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One particular aspect of Indian classical dance stage presentation is the problem of theft. Sometimes when artistes came from outside to perform in a royal court, local artistes would sit – even hidden behind curtains, or windows, to hear, observe and learn their style, technique, everything. That is why particular ways of security for material were manufactured: how to “cover” the interesting parts, how to “stitch inside” the vulnerable elements. Namita Devidayal in her book ‘Music Room’ describes how the famous singer Kesarbai Kelkar used to spoil her vocal performance intentionally by cough or other unrelated sounds.
(‘Dancers-musicians-audience interaction in classical Kathak performance: Cultural meaning, social function, historical shifts’ by Svetlana Ryzhakova, Nartanam, Apr – June 2016)

Sangita Saramrta of Tulaja I was written in 1735AD. It is of highest importance as it purports to take the contemporary dance and music on its practical side and incorporate the lakshanas of ragas and the theory of dance as they prevailed in Tulaja I’s time. It represents the era immediately preceding that of the Trinity. A study of the Sangita Saramrta definitely helps us to understand the dance and music of pre-Trinity period. There is a dance chapter called Nrttaprakarana. It is a most important work on nrtta. It is the first scientific treatise to codify and methodologically give the adavus of Sadir (presently called Bharatanatyam) which were in practice in the 17th century. 
(‘King Tulaja I’s Sangita Saramrta,’ by Aditi Nigam, Nartanam, Apr – June 2016)

(Courtesy ‘Dances of the world on postage stamps,’ Alkis Raftis)

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