 |
|
|
|
 |
 |
In the first chapter of Ma’dan al-Musiqi
written in 1856 by Muhammad Karam Imam, one finds the surname Kathak
for nine performers: Prashaddu Kathak of Benaras was a singer, Jatan
Kathak of Benaras was a sarangi player and the remaining seven Ram Sahai
Kathak of Handia, Beni Prasad and Prasaddoo Kathak of Benaras, Lalooji
and Prakash Kathak, Prakash’s nephew Durga and son Mansingh were all
dancers and ustads proficient in bhav. (‘India's Kathak dance in historical perspective,’ Dr. Margaret E Walker, p66) |
|
Abhilashitarthachintamani, popularly known as Manasollasa attributed to
emperor Somesvara of Kalyana Chalukya line is an encyclopedia of 13th
century and is a great contribution from Karnataka. In this treatise,
the regional styles of dance are highlighted along with classical
traditions. (‘Classical dance heritage of Karnataka’ edited by Dr. Choodamani Nandagopal, chapter ‘Dance heritage of Karnataka,’ Dr. Choodamani Nandagopal, 2012) |
|
There are slight variations in the interpretation of karanas in the
three temples (Chidambaram, Thanjavur, Kumbakonam), but it is clear that
the 108 karanas are the same for both the sexes. There are no tandava
and lasya karanas independently. Some are certainly more graceful than a
few acrobatic ones. But even these gymnastic movements seem to be
common for men and women. The karanas such as sakatasyam, cakramandalam
and gangavataranam which are highly acrobatic in nature are meant as
exercise for the body to keep the dancer trim. It might also be due to
the merging of acrobatics and the art of dance which has been natural
during the course of history of dance in any part of the world. (‘The Role of Dance Sculptures in Tamilnadu,’ Dr. Padma Subrahmanyam, in paper presented at Second International Conference Seminar of Tamil Studies, Chennai, 1968) |
 |