Basic Kathak Tatkar Beats On Tabla: The Secrets of Syncing Your Movements with the Drum

The nritta performance starts off with a thàth sequence, which is a slower graceful movement of wrists, neck and eyebrows.[16][52] Thereafter, the dancer gradually increases speed and energy, while completing a sequence of bol (mnemonic syllables in Indian tradition).[16] Each bol has short sections, similar to technical exercises in western dance traditions, wherein the dancer engages the audience with tora, tukra, parhant, paran and others stressing footwork, gestures and turns.[16][54] Each section when completed has a punctuation mark, usually a sharp turn of the head.[16] Each ankle is adorned with small bells (ghungroo), which may have just one bell or hundreds. The dancer's rapid movements and footwork in a nritta is perfectly timed to the musical beats (tala) and tempos, and the footwork sequences are called tatkars.[16][54]

This is the third episode in the podcast Basic lessons in tabla. This episode will introduce the concept of Taal, Matra, Vibhag, Sam, Khali, Avartan, Laya, Bol, Dugun, Tigun and Chougun. The episode also gets you started with Teen Taal, the King of Taals. Anutosh Degharia, a member of Meetkalakar.com, will conduct this basic training in tabla.

basic kathak tatkar beats on tabla

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This podcast gets you started with basic lessons in tabla playing. Every episode progressively adds concepts so that learning will become easy. This podcast is mainly for the beginners. This episode will focus on the structure of tabla, correct posture while playing tabla and the basic bols in tabla.Anutosh Degharia, a member of Meetkalakar.com, will conduct this basic training in tabla. Anutosh Degharia is a versatile tabla artist from Farukabad Gharana. He not only gives solo performances but also accompanies maestros such as Pt. Hariprasad Chaurasia, Smt. Girija Devi and many more. He is not just an accomplished tabla artist but also a popular guru. You can see his profile on www.anutoshtabla.com

Kathak dance involves storytelling through gesture utilizing delicate movements of the eyes, eyebrows, neck, wrists, and hands, fluid arm movements, and fast turns. Perhaps most characteristically, it incorporates rhythmically sophisticated footwork performed within the framework of tāl. One basic footwork pattern performed by kathak dancers, called tatkār, includes eights steps subdivided into two groups of four steps. The first group begins on the right foot and the second group on the left. As with the ṭhekā for a specific tāl, this footwork pattern has its own set of bols, or corresponding syllables (see Figure 4):

Before the traditional Kathak performance starts a dancer generally pays tribute to God through Guru Vandana. A traditional Kathak performance starts with Aamad (means entrance) followed by Salami (saluting the audience). It then comprises of Thaat (stylised poses with movements of limbs by the dancer), Tukda (Single rotation of any tal (rhythm) or bol (rhythm) of lesser matra), Toda (group of the basic Kathak syllables that usually start on sam (the first beat) and after two or more cycles end on Sam), Tihai (footwork composition consisting of a long set of bols repeated thrice so that the very last bol ends dramatically on 'sam'), Paran (composition using bols from the pakhawaj instead of only dance or tabla bols), Parmelu (composition using bols reminiscent of sounds from nature), Tatkar (the movements of legs along with rhythm (taal) and tempo (lay)) and finally Gat-Nikas and Bhav for Abhinaya (acting).

Beginner Class: A beginner student will learn the basic technique of Kathak such as- Laya (tempo), Taal (beats) such as Teental (16 beats), Namaskar, Tatkar (footwork), Hand movement, Chaal (stylized way of walking), Chakra (spin), Abhinaya (acting) through Gat and Gat Bhava, and Bols (composition) like-Toda, Tukda, Amad, Salami and Paran.

As the name suggests this first kathak level teaches the basic and elementary knowledge about Kathak. It is the stepping stone on which this graceful journey lies. At this level topics such as Teentaal are introduced to the students.

The Madhyama Pratham level of Kathak is also considered equivalent to the first level of diploma. This is an intermediate kathak level whereby it is expected that those who reached this level have a strong grip over the basics of Kathak.

For vocal/sitar: 2 bandish for each raga with only sthai and antara starting from different beats (5th beat, 7th beat, 9th beat, 12th beat).Listening Test: Ability to identify the ragas by listening toits notes (including all ragas from 1st year and 2nd year).Students of Vocal must have basic theoretical knowledge about instruments and students of instruments must have basic theoretical knowledge about Vocal.General Theory

For vocal/sitar: 2 bandish for each raga with only sthai and antara starting from different beats (5th beat, 7th beat, 9th beat, 12th beat).Listening Test: Ability to identify the ragas by listening toits notes (including all ragas from 1st year and 2nd year).Students of Vocal must have basic theoretical knowledge about instruments and students of instruments must have basic theoretical knowledge about Vocal.

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