|Kubernath Tanjorkar had learnt dance from Tanjavur Meenakshisundaram Pillai, vocal music from Balakrishna Pillai, mridangam from Azhagunambia Pillai and Hindustani music for 2-3 yrs from Faiyaz Khan. He worked in Lucknow and in Salem (The Modern Theatres) before returning to Baroda, which he had left at the age of 10. He served as palace nattuvanar during the time of Pratap Singh Rao Gaekwad. Later he joined Madras University as lecturer in Mridangam, switched to dance department as lecturer and rose to be its reader. He retired in 1981.|
|Maharaja Swathi Thirunal was a great devotee of Lord Padmanaba and wrote and composed in Hindustani as well as Carnatic, innumerable kritis, padams and varnams in his praise. These padams have become an integral part of a Mohiniattam dancer's repertoire. Being a patron of the arts, he visited the Tanjavur Quartette who brought with them, dancers and thus influenced the already present local form. It's believed that Mohiniattam achieved its refined form during Maharaja Swathi Thirunal's rule in the 16th century.|
the language of Sattriya is an eclectic mix of Bhojpuri, Pali, Sanskrit
The Gods are the primary gurus of dance. Shiva the destroyer of the Hindu trinity is the god of dance in his manifestation as Nataraja. Saraswati, the Goddess of Learning is the mother of music. Parvathi is the first teacher of the graceful dance Lasya as opposed to the virile Tandava of Nataraja. Krishna is the celestial flute player and dancer as well as the embodiment of erotic sentiment.