𝟏 𝐋𝐚𝐲:
The speed of music or dance is called “LAY”. Lay means tempo, the speed of a given dance or musical piece. In classical music and dance tempo is usually measured in “Beats per minute” (BPM). For example, a tempo of 60 beats per minute signifies one beat per second and will be considered as Saman Lay or Equal tempo. While a tempo of 120 beats per minute is twice as rapid and will be considered as Drut Lay (Double tempo). There are three main types of “LAYs”.

𝟏 𝐕𝐢𝐥𝐚𝐦𝐛𝐢𝐭: Slow tempo

𝟐 𝐌𝐚𝐝𝐡𝐲𝐚: Medium tempo/speed

𝟑 𝐃𝐫𝐮𝐭: Fast tempo

𝐕𝐢𝐥𝐚𝐦𝐛𝐢𝐭 𝐋𝐚𝐲: (𝐒𝐥𝐨𝐰 𝐬𝐩𝐞𝐞𝐝)
 Whenever music or dance is performed in slow speed or motion the music or dance is called “Vilambit Lay”.

𝐒𝐚𝐦𝐚𝐧 𝐋𝐚𝐲: Whenever music or dance is performed in equal speed is called Saman Lay. For example, a tempo of 60 beats per minute signifies one beat per second and will be considered as Saman Lay.

𝐌𝐚𝐝𝐡𝐲𝐚 𝐋𝐚𝐲: (𝐦𝐞𝐝𝐢𝐮𝐦 𝐬𝐩𝐞𝐞𝐝)
 When the music or dance is performed at a speed or our respiration speed it is called “Madhya Lay”.

𝐃𝐫𝐮𝐭 𝐋𝐚𝐲: (𝐇𝐢𝐠𝐡 𝐬𝐩𝐞𝐞𝐝)
 The speed little faster or double than the speed of “Madhya Lay” is called “Drut Lay”
In music or in dance “Drut” is always very fast.

𝟐 𝐌𝐚𝐭𝐫𝐚 (𝐁𝐞𝐚𝐭𝐬):
 Matra is a unit to measure TIME.
Generally whatever we speak in a second is called a “Matra”. Thus the length of a “Matra” is a second. (A 60th part of a minute).

𝟑 𝐒𝐚𝐦:
 The first matra of a Taal is called a “Sam”. Any taal begins with a “Sam”.

𝟒 𝐓𝐚𝐥𝐢 (𝐜𝐥𝐚𝐩):
 The importance of a division is shown by Tali (Clap).

𝟓 𝐊𝐡𝐚𝐥𝐢 (𝐄𝐦𝐩𝐭𝐲): 
The less important portion of a division is shown by “Khali”.

𝟔 𝐊𝐡𝐚𝐧𝐝: (𝐃𝐢𝐯𝐢𝐬𝐢𝐨𝐧): 
Different divisions of a Taal are called “Khand”. For example, TeenTaal has four divisions. Kehrava Taal has two divisions. Dadra Taal also has two divisions.

𝟕 𝐓𝐢𝐡𝐚𝐢:
 Whenever any small “Bol” is spoken thrice ending on “Sam”, it is called “Tihai”.  While repeating a rhythmic piece identically three times with equal interval in between the repetitions. In the context of dance, when a rhythmic pattern beginning from any matra of the taal cycle, is repeated three times with equal intervals to reach the sam, it is called as Tihai. Tihai” is used at the end of Kavit, Paran, Salami & Tatkar.

𝟖 𝐂𝐡𝐚𝐤𝐤𝐚𝐫𝐝𝐚𝐫 𝐓𝐢𝐡𝐚𝐢:
 When tihai is repeated thrice to reach the sam, it is called as Chakradar Tihai. Hence, the pattern that is repeated thrice in tihai has 9 times recurrence here. Even in this, if there is no interval or dam between the repetitions of tihai, it is called as Bedam Chakradar Tihai.

𝟗 𝐉𝐚𝐫𝐚𝐛: 
During padhant the matras which are shown between Tali and Khali are called “Jarab”.

𝟏𝟎 𝐀𝐯𝐚𝐫𝐭𝐚𝐧 (𝐂𝐲𝐜𝐥𝐞): 
“Avartan” means a complete cycle of a “Taal”. Any “Bol” while singing or dancing or on Tabla is played once, it is called “Avartan”.

