This volume is the result of many years of pain staking research in a field, which had been neglected by art historians, and thus presenting an idealistic view of the whole tradition of Indian art and aesthetics. This definitive work on the inherent interrelationship of the Indian arts is a path-breaking endeavour, treading into a domain which no one had explored. For that to happen, the author has delved deep into enormous mass of literature on the subject and has also surveyed the portrayal of dance figures in ancient temples. With Dr Kapila Vatsyayan’s profound knowledge of various dance forms as a performing artist of her own standing and having studied the sculptures and artefacts minutely, the book emerges so scholarly emanating the wisdom and know-how of a persona, endowed with the unique combination of a researcher, an art historian and an aesthetician par excellence. The book vividly presents, analyses and critiques the varied facets of Indian aesthetics, especially the theory and technique of classical Indian dance, while doing a penetrating study of interrelationship that dancing has with literature, sculpture and music. In doing so, it surveys and analyses the contribution of great Sanskrit authors, theoreticians, playwrights of ancient and classical India such as Bharata, Bhāsa, Kālidāsa, Śūdraka, Bhavabhūti, Abhinavagupta, Jayadeva and many more along with numerous Bhāṣā scholars of arts, aesthetics and literature, covering each and every nook and corner of the Indian subcontinent. This highly scholarly work should invoke keen enthusiasm among Sanskritists, art historians, dancers and students of varied art forms alike, and should pave the way for ongoing researches on all the topics covered within its scope.

India is a pioneer in Performing arts. This books deals with five classical dance forms of india in detai, viz., Bharatanatyam,Kathakali,orissi,manipuri and Kathak.

Covering eight classical dance forms of India Bharatanatyam, Kathak, Kuchipudi, Kathakali, Manipuri, Mohiniattam, Odissi and Sattriya Leela Venkataraman seamlessly weaves together a historical perspective with the contemporary scenario. Stripped of their association with the temple and the court, classical dance traditions in India went through a series of unprecedented change in the period marking the last few years of British rule and thereafter. From becoming part of the nationalist struggle when India was trying to rediscover its lost identity, to sharing the international stage today with dance forms from all over the world, the last sixty-six years have seen many changes in perspective and presentation of Indian Classical Dance some intentional, others involuntary. While looking at these years closely and their impact on dance forms, one realises that this is a phase in an ongoing process, with each new generation of dancers and musicians adding to an already rich tapestry of tradition."

The most comprehensive view of the evolution of dancing in India is one that is derived from Sanskrit textual sources. These texts are the basic material that students of the dance in India must examine in order to uncover its past. Since the rebirth of informed interest in dancing in early twentieth century, its antiquity has been acknowledged but precisely what the art was in antiquity remains unclear. Discovering the oldest forms of dancing in India requires, as do other historical quests, a reconstruction of the past and, again as in other historical investigations, the primary sources of knowledge are records from the past. In this case the records are treatises and manuals in Sanskrit that discuss and describe dancing. These are the sources that the present work sets out to mine. These texts taken collectively are more than records of a particular state of the art. They testify to the growth of the theory and practice of the art and thus establish it as an evolving rather than a fixed art form that changed as much in response to its own expanding aesthetic boundaries as to parallel or complementary forms of dance, drama and music that impinged upon it as India's social and political situation changed. When we place the Sanskrit treatises in chronological sequence it becomes clear that the understanding of the art has changed through time, in its infancy as well as in maturer periods.

An important modern exponent of Asian dance, Pandit Chitresh Das brought kathak to the United States in 1970. The North Indian classical dance has since become an important art form within the greater Indian diaspora. Yet its adoption outside of India raises questions about what happens to artistic practices when we separate them from their broader cultural contexts. A Guru's Journey provides an ethnographic study of the dance form in the San Francisco Bay Area community formed by Das. Sarah Morelli, a kathak dancer and one of Das's former students, investigates issues in teaching, learning, and performance that developed around Das during his time in the United States. In modifying kathak's form and teaching for Western students, Das negotiates questions of Indianness and non-Indianness, gender, identity, and race. Morelli lays out these issues for readers with the goal of deepening their knowledge of kathak aesthetics, technique, and theory. She also shares the intricacies of footwork, facial expression in storytelling, and other aspects of kathak while tying them to the cultural issues that inform the dance.