Kathak - Knowledge (XXG)

1116: 278:) and the movement harmonized to the music. The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, neck movements, eyes and eyebrow movement, stage movements, bends and turns. The main focus of the dance becomes the eyes and the foot movements. The eyes work as a medium of communication of the story the dancer is trying to communicate. With the eyebrows the dancer gives various facial expressions. The difference between the sub-traditions is the relative emphasis between acting versus footwork, with Lucknow style emphasizing acting and Jaipur style famed for its spectacular footwork. 1395: 411: 795: 1335: 1371: 1383: 970: 944: 1029:(artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates). A Kathak nritya performance, however grants flexibility to the artists and invites improvisation, and it may not be accompanied with a song or recital about the legend. The stories in Kathak performance generally tend to be about the Hindu god Krishna (or in some cases Shiva or Devi), and the stories come from sources such as the 1347: 698:, published at the start of the 20th century, as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" or "anti-nautch movement" in 1892. Officials and newspapers dehumanized the Kathak dancers and the sources of patronage were pressured to stop supporting the Kathak performing "nautch girls" (also termed as 1359: 2228:"A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)". 110: 842:. A Kathak performance can be solo, duo or team. In a technical performance, the speed and energy the dancers exchange with the audience increases in multiples, that is the tempo doubles or quadruples. During the performance, one or more of the Kathak artists may come to the microphone, interact with the audience, explain something, tell an anecdote in a particular language, or rhythmically recite a song. 1050: 6800: 1189:. The schools place different relative emphasis between aspects of a Kathak performance such as the acting versus footwork. The Lucknow style, for example, emphasizes acting while Jaipur style emphasizes the dance and footwork. Traditionally, the Jaipur gharana has had a strong spiritual flavor, covering a diverse range of ideas in Vaishnavism and Shaivism. 1304:), and is distinctive in its elaborate codified colorful makeup, masks and dress. Kathakali traditionally has been troupes of predominantly male actor-dancers, who dress up as hero, heroines, gods, goddesses, demons, demonesses, priests, animals and daily life characters. Both dance forms employ elaborate footwork, choreography and hand gestures, but 29: 730: 3482: 2258:, Quote: "Like other Indian classical dance forms, Kathak also lays claim to ancient roots and a genesis as a temple dance or religious story telling method, and many dancers both in India and the diaspora will explain their art form in its purest state as a devotional activity, a type of sadhana or spiritual practice". 472:), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances including Kathak. Dance and performance arts, states this ancient Hindu text, are a form of expression of spiritual ideas, virtues and the essence of scriptures. 1112:

The Mughal dress for male Kathak performers is kurta-churidar. The kurta can be a simple one, or cut as an angarkha. There is also the possibility of adapting the angarkha or kurta for dance to incorporate wider flare in the lower portion. Particularly older variety dress include the small peaked cap too.

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Hindu religious themes. In the modern era, this school has continued their emphasis on dance and footwork with Jai Lal, Janki Prasad, Kundan Lal, Mohan Lal and Nawal Kishore. This school is best known for its systematic innovations in rhythmic dancing, and the use of dance movement to express a story.

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The dresses of the dancer and the facial cosmetics between a Hindu or Muslim Kathak dance troupe varies. The stage typically is bare with no distracting background, states Williams, with musicians seated on rugs downstage right (audience's left), and if it is a Hindu performance there is an image of

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With the coming of the Mughals, this dance form received a new impetus. A transition from the temple courtyard to the palace durbar took place which necessitated changes in presentation. In both Hindu and Muslim courts, Kathak became highly stylized and came to be regarded as a sophisticated form of

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Not only did missionaries and colonial officials ridicule the Kathak dancers, Indian men who had been educated in British institution and had adapted to Victorian prudery joined the criticism, states Margaret Walker, possibly because they had lost their cultural connection, no longer understood the

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The emergence of Raslila, mainly in the Braj region (Mathura in Western U.P.) was an important development. It combined in itself music, dance, and the narrative. Dance in Raslila, however, was mainly an extension of the basic mime and gestures of the Kathakars or story-tellers which blended easily

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was inspired and taught Natvari Nritya. Bhanuji's grandons Laluji and Kanhuji were similarly inspired by Krishna. They returned to Jaipur, and together they began the Jaipur gharana of Kathak. The Jaipur style developed under the sponsorship of Rajput rulers, and they favored the Kathak dance with

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draped around the waist, and covered with a silk scarf tied over the top. The upper body is usually left bare or with only the Hindu thread, but is sometimes covered with a loose sleeveless jacket. Kathak male artists also wear jewelry, but often of stones and much simpler than the female artists.

994:, the actors communicate to the audience, through song and music. Drama in this ancient Sanskrit text, thus is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness. According to Massey, another important ancient text that has influenced Kathak is the 669:

with items that bared midriff and included a transparent veil of the type common with medieval Harem dancers. When the colonial European officials began arriving in India, the Kathak court entertainment they witnessed was a synthesis of the ancient Indian tradition and Central Asian-Persian dance

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With the expansion of British colonial rule in 19th-century India, Kathak along with all other classical dance forms were discouraged and it went into decline. This was in part the result of the Victorian morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism.

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refers to one of the major classical dance forms primarily found in northern India, with a historical influence similar to Bharatanatyam in south India, Odissi in east India and other major classical dances found in South Asia. It differs from the numerous folk dance forms found in the north and

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appearing in his dream and asking him to develop "dance as a form of worship". Ishwari taught his descendants, who in turn preserved the learning and developments through an oral tradition over six generations ultimately yielding the Lucknow version of the Kathak dance – a family tree that is

619:, a 13th-century Sanskrit text on Indian classical music and dance in Chapter 4 mentions a dance movement with rapid whirling around like a wheel keeping the arms in the Dola pose and bending the body inwards called 'Cakramandala' It is employed in worshipping gods and in vigorous movement. 639:

It should be remembered that the first Kathak dancers were, after all, Hindus who danced for Moghul overlords. Too much outward expression of religious belief was without doubt undesirable. It is therefore reasonable to assume that the wide use of 'abstract' dancing, intricate bell work

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who favored court dance culture. In the modern era, the Lucknow gharana style influences the dance school in New Delhi with Shambu Maharaj, Birju Maharaj and Lacchu Maharaj. Kathak choreography there has developed themes beyond Krishna-Radha, such as those based on the drama works of

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The Hindu dress for female dancers has two variations.One is based on a Sari, but is worn in a style different from the customary style that goes over the left shoulder. A Kathak artist generally wraps the sari around the waist and it hangs down from the left. A blouse called

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underlying spiritual themes behind the dance, and assumed this was one of the "social ills, immoral and backward elements" in their heritage that they must stamp out. However, the Hindu families continued their private tutoring and kept the Kathak art alive as an

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in the middle of forehead is common. The second variation of a Hindu Kathak dancer uses a long, full (just above the ankle), light-weight skirt usually with embroidered border that helps highlight the dance motion. The skirt is contrasted with a different color

1161:. He is India's first Kathak dancer to bring back 'Dhrupad' on the formal Kathak stage and this composition in 28 matra. Shankar Pralayankar, his Dhrupad composition, has the unique status of regularly being sung in concerts by 'Dhrupad' maestros the 1193: 981:

text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being. The

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The verse number is of the critical edition used by JAB van Buitenen. There are many manuscripts of the Mahabharata, and in some versions such as the one translated by Manmatha Nath Dutt in 1894, this verse is found in his chapter

644:), dazzling turns and the fleeting, transient, glimpses of Radha and Krishna in Kathak arose both to remind the dancers about their reasons for dancing and (gently, unobtrusively) to deceive their courtly Moghul audiences. Perhaps 785:

While most scholars consider Kathak as an ancient art, some such as Margaret Walker suggest the modern Kathak is a 20th-century phenomenon, more a form of cultural revival, if one relies on the music-related Indian documents.

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The ensemble of musical instruments vary with any Kathak performer, ranging from two to twelve classical Indian instruments or more in versions with synthetic innovations. The most common instruments that go with Kathak are

931:, as with all classical Indian dance forms, the viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern. It aims to engage the senses (prakriti) of the audience. 687:

Reverend James Long, for example, proposed that Kathak dancers should forget ancient Indian tales and Hindu legends, and substitute them with European legends and Christian tales. Missionaries recorded their frustration in

1300:, though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathakali emerged in the southwestern region of India (modern 1219:, who aimed to develop Kathak dance as a form of loving devotion to Krishna. This school thrived after the Mughal Empire collapsed, when Kathak artists moved from Delhi to Lucknow under the sponsorship of Avadh 615:(soul within) and the supreme source (Cosmic soul everywhere), a theme that dance ballet and mimetic plays of Kathak artists expressed. Although central Asian influence of Kathak rapid whirls has been proposed, 725:

The movement to end the colonial era and for an independent India, states Walker, also witnessed a revival of Kathak and more broadly, a cultural ferment and effort to reclaim culture and rediscover history.

288:, innovated and taught from one generation to another verbally and through practice. It transitioned, adapted, and integrated the tastes of the Mughal courts in the 16th and 17th centuries, particularly by 1235:

The Benares gharana is the third major style, traditionally believed to be the oldest. Its history is unclear. According to Kothari, the school started with Janakiprasad from a village near

966:, the dance expands to include words, musical notes and gestures to articulate a legend or message, it is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer. 468:

The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (

1013:(mood) of the underlying story. In the Hindu texts on dance, the guru and the artists successfully express the spiritual ideas by paying attention to four aspects of a performance: 479:

show the dancers in a vertical stance with their arms' positions already suggesting today's Kathak movements. Most of the dancers have one arm near the ear in a ''pataka hasta'' (

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is in the form of expressive gestures and pantomime set to music that usually outline a legend or the plot of a well known story. The gestures and facial expressions convey the

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and others stressing footwork, gestures and turns. Each section when completed has a punctuation mark, usually a sharp turn of the head. Each ankle is adorned with small bells (

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text and began flourishing in the 16th century. While each has a different musical and dance language, both deploy a host of similar traditional Indian musical instruments.

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in mid 20th century literature). Many accused the dance form as a front for prostitution, while revivalists questioned the constructed histories by the colonial writers.

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The Mughal era courts and nobles accepted Kathak as a form of aristocratic entertainment, which low income families were willing to provide. According to Drid Williams:

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sequence, which is a slower graceful movement of wrists, neck and eyebrows. Thereafter, the dancer gradually increases speed and energy, while completing a sequence of

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who resettled in Varanasi, but one whose ancestors were famed dancers and musicians. Janakiprasad was a dancer and a Sanskrit scholar, and credited with inventing the

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The oldest Kathak department pat a degree college (university) was formed in 1956 at Indira Kala Sangeet University, a public university located in Khairagarh where

575:) and from there migrated northwest to Lucknow, Jaipur and other parts of north and northwest India. The Lucknow tradition of Kathak dance attributes the style to a 1115: 3128: 782:(a legendary Kathak dancer from Pakistan, settled and nurtured in the UK), has a hard time practising and presenting her art in her birth-country of Pakistan". 962:

is slower and expressive aspect of Kathak that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a

714:. Kathak teachers also shifted to training boys to preserve the tradition, as most of the 20th-century ridicule had been directed at Kathak "nautch girls". 2700: 3530: 360:), and one which emerged in the medieval era, is presently found in Gujarat, Rajasthan and Madhya Pradesh. Another variant that emerged from ancient 236:

and commonly used instruments brought during the Mughal period. As a result, it is the only Indian classical dance form to feature Persian elements.

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entertainment. Under the Muslims, there was a greater stress on nritya and bhavag - the dance's graceful, expressive and sensuous dimensions.

