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PAPER: 3
Detail Study Of Bharatanatyam, Devadasis-Natuvnar, Nritya And Nritta, Different Bani-s, Present Status, Institutions, Artists
Module 22 Researchers, Critics And Scholars Of Bharatanatyam
Other than those who physically taught the art form of
Bharatanatyam, many scholars researched and wrote about it, thus
helping establish it formally. While gurus taught and dancers danced
and popularised the art, it was these few scholars in last 100 years
who made an impact and made the Bharatanatyam art form reach
the world outside through essays, articles, books, films and
documentation. We discuss here a few main ones who are national
and internationally accepted names. There is a whole generation of
youngsters who are trying to understand and advance the dance
form through research. But still, the major focus of anyone who starts
learning dance, remains on performance. We are yet to recognise the
fact that practice and theory of any art, any subject goes hand in
hand. One cannot exist without the other.
Dr. Kapila Vatsyayan / डॉ कपिऱा वात्स्यायन is a leading Indian scholar of classical Indian dance, Indian art and architecture and art
historian. She learnt Kathak and Manipuri and joined the Culture
Department under Education Ministry, Government of India. She
controlled many decisions and patronage systems of the Culture
Department at Shastri Bhawan, Delhi, during the 1970s-80s. She was
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the founding director of the Indira Gandhi National Centre for the
Arts, Delhi. She is the author of several books including Dance
Sculpture in Sarangapani Temple (1982), Traditions of Indian Folk
Dance (1987), Indian Classical Dance (1992), The Square and the
Circle of the Indian Arts (1997), Dance in Indian Painting (2004),
Bharata: The Natyasastra (2006), Classical Indian Dance in Literature
and the Arts (2007), Asian Dance: Multiple Levels (2011), etc.
Prof. Mohan Khokar / प्रो मोहन खोकर was a pioneering scholar, critic, historian and collector. He developed deep insights, sound instincts
and sensitive responses vis-a-vis this haloed cultural heritage of the
country. He acquired authority to discuss in depth and with
conviction, the nuances of any classical dance form – Bharatanatyam,
Kuchipudi, Kathakali, Yakshagana, Odissi, Kathak, Manipuri,
Bhagavatamela, etc. He wrote 5 monumental books Traditions of
Indian Classical Dance, Adavus in Bharatanatyam, Folk Dances,
Splendours of Indian Dance and Uday Shankar. He was the dance
critic for many distinguished papers, Indian and foreign. From 1958-
1960, he collaborated with Dr. Mulk Raj Anand in bringing out Dance
Specials of the Marg magazine. His illustrated note on Indian dances
in the Encyclopaedia Britannica was considered the best contribution
from Asia. He produced two documentaries on Kathakali and
Yakshagana for the University of Rome. Khokar served on the
UNESCO Commissions for Dance. His greatest legacy to posterity is
his priceless collection of archives which many prestigious institutions
like New York Lincoln Centre, Stockholm Dance Museum, and Indira
Gandhi National Centre for the Arts, Encyclopaedia Britannica use as
source material for their various projects. A special section of paper
material in the Collection is the vast amount of correspondence
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between Khokar and innumerable artistes, scholars and gurus of the
dance world. The Mohan Khokar Dance Collection is now taken care
of by his critic-historian son, Ashish Mohan Khokar.
E Krishna Iyer / इ. क्रिष्ण आयर was an Indian lawyer, freedom-fighter, dancer and activist who were responsible for popularizing the dying
art of Bharatanatyam in South India. His involvement with the
Bharatanatyam revival movement began when he joined a theatrical
company called Suguna Vilasa Sabha and learnt Sadir, a sensuous and
less respectful form of Bharatanatyam practised by devadasis.
Krishna Iyer founded the Madras Music Academy and teamed
with Rukmini Devi to save the dance form from dying out. Krishna
Iyer also patronized Carnatic music and wrote as an art critic for
the Indian Express, Dinamani / ददनमणी and Kalki / कल्कक. Krishna Iyer vehemently protested against Muthulakshmi Reddy’s attitude
towards Sadir in a series of letters published in the Madras Mail and
sought to give the dance form a measure of respect by proposing a
resolution at a 1932 meeting of the Madras Music Academy to
rename it as ‘Bharatanatyam.’4 Through his exceptional writing skills
he induced the public to understand the aesthetic value of the dance.
