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The 'cestas' or 'mudras' which play the most important role in Tantric rites have an equal importance in Natya sastra. Both in Tantra and in Natya, the gestures and gesticulations during performance are accompanied by music and musical instruments. What is important to be noted here is that both follow a definite rhythm. The mudras in Natya and Tantra display wonderful resemblance to one another. Just 27

as mudras in Tantra are significant, so is Angikabhinaya in Natya. In the Prasanna puja vidhis as per the tantric acaras (daksinacaras) for Devatas, nrtta-gita-vadya trayas have a very prominent role. In times of yore, different forms of dance in accordance with Nrttavidhis were actually performed (eg. Devadasi nrtta, Dasiyattam, Titampattam, Teyyam, etc.) in temples as part of pujavidhis. Now they are performed in sankalpa and not in actuality. Gitam and Vadyam continue even in the present day as integral parts of temple worship. Sopana sangita, Ast apadis, Pulluvanpattu, Cintupattu etc. are examples of Gitam; and Idakka, Timila (pani), Raja vadya or Nagasvara, Centa etc. are examples of Vadya (percussion instruments specific for each Devata). In addition, one can trace Tantric elements in the works of great Carnatic composers - cum - musicians, Muthuswamy Deeksitar, Syamasastri and others. In the light of the above, it will not be an exaggeration to say that Tantra has played a major role in the perpetuation of many traditional art forms, eg. mural paintings had originated from Tantric diagrams and graphic representations.