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integrates south Indian martial arts movements such as leaps and jumps. Both dance forms trace their roots to classical Sanskrit texts, but

465:. Its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. 5586: 6463: 457:

According to Mary Snodgrass, the Kathak tradition of India is traceable to 400 BCE. The earliest surviving text with Kathak roots is the

744:, particularly by the Kathak-Misra community. Of these the Jaipur and Lucknow sub-traditions of Kathak have attracted more scholarship. 599:

The evolution in Kathak dance theme during the Bhakti movement centered primarily around divine Krishna, his lover Radha and milkmaids (

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and the musicians on the stage. If the team is from the Hindu tradition, the dancer(s) combine facial expressions and hand gestures (

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dancers tell various stories utilizing hand movements and extensive footwork, their body movements and flexibility as well as their

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The Lucknow gharana of Kathak dance attributes its origins to a rural Krishna devotee named Ishwari from the village in southeast

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formed the bulk of these first dancers' performances. Gradually more and more images, then stories of Krishna and Radha crept in.

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Bards, actors, dancers, songsters and musical reciters of legends and stories are mentioned hundreds of times in the Hindu Epics.

222:, as well as independently in the courts of north Indian kingdoms. During the period of Mughal rule, the emperors were patrons of 1370: 1095:, and a transparent scarf typically drapes over it and the dancer's head. Jewelry is typically present in the second variation. 665:

Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance, the dress replaced

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Sama und die "Schönheit" im Kathak: nordindischer Tanz und seine ihn konstituierenden Konzepte am Beispiel der Lucknow-gharānā

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According to Nicole Lehmann, modern Kathak dancers show, to varying degrees, a fusion of the styles from all three gharanas.

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has short sections, similar to technical exercises in western dance traditions, wherein the dancer engages the audience with

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The seductive gestures and facial expressions during Kathak performances in Temples and family occasions were caricatured in

1232:'s Malati-Madhav. This school has also attempted a Hindu-Muslim Kathak fusion style, highlighting the court dancers theme. 7956: 5040: 2449:

The First Firangis: Remarkable Stories of Heroes, Healers, Charlatans, Courtesans & other Foreigners who Became Indian

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Kathak was brought to the attention of audiences outside India in the early 20th century through Kalkaprasad Maharaj.

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in some places). Hair, face, ear, neck, hand, wrist and ankle jewellery, typically of gold, may adorn the artist. A

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and sometimes a long coat covering hands and the upper body. The head has a cover scarf and the jewelry is light.

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often has a strong beat and can be danced in many taals. While proto-Kathak elements can be seen long before,

7278: 6533: 5746: 5651: 5576: 4757: 4679: 4134: 3572: 3540: 1268:. Kathak expressions – particularly in Hindu devotional styles – are more introverted and withdrawn, while 827:) to invoke Hindu gods and goddesses; while a Muslim performance replace the devotional expressions with a 7940: 7350: 6823: 6732: 6662: 6498: 6127: 5896: 5556: 4457: 977:

The expressiveness of Kathak is also found in other classical dances of India. Its roots are found in the

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Phillips (2013). "Becoming the Floor / Breaking the Floor: Experiencing the Kathak-Flamenco Connection".

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The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia

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Alternatively, there may be an image of a spiritual leader or someone that the Kathak artists revere.

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instated the first Kathak syllabus for degree programs. It was inspired by the diploma syllabus of

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The Jaipur gharana traces its origins to Bhanuji, a famed Shiva Tandava dancer who upon visiting

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tradition of Hinduism. The love between Radha and Krishna became symbolism for the love between

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of Kathak, which are mnemonic syllables within the language of this classical dance of India.

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A modern Kathak, in all three major sub-traditions called Lucknow, Benares and Jaipur styles (

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The term Kathakas in the sense of "storytellers" appears in ancient Hindu texts, such as the

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Textual studies suggest that "Kathak" as a classical dance form likely started in Banares (

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Followed by the scholars of the Vedas and Vedangas, and by those who ponder on their soul,

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Courtesans and Choreographers: The (Re) Placement of Women in the History of Kathak Dance

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is normally performed in a standing form with legs and torso typically straight, while

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when they saw Hindu audiences applaud and shout "Ram, Ram" during Kathak performances.

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Becoming the Floor/Breaking the Floor: Experiencing the Kathak-Flamenco Connection

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The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent

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Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge

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The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent

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The Muslim dress for female dancers also uses a skirt, but includes close fitting

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focus more on facial expressions and graceful hand movements. Stylistically, the

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Ang Kavya : Nomenclature for Hand Movements and Feet Positions in Kathak

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According to a BBC Arts article, Kathak is unique in being practiced by the

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Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory".

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Donors, Devotees, and Daughters of God: Temple Women in Medieval Tamilnadu

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Donors, Devotees, and Daughters of God: Temple Women in Medieval Tamilnadu

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Resonances of the Raj: India in the English Musical Imagination, 1897-1947

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performance is abstract, fast and rhythmic aspect of Kathak. In a Kathak

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form, and the Kathak dance performers were called the "nautch girls" (or

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dance form emphasizes rhythmic foot movements, adorned with small bells (

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Amrit Srinivasan (1983). "The Hindu Temple-dancer: Prostitute or Nun?".

8007: 7874: 7859: 7774: 7739: 7684: 7644: 7604: 7579: 7466: 7436: 7335: 7261:, Meghranjani Medhi, Section 1: Invocation of a three part Kathak dance 7127: 6884:"In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing" 6621: 6585: 6575: 6325: 6246: 6238: 6055: 5981: 5966: 5763: 5462: 5407: 5141: 5091: 5061: 5056: 4928: 4903: 4790: 4467: 4462: 4422: 4329: 4324: 4314: 4301: 4288: 4278: 4253: 4164: 4154: 3963: 3927: 3815: 3800: 3795: 3731: 3726: 3690: 3685: 3672: 2747: 2686:"Department of Kathak Dance | Indira Kala Sangeet Vishwavidyalaya" 1236: 1186: 1154: 896: 855: 767: 596:

acknowledged in both Hindu and Muslim music-related Indian literature.

592: 476: 259: 141: 1068:

performers, and find their sources in either Hindu or Muslim culture.

338:

dancers, in the ancient India, were traveling bards and were known as

7910: 7834: 7789: 7734: 7719: 7679: 7639: 7629: 7619: 7426: 7395: 7325: 6590: 6404: 5720: 5447: 5332: 5232: 5202: 5197: 5131: 5106: 4895: 4765: 4608: 4522: 4407: 4402: 4392: 4334: 4258: 4218: 4213: 4144: 4069: 4004: 3989: 3891: 3835: 3820: 3766: 3746: 3659: 3654: 3491: 1301: 1178: 378: 374: 366: 357: 356:– a form of rural theatre focussing on the tales of Hindu goddesses ( 251: 232: 7119: 1472: 1033:, or the Indian Epics. This form of expressiveness is also found in 729: 7844: 7749: 7744: 7729: 7624: 7609: 7589: 7499: 7476: 6607: 6477: 6242: 6199: 5754: 5292: 5156: 5066: 4913: 4867: 4847: 4527: 4512: 4452: 4442: 4427: 4412: 4387: 4238: 4208: 4094: 3994: 3825: 3790: 3761: 3756: 3751: 3736: 3664: 3101:

Bruno Nettl; Ruth M. Stone, James Porter and Timothy Rice (1998).

2722:"BBC Arts - Kathak: Does every gesture have a meaning? - BBC Arts" 1891:

Bruno Nettl; Ruth M. Stone, James Porter and Timothy Rice (1998).

1572:"BBC Arts - BBC Arts - Kathak: Does every gesture have a meaning?" 1220: 1191: 1133:(a pair of hand drums) that syncs with the dancer's feet rhythms, 1114: 1107: 1048: 968: 942: 847: 793: 763: 728: 480: 469: 431: 409: 309: 289: 196:

which means "the one who tells a story", or "to do with stories".

137: 7270: 483:). In subsequent years, the hasta was lowered to the bust level. 414:

Performance by Sharmila Sharma and Rajendra Kumar Gangani at the

5076: 4857: 4827: 4770: 4517: 4504: 4397: 3999: 3840: 3830: 3805: 3771: 3721: 3703: 1751:"BBC Arts - Kathak: Do every gesture have a meaning? - BBC Arts" 1323:

dance share many visual, rhythmic and kinesthetic similarities.

1319:

According to Miriam Phillips, the Indian Kathak and the Spanish

820: 541:

by persons skilled in music, by the devotees of Bhagavata, (...)

7274: 1264:

in several ways, even though both have roots in the Hindu text

1105:

The Hindu dress for male Kathak performers is typically a silk

858:

on the stage's left with flowers and perfumed incense burning.

22: 2479:

When Sun Meets Moon: Gender, Eros, and Ecstasy in Urdu Poetry

2115: 2113: 2111: 1312:

has relatively more recent origins, more closely follows the

1119:

A tabla drummer and other musicians play for a kathak dancer.

547:(reciters of the sacred lore), by dwellers of forests, (...) 394:"Bells Of Change: Kathak Dance, Women And Modernity In India" 172:. Its origin is attributed to the traveling bards in ancient 2839: 2837: 2835: 2326:

The Mahabharata, Volume 1: Book 1: The Book of the Beginning

2299:

The Mahabharata, Volume 1: Book 1: The Book of the Beginning

266:

focuses more on the foot movements, the Banaras and Lucknow

3944: 3481: 2914: 2912: 1987:

Bells Of Change: Kathak Dance, Women And Modernity In India

1076:

covers the upper body. The artist may wear a scarf (called

674:, a derivative of the more difficult to pronounce Sanskrit 3347:

Peter J. Claus; Sarah Diamond; Margaret Ann Mills (2003).

3156: 3154: 3152: 3150: 3084: 3082: 2990: 2988: 2986: 2984: 2982: 2980: 184:

through dance, songs and music. Its name derives from the

3408:

Kathakali Dance-drama: Where Gods and Demons Come to Play

1726:

Movement in Stills: The Dance and Life of Kumudini Lakhia

1623:"Kathak Dance Puts Hinduism and Islam in the Same Circle" 1505:

Movement in Stills: The Dance and Life of Kumudini Lakhia

284:

is a performance art that has survived and thrived as an

2482:. University of North Carolina Press. pp. 228–230. 2213:. University of South Carolina Press. pp. 138–139. 1634: 1632: 2931: 2929: 2927: 770:

school, considers Kathak as a "confluence of Hindu and

400:"The Tawaif And The Item Girl: A Struggle For Identity" 352:

has inspired simplified regional variants, such as the

326:) which means "story, conversation, traditional tale". 7203:

Shivvangini Classes Shiva Mathur(Lucknow Kathak Dance)

1886: 1884: 1473:"'Kathak — India's only secular classical dance form'" 438:

tending to virtue, wealth, joy and spiritual freedom,

226:

dance and actively promoted it in their royal courts.

2010:

Munsi, Chakraborty, Urmimala Sankar, Aishika (2017).