𝟏𝟏 𝐓𝐚𝐚𝐥: 
Taal means group of “Matras”. A rhythmic pattern, for example. TeenTaal: 16 matras, Dadra: 6 matras, Kehrava: 8 matras. Taal or Tal, literally means a “clap”, tapping one’s hand on one’s arm, a musical measure”. It is the term used in Indian classical music to refer to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand.

𝟏𝟐 𝐓𝐚𝐭𝐤𝐚𝐫: 
“Tatkar” is the foundation of “Kathak”. This is the formation of “Tatkar” steps: Ta Thai Thai Tat (R-L-R-L) Aa Thai Thai Tat (L-R-L-R). “Tatkar” is arranged according to the different Matras of different Taals.

𝟏3 Gat: In Kathak “GAT” is the part of order of things. “GAT” means motion or speed. It generally begins with typical “Drut Lay”. “UTHAN” is made with the last “Matra” of TeenTaal. The foot remains steady on “TA” and “AA” & it shows weight on “Thai”, “Thai”. So “Chalan” (movement) becomes attractive & ends with “Tihai”.

14 GAT NIKAS: “NIKAS” means evolvement. After certain motion of “GAT” & “CHALAN” when something new is evolved, it is called “NIKAS”. For instance, the movement of “BANSI”, “MUKUT”, “GHUNGHAT”, etc. during “CHALAN”. The demonstration of these movements or even their glimpses are called “NIKAS”.

15 GAT BHAV: Kathak, Bharat Natyam, Oddissi, etc. are solo dances. So “SANCHARI BHAV” is used to follow and express the thoughts of the story. In “KATHAK” a dancer represents “RADHA” by taking a turn – the “PALAT”, and then if he wants to represents “Krishna” by again taking a turn and presents the expression of “Krishna”.
Thus the dancer often changes from male to female and female to male. These changes of expressive way indicate the dancer’s mastery over acting. The dancer’s control over the various Limbs of the body helps him to make attractive, effective, perfect acting.

16 Gat Palata/Palat (Change): This word is used for a Process to change from one BHAV to another BHAV or from a male character to a female character. It is presented by beautiful posture of the body. It is used in GATBHAV or sometimes in THAAT also.

17 Bant: When the “Bol” are arranged according to “Matras”, it is called “BANT” for instance-
TATTAT TATHEITHEITAT
TATTAT AATHEITHEITAT
The strength varies according to the practice, intelligence and preparation of the artist. On Tabla, because the matras are divided it is called “BANT”.

18 Toda: In Kathak different compositions are known as “TODA” for example Kavit Toda, Paran Toda, Chakkardar Toda, Paramelu Toda, etc. “TODA” means dance. A dance presented with certain “BOL” of “TAL” and composition is called “TODA”.

19 Paran: Paran is a rhythmic composition made of Pakhawaj syllables. Different beautiful compositions of “Lay” are interwoven in Paran. The attractive compositions are intricately woven in combinations of “Dugun” (Double), “Tigun” (Three Times), “AAD” (1-1/2), “Biyad” (1-3/4), & “Kuwad” (1-1/4).

20 Rangmanch: The meaning of Rangmanch is stage and Pranam means greeting. The Rangmanch Pranam is the greeting or salutation to Gurus, Musicians and the audience by the dancer. It is usually performed at the beginning of the recital. It ends with Anjali (Namaskar) Mudra. 

21 Aamad: “Aamad” is a persian word which means “to enter”. Aamad is the first bandish in the presentation of any taal (rhythemic cycle) in kathak. This is usually performed after the “thaat”.
“Ta thai tat thai aa thai tat thai
thai ta thai ta thai
thai thai tat tat ta” is the traditional bandish of aamad.

22 Thaat: Kathak dance begins with “Thaat”. When a dancer enters on the stage and arranges his/her body, head, legs & eyesight in a decorative and graceful manner with slow motion of “lay” (speed) to begin his/her dance is called “Thaat”.

23 Chakradar Toda: Any Toda which is repeated thrice, and is completed on sum, is called a Chakradaar Toda.

𝐓𝐞𝐞𝐧𝐓𝐚𝐚𝐥:
 Teentaal has sixteen (16) beats in four equal divisions (vibhag). The period between every two beats is equal. The first beat out of 16 beats is called sam and the 9th beat is called khali (’empty’). To count the Teentaal, the audience claps on the first beat, claps on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat; these three claps (Hindi tin ‘three’ + tal ‘clap’) give the rhythm its name.

