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Journal articles on the topic 'Kathak'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Vrushali, Dabke, and Deo Manjiri. "Comparison of expression of devotional poems in Naradiya kirtan presentation with that of Kathak temple tradition." AKSHARASURYA 04, no. 01 (2024): 90 to 101. https://doi.org/10.5281/zenodo.11162861.

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This study is about the comparison between the expression of Shloka, Pada, Bhajan, Stuti, Akhyan under the Maharashtra Naradiya Kirtan tradition and Kathak Mandir tradition. Music is an integral part of both the styles. Study of history of these two styles shows significant changes in their repertoire with changes in time. A study of the changes in the presentation of both styles gives an insight into the changes in use of music and social conditions of the time. Till date, no research work is done on the subject comparing the performance method of these two styles for katha akhyan and devotio

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2

Upadhyay, Dwijesh, and Mukesh Chandra Pant. "Development of the interrelations of tabla and kathak dance: an analytical study (with special reference to the compositions of tabla and kathak dance)." International Journal of Research -GRANTHAALAYAH 5, no. 4 (2017): 339–51. http://dx.doi.org/10.29121/granthaalayah.v5.i4.2017.1828.

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Both the tabla and the Kathak dances are rhythmic and hence there seems to be harmony among them. In the past, mridang was compatible with dance. But later when the dance included aspects such as adornment, miraculousness, pigmentation, etc., the solemn open and strongly relevant of Pakhawaj was unable to reconcile these aspects. In such a situation, the tabla instrument was used for association with Kathak dance, which is considered to be the sophisticated and developed form of mridang (pakhavajdha). The accompaniment of the tabla instrument proved successful in presenting almost all aspects

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3

Coorlawala, Uttara Asha. "Illustrating Kathak." Dance Chronicle 15, no. 1 (1992): 88–93. http://dx.doi.org/10.1080/01472529208569082.

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4

Varsha, kolhatkar, and Deo Manjiri. "Importance of Pandit Lalanpiya's Thumris of Unconventional Themes in Kathak Repertoire." AKSHARASURYA 04, no. 01 (2024): 131 to 140. https://doi.org/10.5281/zenodo.11163052.

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Indian classical music has formed the basis of performances in classical dance forms. In Kathak dance style mainly for Abhinaya anga, the Hindustani classical music played a important role. The various musical forms such as bhajan. Khyal, Dadara Thumari etc. are used for the expressional part of Kathak. Since few centuries thumari is has acquired immense importance for kathak. In the period of Vajidali Shah, thumari came in fore front and the original musical form got associated with Kathak. Since then, the evolution of Thumari led to two main varieties viz Bol Banav thumari and Bol Bant thuma

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5

Salekar, Bhagyashree, Rashi Patil, and Mrunal Patil. "Association of Foot Deviations with Foot Functional Activity and Dynamic Balance in Female Kathak Dancers." International Journal of Health Sciences and Research 14, no. 4 (2024): 35–43. http://dx.doi.org/10.52403/ijhsr.20240406.

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Kathak, an Indian Classical dance involves complex rhythmical foot work which makes Kathak dancers more prone to foot posture deviations and musculoskeletal injuries. Foot deviations can be associated with ankle and foot pain, joint and postural instability, soft tissue injuries, etc. which may negatively affect balance and dance performance. Hence current study aimed to explore association of foot deviation with foot functional activity and dynamic balance among female Kathak dancers. A cross-sectional study design 80 female Kathak dancers between age group of 18- 40 years were assessed for f

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6

Grover, Bhavna. "NEW EXPERIMENT IN KATHAK DANCE: ANALYTICAL STUDY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3446.

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Indian classical dance has been a huge and rich tradition since the beginning of Kathak. With the change of time from the beginning, there were new experiments in Kathak dance and dance also changed. By the time of the sixteenth century, which we know as the ritual period, Kathak dance had the influence of Ram and Krishna devotion and Ram and Krishna leelas were the mainstay of Kathak dance. In the seventeenth and eighteenth centuries, when the Kathak dancers received the patronage of the Nawabo and the states and new experiments in Kathak dance resulted in many changes. Kathak was a satvic fo

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7

Ostor, Akos, Robert Gottlieb, and Nazir Ali Jhairazbhoy. "Circles-Cycles Kathak Dance." Yearbook for Traditional Music 22 (1990): 185. http://dx.doi.org/10.2307/767963.

