The dance of story-tellers

Islamabad : For its special programme on performing arts, the Asian Study Group (ASG) organised a fascinating multi-media presentation which introduced the audience to the origin, history and evolution; the rhythm and melody; the styles, aspects and elements and the varying ‘ schools’ of ‘Kathak.’ Held at the Serena hotel the presentation was well attended by members and a number of students who were keen to learn about the history and nuances of this classical dance.

Addressing the gathering, president ASG) Parvin Malik said that ASG was trying to reclaim our lost heritage through programs such as those presented by the ASG’s Performing Arts group. “Most performers have moved abroad,” she said, “So we thought let us reintroduce the lost art of ‘Kathak’ in Pakistan through a multi-media presentation.” She then introduced the expert on the subject, Ally Adnan, who is visiting from the US and especially took out time from his busy schedule of conducting workshops, seminars, presentations on ‘qawwali’, art and performing arts around the country.

‘Kathak’, the dance of story-tellers, is one of the major forms of the classical dances of the subcontinent and the only one that is not closely tied to any one religion. Truly secular in concept, it incorporates elements of the splendour of Mughal courts, the ethos of temples, the aesthetics of Persian art forms and the philosophy of Sufis. ‘Kathak’ is one of the main genres of ancient Indian classical dance and is traditionally regarded to have originated from the travelling bards of the north referred to as Kathakars or storytellers. They wandered around and communicated legendary stories via music, dance and songs quite like the early Greek theatre. They communicate stories through rhythmic foot movements, hand gestures, facial expressions and eye work. This performing art that incorporates legends from ancient mythology and great epics of the sub-continent, became quite popular in Mughal courts.

Ally Adnan is an electrical engineer by profession. An enthusiastic and indefatigable patron of the arts, he writes about culture, history and the arts for a large number of international publications and is a member of the International Federation of Film Critics (FIPRESCI). His writings on classical music form a valuable treatise on the theory, culture and practice of music in the subcontinent. He also heads the ‘After Hours Group’ which is dedicated to promoting South Asian art in the United States. A visiting professor in the Department of Musicology at the Punjab University, Lahore, he speaks regularly at the New York University, New York.