1882: 1880: 1878: 1876: 1874: 1872: 1870: 1868: 1866: 1864: 1784:. Oxford University Press. pp. 97 footnote 72. 1537: 1535: 1533: 1531: 1529: 1527: 1525: 1284:, half sitting position that is somewhat similar to 916:) and tempos, and the footwork sequences are called 440:

it must contain the significance of every scripture

7995: 7949: 7919: 7893: 7485: 7454: 7409: 7358: 7349: 7308: 3319:(in German). LIT Verlag Münster. pp. 290–291. 2884: 2882: 2083: 2081: 740:The Kathak revival movements co-developed in Hindu 180:("storyteller"), who communicated stories from the 147: 129: 119: 3405: 3239: 3177: 2621: 2210:Sonic Liturgy: Ritual and Music in Hindu Tradition 2155: 1919: 1809: 1686: 1684: 1682: 1680: 1678: 1676: 1674: 1543: 7229:Kathak Volume-1 A Theoretical and Practical Guide 7022:Classical Indian dance in literature and the arts 3281: 3279: 2854: 2852: 1803: 1801: 762:of the India, and thus has a "historical link to 549:by those who sweetly recite celestial histories. 381:" dancers by the British. Their history as 292:, but stagnated and went into decline during the 114:Shinjini Kulkarni presenting a kathak performance 70:for phonetic transcriptions, with an appropriate 7060:Aesthetic theories and forms in Indian tradition 3342: 3340: 3338: 3336: 3272:https://www.auchitya.com/kathak-banaras-gharana/ 2971: 2716: 2714: 2653: 2651: 2649: 2534: 2532: 2530: 2528: 2526: 2471: 2469: 2167: 2094:. Rowman & Littlefield. pp. xxii, 165. 1773: 1771: 1550:. The Rosen Publishing Group. pp. 358–359. 3233: 3231: 3229: 3171: 3169: 882:(mnemonic syllables in Indian tradition). Each 637: 492: 422: 3062:The Unity of Music and Dance in World Cultures 3010:The Unity of Music and Dance in World Cultures 2815:India's Kathak Dance in Historical Perspective 2775:India's Kathak Dance in Historical Perspective 2661:India's Kathak Dance in Historical Perspective 2542:India's Kathak Dance in Historical Perspective 2366:India's Kathak Dance in Historical Perspective 2291: 2289: 2243:India's Kathak Dance in Historical Perspective 2119: 1844:India's Kathak Dance in Historical Perspective 1697:. Rowman & Littlefield. pp. 165–168. 1400:Sushmita Banerjee performing with her students 1173:Kathak is a diffuse tradition, of which three 531: 525: 515: 508: 502: 495: 220:childhood and stories of the Hindu god Krishna 7286: 7191:Swinging Syllables Aesthetics of Kathak Dance 6824: 3399: 3397: 2572:. Oxford University Press. pp. 5, 8–17. 1953: 1951: 1949: 1947: 1718: 1716: 1714: 1546:The Illustrated Encyclopedia of Hinduism: A-M 8: 7227:Marami Medhi & Debasish Talukdar (2022) 6936:India's Kathak Dance - Past, Present, Future 3441:(3). University of Illinois Press: 396–427. 2358: 2356: 2354: 2352: 2350: 2302:. University of Chicago Press. p. 500. 2143: 2034:: CS1 maint: multiple names: authors list ( 1497: 1495: 1493: 1177:(schools) are more well known and studied – 100: 2947: 2918: 2509:. Oxford University Press. pp. 11–13. 2131: 1203:for contributions to Indian classical dance 527:दिव्याख्यानानि ये चापि पठन्ति मधुरं द्विजाः 7355: 7293: 7279: 7271: 6831: 6817: 3460: 2807: 2805: 2803: 2801: 2799: 2797: 2795: 504:चौक्षाश्च भगवद्भक्ताः सूताः पौराणिकाश्च ये 108: 99: 6957:Sanskrit Play Production in Ancient India 2413:. Rowman & Littlefield. p. 166. 912:is perfectly timed to the musical beats ( 838:, while the expressive dance is called a 603:) – around legends and texts such as the 430:Let Nātya (drama and dance) be the fifth 385:dancers have been erased in modern India 242:is found in four distinct forms, called " 168:: कथक) is one of the nine major forms of 2843: 2701:"In tune with the old world - The Hindu" 2624:The Reader's Encyclopedia of World Drama 2433: 2064: 2062: 1638: 1597:"Kathak, The Indo-Persian Dance Style |" 774:", and has presented her performance in 497:वेदवेदाङ्गविद्वांसस्तथैवाध्यात्मचिन्तकाः 331:other parts of the Indian subcontinent. 7210:, Bindu Publications, Indore, MP, India 5708:Sources and classification of scripture 3472: 3129:"Sunil performs 'the Naayak' in Kathak" 1926:. Cambridge University Press. pp. 1816:. Cambridge University Press. pp. 1464: 1435: 1330: 7193:, New Delhi, Hope India Publications, 3220: 3208: 3160: 3088: 2994: 2959: 2935: 2628:. Courier Dover Publications. p. 2180:Cheris Kramarae; Dale Spender (2004). 2073:. Harvard University Press. p. 4. 2027: 1021:(song, recitation, music and rhythm), 801:is a swirling part, here performed by 7161:, New Delhi, Har-Anand, photographs, 4330:Anupalabdi (non-perception, negation) 4325:Arthāpatti (postulation, presumption) 3350:South Asian Folklore: An Encyclopedia 2595:The Cambridge Journal of Anthropology 2270:Rhythmic Echos and Reflections KATHAK 1601:Asian Traditional Theatre & Dance 1280:extensively utilizes bent knee form ( 623:with the existing traditional dance. 18:Classical dance form from North India 7: 3292:. Abhinav Publications. p. 59. 2862:Traditions of Indian classical dance 2620:Gassner, John; Edward Quinn (2002). 2410:The Encyclopedia of World Folk Dance 2091:The Encyclopedia of World Folk Dance 2069:Coormaraswamy and Duggirala (1917). 1694:The Encyclopedia of World Folk Dance 1258:dance differs from the south Indian 998:of Nandikeshvara (~2nd century CE). 246:", named after the cities where the 218:, particularly by incorporating the 7267:, Shinjini Kulkarni, Aarohan (2015) 7138:, Abhinav Publications, New Delhi. 6981:Indian Music: History and Structure 2865:. Clarion Books. pp. 136–138. 1272:is more extroverted and expansive. 475:The 2nd century BC panels found in 7136:Kathak: Indian Classical Dance Art 6864:Drama and Ritual of Early Hinduism 3289:Kathak, Indian Classical Dance Art 1153:The ancient music genre of India, 60:for transliterated languages, and 40:of its non-English content, using 14: 3447:10.5406/ethnomusicology.57.3.0396 3412:. Routledge. pp. xi, 17–19. 3007:Akombo, David (26 January 2016). 1250:Relationship with other art forms 1009:(sentiment, emotional taste) and 7148:Kippen, James and Bel, Andreine 6798: 3480: 3246:. Motilal Banarsidass. pp. 3184:. Motilal Banarsidass. pp. 2014:. Primus Books. pp. 65–80. 2012:The Moving Space: Women in Dance 1393: 1381: 1369: 1357: 1345: 1333: 27: 8054:Classical dance genres of India 3380:. Greenwood. pp. 171–172. 3353:. Routledge. pp. 332–333. 3107:. Routledge. pp. 331–343. 2369:. Routledge. pp. 100–102. 1897:. Routledge. pp. 493–494. 1657:. Routledge. pp. 170–175. 1141:(hand cymbals) that meters the 1025:(dress, make-up, jewelry), and 579:devotee named Ishwari from the 6854:10.1093/obo/9780195399318-0071 3568:Epic-Puranic royal genealogies 2746:Noorani, Asif (6 April 2016). 2699:Rajan, Anjana (30 July 2015). 2664:. Routledge. pp. 99–102. 1922:The Cambridge Guide to Theatre 1812:The Cambridge Guide to Theatre 1017:(gestures and body language), 874:performance starts off with a 696:The Wrongs of Indian Womanhood 76:multilingual support templates 1: 6629:Other society-related topics: 4320:Upamāṇa (comparison, analogy) 3313:Nicole Manon Lehmann (2010). 2545:. Routledge. pp. 94–98. 2407:Mary Ellen Snodgrass (2016). 2272:. India: Roli Books Pvt Ltd. 2088:Mary Ellen Snodgrass (2016). 1985:Chakravorty, Pallabi (2008). 1691:Mary Ellen Snodgrass (2016). 520:श्चापरे राजञ्श्रमणाश्च वनौकसः 436:Combined with an epic story, 6740:Hinduism and other religions 5537:Chandrashekarendra Saraswati 3404:Phillip B. Zarrilli (2000). 3377:Culture and Customs of India 2895:. Infobase. pp. 45–46. 2446:Jonathan Gil Harris (2015). 2323:J.A.B. van Buitenen (2011). 2296:J.A.B. van Buitenen (2011). 1542:James G. Lochtefeld (2002). 733:State of 'sam' performed by 425:Performance arts and culture 373:Thumri was developed by the 7901:Hindi cinema song and dance 7108:Educational Theatre Journal 6848:. Oxford University Press. 