Written by: Haroon Shuaib
Posted on: January 12, 2021 | 
| 中文
Abida Parveen and Nahid Siddiqui at the Manchester International Festival 2019 (photo credit to Priti-Shikotra)
The term “Kathak” is derived from the primeval word “Katha (Story)” and a “Kathakar” is a storyteller. Like many secular art forms that have religious roots, Kathak too originated in the ancient temples of South Asia as a form of inward, individual worship. Its main aim was to tell mythological tales and lore that had to be orally transferred for preservation. Wandering Kathakars communicated stories from the great epics through dance, songs and music, and it became a part of the fabric of the region.
A Closeup of Nahid During a Performance
Kathak, like classical music of the Subcontinent, also has its own “Gharanas (schools)” of which Jaipur, Banaras, and Lucknow are the most well known. Since Partition and the creation of Pakistan, Kathak has faced its fair share of challenges in getting social acceptance and patronage due to its historical roots. While it has remained deeply embedded in the culture of India through its importance in Hindu religion and its perpetuation via Bollywood cinema, it has remained confined to a few people and spaces in Pakistan, who have taken on the role of Kathak’s flag bearers.
Nahid Siddiqui has been practicing this art form from a young age and has also been championing its cause in Pakistan by training students here and abroad, performing in her country of origin against all odds, and exploring new dimensions in this art form. Her mother Tallat Siddiqui, was an actor and compere, and supported Nahid’s burgeoning love for Kathak, which started at a very young age. “It was perhaps something in my genes that compelled me to dance. My mother was an actor but my father was a sportsman, so I had to find my expression through an art form that involved physical motion as well as facial expression. We had a literary environment at home, as both my parents were very fond of poetry. My mother actually took me to the arts council to learn singing when I was very young. There I got to know that an Ustad (Teacher) of Kathak was visiting. I immediately opted for dance instead, and then never looked back.”
Nahid as a Young Performer
Even at that tender age, when she didn’t even know what dance was and certainly not Kathak, Nahid wouldn’t hesitate when asked to dance. The Ustad whom Nahid formed an instant bond with, was none other than “Maharaj Ghulam Hussain Kathak”, the chief exponent of the art of Kathak in Pakistan, and whom she fondly remembers as “Baba Maharaj”. “I was already performing at my school functions on semi classical film songs, and had developed an inclination towards dance as a form of expression. It was perhaps my destiny to meet Maharaj. Through him, I discovered Kathak and found it to be a more natural form, compared to other classical dances. Also the dance form of a specific region, always has a strong resonance with the mannerism, the walk, and the life style of the people of that region and I was instinctively attracted to Kathak,” Nahid reflects.
In the quest to perfect her art, Nahid went to India and further refined her skills under the tutelage of another great Kathak maestro, Birju Maharaj. The poise and the grace that is distinctly associated with a Kathak practitioner is abundantly evident when Nahid speaks. Her hands glide through the air, her posture transforms with each sentence, and her charming face accentuate her narration. “Kathak is a natural and organic dance form that is connected to the people of this land. Traditionally, we have always walked with bare feet and that establishes our connection with earth. When people of this region talk, their instinctive hand gestures are very similar to how they are used in Kathak. We always sway our hands in circular motion during our conversation, unlike for example in Bharatanatyam, where the fingers are stretched out. Similarly, if you notice, women in Odisha tend to keep their head tilted on one side, and their pelvis sways to the other side. You can see that an Odissi dancer would have a tribhangi or tri-bend posture. If you talk about folk dances, then look how reflective bhangra is of the temperaments of the people of Punjab,” She smiles.
Nahid Siddiqui Dancing
While the dancing girl of Mohanjodaro has a pose more akin to the posture of Odissi, Nahid observed that the habitants of Taxila had a tribal dance which was perhaps one of the earliest form of Kathak. As a practitioner, she has noticed a lot of similarities between the hand motions in Kathak and the drapery of the Buddhist sculptures of Taxila. Elaborating on the gharana tradition, Nahid mentions Jaipur style, the most ancient of the three gharanas, being closely connected to the folk dance tradition of the snake charmers from Rajasthan. She believes that those wandering performers took the influence of Kathak far and wide. Even Spanish Flamenco dancers have some similarities with Kathak, like the way Kathak, dancers have ghonghroos (ankle-bells) and flamenco dancers use castanets.
Nahid Siddiqui Mid-Pose
After the Mughals established rule in the Subcontinent, they patronized Kathak at the court level because this was a dance that was influenced by the Central Asian dance forms. Nahid’s own influence, can be traced to Central Asia, Persia and Turkey. “Kathak offers a lot of room for improvisation, unlike some other, very fixed dance forms. Kathak has a very universal language and any story or feeling can be depicted through it. Mughals did change the costume for Kathak a little, as the floor length Ghaggra (long skirt) earlier worn, was raised above ankles, so that the ankle-bells could be seen. Similarly, while the settings for Kathak before were mostly outdoors, such as the Panghat (village well), the Mughals brought it into the court.” Nahid reflects.
Nahid has expanded her canvas more than any Kathak practitioner previously. She has experimented with both the content and the visualization, while remaining within its art form. She has used poetry verses from Rumi, Hazrat Amir Khusrau, Bulleh Shah and Faiz Ahmed Faiz, to build an unparalleled repertoire of dance. She travels between Pakistan and Europe frequently, and continues to enthrall audiences across the globe with her spellbinding performances. Nahid received the Pride of Performance award from the Government of Pakistan in 1994 for her outstanding contribution as a practitioner, a teacher, and an ambassador of the beautiful art of Kathak dance across the globe.
Nahid Siddiqui during a Seminar in Kathak and Choreography in Toronto, Canada
“I can say that I don’t exist when I dance. I don’t do dance; it comes naturally to me. I have actually experienced levitation while dancing. Even if someone comes to me for one lesson, I always welcome them, as a dance such as Kathak can help bring their physical and spiritual being in sync. The experience stays with them forever, and that is why I say that we should include dance in our school curriculum, as it is very liberating. When you open your arms to dance, you embrace the force and the energy present in nature.” Nahid concludes.
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