Board 1: Map tracing the routes of Kathak/Flamenco/Lavani
A couple of years ago I was lucky enough to see a flamenco dance in Barcelona, and I was struck at the similarity in the footwork between flamenco, and Kathak, a centuries old classical dance from North India. Curious at this, I did some reading and was amazed to find the similarity was no coincidence. Read on.....
Around the ninth century, for some unknown reasons, thousands of inhabitants of the north-western part of India began to emigrate west, taking along with them their culture of music and dance including the age old temple dance Kathak. They set out from the territories presently occupied by the Punjab and Pakistan. In Persia they split, and one part went via Palestine, Egypt, Libya, Tunisia, Morocco and through the Gibraltar Strait, finally arriving, already known as Gypsies, in the south of Moorish Spain. In this region, known as Al-Andalus, various cultures co-existed for hundreds of years. It was the only place where Gypsies, Jews, Catholic's and Muslims lived together for a long time. Each group had its own customs, music and instruments. After many years, in the beginning of the 19th Century, due to mutual influences and the mingling of all these elements, a mysterious and expressive type of music emerged. Today we know it as Flamenco.
Board 2: Timeline - when did these forms come together in history
400 BCE: potentially development of kathak (records in Natyashastra)
11th century: Gypsies migrated out of India into Europe
14th century: records of gypsies in Spain
15th century: development of flamenco in Spain
16th century: development of court styles of Kathak during Mughal Era
17th century: golden age of flamenco
18th and 19th century: development of lavani
11th century: Gypsies migrated out of India into Europe
14th century: records of gypsies in Spain
15th century: development of flamenco in Spain
16th century: development of court styles of Kathak during Mughal Era
17th century: golden age of flamenco
18th and 19th century: development of lavani
Board 3: Similarities in footwork and handwork
The stark similarities between the Indian classical dance form Kathak and Flamenco, a form associated with the gypsies from the South of Spain, echo a shared deep rooted history. The origin of Spanish Flamenco can be traced back to the nomadic gypsies of Rajasthan and one of the three predominant schools of Kathak is the Jaipur Gharana.
Foot rhythm patterns:
Flamenco's "zapateado" mirrors Kathak's "tatkar" with intricate foot tapping, while Lavani's vigorous foot movements align with the vigor of both.
Hand Movements:
Flamenco performers use hand clapping ("palmas"), to convey a range of emotions. While in Kathak Hand gestures, called “mudras”, play a pivotal role, conveying emotions, narratives, and cultural symbolism.
Kathak, Flamenco, and Lavani exhibit intriguing parallels in their footwork and handwork techniques. All three emphasize rhythmic intricacies, utilizing rapid footwork patterns that create a percussive resonance with the accompanying music.
Foot rhythm patterns:
Flamenco's "zapateado" mirrors Kathak's "tatkar" with intricate foot tapping, while Lavani's vigorous foot movements align with the vigor of both.
Hand Movements:
Flamenco performers use hand clapping ("palmas"), to convey a range of emotions. While in Kathak Hand gestures, called “mudras”, play a pivotal role, conveying emotions, narratives, and cultural symbolism.
Kathak, Flamenco, and Lavani exhibit intriguing parallels in their footwork and handwork techniques. All three emphasize rhythmic intricacies, utilizing rapid footwork patterns that create a percussive resonance with the accompanying music.
Board 4: Similarities in music: Tabla and Cajon
The tabla and cajón, although from different cultural origins, share intriguing similarities in their roles as percussive instruments and their capacity to drive rhythm in their respective musical contexts.
The tabla is a traditional Indian percussion instrument comprised of two hand-played drums, the smaller "dayan" and the larger "bayan." It's known for its versatile sound and ability to produce a wide range of tones. Similarly, the cajón, originally from Peru, is a box-shaped drum that the player sits on and strikes with their hands. Both instruments provide the rhythmic backbone to their respective musical genres.
Despite their distinct origins, there isn't a direct ancestral link between the tabla and cajón. They developed in separate cultural environments: the tabla is deeply rooted in Indian classical music, while the cajón emerged from Afro-Peruvian traditions. However, it's worth noting that various musical cultures worldwide have independently created similar percussion instruments due to the universal human inclination to create rhythm and sound using available resources.
The tabla and cajón showcase the universal human tendency to explore rhythm through percussive instruments. While they may not share a common direct lineage, their similarities highlight the way different cultures have independently recognized the importance of rhythm in music and developed instruments to fulfill this role, leading to the rich tapestry of global musical traditions.
