Analysing 'Nartana Nirṇaya' by 'Puṃḍarika' as textual source for Kathak: With specific case of the term‘Tatkāra’
Writer : Raajashri Oak
This paper is aimed at analysing Nartana Nirṇayaas textual source for Kathak with reference to the term‘Tatkāra’.
Roots of Kathak in Mārgī as well as Desī
Kathak is a classical dance style that has seen the greatest number of peaks and valleys over ages making it dynamic on one hand and volatile on the other.
The problem of these dynamics crossing the borders of established Śāstra and the efforts of Śāstrakāra’s to fit these changes of the changing time into the Śāstra is already seen in all the Dance literature post 11th century, when this conflict has given rise to the distinction of “Mārgī” and “Desī”. Kathak, although rooted in the ancient tradition of Nāṭyaśāstra, is evolved over centuries with the contributions from desī dance styles as well. Not only Desī stylistic features but also use of Desī jargons in Kathak are one of the many evidences of Desī root.
Problem of textual source for Kathak:
Although, Kathak is dependant entirely on the Natyaśāstraand other texts from the same tradition for the principal elements from tāl, lay to Hastaka and other Bheda’s, if the present-kathak is to be tested on the benchmark of Natyaśāstra, owing to the Desī element as discussed before, there is seen much wider gap between the ‘theory’ and ‘practice’ today. Hence, to find out supplementary textual sources for Kathak that will incorporate later Desī elements of Dance and thus will correspond more to the present-day form of Kathak is the need of the hour.[1]Additionally, these later period treatises discuss the dance in its own right and not as mere adjunct of drama, like their predecessors.
Nartana nirṇaya of Puṃḍarika: The missing link
Nartana nirṇaya is a major work after the monumental work of Saṃgīta ratnākara. Nartana nirṇayawas written around 1590 AD at the request of Emperor Akbar[2]. For various reasons, the researchers have considered this work as the missing link between the older and present-day tradition of some Indian classical dances like Kathak and Odissi. Puṃḍarika in his work divides Nṛtta in to Nibaddha and Anibaddha[3]. Researchers have found striking similarity between the dance described as Anibaddha and the structure of Kathak movements[4]. Hence, there is a wide scope to study the dance style prescribed here as the precursor of Kathak.
Tatkāra and Gharghara:
Tatkāra is an important aspect of Kathak. Presenting lone footwork as a separate item is a unique feature of Kathak. Although we fail to find the mention of footwork as a distinctive feature in ancient treatises, it is in these later works like Nartana nirṇaya a that we find a concept corresponding to tatkāra, namely, Gharghara.
The concept of Gharghara is also mentioned in the Saṃgīta Ratnākara, however, there is a remarkable specification added in the definition given by Puṃḍarika.
Saṃgīta Ratnākara describes this as “Gharghara is the special skill of making sound of ankle bells[5]”. However, the successor of Saṃgīta Ratnākara,Nartana nirṇaya gives a slightly different definition.
यत्र किंकिणिकावाद्यैः आहतैः घर्घरो मतः।[6]
When there is striking with ankle bells, it is called as Gharghara.
Thus,Puṃḍarika adds the importance of striking or hitting of the foot along with sound of ankle bells.
Thus, Gharghara can be viewed at as a precursor of Tatkāra, where Footwork is used intricately to make the sound of ankle bells.
Puṃḍarika also describes six types of Gharghara which also have striking similarity with the elements of footwork used in today’s Tatkāra. These types are as follows:
1.Paḍivāṭa:
भूमिलग्नाग्रयोरङ्घ्र्यो: पर्यायाद् भूमिखण्डनम्।
पार्ष्णिद्वयेनवापार्ष्ण्यात्वेकयापडिवाटक: ॥[7]
Stamping the ground with both heels one after other with the soles fixed on the ground. This use of heel is very similar to what is called as ‘Eḍīketatkāra’[8].
2. Śiripiḍī:
भूलग्नतलपादेन पुरः पश्चान्मुहुर्मुहु: ।
सरणं वाऽपसरणं क्रमात् शिरिपिडी भवेत् ॥[9]
With the sole clinging to the ground, sliding of the foot forward and backward.
