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The primary aim of picking two dance forms - Kathak and Yakshagana - was to observe and contrast their differences and similarities while also establishing a comparison between two parts of India that differ widely in their cultures. This is reflected in their respective dance styles, music and their ways of interpreting the text as well as its depiction. Since the origins of the two differ greatly the themes of the dances also vary from each other. By the 10th century, South India had a plethora of temples which gave rise to interest in the temple arts. The dancers and musicians were called ‘devdas/devdasi’ (servants of god) and were highly encouraged in their art. Therefore, the themes of those dances revolved around deities and their stories which were performed in the temples itself. While Kathak developed during the bhakti movement and is said to be originated from the travelling bards of North India, it initially focused on the legends of lord Krishna and his eternal love for Radha but was primarily performed in the courts of kings instead of temples in service of god. The major thematic change came about during the Mughal rule in India. During this time Kathak gained high popularity among the Muslim population and dancers started altering their themes to impress their new audience which meant drifting away from the original concepts of religious and spiritual undertones. The Mughal influence brought about changes in the attire as well as the essence of Kathak to suit the rulers’ tastes and it was during this time that Kathak was legitimately established as court entertainment.
The similarities between the two dance forms are few and mostly revolve around the love for lord Krishna and the portrayal of his life through dance. The depiction of the Mahabharata through dance on the other hand involves careful understanding of the complexities of the text, all of which cannot be exact in its portrayal. The Mahabharata is an extremely well structured epic which can not be depicted justly through 2 hour performances which is why only certain episodes are selected. Though these complexities can not be summarized in a short span of time the essence of the epic with all its moral teachings can be depicted through dance.
In conclusion, dance no matter where it originates from does not only entertain but also educates. It can carry forward centuries worth of history and information that hold relevance in today’s society. With each retelling of the Mahabharata people come up with different interpretations and so with each dance performance depicting scenes from it, the audience goes home with a deeper understanding of the complexities of human actions, interactions and emotions.
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