6485:Kamba Ramayanam/Ramavataram 6457:Naalayira Divya Prabandham 4185:Arishadvargas (six enemies) 4129:Antaḥkaraṇa (mental organs) 4124:Sūkṣma śarīra (subtle body) 3374:Carol E. Henderson (2002). 2812:Margaret E. Walker (2016). 2772:Margaret E. Walker (2016). 2658:Margaret E. Walker (2016). 2539:Margaret E. Walker (2016). 2393:Sangita ratnakara chapter 4 2363:Margaret E. Walker (2016). 2240:Margaret E. Walker (2016). 1841:Margaret E. Walker (2016). 834:The pure dance is called a 778:. In contrast, states BBC, 388:Pallabi Chakravorty. (2008) 377:community who were called " 8075: 7154:, Bansuri, Volume 13, 1996 6361:Naalayira Divya Prabandham 5041:Gurus, sants, philosophers 4977:Akshar Purushottam Darshan 4165:Uparati (self-settledness) 3065:. McFarland. p. 164. 2246:. Routledge. pp. ix. 2186:. Routledge. p. 296. 1964:. Routledge. p. 955. 1654:Encyclopedia of Percussion 659:Anthropology and the Dance 300:Etymology and nomenclature 250:dance tradition evolved – 230:performances include Urdu 7176:, New Delhi, Radha Pub., 7157:Pt. Birju Maharaj (2002) 7058:Kapila Vatsyayan (2008). 7045:. Sangeet Natak Akademi. 7041:Kapila Vatsyayan (1974). 7024:. Sangeet Natak Akademi. 7020:Kapila Vatsyayan (1977). 6999:Kapila Vatsyayan (2001). 6933:Massey, Reginald (1999). 6903:10.1080/08949460490274013 5527:Bhaktisiddhanta Sarasvati 4180:Samadhana (concentration) 4044:Three paths to liberation 3551:Tribal religions in India 3536:Historical Vedic religion 3531:Indus Valley Civilisation 2268:Narayan, Shovana (1998). 1340:Kathak Facial Expressions 591:, who credited Hindu God 532: 526: 516: 509: 503: 496: 323: 192:which means "story", and 107: 8049:Culture of Uttar Pradesh 7255:, Mariam Phillips (2013) 7249:, Margaret Walker (2010) 7213:Narayan, Shovana (2004) 7091:. Abhinav Publications. 7088:Dance In Indian Painting 7062:. Munshiram Manoharlal. 7002:Bharata, the Nāṭyaśāstra 6939:. Abhinav Publications. 4356:, sacrifice, and charity 3211:, pp. 36–43, 54–55. 2889:Janet Descutner (2010). 2818:. Routledge. p. 2. 2778:. Routledge. p. 8. 1847:. Routledge. p. 5. 1376:Kathak Group Performance 689:Church Missionary Review 6960:. Motilal Banarsidass. 6897:(1). Routledge: 69–98. 6882:Williams, Drid (2004). 6867:. Motilal Banarsidass. 6861:Natalia Lidova (1994). 6844:Natalia Lidova (2014). 6534:Thiruvilaiyadal Puranam 5747:Timeline of Hindu texts 5652:Siddharameshwar Maharaj 4680:Pumsavana Simantonayana 4335:Śabda (word, testimony) 3573:Epic-Puranic chronology 3541:Dravidian folk religion 3242:Dance Dialects of India 3180:Dance Dialects of India 3039:www.fancydressnoida.com 2156:Emmie Te Nijenhuis 1974 2134:, pp. xxiv, 19–20. 2071:"The Mirror of Gesture" 1388:Kathak Duet Performance 1294:is also different from 1064:The dresses vary among 755:at Bhatkhande College. 442:and forward every art. 7134:Kothari, Sunil (1989) 7043:Indian classical dance 6499:Eighteen Greater Texts 6128:Brahma Vaivarta Purana 5557:Krishnananda Saraswati 4796:Vijayadashami-Dussehra 4310:Pratyakṣa (perception) 4170:Titiksha (forbearance) 3286:Sunil Kothari (1989). 2566:Leslie C. Orr (2000). 2503:Leslie C. Orr (2000). 2452:. Aleph. p. 149. 1958:Ellen Koskoff (2008). 1918:Martin Banham (1995). 1808:Martin Banham (1995). 1778:Nalini Ghuman (2014). 1314:Hastha Lakshanadeepika 1204: 1120: 1061: 974: 956: 805: 753:Mohanrao Kallianpurkar 737: 663: 561: 445: 419: 170:Indian classical dance 124:Indian classical dance 7820:Poikkal Kuthiraiattam 7208:Kathak Nritya Shiksha 6615:Varna-related topics: 6506:Eighteen Lesser Texts 6079:Devi Bhagavata Purana 4970:Svabhavika Bhedabheda 4956:Achintya Bheda Abheda 4888:Philosophical schools 4190:Ahamkara (attachment) 4150:Vairagya (dispassion) 4078:Mokṣa-related topics: 3059:David Akombo (2016). 2974:, pp. 94, 90–96. 2972:Kapila Vatsyayan 1974 2859:Mohan Khokar (1984). 2168:Kapila Vatsyayan 2001 2075:; Also see chapter 36 2055:. Sanskrit Documents. 1651:John H. Beck (2013). 1228:'s Shiva-Parvati and 1195: 1118: 1052: 972: 955:dance, in Hindu dress 946: 797: 732: 721:Post-independence era 461:, attributed to sage 413: 7265:A Kathak performance 7172:Bharti Gupta (2004) 7151:Lucknow Kathak Dance 6954:Tarla Mehta (1995). 6747:Hinduism and Jainism 5677:Vethathiri Maharishi 5582:Nisargadatta Maharaj 4145:Viveka (discernment) 3520:(500/200 BCE–300 CE) 3238:Ragini Devi (1990). 3176:Ragini Devi (1990). 2476:Scott Kugle (2016). 2207:Guy L. Beck (2012). 1729:. Mapin. p. 9. 1508:. Mapin. p. 8. 558:, Mahabharat, Book 1 294:British colonial era 74:. Knowledge (XXG)'s 38:specify the language 36:This article should 7316:Perini Sivatandavam 7187:Sushil Kumar Saxena 7005:. Sahitya Akademi. 6891:Visual Anthropology 6805:Hinduism portal 6684:Hinduism by country 6520:Iraiyanar Akapporul 6464:Tirumurukāṟṟuppaṭai 5547:Dayananda Saraswati 5532:Bhaktivinoda Thakur 5438:Sripada Srivallabha 5378:Raghunatha Siromani 5343:Narasimha Saraswati 5243:Santadas Kathiababa 4315:Anumāṇa (inference) 2120:Natalia Lidova 2014 1723:Reena Shah (2006). 1502:Reena Shah (2006). 1199:, recipient of the 567:Bhakti movement era 262:. While the Jaipur 214:evolved during the 104: 8059:Dances of Pakistan 8044:Rajasthani culture 7206:Dr. Puru Dadheech 7085:Kapila Vatsyayan. 6984:. BRILL Academic. 6976:Emmie Te Nijenhuis 6699:Caribbean Shaktism 6418:Kanakadhara Stotra 5667:U. G. Krishnamurti 5647:Satyadhyana Tirtha 5238:Gangesha Upadhyaya 4896:Six Astika schools 4140:Ānanda (happiness) 4119:Anātman (non-self) 1989:. India: Seagull. 1205: 1137:or harmonium with 1121: 1062: 975: 973:Facial expressions 957: 935:Expressive dance ( 806: 738: 556:Adi Parva CCVI.2-3 420: 204:facial expressions 8016: 8015: 7906:Hindi dance songs 7450: 7449: 7098:978-81-7017-153-9 7036:Table of Contents 7012:978-81-260-1220-6 6967:978-81-208-1057-0 6874:978-81-208-1234-5 6841: 6840: 6692:Balinese Hinduism 6191:Markandeya Purana 5428:Satyanatha Tirtha 5383:Raghuttama Tirtha 5373:Raghavendra Swami 5213:Ramdas Kathiababa 4294:Sources of dharma 4160:Dama (temperance) 4155:Sama (equanimity) 3521: 3419:978-0-415-13109-4 3387:978-0-313-30513-9 3360:978-0-415-93919-5 3326:978-3-643-10252-2 3299:978-81-7017-223-9 3257:978-81-208-0674-0 3223:, pp. 26–28. 3195:978-81-208-0674-0 3163:, pp. 25–26. 3114:978-0-8240-4946-1 3091:, pp. 31–32. 3072:978-1-4766-2269-9 2997:, pp. 30–31. 2962:, pp. 10–13. 2902:978-1-4381-3078-1 2846:, pp. 85–86. 2825:978-1-317-11737-7 2785:978-1-317-11737-7 2671:978-1-317-11737-7 2579:978-0-19-535672-4 2552:978-1-317-11737-7 2516:978-0-19-535672-4 2489:978-1-4696-2678-9 2420:978-1-4422-5749-8 2376:978-1-317-11737-7 2340:978-0-226-21754-3 2309:978-0-226-21754-3 2253:978-1-317-11737-7 2220:978-1-61117-108-2 2193:978-1-135-96315-6 2144:Wallace Dace 1963 2101:978-1-4422-5749-8 1971:978-0-415-99404-0 1937:978-0-521-43437-9 1904:978-0-8240-4946-1 1854:978-1-317-11737-7 1827:978-0-521-43437-9 1791:978-0-19-931489-8 1736:978-81-88204-42-7 1704:978-1-4422-5749-8 1664:978-1-317-74768-0 1557:978-0-8239-3179-8 1515:978-81-88204-42-7 1254:The north Indian 1163:Gundecha Brothers 1060:, in Muslim dress 996:Abhinaya Darpanam 986:connects through 799:Chakkarwala tukra 401: 395: 389: 308:is rooted in the 157: 156: 98: 97: 78:may also be used. 8066: 8039:Culture of Delhi 8034:Culture of Awadh 7967:Himachal Pradesh 7870:Thitambu Nritham 7356: 7295: 7288: 7281: 7272: 7131: 7102: 7081: 7054: 7033: 7016: 6995: 6971: 6950: 6929: 6927: 6925: 6919: 6913:. Archived from 6888: 6878: 6857: 6833: 6826: 6819: 6803: 6802: 6801: 6763:and Christianity 6733:Pilgrimage sites 6663:Reform movements 6541:Vinayagar Agaval 6492:Five Great Epics 6441:Tamil literature 6340:Sushruta Samhita 6135:Bhavishya Purana 6121:Brahmanda Purana 6072:Bhagavata Purana 6000:Other scriptures 5562:Mahavatar Babaji 5137:Satyakama Jabala 4808:Ganesh Chaturthi 4662:Rites of passage 4175:Shraddha (faith) 3593:Major traditions 3519: 3484: 3461: 3451: 3450: 3430: 3424: 3423: 3411: 3401: 3392: 3391: 3371: 3365: 3364: 3344: 3331: 3330: 3310: 3304: 3303: 3283: 3274: 3268: 3262: 3261: 3245: 3235: 3224: 3218: 3212: 3206: 3200: 3199: 3183: 3173: 3164: 3158: 3145: 3144: 3142: 3140: 3131:. Archived from 3125: 3119: 3118: 3098: 3092: 3086: 3077: 3076: 3056: 3050: 3049: 3047: 3045: 3031: 3025: 3024: 3004: 2998: 2992: 2975: 2969: 2963: 2957: 2951: 2948:Tarla Mehta 1995 2945: 2939: 2933: 2922: 2919:Tarla Mehta 1995 2916: 2907: 2906: 2886: 2877: 2876: 2856: 2847: 2841: 2830: 2829: 2809: 2790: 2789: 2769: 2763: 2762: 2760: 2758: 2743: 2737: 2736: 2734: 2732: 2718: 2709: 2708: 2696: 2690: 2689: 2682: 2676: 2675: 2655: 2644: 2643: 2627: 2617: 2611: 2610: 2590: 2584: 2583: 2563: 2557: 2556: 2536: 2521: 2520: 2500: 2494: 2493: 2473: 2464: 2463: 2443: 2437: 2431: 2425: 2424: 2404: 2398: 2397: 2387: 2381: 2380: 2360: 2345: 2344: 2320: 2314: 2313: 2293: 2284: 2283: 2265: 2259: 2257: 2237: 2231: 2230: 2204: 2198: 2197: 2177: 2171: 2165: 2159: 2158:, pp. 1–25. 