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The Natya Veda derives its essence from each of the four Vedas. From the Rig Veda, or Book of Hymns, it derives its metre that when hummed or sung in accompaniment to the dancer’s movements, can summon the gods to attend the worship of men. From the Sama Veda, or Book of Melodies, it has taken enchanting, bewitching music. From the Yajur Veda, or Book of Sacrifices, it has adopted the art of abhinaya or mime through which the dancer can communicate with his audience, whether of gods or of men.  Finally from the Atharva Veda, or Book of Spiritual Craft, it has acquired rasa, or emotional appeal, and bhava, or intellectual appeal, both of which enable the dancer to communicate with all creation. (‘Indian dancing’ by Ram Gopal & Serozh Dadachanji)

Harshadeva ruled over Kashmir, who the Rajatarangini tells us, had such a passion for the arts that he spent days and nights in the company of dancing girls and singers and had special apartments in his palace where he sometimes himself gave them instructions. Eventually, Thakkana, one of his favorite dancing girls, brought about his ruin by conspiring with his rivals to dethrone him. Uchhla who succeeded Harshadeva, married Jayamati, a hereditary dancing girl of considerable renown. (‘Traditions of Indian classical dance,’ Mohan Khokar, chapter ‘Down the centuries’)

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