01851nam a22002297a 4500003000200000005001700002020001800019082001800037100002700055100001500082100001600097245004200113260004000155300001000195520116700205600002601372650003601398650004901434942000701483952011201490999001901602020260521120456.0  a9788199811928  aCS 793.31 NAR  aNarayan, Shovana93031  cIAS918744  d1976919303  aSpeaking sculptures karanas in Kathak  aGurugrambShubhi Publicationsc2026  a227p.  aIn Kathak, karanas refer to codified movement units that combine stance, footwork, torso movement, and expressive gestures into a single flowing phrase. Rooted in the ancient Nāṭyaśāstra, where 108 karanas are described as foundational dance movements, Kathak absorbed and reinterpreted these principles through its own aesthetic over centuries. Unlike Bharatanatyam or Odissi, where karanas are often presented as clearly defined sculptural units, Kathak integrates them more fluidly. Here, karanas appear as dynamic transitions—linking tat te thai footwork, swift chakkars (spins), and subtle torso shifts. The emphasis is less on static poses and more on continuity, rhythm, and grace. Kathak karanas are deeply tied to laya (tempo) and tala (rhythmic cycle). A single karana may unfold across several beats, allowing the dancer to play with acceleration, pauses, and rhythmic improvisation. The upright posture, controlled neck and eye movements, and intricate foot patterns reflect Kathak’s courtly refinement. Through abhinaya, karanas also gain expressive depth—suggesting moods, characters, or narrative moments without overt dramatization.  cCivil Services919781  aClassical dance of India919782  aDance - India - History and criticism919783  cDB  00104070aLBSNAAbLBSNAAd2026-05-21g3500.00l0oCS 793.31 NARp173526r2026-05-21w2026-05-21yDB0x2  c361125d361125