The association of the various Gods with dance made it necessary for the sculptor to study the Natyasastra before depicting these deities in stone. This knowledge was one of the main factors that contributed to the refinement of sculpture. The presence of an accomplished nartaki - the dancer - attached to the temple induced the sculptor to create dance sculptures. In turn, such sculptures remain as everlasting guides for successive generations of dance enthusiasts.
('Bharatha Natyam - Classical Dance of the Ancient Tamils: The Role of Dance Sculptures in Tamilnad' by Padma Subrahmanyam)

The dholak and the harmonium, history tells us, travelled with the indentured labourers who were taken to the West Indies. Thus, in places like Surinam, Trinidad and Tobago, etc., the dholak is a part of the devotional music of the community of Indian origin.
('Instrument of the people' by Anjana Rajan, The Hindu Friday Review, Apr 4, 2008)

In the Thanjavur big temple, there are sculptures of dancers showing 81 karanas. The remaining were not completed, because Rajendra, son of Raja Raja, took all the sculptors with him to build a Siva temple in his new capital.
(‘Where stone speaks’ by Suganthy Krishnamachari, The Hindu Friday Review, Feb 29, 2008)

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