2153: 2147: 2141: 2135: 2132:Tarla Mehta 1995 2129: 2123: 2117: 2106: 2105: 2085: 2076: 2074: 2066: 2057: 2056: 2054: 2046: 2040: 2039: 2033: 2025: 2007: 2001: 2000: 1982: 1976: 1975: 1955: 1942: 1941: 1925: 1915: 1909: 1908: 1888: 1859: 1858: 1838: 1832: 1831: 1815: 1805: 1796: 1795: 1775: 1766: 1765: 1763: 1761: 1747: 1741: 1740: 1720: 1709: 1708: 1688: 1669: 1668: 1648: 1642: 1636: 1627: 1626: 1619: 1613: 1612: 1610: 1608: 1603:. 2 October 2017 1593: 1587: 1586: 1584: 1582: 1568: 1562: 1561: 1549: 1539: 1520: 1519: 1499: 1488: 1487: 1485: 1483: 1469: 1453: 1450: 1444: 1440: 1397: 1385: 1373: 1361: 1349: 1337: 1100:churidar pyjamas 1031:Bhagavata Purana 947:The expressive ( 815:The invocation ( 760:Muslim community 661: 617:Sangitaratnakara 605:Bhagavata Purana 559: 535: 534: 529: 528: 522: 521: 512: 511: 506: 505: 499: 498: 453: 399: 393: 387: 325: 112: 105: 93: 90: 84: 69: 63: 59: 53: 49: 43: 31: 30: 23: 8074: 8073: 8069: 8068: 8067: 8065: 8064: 8063: 8019: 8018: 8017: 8012: 7991: 7945: 7935:Abhinavabharati 7915: 7889: 7760:Mardana Jhumair 7481: 7446: 7405: 7345: 7304: 7299: 7243: 7217:, Wisdom Tree, 7120:10.2307/3204783 7105: 7099: 7084: 7070: 7057: 7040: 7019: 7013: 6998: 6992: 6974: 6968: 6953: 6947: 6932: 6923: 6921: 6920:on 4 March 2016 6917: 6886: 6881: 6875: 6860: 6843: 6837: 6799: 6797: 6778: 6777: 6771: 6741: 6707: 6686: 6678: 6668: 6667: 6630: 6563: 6555: 6547: 6546: 6443: 6411: 6333:Charaka Samhita 6312:Vaiśeṣika Sūtra 6270:Shilpa Shastras 6249: 6202: 6086:Naradiya Purana 6058: 6053: 6028: 6002: 5961: 5825: 5757: 5741: 5710: 5702: 5692: 5691: 5637:Shirdi Sai Baba 5632:Sathya Sai Baba 5612:Ramana Maharshi 5516: 5483:Vadiraja Tirtha 5478:Vācaspati Miśra 5358:Srinivasacharya 5338:Narahari Tirtha 5318:Matsyendranatha 5303:Kumārila Bhaṭṭa 5268:Jagannatha Dasa 5258:Haridasa Thakur 5172: 5051: 5043: 5033: 5032: 4988: 4949:Vishishtadvaita 4898: 4890: 4880: 4879: 4833:Makar Sankranti 4813:Vasant Panchami 4776:Maha Shivaratri 4760: 4664: 4573: 4507: 4476: 4357: 4348: 4340: 4339: 4304: 4198: 4135:Prajña (wisdom) 4131: 4108: 4072: 4046: 4015: 3984: 3982:Meaning of life 3969:God in Hinduism 3958: 3922: 3920:Supreme reality 3897:Subtle elements 3886: 3867: 3861: 3851: 3850: 3706: 3675: 3649: 3641: 3631: 3630: 3627: 3594: 3588: 3578: 3577: 3522: 3517:Hindu synthesis 3513: 3508: 3459: 3454: 3435:Ethnomusicology 3432: 3431: 3427: 3420: 3403: 3402: 3395: 3388: 3373: 3372: 3368: 3361: 3346: 3345: 3334: 3327: 3312: 3311: 3307: 3300: 3285: 3284: 3277: 3270:"Kathak Dance" 3269: 3265: 3258: 3237: 3236: 3227: 3219: 3215: 3207: 3203: 3196: 3175: 3174: 3167: 3159: 3148: 3138: 3136: 3135:on 11 July 2019 3127: 3126: 3122: 3115: 3100: 3099: 3095: 3087: 3080: 3073: 3058: 3057: 3053: 3043: 3041: 3033: 3032: 3028: 3021: 3006: 3005: 3001: 2993: 2978: 2970: 2966: 2958: 2954: 2946: 2942: 2934: 2925: 2917: 2910: 2903: 2888: 2887: 2880: 2873: 2858: 2857: 2850: 2842: 2833: 2826: 2811: 2810: 2793: 2786: 2771: 2770: 2766: 2756: 2754: 2745: 2744: 2740: 2730: 2728: 2720: 2719: 2712: 2698: 2697: 2693: 2684: 2683: 2679: 2672: 2657: 2656: 2647: 2640: 2619: 2618: 2614: 2592: 2591: 2587: 2580: 2565: 2564: 2560: 2553: 2538: 2537: 2524: 2517: 2502: 2501: 2497: 2490: 2475: 2474: 2467: 2460: 2445: 2444: 2440: 2432: 2428: 2421: 2406: 2405: 2401: 2389: 2388: 2384: 2377: 2362: 2361: 2348: 2341: 2322: 2321: 2317: 2310: 2295: 2294: 2287: 2280: 2267: 2266: 2262: 2254: 2239: 2238: 2234: 2221: 2206: 2205: 2201: 2194: 2179: 2178: 2174: 2166: 2162: 2154: 2150: 2142: 2138: 2130: 2126: 2118: 2109: 2102: 2087: 2086: 2079: 2068: 2067: 2060: 2052: 2048: 2047: 2043: 2026: 2022: 2009: 2008: 2004: 1997: 1984: 1983: 1979: 1972: 1957: 1956: 1945: 1938: 1917: 1916: 1912: 1905: 1890: 1889: 1862: 1855: 1840: 1839: 1835: 1828: 1807: 1806: 1799: 1792: 1777: 1776: 1769: 1759: 1757: 1749: 1748: 1744: 1737: 1722: 1721: 1712: 1705: 1690: 1689: 1672: 1665: 1650: 1649: 1645: 1637: 1630: 1621: 1620: 1616: 1606: 1604: 1595: 1594: 1590: 1580: 1578: 1570: 1569: 1565: 1558: 1541: 1540: 1523: 1516: 1501: 1500: 1491: 1481: 1479: 1471: 1470: 1466: 1462: 1457: 1456: 1451: 1447: 1441: 1437: 1432: 1408: 1401: 1398: 1389: 1386: 1377: 1374: 1365: 1362: 1353: 1350: 1341: 1338: 1329: 1252: 1197:Shovana Narayan 1171: 1151: 1126: 1047: 951:) stage of the 941: 868: 792: 772:Muslim cultures 735:Manisha Gulyani 723: 684: 682:British Raj era 662: 657:Drid Williams, 656: 629: 577:Bhakti movement 569: 560: 554: 551: 548: 542: 540: 538: 537: 524: 514: 501: 455: 447: 444: 441: 439: 437: 435: 432:vedic scripture 418:(November 2007) 408: 302: 216:Bhakti movement 115: 94: 88: 85: 79: 67: 61: 57: 55:transliteration 51: 47: 41: 32: 28: 19: 12: 11: 5: 8072: 8070: 8062: 8061: 8056: 8051: 8046: 8041: 8036: 8031: 8021: 8020: 8014: 8013: 8011: 8010: 8005: 7999: 7997: 7993: 7992: 7990: 7989: 7984: 7979: 7974: 7969: 7964: 7959: 7957:Andhra Pradesh 7953: 7951: 7947: 7946: 7944: 7943: 7938: 7931: 7923: 7921: 7917: 7916: 7914: 7913: 7908: 7903: 7897: 7895: 7891: 7890: 7888: 7887: 7882: 7877: 7872: 7867: 7862: 7857: 7852: 7847: 7842: 7837: 7832: 7827: 7822: 7817: 7812: 7807: 7802: 7797: 7792: 7787: 7782: 7777: 7772: 7767: 7762: 7757: 7752: 7747: 7742: 7737: 7732: 7727: 7722: 7717: 7712: 7707: 7702: 7697: 7692: 7687: 7682: 7677: 7672: 7667: 7662: 7657: 7652: 7647: 7642: 7637: 7632: 7627: 7622: 7617: 7612: 7607: 7602: 7597: 7592: 7587: 7582: 7577: 7572: 7567: 7562: 7557: 7552: 7547: 7545:Chakyar koothu 7542: 7537: 7532: 7527: 7522: 7517: 7512: 7507: 7502: 7496: 7494: 7483: 7482: 7480: 7479: 7474: 7469: 7464: 7458: 7456: 7452: 7451: 7448: 7447: 7445: 7444: 7439: 7434: 7429: 7424: 7419: 7413: 7411: 7407: 7406: 7404: 7403: 7398: 7393: 7388: 7383: 7378: 7373: 7368: 7362: 7360: 7353: 7347: 7346: 7344: 7343: 7338: 7333: 7328: 7323: 7318: 7312: 7310: 7306: 7305: 7302:Dance in India 7300: 7298: 7297: 7290: 7283: 7275: 7269: 7268: 7262: 7259:Ganesh Vandana 7256: 7250: 7242: 7241:External links 7239: 7238: 7225: 7211: 7204: 7201: 7184: 7170: 7155: 7146: 7132: 7114:(3): 249–254. 