The Navras

in Kathak
ADA

Kanupriya Kulshreshtha
 Navras 
Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory. Each
rasa, according to Nātyasāstra, has a presiding deity and a specific colour. There are 4 pairs of rasas. For
instance, Hasya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry
person is red. Bharata Muni established the following.

 Śṛngāram (शङ्
ृ गारं ) Love, Attractiveness. Presiding deity: Vishnu. Colour: light green.
 Hāsyam (हास्यं) Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white.
 Raudram (रौद्रं ) Fury. Presiding deity: Rudra. Colour: red.
 Kāruṇyam (कारुण्यं) Compassion, Mercy. Presiding deity: Yama. Colour: grey.
 Bībhatsam (बीभत्सं) Disgust, Aversion. Presiding deity: Shiva. Colour: blue
 Bhayānakam (भयानकं) Horror, Terror. Presiding deity: Kala. Colour: black
 Vīram (वीरं ) Heroic mood. Presiding deity: Indra. Colour: yellowish
 Adbhutam (अद्भत
ु )ं Wonder, Amazement. Presiding deity: Brahma. Colour: yellow
 KATHAK
Kathak is the classical dance style of North India. The word
Kathak is derived from katha , meaning "a story", and hence the
word Kathak means a storyteller who recounted mythological
tales in the temples and danced them in a state of ecstasy. Having
its origin in the sacred text known as the Natya Shastra , set to be
divinely inspired through the sage Bharata, it has become one of
the most comprehensive and expressive languages of movement
in the world.

Under the influence of Persian and Muslim traditions Kathak

dance assumed the form of courtly entertainment. Under the patronage of medieval
rulers and Nawabs a class of dancing girls and courtesans emerged to entertain the palaces and courts.
Medieval traditions imparted Kathak a distinct Hindu-Muslim texture. Thus, with the passage of time
Kathak went on changing its form and character. This change was also reflected in the dress of Kathak
dance. 

When the patronage shifted from the temples to the royal court, there was a change in the overall
emphasis.  The emphasis shifted from the telling of religious stories to one of entertainment.  Today, the
story-telling aspect has been downgraded and the dance is primarily an abstract exploration of rhythm and
movement.

Kathak dances are performed straight-legged and the ankle bells worn by the dancers are skillfully
controlled. In Kathak dance the emphasis is more on footwork as against hasta mudras or hand formations
in Bharatnatyam dance. Kathak dance can be performed by both men and women. A Kathak dancer is not
required strictly to stick to fixed steps and stages in. He or she can change the sequence of steps to suit his
or her skill and style of dancing. Modern exponents of Kathak dance are Birju Maharaj and Uma Sharma .
 Navrasa in Kathak
naR%yakar kao Baava tqaa rsaina$pNa ko Anau$p tala AaOr gait ka naR%ya maoM
samaavaoSa krnaa haota hO. kqak naR%ya maoM laya AaOr rsaaoM ka ]icat
talamaola [sa p`kar haota hO.    

