Unfortunately, the annexation of Oudh by the British in 1856 imposed very discouraging and damaging consequences on Kathak, and the decline of this dance form became inevitable for some time.īritish Raj, or the British rule, was instituted in the Indian subcontinent from 1858 to 1947. Kathak attained extraordinary levels of elegance and complexity under the patronage of the last nawab of the state of Oudh, Wajid Ali Shah. This freedom of interchange helped in merging the Kathak of two different communities, therefore consolidating the repertoire of Kathak.
Sometimes, skilled twaifs were called to teach in the courts.
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There was free exchange of artistic ideas between the royal artists and twaifs. However, their presentation of Kathak differed from the Kathak presented in the courts, and incorporated more playful, enticing, and teasing movements. These twaifs trained under the same gurus who taught music and dance in the courts. They were the courtesans who excelled in arts, music, dance, and poetry, and professionally entertained their guests during their mehfils or evening gatherings. The twaif community was an artistic section of the feudal society of North India. Wajid Ali Shah’s patronage to uplift the artistic endeavours of twaifs also facilitated enhancements in the art of Kathak. Wajid Ali Shah, an engraving from 1872 (also published in the Illustrated London News, 1857) | Niyogi Books Even in modern times, thumri and ghazal hold a significant place in the repertoire of Kathak. In the court of Wajid Ali Shah, ghazals also became the expressive repertoire of Kathak, where Kathak dancers expressed the sensual and delicate poetry of ghazal. He also wrote many romanticized Urdu poems called ghazals, which often depict the agony and rapture of unrequited love. Wajid Ali Shah’s pseudonym was Qaiser, but he assumed the name Akhtarpiya for his thumri compositions.
During his time, thumri became a significant repertoire of Kathak dance. He is also believed to have enhanced the status of thumri, a light classical genre of music. It is believed that Wajid Ali Shah created thirty-six different types of rahas, choreographed in Kathak style. His accompanying royal female dancers belonged to his parikhana or the dwelling of fairies, which consisted of hundreds of beautiful women who were given skilful training of music and dance by the expert teachers of that time. The raha probably was the Persian alteration of the dance style Raas Leela. Wajid Ali Shah also choreographed dance dramas in Kathak style, which were called rahas, in which he himself danced. The expressive Lucknow style became known for its nazakat or elegance, and nafasat or finesse. Bindadin Maharaj and Kalkadin Maharaj, the famous sons of Thakur Prasad ji, also graced the court of Wajid Ali Shah. Under Wajid Ali Shah’s patronage, the Lucknow style of Kathak dance prospered and was perfected. Due to the uniquely creative efforts of Guru Thakur Prasad, the Lucknow school of Kathak came into existence. He studied Kathak under the great gurus Thakur Prasad and Durga Prasad. He had studied Indian classical vocal music under some of the great masters of that time, such as Basit Khan, Jafar Khan, and Pyar Khan. Wajid Ali Shah himself was an exceptional musician and dancer.
Many scholars credit him for the revival of Kathak dance and securing its status as one of the major classical Indian dance styles.
Wajid Ali Shah, during his rule from 1847 until 1856, carried all North Indian art forms to new heights through his generous patronage and artistic talents. Wajid Ali Shah was the Nawab of Oudh, the region at the centre of present-day Uttar Pradesh. It was during the rule of Nawab Wajid Ali Shah (1822–1887) that Kathak regained its glory. Here is an excerpt of Kathak’s glory days and then, its sad decline. Dancer and scholar Rachna Ramya, explores the story of Kathak, its origin, evolution and decline in ‘Kathak: The Dance of Storytellers’, published by Niyogi Books. The classical dance form from North India owes a lot to the last Nawab of Oudh Wajid Ali Shah who was its great patron. When elegance or nazakat, meets finesse or nafasat, you have a dance form that is truly captivating – Kathak.
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