Kathak is a performing art of expressing inner emotions through graceful dance! This Indian classical dance form has three main gharanas (schools), named Lucknow, Jaipur, and Banaras. These gharanas have a unique style of dancing from each other.
Out of these three, the Lucknow gharana became very famous for its Nazakat- graceful moves, Lasya style dance, and intricate footwork. All thanks to its founder, Pandit Ishwari Prasad Ji. He not only founded this gharana but dedicated his whole life till 100 years of age in teaching Kathak to his disciples. He is not a sole founder of kathak, but his contribution is huge!
If you are passionate about Kathak, you may find interesting facts about Ishwari Prasad Ji and Lucknow gharana in this article. I have covered highlights on who he was, how he became founder, what was his work for this dance form, etc. so let us move ahead to learn more about this respectable personality.
Who was Ishwari Prasad?
Ishwari Ji was a resident of Handia region in Prayagraj (Allahabad) situated in Uttar Pradesh, North India. He was a Brahmin and a great Krishna devotee.
His family was following Vaishnavite traditions in Krishna Bhakti movements. Since childhood, little Ishwari and his father used to perform in temples as ‘Kathavachak’ to narrate mythological stories of Krishna Leela, Ramayana, Mahabharata, etc.
Once, Ishwari Ji had the appearance of Lord Krishna in his dream. References tell that Krishna asked him to develop Kathak as a divine medium of storytelling using dance.
He got inspired from seeing this dream. He made his aim of spreading kathak dance as a form of loving devotion to Krishna.
He kept Krishna-centric themes in focus and started his research! At that time, Kathak was already an ancient tradition. It was declined due to political instability and the fall of temple patronage. His work helped in reviving Kathak in India!
Ishwari Ji focused on researching old temple rituals for Kathavachaks and Kathakaars, Bhakti movement practices. He studied rhythmic patterns in devotional storytelling and singing.
Based on his research, he developed a unique system of Bols (syllables) to match tabla and Pankhwaj beats.
These bols matching Tabla sounds were as:
Ta Thai Thai Tat, Aa Thai Thai Tat
Dha Ta Ka Thunga
Apart from Tabla, he also created bols matching for Pankhwaj sounds, such as:
Dha Din Ta Kit.
He developed Tatkar in Teentaal (16 beats) and Dhamar (14 beats). These Taals were aligned to Hindustani classical music.
He gave a structured form to Kathak. He founded and created a proper balance between Nritya (expressive dance) and Nritta (pure dance).
Ishwari Ji also focused on creating Layas like Vilambit (slow), Madhya (medium), Dhrut (fast).
He studied sacred texts from books, like Natya Shastra and Abhinaya Darpan. Soon, he developed mudras (hand gestures) and facial expressions for narrating stories.
Inspired by Raas Leela of Lord Krishna with Radha Rani Ji and Gopis of Vrindavan, Ishwari Ji introduced graceful gestures and expressions to this dance style. He called it ‘Lasya’ style.
He also developed Tukdas, Tihai, Paran, Gat-Nikas, Abhinaya, and Amad with proper Taals and Tatkaars. The Amads were the ‘Entry’ compositions, indicating the start of a performance. These amads helped Ishwari ji to develop stage presentation, shifting from temple style to court style.
In devotional compositions, he created simple themes based on Krishna Leela (Makhan Chori, Ras Leela, Radha Ched-chad, etc.). Later, he also composed themes based on the epics of Ramayana and Mahabharata.
He changed the sharp and angular movements in kathak. He brought Nazakat to this dance to make it graceful.
While still living in Handia, he started teaching Kathak to his family. His three sons were his first disciples: Adguji, Khadguji, and Tularam Ji.
He started teaching in the Guru-Shishya (teacher-student) tradition. He ensured Kathak stayed within the family lineage in the initial phase.
Adguji (अद्गुजी) was the eldest son and direct descendant of Ishwari Ji. He was skilled in Tatkar (footwork) and rhythmic compositions (Tihai, Toda, Tukda).
His second son, Khadguji, was a strong Krishna devotee! He was inspired by Krishna Leela and specialized in Abhinaya (expressional storytelling. This style was popular as ‘Lysa’.
Ishwari Ji’s third son was Tularam Ji. He was skillful in performing diverse bol patterns and Layakari. Later, he helped preserve Ishwari Prasad Ji’s compositions.
