Kathak & Lucknow: A story of nazakat, nafasat & soulful swirls | Lucknow News

Among India’s classical dance traditions, Kathak stands apart for its blend of rhythm, storytelling, and subtle grace. Derived from Sanskrit words ‘katha’ (story) and ‘kathakar’ (storyteller), Kathak began in temple courtyards where storytellers narrated episodes from the epics through dance.Legend has it that the first proponents of Kathak were the sons of Lord Ram, Luv and Kush, who narrated their story while singing at Lord Ram’s court. “Kathak found its artistic zenith in the cultural courts of Awadh. When Nawabs like Asaf-ud-Daula (1775–1798) and Wajid Ali Shah (1847–1856) patronised the arts, Lucknow blossomed into a cultural capital where Kathak flourished with elegance and expression,” says head of the department of dance and ‘taal’ (rhythm) at Bhatkhande Sanskriti Vishwavidyalaya Ruchi Khare.From Handia to the Heart of AwadhThe Lucknow Kathak Gharana, renowned worldwide, traces its lineage to Handia, a village in the Prayagraj district. A dancer named Prakash migrated to Lucknow and sought patronage. His son Durga Prasad became a mentor to Nawab Wajid Ali Shah, fusing devotion with Nawabi aesthetics.Durga Prasad’s two sons, Kalka Prasad and Bindadin Maharaj, became the architects of the Lucknow style. Kalka was not only a Kathak virtuoso but also an accomplished tabla player, while Bindadin infused the form with poetry and ‘abhinaya’ (expression). Together, they established the grammar of what is today recognised as the Lucknow Gharana of Kathak.The tradition was carried forward by Kalka Prasad’s three sons — Acchan Maharaj (Jagannath Prasad Mishra), Lachhu Maharaj (Baijnath Prasad) and Shambhu Maharaj.Acchan Maharaj was known for command over rhythm (taal) and gentleness. Apart from ‘teen taal’, he also had a good hold on other ‘taals’. Therefore, he could dance easily on any ‘taal’.He served as a court dancer in Rampur and Raigarh for 18 years before teaching in Bombay, Lucknow, and Delhi. He passed away in 1946.Lachhu Maharaj (Baijnath Prasad), renowned for his flair in ‘abhinaya’ and choreography, brought Kathak to the silver screen in films like ‘Mughal-e-Azam’ and ‘Pakeezah’. “His dance dramas, such as ‘Daksh Yagya’ and ‘Malti Madhav’ are celebrated even today,” says Khare.Born on Sept 1, 1901, in Lucknow, Lachhu Maharaj had a melodious voice since childhood and he developed special interest in Thumri. When he was five, his uncle Bindadin Maharaj tied the sacred thread around his neck and made him his disciple.In the words of Lachhu Maharaj, “Be it Aamad, Paran or Tukda, it is necessary to present everything with a beautiful body and expressions, because ‘Kathak’ is a story dance. Telling a piece without expressions looks like waving of hands and legs.”Shambhu Maharaj, revered as ‘Nritya Samrat’, mesmerised audiences with his expressive ‘abhinaya’. Awarded the Padma Shri (1956) and the Sangeet Natak Akademi Fellowship (1967), his contribution remains etched in the history of Indian dance.The gharana’s brightest star, however, was Pandit Birju Maharaj (1938–2022), son of Acchan Maharaj. A Padma Vibhushan awardee, he transformed Kathak into a global art form, founding institutions like Kalashram in Delhi and training generations of disciples.What Makes the Lucknow Style UniqueUnlike other gharanas, the Lucknow style is celebrated for its ‘nafasat’ (grace), ‘nazakat’ (delicacy), and emotive storytelling. ‘Abhinaya’ takes centre stage, often set to Thumri, Dadra, and Ghazal, while the footwork remains delicate yet precise.The story of Kathak is incomplete without legends like Munna Shukla (1938–2021), Kumkum Dhar, Shovana Narayan, Manjari Chaturvedi, Kumudini Lakhia, and Saswati Sen.Munna Shukla was the grandson of Acchan Maharaj, who was known for choreography and teaching at Kathak Kendra, Delhi.Kumudini Lakhia, a disciple of Shambhu Maharaj, innovated within the Lucknow style to create contemporary choreographies.Saswati Sen was Birju Maharaj’s foremost disciple, who continues to carry forward his legacy globally.Kumkum Dhar, a disciple of Lachhu Maharaj, is a respected scholar and chairperson of Birju Maharaj Kathak Sansthan.Manjari Chaturvedi’s Kathak performances are particularly drawn to Sufi mysticism which are reminiscent of meditative practices of the whirling dervishes. She has chosen to name her dance style as Sufi Kathak. She has performed in hundreds of concerts in more than 22 countries.Trained by Birju Maharaj, Shovana Narayan has performed widely in several prestigious national and international festivals and before several heads of state and govts and has trained several Kathak artists of the young generation.She has spearheaded and produced collaborative works with leading dancers of several Indian classical dance styles. She has been awarded Padma Shri for her contributions to the art form.The Living LegacyFrom temple rituals to royal courts and now global stages, the Lucknow Kathak Gharana has never lost its essence: the marriage of rhythm and storytelling. Its exponents turned Kathak into more than just a dance – into a narrative tradition that continues to evolve while preserving its soul.As Pandit Birju Maharaj once said, “Kathak is not just rhythm and movement. It is poetry in motion, where every glance and gesture tells a story.”