JULY 2-4, 2025
CONSERVATORY OF AIX-EN-PROVENCE
OBJECTIVE
The goal is to introduce you to the art of North Indian classical dance, Kathak. The workshop format I offer is based on my entire professional experience. The teaching of Dance History and Theories, the singing of Bôles (rhythmic onomatopoeia) to vocalize the subdivision and phrasing of beats, and the use of hand gestures as a technique for navigating cycles. In this workshop, aimed at dancers from all dance backgrounds, we will dive into choreography focused on the fluidity of dance and Indian rhythm.
REPERTOIRE & HISTORY
Teaching Kathak Dance “Lucknow Gharana” (from the Lucknow school) / Musical culture & body percussion / Subtlety of interpretations according to major schools / The Art of improvisation / Learning grammatical rigor.
Kathak, the classical dance of North India, is a 3000-year-old art form. The word “kathak” comes from the word “katha,” meaning “to tell a story.” Katha kahe so kathak: the one who tells a story through dance is a kathak. Originally, this community of artists known as Kathakars would narrate mythological stories in the Hindu temples of North India. Without a doubt, their art finds its roots in religious and devotional Hindu practices. The hand movements (mudra), body gestures, and facial expressions (abhinaya) used by Kathakars to enrich their storytelling gave birth to Kathak. The knowledge of the Kathakars has been passed down through generations through oral tradition.
Under the rule of the Mughal dynasties, between the 11th and 18th centuries, Kathak left the temple precincts and entered the magnificent palaces of Muslim emperors and Hindu kings. Moving from a purely devotional practice, it evolved into a court dance for the entertainment of these powerful lords. It adopted typically Persian cultural elements and flourished.
Under the patronage of the Mughals, Kathak took the form we know today. Initially, the dance had a purely Hindu aspect, but its aesthetics evolved in line with Muslim culture. Expression, mime, and gestures became more subtle, with the artist striving to express the same theme in a thousand different ways through small nuances. The pure dance aspect (nritta) of Kathak also became highly sophisticated, with more complex rhythms, movements, and pirouettes. Kathak also absorbed Urdu poetry during this period.
Kathak is, today, the only classical dance of India that synthesizes both Hindu and Muslim cultures.
CONTENT (subject to changes)
DAY 1
Introduction to Kathak music and dance: Spirituality, Gesture, Rhythm, Emotions, Feelings, History.
Work on 16-beat rhythm (TEENTAL)
Warm-up: Kathak dance greeting (Namaskar)
Basic exercises: HASTAKS (arm movements)
Rhythm work: Regularity, intensity, tempo
Work in space: Movements, walking
Footwork (Tatkar)
Pirouettes (Chakaar): 1, 2, 3, 4, 5, and 8 beats, all possible pirouettes in Kathak
DAY 2
Nritta: Technical and rhythmic dance
Learning “mudras,” the language of one-hand (ASAMYUKTA HASTA) and two-hand (SAMYUKTA HASTA) gestures
Rhythm work: Regularity, intensity, tempo
Work in space: Movements, walking, jumps, spins
DAY 3
Footwork TATKAR basics (foot stamps) in Vilanbit laya, Madhya Lay, and Drut lay (slow, intermediate, and fast speeds)
Technical choreography: Combining footwork and arm movements with dance and tabla syllables
Rhythmic foot chant (Padhant)
Introduction to various rhythms used in Kathak: TUKRAS, TIHAIS, LADI
TIMING: 10:00 – 13:00 // 14:00 – 16:00
PARTICIPATION REQUIREMENTS
Adolescents and adults, men and women, of all levels, no prior knowledge required.
This workshop will adapt to the abilities of everyone, whether you are a beginner or have some experience in dance, even in Kathak dance.
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BIOGRAPHY
Sharmila Sharma passionately revives the millennial heritage of Indian classical dance. She began learning this art at a young age from her mother, Tara Sharma, Pandit Rajendra Kumar Gangani, and the legendary Pandit Birju Maharaj. Sharmila became a professional dancer at the age of fourteen. She has toured extensively with her company and performed in numerous national and international festivals in 35 countries. She has created many original works and collaborated with flamenco groups, Iranian musicians, and Renaissance music ensembles. She is the first dancer to have introduced Kathak to France.
A passionate pedagogue, she dedicates herself to passing on the legacy of a long classical tradition received from her masters, which she enriches with her international experience, shaped through many artistic and multicultural dialogues.
Her artistic activity is complemented by intense teaching and masterclasses in various conservatories in France and in community-based structures worldwide since 1993.