nature, on its élan, ethos and elegance, that is, on its chiselled technique, sophisticated expression and classical format. The author firmly believes that this is possible only if more and more women dancers come forward to learn so that its inherent delicacy and grace come alive. He also feels that some of the conventional appendages can be dispensed with such as Tarchila (curtain), which was once used to introduce the characters on the stage, and big torches employed to light up to stage. These days we possess in ample measure all the technical equipment we need. Such obsolete and orthodox stage paraphernalia are no longer necessary.

As Alfred Tennyson rightly puts it:
- The old order changeth
- Yielding place to new
- Lest one good custom should
- Corrupt the world

Any art has to adapt itself to the aesthetic sensibilities of changing times. It was with this idea in view the pioneer Vedantam Lakshminarayana Sastry initiated women also into this discipline. Today we see women playing even men’s roles. Dance, like music, know no geographical boundaries, no linguistic barriers and no racial divisions. All walls crumble where art is concerned. It is a great unifying and integrating force.

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