by: katha

Umaga na naman,
buhay pa rin ako,
nagtataka kung bakit.
Sa bawat pagbangon,
Bawat paghakbang,
Bawat paggalaw,
Bawat kilos,
Bumabalik pa rin ako
kung san ako nagtatangkang
lumayo.
At heto,
heto na naman ako,
Naalala ko na naman,
Naalala ko na namang
minahal ko siya;
Naalala ko na namang
mahal ko pa rin siya.
Maaari bang tumakbo
palayo nang walang
alaalang humahatak sayo
pabalik?
Dahil heto na naman ako,
bumabalik na naman sayo.

25 April 2017
8:52 AM

Kathak is one of the major forms of Indian classical dance.

The origin of Kathak is traditionally attributed to the traveling bards of ancient northern India. The term Kathak is derived from the Vedic Sanskrit word Katha which means “story”, and Kathaka which means “he who tells a story”, or “to do with stories”. Wandering Kathakas communicated stories from the great epics and ancient mythology through dance, songs and music

Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of Hindu god Krishna, as well as independently in the courts of north Indian kingdoms.

Kathak is found in three distinct forms, named after the cities where the Kathak dance tradition evolved – Jaipur, Banaras and Lucknow

Stylistically, the Kathak dance form emphasizes rhythmic foot movements, 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, stage movements, bends and turns. The main focus of the dance becomes the eyes and the foot movements

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 survived and thrived as an oral tradition, learnt and innovated 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 century, was ridiculed and declined in the colonial British era, then was reborn as India gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts.

Kathak has inspired simplified regional variants, such as the Bhavai – a form of rural theatre focussing on the tales of Hindu goddesses (Shakti), and one which emerged in the medieval era. Another variant that emerged from ancient Kathak is Thumri.

Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance, the costumes replaced Saris with items that bared midriff and included a transparent veil. When the colonial European officials began arriving in India, the Kathak court entertainment they witnessed was a synthesis of the ancient Indian tradition and Central Asian-Persian dance form.

Kathak was brought to the attention of audiences outside India in the early 20th century through Kalka Prasad Maharaj.

A modern Kathak, in all three major sub-traditions, consist of three main sections - the invocation (vandana), one pure dance recital (nritta) and one expressive dance (nritya).

The ensemble of musical instruments vary, ranging from two to twelve classical Indian instruments or even more.

SA PAGITAN NG HIWA, MAY MAHIWAGANG PUSA

Sa pagitan ng hiwa natagpuan na hindi pala lahat ng masarap ay kelangan tikman.

Sa pagitan ng hiwa nabigyan ng sagot, ang nagdurugo kong puso, na hindi na kita pwede angkinin, hindi na pala kita pwedeng kainin, mali. Hindi na pala kita pwedeng mahalin.

Sa pagitan ng hiwa natagpuan ang huling kiliti nang makita kang nakangiti habang kinakagat ang iyong mga labi.

Sa pagitan ng hiwa natagpuan na masakit pala pag dika nilabasan, pero mas masakit pala ang maiwan ng maraming dahilan para bitawan, kaysa walang dahilan para lumisan.

Sa pagitan ng hiwa natagpuan na mahirap magpanggap na hindi ka masarap, na hindi ka masarap mahalin.

Sa pagitan ng hiwa natagpuan na dapat kang ingatan, ng di makuha at mapasukan ng matulis na kasangkapan.

Sa pagitan ng hiwa natagpuan ang tunay na pagmamahal, ngunit sa kabila ng lahat ay panandalian lamang.

Sa pagitan ng hiwa natagpuan na di ka na akin para akin pang matikman, matikman ang katas ng iyong pagmamahal.

Kaya sa pagitan ng mga hiwa mo natagpuan na sa susunod na magmamahal akong muli, hindii ko muna titikman kung di sigurado na ako lang.

Pachot | 05.02.17

Mapagtiis

Datapwat ang amihan ay mawawala rin,
Ang madaramang init ay lalapit pa rin.
Ngunit ang pighati ng bawat simoy,
Ay hindi magiging kasing init
Ng iyong pusong sumusuyo.

Panooring bumuhos
Sa malawak na kapatagan
Ang iyak ng isang dakila.
Subalit sa bawat sipsip ng abo,
Ay ang pagtigas ng puso.
Patuloy ka bang iiyak,
Kung sa bawat patak ng luha,
Ay pilit mo siyang ginagawang bato?

Pagkat hindi kalawakan
Na patuloy na lumalawak,
Kundi ang ulirat sa nararamdaman.
Hindi.
Dahil ikaw ang kalawakan,
Na patuloy kong ‘di maunawaan.
Sa bawat paglawak,
Ramdam ng ulirat,
Ika'y unti-unting naglalaho na.