The existence of Bandha Nritya can be obtained from treatises, sculptures, literature, paintings and guru-shishya parampara. Down the ages, Bandha Nritya/Natya has been mentioned in various treatises though they differ in definition and practice. They are Nartana Nirnaya of Pundarika Vithala, Sangeet Makaranda of Veda Pandita, Sangeet Chintamani of Vemabhupala, Abhinaya Darpan Prakash of Jadunath Singh, Abhinaya Chandrika of Maheswar Mohapatra, Sangeet Darpan by Chatura Damodar.
('Bandha Nritya' by Aloka Kanungo, Nartanam, Jan-Mar 2003)
The text of Gita Govinda also provides ragas and talas to each one of the songs, and ragas to the preceding and following slokas. The 24 songs were composed in 12 ragas and 5 talas. But since the modes of singing have changed since the days of Jayadeva, both in northern and southern India, the ashtapadis are assigned ragas according to the latter day sampradaya.
('Jayadeva's Gita Govinda: Architectonics of love and religion in dance' by M Nagabhushana Sarma, Nartanam, Aug-Oct 2007)
King Sarabhoji II of Tanjavur composed many songs for dance and lent his name as a signature to compositions by court musicians.
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