Lesson : 3 Kathak revolution: Bhakti Movement Era (part 2)

Kathak dance changes its style many times after beginning. From the 8th century the new dynamic force of Islam appeared in the subcontinent. Islam preached that all men were brothers under one God, that there was only one path to heaven which lay through the teachings of the prophet and that it was morally dangerous to make representations of living things. This attitude was seriously to affect Kathak dancing, which was not only concerned with many gods and goddesses but also portrayed them in human form. The dance mainly performed for worship gods and they performed in temples.

A painting of Kathak dancer
Picture source: pinterest

So, by the Muslims this style was vehemently condemned. The Kathakas had to find Hindu patrons. Often Rajput princess of Central India, or disperse into the countryside where they could safely continue to dance in their traditional manner. Muslim society was based largely on merit and even slaves could aspire to kingship, but the caste system of Hinduism had become stratified and effete.

The temper of the times had, however long been conducive to new movements, both in Hindu and  Muslim religion. In Islam it took the form of Sufism and later in Hinduism Bhakti. Both were mystical in intent, preached toleration, and practical devotion to god and service to humanity.

The Bhakti movement , which matured into fullness later than Sufism, strove to mitigate the inequalities of the caste system by stressing the brotherhood of man and of God's love for all human beings irrespective of religion, caste or social background. It was this great synthesis of the quintessential best in both Hinduism and Islam, that produce Bhagats like Kabir (1440-1518) who became the generative source of great poetry and music.

Sant Kabir

The Kathak dancers used much of the Bhakti-inspired poetry for the nritya parts of their performances. This poetry was intensely emotional and declared the poet's love for God in personal terms.

The role of Vaishnavite cult which come before the Bhakti movement, had an important role on the development of Kathak. This embodied the worship of Vishnu, the God of preservation in the Hindu Pantheon. In his incarnation as Krishna he was the chief subject of music and dance. His romantic love for Radha symbolised the love of God for man in terms which were simple and immediate.

A painting of Raslila

The art of mediavle India was dominated by the Krishna theme and legends about him became a permanent feature of the Kathak repertoire. All the mythological episodes were excellent subjects for poetry, music and dance, which in Vaishavism were important means of worship. 

It reached it culminating point in the 12th century with the poet Java deva, author of Gita-Govinda, who composed numerous Keertans or devotional songs and whose wife exposed them through dance.

       Mirabai                         Surdas

Later the poet musicians Chandi das, Tulsidas, Mira, Vidyapati and Surdas carried on this tradition. The poetry incorporates actual dance syllables known as Bols.

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UPCOMING: Kathak revolution: in Mughal era.