1. EDITORIAL 2. The Making of an American Kathak Dancer- Introduction 3. Childhood – Dance & Music 4. Swarthmore College- 1962 to 1966- Russian Language 5. Kathak Kendra- 1967 to 1969- Kathak, Tabla, Hindustani vocal 6. Chicago – 1969 to 1971 7. New York City – Dance Capital of the World 8. The 1980s - Return to India with Baby Lela 9. The 1980s and 1990s - Back Home in New York City 10. Arts - in - Education 11. Performing in the 21st Century - A selection 12. Recent Recognition 13. Afterword 14. HARIKATHA: Ādibhaṭla Nārāyaṇa Dās' Era in Indian Classical Music and Dance traditions- Introduction 15. Harikatha: An Ancient Tradition 16. The Art Form in Maharashtra 17. The Tradition of Harikatha in the Southern States 18. Harikatha, The Era of Ādibhaṭla Nārāyaṇa Dās 19. Harikatha: A Divine Art 20. References of Harikatha as Yakshagāna 21. ‘Harikathā Pitāmaha’ Ādibhaṭla Nārāyaṇa Dās 22. Harikathaka lakṣaṇamu 23. Harikatha Vaggēyakāra-s 24. Disciples of Nārāyaṇa Dās 25. Harikatha-s of Nārāyaṇa Dās 26. Purpose of Harikatha 27. Bibliography
Nārāyaṇa Dās clearly enumerated the qualities a Harikatha artiste should possess in his prologue to ‘Ambarīṣa caritramu’. They are the qualities of a ‘Vāggēyakāra’ of superior stature as Sāraṅga Dēva detailed in twelve *ślōkas* of *Prakīrṇakādhyāya* of his *Saṅgīta Ratnākara*. 1. *Śṛti smṛti vijñānam*: Harikatha artiste should have a knowledge of Vēdas (*vaidika Vijñānamu*) and smṛti that is behind the story he would narrate. 2. *Śabdānuśāsanajñatvam*: In Telugu literature the pioneer poet Nannayya was known as ‘Śabdānuśāsanuḍu’. He demonstrated how written language should be. Suitable ‘sabda’ has to be used in a harikatha. Knowledge of ‘sabda’ *saṅdhisamāsādighaṭana*, beautiful formation of sentences and *alaṅkara-s* (figures of speech) is *Śabdānuśāsanajñatvam*. Nārāyaṇa Dās’ experimentation with ‘drutam’ in his kīrtana-s, mañjari-s and prosaic forms are related to ‘tāḷa’ gati. The principle of *antyākṣaraprāsa* at the end of a line in mañjari-s (*Śṛti subhagatvam*) is similar to this. Similarly the prose parts of his
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