📢 Free Online Kathak Classes – Learn from Home!

🎵 What We Offer:

Pre-recorded Kathak Tutorials (Free on YouTube or google drive )

Basic footwork (Tatkaar)

Hand movements (Hastak)

Chakkars (spins)

Basic Taal & Theka

Short compositions (Dance Pieces :Tukra, Tihai, 

Step-by-Step Tutorials

Beginner-friendly

Clear breakdown of each move

Explained with counts and rhythm

Weekly Live Class (1 per week)

Platform: WhatsApp Video or Zoom

Duration: 45 minutes – 1 hour

Live feedback and corrections

🗓 Schedule

📅 One live session every week (Wednesday and Sunday)

📲 Join via WhatsApp or Zoom

💬 How to Join

Step 1: Send a WhatsApp message:

👉 “I want to join free Kathak classes” to [+91 9971421698]

Step 2: You’ll receive:

Links to tutorial videos

Weekly class timing and Zoom/WhatsApp link

Practice schedule

👩‍🎓 Who Can Join?

All age groups welcome!

No prior dance experience needed

Just a willingness to learn and regular practice

JAIPUR GHARANA AND ITS CONNECTION TO TANDAV

Tandav Nritya is a powerful and energetic dance performed by Lord Shiv, who is amongst the supreme trinity of gods in the Hindu pantheon. Shiv is also known as Nataraj, meaning “Lord of Dance.” The Tandav dance shows the continuous cycle of the universe—how it is created, preserved, and destroyed. It is full of strength, energy, and emotions like anger, and courage, and is usually considered a masculine dance form.

The name Tandav is believed to come from Tandu, a follower (gan) of Lord Shiv. It is said that Lord Shiv taught this dance to Tandu, and Tandu then passed on the knowledge of this dance to the people. Because of this, the dance came to be known as Tandav.

Tandav is not just a dance—it is a symbol of divine energy and spiritual power. It includes fast movements, strong footwork, bold expressions, and rhythmic beats. While Tandav represents force and passion, the softer dance form Lasya—performed by his consort, Goddess Parvati—shows grace and beauty.

There are different types of Tandav, such as Anand Tandav (Dance of Bliss) and Rudr Tandav (Dance of Destruction), Gauri Tandav (Expression of Love) each showing a different side of Shiva’s power. Interestingly, a form of Tandav is also seen in the story of Lord Krishn. When he fought the poisonous serpent Kalia Naag and danced on its many hoods to subdue it, that powerful dance is also referred to as Krishn Tandav.

JAIPUR GHARANA AND TANDAV

The Jaipur Gharana is a well-known style of Kathak dance that is strongly influenced by the Tandav tradition. This gharana is famous for its strong footwork, fast spins, and energetic movements, which are similar to the dance of Lord Shiv.

The founder of the Jaipur Gharana, Bhanu Ji, was a devoted follower of Lord Shiv. According to stories, Bhanu Ji either saw Shiv’s Tandav in a dream or was taught by a mysterious saint who appeared only once and asked him to share this sacred dance with others. Inspired by this, Bhanu Ji started teaching the dance, and the Jaipur Gharana was born.

"This dance style places greater emphasis on the vigorous and powerful elements of Tandav rather than the gentle grace of Lasya. The Jaipur Gharana’s movements, postures, and rhythmic patterns embody the dynamic energy and spiritual essence of Shiv’s Tandav."

Every Indian classical dance form includes both Tandav and Lasya. These two elements balance each other—strength with grace, energy with softness. It is just the emphasis that differs from one style to another.

VANDANA / PRANAAM : REVERENCE TO THE SUPREME

Kathak dance begins with a vandana, which is a way of showing respect to the deity or guru. It is a performance that combines words of praise with dance movements and rhythmic patterns to create a graceful opening piece.

SARSWATI VANDANA:

Yaa Kundendu tushaara haara-dhavalaa,

Yaa shubhra-vastra’avritha

Yaa veena-vara-danda-manditakara,

Yaa shwetha padma’asana

Yaa brahma’achyutha shankara

prabhritibhir Devai-sadaa Vanditha

Saa Maam Paatu Saraswati Bhagavatee

Nihshesha jaadyaa-pahaa.