As a good educationist he delivered a series of public lectures
including lecture demonstrations to educate people on the essence
of dance. His book on dance titled Bharatanatyam and Other Dances
of India and one on music titled Personalities in Present Day Music
are his two major works.
G Venkatachalam / जी वेंकटचऱम was an outstanding art critic of the pre-independence era. Born in 1895, Govindaraj Venkatachalam
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started his career as a journalist. He was for a time special art
contributor to New India, a daily newspaper which was being edited
by Dr. Annie Besant. He was also Assistant Editor of two art journals,
Theatre and Roopa-Lekha / रूि-ऱेखा. A regular contributor to various journals in India, America and Japan, he was the author of many well-
known books on Indian life and art like The Mirror of Indian Art,
Modern Indian Painters, Travel Diary of an Art Student, Daughters of
the Dawn, Pen Pictures and Sketches, Unheard Melodies, etc. His
book Dance in India, a rather sketchy and personal take on dancers
and dance forms, served as base material for many, before serious
and in-depth books on dance came after Independence.
With the help of a grant from the Rockefeller Foundation, Ragini Devi
/ रागगणीदेवी wrote Dance Dialects of India, aimed at creating a deeper understanding and appreciation of the Indian dance and its cultural
environment in India. In 1928, Ragini Devi published Nritanjali / न्रिताांजलऱ: An Introduction to Indian Dancing, the first book in English on Indian dance. Dancing in the Family (2001) authored by Sukanya
Rahman is about her mother Indrani Rehman and grandmother
Ragini Devi.
La Meri / ऱा मेरी was an American ethnic dancer, choreographer, teacher, poet, and scholar. She published a number of magazine
articles and books, including The Gesture Language of Hindu
Dance and Spanish Dancing. Usha Venkateswaran has written on Life
and Times of La Meri: Queen of Ethnic Dances.
Dutch dancer Saskia C. Kersenboom wrote Nityasumangali /
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न्रनत्सयसुमांगऱी: Devadasi Tradition in South Asia (1987) about devadasi participation in temple rituals, devadasi repertoire, and rites of
passage, through intense research work. Ram Gopal and Serozh
Dadachanji have together authored Indian Dancing.
When Nala Najan cut down on his dancing, he started to review
performances and wrote many articles with insight. His columns
about the New York dance scene in Sruti and Rasamanjari magazines
were eagerly awaited. He made a video titled Dances of India. “His
language was lucid and honest, descriptive and erudite, always
interesting and never pedantic. He was one of the few dancers who
made the successful switch to dance writing without sounding cynical
or bitter.”5 Nala’s writings were scholarly and he wrote extensive
private research notes.
Dr. V. Raghavan / डॉ. वी. राघवन (1908-1979) was a Sanskrit scholar and musicologist. He took his M.A. in Sanskrit Language and
Literature with Comparative Philology and four schools of Indian
Philosophy under Prof. S. Kuppuswamy Sastri; specialized in Alamkara
and Natya Sastras and Sanskrit Aesthetics and earned his Doctorate
in 1934-1935 from Profs. S. Levi, F.W. Thomas and A.B. Keith; studied
Sanskrit on the traditional lines also and won medals and prizes for
Sanskrit speaking and writing. He authored several books on music
and on aesthetics in Sanskrit literature. He is the author of about 120
works and over 1200 research papers in the fields of Sanskrit and
Indological research. Malavikagnimitra / माऱपवकाल्ननलमत्र Act-II with special reference to Malavika’s Dance (1964-65), South Indian Dance
and Dance-Drama (1964-65), Sri Narayana Tirtha / श्री नारायण तीथथ
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(1965), An Introduction to Indian Poetics (1970), Natyakalai / नाट्यकऱई (Tamizh, 1974), Ramayana Tradition in Asia (1980), Abhinavagupta and his works (1981), Kavya-Nataka-Samgraha / काव्य-नाटक-सांग्रह (2002), Splendours of Indian Dance (2004) etc are some of his many works.6 His monumental work Bhoja’s Srngara