This has a similarity with the movement generally called as “Tharrr/थर्रर्र” in Kathak or it is also similar to the foot movement used in Gatnikas[10].
3. Apaḍava:
एकपादतलेनैव अपडवो भूमिखंडनम् ।[11]
Striking the ground with the sole of one foot. This is a general foot movement used in almost every style[12].
4. Alagapāṭa:
अङ्घ्रिद्वयोश्च पर्यायात् कंपनं व्योम्नि कोमलम् ।
तद्ज्ञेयोऽलगपाटाख्यो मृदङ्गाल्लोलपाटवत्॥[13]
Gentle striking of both the feet in air one by one like Ullolapāṭa of Mṛdaṃga.
Ullolapāṭa is one of the 16 Pāṭa’s of mṛdaṃga mentioned in Saṃgīta Ratnākara[14]. Although, the description does not conclusively match any particular footwork element but, on comparing the Ullolapāṭa of mṛdaṃga, this can be matched with the heel movement as shown in the video[15].
5. Śirihira:
यदाद्वयो: स्वभावेन तिष्ठतो: पादयोर्भुवि।
जङ्घयोः कंपनं प्रहुर्धीरा: शिरिहरं तदा ॥[16]
The intelligent declare Śirihira to consist both feet resting naturally on the ground and shaking of the shanks. This foot work element is very common in Kathak used by many dancers in the passing decade to show the control of sound of ankles from very loud to very soft as shown in the video[17].
6. Khuluhula
भूलग्नाग्रस्य वामाङ्घ्रे: पार्ष्ण्या यद् भूमिखंडनम् ।
भूलग्नाग्रस्य वाऽन्यस्य भ्रमः सव्यापसव्यतः ॥
योऽसौ खुलुहुलः प्रोक्तो घर्घतो नृत्तकोविदै:॥[18]
Striking the ground with the heel of left foot of which the forepart rests on the ground and the forefoot of the right foot and vice versa. Khuluhula is a complicated footwork pattern. Renowned researcher Margaret Walker[19] has mentioned this type corresponding to the ‘Thārikīṭa’ pattern used today as shown in the video[20].
Thus, the two evidences present here are suggestive of a close link between the predecessor form of Kathak and the Nartana nirṇaya.There is an extensive scope of study in analysing this text in the following research directions:
1. AnalysingNartananirṇaya as a reliable textual source for Kathak in particular.
2. Collecting the information about the ancient form of Kathak from this textual source.
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[1]It is equally essential to examine the later works thoroughly in order to understand
the evolution of the dance concepts in India, especially since, as will be argued in
this study, it is the later, regional tradition that has directly shaped the styles of
dancing we see in contemporary India. (Bose, 1991)Page 9
[2]अकबरनृपरुच्यर्थं भूलोके सरलसङ्गीतम् ।
कृतमिदं बहुतरभेदं सुह्रुदां हृदये सुखं भूयात् ॥(Pundarika, 1998) (Verse 675)
[3]कार्यं तत्र द्विधा नृत्तं बंधकं चानिबंधकम् ।
गत्यादिनियमैर्युक्तं बन्धकं नृत्तमुच्यते ॥
अनिबन्धं त्वनियमादथोद्देशक्रमो यथा । ... (Pundarika, 1998) Verse 423, 424b
[4](Bose, 1991) Page 9
[5]तत्र घर्घरिकावाद्ये वहनिर्घर्घरो मतः।(Bose, 1991) Page 74 ,
[6](Pundarika, 1998)Verse 603
[7](Pundarika, 1998) Verse 604
[8] Attachment Video 1
[9](Pundarika, 1998)Verse 605
[10] Attachment Video 2
[11](Pundarika, 1998)Verse 606 b
[12] Attachment Video 3
[13](Pundarika, 1998)Verse 607
[14](Mishra, 1973) Page 178
[15] Attachment Video 4
[16](Pundarika, 1998)Verse 608, 609
[17] Attachment Video 5
[18](Pundarika, 1998)Verse 610, 611a
[19](Walker, 2014) Page 43
[20] Attachment Video 6
Very informative....thank you!
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