Dadra Taal:
Dadra, along with Keherwa is the most popular taal that is played along with songs. It is almost always played in Madhya Laya,  and has a 3/3 vibhaag structure. Not only is it used extensively in film music, but also in Bhajans. Dadra, along with its laggi and ladiyan, is a must have taal in your arsenal.

Essential features of this taal are:
Matras : 6
Khand : 2 of 3 matras each
Use : Light songs like Thumri, Gazal, Kajri
Laya Madhya
Clap (Tali) on 1 and Wave (Khali) on 4

Dadra Theka

_xDha  Dhi  Na |₀Dha Ti Na |

Kehrava Taal:
Keherwa, along with Dadra Taal is the most popular taal played on songs. Due to its popularity, it is played on a variety instruments, including tabla, dholak, naal, khol, etc.  It’s primary use is in movie songs and solo playing on this taal is non-existent. There are innumerable variations of keherwa to suit specific songs and laggi-ladiyan are also played.
It follows a 4/4 structure. Essential features of this taal are:
Matras: 8
Vibhaag: 2
Clap (Tali) on 1 and Wave (Khali) on 5

Kehrava Theka:
_x Dha  Ge  Na  Ti  | ₀ Na  Ka  Dhi  Na  |

𝐊𝐚𝐭𝐡𝐚𝐤:
 
It is believed that Kathak was born 5000 years ago. As Lav & Kush, sons of Lord Ram narrated their stories with the help of music & dance. 
There is a proverb in Hindi “Katha kahe so Kathak Kahave”, thus telling of stories with the help of dance is a notable feature of Kathak, though the modern style is far different from its original form. 
While telling the story, the story teller makes various movements of hands and brings expression on the face suitable to the part of narration. This process is the beginning of Kathak when sometimes the story teller under the impression of the emotion made some movements of feet and thus the element of dance was also added. 
The word Gharana suggests a particular style which becomes a tradition by the name of the place from where it was originated.

There are three major Gharanas
: 1 Jaipur Gharana, 2 Lucknow Gharana & 3 Banaras Gharana.
Kathak is found in three distinct forms, called “gharanas”, named after the cities where the Kathak dance tradition evolved–Jaipur, Banaras and Lucknow. While the Jaipur gharana focuses more on the foot movements, the Banaras and Lucknow gharanas focus more on facial expressions and graceful hand movements. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo) and the movement harmonized to the music. The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, neck movements, eyes and eyebrow movement, stage movements, bends and turns. The main focus of the dance becomes the eyes and the foot movements. The eyes work as a medium of communication of the story the dancer is trying to communicate. With the eyebrows the dancer gives various facial expressions. The difference between the sub-traditions is the relative emphasis between acting versus footwork, with Lucknow style emphasizing acting and Jaipur style famed for its spectacular footwork.

𝐀𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐬𝐜𝐡𝐨𝐨𝐥 “𝐊𝐚𝐭𝐡𝐚𝐚𝐤𝐚𝐫” 𝐰𝐡𝐞𝐫𝐞 𝐲𝐨𝐮 𝐚𝐫𝐞 𝐠𝐞𝐭𝐭𝐢𝐧𝐠 𝐭𝐫𝐚𝐢𝐧𝐞𝐝 𝐢𝐧 𝐊𝐚𝐭𝐡𝐚𝐤 𝐃𝐚𝐧𝐜𝐞:
Kathaakar is a Dance Company and Institution established in the year 2015 by the highly acclaimed Kathak Dance Duo from India Smt. Pooja Bhatt and Sri. Tushar Bhatt to cater to dance world. Kathaakar specializes in Teaching Dance, Designing Stage & Lights, Sound & Music Editing, Choreographing Mega productions & Music Composing for other dance companies all around the world. Every Year Kathaakar organizes “Kathaakar Festival” to provide a wonderful platform to artists of all ages & genres.

