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Kamsale (Kannada: ಕಂಸಾಳೆ ನೃತ್ಯ), is a unique[citation needed] folk art performed by the devotees of God Mahadeshwara.[1] Kamsale is a brass made musical instrument. Its origin is traced to the Mythological period. It's a popular folk art in Southern Karnataka especially Chamarajanagara, Ramanagara, Mandya and Mysore Districts.

Instrument and group

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Kamsale is a rhythm instrument. These instruments are played in pairs. Its size is about a man's palm. They are throated at the centre. One which is convex in shape is held in one hand, very closely; (usually the left hand). The other one is held at length. (usually in the right hand). The artists in the Kamsale group vary from three to eight. If the Kamsale is accompanied by songs, the number of artists will be from 8 to 12.

Background

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"Kamsale", popularly known as "Devaraguddas", belongs to the Halumatha (Kuruba Gowda) community who are disciples of Lord Mahadeshwara. Kamsale Mela is a popular folk song which deals with the history of 'Mahadeshwara' (worshipping deity) of Mahadeshwara hills, a renowned pilgrim centre, situated in Chamarajanagar district

Literature

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Kamsale artists have no printed literature. They learn those songs orally. They participate in fairs, which are held in Mahadeshwara hills during Diwali, Shivaratri and Ugadi festivals.

Kuruba People

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Kamsale is closely connected with a tradition of Shiva worship. The artistes, drawn from Haalumatha Kuruba Gowda community. Who have vowed to live a life of devotion to Mahadeshwara are supposed to perform kamsale. The dance is a part of a 'diiksha' or oath and is taught by teacher or spiritual leader. Kamsale Mahadevaiah of Mysore was a famous artist. He trained students at university level. In cultural exchange programme of India, he toured many countries and performed.

Dress and dance

[edit]

The singing artists wear a special dress. The artists, with the Kamsale in the left hand, expose it to be hit by the Kamsale held in the right hand. Thus rhythm is created of various patterns and tempos. Beesu Kamsale or Kamsale dance is a unique dance form in which religious fervour combines with martial dexterity. The instruments, in the course of the vigorous rhythmic beatings are moved around the body of the dancer in innumerable patterns manifesting both skill and art. The main element in art is the rhythmic clang, which blends with the melodious music of the Mahadeshwara epic. In a group movement the dancer provides the vision of a series of offensive and defensive manoeuvers, which is a testimony to the Kuruba people being of Martial stock.

Spread

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The Kamsale dancers are found in the Kannada, Mysore, Channapatna, Mandya, Ramanagara, Kanakapura, Kollegal, Bangalore and Chamarajanagara region.

References

[edit]
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Kamsale

View on Grokipedia
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Kamsale is a traditional and originating from southern , , performed by devotees of the Mahadeshwara as a devotional offering that combines rhythmic music, vigorous movements, and elements of . The instrument itself consists of a pair of small cymbals crafted from or , typically one cup-shaped piece (about 1-inch deep and 3 inches in diameter) and a slightly larger flat counterpart, struck together to produce sharp, melodious rhythms that accompany the performers' steps. These cymbals, often adorned with colorful strings and optional bronze ornaments for added sound effects, are held in the hands of the dancers, who belong primarily to the Haalu or Kuruba Gowda community, shepherds and disciples of Mahadeshwara, a manifestation of Lord worshipped at the in Chamarajanagara district. Historically, Kamsale traces its roots to the , with references in ancient texts like the Basava Purana, evolving from the term "Kamsya tala" meaning bronze cymbals, and serving originally as a tool for devotees trekking hilly terrains to the temple, where the instrument's noise helped ward off wild animals. The form, practiced for centuries by the Halu tribe, narrates legends of Mahadeshwara through bhajans sung by accompanying vocalists, blending aesthetic expression with themes of devotion, social issues, and praise for the deity. Performances typically involve groups of 10 to 12 dancers clad in simple local attire, executing synchronized steps near temples or during festivals, featuring intense physicality that highlights both grace and strength. Kamsale holds significant cultural prominence in regions like Mysuru, , Chamarajanagara, , , and the outskirts of Bengaluru, where it is showcased at events such as the three-day car festival at Male Mahadeshwara temple during Deepavali, the Mysuru Dasara celebrations, as well as in like the film Jogi. This form not only preserves the spiritual traditions of its practitioners but also addresses everyday concerns of rural communities through its lyrical content.

