In the first chapter of Ma’dan al-Musiqi written in 1856 by Muhammad Karam Imam, one finds the surname Kathak for nine performers: Prashaddu Kathak of Benaras was a singer, Jatan Kathak of Benaras was a sarangi player and the remaining seven Ram Sahai Kathak of Handia, Beni Prasad and Prasaddoo Kathak of Benaras, Lalooji and Prakash Kathak, Prakash’s nephew Durga and son Mansingh were all dancers and ustads proficient in bhav.
(‘India's Kathak dance in historical perspective,’ Dr. Margaret E Walker, p66)

Abhilashitarthachintamani, popularly known as Manasollasa attributed to emperor Somesvara of Kalyana Chalukya line is an encyclopedia of 13th century and is a great contribution from Karnataka. In this treatise, the regional styles of dance are highlighted along with classical traditions.
(‘Classical dance heritage of Karnataka’ edited by Dr. Choodamani Nandagopal, chapter ‘Dance heritage of Karnataka,’ Dr. Choodamani Nandagopal, 2012)

There are slight variations in the interpretation of karanas in the three temples (Chidambaram, Thanjavur, Kumbakonam), but it is clear that the 108 karanas are the same for both the sexes. There are no tandava and lasya karanas independently. Some are certainly more graceful than a few acrobatic ones. But even these gymnastic movements seem to be common for men and women. The karanas such as sakatasyam, cakramandalam and gangavataranam which are highly acrobatic in nature are meant as exercise for the body to keep the dancer trim. It might also be due to the merging of acrobatics and the art of dance which has been natural during the course of history of dance in any part of the world.
(‘The Role of Dance Sculptures in Tamilnadu,’ Dr. Padma Subrahmanyam, in paper presented at Second International Conference Seminar of Tamil Studies, Chennai, 1968)

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