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
The Art Form in Maharashtra
The origin of the creation of Harikatha as a separate art form is not very clear. The cultural tradition of Harikatha as a separate art form could be seen in Karnāṭaka, Tamiḷnāḍu and Āndhra Dēśa but probably influenced by the form in Mahārāshṭra during the reign of Śivāji Maharāj. Śivāji’s Guru, Samarth Rāma Dās used to narrate harikatha-s. He was a devotee, who spread the message that importance has to be given not to material possessions but to ardent devotion of the Almighty and in his book, *‘Dāśabōdha’*, he elevated the place of Harikatha saying Harikatha artiste can attain *‘Mōkṣa’* easily. He was the lover of Harikatha who differentiated *Harikatha* from *Purāṇa* and created a significant place to it. In the same period lived Mōrōpantu Vāmana Panḍit, Tukāram and many other prominent Harikatha artistes in Mahārashṭra. The exponents of Harikatha art form are Mahāraṣṭrians but they called this art form
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