A Man With HIs Own Identity

I have Posted Singers

I have Posted Models

I have Posted Photographers

But as usual today I m going to post a new thing,,,,,,

Yes He is Umair Khatak ,a man who created a new world for CLASSICAL DANCES in PAKISTAN.

Here he is :::::

Umair kathak dancer
(B. 6.5.1985)

Muhammad Umair Arif is one of Pakistan’s best Kathak Dancers, trained by Asia’s most renowned Dance Masters. Kathak is one of the oldest forms of dance, as evident from stone-scripts found at Taxilla. We will soon host a video footage of Umair’s performance. Meanwhile, we are presenting some Exclusive Photographs of Umair’s Kathak.
LATEST: Click to view NEW Photo Album (30 photos)

Click here to view original Photo Album (10 photos)

About Umair :

It was in his passion from childhood to learn dance … when he grew up he found himself more interested in classical dance ..speacially Kathak! . he told his family that he wanted to learn dance . Everyone was astonished at what had happened to him . at that time he was student of FA 2nd year . he was so much stubborn [ taurains are stubborn 🙂 ] so after getting permisssion from his parents he started learning katahk on Sep 5 ,2002 from Master Sajjad Hussain, Kathak Kalawant Patyala Gharana. His father Ustad Ghulam hussain patyala wala is a legend in Kathak Dance. He has tarined students like Aamini minuala, Zareen Panna and in Indya Roshan Kumari, Sitara Devi , Vejanti Mala, Madhu Bala, Kum Kum and many other big names were his disciples. Master Sajjad Husaain was not a performer but he was an excellenet and talented taecher. It was a tough job for Umair at start but with the passage of time it became more and more easy. Master Sajjad told him at the very start that in his family they didn’t teach boys who were out of his family. “So you are the first guy whom I am gonna teach.” His style was the mixture of Jaipur and Lucknow style. They were too sharp, energetic & fast. Umair learnt dance very early because he had been dancing since the age of 3. Master Sajjad was astonished when he watched Umair perform Tatkar (foot work) on the 4th day. At the 3rd year of learning Umair felt that he should learn from someone else too.

Umair’s Current Academy :

Umair then joined Mam Aimi Minuala. She is also a legend . Paksitan Film industry’s most famous classical dancer of her times. She has perfomred in many Pakistani movies in late 50s till 70s. Some of her movies are: Shahbaz (1960), Mitti Dian Moortan (1960), Baaji (1963), Jhalak (1964), Hathjori (1964), Doctor (1964), Kaley Log (1965), Mujahid (1965) and Roop Bahroop (1971). Aimi’s work was the mixture of Lasya and Tandav. Umair found Lasya more beautiful, garceful & soft then Tandav style. He could not learn from her that much because when he joined her after some months she fell ill and stoped coming to academy. So Umair practiced the same things she told him in the early months and then started guiding new students there.

After Mam Aaimi there was no one who could guide Umair about Kathak. He wanted to learn more and more things because Kathak is like an ocean. No one canever say that he or she knows each and everything. Teen Taal is the basic Taal of Kathak Dance and it is said that if you start this Taal alone, your entire life will be spent but this Taal will never end. Umair then joined mam Beena Jawad and dance company. Right now he continues to learn diffrent techniques from her while also performing with her dance group.


Kathak originated in Taxila, the world’s oldest heritage, where Kathak’s elementary vocabulary is etched in stone. There was a centre of learning and information exchange through trade routes with China and Afghanistan. Two thousand years ago nomadic groups of ancient northern India, known as Kathakas, or story tellers, performed in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales and psalms in praise of Aryan Gods from the Vedas and Puranas. They embellished their recitals with hand gestures and facial expressions. It was quintessential theatre, using instrumental and vocal music along with stylized gestures, to enliven the stories.

Persian & Mughal Kathak :

With the advent of Mughal rule, Persian culture influenced Kathak which became a sophisticated chamber art. Patronized by art loving rulers, the practitioners of Kathak worked at refining its dramatic (abhinaya) and rhythmic aspects (nritta), delighting elite audiences with their mastery over rhythm and stylized mime. Under the intellectual influences of the Mughal court, the dance evolved from a simple means of telling a story to a complicated series of abstractions of rhythmic patterns and brilliant improvisations with flawless timing. Narration of mythological tales gave way to praising the beauty of nature inherent in ragas and painting through the body of mathematics inherent in time cycles. Instead of a group of dancers one virtuoso performer interpreted the theme of the raga through dance and enacted all the different parts; the boles, meaning rhythmic syllables, were spoken during the dance and became a highly technical series of word patterns describing the time cycle to be executed.





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