A Comparative Analysis Of Classical Dance Compositions With Special Reference To The Thanjavur And Mysore Traditions 1600 1935A D

Abstract

The focus of the research is on the various classical dance compositions of Tamil Nadu and Mysore newlineregions, extending from 17th Century to Sadir and Mand#275;and#7737;a of the 18th and 19th Century until newlineBharatanand#257;and#7789;ya of the early 20th Century. The contribution, patronage of the diverse dynasties which newlineruled South India have led to the development of the dance traditions. The traditions played a newlinemajor role in defining the purpose of dance recitals, the repertoire, and the place of performance newlineunder the aegis of the Kings. The dance heritage has been profoundly influenced by the periodic newlinedance and music treatises, aesthetic theories, the collaboration with contemporary musicians, the newlinereligious and temple rituals, the royal celebrations and the community-based culture of the society. newlineThe repertoire or the sequence of compositions in a dance recital in the post medieval period has newlinealways been intriguing. This could be studied from various available sources and one such is the newlinevoice and verses of the great poets, lyricists, saints, music composers, musicians of a particular newlineera. The technical manuals have documented a few significant dance compositions of the period newlinein investigation. Our poets are significant connoisseurs of music and dance; they are thoroughly newlineconversant with the theory and practice of these sister arts, so much indeed that they often go out newlineof their way to describe a music recital or a dance sequence (Satyanarayana 17: 1970) newlineThe onslaught on the Vijayanagar Kingdom in the mid-16th Century by the Bahamani rulers led newlineto the complete downfall and the artistes from Vijayanagar migrated towards places like newlineThanjavur, Travancore and Mysore for support and patronage. The Nayakas of Thanjavur newlinecontinued the development of arts as witnessed during Vijayanagar times. Later during the 17th newlineCentury, it was the Maraand#7789;has, connoisseurs and patrons of arts, who, contributed immensely in the newlinesurvival and sustenance of the Sadir dance tradition. In the Mysore region, artistes migrated to a newlinetown called Keladi, ruled by the kings o