which they could spend their spare time. Brahma took words from Rigveda, music from Samaveda, Abhinaya from Yajurveda and Rasa from Athara Veda and created a new and fifth Veda called Natya Veda and gave it to his son Bharat who codified it and wrote the Natya Shastra. He taught it to his 100 sons and to the Apsara-s and Gandharva-s. They exhibited this dance art in the presence of Lord Shiva Nataraja.

The Lord remembering his cosmic dance requested Bharata to teach this art correctly to his gana-s or servants. Goddess Parvati taught lasya Nritya to Bharata. Later she taught the dance art to Usha the daughter of Banasura. In course of time, this divine art came down to earth and became known as Bharata Natya all over India ('Bharata Khanda'). Some emperors and kings recognizing the beauty and greatness of Bharata Natya, encouraged its development in their courts and brought great respect to it Gradually it blossomed into full glory in South India. We have enough proof of this in the sculptures of temples, in literature and in some edicts. The Kadamba-s, between the 4th and 11th centuries and the Rashtrakata-s of South India became the patrons of this art and exhibited great interest in its development. 

Durveenita, Narasimha Deva, Satya Vakya, the great literary giants, learned musicians and dance enthusiasts of Ganga Dynasty wrote authentic treaties and commentaries on these arts thus emulating Thmbura, Narada, Bharata kambalacharya in their erudition and scholarship. It is said that kakusta Varma, a Kadamba king, was a great lover of art and his place always resonated with the sound of music and dance.