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