The creator of the uddhata nritya is Lord Shiva and Goddess Parvati is the creator of sukumara (delicate) nritta. However, as Bharata indicates that Lord Shiva concluded in his manifestation of the rechakas, angaharas and pindibandhas and handed them over to sage Thandu, who in his turn, brought together the gestures and movements created by Shiva with the rhythms of bhanda vadya and this is known as Thandava. Natya Sastra does not mention anywhere that the other type of presentation ‘sukumara’ can be called ‘lasya.’ Scholars identify the sukumara nritya spoken of in Natya Sastra as lasya or its equivalent.
(‘The story of lasya’ by Dr. Vibha Dadheech, Nartanam, Apr-July 2006)

The word ‘mahari’ has several connotations. Some say it is Mahan Nari - great woman. Others opine the name could have been derived from Mahaprasadi or sacred offering, Maharani or the principal queen. Scholar Sadashiv Rattasarma opines the word ‘mahari’ must have been derived from the word ‘Mahanagari.’ According to 14:1:63 sloka of Atharva Veda, professional dancers  were called Mahanagari.  
(‘Maharis: the temple dancers of Orissa’ by Aloka Kanungo, Nartanam, Apr-July 2006)

Images of dance and drama are found both on bas reliefs and in free standing sculpture from ancient Cambodian temples. Unfortunately, we know very little about the meanings and gestures of dance in ancient Cambodia. While a Sanskrit dance treatise, the Natyasastra, sheds light on ancient dance in India, no such text has survived in Cambodia. Moreover, ancient inscriptions written in both Sanskrit and Khmer (Cambodian language) on stone stele reveal little about the nuances of ancient dance and drama. However, dance, drama, and music were performed as ritual offerings to the gods and ancestors.
(‘Depictions of Dance and Drama on Ancient Cambodian Temples’ - Boreth Ly)

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