance and music academy, situated in New Delhi, founded by her father in 1946. She is most known for reviving the old classical dance form of Natwari Nritya or the Raslila of Brindavan, which later evolved into the Kathak ...
Due to different circumstances of her learning, geographical, intellectual, temporary, among others, Rohini could experiment freely in Kathak, applying her musical and intellectual interests. [7] Bhate founded the Nrityabharati Kathak Dance Academy at Pune in 1947. [1] Over the last six decades she trained hundred of dancers from her academy. [3]
At the oldest Kathak department which was formed in 1956 at Indira Kala Sangeet Vishwavidyalaya Public University located in Khairagarh, Puru Dadheech instated the first Kathak syllabus in 1961. [1] He is the holder of the first Doctorate in Kathak Classical Dance and emphasizes the relevance of Shastras (Indian Ancient Dance treatises like ...
Pages in category "Kathak" The following 6 pages are in this category, out of 6 total. This list may not reflect recent changes. ...
The tabla would be able to play delicately, as required for khyal, or more aggressively, like pakhawaj, for the accompaniment of dhrupad or kathak dance. Ram Sahai developed a new way of fingering the tabla strokes; especially important is the sound Na, being played with a curved ring finger to allow for maximum resonance of the dahina.