Temples in South India have been home for static music and dance. Representations of concert parties and dance parties through sculptures and paintings come under the heading, static music and dance.
These records on stone and colour are valuable documents and held us to form clear ideas of the concerts of those periods, the number of performers that constituted a concert party or a dance party, the instruments that were used as accompaniments, the construction and shape of those instruments, the number of their strings, finger-holes and drumfaces, the seating plan of performers etc. The images playing on musical instruments and the sculptures of celestial musicians are interesting from many points of view. The postures in which the instruments were held, their manner of play, their compass and possibilities in gamaka are important details furnished by these specimens of static music. The costumes and jewels worn by the dancers as depicted in the sculptures and paintings throw a flood of light on the subject of aharya abhinaya through the centuries.
Dynamic music and dance compromise actual concerts of music and dance performed in temples. Here we see the actual concerts performers in life and we listen to a continuous flow of music from them. The vedaparayana, goshtis, oduvars, araiyars, bhajans and nagaswaram parties provide dynamic music.