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Balasaraswati has said: “Traditional Indian dance, in its highest moment, is the embodiment of music in its visual form.... For more than thousand years, the sastra’s have confirmed that an individual dedicated to dance must be equally dedicated to music and must receive thorough training in both the arts.. In demonstrating the art of traditional Indian dance abroad, I have made a special point of showing audiences how delicately linked is the realisation of movement to raga expression in abhinaya, including the subtle expression of gamaka’s, intonation of sruti, and the unfolding of improvisation in niraval. In the same way that we look for perfect blending of raga and tala and of raga and bhava in abhinaya, so also it is essential that the raga and the sahitya be perfectly matched and i

n accordance with the necessities of expression in the dance.” “Sringara stands supreme in this range of emotions. No other emotion is capable of better reflecting the mystic union of the human with the divine. I say this with great personal experience of dancing to many great devotional songs, which have had no element of sringara in them. Devotional songs are, of course, necessary. However, sringara is the cardinal emotion, which gives the fullest scope for artistic improvisation, branching off continually, as it does, into the portrayal of innumerable moods full of newness and nuance. If we approach traditional Indian dance with humility, learn it with dedication and practice it with

Traditional dances of India

Traditional Indian dance technique

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India: Traditional Dances  

Publication dedicated to Indian dances