Indian classical music especially in the north India, with its hoary beginnings, came quickly into a Gharana system in recent times. Venerable gurus, since the last century onwards, established their own preferences in ragas, modes of melodic elaborations and nuances in improvisations. Over next two or three generations, their disciples took their gurus’ styles forward and established what came to be recognized as ‘Gharanas’.
Indian classical dances, comparatively a late starter, did not get time enough to entirely freeze with their gurus for a few generations, though distinctive characteristics emerged. Only Bharatanatyam did evince variations between Pandanallur style and Vazhuvoor style, besides a Kalakshetra style. Odissi developed, for instance mellifluous manifestations associated with guru Kelucharan Mohapatra and tantric overtones with guru Debaprasad Das. Kathakali had its distinct genre of Kerala Kalamandalam, as did Mohiniattam with gurus in Mumbai, Delhi and Kerala. Kuchipudi – moving out of Kuchipudi village -- varied somewhat between Chennai and Hyderabad, if not Delhi. Manipuri from the far-east remained fairly homogeneous in character though gurus from Kolkata and Delhi did occasionally differ from Imphal. Sattriya‘s entry into the scene was much too recent. But -- barring Bharatanatyam to an extent – no other form had anything remotely resembling Gharanas: except perhaps Kathak.
Very briefly, the spectacular entry of Darbari Kathak into the Indian dance scene from Lucknow in the mid-19th century, with its dazzling emphasis on sattvikand angik abhinaya, led by the illustrious Bindadin Maharaj’s family and so many others, became known as Lucknow Gharana, followed at the turn of that century, by bold rhythmic syllables of kavit, acrobatic spinning and strong powerful footwork of Jaipur Gharana under Sunder Prasad and a galaxy of other gurus. A late amalgam of Kathak dance under Sukhdev Maharaj and Gopikrishna led to Banaras Gharana, while the king and his conclave of gurus at Raigarh brought up Raigarh Gharana. They all are deservedly called Gharanas, although it so happens that the bulk of gurus and trained Kathak dancers –seen performing -- belong to Lucknow Gharana today, with gurus from the other three Gharanas getting unwittingly a short shrift. The legitimate question voiced by many -- especially those from what could pardonably be called “minority segment” – is whether this is entirely fair, or, whether there can be one single Gharana for Kathak.
An all-India survey was undertaken by this humble critic to elicit brief answers from among the country’s cognoscente belonging to the Kathak fraternity – especially from among the legendary masters; from renowned gurus and top dancers; and from some brilliant youngsters. The survey obviously could not be exhaustive in a limited time and the views expressed were from the dance exponents themselves. This critic is immensely grateful to the Kathak celebrities who took their time off and framed their thoughtful replies.
Read the responses received in the site
Indian classical dances, comparatively a late starter, did not get time enough to entirely freeze with their gurus for a few generations, though distinctive characteristics emerged. Only Bharatanatyam did evince variations between Pandanallur style and Vazhuvoor style, besides a Kalakshetra style. Odissi developed, for instance mellifluous manifestations associated with guru Kelucharan Mohapatra and tantric overtones with guru Debaprasad Das. Kathakali had its distinct genre of Kerala Kalamandalam, as did Mohiniattam with gurus in Mumbai, Delhi and Kerala. Kuchipudi – moving out of Kuchipudi village -- varied somewhat between Chennai and Hyderabad, if not Delhi. Manipuri from the far-east remained fairly homogeneous in character though gurus from Kolkata and Delhi did occasionally differ from Imphal. Sattriya‘s entry into the scene was much too recent. But -- barring Bharatanatyam to an extent – no other form had anything remotely resembling Gharanas: except perhaps Kathak.
Very briefly, the spectacular entry of Darbari Kathak into the Indian dance scene from Lucknow in the mid-19th century, with its dazzling emphasis on sattvikand angik abhinaya, led by the illustrious Bindadin Maharaj’s family and so many others, became known as Lucknow Gharana, followed at the turn of that century, by bold rhythmic syllables of kavit, acrobatic spinning and strong powerful footwork of Jaipur Gharana under Sunder Prasad and a galaxy of other gurus. A late amalgam of Kathak dance under Sukhdev Maharaj and Gopikrishna led to Banaras Gharana, while the king and his conclave of gurus at Raigarh brought up Raigarh Gharana. They all are deservedly called Gharanas, although it so happens that the bulk of gurus and trained Kathak dancers –seen performing -- belong to Lucknow Gharana today, with gurus from the other three Gharanas getting unwittingly a short shrift. The legitimate question voiced by many -- especially those from what could pardonably be called “minority segment” – is whether this is entirely fair, or, whether there can be one single Gharana for Kathak.
An all-India survey was undertaken by this humble critic to elicit brief answers from among the country’s cognoscente belonging to the Kathak fraternity – especially from among the legendary masters; from renowned gurus and top dancers; and from some brilliant youngsters. The survey obviously could not be exhaustive in a limited time and the views expressed were from the dance exponents themselves. This critic is immensely grateful to the Kathak celebrities who took their time off and framed their thoughtful replies.
Read the responses received in the site
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