7103: 7097: 7082: 7069:978-8187586357 7068: 7055: 7038: 7017: 7011: 6996: 6990: 6972: 6966: 6951: 6945: 6930: 6879: 6873: 6858: 6839: 6838: 6836: 6835: 6828: 6821: 6813: 6810: 6809: 6808: 6807: 6794: 6793: 6788: 6780: 6779: 6776: 6775: 6769: 6743: 6742: 6739: 6736: 6735: 6730: 6725: 6720: 6715: 6709: 6708: 6705: 6702: 6701: 6695: 6694: 6688: 6687: 6682: 6679: 6674: 6673: 6670: 6669: 6666: 6665: 6660: 6655: 6650: 6645: 6644: 6643: 6636:Discrimination 6632: 6631: 6628: 6625: 6624: 6618: 6617: 6611: 6610: 6604: 6603: 6594: 6593: 6588: 6583: 6578: 6572: 6571: 6565: 6564: 6559: 6556: 6553: 6552: 6549: 6548: 6545: 6544: 6537: 6530: 6527:Abirami Antati 6523: 6516: 6509: 6502: 6495: 6488: 6481: 6474: 6467: 6460: 6453: 6445: 6444: 6439: 6436: 6435: 6428: 6421: 6413: 6412: 6403: 6400: 6399: 6392: 6385: 6378: 6375:Ramcharitmanas 6371: 6364: 6357: 6350: 6343: 6336: 6329: 6326:Pramana Sutras 6322: 6315: 6308: 6301: 6298:Mimamsa Sutras 6294: 6291:Samkhya Sutras 6287: 6280: 6273: 6266: 6259: 6256:Dharma Shastra 6251: 6250: 6237: 6234: 6233: 6226: 6219: 6212: 6204: 6203: 6198: 6195: 6194: 6187: 6180: 6173: 6166: 6159: 6152: 6145: 6138: 6131: 6124: 6117: 6110: 6103: 6096: 6089: 6082: 6075: 6068: 6060: 6059: 6054: 6049: 6046: 6045: 6038: 6030: 6029: 6024: 6021: 6020: 6012: 6004: 6003: 5998: 5995: 5994: 5989: 5984: 5979: 5974: 5969: 5963: 5962: 5957: 5954: 5953: 5946: 5939: 5931: 5930: 5924: 5923: 5916: 5908: 5907: 5901: 5900: 5893: 5890:Shvetashvatara 5886: 5879: 5872: 5865: 5862:Brihadaranyaka 5857: 5856: 5850: 5849: 5842: 5834: 5833: 5827: 5826: 5821: 5818: 5817: 5812: 5807: 5802: 5796: 5795: 5789: 5788: 5781: 5774: 5767: 5759: 5758: 5753: 5750: 5749: 5743: 5742: 5737: 5734: 5733: 5728: 5723: 5718: 5712: 5711: 5706: 5703: 5698: 5697: 5694: 5693: 5690: 5689: 5684: 5679: 5674: 5672:Upasni Maharaj 5669: 5664: 5659: 5654: 5649: 5644: 5639: 5634: 5629: 5624: 5619: 5614: 5609: 5604: 5599: 5594: 5589: 5584: 5579: 5574: 5569: 5564: 5559: 5554: 5549: 5544: 5539: 5534: 5529: 5524: 5518: 5517: 5514: 5511: 5510: 5505: 5500: 5498:Vedanta Desika 5495: 5490: 5485: 5480: 5475: 5470: 5465: 5460: 5455: 5450: 5445: 5440: 5435: 5430: 5425: 5420: 5418:Samarth Ramdas 5415: 5410: 5405: 5400: 5395: 5390: 5385: 5380: 5375: 5370: 5368:Purandara Dasa 5365: 5360: 5355: 5353:Nimbarkacharya 5350: 5345: 5340: 5335: 5330: 5325: 5320: 5315: 5310: 5305: 5300: 5295: 5290: 5285: 5280: 5275: 5273:Jayanta Bhatta 5270: 5265: 5260: 5255: 5250: 5245: 5240: 5235: 5230: 5225: 5220: 5215: 5210: 5205: 5200: 5195: 5190: 5185: 5180: 5174: 5173: 5168: 5165: 5164: 5159: 5154: 5149: 5144: 5139: 5134: 5129: 5124: 5119: 5114: 5109: 5104: 5099: 5094: 5089: 5084: 5079: 5074: 5069: 5064: 5059: 5053: 5052: 5047: 5044: 5039: 5038: 5035: 5034: 5031: 5030: 5025: 5024: 5023: 5013: 5012: 5011: 5006: 5001: 4990: 4989: 4986: 4983: 4982: 4981: 4980: 4973: 4966: 4959: 4952: 4945: 4938: 4926: 4921: 4916: 4911: 4906: 4900: 4899: 4894: 4891: 4886: 4885: 4882: 4881: 4878: 4877: 4872: 4871: 4870: 4865: 4860: 4850: 4845: 4840: 4835: 4830: 4825: 4820: 4815: 4810: 4805: 4803:Raksha Bandhan 4800: 4799: 4798: 4793: 4788: 4778: 4773: 4768: 4762: 4761: 4756: 4753: 4752: 4747: 4742: 4737: 4732: 4727: 4722: 4717: 4712: 4707: 4702: 4697: 4692: 4687: 4685:Simantonnayana 4682: 4677: 4672: 4666: 4665: 4660: 4657: 4656: 4651: 4646: 4641: 4636: 4634:Carnatic music 4631: 4626: 4621: 4619:Bhagavata Mela 4616: 4611: 4606: 4601: 4596: 4591: 4586: 4581: 4575: 4574: 4569: 4566: 4565: 4563:Kundalini yoga 4560: 4555: 4550: 4545: 4540: 4535: 4530: 4525: 4520: 4515: 4509: 4508: 4503: 4500: 4499: 4494: 4489: 4484: 4478: 4477: 4474: 4471: 4470: 4465: 4460: 4455: 4450: 4445: 4440: 4435: 4430: 4425: 4420: 4415: 4410: 4405: 4400: 4395: 4390: 4385: 4380: 4375: 4370: 4365: 4359: 4358: 4352: 4349: 4346: 4345: 4342: 4341: 4338: 4337: 4332: 4327: 4322: 4317: 4312: 4306: 4305: 4300: 4297: 4296: 4291: 4286: 4281: 4276: 4271: 4266: 4261: 4256: 4251: 4246: 4241: 4236: 4231: 4226: 4221: 4216: 4211: 4206: 4200: 4199: 4196: 4193: 4192: 4187: 4182: 4177: 4172: 4167: 4162: 4157: 4152: 4147: 4142: 4137: 4132: 4126: 4121: 4116: 4110: 4109: 4106: 4103: 4102: 4097: 4092: 4087: 4081: 4080: 4074: 4073: 4068: 4065: 4064: 4059: 4054: 4048: 4047: 4042: 4039: 4038: 4033: 4028: 4023: 4017: 4016: 4013:Stages of life 4011: 4008: 4007: 4002: 3997: 3992: 3986: 3985: 3980: 3977: 3976: 3974:God and gender 3971: 3966: 3960: 3959: 3956: 3953: 3952: 3947: 3942: 3941: 3940: 3935: 3924: 3923: 3918: 3915: 3914: 3909: 3907:Gross elements 3904: 3899: 3894: 3888: 3887: 3884: 3881: 3880: 3875: 3869: 3868: 3865: 3862: 3857: 3856: 3853: 3852: 3849: 3848: 3843: 3838: 3833: 3828: 3823: 3818: 3813: 3808: 3803: 3798: 3793: 3788: 3782: 3781: 3775: 3774: 3769: 3764: 3759: 3754: 3749: 3744: 3739: 3734: 3729: 3724: 3718: 3717: 3708: 3707: 3697: 3694: 3693: 3688: 3683: 3677: 3676: 3671: 3668: 3667: 3662: 3657: 3651: 3650: 3645: 3642: 3637: 3636: 3633: 3632: 3629: 3628: 3621: 3618: 3617: 3612: 3607: 3602: 3596: 3595: 3592: 3589: 3584: 3583: 3580: 3579: 3576: 3575: 3570: 3565: 3563:Itihasa-Purana 3554: 3553: 3548: 3543: 3538: 3533: 3528: 3523: 3509: 3506: 3505: 3502: 3501: 3500: 3499: 3494: 3486: 3485: 3477: 3476: 3470: 3469: 3458: 3455: 3453: 3452: 3425: 3418: 3393: 3386: 3366: 3359: 3332: 3325: 3305: 3298: 3275: 3263: 3256: 3225: 3213: 3201: 3194: 3165: 3146: 3120: 3113: 3093: 3078: 3071: 3051: 3026: 3019: 2999: 2976: 2964: 2952: 2940: 2923: 2908: 2901: 2878: 2871: 2848: 2831: 2824: 2791: 2784: 2764: 2738: 2710: 2691: 2677: 2670: 2645: 2638: 2612: 2585: 2578: 2558: 2551: 2522: 2515: 2495: 2488: 2465: 2459:978-9382277637 2458: 2438: 2426: 2419: 2399: 2382: 2375: 2346: 2339: 2315: 2308: 2285: 2278: 2260: 2252: 2232: 2219: 2199: 2192: 2172: 2160: 2148: 2146:, p. 249. 2136: 2124: 2107: 2100: 2077: 2058: 2050:"Natyashastra" 2041: 2021:978-9386552501 2020: 2002: 1996:978-1905422487 1995: 1977: 1970: 1943: 1936: 1910: 1903: 1860: 1853: 1833: 1826: 1797: 1790: 1767: 1742: 1735: 1710: 1703: 1670: 1663: 1643: 1628: 1614: 1588: 1563: 1556: 1521: 1514: 1489: 1463: 1461: 1458: 1455: 1454: 1445: 1434: 1433: 1431: 1428: 1427: 1426: 1418: 1407: 1404: 1403: 1402: 1399: 1392: 1390: 1387: 1380: 1378: 1375: 1368: 1366: 1363: 1356: 1354: 1351: 1344: 1342: 1339: 1332: 1328: 1325: 1288:ballet move). 1251: 1248: 1170: 1167: 1150: 1147: 1125: 1122: 1058:Nahid Siddiqui 1046: 1043: 940: 933: 867: 860: 831:(salutation). 791: 788: 780:Nahid Siddiqui 722: 719: 712:oral tradition 683: 680: 654: 628: 625: 568: 565: 552: 493: 428: 421: 407: 404: 301: 298: 286:oral tradition 174:northern India 155: 154: 149: 145: 144: 131: 127: 126: 121: 117: 116: 113: 96: 95: 35: 33: 26: 17: 13: 10: 9: 6: 4: 3: 2: 8071: 8060: 8057: 8055: 8052: 8050: 8047: 8045: 8042: 8040: 8037: 8035: 8032: 8030: 8027: 8026: 8024: 8009: 8006: 8004: 8001: 8000: 7998: 7994: 7988: 7985: 7983: 7980: 7978: 7975: 7973: 7970: 7968: 7965: 7963: 7960: 7958: 7955: 7954: 7952: 7948: 7942: 7939: 7937: 7936: 7932: 7930: 7929: 7928:Natya Shastra 7925: 7924: 7922: 7918: 7912: 7909: 7907: 7904: 7902: 7899: 7898: 7896: 7892: 7886: 7883: 7881: 7878: 7876: 7873: 7871: 7868: 7866: 7863: 7861: 7858: 7856: 7853: 7851: 7848: 7846: 7843: 7841: 7838: 7836: 7833: 7831: 7828: 7826: 7823: 7821: 7818: 7816: 7813: 7811: 7808: 7806: 7803: 7801: 7798: 7796: 7793: 7791: 7788: 7786: 7783: 7781: 7778: 7776: 7773: 7771: 7768: 7766: 7763: 7761: 7758: 7756: 7755:Malwai Giddha 7753: 7751: 7748: 7746: 7743: 7741: 7738: 7736: 7733: 7731: 7728: 7726: 7723: 7721: 7718: 7716: 7713: 7711: 7708: 7706: 7703: 7701: 7698: 7696: 7693: 7691: 7688: 7686: 7683: 7681: 7678: 7676: 7673: 7671: 7668: 7666: 7663: 7661: 7658: 7656: 7653: 7651: 7648: 7646: 7643: 7641: 7638: 7636: 7633: 7631: 7628: 7626: 7623: 7621: 7618: 7616: 7613: 7611: 7608: 7606: 7603: 7601: 7600:Dollu Kunitha 7598: 7596: 7593: 7591: 7588: 7586: 7583: 7581: 7578: 7576: 7573: 7571: 7568: 7566: 7563: 7561: 7558: 7556: 7553: 7551: 7548: 7546: 7543: 7541: 7538: 7536: 7533: 7531: 7528: 7526: 7523: 7521: 7520:Bardwi Sikhla 7518: 7516: 7513: 7511: 7508: 7506: 7503: 7501: 7498: 7497: 7495: 7492: 7488: 7484: 7478: 7475: 7473: 7470: 7468: 7465: 7463: 7460: 7459: 7457: 7453: 7443: 7440: 7438: 7435: 7433: 7430: 7428: 7425: 7423: 7420: 7418: 7417:Andhra Natyam 7415: 7414: 7412: 7408: 7402: 7399: 7397: 7394: 7392: 7389: 7387: 7384: 7382: 7379: 7377: 7374: 7372: 7369: 7367: 7366:Bharatanatyam 7364: 7363: 7361: 7357: 7354: 7352: 7348: 7342: 7339: 7337: 7334: 7332: 7329: 7327: 7324: 7322: 7319: 7317: 7314: 7313: 7311: 7307: 7303: 7296: 7291: 7289: 7284: 7282: 7277: 7276: 7273: 7266: 7263: 7260: 7257: 7254: 7251: 7248: 7245: 7244: 7240: 7237: 