Introduction

Description

Kamsale is a vigorous folk dance and percussion art form originating from , , performed exclusively by male devotees of Lord Mahadeshwara, a form of . This dynamic performance combines rhythmic music with energetic physical movements, serving as a devotional expression within the traditions of the Kuruba Gowda community. Typically involving a group of 3 to 8 artists, with performances occasionally expanding to up to 12 when including singers, Kamsale is staged at temple fairs, festivals, and special religious occasions dedicated to Mahadeshwara. The core elements revolve around the synchronized clanging of pairs of kamsale instruments, consisting of a held in one hand and struck against a bronze disc held in the other, creating pulsating rhythms that accompany vigorous body gestures and footwork. These sequences are often enhanced by choral singing in that praises the , fostering an immersive atmosphere of devotion. As a religious offering, Kamsale blends vigor—evident in its bold, acrobatic-like motions—with profound devotional intent, embodying the performers' spiritual oath to the lord. This fusion not only entertains but also reinforces communal bonds during sacred gatherings in regions like Mysuru, Chamarajanagara, and surrounding areas.

Cultural Significance

Kamsale serves as a profound expression of vow-based devotion, known as diiksha, among the Gowda community, who are primarily shepherds devoted to Lord Mahadeshwara, an incarnation of . Practitioners undertake a lifelong to perform the art form as an act of worship, with only those who have pledged their lives to the deity permitted to participate. This ritualistic commitment underscores Kamsale's role in channeling spiritual dedication through rhythmic performances that invoke divine blessings, particularly during pilgrimages to the Mahadeshwara Hills in , . Socially, Kamsale reinforces the cultural identity of the Halumatha Gowda people, preserving their oral traditions in a where performers are often illiterate and rely on generational transmission of . Through dynamic enactments, it functions as a medium for , narrating the epic tales of Mahadeshwara's life, miracles, and moral lessons over extended sessions, such as seven-night recitals during festivals like and . This practice not only fosters communal bonds but also transmits values of devotion, resilience, and social harmony within the shepherding lifestyle. As a symbol of southern Karnataka's folk heritage, Kamsale uniquely blends prowess—historically used to ward off threats during hill treks—with spiritual expression, distinguishing it as a traditionally male-only, oath-bound art form that embodies the region's tribal ethos. Its performances at temple festivals highlight the integration of warrior-like vigor and religious fervor, contributing to the broader cultural tapestry of traditions while emphasizing themes of protection and piety.

Origins and History

Mythological Origins

The mythological origins of Kamsale trace back to ancient legends surrounding Lord Mahadeshwara, a revered form of , whose worship is centered in the (MM Hills) region of southern . According to oral traditions preserved by devotees, the art form emerged as a sacred devotional practice among the Devara Guddaru, spiritual disciples who perform it to honor the deity's divine miracles and life events. These legends portray Mahadeshwara as an incarnation of who arrived from a northern land, traversing plantain farms to establish his abode in the hills, where he performed acts of benevolence that inspired rhythmic worship. The creation of the Kamsale instrument itself is divinely inspired in these myths, designed for rhythmic accompaniment in rituals. Comprising a gari (plate symbolizing the ) and adi battalu (cup representing the ), the cymbals embody the cosmic order of creation as described in the folk epic Malai Mahadeshwara. Early performances functioned as offerings during temple ceremonies, with the clanging sounds invoking the deity's presence and narrating his mythological exploits through Kamsale padas—devotional songs that form the core of the tradition. Deeply embedded in the pastoral lifestyle of the Gowda community, who serve as shepherds and primary performers, Kamsale evolved as a sacred to propagate Mahadeshwara's legends. This connection underscores the art's role in community devotion, where the instrument's rhythmic beats mimic the shepherds' daily tools adapted for spiritual expression. The entire tradition relies on oral transmission across generations, encompassing 12 ballads recited over nights of , without any printed to document its mythical foundations.

Historical Development

Kamsale emerged in the southern districts of , including and Mysuru, during the medieval period around the , deeply influenced by Shaivite devotional practices. The tradition originated as a rhythmic using the kamsale , employed by pilgrims trekking to the to deter wild animals and invoke divine protection during their journeys. The practice gained significant prominence through these annual pilgrimages to the , a key Shaivite center established since the , when Mahadeshwara is recorded to have performed penance at the site. Devotees from the Gowda community integrated kamsale into their worship rituals at the temple, blending music, song, and movement to narrate legends of the deity. Over time, particularly from the 19th to 20th centuries, formalized under the guidance of community gurus who preserved it through oral transmission across generations. This period saw the shift from solitary devotional performances by individual pilgrims to coordinated ensemble acts, often involving groups of 8 to 12 dancers, staged at temple fairs and communal events to enhance communal participation and rhythmic synchronization. A key milestone in the late came with international exposure, led by prominent artist Kamsale Mahadevaiah (c. 1942–2020), who performed internationally as part of India's cultural exchange programs, thereby elevating the regional folk form to global recognition.

