The temple was the home of music and the fine arts. Music and dancing were mainly devotional in character. At Thiruvidaimarudur, there is an inscription of Parakesarivarmen who took the head of the Pandya king, i.e. Aditya II. It made provision for the enactment of Aryakuttu (Bharatanatyam?) on 7 days. It is stated that, on receipt of the royal order, the officers supervising the affairs of the temple, the sabha of Tiraimur, the nagaram (merchant guild) of Thiruvidaimarudil and the temple trustees (devakanmis) met in the Nataka Sala (hall of dance) and decided that 7 dance recitals be conducted and that each of the actors receive 14 kalams of paddy.
('Early Chola Art Part 1' by S R Balasubramanyam, p 24)

Koodiyattam artiste Kidangoor Rama Chakyar is the only living exponent who is capable of performing the Mandramkamkoothu, a repertoire that demands 41 days of continuous performance. His annual performance of Mandramkamkoothu at the Annamanada Siva temple in Trissur district of Kerala for 52 years without a break has become a record in the history of the art form.
('Kidangoor Rama Chakyar: the last link of a great legacy' by K K Gopalakrishnan, Sruti June 2005, p37)

Nritta Ratnavalli written in 1253-54 by Jayapa Senapati, contains 8 chapters with detailed descriptions of not only classical dance traditions, but also desi varieties. Folk dances like Perrini, Prenkhana, Suddha nartana, Carcari, Rasaka, Danda Rasaka, Shiva Priya, Kanduka Nartana, Bhandika nrityam, Carana nrityam, Cindu, Gondali and Kolattam are described. ('Textual Traditions in Dance: an overview' by P S R Appa Rao, Nartanam, Jan-Mar 2001)

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