Crime Today News
Tabla accompaniment to Kathak dance is very distinct from the kind that is heard in a vocal or instrumental performance. The nritta or pure dance element in Kathak is almost completely based on preconceived rhythmic compositions that incorporate gesture, movement and footwork. The tabla player is expected to produce bols that simulate the footwork, while also focusing on the overall aesthetic appeal created by gesture and movement.
It is not uncommon therefore to come across some tabla players have practised with the same dancers over a period, and who as a result, are conversant with most of the latter’s repertoire. There are times when a dancer may be performing with a tabla player, who she or he may not have met before, but this is possible only if the tabla player is familiar with Kathak vocabulary and can then apply this knowledge to the need of the moment.
During the nritta section, the tabla player also plays few solo passages. These may be inspired by the dance repertoire or may strictly incorporate tabla compositions.
Dancers may choose to present repertoire in a variety of taals, but for today’s episode, we will view tracks that feature the sixteen-matra Teentaal. Typically, the performance moves from slow to fast speeds in a single taal, although at times, dancers may choose to present the repertoire in a single taal only in a particular speed.
The first track here has a recital by the renowned Jaipur gharana Kathak dancer Roshan Kumari. She is accompanied on the tabla by the Banaras gharana maestro Samta Prasad. Conventionally, the introductory sequence by the tabla player is presented with the melodic accompaniment of the nagma or lehra provided by the sarangi and/or harmonium and in some cases by other instruments too.
However, in this case, this sequence is played without such accompaniment. A short solo passage of the tabla can also be witnessed at 11 minutes into this track. Notably, rhythmic accompaniment to a Kathak performance may be provided by a pakhawaj in addition to the tabla. Here, the pakhawaj accompaniment and recitation are provided by the dancer’s father and eminent tabla and pakhawaj player Fakir Mohammad Khan.
The second recording features three celebrated Kathak dancers in different roles – well-known dancer Gopi Krishna accompanied by the inimitable Birju Maharaj on the tabla and the virtuosic Durga Lal on the pakhawaj. Music lovers will note that the performance with a short introductory rhythmic section, is once again unaccompanied by the nagma or lehra.
One of India’s leading tabla players, Aneesh Pradhan is a widely recognised performer, teacher, composer and scholar of Hindustani music. Visit his website here.
This article is based on Pradhan’s book Tabla: A Performer’s Perspective.
📰 Crime Today News is proudly sponsored by DRYFRUIT.CO – A Brand by eFabby Global LLC
Design & Developed by Yes Mom Hosting