His three sons passed his compositions orally in their descending generations.
In the 17th–18th centuries, the Mughal courts of Delhi were the main central hub for arts, music, and skills. By the late 18th century, Mughal Delhi declined politically. This phase gave rise to new hubs for arts, culture, and music. And, Lucknow was one of them!
Lucknow was the center of Indo-Persian culture. Awadh was the capital of Lucknow at that time, where all Nawabs were residing.
Nawabs Asaf-ud-Daula and Wajid Ali Shah, were great supporters of art, dance, and music. They favored dance culture in courts. Nawab Asaf-ud-Daula (Reigned between 1775 and 1797) He invited musicians, poets, and dancers. This culture was enough to flourish kathak culture in royal courts.
This Nawab invited and patronized Ishwari Ji for performing and teaching Kathak in royal durbars! So, he moved to Lucknow. He took the temple form of Kathak to Courtly professions.
Till that time, Ishwari ji became old. So, he did not directly perform in the Nawab courts. However, he was appointed as a choreographer, composer, and teacher of Kathak.
His eldest son, Adguji, was the first performer in the court of Nawabs! With time, he studied and introduced Urdu poetry, thumris, and delicate hand gestures in the dance style. Along with that, Ishwari Ji’s three sons started performing in royal gatherings (mehfils).
After Nawab Asaf-ud-Daula, Ishwari Ji and his descendants continued working for the court under patronage of the next Nawab- Saadat Ali Khan II (who reigned between 1798 and 1814).
Ishwari ji became master guru in courts of Nawabs in Lucknow. He trained his sons, grandsons, and some students in court. He trained them for intricate footwork- Tatkaars, unique style of Bols and Layakari, Gat Nikas, and Abhinaya with a touch of elegant and gentle moves!
He identified the need of changing traditional kathak to grow it in Nawab culture. He brought royal aesthetics in the dancing style. He also blended Hindu devotional roots of Kathak with Persian-Mughal culture to make this dance form more sophisticated.
Under his guidance, he and his disciples also tried a Hindu-Muslim Kathak fusion style to emphasize on the court dancers’ theme.
Ishwari Ji and his sons used to receive monthly stipends for regular performances. They also used to get Nazrana (honorary rewards) such as necklaces, shawls, jewelry, and coins from royal audiences during special mehfils.
Sri Ishwari Prasad Ji died due to snake bite. Soon later, his wife performed the ‘Sati’ ritual with his dead body.
Due to this sad incident, Shri Tularam ji and Khadgu Ji stopped dancing. Tularam Ji spent his further life in spiritual work.
But, Ishwari Ji’s third son, Adgu Ji continued working as a court dancer. He became the Guru in the court. Adguji kept the tradition of Guru-Shishya Parmpara alive in this lineage. He gave full education of Kathak to his three sons:Prakas ji, Dayal ji and Harilal ji.
Adguji and Prakashji were appointed as Kathak dancers in the court of Nawab Asfudaullah. This Nawab provided great support to Ishwari’s family to transition Kathak from temple to court. This royal help led to the establishment of Lucknow gharana!
Later, Ishwari Ji’s great great grandsons, Bindadin Maharaj and Kalka Prasad became great exponents of Lucknow Gharana. They were under the patronage of Nawab Wajid Ali Shah. They took Kathak on a global level!
Conclusion
Ishwari Ji planted the seed of Lucknow Gharana. He rooted Abhinaya and Nazakat in this gharana. He started as a Kathakaar in Handia temples. Inspired by his dream of lord Krishna, he rejuvenated Kathak on a higher scale!
He received patronage from Nawab’s of Lucknow. That period was the golden era for him! He became Guru and a composer of Kathak! Soon, he brought a new version of kathak blended with Nazakat, Abhinaya, and Lasya.
Ishwari Ji’s Guru Shishya tradition kept his legacy alive in future generations! His sons became court dancers under his guidance. In later generations, his grandsons Bindadin Ji and Kalka Prasad Ji popularized Kathak world-wide under the patronage of Wajid Ali Shah.
In this way, the Lucknow Gharana of Kathak was established under the valuable guidance of Shri Ishwari Prasad Ji! He was just not a random dancer, he was an ignited man with passion full of Kathak! Thanks to his efforts that gave us the chance to witness beautiful moves and graceful Adakari in lucknow gharana!