The tabla is a traditional Indian percussion instrument comprised of two hand-played drums, the smaller "dayan" and the larger "bayan." It's known for its versatile sound and ability to produce a wide range of tones. Similarly, the cajón, originally from Peru, is a box-shaped drum that the player sits on and strikes with their hands. Both instruments provide the rhythmic backbone to their respective musical genres.
Despite their distinct origins, there isn't a direct ancestral link between the tabla and cajón. They developed in separate cultural environments: the tabla is deeply rooted in Indian classical music, while the cajón emerged from Afro-Peruvian traditions. However, it's worth noting that various musical cultures worldwide have independently created similar percussion instruments due to the universal human inclination to create rhythm and sound using available resources.
The tabla and cajón showcase the universal human tendency to explore rhythm through percussive instruments. While they may not share a common direct lineage, their similarities highlight the way different cultures have independently recognized the importance of rhythm in music and developed instruments to fulfill this role, leading to the rich tapestry of global musical traditions.
Board 5: Lavani and Kathak - a comparison
The time of the Peshwas was when Kathak and Lavani came together. That time in history saw several Persian musicians and dancers traveling to India and that is how the two sister acts started to grow together in the state of Maharashtra.
Lavani comes form the word Lavanya which means beauty or adornment. Lavani is probably the only dance form where the solo protagonist is a woman. The lead female dancer sings songs of her beauty, love, romance and sensuality. But Lavani was also a medium of spreading awareness during social reformation and the freedom struggle. Stories about domestic violence, alcoholism, dowry system, the practice of Sati, pregnancy and menstruation, female infanticide etc formed the subject matter of the dance songs at that time. Lavani was a story of a woman in the world dominated by men. It spoke of the patriarchal system and is a very bold expression of the feminine energy.
Kathak's development was influenced by a confluence of factors, including religious practices, royal patronage, and cultural exchanges. It was initially performed in temples as a form of devotional storytelling, using intricate footwork, hand gestures, and expressions to depict mythological tales. With the advent of the Mughal era in India, Kathak gained further refinement and sophistication through interactions with Persian and Central Asian dance and music traditions. The Mughal courts provided a platform for Kathak dancers to showcase their skills, leading to the fusion of Indian and foreign influences in the dance form.
The two forms share similarities in footwork, hand movements, style of singing and storytelling. They are very different in the language they use, costume and styling.
Lavani comes form the word Lavanya which means beauty or adornment. Lavani is probably the only dance form where the solo protagonist is a woman. The lead female dancer sings songs of her beauty, love, romance and sensuality. But Lavani was also a medium of spreading awareness during social reformation and the freedom struggle. Stories about domestic violence, alcoholism, dowry system, the practice of Sati, pregnancy and menstruation, female infanticide etc formed the subject matter of the dance songs at that time. Lavani was a story of a woman in the world dominated by men. It spoke of the patriarchal system and is a very bold expression of the feminine energy.
Kathak's development was influenced by a confluence of factors, including religious practices, royal patronage, and cultural exchanges. It was initially performed in temples as a form of devotional storytelling, using intricate footwork, hand gestures, and expressions to depict mythological tales. With the advent of the Mughal era in India, Kathak gained further refinement and sophistication through interactions with Persian and Central Asian dance and music traditions. The Mughal courts provided a platform for Kathak dancers to showcase their skills, leading to the fusion of Indian and foreign influences in the dance form.
The two forms share similarities in footwork, hand movements, style of singing and storytelling. They are very different in the language they use, costume and styling.
Board 6: THE POEM
Let’s talk, lend me a beat
Tap to your heart, stomp your feet,
I must move, as free as can be,
Clap, the rhythm calls out to me,
Dance, dance with me.
Spinning like a top, whirlwind, unstoppable,
Living again, dying again,
The beginning is the end, is the becoming.
The lights consume me,
And I, the applause,
It’s me… this jump, that leap, the stop, the pause.
Holding every drop of time
Fractions of a beat, and poetry in mime,
I bring my movements together, with reverence to the one, the Maker.
Spiralling through the curves of rhythm, my ghungroos bind a spell,
My feet have a story to tell.
Give me a song… your poem, your feelings
I’ll bring it to life, paint it bright
Your words my arms become,
I am the space around me, my body traveling, it bends, I turn,
Liberated by expression,
I’m felt, understood and seen.
Seizing what is right here, dancing like there’s only now
The wind lends me wings and the earth gives me flight
Wearing the moon and the stars, I shine with the sun
This moment is all mine!
Tap to your heart, lend me a beat
This jump, that leap, the stop, the pause
This dance… this dance… it’s me!
——— Aditi Bhagwat
Tap to your heart, stomp your feet,
I must move, as free as can be,
Clap, the rhythm calls out to me,
Dance, dance with me.