7236:9789357804202 7233: 7230: 7226: 7224: 7223:9788186685143 7220: 7216: 7212: 7209: 7205: 7202: 7200: 7199:81-7871-088-9 7196: 7192: 7188: 7185: 7183: 7182:81-7487-343-0 7179: 7175: 7171: 7168: 7167:81-241-0861-7 7164: 7160: 7156: 7153: 7152: 7147: 7145: 7144:81-7017-223-3 7141: 7137: 7133: 7129: 7125: 7121: 7117: 7113: 7109: 7104: 7100: 7094: 7090: 7089: 7083: 7079: 7075: 7071: 7065: 7061: 7056: 7052: 7048: 7044: 7039: 7037: 7031: 7027: 7023: 7018: 7014: 7008: 7004: 7003: 6997: 6993: 6991:90-04-03978-3 6987: 6983: 6982: 6977: 6973: 6969: 6963: 6959: 6958: 6952: 6948: 6946:81-7017-374-4 6942: 6938: 6937: 6931: 6916: 6912: 6908: 6904: 6900: 6896: 6892: 6885: 6880: 6876: 6870: 6866: 6865: 6859: 6855: 6851: 6847: 6842: 6834: 6829: 6827: 6822: 6820: 6815: 6814: 6812: 6811: 6806: 6796: 6795: 6792: 6789: 6787: 6784: 6783: 6782: 6781: 6774: 6770: 6768: 6764: 6760: 6756: 6752: 6748: 6745: 6744: 6738: 6737: 6734: 6731: 6729: 6726: 6724: 6721: 6719: 6716: 6714: 6711: 6710: 6706:Hindu culture 6704: 6703: 6700: 6697: 6696: 6693: 6690: 6689: 6685: 6681: 6680: 6677: 6672: 6671: 6664: 6661: 6659: 6658:Organisations 6656: 6654: 6651: 6649: 6646: 6642: 6639: 6638: 6637: 6634: 6633: 6627: 6626: 6623: 6620: 6619: 6616: 6613: 6612: 6609: 6606: 6605: 6602: 6600: 6596: 6595: 6592: 6589: 6587: 6584: 6582: 6579: 6577: 6574: 6573: 6570: 6567: 6566: 6562: 6558: 6557: 6551: 6550: 6543: 6542: 6538: 6536: 6535: 6531: 6529: 6528: 6524: 6522: 6521: 6517: 6515: 6514: 6510: 6508: 6507: 6503: 6501: 6500: 6496: 6494: 6493: 6489: 6487: 6486: 6482: 6480: 6479: 6475: 6473: 6472: 6468: 6466: 6465: 6461: 6459: 6458: 6454: 6452: 6451: 6447: 6446: 6442: 6438: 6437: 6434: 6433: 6429: 6427: 6426: 6422: 6420: 6419: 6415: 6414: 6410: 6406: 6402: 6401: 6398: 6397: 6393: 6391: 6390: 6386: 6384: 6383: 6382:Yoga Vasistha 6379: 6377: 6376: 6372: 6370: 6369: 6365: 6363: 6362: 6358: 6356: 6355: 6351: 6349: 6348: 6347:Natya Shastra 6344: 6342: 6341: 6337: 6335: 6334: 6330: 6328: 6327: 6323: 6321: 6320: 6316: 6314: 6313: 6309: 6307: 6306: 6302: 6300: 6299: 6295: 6293: 6292: 6288: 6286: 6285: 6284:Brahma Sutras 6281: 6279: 6278: 6274: 6272: 6271: 6267: 6265: 6264: 6260: 6258: 6257: 6253: 6252: 6248: 6244: 6240: 6236: 6235: 6232: 6231: 6230:Sthapatyaveda 6227: 6225: 6224: 6223:Gandharvaveda 6220: 6218: 6217: 6213: 6211: 6210: 6206: 6205: 6201: 6197: 6196: 6193: 6192: 6188: 6186: 6185: 6184:Varaha Purana 6181: 6179: 6178: 6177:Skanda Purana 6174: 6172: 6171: 6167: 6165: 6164: 6160: 6158: 6157: 6153: 6151: 6150: 6146: 6144: 6143: 6139: 6137: 6136: 6132: 6130: 6129: 6125: 6123: 6122: 6118: 6116: 6115: 6114:Brahma Purana 6111: 6109: 6108: 6107:Garuda Purana 6104: 6102: 6101: 6100:Matsya Purana 6097: 6095: 6094: 6093:Vāmana Purana 6090: 6088: 6087: 6083: 6081: 6080: 6076: 6074: 6073: 6069: 6067: 6066: 6065:Vishnu Purana 6062: 6061: 6057: 6052: 6048: 6047: 6044: 6043: 6039: 6037: 6036: 6032: 6031: 6027: 6023: 6022: 6019: 6017: 6013: 6011: 6010: 6009:Bhagavad Gita 6006: 6005: 6001: 5997: 5996: 5993: 5990: 5988: 5985: 5983: 5980: 5978: 5975: 5973: 5970: 5968: 5965: 5964: 5960: 5956: 5955: 5952: 5951: 5947: 5945: 5944: 5940: 5938: 5937: 5933: 5932: 5929: 5926: 5925: 5922: 5921: 5917: 5915: 5914: 5910: 5909: 5906: 5903: 5902: 5899: 5898: 5894: 5892: 5891: 5887: 5885: 5884: 5880: 5878: 5877: 5873: 5871: 5870: 5866: 5864: 5863: 5859: 5858: 5855: 5852: 5851: 5848: 5847: 5843: 5841: 5840: 5836: 5835: 5832: 5829: 5828: 5824: 5820: 5819: 5816: 5813: 5811: 5808: 5806: 5803: 5801: 5798: 5797: 5794: 5791: 5790: 5787: 5786: 5782: 5780: 5779: 5775: 5773: 5772: 5768: 5766: 5765: 5761: 5760: 5756: 5752: 5751: 5748: 5745: 5744: 5740: 5736: 5735: 5732: 5729: 5727: 5724: 5722: 5719: 5717: 5714: 5713: 5709: 5705: 5704: 5701: 5696: 5695: 5688: 5685: 5683: 5680: 5678: 5675: 5673: 5670: 5668: 5665: 5663: 5660: 5658: 5655: 5653: 5650: 5648: 5645: 5643: 5640: 5638: 5635: 5633: 5630: 5628: 5625: 5623: 5620: 5618: 5615: 5613: 5610: 5608: 5605: 5603: 5600: 5598: 5595: 5593: 5592:Radhakrishnan 5590: 5588: 5585: 5583: 5580: 5578: 5575: 5573: 5572:Narayana Guru 5570: 5568: 5565: 5563: 5560: 5558: 5555: 5553: 5552:Jaggi Vasudev 5550: 5548: 5545: 5543: 5542:Chinmayananda 5540: 5538: 5535: 5533: 5530: 5528: 5525: 5523: 5520: 5519: 5513: 5512: 5509: 5506: 5504: 5501: 5499: 5496: 5494: 5491: 5489: 5486: 5484: 5481: 5479: 5476: 5474: 5471: 5469: 5466: 5464: 5461: 5459: 5456: 5454: 5451: 5449: 5446: 5444: 5441: 5439: 5436: 5434: 5431: 5429: 5426: 5424: 5421: 5419: 5416: 5414: 5411: 5409: 5406: 5404: 5403:Ramprasad Sen 5401: 5399: 5396: 5394: 5391: 5389: 5386: 5384: 5381: 5379: 5376: 5374: 5371: 5369: 5366: 5364: 5361: 5359: 5356: 5354: 5351: 5349: 5346: 5344: 5341: 5339: 5336: 5334: 5331: 5329: 5326: 5324: 5321: 5319: 5316: 5314: 5311: 5309: 5306: 5304: 5301: 5299: 5296: 5294: 5291: 5289: 5286: 5284: 5281: 5279: 5276: 5274: 5271: 5269: 5266: 5264: 5261: 5259: 5256: 5254: 5253:Gorakshanatha 5251: 5249: 5246: 5244: 5241: 5239: 5236: 5234: 5231: 5229: 5226: 5224: 5221: 5219: 5216: 5214: 5211: 5209: 5206: 5204: 5201: 5199: 5196: 5194: 5193:Allama Prabhu 5191: 5189: 5188:Akka Mahadevi 5186: 5184: 5181: 5179: 5178:Abhinavagupta 5176: 5175: 5171: 5167: 5166: 5163: 5160: 5158: 5155: 5153: 5150: 5148: 5145: 5143: 5140: 5138: 5135: 5133: 5130: 5128: 5127:Prashastapada 5125: 5123: 5120: 5118: 5115: 5113: 5110: 5108: 5105: 5103: 5100: 5098: 5095: 5093: 5090: 5088: 5085: 5083: 5080: 5078: 5075: 5073: 5070: 5068: 5065: 5063: 5060: 5058: 5055: 5054: 5050: 5046: 5045: 5042: 5037: 5036: 5029: 5026: 5022: 5019: 5018: 5017: 5014: 5010: 5007: 5005: 5002: 5000: 4997: 4996: 4995: 4992: 4991: 4987:Other schools 4985: 4984: 4979: 4978: 4974: 4972: 4971: 4967: 4965: 4964: 4963:Shuddhadvaita 4960: 4958: 4957: 4953: 4951: 4950: 4946: 4944: 4943: 4939: 4937: 4936: 4932: 4931: 4930: 4927: 4925: 4922: 4920: 4917: 4915: 4912: 4910: 4907: 4905: 4902: 4901: 4897: 4893: 4892: 4889: 4884: 4883: 4876: 4873: 4869: 4866: 4864: 4861: 4859: 4856: 4855: 4854: 4851: 4849: 4846: 4844: 4841: 4839: 4836: 4834: 4831: 4829: 4826: 4824: 4821: 4819: 4816: 4814: 4811: 4809: 4806: 4804: 4801: 4797: 4794: 4792: 4789: 4787: 4784: 4783: 4782: 4779: 4777: 4774: 4772: 4769: 4767: 4764: 4763: 4759: 4755: 4754: 4751: 4748: 4746: 4743: 4741: 4738: 4736: 4733: 4731: 4728: 4726: 4723: 4721: 4718: 4716: 4713: 4711: 4708: 4706: 4703: 4701: 4698: 4696: 4693: 4691: 4688: 4686: 4683: 4681: 4678: 4676: 4673: 4671: 4668: 4667: 4663: 4659: 4658: 4655: 4652: 4650: 4647: 4645: 4644:Kalaripayattu 4642: 4640: 4637: 4635: 4632: 4630: 4627: 4625: 4622: 4620: 4617: 4615: 4612: 4610: 4607: 4605: 4602: 4600: 4597: 4595: 4592: 4590: 4587: 4585: 4582: 4580: 4579:Bharatanatyam 4577: 4576: 4572: 4568: 4567: 4564: 4561: 4559: 4556: 4554: 4551: 4549: 4546: 4544: 4541: 4539: 4536: 4534: 4531: 4529: 4526: 4524: 4521: 4519: 4516: 4514: 4511: 4510: 4506: 4502: 4501: 4498: 4495: 4493: 4490: 4488: 4485: 4483: 4480: 4479: 4473: 4472: 4469: 4466: 4464: 4461: 4459: 4458:Nritta-Nritya 4456: 4454: 4451: 4449: 4446: 4444: 4441: 4439: 4436: 4434: 4431: 4429: 4426: 4424: 4421: 4419: 4416: 4414: 4411: 4409: 4406: 4404: 4401: 4399: 4396: 4394: 4391: 4389: 4386: 4384: 4381: 4379: 4376: 4374: 4371: 4369: 4366: 4364: 4361: 4360: 4355: 4351: 4350: 4344: 4343: 4336: 4333: 4331: 4328: 4326: 4323: 4321: 4318: 4316: 4313: 4311: 4308: 4307: 4303: 4299: 4298: 4295: 4292: 4290: 4287: 4285: 4282: 4280: 4277: 4275: 4272: 4270: 4267: 4265: 4262: 4260: 4257: 4255: 4252: 4250: 4247: 4245: 4242: 4240: 4237: 4235: 4232: 4230: 4227: 4225: 4222: 4220: 4217: 4215: 4212: 4210: 4207: 4205: 4202: 4201: 4195: 4194: 4191: 4188: 4186: 4183: 4181: 4178: 4176: 4173: 4171: 4168: 4166: 4163: 4161: 4158: 4156: 4153: 4151: 4148: 4146: 4143: 4141: 4138: 4136: 4133: 4130: 4127: 4125: 4122: 4120: 4117: 4115: 4112: 4111: 4105: 4104: 4101: 4098: 4096: 4093: 4091: 4088: 