Kathak Dance in India :

The Kathak school in north India gave the fullest expression to the classical dance. Kathak has its roots in Katha or Story. Kathak is a dance style full of skill and drama. In its emotional expression, Kathak possesses a fund of subjects and lyrics gleaned from sacred legends and mythology. Story-tellers, attached to temples in North India, used to narrate stories from epics. Later they started adding mime and gestures to recitation. The next stage in its evolution came in the 15th and 16th centuries with the popularization of the Radha-Krishna legend. During Mughal rule Kathak became a court dance and received encouragement. Kathak became popular during Mughal times and was added to the repertoire of "nautch" girls and degraded to coarse suggestiveness and indecent gestures and movements .

It was taken out from the temples to the courts . Taipur, Lucknow and Benaras became the centers. While .Taipur gave predominance to pure dance with emphasis on rhythm, the Lucknow one drifted into erotics. The Kathak programme is made up of three main items Amada - a dance salutation Tarahas - a series of intricate and complex steps Gathas - interpretation through guestures of stories. Tabla, Pakhawaj and Sarangis are generally used for rhythm. Kathak is executed to instrument of music. A string of small bells (ghunghroos) are tied around both ankles of the dancer which mark the beat and timing of the foot thereby creating sweet sounds interwoven with rhythms within rhythms.

Kathakali Dance in India :

Kalhakali is indigenous to Kerala. It is unique in many respects, it is based on miming in which performers remain silent. For themes,Kathakali draws upon the inexhaustible treasure house of Indian mythOlogy. Kathakali is originated probably in the 13thor l4'h century as a type of village or folk dance enacting stories and episodes from epics. In Kathakali the art of make-up is a hereditary vocation. The actor cloes not speak up but express himself through highly complicated and scientifically ordained mudras and steps, closely following the text being sung from the background of the stage. Mythological heroes like Pandavas, King Nala and divine personage like Krishna and Indra wear this make-up. In Kathakali, the elaborate costume, the strange mask make up, the gorgeous crowns are reminiscent of its folk traditions. The costume consists of multi-pleated billows white skirts, the long sleeved tunics and real ornamented plates and yards of cloth garlands ending up in rosettes. Duologue is combined with dance to bring myth and legend to life in the temple courtyards of Kerala.

Tile vocabulary for the performer is only hast mudras (Stylized hand gestures) facial gestures and nritta. Together with the exotic quality of the spectacle and the intricate abhinaya system and the rhetorical text rendered in classical style to the accompaniment of drums Ksthakali performance transports a spectator to an unworldly atmosphere peopled by gods, demons and other super humans. Originally, based on Natya Shastra, this dance form derived Replenishment from Hastalakshana Deepika and Ahinaya Darpana. Kathakali presents in both Tandava and Lasya style of dancing. The three fundamentals of Indian dancing laid down in Natya Shastra form the basis of this dance form. Kathakali is considered to be a highly synthetic art form, combining in itself the rudiments of its earlier forms. Poet Vallathvi can be said to be the fountainhead of all inspirationin regard to today's Kathakali. He authored many scripts. 'Kerala Kalamandalam' at Cheruthuruthy on the bank of Bharata-puzha is the premier institution in this regard.