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The women's Lavani dance from this area is notable for its unabashed sensuality. In the fishing communities of Maharashtra, men and women link arms and dance together and the women climb on to the men's shoulders to form pyramids. Their men perform the Dandiya Ras, a more vigorous version of the same dance, leaping and crouching in twirling patterns. Rajasthani women, their faces covered with flowing veils, are swirls of colour as they pirouette in the Ghoomar dance, while their counterparts in Gujarat perform the famous Garba, dancing in a circle with batons.
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Women perform the Giddha, also characterised by its spontaneous energy. Along the entire Himalayan region, from Kashmir to Darjeeling, folk dancers link arms and sway gracefully in undulating movements, celebrate the sowing of the wheat crop few can resist the infectious beat of the dholak, the two-sided drum, and pairs of dancers take turns to execute complex acrobatic movements in the centre of a circle of abandoned dancers. While folk music and dance share common themes and concerns, there is a wide variety of forms. The folk music and dances of agricultural communities celebrate the rhythms of daily life, the turn of the seasons, the highlights of the agricultural calendar, religious festivals and important events that punctuate the flow of life, such as births and marriages. Sculpture, Dancer, Delwara Temple, Rajasthan In addition, while links with their folk roots distinguish the regional classical art forms, the myriad folk forms throughout India are bound by common classical religious and mythological themes. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. The 1981–1993 Sutra catalogue is controlled by Unidisc Music.Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. The 1965-1976 Kama Sutra catalogue is now owned by Sony Music Entertainment and managed by Legacy Recordings. Under this moniker, Kass marketed and distributed Fever Records, Blue Dog Records, Baila Records, Becket Records, and signed and recorded the Cover Girls, the Fat Boys, Victor Willis, and many more before the company filed for Chapter 7 bankruptcy in 1993. The record company ceased in mid-1976 but restarted in 1981 as Sutra Records. From 1969 onward, distribution was then handled by co-owned Buddah Records. A distribution deal with MGM Records was later signed, which lasted from 1965 until 1969. In 1965, the company was joined by Art Kass and the record label itself was started. The " Kama Sutra" is an ancient Sanskrit text. Kama Sutra Records was started in 1964 by Arthur "Artie" Ripp, Hy Mizrahi and Phil Steinberg as Kama Sutra Productions, a production house. JSTOR ( June 2016) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed.įind sources: "Kama Sutra Records" – news Please help improve this article by adding citations to reliable sources. This article needs additional citations for verification.