Meaning : She is the one who is wearing the beautiful white jasmine flower garland. She is the one who always dresses in spotless clothes. She is the one holding a Veena, which she is playing. She is the one who sits on the white lotus throne. She is worshipped by Gods such as Brahma, Vishnu and Shiva. May she removes the darkness of ignorance, protect me!

GURU PRANAAM: GURU VANDANA:

These are the words of adoration to the teacher. This is done in vilambiit laya.

GuruBrahmaGururVishnu

GuruDevoMaheshwaraha

GuruSaakshatParaBrahma

Tasmai Sree Gurave Namah

Meaning: Guru is verily the representative of Brahma, Vishnu and Shiva. He creates, sustains knowledge and destroys the weeds of ignorance. I salute such a Guru.

TEENTAAL

There are many taals in which indian classical dances are danced. Teentaal is the basic taal. It has 16 beats. There are four segments of four-four beats each. There are three taalis and one khaali. Taalis are on 1st, 5th and 13th beats and khaali is on 9th beat.

 TEENTAAL     

SYLLABLES OF TEENTAAL: THEKA OF TEENTAAL

NA DHIN DHIN NA  NA DHIN DHIN NA 

×                                   2

NA TIN TIN NA NA DHIN DHIN NA NA

0                           3                                 ×

OR

DHAA DHIN DHIN DHAA DHAA DHIN DHIN DHAA

×                                              2

DHAA TIN TIN TAA TAA DHIN DHIN DHAA TAA

0                                    3                                        ×

× is Sam that is first beat of the taal

1,2...are the first beats of the segments

0 is  khali

DIFFERENCE BETWEEN TAAL AND RHYTHM

Music naturally contains rhythm but rhythmical structures that is taal is the speciality of Indian classical music and dance. Rhythm is the regular movement of time in music and rhythmical structures are manifested on it when it occurs in the form of a cluster of actions. Number of beats represent taal while size of the beat shows rhythm.

Taal is to embellish the rhythm. Rhythm is continuesly going on and taal is imposed on it to beautify and to understand clearly this regular movement of time. Taal divides rhythm in different equal segments which are further divided into different equal or unequal parts according to the taal imposed on it. For eg:

If taal is teentaal then rhythm is divided into equal segments of 16 beats further divided into four equal parts of four beats each.

If taal is dhamaar then rhythm is divided into equal segments of 14 beats further divided into four unequal parts.

All Indian Classicad Dances are based on rhythm and taal. Folk dances and bollywood dances are based on rhythm.

LEARN KATHAK FOR FREE

Welcome to the rhythm and grace of Kathak!
I belong to the Jaipur Gharana of Kathak, one of the rich classical dance traditions of North India. A Kathak Visharad, I am also trained in Classical Ballet and hold a degree in Economics from Punjabi University.

I currently teach Kathak online through WhatsApp and Zoom, I blend discipline with creativity to help students discover their unique expression. Music is my constant companion—I love playing the piano and violin, which further enriches my understanding of rhythm and movement.

The ocean of dance welcomes all who are willing to dive in with passion. Let the rhythm guide you—learn, move, and celebrate the joy of Kathak!

Whatsapp Number: +91 9971421698

RHYTHMIC FREQUENCIES: LAYAKAARIS

When the type of rhythm that is the time per beat is same but the words per beat differs then frequencies of rhythm can be revealed. 

These are of many types.

Thaah :Ekgun laya :  When there is only one word in one beat. It is also known as                                           single laya.

Dugun laya:Double rhythym : When there are two words per beat it is known as                                                              double rhythm..

Chaugun laya: Quadruple rhythm :  If there are four words per beat then the                                                                                rhythm is chaugan.

Hence this can be extended to 16 words per beat.

RHYTHM / LAYA

A steady pace of time in music is Rhythm/Laya. It is a regular and continuous movement of time in music and dance.