Spinning like a top, whirlwind, unstoppable,
Living again, dying again,
The beginning is the end, is the becoming.
The lights consume me,
And I, the applause,
It’s me… this jump, that leap, the stop, the pause.
Holding every drop of time
Fractions of a beat, and poetry in mime,
I bring my movements together, with reverence to the one, the Maker.
Spiralling through the curves of rhythm, my ghungroos bind a spell,
My feet have a story to tell.
Give me a song… your poem, your feelings
I’ll bring it to life, paint it bright
Your words my arms become,
I am the space around me, my body traveling, it bends, I turn,
Liberated by expression,
I’m felt, understood and seen.
Seizing what is right here, dancing like there’s only now
The wind lends me wings and the earth gives me flight
Wearing the moon and the stars, I shine with the sun
This moment is all mine!
Tap to your heart, lend me a beat
This jump, that leap, the stop, the pause
This dance… this dance… it’s me!
——— Aditi Bhagwat
Board 7: Interesting facts:
1. Mughal Patronage: During the Mughal era, Kathak found favor in royal courts as entertainment. Kathak dancers were known as "Kathakars" and were revered for their ability to tell stories through dance.
2. Gharana Tradition: Kathak has different "gharanas" or schools of thought, each with its unique style and emphasis on certain aspects of the dance. Some famous gharanas include Lucknow, Jaipur, and Banaras.
3. Tripartite Form: Flamenco traditionally consists of three components: "cante" (song), "baile" (dance), and "toque" (guitar playing). These elements come together to create a multidimensional performance.
Lavani and Kathak - the sterilization of it and reclaiming as a woman:
Lavani and Kathak are both traditional dance forms that have undergone transformations and discussions around gender representation, identity, and empowerment.
Lavani: Lavani, a traditional dance from the state of Maharashtra in India, has often been associated with sensuality and performed in social contexts. Over time, discussions have arisen about the objectification and stereotyping of women through Lavani performances. Some performers and activists have worked towards reclaiming Lavani as a form of empowerment and expression for women. They aim to challenge the narrow perception of Lavani as solely an entertainment for the male gaze and emphasize its cultural richness, social commentary, and the strength of the women performing it.
Kathak: Kathak, too, has seen transformations in terms of gender representation. Historically, Kathak was performed by both men and women, often as part of devotional and royal contexts. However, during the colonial era and the subsequent societal changes, there was a shift towards male dancers dominating the classical dance scene. In recent decades, there has been a resurgence of female Kathak dancers who are reclaiming the dance form and breaking through traditional gender roles, showcasing their artistry, skill, and narratives on their terms.
Both Lavani and Kathak exemplify the complexities of gender representation in traditional arts. Reclaiming these dance forms as a form of empowerment involves challenging stereotypes, embracing the historical and cultural significance of the dance, and using them as platforms to express a diverse range of narratives and perspectives.
It's important to note that the reclamation and empowerment of dance forms are ongoing conversations, and different artists and communities may have varying perspectives and approaches to these issues. The process of reclaiming dance forms involves acknowledging their historical context, addressing concerns related to gender representation, and celebrating their ability to convey diverse stories and emotions.
Ghungroos in kathak and lavani:
Kathak Ghungroos:
1. Kanjira Ghungroo: In Kathak, ghungroos are typically larger and heavier than those used in other dance forms. They are tied together in clusters and often feature around 100 to 200 bells on each ankle. This type of ghungroo produces a rich and resonant sound that complements the intricate footwork and rhythms of Kathak.
2. Brahma Ghungroo: This is a specific arrangement of ghungroos, named after Lord Brahma. It consists of one large ghungroo (with multiple rows of bells) followed by smaller ones. The larger ghungroo produces the base sound, while the smaller ones add nuances.
3. Dandi Ghungroo: This type features ghungroos attached to small wooden sticks or rods. These rods are then tied around the ankles. Dandi ghungroos create a distinct sound due to the additional resonance from the wood.
4. Ghungroo with Zil: In some cases, small cymbals or zils are attached to the ghungroos. This combination adds a shimmering metallic sound to the rhythmic footwork.
Lavani Ghungroos:
1. Pad Ghungroo: Lavani ghungroos are usually lighter and designed for the energetic movements of the dance. They often consist of fewer bells compared to those used in Kathak. Pad ghungroos are attached to a pad that is then secured to the foot. The sound produced is lively and complements the vigorous footwork of Lavani.
2. Single Line Ghungroo: Lavani dancers might also use a single line of ghungroos, where the bells are arranged in a straight line rather than clusters. This design allows for a clear and distinct sound while maintaining ease of movement.