Prakasa / भोज गश्रांगार प्रकाश (1962), a treatise in 36 chapters dealing with both poetics and dramaturgy is the largest known work in
Sanskrit literary criticism and aesthetics. For this work and his
commentary, he won the Sahitya Akademi Award for Sanskrit in
1966. It was later published as volume 53 of the Harvard Oriental
Series in 1998.7
PV Subramaniam alias Subbudu / िी. वी. सुब्रमन्रनअम- सुब्बुडू (1917-2007) helped make dance history. In a career that spanned more
than 50 years, his acerbic wit, fearlessly bold comments and deep
knowledge of music made readers eager to read his views. He always
spoke his mind. Artistes both feared and loved him, the media
idolised him, and readers lapped up every comment of his. As a
performing arts critic, he lived a life akin to a political journalist,
surviving death threats, physical assaults, lawsuits and tempting
bribes with courage and humor. For someone who wielded
tremendous influence in Delhi (because of his weekly column in The
Statesman since 1950) and Chennai’s arts scene (with a range of
magazines and newspapers such as Ananda Vikatan and Indian
Express) thanks to his refined knowledge of Carnatic music and
classical dance forms such as Bharatanatyam, Subbudu made sure his
words and not artistes were remembered in his writings. Magazines
and newspapers made sure they advertised Subbudu’s association
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with them well in advance. Subbudu’s rise on the Indian arts scene
ran parallel to the growth of Indian performing arts in post-
independent India. The main reason for this was the democratisation
of arts. Subbudu has left behind a legacy of words that had the
power to make or mar artistes.8
Dr. B.M. Sundaram / डॉ बी एम ्सुन्दरम is a leading historian of South Indian dance and music. Hailing from a traditional family of musicians
that can be traced back over 40 generations, he has published
extensively on the performance cultures and communities of South
India. His research spans a broad range of methodologies from
manuscript preservation and editing to ethnography. His tireless
commitment to dance history in the Thanjavur region has brought to
light several pathfinding works, including Varna Svara Jati / वणथ ्वर जती, a unique text of devadasi dance compositions edited from manuscripts at the Thanjavur library. He is the author of major books
on cultural history in South India in Tamil including Tala Sangraham
(‘Compendium of rhythmic theory’), Mangala Isai Mannargal (‘The
kings of ritual music’), Marabu Tanda Manikkangal (‘Women who
gave the gift of tradition’), and Marabu Vali Perasarangal (‘The great
hereditary masters of the tradition’), a book on nattuvanars (dance-
masters) that received a major award from the Tamilnadu State
Government. He has authored the only existing biographies of
several prominent musicians of the late nineteenth and early
twentieth century, including Needamangalam Meenakshisundaram
Pillai, Thanjavur Vaidyanatha Iyer and Kanchipuram Naina Pillai. He
has also contributed a large number of scholarly works in English,
including The Advent of Lavani in Thanjavur, The Origin and Evolution
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of Nagasvaram / नाग्वरम, The Origin of Jalatarangam / जऱतरांगम, and a revolutionary essay entitled ‘Towards a genealogy of some
Thanjavur Natyacharyas.’
Shanta Serbjeet Singh / शाांता सरबजीत लसांह is a senior arts columnist and critic, author and cultural activist. She has served, for more than
twenty-five years as columnist, critic and media analyst for The
Hindustan Times, The Economic Times and The Times of India, India’s
most important mainstream dailies, in English language. As elected
Chairperson of APPAN, she has individually organized or helped
organize 8 international symposiums and festivals in several Asian
countries. Her publications include: ‘Indian Dance: The Ultimate
Metaphor,’ ‘The 50th Milestone: A Feminine Critique’ to mark India’s
fiftieth anniversary of Independence. ‘Nanak, The Guru’ and ‘America
and You’ (went into 22 editions) published by the United States
Information Service, India.
