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I performed the 108 karanas just before I had to leave for France in 2001. Padma Subrahmanyam had taught me the 108 karanas and she wanted me to perform them in Chennai. So she organised a performance at Bharat Kalachar. I was leaving on the 2nd of May and she organised it for me on the 1st of May, the day before I was leaving. It was 42 degrees, the height of summer, and the performance was in an open-air auditorium. And that day I really thought I was going to die. And she saw that. She realised it because she was in the audience and she saw. Because no one had performed the 108 karanas before! At a certain point during the performance, I heard a voice from the wings calling: "Dominique, come!" So during a karana I walked out to the wings, and she put a towel on my face and poured a bottle of glucose water in my mouth and said, "Go!" and I finished the karanas. I danced them continuously. It takes 45 minutes but it's like doing 3 varnams in one go because you have no sahitya, it's only nritta. And afterwards her brother told her, "Padma you should never do something like that. We don't know what it's like to perform all the karanas!" So they told me that if I ever do it in France, I should split it in two or three parts, and not do it in one go. Plus it was 42 degrees! It was mad.
- Dominique Delorme
('The last disciple: An interview with Dominique Delorme' by Isabel Putinja, Sacred Space blog, March 24, 2011)

Nataraja Ramakrishna's research into the Kakatiya's contribution to dance as reflected in Jayappa Senani's Nritta Ratnavali, an edition of which, with commentary by a great scholar Rallapalli Ananthakrishna Sarma was published under the aegis of the State Sangeet Natak Akademi revealed that Jayappa mentioned a 'Prerana' dance, virile in nature and performed before Lord Shiva invoking the god, the ashta dikpalas etc. Ramakrishna already came across some jatis when he first studied the agama traditions in Sri Kalahasti while undergoing training under Nayudupeta Rajamma. The prerana jatis were also published in Bharatarnava. He also remembered the mudras the temple priest used at the Kapaleeswara temple in Madras. He studied the agama texts, especially detailing the traditions of dance therein and reconstructed the dance form 'Perini.' He took pains to choreograph an all night performance at the Ramappa temple, where many of the dance forms mentioned by Jayappa must have been performed.
('Nataraja Ramakrishna: Crusader and Visionary' by M. Nagabhushana Sarma, Nartanam, Oct– Dec 2016)

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