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 Kathak in Focus: New Performing Arts book released in Pune - Kiran Java e-mail: kiran@kiranjava.com Photos courtesy: Nandkishore Cultural Society April 19, 2025 A review of Elements of Dance in Natyashastra and Abhinayadarpan - This book is an exploration of traditional hand gestures as laid out in the two major dance treatises i.e., Natyashastra and Abhinaya Darpan, and their relevancy to Kathak classical dance. Book Title: Elements of Dance in Natyashastra and Abhinayadarpan Author: Dr. Nandkishore Kapote Subject Area: Indian Classical Dance, Performing Arts, Kathak Published by: Bhandarkar Oriental Research Institute Supported by: The Academic Development Programme supported by Infosys Foundation Printed at: New Bharat Printers, Pune Edition: 1st Edition January 2025 Format: Hardback ISBN: 978-93-92194-90-0 Total photos: 196 Price: Rs.2000  Book Cover Elements of Dance in Natyashastra and Abhinayadarpan, the third book written by senior Kathak exponent, dance expert, and educator Dr. Nandkishore Kapote, is aimed at performing artistes, dance scholars, cultural enthusiasts, and general readers interested in the arts. The book provides a research-based exploration of the hand gestures from the two primary dance texts (Natyashastra and Abhinaya Darpan). Based on the premise that all classical dances of India are rooted in the Natyashastra, the book beautifully synchronizes traditional hand gestures with the current practices in Kathak classical dance. Dr. Kapote has spent over 40 years in the field of Kathak dance, is a recipient of State and National awards, and is the prime disciple of Kathak maestro Birju Maharaj. Hence, his thoughts come from a space of deep-rooted tradition, lived experience, and direct transmission of a legacy. The book contains a total of 22 chapters with chapter titles ranging from Origin of Dance, Impact of Natyashastra on Dance, Categorization of Hand Gestures according to Acharya Nandikeshwara, Implementation of Mudras of Abhinaya Darpan in Kathak Dance, Classical Mudras utilized in traditional Kathak Dance, Pada Bheda, and others. It also includes a pictorial essay on the various hand gestures used in traditional items of Kathak classical dance. Taking a closer look at a few chapters, we see that Chapter 17, for instance, is entirely dedicated to the various hand gestures used in traditional Kathak dance. It features 24 colour photographs that visually demonstrate these movements, making the explanations especially clear and engaging. The movements in Kathak that Dr. Kapote learned directly from his guru Pt Birju Maharaj are highlighted in Chapter 15 —thus lending the material both authenticity and authority.  Katha Raghunath ki Ballet 1979: Dr. Kapote shows the Pataka hand gesture held by the right hand and Shikhara hand gesture held by the left hand to portray Lord Rama  Demonstrating the traditional movements in Kathak classical dance Hand gestures from the dance texts, comparison with each and their utilization in Kathak classical dance is essayed in Chapters 6 and 10. Both chapters contain colour photographs of all the hand gestures under discussion. The perspectives of twelve professional performing artistes and eminent Gurus are presented in Chapter 16, adding depth and diversity to the chapter's insights whilst highlighting the dynamic evolution within tradition. The chapter also outlines a discussion on gestures from ancient treatises and their relevance to contemporary performing arts.  89 year-old Ramlal Bareth, the only surviving Kathak dancer of the Raigarh court, shows Kathak hand gestures An especially engaging chapter is Chapter 18, which presents five case studies and examines various performance videos of stalwarts. The links to these videos are provided in the references section of the book. This chapter discusses notable performances, such as the renowned duet by Dr. Padma Subrahmanyam and Birju Maharaj, the Kathak repertoire piece Makhan Chori, Draupadi Vastra Haran, a Ram Bhajan by Dr. Nandkishore Kapote, and a poetic interpretation by Kathak maestro Lacchu Maharaj.  The movement vocabulary of Kathak, detailing the specific mudras used and explaining how to perform them, is showcased in Chapter 13. Some of these movements depict Lord Ram, bestowing ashirwad (benediction), portraying Krishna, applying tilak, donning a veil, tying a hair knot, lighting a lamp, a jumping deer, and representing birds. The chapter also describes nine movements from the pure dance aspect of Kathak (nritta), which draw from classical dance treatises. This is a valuable chapter, particularly for students of Kathak and anyone interested in the performing arts.  Showcasing the hand gesture used in Kathak traditional repertoire Dr. Kapote has made a valiant attempt at beautifully analyzing each Yoga gesture with its relevance to Kathak dance in Chapter 14. The entire chapter is dedicated to Yoga, relating the spiritual and physical dimensions to dance. This chapter contains 28 colour photographs.  Other dance elements are listed as per the dance texts such as movements of Chest, Sides, Belly, Waist, Thigh, Shank, Footwork in Chapter 20, movement of the Head, Neck, Glances and Eyebrows in Chapter 21 and Gestures of Nose, Cheeks, Lips, Chin, Oral and Colour of the Face in Chapters 22. Compositions that have been referenced in the book are presented in Appendix B, along with the name of the composer, providing both a helpful reference for readers and a useful resource for students. Sanskrit verses accompanied by English transliteration are featured throughout the book, including in Chapters 1, 5, 8, 9, 10, 11, 19, 20, 21, and 22, making them particularly valuable for student scholars and researchers. A complete list of the 196 photographs printed in the book is provided on page xiii of the book for easy reference. Elements of Dance in Natyashastra and Abhinayadarpan is not just a book but a heartfelt offering from a dedicated artiste who has spent years honing his art of Kathak classical dance. It invites readers to look at the performing arts from the perspective of dance texts and will undoubtedly serve as a valuable reference guide.  Kiran Java is an art and culture writer and researcher with a focus on dance and heritage storytelling. She also serves as a corporate consultant, documenting the impact of CSR-led arts initiatives. Learn more at kiranjava.com Post your comment Please provide your name / email id when you use the Anonymous / blog profile to post a comment. All appropriate comments posted in the blog will also be featured in the site. |
