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 Tradition of Harikatha in the Southern States
‘Saṅkīrtana’ is the life of Harikatha which is predominantly a musical discourse. The Harikatha starts with a song and gets in tune with *padyam* (poem) and *vacanam* (text) in course. Tamiḷ ‘Kālakṣēpam’ and Karnāṭaka ‘Harikathā kālakṣēpam’ were influenced by Marāṭha-s’ Abhaṅgam. As Tamilians are music lovers there was more of music in **Tamiḷ ‘Kathā Kālakṣēpam’** (spending time listening to a story). Also there were supportive singers to the main narrator in ‘Kālakṣēpam.’ Tanjāvūr Krishṇa Bhāgavatār (1841-1903) can be mentioned as the *Pitāmaha* (architect) of the modern Kālakṣēpa tradition of Tamiḷ Nāḍu, which combined itself with the Mahāraṣtra tradition. He was original in his narration and kīrtana. Yet along with his kīrtana-s he used to sing Abhaṅga-s, Purandara Dās’ and Tyāgarāja’s compositions [^1] . He learnt a good number of Tyāgarāja’s compositions from Tillaisthānam Rāmu Iyyengār, a direct disciple of Tyāgarāja. We can thus elicit that the progress of Kathā
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