Exploring Kathak in Hindi cinema

Passions run high when discussions on Kathak in films ensue. Popular perception from traditionalists usually seem to suggest that Kathaks should refrain from becoming “populists” for that is what commercial cinema connotes. Yet, there have been instances when reputed artistes have either performed or contributed in terms of choreography. These passionate debates prompt me to introspect on the evolution and manner of inclusion of Kathak in Hindi cinema. It is well-known that the themes portrayed in early Indian cinema dwelt largely on mythological, devotional and historical issues. These were musical plays or operas in character having been influenced by the nautanki, tamasha and jatra genres. This is understandable as most of the initial filmmakers came from Maharashtra, Bengal and the Gangetic belt such as Bhatavdekar, F.B. Thanavala, Hiralal Sen, Jamshedji Madan, Phalke to name a few. Not to be forgotten is the fact that the genre of musical play replete with drama, music and dance, is evident in the Natyashastra. Furthermore, when a film is made by a dancer then it reflects the training of the dancer. Herein, one cannot but remember the 1948 film of Uday Shankar Kalpana that had his unique trademark of fusion of styles but also the storyline being portrayed in the genre of dance play!

Even though small films were made since the turn of 20th century, yet it was the 1932 film Indra Sabha that had elements of Kathak. Reason for inclusion of Kathak in Indra Sabha was understandable for after this dance play had originally been commissioned by Nawab Wajid Ali Shah of Awadh. This play that had been staged in Lucknow in the mid-19th century, was written by Agha Hassab Amanat and had several dance sequences. Nawab Wajid Ali Shah had a personal interest in Kathak so much so that he had himself learnt Kathak from a traditional Brahmin Kathak Guru, Pt. Thakur Prasad (great grandfather of Pt. Birju Maharaj).

Also, the 1940 film Nartaki was inspired by the historical tale of Roop (known as Roopkosha) dancer of Sunga period in Patliputra. However, even though the film was set in the 16th century, the dances were inspired by Kathak as it was set in the Gangetic plains. On the other hand, the film Raj Nartaki that was made in Hindi as well as in English, in 1940 had Sadhona Bose in the lead, reveals another facet. Sadhonaji had to learn Manipuri for the film as the story was set in Manipur.

What about the desire of the filmmakers to portray a dance even when it was not integral part of the story Herein, one can cite the example of the dance duet between Padmini and Ragini in the 1960 film Kalpana.

What is interesting is the later day differences that crept in, in the portrayal of Bharatanatyam and Kathak inspired dances. The term “nautch dancers” given by the colonial masters, applied to both genre of performers, namely the courtesans and the devadasis. Both were performers (musician and dancers) who were sexually exploited by noblemen, rulers and the public. But the surroundings in which they received patronage imbued the former with a colour other than the Hindu religious overtone of the latter. There was little difference between a devadasi who performed in royal courts, including those of Muslim rulers and the dance performance that included non-Hindu items such as “salamatoru” and the performances of the courtesans. Besides rhythmic items, the verses of enactment by both genres of performers (courtesans and devadasis) were dedicated to Hindu gods.

As long as traditional Kathak dancers choreographed and performed, the portrayal of Kathak was perhaps more realistic. One has to see Roshan Kumari’s dance sequence in the film Jalsaghar of 1958 where she performed a traditional Chaturang item of Kathak, replete with tora, tukra, paran, tihai, lari, Krishna-based gat bhava and a kavitt dedicated to Lord Krishna. Gopi Krishna and Choubey Maharaj in V. Shataram’s 1956 film Jhanak Jhanak Payal Baaje, performed traditional Kathak pieces in the exuberant and vigorous Benaras gharana ang.

Most of the settings of mythological stories happened to be the Indo-Gangetic belt and therefore the influence of Kathak movements was a natural corollary. But over the years, it became easy to portray licentiousness with a “mujra” that was identified incorrectly as Kathak and anything religious with Bharatanatyam.

Thus a myth about the non-licentious nature of the devadasis was fostered that contributed to widening of schism in the portrayals of the two streams. This fact comes out vividly in the 1960 film Kalpana where the main dance number performed before Lord Shiva is Bharatanatyam based whereas the scene in angarkha costume is mujra style.

Costume that the artistes wore in films became another source of mental alignment to one dance form or the other. The “angarkha” costume was associated with the debauch “nautch” from the North while the “dhoti” style of costume got associated with temple art form, once again accentuating the schism in thought between the “nautch” dancers of north and south.

Even though costume designers made trips to Ajanta and Ellora caves in order to gather inspiration especially when doing historical or mythological films but the fact that the frescoes revealed only the front part of the costumes and not the rear part of the costume as they were not 3D, escaped attention. Therefore the crucial rear part of the costume was influenced by the “calendar art” style, namely the divided “dhoti” style that had become prominent from the twenties of the last century.

This style, native of Maharashtra, was introduced in the 18th century to southern regions during the reign of Maratha ruler Serfoji and which had quickly been adopted by the upper classes of society.

Perhaps the 3D statues of dancers housed in obscure Patna Museum and such others escaped notice of these costume designers, for they speak a different story. These sculptures tell a tale of existence of “angarkha and tight pyjama” as well as the “lehenga” as early as the third century BC (Mauryan period) and even in the 5th century sculptures from the Gupta period.

The famous 3rd century BC Didarganj Yakshi, when seen from the front would seem to suggest a “dhoti kind of costume” but when seen from the back (as she is a full-fledged 3D sculpture), he reveals a “lehenga kind of costume”!

An example in misportrayal is the 1966 film Amrapali that had veteran Gopi Krishna, the traditional Kathak artiste as the dance choreographer. While the movements were Kathak based, but the costume spoke a different tale.

Since 1959 with V. Shantaram’s film Navrang that was Kathak based and with a few isolated choreographic pieces by traditional Kathak guru, Lacchu Maharaj and such others, portrayal of Kathak in films went through a dark phase for a long time.

Dances in later day films of the Seventies, Eighties, Nineties and in this century, became more and more hybrid examples of popular western dance movements inspired by discotheque dances, dances of Michael Jackson and Middle Eastern hip and belly swings, metamorphosed into something seemingly “Indian” with an “Indianness” that has come to be known as “Bollywood Dances”.

If there was a suggestion of licentiousness in historical terms, it was “mujra” that they turned to. But that too has been unnecessary as the new genre of Bollywood dances gives ample scope for presentation of all moods and occasions.

Recently, few filmmakers have again been seen tapping the storehouse of Kathak Gurus.

Hopefully, the vision of these few filmmakers of today who have gone the extra mile to get great traditional Kathak Gurus, will eventually be that much needed long step in imparting credibility to create an awareness for the need of correct portrayal of Kathak in films

Shovana Narayan is a renowned Kathak dancer. She has been awarded the Padma Shri.