The background of the dance is explained in detail the religious, social and political influences over the centuries are recounted myth, theory and reality are expounded upon current trends are described and future possibilities examine and, not least, the sheer beauty of Kathak is exposed to both the eye and the intellect. This book sets out, therefore, to rectify incorrect perceptions by presenting historical facts and placing Kathak dance in its proper cultural context. Kathak- the style that grew, took shape and flourished in the northern regions of the subcontinent-has been misunderstood and misinterpreted on account of ignorance and prejudice from various quarters. Hence no single style can claim to be purer or older than any other. "All the major dance styles of the Indian subcontinent share a common root system of ethical and aesthetic values. The book may be said to meet our long-standing need for a full-length analytical study of Kathak as art, and to indicate the lines on which similar works could be attempted on our other forms of classical dance."ฤก999, by Reginald Massey. The two appendices-'Art as Expression' and 'The Rasa Theory'-should be of help to all those who may like to study our dances and music from an expressly aesthetical angle. The more serious students of this dance form should find valuable suggestions in what this book has to say on the laws of syllabic integration and on creative devices, such as regulating changes of music between adjacent numbers by availing of laya which inheres in bols, as distinguished from the basic pace which only underruns them, and fuller utilization of the dhruvapada-dhamar forms of vocal music for evocation of deeper effects in Kathak.
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Care has also been taken to bring out the meaning of aesthetic predicates, and of many other terms, such as mukhvilas, layakari, bol, bol ka dharma or majaz, and bamani collocations of rhythmic syllables, which freely occur in our talk about Kathak.
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Concentrating in Kathak, it seeks, on the one hand, to determine the nature of such set numbers as thata, amad, tatkar and, on the other hand, to illumine our experience of watching a good Kathak recital. "This is a pioneering study of classical Indian dance in the way of contemporary philosophical aesthetics.