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8

Jones, Betty True, and Robert S. Gottlieb. "Circles-Cycles Kathak Dance." Dance Research Journal 23, no. 1 (1991): 43. http://dx.doi.org/10.2307/1478703.

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9

Jhala, Jayasinhji, and Robert Gottlieb. "Circles--Cycles Kathak Dance." Ethnomusicology 35, no. 2 (1991): 311. http://dx.doi.org/10.2307/924754.

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10

Parameswaran, UMA. "A Fine Balance between Authenticity and Experimentation." Canadian Theatre Review 94 (March 1998): 42–44. http://dx.doi.org/10.3138/ctr.94.010.

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Rina Singha is a Kathak dancer and choreographer who lives in Toronto. Her major contribution to Canadian culture is her reinscription of Hindu and Muslim aspects of Kathak to retell Bible stories, and the reinscription of Bible stories with Kathak’s dramatic techniques.

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11

Sarker, Dipa. "KATHAK DANCE: FOSTERING SUFI-INSPIRED LIFESTYLES, REDUCING UNEMPLOYMENT, AND PREVENTING SUICIDE." Arts Faculty Journal 13, no. 18 (2024): 293–358. https://doi.org/10.62296/afj131820222023016.

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This research explores the multifaceted impact of Kathak dance, a traditional Indian art form, on the mental well-being and professional outcomes of practitioners. Drawing on a diverse literature review, encompassing historical perspectives, cultural studies, and dance scholarship, the study focuses on the integration of tradition and policy, the adoption of a Sufi-inspired lifestyle, entrepreneurial practices for unemployment reduction, and educational initiatives within the Kathak community. The methodology employs Smart PLS4 for structural equation modeling, emphasizing the quantitative exp

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12

Bhalerao, Pranita, and Gaurai Gharote. "Assessment of Foot In Female Kathak Dancers." International Journal of Physiotherapy and Research 12, no. 3 (2024): 4714–21. http://dx.doi.org/10.16965/ijpr.2024.113.

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Background: Kathak is the art of storytelling and conveying it to the audience in a different way. Now a days kathak is spreading worldwide, and people are learning and chasing the challenges at top level for this the kathak dancers are focusing more and more over the riyaz followed by intense practice. Tatkar is an important component of this dance form which is performed by foot of dancer, commonly called as footwork. The population increasingly demand the repetitive rhythmic movements at ankle joint and to maintain the ankle stability there is requirement of heavy muscle work. This study ex

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13

Singh, Monika. "CHANGING PICTURE OF KATHAK DANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3423.

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What was yesterday becomes old today and what is to come tomorrow also remains a saga of the past for a few days. With the speed at which time is moving, the wave of change is moving at the same speed.At present, the field of dance is also not untouched by it. Changes and innovation in the region have demonstrated this in many ways. Kathak dance existing since ancient times was a dance form full of religion and spirituality. Kathak dance is considered to have originated by the narrators having narrated the acting by the storytellers during the Bhajan-Kirtan in the temples. जो कल था, वह आ

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14

Chakraborty, Rama, Natesh Babu, and Prasun Chakraborty. "Impact Of Mind Sound Resonance Technique On Work-Related Flow Inventory And Sleep Quality Among Enthusiast Kathak Dancers From Different Professional Backgrounds." International Research Journal of Ayurveda & Yoga 7, no. 3 (2024): 1–6. http://dx.doi.org/10.48165/irjay.2024.70301.

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BackgroundKathak is one of the most popular Indian classical dance forms. Working professionals out of passion enjoy kathak dance but due to work engagements and reduced sleep quality, discontinue the practice of Kathak. Mind Sound Resonance Technique has been proven to improve sleep quality. Investigation among practitioners of Khatak is low and the literature survey supports the basis for this study. The present research aims to explore the influence of MSRT on the work-life inventory and sleep quality among Kathak dancers who are working professionals.ObjectivesThe objective of the study is

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15

Salekar, Bhagyashree C., Mrunal S. Patil, and Rashi R. Patil. "Impact of intrinsic foot muscle training on foot posture and foot functional activity among female kathak dancers with flat feet." International Journal of Research in Medical Sciences 12, no. 7 (2024): 2506–10. http://dx.doi.org/10.18203/2320-6012.ijrms20241904.

