Most traditional Indian sculptures are seen to be frozen representations of the gestures and poses of dance (charis and karanas) as described in the Natyashastra. Just as the principles of shilpa and chitra are based on a system of medians (sutras), measures (maanas), postures of symmetry (bhangas) and asymmetry (abhanga, dvibhanga and tribhanga); and on the sthanas (positions of standing, sitting, and reclining), so too are those of nritta (pure dance) and natya (dance drama). The concept of perfect symmetry is present in both shilpa and chitra as it is in nrittya  (interpretive dance), a concept and that is indicated by the all important term of sama (basic  balanced position) in shilpa as well as in music and dance.
- Shanta Serbjeet Singh
(‘Why we Need Performing Arts Education,’ Sahapedia, March 2014)

An essential feature of Gotipua dancing was the singing which accompanied the dance. Great emphasis was placed on the cultivation of breath control, as singing and dancing simultaneously is very strenuous. Very few of the boys sing today while they dance.

The Nayaks were exuberant patrons of music, dance, literature and temples. It is interesting to note that they were active participants too in many of these creations by being composers, poets, musicians and experts themselves. They were often also the ‘subjects’, in the sense that from being a mere objective patron the King became the very subject (nayaka) of poetry, padas and kavyas that were embodied as dances and musical repertoires in their courts.
- Swarnamalya Ganesh

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