Saant — 
[sa rsa maoM p`ayaÁ tala ka p`yaaoga
nahIM haota. [samaoM gait BaI nahIM
haotI. [sailayao naR%ya maoM Saant rsa
ka p`yaaoga svaralaap ko saaqa isqar
maud`a maoM haota hO.
EaRMgaar — 
)dya maoM mastI AaOr SarIr maoM
caplata EaRMgaar rsa ka Vaotk hO.
yahaÐ gaamBaIya- ka ABaava haota hO.
[sako ilayao d`ut laya ]icat maaQyama
hO. jahaÐ tk saMBava hao sapaT laya hI
nat-k p`yau> kro JaTkodar laya rsa kao
naYT krtI hO. kqak maoM i~tala‚ khrvaa‚
dadra [sako ilayao ]icat talaoM hOM.
hasya —
ijana caoYTaAaoM sao dSa-k kao hÐsaI
Aae‚ vao saBaI hasya rsa ko Ant-gat
hOM. hasya rsa maoM nat-k kao svayaM
nahIM hÐsanaa caaihyao. maQya laya
[sako ilayao saundr AaQaar hO.
kÉNa — 
QaImaI caala‚ laD,KD,ahT AaOr kzaorta
ka ABaava kÉNa rsa ko p`tIk hOM. SarIr
maoM sfUit- nahIM haotI‚ mana maoM ]
llaasa kI kmaI [sailayao svaaBaaivak hO
ik caala ivalaimbat hao. kÉNa rsa ko
ina$PaNa maoM svaraoM AaOr saMgaIt
ko p`Baava sao duÁK ka vaatavarNa
banaayaa jaata hO‚ ijasamaoM nat-k
AiQakaMSa $p sao naaT\ya ka AaEaya
laota huAa naR%ya krta hO. ivalaimbat
laya maoM saIQaa zoka calata rho AaOr
nat-k tala maa~a idKata rho yahI
yaqaoYT hO. TukD,a‚ itha[- yaa AaOr
kao[- layakarI ka kama kÉNa rsa ko
ilayao sava-qaa Anaupyau> hO.
Ad\Baut — 
hr p`kar ka cama%kar‚ paMiD%yapUNa-
p`dSa-na AaOr AiQak sao AiQak tOyaarI
ko saaqa naR%ya p`dSa-na  Ad\Baut rsa
kao bala doto hOM. [sa rsa maoM nat-k
kao ijatnaa hI laya pr AiQakar haogaa‚ ]
tnaa hI rsa ina$pNa sarla haogaa. [sa rsa
ko ina$pNa maoM kqaknat-k [sa tIva`ta
sao naacata hO ik AaÐKaoM kao
ivaSvaasa tk nahIM haota. bahut AByaasa
ko saaqa hI [tnaa paMiD%yapUNa-
p`dSa-na saMBava haota hO. kqak ko
mahana naR%yaacaayaao-M pº SaMBaU
maharaja‚ pº ibarjaU
maharaja‚ gaaopIkRYNa jaI nao [sa rsa
maoM AnaokaoM p`stuityaaoM sao dSa-
kaoM kao AaScaya-caikt ikyaa hO.
vaIr —
gaMBaIrta‚ ikMicat kzaorta AaOr
paOÉYa [sa kI ivaSaoYataeM hOM.
laasya ka qaaoD,a saa BaI AMSa vaIr rsa
kao naYT kr sakta hO. kqak maoM i~tala
yaa khrvao kI dugauna [sa rsa ko ilayao
Gaatk hO. JaTka dokr calanaa yaa Aitir> ]
%saah idKa kr tIva` gait sao calanaa vaIr
rsa ko ilayao ]pyau> caala hO. [sako
ilayao caar tala‚ Qamaar tqaa Japtala yaa
ma<a jaOsaI gaMBaIr talaoM p`yaaoga
maoM laanaI caaihyao.
raOd`— [samaoM vaIr rsa ko saBaI
laxaNa haoto hOM. AMtr basa [tnaa ik
AMgaaoM maoM tIva`ta AiQak haotI
hO‚ baaola A%yaMt kzaor haoto hOM.
laya d`ut p`yau> haotI hO.
Bayaanak— [sa rsa maoM pOraoM ka AiQak kama nahIM haota. naaT\ya AaOr
Amgahar kI p`Qaanata haotI hO. ivalaMibat‚ maQya‚ d`ut tInaaoM laya p`yau> haotI
hOM. [sa rsa maoM layakarI idKanaa vaija-t hO AtÁ saIQaI tala haotI hO.

vaIBa%sa—yah rMgamaMca pr vaija-t hO.

Tribal  jewelry in India  is quite rich. Each tribe has kept its unique style of jewelry intact even now. The original format
of jewelry design has been preserved by ethnic tribal. Jewelry that is made of bone, wood, clay, shells and crude
metal, by tribals, is not only attractive, but also holds a distinct rustic and earthy charm. Tribal jewelry is made of the
products that are available locally. The unrefined look of their jewelry is something that attracts people most. As has
been said each tribe has its own indigenous jewelry craft, here is the list  of the tribes, with their jewelry art described
in brief.

Banjara
This nomadic tribe of Rajasthan is known for its colorful heavy jewelry. Beautiful ornaments and belts that are
embellished with shells, metal-mesh, coins, beads, and  chains  are major jewelry art work by this tribe. This tribe
provides huge collection of earrings, bracelets, bangles, amulets, anklets, hairpins and necklaces. 

Bastar
The tribes of Bastar (Madhya Pradesh) make jewelry out of grass, beads and cane. Traditional ornaments made of
silver, wood, glass, peacock feathers, copper and wild flowers are also popular. Necklaces made of one-rupee coins
are also worn by the Bastar women. 

Arunachal Pradesh 
Tribes The tribes in Arunachal Pradesh make jewelry from cane and bamboo. They also adorn metal coin necklaces
and waistbands of leather, studded with stones. These tribes use brass, bone, ivory, silver and gold in their jewelry
too. In addition, colorful beads, blue feathers of birds, green wings of beetles are used to make ornaments. Karka
Gallong women wear heavy iron rings that are coiled several times, while Wanchos make earrings of glass beads,
wild seeds, cane, bamboo and reed. 

Khasi, Jaintia and Garo

The people of Khasi, Jaintia and Garo tribes have typical sense of jewelry art. Thick red  coral bead necklaces of the
Khasis and Jaintias and thin fluted stems of glass, strung by fine thread, of the Garo tribe are interesting jewelry
items. 

Bhutia
The Bhutia tribe of Sikkim has also been known for making beautiful jewelry. The people of this tribe usually make
use of gold, silver, coral, turquoise and zee stone.