000			01724nam a22002177a 4500
003			0
005			20260521120456.0
020			_a9788199811928
082			_aCS 793.31 NAR
100			_aNarayan, Shovana _93031
100			_cIAS _918744
100			_d1976 _919303
245			_aSpeaking sculptures karanas in Kathak
260			_aGurugram _bShubhi Publications _c2026
300			_a227p.
520			_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.
600			_cCivil Services _919781
650			_aClassical dance of India _919782
650			_aDance - India - History and criticism _919783
942			_cDB
999			_c361125 _d361125