Rhythm can be measured by clapping at equal intervals.

There are three types of rhythm;

 Vilambit laya

 Madhaya laya

 Drut laya

Vilambit laya:

Slow rhythm : when one beat is of two seconds, it is known as slow rhythm. In kathak dance, Stylised Pose, Entry and Pranaam, these dance pieces are danced in slow rhythm.

Madhaya laya

Medium laya : when one beat is of one second, it is medium laya. All dance pieces after Entry and Pranaam are danced in this laya.

Drut laya

Fast laya : when one beat is only of half second ,it is fast laya.Gat nikaas and Gat bhaav are performed in fast laya. 

KTHAK STYLES/GHARANAS

Kathak is an Indian classical dance developed in north India and is based on north Indian classical music. Anklebells play a very important role in kathak dance. Traditionally Kathak dance was mainly based on Krishana’s and Radha’s dance and was known as Natawari Dance. It is danced in north Indian states like Uttarpradesh, Madhya Pradesh, tRajasthan, Panjab and also in Bengal.

There are three styles of kathak dance known as Kathak Gharanas, each reflecting unique stylistic nuances shaped by the cultural environment of their time.:-

 Jaipur Style

 Lakhanawi Style,

 Benaras Style.

Dancers who performed in the courts of Hindu kings, such as those associated with the Jaipur and Benaras gharanas, emphasized themes rooted in Hindu mythology and spirituality. For instance, the Jaipur Gharana is renowned for its vigorous and powerful performances, often depicting stories of Radha and Krishna, as well as dynamic representations of the Tandav dance of Lord Shiva. In contrast, the Benaras Gharana places a strong emphasis on intricate and detailed footwork, showcasing exceptional rhythmic precision and complexity.

On the other hand, the Lucknow Gharana, which flourished under the patronage of Muslim rulers, adapted its style to suit the refined tastes of the Nawabi courts. It is distinguished by its graceful and delicate movements, known as lasya, which highlight expressive gestures (abhinaya) and subtle storytelling through facial expressions and gentle body language. Each gharana, while preserving the essence of Kathak, reflects a distinct cultural and aesthetic lineage, contributing richly to the diversity and beauty of this classical tradition.

CLASSICAL DANCE AND FOLK DANCE

Dance as an art form expresses ideas and stories/tales through rhythmic movement of the body. Dance represents the aspiration and belief of the people and is an expression of life and aesthetic experience.

CLASSICAL DANCE :Classical dance is considered to be a form of worship and meditation. Classical dance is the dance which is purely based on certain principles originate from scriptures.

FOLK DANCE :Folk dances are generally regional dances of different areas where people dance together in rhythm for the purpose of enjoyment and celeberation. For example Bhangra and Gidhaa are folk dances of Panjab, a state in North India.

ONLINE DANCE CLASSES FOR LADIES

Online Kathak classes specially for ladies who had never learnt dance in their life. There is no age limit. 

The ocean of dance welcomes all who are willing to dive in with passion. Let the rhythm guide you and enjoy😊.

MY BOOK ON KATHAK FOR BEGINNERS

https://drive.google.com/file/d/1M67soz8uncOtnAyNvR4TYVdNo9rcVjj_/preview?usp=drivesdk

MEDITATION AND CREATIVE ART

Meditation is the most exploited word during these days. Whether we know about it or not, atleast we are talking about this beautiful word. When I started learning dance, I was so fasinated that even while doing my daily chores, dance sequences and dance notations were running in the background of my mind. At that time knowing nothing about meditation and excited about my new adventure, I started telling everyone that dance is more than meditation. However meditation is in itself full, there is no more to it.

My kids play piano and when playing they are so engrossed that they forget everything around. Their faces always shine when they play. They definitely seem to be in a ruminative state. I feel any form of creative art like music, dance, writing, painting etc., is very close to meditation. The process clears our mind of everything except the art. I think that opens a door to meditation. It is said that in meditation nothing remains, neither you nor the other. So the artist has to reach that point. No one can teach us how to do it. It can not be told. It is to be found out or it may happen itself.