Shambho Mahesh Aadi Trilochana
A Shiva Vandana by Tanmoyee Chakrborty, a Kathak Dancer from Kolkata.

This Vandana of Shiva describes one of the Trimurti known as the Destroyer of Darkness by opening his Third Eye or the Trinetra.
Known by Many names of Maheshwar, Dineshwar, Dinanath.
He destroys the Daanav Dal and blessed with the power of rightousness.
From his Jataa flows Ganga Maa, body covered with Bhasma and coils around his neck is the serpent and rudraaksh maala.
The beautiful half moon adores his forehead and his damaru sounds aloud .

We offer our blessings to The Devaadidev Mahadev and the Lord of Dance Nataraja.


⏺️What is Kathak ?

Kathak is one of the eight major forms of Indian classical dance from Uttar Pradesh.
The origin of Kathak is traditionaly attributed to the traveling bards in ancient northern India known as Kathakars or storytellers.The term Kathak is derived from the Vedic Sanskrit word Katha which means "story", and Kathakar which means "the one who tells a story", or "to do with stories". Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music. Kathak dancers tell various stories through their hand movements and extensive footwork, their body movements and flexibility but most importantly through their facial expressions. Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu god Krishna, as well as independently in the courts of north Indian kingdoms.During the period of Mughal rule, the emperors were patrons of Kathak dance and actively promoted it in their royal courts. Kathak performances include Urdu Ghazals and commonly used instruments brought during the Mughal period. As a result, it is the only Indian classical dance form to feature Persian elements.

Kathak is found in three distinct forms, called "gharanas", named after the cities where the Kathak dance tradition evolved – Jaipur, Banaras and Lucknow. While the Jaipur gharana focuses more on the foot movements, the Banaras and Lucknow gharanas focus more on facial expressions and graceful hand movements. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo) and the movement harmonized to the music. The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, neck movements, eyes and eyebrow movement , stage movements, bends and turns. The main focus of the dance becomes the eyes and the foot movements. The eyes work as a medium of communication of the story the dancer is trying to communicate. With the eyebrows the dancer gives various facial expressions. The difference between the sub-traditions is the relative emphasis between acting versus footwork, with Lucknow style emphasizing acting and Jaipur style famed for its spectacular footwork.

Kathak as a performance art has survived and thrived as an oral tradition, innovated and taught from one generation to another verbally and through practice.It transitioned, adapted, and integrated the tastes of the Mughal courts in the 16th and 17th centuries, particularly by Akbar, but stagnated and went into decline during the British colonial era, then was reborn as India and Pakistan gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts.

⏺️ More About Tanmoyee :

⭐Kathak dance performer and teacher.
⭐Empanelled from ICCR and NATIONAL SCHOLARSHIP HOLDER from ministry of culture , govt. Of India.
⭐A 1st class 1st GRADUATE from Rabindra Bharati University in Dance.
⭐A Gold Medallist artist from Internatinal Cultural Olympiad in Malaysia , Singapore and Bangkok.
⭐Titled as NrityaSree from International Stage of Performing Arts
⭐Artistic director -Toyee Dance Troupe .



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Information source : wikipedia
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