Lucknow Gharana

The origin of the Lucknow Gharana can be traced back to Sri Ishwar Prasad of Allahabad who claimed that Lord Krishna had visited him in his dreams, asking him to rejuvenate the art of Kathak. It was carried by one of his three sons, Adguji who trained his sons and so on. It gained prominence when it reached the courts of the Nawab of Oudh in Lucknow, Uttar Pradesh, and Mughal rulers, hence Mughal influence is most clearly seen in the dancing style. The great-grandson of Ishwar Prasad, however, was the first to achieve critical acclaim as a dancer, and he was appointed as the ‘Guru’ of Nawab Wajid Ali Shah. His sons Binadin and Kalka carried on his legacy.

Dancing Style

It particularly emphasizes grace, elegance, and naturalness in the dance. It follows the Lasya style (inspired by goddess Parvati). Abhinaya (expressions), bhavas (emotions) acting, especially improvised, plays a very strong role in this style. Thumris are very popular. Birju Maharaj, Shambhu Maharaj, and Lachhu Maharaj are the most famous exponents.

Jaipur Gharana

The Jaipur Gharana developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan. It was founded by Shri Bhanuji who was trained in the Tandava (vigorous dance inspired by Lord Shiva) style by a sage. His grandsons Hanuman Prasad and Hariprasad were known as ‘Devpari’ and received much acclaim; both were appointed to the Jaipur court. The dancers of this Gharana were mostly engaged in the courts of Hindu kings, hence old traditions of the temple dance are preserved through this style.

Dancing Style

Importance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas. There is also greater incorporation of compositions from the pakhawaj, such as parents.

Banaras Gharana

The Benaras Gharana was developed by Janakiprasad, and is often called the Janakiprasad Gharana. He had three main disciples: Chunnilal, Delhi Ram and Ganeshilal, who passed down the dance to their children. Sitara Devi, the daughter of Sukhdev Maharaj is the most famous exponent of this gharana. Today it is headed by her daughter, Jayanti Mala and Gopi Krishna, son of Tara Devi.

Dancing Style

It is characterized by the exclusive use of the natwari or dance bols, which are different from the tabla and the pakhawaj bols. There are differences in the thaat and tatkaar, and chakkars are kept at a minimum but are often taken from both the right- and the left-hand sides with equal confidence. There is also a greater use of the floor, for example, in the taking of sum. Prayers and stories of Lord Krishna and Shiva are used. It imbibes both Tandava and Lasya styles of dancing.

Ancient Era and the Bhakti Movement

(The bhakti movement was started with the aim of social reformation of Hinduism. It provided an individual-focused alternative path to spirituality regardless of one’s birth or gender.)

Kathak has been linked to the Bhakti movement in Lucknow, where it is said to have evolved by incorporating the childhood and stories of the Hindu god Krishna and independently in the courts of north Indian kingdoms. 

Kathak was initially a folk dance; storytellers traveled enacting mythological stories. These kathaks were then invited into temples to perform their tales of gods and goddesses. In the medieval age, when large scale destruction of temples ensued, kathaks lost their shelter, began to scatter, and eventually found refuge in the courts of Kings or nawabs, and started adapting the dances to suit the tastes of the courts and their rulers. 

Mughal Age

The Mughal era courts and nobles accepted Kathak as a form of aristocratic entertainment, which low-income families and kathaks were willing to provide. Kathak had to transform itself completely, Hindu culture was slowly erased, and the dance began to absorb the court’s show and grandeur. It emerged as a means of entertainment and sensual pleasure. Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance. The costumes replaced Saris with items that bared midriff and included a transparent veil familiar with medieval Harem dancers. Ghungroos (ankle bells) and other jewelry were introduced. The dance’s dependence on the court slowly ate away at the integrity of the dance form and its artists and came to be known as courtesans. 

British Raj

During British colonial rule in the 19th century India, Kathak, and other classical dance forms were discouraged and nearly driven to extinction. Kathak was seen by the British as evidence of ‘harlots, debased erotic culture, slavery to idols and priests” tradition, and Christian missionaries demanded that the spread of the dance must be stopped, launching the “anti-dance movement” or “anti-nautch movement” in 1892. Officials and newspapers dehumanized the Kathak dancers. The patronage sources were pressured to stop supporting the Kathak performing “nautch girls” (also termed as devadasis and tawa’ifs in mid-20th-century literature). With the spread of western education, Kathak’s general opinion was that it was a front for prostitution. However, the founding families or gharanas grew stronger and kept the dance alive among their families as an oral tradition, passed down from generation to generation. Kathak gurus also shifted to training boys instead of girls. 

After Independence

Kathak was revived during the independence struggle, during a cultural ferment and effort to reclaim culture and rediscover history