The Instrument

Design and Materials

The is a classified as an , primarily constructed from or . It consists of a pair of small, circular plates, each approximately palm-sized with a diameter of about 3 inches. The left-hand plate, known as adi battalu, is slightly convex and cup-shaped, measuring roughly 1 inch deep and 1/4 inch thick, providing a resonant cavity for sound production. In contrast, the right-hand plate, or gari, is flat, slightly larger in diameter, and thinner to facilitate quicker strikes. A key feature of the design is the central projection on one or both plates, which serves as a grip point and attachment for a multi-colored (gonde dara) that allows the performer to hold and manipulate the instrument during motion. This often incorporates small ornaments or jingles, enhancing the auditory complexity with additional tinkling effects alongside the primary clangs. The overall lightweight construction, owing to the thin metal and compact size, supports sustained, vigorous use without fatigue. The plates are traditionally hand-forged. Acoustically, the Kamsale produces sharp, distinct clangs when the plates are struck together, with the two pieces yielding different tones. These rhythmic sounds, augmented by the jingles, enable precise control and in performances. The instrument's durability stems from its solid metal composition, making it suitable for extended outdoor use in folk traditions. The name itself derives from the term kamsya tala, referring to cymbals, underscoring its historical material roots.

Playing Technique

The playing technique of the kamsale involves holding and striking two distinct or components to generate rhythmic percussion that accompanies devotional and . The performer grips a palm-sized convex or , known as the battalu, in the left hand, positioning it near the body to serve as the base for impacts. In the right hand, a flat or disc called the gari is held using a special thread for secure control, which is then struck against the center of the battalu to produce a clear, melodious clang. This striking method allows for dynamic control over sound intensity through variations in force and angle, enabling the performer to create layered rhythmic effects during vigorous movements. Rhythmic patterns in kamsale playing are characterized by rapid, repetitive clangs that provide to folk songs narrating mythological tales of Lord Mahadeshwara, often reaching high to match the energy of the performance. These patterns synchronize closely with footwork and body movements, such as acrobatic spins and jumps, ensuring the percussion drives the overall and flow of the . In group settings, typically involving 8 to 12 performers, a lead player initiates the rhythm, with others joining sequentially on cues to maintain cohesion and build intensity. Mastering the technique demands significant physical stamina, as performers must sustain precise strikes while executing demanding dance sequences that blend martial arts elements with devotion. The skill is transmitted orally through apprenticeship within the community, focusing on rhythmic accuracy, timing, and synchronization to evoke a heightened state of devotional immersion.

Performers and Community

The Kuruba Gowda People

The Kuruba Gowda, also known as the Halumatha Male or Haalu Kuruba community, form a pastoral shepherd group primarily residing in southern Karnataka, where they have historically engaged in nomadic herding of sheep and goats across the Deccan plateau. As one of the state's oldest pastoralist communities, they rear Deccani sheep for wool, milk, meat, and manure, with traditional practices including penning herds on farmlands to provide natural fertilization. Their lifestyle reflects a deep-rooted connection to animal husbandry, supplemented by weaving wool into kamblis (blankets) and other crafts, though modern challenges like shrinking grazing lands have prompted some settlement. The community adheres to Halumatha, a Shaivite denomination emphasizing devotion to forms of Lord , including Male Mahadeshwara, a revered saint-poet and incarnation of Shiva whose temple in was established by a Kuruba Gowda chieftain named Junje Gowda over six centuries ago. This devotion shapes their cultural identity, with Kamsale performances serving as a key expression of vows to honor Mahadeshwara and reinforce community bonds. Socially, the Kuruba Gowda are organized around Halumatha traditions, including affiliations with religious mathas that guide spiritual and cultural practices, as noted in historical village surveys. The structure is largely male-dominated, with men traditionally leading migrations and observances, while women play supportive roles in household management, processing, and community events. As of the 2025 Karnataka caste census, the Gowda population stands at approximately 43.72 , representing about 7.3% of the state's total and ranking as the fourth-largest community grouping; the community has been reclassified from "more backward" to "most backward," with recent government efforts in September 2025 seeking inclusion of the Halumatha Kuruba sub-sect in the Scheduled Tribes list amid census controversies over sub-caste inclusions. Economically tied to , their livelihoods are augmented by cultural performances at festivals, which provide additional income opportunities alongside activities. This integration of devotion, labor, and artistry underscores their role in preserving southern 's heritage.

