Natya

References

1. ^ , Quote: "It would be appropriate here to comment on Hindu classical dance. This developed in a religious context and was given high profile as part of temple worship. There are several regional and other styles as well as source texts, but the point we wish to stress is the participative nature of such dance. In form and content, the heart of dance as worship in Hinduism has always been 'expression' (abhinaya), i.e. the enacting of various themes".
2. ^ , Quote: Hindu classical dance-forms, like Hindu music, are associated with worship. References to dance and music are found in the Vedic literature, (...)".
3. ^ 196. ISBN ., Quote: All of the dances considered to be part of the Indian classical canon (Bharata Natyam, Chhau, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam, Odissi, Sattriya, and Yakshagana) trace their roots to religious practices (...) the Indian diaspora has led to the translocation of Hindu dances to Europe, North America and the world."
4. ^ . The Rosen Publishing Group. pp. 467. ISBN ., Quote: "the Natyashastra remains the ultimate authority for any dance form that claims to be 'classical' dance, rather than 'folk' dance".
5. ^
6. ^ 58. ISBN .
7. ^
8. ^ 335. doi:10.1080/01472526.2015.1088286. S2CID 166744945.
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10. ^
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12. ^ {{}}: CS1 maint: others ()
    —Doshi, Saryu (1989). Dances of Manipur: The Classical Tradition. University of Michigan. Marg Publications. pp. XIX. ISBN . First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances. They have an element of abhinaya (histrionic representation)...
    —DM Silveira's India Book. University of Michigan. Classic Publishers. 1994. p. 230. ISBN . ...Lai Haraoba is the ritual folk-cum-classical dance of Manipur and tells the story of creation according to the Manipuris. Khamba Thoibi is a popular Manipuri dance which tells the story of princess Thoibi and poor boy Khamba...{{}}: CS1 maint: others ()
    —Mãrg. Vol. 41. Pennsylvania State University; National Centre for the Performing Arts (India). p. 109. First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances. They have an element of abhinaya histrionic representation)...{{}}: CS1 maint: others ()
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14. ^
15. ^
16. ^ 7. ISBN .
17. ^ 40. doi:10.2307/834008. JSTOR 834008.
18. ^ ". Dance Chronicle. 16 (3). Routledge: 391–396. doi:10.1080/01472529308569140.
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24. ^ ; Also see chapter 36
25. ^ 139. ISBN . Quote: "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 (...)".
26. ^ . Sanskrit Documents.
27. ^
28. ^ 32, 108–112. ISBN .
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32. ^ 41. ISBN .
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36. ^
37. ^ . esamskriti.com.
38. ^
39. ^ 6. ISBN .
40. ^ 2010.
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44. ^ 2022.
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46. ^ 4. doi:10.2307/1124019. JSTOR 1124019.
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48. ^ 46. ISBN .
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51. ^ 521. ISBN .
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54. ^ 84. ISBN .