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Background: Kathak being one of the very complex Indian classical dance forms, has a greater emphasis on foot work thus putting substantial amount of stress over foot which leads to weakness of intrinsic foot muscles, flat foot and functional impairments. Hence current study aimed to study the impact of intrinsic foot muscle strengthening on foot posture and functional activity among female kathak dancers with flat feet. Methods: In this Quasi-Experimental Study, 30 females kathak dancers with flat feet between the age group of 18-40 were selected according the inclusion and exclusion criteria

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16

CHADHA, Pinky, and Parisa SHAD QAZVINI. "Sufi Sema and Hindu Kathak Dance: The Rotations’ Semantic Layers through History." Journal of The Scientific Mysticism and Literature 1, no. 2 (2025): 35–49. https://doi.org/10.32955/neujsml202512975.

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Sema, a sacred ritual in Sufism, consists of continuous and non-stop spinning around the axis of the body, symbolizing a spiritual journey toward unity with the Divine. A similar ancient ritual, Kathak, is performed in Hinduism, which, like Sema, has its roots in the worship of the creator of the world. Both rituals share similarities in form and content, reflecting profound mystical and epistemological themes. This study employs iconological analysis, a method rooted in Erwin Panofsky’s framework, to interpret the symbolic components of the rotations in Sema and Kathak. Iconology is applied i

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17

Sparshott, Francis, and Sushil Kumar Saxena. "Swinging Syllables: Aesthetics of Kathak Dance." Journal of Aesthetics and Art Criticism 51, no. 1 (1993): 88. http://dx.doi.org/10.2307/431982.

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18

Devi, Nilima. "Book Review: Roshan Date, Kathak-Ādikathak." South Asia Research 34, no. 3 (2014): 278–83. http://dx.doi.org/10.1177/0262728014550553.

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19

Shah, Purnima. "Performance of Ṭhumrī in Kathak Dance". Asian Theatre Journal 40, № 2 (2023): 326–61. http://dx.doi.org/10.1353/atj.2023.a912919.

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Abstract: During the eighteenth century, Lakhnau, the capital of the royal state of Awadh, emerged as the refined center for the arts. Over the next centuries, kathak maestros and elite tavāifs (soiree singers and dancers) enthralled patron connoisseurs with their exquisite ṭhumrī performances, receiving lavish rewards. Ṭhumrī exemplified an aesthetic synthesis of the devotional (bhakti) and worldly themes based on undifferentiated love situated in the śṛṅgāra rasa (amorous, erotic sentiment). This essay is an attempt to highlight the infinite performative possibilities improvised by the dance

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20

Rajeev T, Anjana. "Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay LeelaBhansali’s Movies." Journal of Humanities,Music and Dance, no. 11 (August 17, 2021): 1–12. http://dx.doi.org/10.55529/jhmd.11.1.12.

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India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanja

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21

Rajeev T, Anjana. "Hum Dil De Chuke Sanam to Padmaavat: An Epitome onTraditional Indian Folk Dance in Sanjay LeelaBhansali’s Movies." Journal of Humanities,Music and Dance, no. 11 (August 17, 2021): 9–21. http://dx.doi.org/10.55529/jhmd.11.9.21.

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India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanja

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22

Grover, Bhawna. "ILLUSTRATION OF NATURE IN THE BANDS OF KATHAK RAIGAD GHARANA." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (2021): 37–44. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.31.

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English - It is a matter of the beginning of the twentieth century when the artists of the Kathak world did not have shelter because the patronage of the Nawab of Awadh, Wajid Ali Shah, had ended. It was well decorated, it was decorated by Kathak artists under the protection of their ancestors and Nawab Sahib. After the 19th century, there was silence in the last phase. In the Kathak world. The artistes lost their prestige and started wandering to earn their living as the Nawab Sahib was no more. Hindi - यह बात है बीसवी शताब्दी के आरंम्भ की जब कत्थक जगत के कलाकारो को आश्रय नही था क्योंकि

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23

Rajeev T, Anjana. "Hum Dil De Chuke Sanam to Padmaavat: An Epitome onTraditional Indian Folk Dance in Sanjay LeelaBhansali’s Movies." Journal of Humanities,Music and Dance, no. 11 (August 17, 2021): 1–12. http://dx.doi.org/10.55529/jhmd11.1.12.