Devotional Practices and Training

The diiksha process for Kamsale practitioners involves a lifelong of devotion taken exclusively by males within the Gowda community, typically under the guidance of a during rites at temples dedicated to Lord Mahadeshwara. This oath commits the devotee to a life of spiritual service, integrating the performance of Kamsale as a sacred expression of faith in the Maleya Mahadeshwara tradition. Training commences orally through the guru-shishya parampara, often beginning around 10 years of age with instruction in basic rhythms produced by the kamsale instrument, progressing to complex patterns that demand both technical proficiency and rhythmic precision. This mentorship emphasizes rigorous physical discipline to master the vigorous movements and spiritual attunement to embody devotion, with knowledge transmitted verbally without reliance on written materials. Kamsale performances serve as sevas, or devotional services, offered during temple festivals and fairs honoring Mahadeshwara, where troupes enact narratives of the deity's legends to invoke blessings. A prominent figure in this tradition was Kamsale Mahadevaiah, a 20th-century artist from who elevated the art form internationally through performances and cultural exchanges, with his son continuing this legacy by training and performing abroad. The tradition is preserved through patrilineal succession within families, as seen in multi-generational lineages where skills are passed from father to son, ensuring the continuity and purity of the devotional practices.

Performance Elements

Attire and Props

Kamsale performers, primarily male members of the Gowda community, don traditional attire that emphasizes simplicity, devotion, and practicality for vigorous movements. The standard costume for dancers consists of an orange full-sleeved long shirt paired with a white tied to resemble loose trousers, often accented by a cloth secured around the waist for added visual contrast and mobility. While traditionally performed by men, contemporary ensembles increasingly include female performers. This ensemble reflects the pastoral roots of the Gowda, utilizing lightweight cotton fabrics in vibrant hues like orange and to ensure visibility during outdoor festivals while allowing freedom of motion. Accessories underscore the devotional aspect of the performance, drawing from Shaivite traditions. All performers wear a bead neck chain, symbolizing spiritual purity and connection to Lord Shiva, with the leading singer's chain often adorned with fresh flowers for added significance. Sacred markings of (holy ash) are applied as three horizontal lines on the forehead—centered with a dot (tilak)—and on the , serving as both cosmetic and symbolic elements of devotion; the leading singer wears a plain white and full-sleeved shirt to distinguish his role. Beyond the central kamsale instrument, props are minimal but functional, including an artistic thread tied around the wrist to secure the gari (flat top) in the right hand, ensuring grip during dynamic routines. These elements collectively enhance the visual symbolism of martial ethos and religious fervor inherent to the Gowda heritage.

Dance Movements and Style

The Kamsale dance features rapid footwork, high jumps, dynamic spins, and synchronized strikes of the brass cymbals, creating a rhythmic interplay between the performer's body and the instrument's resonant clangs. These movements draw from the traditions of the Gowda community, incorporating mock combat poses such as offensive thrusts and defensive parries that simulate wrestling maneuvers, emphasizing athletic precision and physical prowess. In terms of style, the dance is characterized by its vigorous and trance-inducing quality, where performers build escalating intensity through increasingly frenetic actions, often evoking a state of divine possession during devotional rituals. Performances typically last 10-20 minutes, starting with a solo dancer who executes intricate patterns—such as circling the instrument around the body or bending and stretching in fluid sequences—before transitioning to a group format of 8-12 participants who join in response to the leader's cues. This progression maintains a seamless flow, with the group's synchronized jumps and spins amplifying the communal energy. Variations within the include slower, deliberate sections that allow for expression through measured footwork and poses, contrasting with faster climactic phases featuring explosive spins and rapid strikes to heighten dramatic tension. The attire's lightweight fabrics and minimal design facilitate these acrobatic elements, enabling unrestricted mobility during the high-energy sequences. Overall, the style prioritizes raw athleticism over fixed patterns, resulting in improvisational yet cohesive displays that reflect the dance's roots in Kuruba wrestling heritage.

