|In addition to his work on dramatics, King Serfoji II also contributed to music and dance. His Natyaprabandha written in marathi includes several dance numbers of the Sadir attam repertoire which were performed by the accomplished dancers of his court.
|Though the names sadaka
and totaka or trotaka have been understood as names of dramatic forms,
it is not forgotten that they were intended to be danced or that they were
dominated by music and dance. It is quite likely that these were originally
popular dance forms. As early as the Barhut Stups, we hear of the sadaka
('Uparupakas and Nritya-Prabhandas' by Dr. V Raghavan, Nartanam, May – Aug 2008)
|The original text of
the Silappadikaram only uses the word pani and this is interpreted as thalam.
Interestingly the commentators talk about five types of pani starting with
the chachatputa, which in fact is also one of the five thalas mentioned
in the Sangita Ratnakara.
('Celebrating unheard melodies' by TM Krishna, The Hindu, Dec 25, 2010)