The Christians wanted to have their version of the kuravanji. So Vedanayagam Sastri wrote the `Bethlehem Kuravanji.'  He wrote hundreds of Christian kirtanas, and he also gave Christian musical discourses, resembling a Harikatha, with abhinaya and hand symbols! Another genre popular during the Maratha period was the bhana. The word `bhana' is from the Prakrit word `bhanati,' which means `to speak.' Bhana plays enacted in the temples of Thanjavur were risque‚ monologues, about the liaisons between Brahmin men and Devadasis. The audience consisted only of Brahmin men.
(Indira Parthasarathy in ‘The Maratha connection’ by Suganthy Krishnamachari, The Hindu, Jan 14, 2011)

The inspiration for locating a dance art for women has come from Natya Sastra’s 10th chapter especially from the description of lasyangas and even the name must have been constructed from lasyangas.
(‘The story of lasya’ by Dr. Vibha Dadheech, Nartanam, Apr-July 2006)

Kavya and chitrakavya, in the class of uparupakas, are not to be confused with types of poetry of those names known in Alankara Sastra. The kavya is here a whole story composed into songs and danced. If the whole song-poem is in one raga, it is just the kavya; if it is in a variety of ragas, it is chitrakavya. Bhoja’s description of these two is full of technical details concerning the composition, raga and tala. Abhinavagupta gives it the clearer name ragakavya; it is sung and interpreted in gestures, abhinaya.
(‘Uparupakas and Nritya-Prabhandas’ by Dr. V Raghavan, Nartanam, May - Aug 2008)
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