𝐀𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐆𝐮𝐫𝐮𝐬 𝐮𝐧𝐝𝐞𝐫 𝐰𝐡𝐨𝐦 𝐲𝐨𝐮 𝐚𝐫𝐞 𝐠𝐞𝐭𝐭𝐢𝐧𝐠 𝐭𝐫𝐚𝐢𝐧𝐞𝐝 𝐢𝐧 𝐊𝐚𝐭𝐡𝐚𝐤 𝐃𝐚𝐧𝐜𝐞:
Our gurus Smt. Pooja Bhatt of Jaipur Gharana & Shri. Tushar Bhatt of Lucknow & Jaipur Gharana are the pioneers in the field of Kathak. They set the perfect balance between traditional art & modern visualization and are known for their creative and energetic choreographies and performances worldwide. The dancing couple is the recipient of prestigious national awards like “Nataraja Shakuntala Dance Couple Award” by attendance, “Kala Sreshta Award”, “Youth Icon Award” & “YuvaKala sreshta Award”, to name a few. 
The couple have received worldwide acclaim for their spectacular performances and teaching techniques. 
Their experience in the field of Kathak spans for more than 3 decades. The dancing couple have striven against many odds in building their full time careers from scratch in the field of Kathak and aim to teach, perform, & promote Indian Classical Arts. The duo has performed in many prestigious festivals held in India and abroad, to mention a few: U. S. A., Canada, U. K., Malaysia, Europe, South Africa, Re-Union Islands, Indonesia, Singapore 
U. A. E., etc.
“Kathaakar means The StoryTeller and as the Story Tellers our aim is to create unique performances that reach out to a global audience and encourage them to promote & preserve Indian Classical Arts.”
Smt. Pooja Bhatt & Shri. Tushar Bhatt 
(Founders & Directors of Kathaakar).

Biography of Famous Kathak Dancers. (Minimum 10 Sentences)
ACHCHHAN MAHARAJ
Achchhan Maharaj was the eldest son of Maharaj Kalka Prasad. His full name was Jagannath Prasad, but as his nature was very good (Achchha in Hindi) thats why he was called “Achchhe Bhaiya” and that ‘Achchhe became “Achchhan”. He was born in 1893 A.D. in his maternal house at village Lamuha district Sultanpur U.P. He got training in dance from his father and Uncle Maharaj Bindadeen. Achchhan Maharaj was a master in his field and there are numerous stories related about his dance and about how he outwitted his rivals in the field. He served for a long time as a court dancer at Rampur, Raigarh and some other states of Northern India. But ultimately he came back to Lucknow. He loved Lucknow very much and used to say that climate of Lucknow is as healthy for a dancer as the climate of hill area for a patient of T.B. Though his body was unwieldy but when he danced he virtually transformed himself and became a model of grace and agility. True to the tradition of his Gharana, he excelled in Bhava, but he was also an exponent in Nritta. He died in 1946 A.D. and with this the Lucknow Gharana truely lost foremost representative. Pt. Biraju Maharaj was his son.

SHAMBHU MAHARAJ
Pandit Shambhu Maharaj (born in 1910 A.D. at Lucknow and died on 4 November 1970) was a Guru of the Lucknow Gharana (school) of the Indian classical dance form, Kathak. Shambhoo Maharaj was youngest of the three famous sons of Kalka Prasad and nephew of Maharaj Bindadeen.He was trained in Kathak, first by his uncle Maharaj Bindadeen and then by his eldest brother Achchhan Maharaj. Apart from concentrating on dancing, Shambhoo Maharaj also learnt classical Hindustani music, especially the Thumari anga from Ustad Rahimuddin Khan of Benaras.
He was established as a popular Kathak dancer since a very young age and till death in 1967, he enjoyed a reputation which was an envy of every Kathak dancer. He had won numerous awards and titles, among them Nritya Samrat, Abhinaya Chakravarti, Padma Shree Award -1958 and Sangeet Natak Academic Award -1967 are note-worthy. Shambhoo Maharaj had an extra-ordinary command on Bhava. He had also made earnest efforts to revive the use of Ashtapadi and certain Thumaris and Bhajans and other Nritya pieces in Kathak.
He was an able teacher too and had trained hundreds of pupils.

Name of Famous Tabla players accompanying Kathak Dance:
Zakir Hussain
Anindo Chatterjee
Swapan Chaudhuri
Ramesh Bapodara
Kumar Bose
Vijay Ghate
Fateh Singh Gangani
Amaan Ali Khan
Rajesh Gangani
Udai Mazumdar