3. Paayal: Paayal is a style of ghungroos that are more delicate and light, suitable for the swift movements and energetic footwork of Lavani dancers.
4. Multiple Rows Ghungroo: Some Lavani dancers use ghungroos arranged in multiple rows, similar to those used in Kathak, to create a fuller sound while maintaining agility.
The choice of ghungroos depends on factors such as the dance style's rhythm patterns, the dancer's footwork speed, and the overall character of the performance. While both Kathak and Lavani use ghungroos to enhance their respective dances, the specific design and arrangement cater to the unique movement patterns and musical requirements of each dance form.
2. Gharana Tradition: Kathak has different "gharanas" or schools of thought, each with its unique style and emphasis on certain aspects of the dance. Some famous gharanas include Lucknow, Jaipur, and Banaras.
3. Tripartite Form: Flamenco traditionally consists of three components: "cante" (song), "baile" (dance), and "toque" (guitar playing). These elements come together to create a multidimensional performance.
Lavani and Kathak - the sterilization of it and reclaiming as a woman:
Lavani and Kathak are both traditional dance forms that have undergone transformations and discussions around gender representation, identity, and empowerment.
Lavani: Lavani, a traditional dance from the state of Maharashtra in India, has often been associated with sensuality and performed in social contexts. Over time, discussions have arisen about the objectification and stereotyping of women through Lavani performances. Some performers and activists have worked towards reclaiming Lavani as a form of empowerment and expression for women. They aim to challenge the narrow perception of Lavani as solely an entertainment for the male gaze and emphasize its cultural richness, social commentary, and the strength of the women performing it.
Kathak: Kathak, too, has seen transformations in terms of gender representation. Historically, Kathak was performed by both men and women, often as part of devotional and royal contexts. However, during the colonial era and the subsequent societal changes, there was a shift towards male dancers dominating the classical dance scene. In recent decades, there has been a resurgence of female Kathak dancers who are reclaiming the dance form and breaking through traditional gender roles, showcasing their artistry, skill, and narratives on their terms.
Both Lavani and Kathak exemplify the complexities of gender representation in traditional arts. Reclaiming these dance forms as a form of empowerment involves challenging stereotypes, embracing the historical and cultural significance of the dance, and using them as platforms to express a diverse range of narratives and perspectives.
It's important to note that the reclamation and empowerment of dance forms are ongoing conversations, and different artists and communities may have varying perspectives and approaches to these issues. The process of reclaiming dance forms involves acknowledging their historical context, addressing concerns related to gender representation, and celebrating their ability to convey diverse stories and emotions.
Ghungroos in kathak and lavani:
Kathak Ghungroos:
1. Kanjira Ghungroo: In Kathak, ghungroos are typically larger and heavier than those used in other dance forms. They are tied together in clusters and often feature around 100 to 200 bells on each ankle. This type of ghungroo produces a rich and resonant sound that complements the intricate footwork and rhythms of Kathak.
2. Brahma Ghungroo: This is a specific arrangement of ghungroos, named after Lord Brahma. It consists of one large ghungroo (with multiple rows of bells) followed by smaller ones. The larger ghungroo produces the base sound, while the smaller ones add nuances.
3. Dandi Ghungroo: This type features ghungroos attached to small wooden sticks or rods. These rods are then tied around the ankles. Dandi ghungroos create a distinct sound due to the additional resonance from the wood.
4. Ghungroo with Zil: In some cases, small cymbals or zils are attached to the ghungroos. This combination adds a shimmering metallic sound to the rhythmic footwork.
Lavani Ghungroos:
1. Pad Ghungroo: Lavani ghungroos are usually lighter and designed for the energetic movements of the dance. They often consist of fewer bells compared to those used in Kathak. Pad ghungroos are attached to a pad that is then secured to the foot. The sound produced is lively and complements the vigorous footwork of Lavani.
2. Single Line Ghungroo: Lavani dancers might also use a single line of ghungroos, where the bells are arranged in a straight line rather than clusters. This design allows for a clear and distinct sound while maintaining ease of movement.
3. Paayal: Paayal is a style of ghungroos that are more delicate and light, suitable for the swift movements and energetic footwork of Lavani dancers.
4. Multiple Rows Ghungroo: Some Lavani dancers use ghungroos arranged in multiple rows, similar to those used in Kathak, to create a fuller sound while maintaining agility.
The choice of ghungroos depends on factors such as the dance style's rhythm patterns, the dancer's footwork speed, and the overall character of the performance. While both Kathak and Lavani use ghungroos to enhance their respective dances, the specific design and arrangement cater to the unique movement patterns and musical requirements of each dance form.
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