Explore The Jankiprasad Gharana of Banaras

The Jankiprasad Kathak style stands out with its graceful movements, delicate footwork and natural expressions. This style is unique in its use of Natawari dance bols evolved by Pt. Jankiprasadji - the dancer forms cadences of complex syllables that weave around the percussion.

Distinguishing characteristics of this style

The Jankiprasad Gharana is distinct in its thaat, angchalan (body movements), tatkar (foot work), and compositions. Key features of the style are:

  • The use of Natawari dance syllables that cannot be played on the tabla e.g. jhan jhan, jhung, cheka, tharrrr
  • In Natawari compositions, the weight and place of a syllable dictates the lyrical, smooth-flowing movements. Grace and beauty of hands and body are of prime importance. A beautiful body line is maintained while keeping pace with fast-moving syllables.
  • The use of the heel in this style is very important and was started by the exponents of this Gharana. Using the heel eliminates certain distortions of the body commonly observed in tatkar.
  • Thaat holds an important place in this style. The dancer creates a mood or atmosphere by thaat and gradually unfolds her personality.
  • In abhinaya both saatvik and angika are used, not only the face but the entire body depicts a particular sentiment.
  • The use of Natawari dance syllables that cannot be played on the tabla e.g. jhan jhan, jhung, cheka, tharrrr
  • The use of the heel in this style is very important and was started by the exponents of this Gharana. Using the heel eliminates certain distortions of the body commonly observed in tatkar.
  • In abhinaya both saatvik and angika are used, not only the face but the entire body depicts a particular sentiment.
  • In Natawari compositions, the weight and place of a syllable dictates the lyrical, smooth-flowing movements. Grace and beauty of hands and body are of prime importance. A beautiful body line is maintained while keeping pace with fast-moving syllables.
  • Thaat holds an important place in this style. The dancer creates a mood or atmosphere by thaat and gradually unfolds her personality.
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  • The use of Natawari dance syllables that cannot be played on the tabla e.g. jhan jhan, jhung, cheka, tharrrr
  • The use of the heel in this style is very important and was started by the exponents of this Gharana. Using the heel eliminates certain distortions of the body commonly observed in tatkar.
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Watch: Introduction to the Jankiprasad Gharana

Gharana History

Gharana History

The layakari of the Jankiprasad gharana of Benaras is subtle, complex and never thunders aggressively. Sunayana’s Kathak is full of contained, regal dignity. It is understated and intensely bound with angikabhinaya - the expressiveness of the entire body. - The Times of India

From the Court of Maharaja Anup Singh in the 17th century, to the global phenomenon of today - read the riveting story of the Jankiprasad Gharana.

Pandit Hanuman Prasadji

Pt. Hanumanprasad (1872 - 1952) was a court dancer of Maharaja Pratapsingh of Kashmir. Later he was also employed by Maharaja Bhupendra Singh of Patiala, and Maharaja Ganga Singhji of Bikaner. He was also in the court of the King of Nepal for some time. He was renowned for his abhinaya and the ability to transform himself on stage. Legend has him parting crowds just with his gestures.

Late in life he was based in Delhi - a pioneering Kathak teacher whose students included Nirmala and Uma Joshi, Malashri Sen and Reba Vidyarthi (nee Chatterjee). His grandson Naval Kishore taught for many years in New Delhi.

Pandit Gopalji

Pt. Gopalji (187? - 1932) was a Court dancer in Khairagarh, Kapurthala and Kashmir. For some time he was also in the Court of Raja Bhupendra Singhji of Patiala. Pandit Gopal was famous for his angika abhinaya. In a temple or courtyard the audience would sit all around him and watch him expressively use his entire body.

Pandit Gopal settled in Lahore and immensely popularized his dance style all over Punjab and beyond - at times the Jankiprasad Gharana, was referred to as the Punjab, Lahore or Gopalji ka Gharana. His notable disciples included Ashiq Hussain, Meera Baksh, and the famous Patiala court dancers Nawab Putli and Hirabai. Late in life, Pandit Gopalji was blessed with a son - Krishna Kumarji.

Pandit Biharilalji

Pt. Biharilalji (1864-1938) was a handsome and well-built man who performed in many parts of North India. He was fondly called Babuji by artists of his time. He was a Court dancer of Indore, and also performed in the Court of Patiala. Later, he came to Bombay and joined Bal Gandharva's Natak Company as a dancer. Here Ustad Ahmadjan Thirkava was employed as a tabla player and accompanied him.

Biharilalji composed a number of Natawari syllables and was known for his bhava and layakari. He had three sons Kishanlal, Mohanlal and Sohanlal, all dancers. His students included Keshavrao More, Menkabai Belgaonkar and singer Kesarbai Kerkar.

Kumudini Lakhia

The memory of Ashiq Hussain uncovers some of the most pleasant moments of my childhood. It was he who inculcated a love for the Dance in me.

Ashiq Hussain was better known as a very popular film star of his times, but at heart he was a devoted chela of the Janki Prasad, Benares Gharana of Kathak. I remember making a run of the Bombay Film studios, usually sitting on his shoulders. I was also casted as a child dancing star in two of his films.

This was a long time ago. What is more important now is the memory of the Tukras, Parans and Gats which he taught me.

I have been long associated with Kathak since, but the ‘Bols’ of the Janaki Prasad Gharana stand out distinct to those of the ‘Bols’ of the Jaipur and Lucknow Gharanas of Kathak. I came once again in contact with this, very briefly, when I had the opportunity of being assoicated with Shri Krishna Kumar when the Bharatiya Kala Kendra produced ‘Malati-Madhav’ for the Dance Seminar in 1958.

It is indeed a pleasure now to watch Shri Hazarilal and Smt Sunayana Hazarilal as their ‘Padhant’ reminds me once again of those happy moments of a childhood so rich with Dance & Music.

Kumudini Lahkia
‘Kadamb’
School of Kathak Dance
Lakhia Bros.
Lal Darwaja
Ahmedabad 380 006.

Site Credits

PHOTOS
Sunayanaji (orange dress): Avinash Pasricha
Sunayanaji (black-and-white): Sue Jones

Veronica (select portraits): Carolina Echeverría

Neesha (blue dress): Paul Wan
Sri Shakti Academy (Taiwan performance): Danny Chan

Anuradha (select portraits) & Anjali 2021 HK Student Group Portraits: Saurabh Anand – The Artsy Tripod

Maharaja Anup Singh Portrait: Courtesy Anil Relia Collection, Ahmedabad, India

MUSIC
Deepest thanks to our veteran accompanists:

Pandit Kalinath Mishra – Tabla
Somnath Mishra – Vocals
Alka Gujar – Sitar