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In the early 1940, when the Western world was at the acme of its materialistic success, Sastri wrote these visionary words – “In the history of the world, it is only Hinduism that gave not only to India but also to all her neighbours an organic conception of society based upon economic as well as spiritual needs. It is the very antithesis of ‘the principle of accumulation based on inequality’ which is a vital part of the Western order of society. It recognized frankly the hard fact that perfect equality in all spheres is impossible of attainment.

There are many dimensions that research in classical Indian dance can explore and many paths it can choose to tread. This is, in fact, true from a global perspective as well. But we shall limit the current discussion to the dance forms of India that have traditionally come down to us.

DVG never sought recognition. When the Jnanapith Award was first instituted, Maṅkutimmana Kagga, one of his major works, came before it for consideration. When one of his friends was indignant about this work not winning the award, DVG replied in his characteristic self-effacing, humorous manner: “Why do I want a lakh of rupees? Do I not look well-fed?” He went on to make a profound observation: “The idea of competitive prizes for literature is basically absurd. My whole nature rises in revolt against it. Valmiki and Vyasa and Potana and Thyagaraja are our ideals.