Comparison of Various Kathak Gharanas

Because of the linear nature of the passing of knowledge from guru to shishya, certain stylistic and technical features began to fossilise and became hallmarks of a particular school, guru or group of teachers. The different styles are known as gharanas, and these are:

Lucknow Kathak Gharana

The Lucknow Gharana developed in the courts of the Nawab of Oudh in Lucknow, Uttar Pradesh. It particularly emphasises grace, elegance and naturalness in the dance. Abhinaya or expressional acting, especially improvised, plays a very strong role in this style, and Birju Maharaj, Shambhu Maharaj and Lachhu Maharaj are or were all famed for the naturalness of and innovativeness of their abhinaya.

Jaipur Kathak Gharana

The Jaipur Gharana developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan. Importance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas. There is also a greater incorporation of compositions from the pakhawaj, such as parans.

Banaras Kathak Gharana

The Benaras Gharana was developed by Janakiprasad. It is characterized by the exclusive use of the natwari or dance bols, which are different from the tabla and the pakhawaj bols. There are differences in the thaat and tatkaar, and chakkars are kept at a minimum but are often taken from both the right- and the left-hand sides with equal confidence. There is also a greater use of the floor, for example, in the taking of sam. Though the style developed in Benaras, it flourishes today from Bikaner.

Raigarh Kathak Gharana

This was established by the Maharaja Chakradhar Singh in the princely state of Raigarh in Chhatisgarh in the early 20th century. The Maharaja invited many luminaries of Kathak (as well as famous percussionists) to his court, including Kalka Prasad (the father of Acchan, Lacchu and Shambhu Maharaj) and his sons, and Pandit Jailal from Jaipur gharana. The confluence of different styles and artists created a unique environment for the development of new Kathak and tabla compositions drawn from various backgrounds.

This is an attempt to compare various Gharanas of Kathak...

Lucknow	Jaipur	Benaras (Varanasi)
This Gharana had its origin at Lucknow. It prospered here.	The centre of this Gharana was Jaipur in Rajasthan.	This Gharana evolved at Benaras.
This Gharana was founded by Shri Ishwari Prasadji.	This Gharana was founded by Shri Bhanuji.	This Gharana was founded by Shri Janaki Prasad.
Lord Krishna had inspired Shri Ishwari Prasad in his dreams to revive the Natwari style of dance.	Shri Bhanuji was trained inTandava style by a sage.	Janaki Prasad came to Benaras and created this new style.
This Gharana was patronized by the Nawab of Oudh and Muslim rulers and hence the influence of Muslim culture is evident.	This Gharana was patronized by Hindu Kings and hence is influenced entirely by Hindu culture.	This Gharana imbibes both the Tandava and Lasya and the influence of Hindu religion is evident.
In this style, Lasya is important and depicts soft Bhavas (sentiments).	The Gharana involves special preparations in which stress is laid upon purity of footwork.	This Tandava dance characterises this Gharana and hence the spirit of bravery is reflected in this style.
Thumris are more often used.	Devotion is the main theme.	Prayers of Lord Shiva and Krishna are mostly used.
Use of Kavitts (Poems) is nominal. Emoting is based on singing of Thumris & Ghazals.	Kavitts (Poems') are more often used.	Kavitts (Poems) and Thumris both are equally used.
Bols of Tatkar are 'Tigda Dig Dig . Tigda Dig Dig'.	Bols of Tatkar are 'Ta Thai Thai Tat'.	While Bols are same as Lucknow Gharana, in Padnikasi, feet are tapped 6 times.
Due to Muslim influence, the costume usually comprises Angarkhaand Paijama There is not much difference between the costume of men and women dancers.	In this Gharana, usually Bandi (fest) and Dhoti are worn by male dancers and Lehanga and Choli by female dancers.	The male dancers wear only Dhoti and nothing above waist. Female dancers wear Lehanga and Dhoti.
Bhramari is not much used.	Bhramari is more often used	Bhramari is more often used.