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India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanja

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24

Skiba, Katarzyna. "Between Boundaries of Tradition and Global Flows: Reimagining Communities in Kathak Dance." Congress on Research in Dance Conference Proceedings 2016 (2016): 386–97. http://dx.doi.org/10.1017/cor.2016.51.

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The aim of the paper is to examine the ongoing transformation in Kathak art and practice, in response to demands of global markets, sensibilities of new audiences, and the artists' personal need for self-expression. The paper explores why classical Indian dancers push the barriers of Kathak tradition, and how they redefine the idea of authenticity. Do the innovative choreographies indicate an increasing shift toward individualization, transnationalism, and cultural pluralism, or rather do they attempt to renegotiate the notions of “Indianness”? To what extent is genre hybridity considered as a

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25

Chakravorty, Pallabi. "Dancing into Modernity: Multiple Narratives of India's Kathak Dance." Dance Research Journal 38, no. 1-2 (2006): 115–36. http://dx.doi.org/10.1017/s0149767700007415.

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Modernity, once a prerogative of the West, is now ubiquitous, experienced diversely by people all over the world. The changing notions of modernity are historically linked to the development of the public sphere. This article broadly attempts to map the discourse of modernity to the evolution of Kathak, a premier classical dance from India. The article has two threads running through it. One is the development of the public sphere in India as it relates to anti-colonial nationalism, the formation of the modern nation-state, and globalization. The other focuses on transformations in Kathak as t

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David, Ann R., and Nilima Devi. "“Even the dinner ladies are teaching dance!” Pedagogic Explorations of South Asian Dance in Britain." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 181–87. http://dx.doi.org/10.1017/s2049125500001072.

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This lecture-demonstration examines some of the tensions and contradictions found in the teaching of South Asian dance in Britain through using a demonstration by Leicester Kathak dancer Nilima Devi and evidence gleaned from Ann David's ethnographic research amongst dance students and teachers in Hindu communities in Leicester. It considers how issues of tradition and change within an arena seen as “cultural heritage” are incorporated into pedagogic practice. It questions different perceptions of dance by teenage students and their teachers, as well as articulating some of the problematic area

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27

Shah, Purnima. "Transcending Gender in the Performance of Kathak." Dance Research Journal 30, no. 2 (1998): 2. http://dx.doi.org/10.2307/1478835.

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Dalidowicz, Monica. "Crafting fidelity: pedagogical creativity in kathak dance." Journal of the Royal Anthropological Institute 21, no. 4 (2015): 838–54. http://dx.doi.org/10.1111/1467-9655.12290.

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Ranganathan, Malini, and Monique Loquet. "Teaching Kathak in France: The Interdisciplinary “Milieu”." Dance Research Journal 41, no. 1 (2009): 69–81. http://dx.doi.org/10.1017/s014976770000053x.

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This article approaches the idea of interdisciplinarity as an aspect of the globalization of pedagogical practices through the teaching of kathak dance in France. Our study positions itself in a didactic research program that tackles the question of interdisciplinarity under the theoretical angle of joint action between teacher and students (Ranganathan 2004; Ranganathan and Petrefalvi 2007; Sensevy and Mercier 2007; Loquet, Roncin, and Roesslé 2007; Loquet 2007). In this program, “didactics” is defined as the science whose object of study covers educational, teaching, and training practices.

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30

Adra, Najwa. ": Circles-Cycles Kathak Dance . Robert S. Gottlieb." American Anthropologist 93, no. 1 (1991): 252. http://dx.doi.org/10.1525/aa.1991.93.1.02a00970.

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31

Chakravorty, Pallabi. "Whose History? Kathak Dance and Its Practitioners." Dance Chronicle 38, no. 3 (2015): 410–14. http://dx.doi.org/10.1080/01472526.2015.1085244.

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32

Verma, Vinita. "'NEW EXPERIMENTS IN CLASSICAL DANCE': KATHAK AND HAVELI MUSIC TERMS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3430.