Music and Accompaniment

The music of Kamsale performances is deeply rooted in devotion to Lord Mahadeshwara, featuring rhythmic percussion from the Kamsale instrument combined with vocal elements that emphasize spiritual praise and communal expression. The core accompaniment consists of the clanging sounds produced by striking the small circular or plates of the Kamsale—one cup-shaped piece held as a in the left hand and the flat counterpart in the right—creating a percussive foundation that drives the performance's and intensity. This rhythmic structure, derived from the instrument's metallic resonance, supports the overall flow without reliance on fixed notations, allowing for fluid integration with the dancers' movements. Songs, known as padagalu or bhajans, form the vocal heart of Kamsale, sung in by the performers to exalt Lord Mahadeshwara's glory while articulating the everyday struggles of devotees and seeking divine intervention. These oral compositions draw from mythological narratives and life, often recited or chanted in a melodious style that blends with the instrument's beats to evoke ecstasy and reverence. Representative examples include "Maleya Madeva," a traditional piece featuring repetitive chants like "Mahadeva" and "Malaya Deva" that highlight themes of divine protection and hill-dwelling , typically performed in group settings to amplify communal devotion. While the primary accompaniment remains unadorned and centered on the Kamsale's percussive clangs and vocals, performances may incorporate recitations of sacred texts such as legends from the Basava Purana or tales of Mahadeshwara to enrich the narrative depth. This minimalist approach underscores the form's ritualistic purity, with the music building through escalating rhythms that synchronize briefly with dance elements to heighten the devotional atmosphere.

Spread and Contemporary Practice

Geographical Distribution

Kamsale, a traditional form, is primarily practiced in the southern districts of , , with core concentrations in , Mysuru, , , Bangalore Rural, , and . These areas form part of the shepherd belts where the performing communities reside, and the dance's prevalence aligns with local agrarian and pastoral lifestyles. The practice is deeply tied to sacred sites, particularly centered around the (MM Hills or Mahadeshwara Malai) in , a major pilgrimage hub dedicated to Lord Mahadeshwara, a form of . Performances traditionally occur in temple courtyards and during village fairs in these regions, reinforcing the dance's role in local devotional rituals. Kamsale remains limited to Kannada-speaking shepherd communities within , with no significant established presence outside the state. Its geographical spread is linked to the historical migration patterns of the Gowda people, who as nomadic shepherds relocated within southern in search of grazing lands, thereby disseminating the tradition across these districts.

Modern Performances and Preservation

In contemporary settings, Kamsale performances continue to thrive during major festivals such as , Shivaratri, and , as well as at cultural events across , where they serve as vibrant expressions of devotion and community heritage. Groups have undertaken international tours as part of cultural exchange programs, showcasing the dance form in countries like the , , and to promote Indian folk traditions abroad. These outings, often supported by organizations like the , have helped elevate Kamsale's global visibility while adapting its rhythmic cymbal-driven style for diverse audiences. Preservation efforts are bolstered by initiatives from the Karnataka state government and non-governmental organizations, including grants for folk art revival under government schemes. Training academies in Mysore, such as Desiranga Samskrutika Samsthe, offer structured programs in Kamsale and related folk dances, starting from age 14 or 15, to pass down techniques to younger generations. Prominent artist Kamsale Kumaraswamy, who passed away in November 2024, contributed significantly to these efforts through promotions in urban galleries and cultural venues in cities like Bengaluru and Mysore. Additionally, digital documentation projects by the American Institute of Indian Studies focus on archiving oral songs and ballads associated with Kamsale, ensuring the preservation of its narrative elements tied to Lord Mahadeswara worship. Recent international exposure includes a 2024 performance in Germany. Urbanization poses significant challenges to Kamsale's continuity, as rural-to-urban migration has diminished the number of dedicated devotees and practitioners from the Kuruba Gowda community, leading to a decline in traditional transmission. Looking ahead, integrating Kamsale into school curricula through cultural education modules aims to counteract its decline, with programs in government schools reviving the dance via workshops and performances. Participation in folk festivals, such as the Margazhi Village Festival, further sustains interest, while post-2020 adaptations include online platforms for virtual shows and tutorials, enabling global access during the COVID-19 pandemic.

