Conclusion

We must understand that traditional dance forms that are more than 2000 years old cannot and must not be allowed to pass into oblivion forever. True, the majority of youth today have digressed towards modern dance forms. Hence arises the need to create awareness and genuine interest in the minds of these young people, so that they are able to enjoy classical dance performances in the real sense of the term. Apparently thousands of young people are heavily into non-classical dances; but there is no dearth of real talent and latent qualities in many individuals, who will religiously carry forward the traditions in future.

Contemporary Kathak

The resurgent form and spirit of Kathak in independent India is nothing less than a renaissance of the art form after the British demotion. It is a unique case where modern and post-modern thought has been absorbed in the stage art without disturbing its centuries-old traditional format. Tireless pursuit for innovation and individualism by contemporary masters has succeeded in brandishing Kathak as a modern classic, a true metaphor for today’s global Indianness, one which is proud of its heritage and lineage while at the same time being acutely aware of the need to constantly update, upgrade and innovate.

Perhaps it is because of this transformed persona of Kathak that it has been able to connect intimately with the youth. Although it is traditional, it is not orthodox, and that is why countless young girls and boys across the length and breadth of the country are ardent and avid students of this dance, being trained under dedicated masters. Truly then, Kathak has come a full circle. From being banished as a lowly form of stage art by the British, it has today regained its lost glory; one which best represents the innovative, inclusive, accommodative and adaptive spirit of globalised India.

Every cultural dance tradition in the world answers this question in its own unique way. Now more than ever before, Kathak, as one of the leading classical dance styles in India, is increasingly transcending international borders.  There are a wide range of intricate elements which distinguish Kathak dance: graceful hands and crisp poses, blink-of-an-eye climaxing spins and subtle gestures, virtuosic technique and intimate emotions. The origins of this dance form can be found in its name, stemming from the Sanskrit root "katha" which means "story." While some art forms mark a clear difference between audience and performer, community and artist, culture and aesthetic, traditional Kathak presentations exude an ineffable sense of fulfillment through the richness of classical technique and the imaginativeness of improvisation. An artist extraordinaire, Pandit Birju Maharaj is internationally recognized as one of the greatest living exponents of Kathak, who performs universal stories through his refreshing flashes of genius, his natural artistic intuition, and his rootedness in the Lucknow style tradition. Considered a protégée since childhood, the legendary performing artist is appreciated not only as an international dance phenomenon but also for his many contributions to the Kathak dance form. 

Significance of Kathak as a classical dance

Based on Bharata's Natyashastra, all Indian classical dance forms have a common source and are said to be offshoots of an underlying Marga. This common Marga style in music, dance and drama initially coexisted with several regional styles. However, with the passage of time, the Marga-Desi connection was slowly forgotten.

Due to numerous invasions and political instability, in India suffered from lack of patronage. During the British rule, further deterioration in political, economic and sociological conditions led to the decline in the status of temple dancers which paved the way for the anti-nautch movement. This also led to an inevitable revivalistic counter-movement in Indian arts. During this phase, the revivalists rebranded and repackaged various regional styles and breathed new life into the Desis of the past. This, in a nutshell, is the story of our contemporary classical dance forms  such as Bharatanatyam, Kathak, Odissi, Mohiniattam etc.

Desis vary in their technique, style and content due to the regional influences that have shaped them over many centuries. These geographical, political, economical, sociological and religious  influences have ultimately created highly specialized and diverse art forms.

From this perspective, it is quite impossible to say which Desi is superior or more beautiful. Both Bharatanatyam and Kathak have had their own evolutionary journeys and have their own distinct character. While each has at its core, its own artistic framework, both are still evolving and transforming in the ever expanding classical canvas.

Ultimately the onus is on both the artist and the audience to learn to appreciate each dance for its own beauty.

Costume in Kathak

Kathak, is a traditional dance of Northern India, is blend of Hindu and Muslim cultures. This mixture of culture is reflected in its costumes. Costumes in Kathak are often similar to that shown in the Mughal paintings. However, over the years, this dance has undergone some changes and its reflection can be seen in the costume as well.

Kathak Costume for the Female Dancer                     
 
Kathak costume for the female dancer comprises of a long pleated Kurta is worn over Pyjama, a brocaded cap and a Dupatta. Traditional Hindu costume sometimes consists of a Sari, to allow greater freedom of movement during dance. Commonly, the costume is a Lehenga-Choli combination, with an optional Odhni or Veil. The Lehenga is a loose ankle-length skirt, and the Choli is a tight fitting blouse, usually short-sleeved. Both can be embroidered or decorated. The lehenga is sometimes adapted to a special dance variety, similar to a long ghaghra, so that during spins, the skirt flares out dramatically. During the Mughal era, the dancers wore an angrakha on the upper body. The design is similar to a Churidaar Kameez, but is somewhat tighter fitting above the waist, and the 'skirt' portion explicitly cut on the round to enhance the flare of the lower half during spins. Beneath this, the legs are covered by the churidaar or figure hugging trousers folded up giving the look of cloth bangles.

Kathak Costume for the Male Dancer
 
The traditional costume for men is to be bare-chested. The male dancer wears either dhoti and kurta or a long shirt over a pyjama. The fabric used for the costume is light, usually on silk materials. The Mughal costume is like Kurta-Churidar. The kurta can be a simple one but is usually at least knee-length. Men may also wear an Angarkha. Particularly older variety costumes include the small peaked cap too.

Jewellery in Kathak  
The jewellary is an integral part of Kathak costume. The jewellery worn by the female dancers mainly comprise of bangles, earrings and a decorative belt. Some ornaments are also worn on the hair and fingers. The major ornament of Kathak is the 'Ghungaroo', chain of about 100 to150 tiny bells worn over the ankles. 'Ghungaroo' is used for producing sounds synchronous with the rhythm produced by the instruments.