Dr. Sunil Kothari / डॉ. सुनीऱ कोठारी is a dance critic, publicist-writer, with many books to credit. He did his Ph.D in dance on Kuchipudi,
Bhagavata Mela Natakam and Kuravanji dance drama tradition with
reference to Rasa Theory as expounded in Natyashastra, and post-
doctoral research on Dance Sculptures of Medieval temples of North
Gujarat with reference to Sangitopanisatsaroddhara / सांगीतोिनीषत्ससारोद्धार. He was a dance critic for the Times of India group for 20 years (1960s-80s). He has put together books for Marg after
Mohan Khokar’s example including the second edition of
Bharatanatyam, Odissi, Kathak, Kuchipudi, Chhau Dances of India,
New Directions in Indian Dance, Damaru, essays on traditional dance
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and theatre, Photo Biographies on Uday Shankar and Rukmini Devi,
edited Sattriya / सत्सतररया Classical Dance of Assam. He has written several articles for national and international journals. He has also
won national awards and titles.
When S. Sarada / एस. शारदा attended Rukmini Devi’s dance rehearsals, she would notate the music and movements. Writing
down the dance was the inspirational work of Sarada and her
method is still followed in Kalakshetra. Sarada edited the material for
all of Kalakshetra’s dance dramas along with Venkatachala Sastry and
Adi Narayana Sarma. Among her numerous scholarly achievements is
her assistance to Tiger Varadachariar when he was composing music
for Kumarasambhavam / कुमरसांभवां, Papanasam Sivan for Andal Charitram / आांडाऱ चररत्रां , Kannappar Kuravanji / कणप्िर कुरवांजी , Gita Govindam / गीत गोपवन्दम, Sakuntalam / शाकुां तऱम, Matsya Avataram / मत्स्य अवतारम, and Kurma Avataram / कुमथ अवतारम. She also worked with Balu Bhagavatar of Melattur and Kalyaniammal and edited
Dhruva Charitram, Usha Parinayam and Rukmini Kalyanam and made
it suitable for Rukmini Devi. She helped edit and proof read
publications of Papanasam Sivan, Veena Krishnamachariar and
others. She also helped edit the musical works of Neelakanta Sivan,
the Keertanai Malai / कीतथने माऱ ई of Papanasam Sivan and Gana Manjari / गाना मांजरी , the works of Veena Krishnamachariar, all of which have been published by Kalakshetra. She helped edit the three
volumes of the Sangeeta Ratnakara / सांगीत रत्सनाकर and Mela Ragamalika / मेऱा रागमा लऱका, both in Sanskrit, published by the Adyar Library and Research Centre. She wrote Rukmini Devi’s
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biography titled Kalakshetra: Rukmini Devi.
Prof Parul Shah / प्रो िारुऱ शाह , Former Dean Faculty of Performing Arts as well as the Head of the Dance Department at the Maharaja
Sayajirao University of Baroda is perhaps the only Indian Performing
artist who received the Senior Fullbright Fellowship (1991). Her
research on the Analysis of Sthayi Bhava-s using Laban Movement
Analysis is path-breaking in the serious dance research. Since her PhD
on Rasa Dance of Gujarat in 1984, till now she has presented more
than 50 papers in internationally renowned dance bodies such as
CORD, JADE, IMACO, APPAN, WDA and many such. Her association
with UGC is very long in the area of dance curricula, testing and
research. The present project of creating E- Content for Performing
Arts-Dance is one of the most in-depth, extensive and futuristic
exercises in the field of Dance Education and Research.
Leela Venkataraman / ऱीऱा व्यांकटरामन started her career as a writer on dance, beginning as the dance critic for the National Herald in
1980, after which she was with another daily, The Patriot. Selected as
the dance critic for The Hindu when the paper began its Delhi edition,
she was with the paper for a long time. Her regular reviews in the
Friday Review column earned a reputation for being the most incisive
commentary on the dance scene in the capital and was looked
forward to with much eagerness and enthusiasm among art lovers.
Leela Venkataraman has written extensively for journals in India and
abroad. Among her publications are Indian Classical dance: Tradition
in Transition, Bharatanatyam: Step by Step, A Dancing Phenomenon:
Birju Maharaj and Indian Classical Dance – The Renaissance and
Beyond (2015). She is a regular contributor to Nartanam quarterly
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journal and Sruti magazine. In her career spanning three decades, she
has made a significant contribution to dance writing. She won the
SNA award for her contribution.
