|
    |
|
|
|
 Unspoken Dialogues: The healing language of Kathak dance- Simran Poddare-mail: simranpoddar12@gmail.com November 14, 2025 Abstract This paper looks at Kathak as a living art form that continues to touch emotions and bring balance to people's lives. Over time, Kathak has grown from temple storytelling into a personal and spiritual expression that helps dancers connect with their inner world. True to the saying "Katha kahe so Kathak kahawe" - the one who tells a story is called a Kathak - this study reflects on how rhythm, gesture, and emotion (nritya and abhinaya) create moments of peace and awareness, even in a busy, modern lifestyle. Drawing from both traditional ideas and my own experiences of performing Kathak, the paper views this dance as an unspoken dialogue - one that heals, expresses, and connects the dancer's heart with the essence of Indian culture. Introduction When Bharata Muni wrote the Natyashastra, society was said to be in chaos, and there was a need for a medium like dance, music, and theater to restore harmony and emotional well-being. The Natyashastra, therefore, was not just a manual for performance, but a means to bring peace and healing to people's lives. Today, we face a similar kind of chaos - with stress and emotional strain affecting many. Just as it was then, dance continues to be a source of healing. Kathak, with its rhythmic patterns and expressive abhinaya, offers a space where people can find calm, reconnect with their emotions, and heal from within. This paper explores how Kathak, much like in ancient times, serves as a form of unspoken dialogue that helps restore emotional balance, enriching the journey of modern individuals. Review of literature The link between dance, emotion, and healing has always been central to Indian aesthetic philosophy. Bharata Muni's Natyashastra (around 200 BCE - 200 CE) offers one of the earliest explanations of classical dance, describing art as a way to awaken rasa-the emotional essence that purifies the mind and brings joy to both performer and audience. As Bharata writes: "Yatho hastas tatho drishti, yatho drishtis tatho manah, yatho manas tatho bhavo, yatho bhavas tatho rasah." (Where the hands go, the eyes follow; where the eyes go, the mind follows; where the mind goes, emotion arises; and where emotion is, rasa blossoms.) This verse beautifully captures how movement, emotion, and awareness merge into one aesthetic experience, turning dance into a form of inner harmony and psychological healing. Nandikeshvara's Abhinaya Darpana deepens this concept through abhinaya, or expressive communication in dance. It opens with the verse: "Angikam bhuvanam yasya, vachikam sarva vangmayam, aharyam chandra taradi, tam numah satvikam shivam." (Whose body is the world, whose speech is the essence of all language, whose ornaments are the moon and stars-we bow to that pure inner spirit.) The text identifies four forms of expression-angika (body movement), vachika (speech), aharya (costume and appearance), and sattvika (inner feeling)-which together enable complete emotional truth. I often feel that when sattvika bhava naturally arises, my movements begin to reflect inner emotion, turning performance into a bridge between body and spirit. Modern research continues to support these classical insights. Studies in dance movement therapy (Payne, 2006; Koch et al., 2019) show that rhythmic and expressive movement enhances self-awareness and emotional balance. These studies align closely with the Natyashastra's view that artistic engagement leads to emotional purification and harmony. Recent findings (2024) highlight that dance interventions, including Kathak, improve emotional regulation and resilience by allowing individuals to express and process emotions through movement. A 2025 study further revealed that Indian classical dancers-particularly those practicing Kathak-demonstrate greater self-efficacy and adaptability compared to non-dancers, suggesting that this art form strengthens confidence and emotional stability. Indian scholars such as Kaur and Mehta (2022) and Sharma (2023) also observe that Kathak, through its abhinaya and rhythmic cycles, fosters mindfulness and emotional release. Analysis and discussion Both classical texts and modern research reveal that this art form is far more than a performance; it brings balance to the mind and emotions. The discipline involved-from the precision of footwork to the graceful movements of the body-builds focus and inner strength. When the sounds of the tabla, harmonium, and sarangi blend with the ringing of ghungroo, a sense of calm emerges, almost like meditation through movement. The aesthetics of the dance-costumes, jewelry, and overall presentation-add to this experience, helping the performer connect to something greater. Expressive storytelling, known as abhinaya, allows emotions to flow in a way that words cannot. This process, as described in ancient texts, transforms feelings into something beautiful and healing. Modern studies from 2024 and 2025 show that this combination of discipline, music, and expression helps reduce stress, build confidence, and improve emotional well-being. It creates a space where both the performer and audience feel a sense of calm and emotional renewal. Through years of practice, this is something I've come to experience as well. Each performance becomes a personal conversation between the inner self and the world, a journey of healing through movement, music, and expression. Conclusion While all of India's classical dances offer pathways to emotional balance and inner peace, Kathak stands as a shining example of how movement, rhythm, and expression can heal. Drawing from ancient roots while evolving with modern insights, this dance - like its sister forms - offers a unique way to connect the mind, body, and spirit. Among them, Kathak's blend of rhythm, storytelling, and grace makes it a powerful tool for finding calm and emotional release. It reminds us that healing can come from the simple act of movement, the joy of music, and the power of expression. In this way, classical dances - including Kathak - are not just art forms, but journeys that help both the dancer and the audience find peace within. References Classical Texts
 Simran Poddar is a postgraduate student of Performing Arts (Dance) at Indira Kala Sangeet Vishwavidyalaya, specializing in Kathak. She holds a diploma in Kathak from Prayag Sangeet Samiti and has performed at various platforms. Her research focuses on the emotional and healing aspects of Indian classical dance, exploring how rhythm and expression promote inner balance and mindfulness. Post your comments Pl provide your name along with your comment. All appropriate comments posted with name in the blog will also be featured in the site. |
