A North Indian Classical Dance Form: Lucknow Kathak

Journal for the Anthropological Study of Human Movement, Spring 2003 by Lalli, Gina

There is an initial set choreography taught for this section, but any verse may be a basis for improvising further actions of Radha, as she wakes in the morning, puts on clothing, jewelry and make-up, and walks anxiously to the river. Then we see Krishna as he throws colored powder at the milkmaids, engaging in the merrymaking of the Holi festival, or pursues Radha to embrace her, or, surrounded by the milkmaids, he plays his flute.

Ashtapadi

Ashtapadi is a verse from the Gita Govinda (Song of the Cowherd) by Jayadeva (see Keyt 1956: 274), an inspired poet who is believed to have received this poem from a vision of Krishna. It was written in Sanskrit and tells the love story of Radha and Krishna:

Gat and Gat-Bhav

The tempo of the dancing quickens, but the dancer moves lightly on the surface of it, unhurried and composed (Gat means 'walk', and is pronounced "gut"). The dancer may begin with pure-dance walks toward the audience, because it is an opportunity to display the charm and feminine wiles of the court dancer: seductive poses, subtle use of eyes and gliding neck movements and the swirl of the costume. Each walk ends with a retreating step, although eventually, the story element is added. For example, Radha is seen walking down a road, raising and lowering her veil with small movements of her fingers, her eyes looking dreamily ahead or lowered in a moment of shyness. Then she vanishes, and it is again the Kathak dancer retreating from the audience with fast, syncopated steps. Then Krishna appears holding his flute to his lips. he advances with a steady gaze, looking for Radha, or, Krishna (the archer) appears, with bow drawn taut, advancing with bold steps.

Stories of the meetings of Radha and Krishna are added: now, he catches sight of her and accosts her. She turns away, upset by his teasing, but she quickly turns back again, looking at him. Her expression changes from annoyance to questioning, then her expression becomes soft and loving. Finally, she expresses her true feelings: devotional love and adoration. Each encounter between the pair ends in some variation of the mood of love. Stepping from one role to the other with ease, the dancer's expression changes instantly from Krishna's playfulness to Radha's annoyance, disappointment, fear or sadness, then to her recognition and her love and "worship of him. It is this part of Kathak that draws directly from the Bhagavata Purana:

Once, having gone to the river as usual, placing their clothes on the riverbank, [the milkmaids] passed the time playing in the water and singing of Krishna.

Krishna gathered their robes, quickly climbing a tree. He said, with much humor, "Come here, maidens, and each take her own garments as she wishes."

Seeing his prank, the milkmaids, immersed in affection for him, looked a t one another smiling bashfully and did not come out of the water.

"Since you, with firm religious resolutions, have nakedly entered the water, you have shown your carelessness of the gods. In due respect, place your hands over your heads in anjali (salute), lower your heads and bow down, then take your clothes."