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 2025 |
| * Several Kaḷaris or training centres for Dasiyattam training were established in the Vijayanagara Kingdom in the present Andhra Pradesh, Tanjavur in Tamil Nadu and Thiruvananthapuram in Kerala during Swathi Thirunal’s reign. Artists from these Kaḷaris interacted with each other constantly and the female dancers and the Naṭṭuvans (accompanying percussionist in Bharatanatyam or any classical dance art form) often used to go to other Kaḷaris for training as well as for performance. The political rule often changed hands, and the styles of dancing also got variously influenced due to this. Telugu, Tamil, Marathi, Kannada, Sanskrit, Hindi and Malayalam works were commonly used in the Dasiyattam compositions. Even though the styles were different, due to the constant and abundant cultural exchange that occurred during this period, certain similarities started evolving in traditional Devadasi dance forms, more specifically in Mohiniyattam and Bharatanatyam. (‘The Occult Origins of Mohiniyattam: Part 20’ by Nirmala Paniker, India Art Review, Nov 10, 2021) * By the time the Simha Nandana talam is completed, the picture of a simham (lion) was completely drawn by the dancer’s feet (foot painting). Using Mallikamoda talam and appropriate jathis and a kirtana on Kumaraswamy, Guru CR Acharyulu also experimented and was successful in drawing Mayura or peacock just like Simha. Similarly, a lotus was drawn while dancing to the Lakshmi talam. (‘Retracing steps: CR Acharyulu (1919-1998)’ by Voleti Rangamani, Nartanam, Vol XX, No: 1, Jan-March 2020) |