References

  1. https://karnatakatourism.org/destinations/kamsale-nrutya-kamsale-dance/
  2. https://www.thehindu.com/entertainment/dance/the-folk-instrument-of-karnataka/article25680504.ece
  3. https://www.insightsonindia.com/2018/12/07/kamsale-dance/
  4. https://www.deccanherald.com/india/karnataka/bengaluru/today-kamsale-dance-at-bic-3488797
  5. http://www.ijar.org.in/stuff/issues/v9-i1/v9-i1-a011.pdf
  6. https://www.thehindu.com/entertainment/dance/cling-clang-fly-high-all-for-the-god/article24470913.ece
  7. https://www.researchgate.net/publication/352593696_Folk_Legend_Malai_Mahadheshwara_-_A_Cultural_Study
  8. https://karnatakaexplore.com/district/chamarajanagar/male-mahadeshwara-hills/
  9. https://cid-ds.org/wp-content/uploads/2021/10/6-3-Beesu-Kamsale-p35-44.pdf
  10. https://dnn24.com/art-forms-of-karnataka-a-cultural-kaleidoscope
  11. https://starofmysore.com/kamsale-artiste-dies/
  12. https://www.carvedculture.com/blogs/articles/musical-instruments-from-karnataka
  13. http://danceday.cid-world.org/wp-content/uploads/2021/04/International-Dance-Day-_Uma_Malaysia_CID-11715.pdf
  14. https://www.thehindu.com/news/cities/bangalore/a-peek-into-the-life-and-culture-of-the-pastoral-kurubas-of-karnataka/article68913742.ece
  15. https://www.orchidsinternationalschool.com/blog/folk-dance-of-karnataka
  16. https://censusindia.gov.in/nada/index.php/catalog/32942/download/36123/41335_1961_YEL.pdf
  17. https://www.thehindu.com/news/national/karnataka/many-castes-including-kurubas-have-moved-from-more-backward-to-most-backward-category/article69457489.ece
  18. https://www.thenewsminute.com/karnataka/karnataka-cm-promises-to-again-recommend-inclusion-of-kuruba-community-in-st-category-to-centre
  19. https://timesofindia.indiatimes.com/city/bengaluru/karnataka-govt-initiates-discussion-to-include-kuruba-subsect-in-st-list/articleshow/123918679.cms
  20. https://www.kurubagowdasangam.com/history.htm
  21. https://www.indianetzone.com/kamsale_indian_folk_song
  22. https://www.nativeplanet.com/travel-guide/the-shrine-of-male-mahadeshwara-in-karnataka-003519.html
  23. https://daijiworld.com/news/newsDisplay?newsID=18716
  24. https://starofmysore.com/establish-kamsale-mahadevaiah-study-chair-at-karnataka-folklore-university/
  25. https://odysseyonapen.blogspot.com/2010/11/five-generations-and-still-going-on.html
  26. https://www.nritarutya.com/dance-n-more/
  27. https://uploads.iasscore.in/pdf/TPT_2020_CAC_ART_CULTURE_%281%29.pdf
  28. https://www.esplanade.com/-/media/Esplanade/Download-Component/Press-Room/PR_Tapestry_2019.ashx?rev=a7be63bb8ca94d66b27cdc5787fc5bee&hash=D7D8A487CF2584E1FD01F442D57F31A1
  29. http://storyofkannada.blogspot.com/2008/12/dances-of-karnataka.html
  30. https://www.mapsofindia.com/karnataka/people-culture-and-festivals/music-dance.html
  31. https://www.worldwidejournals.com/international-journal-of-scientific-research-%28IJSR%29/recent_issues_pdf/2015/October/October_2015_1492864796__90.pdf
  32. https://www.karnatakatourism.org/destinations/kamsale-nrutya-kamsale-dance/
  33. https://culture.gov.in/files/annual_reports_document/MoC_Annual_Report_2009-2010.pdf
  34. https://www.youtube.com/watch?v=9kzTF1I0Isk
  35. https://www.jetir.org/papers/JETIR2203690.pdf
  36. https://starofmysore.com/theatre-and-folk-dance-training/
  37. https://vmis.in/arce-categories/music_in_context_innercat/106
  38. https://karnataka.pscnotes.com/kpsc-mains-2025-answer-writting/discuss-the-role-of-folk-traditions-and-literature-in-preserving-karnatakaa%25C2%2580%25C2%2599s-cultural-heritage/
  39. http://odysseyonapen.blogspot.com/2010/
  40. https://starofmysore.com/folk-artiste-kamsale-kumaraswamy-no-more/
  41. https://timesofindia.indiatimes.com/city/bengaluru/couple-revives-folk-dance-kamsale-at-govt-schools/articleshow/102961605.cms
  42. https://www.education.gov.in/sites/upload_files/mhrd/files/document-reports/Culture.pdf
  43. https://www.thehindu.com/entertainment/dance/folk-arts-of-south-india-in-focus-at-margazhi-village-festival/article33402700.ece
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