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Music, that is, singing, playing and dancing, is supernatural and supernatural because of its nature. Spiritual music is the path leading to salvation through self-promotion by making life sacred. The dance has originated from the core of religion. Mystics have defined it as the basis of ecstasy.Dance and singing are said to be the best means of attaining salvation here. The Kathak dance, which is otherwise called 'Natvari dance', implies that Kathak dance relies mostly on Krishnacharitra for its expression. Uto Kathak has traditionally been exhibited on many verses, thumri, bhajans, etc. But

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Joshi, Shobhana. ""INNOVATIONS IN KATHAK DANCE AND DR. SUCHITRA HARMAKER "." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3458.

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That is, nature does not carry antiquity even for a second. Always newness is pleasurable, so nature takes new forms at the time of transformation. That is why nature is delightful. Nature has soil, water, air, fire which is in contact with us and space which is visible. Apart from these main elements, there are parts of nature - all, water, land, man-made creatures, forests. There are trees, plants, vines in the forest. All these organs of nature are full of diversity. But water cools, fertility in the soil, wind gives life, trees shade, wood, fruits, flowers give medicines, soils are handled

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34

Lalli, Gina. "A North Indian Classical Dance Form: Lucknow Kathak." Visual Anthropology 17, no. 1 (2004): 19–43. http://dx.doi.org/10.1080/08949460490273997.

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35

Prickett, Stacey. "Defying Britain's Tick-Box Culture: Kathak in Dialogue with Hip-Hop." Dance Research 30, no. 2 (2012): 169–85. http://dx.doi.org/10.3366/drs.2012.0045.

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With questions of identity and multiculturalism remaining at the centre of debates in the press, political and academia arenas, a dance production tackles these issues head on in a surprisingly humorous and accessible way. Birmingham-based Sonia Sabri Company's Kathakbox is a collaborative production exploring the theme of ‘ticking boxes’ which sets out to challenge preconceptions about identity. Four specialists in kathak, hip-hop, African Caribbean and contemporary dance are joined by three musician-vocalists who eschew instruments, utilising their voices and bodies to create a vibrant rhyth

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SPARSHOTT, FRANCIS. "Sushil Kumar Saxena, Swinging Syllables: Aesthetics of Kathak Dance." Journal of Aesthetics and Art Criticism 51, no. 1 (1993): 88. http://dx.doi.org/10.1111/1540_6245.jaac51.1.0088.

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Rohini, Tushar Kulkarni. "Samanyabhinay: In The Context Of Shringar Rasa In Kathak." Smṛti - A Bi-Annual Peer Reviewed Journal on Fine & Performing Arts 3, no. 2 (2023): 16–29. https://doi.org/10.5281/zenodo.13149726.

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Metange, Deepika, Loveleen Waghule, and Medha Deo. "The effect of Kathak Dance Movement on Balance and Gait in Parkinson’s Disease- An Experimental Study." Revista Pesquisa em Fisioterapia 12 (January 28, 2022): e4175. http://dx.doi.org/10.17267/2238-2704rpf.2022.e4175.

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INTRODUCTION: Difficulties with gait and balance are common among individuals with Parkinson's disease (PD). Several different exercise programs have been suggested to address balance and gait problems to improve the quality of life and patient compliance with PD exercises. Dance may be an effective tool for addressing these problems because it includes key elements of dynamic balance, can improve functional mobility, and is, at the same time, enjoyable and engaging. OBJECTIVES: The purpose of this study was to assess the effect of Kathak dance movement in addition to conventional physiotherap

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Singh, Jay, Neha Alghare, Basant Kumar Sonber, and Ankita Deshmukh. "Classical Indian Dance Genres for Better Mental Health: Revisiting Empirical Evidences." Mind and Society 13, no. 04 (2025): 15–24. https://doi.org/10.56011/mind-mri-134-20243.

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This narrative review is an attempt to understand the psychological advantages pertinent to Indian classical dance genres, including eight major classical dance forms like Bharatanatyam, Kathak, Manipuri, Kathakkali, Kuchipudi, Odissi, Sattriya, and Mohiniyattam. Highlighting their prospective therapeutic applications in the field of mental health is the main aim of this article. Indian classical dance forms represent a comprehensive practice that harmonizes the mind, body, and spirit, facilitating emotional expression and fostering cultural connections. Classical dance styles like Bharatanaty

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Shashwati, Harmalkar. "GRADUAL CHANGE IN LIGHTS, STAGE MANAGEMENT AND COSTUMES IN KATHAK DANCE." International Journal of Research – Granthaalayah Innovation in Music & Dance, January,2015 (2017): 1–2. https://doi.org/10.5281/zenodo.884600.

