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Karanas : Common Dance Codes of India and Indonesia (3 Vols-Set)

Padma Subhrahmanyam, Nrithyodaya, 2003, xxxiv, 709 p, 3 vols, tables, figs, $0.00 (Includes free airmail shipping)

Karanas : Common Dance Codes of India and Indonesia/Padma Subhrahmanyam

Contents: Vol. I: A historic and archaeological perspective: Foreword, Preface & Acknowledgments, Diacritical Chart, Hurdles crossed (preface to PhD thesis 1978). 1. Bharata Muni's Natyasastra. 2. Mythological origins as seen in the Natyasastra. 3. Natya. 4. Origin of Karanas - a historic perspective. 5. Concept of Karana as illumined by Abhinava Bharati. 6. The archaeological sources - Thanjavur, Kumbakonam, Chidambaram, Tiruvannamalai and Vriddhacalam. 7. Karana sculptures of satara. 8. Karana sculptures of Prambanan. 9. Natyasastra in the ancient Tamil soil.

Vol. II: A Dancer's Perspective: 1. The elements of Karana. 2. Practical reconstruction of the 108 karanas. 3. A performer's perception of recaka. 4. Angaharas. 5. Mandalas. 6. Pindibandhas. 7. Intellectual or emotional? 8. Conclusion. Bibliography.

Vol. III: A Visual Elucidation: 1. Talapuspaputam. 2. Vartitam. 3. Valitorukam. 4. Apaviddham. 5. Samanakham. 6. Linam. 7. Svastikarecitam. 8. Mandalasvastikam. 9. Nikuttakam. 10. Ardhanikuttakam. 11. Katicchinnam. 12. Ardharecitakam. 13. Vaksahsvastikam. 14. Unmattam. 15. Svastikam. 16. Prsthasvastikam. 17. Diksvastikam. 18. Alatakam. 19. Katisamam. 20. Aksiptarecitam. 21. Viksiptaksiptakam. 22. Ardhasvastikam. 23. Ancitam. 24. Bhujangatrasitam. 25. Urdhvajanu. 26. Nikuncitam. 27. Mattalli. 28. Ardha mattalli. 29. Recita nikuttitam. 30. Padapaviddhakam.  31. Valitam. 32. Ghurnitam. 33. Lalitam. 34. Dandapaksam. 35. Bhujangatrastarecitam. 36. Nupuram. 37. Vaisakharecitam. 38. Bhramarakam. 39. Caturam. 40. Bhujangancitakam. 41. Dandakarecitam. 42. Vrscikakuttitam. 43. Katibhrantam. 44. Latavrscikam. 45. Chinnam. 46. Vrscikarecitam. 47. Vrscikam. 48. Vyamsitam. 49. Parsvanikuttakam. 50. Lalatatilakam. 51. Krantam. 52. Kuncitam. 53. Cakramandalam. 54. Uromandalam. 55. Aksiptam. 56. Talavilasitam. 57. Argalam. 58. Viksiptam. 59. Avartam. 60. Dolapadam. 61. Vivrttam. 62. Vinivrttam. 63. Parsvakrantam. 64. Nistambitam. 65. Vidyudbhrantam. 66. Atikrantam. 67. Vivartitakam. 68. Gajakriditakam. 69. Talasamphotitam. 70. Garudaplutakam. 71. Gandasuci. 72. Parivrttam. 73. Parsvajanu. 74. Grdhravalinakam. 75. Sannatam. 76. Suci. 77. Ardhasuci. 78. Sucividdham. 79. Apakrantam. 80. Mayuralalitam. 81. Sarpitam. 82.  Dandapadam. 83. Harinaplutam. 84. Prenkholitam. 85. Nitambam. 86. Skhalitam. 87. Karihastam. 88. Prasarpitakam. 89. Simhavikriditakam. 90. Simhakarsitam. 91. Udvrttam. 92. Upasrtakam. 93. Talasanghattitam. 94. Janitam. 95. Avahitthakam. 96. Nivesam. 97. Elakakriditam. 98. Urudvrttam. 99. Madaskhalitam. 100. Visnukrantam. 101. Sambhrantam. 102. Viskambham. 103. Udghattitam. 104. Vrsabhakriditam. 105. Lolitam. 106. Nagapasarpitam. 107. Sakatasyam. 108. Gangavataranam.

From the Foreword: "The conception of Karana is such that it is capable of endowing both subjective and objective satisfaction on physical, intellectual, emotional and spiritual planes. To the performer, it is a physical exercise, keeping every limb of the body under control to procure good health. To the spectator, the beauty of the bodyline caused by the actions is a feast for eyes. The Karanas have their own psychological side too. The Karanas are capable of expressing idea of full sentences. Hence Karanas had an important role in the science of dancing."

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