About the Book
This book is a mirror reflecting the rare and unique practicing dance forms of Karnataka. We are delighted to present this volume of research papers to the field of art and culture. I am delighted to go through the details of the edited volume, for indeed we have covered enough on Mysore school of Bharatanatyam, but about these areas, very little is known. This book will be such a valuable addition to the literature on Karanatak Nritya Parampara, covering other schools.
About the Author
"Just as Tamil Nadu, Kerala, Andhra Pradesh have dance styles of their own, did Karnataka also have its own style? Many have raised this question. It was justified through a research on the temple sculptures, Kannada kavyas, and inscriptions of Aihole, Badami, Pattadakal, Belur, Halebid and Somanathpur temples by Dr. Choodamani Nandagopal that Karnataka had its own significant dance tradition" Dr. Chidanandamurthy. A step further Karnataka dance traditions are showcased with an in depth research and documentation for the first time in this volume. The publication is well planned, discerning attention to details of artistic merit. A good deal of cultural thought process has gone into this publication which is not only of great value to the people associated with the field of dance but also holds significant to understand the prime position of Karnataka in the rich cultural heritage of India.
Foreword
Dance Heritage of Karnataka fulfils a long-standing need for a systematic attempt to write a cogent and credible history of dancing in Karnataka. Such an attempt involves an awareness of the need, systematic attempt to recognize the source and resources, systematic collection and evaluation of data, commitment to objective truth in evaluation of data, total eschewing of prejudice and knowledge of the historical method. In the case of performing arts the historian needs at least two more resources: specialized field work and intimate knowledge of the field. The present book spells a good augury in both content and its ramification. I am happy that an informed and critical approach is discernible in all the contributors. Their contributions reveal a critical approach of gathering and digesting data. The work comprises basic ingredients of systematic history of art such as general survey, plurality of tradition and consensus, stylistic variety and its normalization. This is an attempt at systematic reconstruction of the past and its contemporization in terms of the present, revival, rejuvenation and contemporary relevance, and equally important, a continuity of art tradition and of historicity in terms of personnel who constitute both. I remember that some time ago I expressed at a public forum the need for the dancing fraternity of Karnataka to come together in a concerted effort to define and fulfil their common aims, objectives and needs and to evolve a concerted plan and program in an aesthetic and social context. I am very happy that such a dream has come true in the shape of Karnataka Bharatagama Pratishthana.
Acknowledgements
This publication is an outcome of the combined efforts of a team of scholars, dancers and gurus who have contributed their findings from their research and practical application. Within a short period of time this venture has seen the light due to the sheer enthusiasm and cooperation of our team of scholars. I immensely thank all the contributors for their untiring spirit in penning down their thoughts. I am indeed privileged to take up the responsibility of an editor for this maiden publication of Karnataka Bharatagama Pratishthana. I am blessed with the benevolence of Guru Bharatakalamani Radhakrishna, President of Bharatagama Pratishthana for allowing me to take up the venture of publishing. I acknowledge with deep respect and gratitude his support and guidance. I thank warmly the members of the executive committee of the Pratishthana for their valuable support and faith entrusted in me to go ahead with this publication. With gratitude, I am much beholden to Mahamahopadhyaya Dr.R. Satyanarayana, a distinguished musicologist and an erudite scholar for blessing our venture through his foreword for the book.
Introduction
The contribution of Karnataka to the field of architecture, sculpture and paintings has been ably pointed out by the Art Historians in a number of publications. They have placed the contribution of Karnataka in high esteem in the evolution of structural temple, historical sculpture and paintings. It is also true in the representation of dance and music traditions. Dance sculptures, large in number and variety in composition first find their place in the Chalukyan temple architecture and made an impact on other styles of the country in the forthcoming centuries. There has been a certain amount of uncertainty and doubts in the minds of the performing artists, dancers, natyagurus, regarding the pure and pristine form of dance tradition that they follow. Due to the impact of modernism, many traditional traits in arts are being annihilated and in the course of time they have become obsolete. The oral tradition which is still the strongest medium in learning and teaching of these arts is also losing its hold on the core sense of retaining purity in the execution of these art forms.
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