Lakshmi Vishwanathan / ऱक्ष्मी पवश्वनाथन ’s earliest research project was the Temple Dance of Tamil Nadu. She has since done few more
such grant-supported books. Roli Books, New Delhi commissioned
Lakshmi to write a biography of M.S. Subbulakshmi. Titled
Kunjamma-Ode / कुन्जम्मा-ओड े to a Nightingale (2003), this was the first book on the great vocalist with more than a hundred
photographs from her own album. In 2006, Lakshmi authored the
colourfully illustrated book Kapaliswara Temple - the Sacred Site of
Mylapore. In 2008, Lakshmi released her latest book, Women of Pride
- the Devadasi Heritage. Currently she is the editor of the Kalakshetra
Journal, which was originally published by the founder Rukmini Devi.9
Dr. Padma Subrahmanyam / डॉ िद्मा सुब्रह्मण्यम has numerous articles, research papers and travelogues to her credit like Bharata’s Art –
Then and Now, Bharatakkalai Kotpadu (in Tamil), Natya Sastra and
National Unity, Legacy of a Legend which is a collection of articles by
her and Bhagavad Gita for Dance. She wrote the script, scored music,
choreographed and personally appeared in the 13-segment film
Bharatiya Natya Sastra produced by Nrityodaya and directed by her
brother V. Balakrishnan which was telecast on Doordarshan National
network. Published in three volumes by Nrityodaya, Karanas -
Common Dance Codes of India and Indonesia is the fruit of her
decades of research. She has also written Epic Stories from Natya
Sastra (for Children) and Natya Sastra Itihasa Kadhaigal (for Children
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– Tamil).
Devesh Soneji / देवेश सोनेजी is the author of Unfinished Gestures: Devadasis, Memory and Modernity in South India (2012), a study that
examines the social history of women in devadasi communities over
the past two hundred years drawing from extensive archival and
ethnographic work. He is the editor of Bharatanatyam: A Reader
(2010), and co-editor of Performing Pasts: Reinventing the Arts in
Modern South India (2008). Prof. Soneji is also the co-founder and
director of The Mangala Initiative, a non-profit organization centred
on social justice issues for hereditary performing artists in South
India.
Ashish Mohan Khokar / आलशष मोहन खोकर served the Times of India as dance critic in Delhi for 20 years (Delhi from 1990 - 2000 and
Bangalore 2000 – 2009). He was the dance columnist for India Today,
First City and Avantika. He edits and publishes India’s only yearbook
on dance – attendance - and is curator of India’s largest dance
materials - the Mohan Khokar Dance Collection. He has written over
40 books on Indian arts and culture. He chairs the Dance History
Society of India and has pioneered academic dance, Discourses, with
Alliance Francaise de Bangalore. He is the most widely read dance
columnist from India on the internet.
Avanthi Meduri / अवन्ती मेदरुी is the convener of the first post graduate programme in South Asian Dance Studies launched at
Roehampton University in London in 2005. Her published works
include Rukmini Devi Arundale (1904-1986): A Visionary Architect of
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Indian Culture and the Performing Arts (2005), The transfiguration of
Indian/Asian dance in the United Kingdom: contemporary
Bharatanatyam in global contexts (2010), Nation, Woman,
Representation: The Sutured History of the Devadasi and her Dance
(1996), Bharatanatyam What are you? (1997) and History as an
image: mimesis and parody in Bharatha Natyam (1990).
There is not enough space here to give justice to all those who are
contributing immensely to the field. The Writers, Scholars and
Researchers in the field of dance research and writing have enriched
dance scholarship at large. Some of them are Acharya Parvati Kumar,
Dr Pappu Venugopal Rao, Dr. Amrut Shrinivasan, Dr. Nandini Ramani,
Dr Mandakranta Bose, Dr Arshiya Shethi, V R Devika, Smt. Manjari
Sinha, Madhavi Puranam and such. Apart from these there are
regional scholars who have written on Bharatanatyam in their native
language.
http://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Medurihttp://www.amazon.com/transfiguration-Indian-Asian-United-Kingdom/dp/B001P96F7W/ref=sr_1_2?s=books&ie=UTF8&qid=1435412476&sr=1-2&refinements=p_27%3AAvanthi+Meduri
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