4086: 4083: 4082: 4079: 4076: 4075: 4071: 4067: 4066: 4063: 4060: 4058: 4055: 4053: 4050: 4049: 4045: 4041: 4040: 4037: 4034: 4032: 4029: 4027: 4024: 4022: 4019: 4018: 4014: 4010: 4009: 4006: 4003: 4001: 3998: 3996: 3993: 3991: 3988: 3987: 3983: 3979: 3978: 3975: 3972: 3970: 3967: 3965: 3962: 3961: 3955: 3954: 3951: 3948: 3946: 3943: 3939: 3936: 3934: 3931: 3930: 3929: 3926: 3925: 3921: 3917: 3916: 3913: 3910: 3908: 3905: 3903: 3900: 3898: 3895: 3893: 3890: 3889: 3883: 3882: 3879: 3876: 3874: 3871: 3870: 3864: 3863: 3860: 3855: 3854: 3847: 3844: 3842: 3839: 3837: 3834: 3832: 3829: 3827: 3824: 3822: 3819: 3817: 3814: 3812: 3809: 3807: 3804: 3802: 3799: 3797: 3794: 3792: 3789: 3787: 3784: 3783: 3780: 3777: 3776: 3773: 3770: 3768: 3765: 3763: 3760: 3758: 3755: 3753: 3750: 3748: 3745: 3743: 3740: 3738: 3735: 3733: 3730: 3728: 3725: 3723: 3720: 3719: 3716: 3714: 3710: 3709: 3705: 3701: 3696: 3695: 3692: 3689: 3687: 3684: 3682: 3679: 3678: 3674: 3670: 3669: 3666: 3663: 3661: 3658: 3656: 3653: 3652: 3648: 3644: 3643: 3640: 3635: 3634: 3626: 3625: 3620: 3619: 3616: 3613: 3611: 3608: 3606: 3603: 3601: 3598: 3597: 3591: 3590: 3587: 3582: 3581: 3574: 3571: 3569: 3566: 3564: 3561: 3560: 3559: 3558: 3552: 3549: 3547: 3544: 3542: 3539: 3537: 3534: 3532: 3529: 3527: 3524: 3518: 3515: 3514: 3512: 3504: 3503: 3498: 3495: 3493: 3490: 3489: 3488: 3487: 3483: 3479: 3478: 3475: 3471: 3467: 3463: 3462: 3456: 3448: 3444: 3440: 3436: 3429: 3426: 3421: 3415: 3410: 3409: 3400: 3398: 3394: 3389: 3383: 3379: 3378: 3370: 3367: 3362: 3356: 3352: 3351: 3343: 3341: 3339: 3337: 3333: 3328: 3322: 3318: 3317: 3309: 3306: 3301: 3295: 3291: 3290: 3282: 3280: 3276: 3273: 3267: 3264: 3259: 3253: 3249: 3244: 3243: 3234: 3232: 3230: 3226: 3222: 3217: 3214: 3210: 3205: 3202: 3197: 3191: 3187: 3182: 3181: 3172: 3170: 3166: 3162: 3157: 3155: 3153: 3151: 3147: 3134: 3130: 3124: 3121: 3116: 3110: 3106: 3105: 3097: 3094: 3090: 3085: 3083: 3079: 3074: 3068: 3064: 3063: 3055: 3052: 3040: 3036: 3030: 3027: 3022: 3020:9780786497157 3016: 3013:. McFarland. 3012: 3011: 3003: 3000: 2996: 2991: 2989: 2987: 2985: 2983: 2981: 2977: 2973: 2968: 2965: 2961: 2956: 2953: 2949: 2944: 2941: 2938:, p. 10. 2937: 2932: 2930: 2928: 2924: 2920: 2915: 2913: 2909: 2904: 2898: 2894: 2893: 2885: 2883: 2879: 2874: 2872:9780391032750 2868: 2864: 2863: 2855: 2853: 2849: 2845: 2844:Williams 2004 2840: 2838: 2836: 2832: 2827: 2821: 2817: 2816: 2808: 2806: 2804: 2802: 2800: 2798: 2796: 2792: 2787: 2781: 2777: 2776: 2768: 2765: 2753: 2749: 2742: 2739: 2727: 2723: 2717: 2715: 2711: 2706: 2702: 2695: 2692: 2687: 2681: 2678: 2673: 2667: 2663: 2662: 2654: 2652: 2650: 2646: 2641: 2639:0-486-42064-7 2635: 2631: 2626: 2625: 2616: 2613: 2608: 2604: 2600: 2596: 2589: 2586: 2581: 2575: 2571: 2570: 2562: 2559: 2554: 2548: 2544: 2543: 2535: 2533: 2531: 2529: 2527: 2523: 2518: 2512: 2508: 2507: 2499: 2496: 2491: 2485: 2481: 2480: 2472: 2470: 2466: 2461: 2455: 2451: 2450: 2442: 2439: 2436:, p. 85. 2435: 2434:Williams 2004 2430: 2427: 2422: 2416: 2412: 2411: 2403: 2400: 2395: 2394: 2386: 2383: 2378: 2372: 2368: 2367: 2359: 2357: 2355: 2353: 2351: 2347: 2342: 2336: 2332: 2328: 2327: 2319: 2316: 2311: 2305: 2301: 2300: 2292: 2290: 2286: 2281: 2275: 2271: 2264: 2261: 2255: 2249: 2245: 2244: 2236: 2233: 2229: 2227: 2222: 2216: 2212: 2211: 2203: 2200: 2195: 2189: 2185: 2184: 2176: 2173: 2169: 2164: 2161: 2157: 2152: 2149: 2145: 2140: 2137: 2133: 2128: 2125: 2121: 2116: 2114: 2112: 2108: 2103: 2097: 2093: 2092: 2084: 2082: 2078: 2072: 2065: 2063: 2059: 2051: 2045: 2042: 2037: 2031: 2023: 2017: 2013: 2006: 2003: 1998: 1992: 1988: 1981: 1978: 1973: 1967: 1963: 1962: 1954: 1952: 1950: 1948: 1944: 1939: 1933: 1929: 1924: 1923: 1914: 1911: 1906: 1900: 1896: 1895: 1887: 1885: 1883: 1881: 1879: 1877: 1875: 1873: 1871: 1869: 1867: 1865: 1861: 1856: 1850: 1846: 1845: 1837: 1834: 1829: 1823: 1819: 1814: 1813: 1804: 1802: 1798: 1793: 1787: 1783: 1782: 1774: 1772: 1768: 1756: 1752: 1746: 1743: 1738: 1732: 1728: 1727: 1719: 1717: 1715: 1711: 1706: 1700: 1696: 1695: 1687: 1685: 1683: 1681: 1679: 1677: 1675: 1671: 1666: 1660: 1656: 1655: 1647: 1644: 1641:, p. 83. 1640: 1639:Williams 2004 1635: 1633: 1629: 1624: 1618: 1615: 1602: 1598: 1592: 1589: 1577: 1573: 1567: 1564: 1559: 1553: 1548: 1547: 1538: 1536: 1534: 1532: 1530: 1528: 1526: 1522: 1517: 1511: 1507: 1506: 1498: 1496: 1494: 1490: 1478: 1474: 1468: 1465: 1459: 1449: 1446: 1439: 1436: 1429: 1424: 1423: 1419: 1417: 1415: 1410: 1409: 1405: 1396: 1391: 1384: 1379: 1372: 1367: 1364:Kathak Rounds 1360: 1355: 1352:Kathak Rounds 1348: 1343: 1336: 1331: 1326: 1324: 1322: 1317: 1315: 1311: 1307: 1303: 1299: 1298: 1293: 1289: 1287: 1283: 1279: 1278:Bharatanatyam 1275: 1271: 1270:Bharatanatyam 1267: 1266:Natya Shastra 1263: 1262: 1261:Bharatanatyam 1257: 1249: 1247: 1244: 1242: 1238: 1233: 1231: 1227: 1222: 1218: 1217:Uttar Pradesh 1213: 1210: 1202: 1198: 1194: 1190: 1188: 1184: 1180: 1176: 1168: 1166: 1164: 1160: 1159:Puru Dadheech 1156: 1148: 1146: 1144: 1140: 1136: 1132: 1123: 1117: 1113: 1110: 1109: 1103: 1101: 1096: 1094: 1089: 1088: 1083: 1079: 1075: 1069: 1067: 1059: 1055: 1051: 1044: 1042: 1040: 1036: 1032: 1028: 1024: 1020: 1016: 1012: 1008: 1004: 999: 997: 993: 989: 985: 980: 971: 967: 965: 961: 954: 950: 945: 938: 934: 932: 930: 926: 921: 919: 915: 911: 907: 903: 899: 898: 893: 889: 885: 881: 877: 873: 865: 861: 859: 857: 853: 849: 843: 841: 837: 832: 830: 826: 822: 818: 813: 811: 804: 800: 796: 789: 787: 783: 781: 777: 773: 769: 765: 761: 756: 754: 750: 749:Puru Dadheech 745: 743: 736: 731: 727: 720: 718: 715: 713: 707: 705: 701: 697: 692: 690: 681: 679: 677: 673: 668: 660: 653: 651: 647: 643: 636: 633: 626: 624: 620: 618: 614: 610: 607:found in the 606: 602: 597: 594: 590: 589:Uttar Pradesh 586: 582: 578: 574: 566: 564: 557: 550: 546: 519: 491: 489: 484: 482: 478: 473: 471: 466: 464: 460: 459:Natya Shastra 454: 451: 443: 433: 427: 426: 417: 416:Guimet Museum 412: 405: 403: 402: 396: 390: 384: 380: 376: 371: 369: 368: 363: 359: 355: 351: 347: 345: 341: 337: 332: 329: 321: 317: 316: 311: 307: 299: 297: 295: 291: 287: 283: 279: 277: 273: 269: 265: 261: 257: 253: 249: 245: 241: 237: 235: 234: 229: 225: 221: 217: 213: 209: 205: 201: 197: 195: 191: 187: 183: 179: 175: 171: 167: 163: 162: 153: 152:Uttar Pradesh 150: 146: 143: 139: 135: 132: 130:Instrument(s) 128: 125: 122: 118: 111: 106: 103: 92: 82: 77: 73: 66: 56: 46: 39: 34: 25: 24: 21: 16: 7933: 7926: 7894:Contemporary 7850:Singhi Chham 7690:Kachhi Ghodi 7585:Dandiya Raas 7525:Bedara Vesha 7455:Divine forms 7391:Mohiniyattam 7370: 7228: 7214: 7207: 7190: 7174:Kathak Sagar 7173: 7158: 7149: 7135: 7111: 7107: 7087: 7059: 7042: 7021: 7001: 6980: 6956: 6935: 6922:. 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264:gharana 260:Lucknow 256:Benares 244:gharana 142:Manjira 81:See why 8029:Kathak 7977:Punjab 7972:Odisha 7941:Mudras 7911:Nautch 7835:Rasiya 7790:Oppana 7735:Lavani 7720:Kikkli 7680:Jhumar 7640:Giddha 7630:Garadi 7620:Dumhal 7560:Cheraw 7442:Mahari 7427:Deknni 7410:Others 7396:Odissi 7371:Kathak 7326:Koothu 7234: 7221: 7215:Kathak 7197: 7180: 7165: 7142: 7126: 7095: 7076: 7066: 7049: 7028: 7009: 6988: 6964: 6943: 6924:12 May 6909: 6871: 6591:Shudra 6409:stutis 6245:, and 6243:sutras 5897:Maitri 5622:Ramdas 5515:Modern 5448:Surdas 5313:Madhva 5233:Eknath 5203:Basava 5198:Alvars 5132:Raikva 5122:Pāṇini 5107:Kapila 5102:Kanada 5087:Gotama 4994:Shaiva 4942:Dvaita 4843:Pongal 4766:Diwali 4745:Vivaha 4609:Odissi 4584:Kathak 4523:Yogini 4487:Dhyana 4438:Tirtha 4393:Bhakti 4383:Temple 4378:Śrauta 4259:Arjava 4219:Ahimsa 4214:Niyama 4197:Ethics 4005:Moksha 3990:Dharma 3938:Saguna 3836:Shakti 3821:Kubera 3767:Varuna 3747:Pushan 3660:Vishnu 3655:Brahma 3492:Hindus 3416: 3384: 3357: 3323: 3296: 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