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Kathak dance is a prominent classical dance of northern India. Indian dances have seen enormous changes in the past few years, but the fact that remains is not only has there been a change in the movements and “abhinay prakar” or expressions but also light and stage management and the costumes. Kathak performing artists or the “kathakkas” as they were called were actually story tellers and were earlier the messengers of the king. Gradually this art of storytelling changed its track to become India’s most performed classical dance.In 10th century this dance became a way of tribute to the almigh

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Sabharwal, Roopika, and Sonia Singh. "Prevalence of ankle instabilities and disabilities among female Kathak dancers." Physiotherapy - The Journal of Indian Association of Physiotherapists 11, no. 2 (2017): 45. http://dx.doi.org/10.4103/pjiap.pjiap_18_17.

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42

Carter, Curtis, and S. K. Saxena. "Aesthetical Essays: Studies in Aesthetics, Hindustani Music and Kathak Dance." Dance Research Journal 17, no. 1 (1985): 58. http://dx.doi.org/10.2307/1478226.

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Stoltenberg, Hannah. "Sacred Movement: Connecting with the Divine Kathak as Axis Mundi." Journal of Dharma Studies 1, no. 2 (2019): 303–12. http://dx.doi.org/10.1007/s42240-019-00025-2.

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Lin, Ping-hsiu Alice. "Geographies of the classical: Kathak across India and Hong Kong." Inter-Asia Cultural Studies 23, no. 4 (2022): 509–25. http://dx.doi.org/10.1080/14649373.2022.2131110.

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45

Harmalkar, Shashwati. "GRADUAL CHANGE IN LIGHTS, STAGE MANAGEMENT AND COSTUMES IN KATHAK DANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3395.

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Kathak dance is a prominent classical dance of northern India. Indian dances have seen enormous changes in the past few years, but the fact that remains is not only has there been a change in the movements and “abhinay prakar” or expressions but also light and stage management and the costumes.Kathak performing artists or the “kathakkas” as they were called were actually story tellers and were earlier the messengers of the king. Gradually this art of storytelling changed its track to become India’s most performed classical dance.In 10th century this dance became a way of tribute to the almight

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Phillips. "Becoming the Floor / Breaking the Floor: Experiencing the Kathak-Flamenco Connection." Ethnomusicology 57, no. 3 (2013): 396. http://dx.doi.org/10.5406/ethnomusicology.57.3.0396.

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Skiba, Katarzyna. "Cultural Geography of Kathak Dance: Streams of Tradition and Global Flows." Cracow Indological Studies 18, no. 18 (2016): 55–89. http://dx.doi.org/10.12797/cis.18.2016.18.04.

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Dey, Susmita, and Saikot Chatterjee. "Comparison of fitness variables between sedentary girls and female kathak dancers." International Journal of Sports, Health and Physical Education 3, no. 1 (2021): 10–12. http://dx.doi.org/10.33545/26647559.2021.v3.i1a.23.

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Vaidya, Priyanka. "IN THE CONTEXT OF GURU-DISCIPLE TRADITION VERSUS DISTANCE EDUCATION KATHAK DANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3454.

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This verse depicts Guru's place in Indian philosophy, culture and tradition. In each of our Yajna sacrifices, in every puja this shloka is spoken. Does it not show the Guru's place in our life? Man has been accepted in Indian philosophy in a coordinated way of karma and knowledge. These two forms only lead him in gaining recognition and prestige in the society. Parents are factors for giving birth to a human being, but the wisdom of wisdom, knowledge and action is attained only by the Guru. Today's generation is forgetting the importance of Guru in the light of new knowledge, which is scientif

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SAXENA, MANSI. "CHANGES IN THE TECHNICAL FORMAT OF KATHAK IN THE VARIOUS HISTORICAL EPOCHS." Swar Sindhu 5, no. 2 (2017): 10–15. http://dx.doi.org/10.33913/ss.v05i02a02.

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