The bhagavata will chose a ?ruti note, generally the same one for all of his performances, before each performance...The baghavata sets this note on the ?ruti instrument (now days usually a harmonium ) and this single note is played in the background whenever the bhgavata is singing.
Maya has another face in the Bhagavata, however. This role of maya is especially discernible under the name Yogmaya, which occurs in the context of Krishna ’s lila . Yogmaya covers the pure liberated souls in the lila and her power of illusion, such that they are unaware of Krishna’s real nature and thus relate to him not as God but rather as their friend, lover or child, and so on.
Vishnu is said to be beyond purusa and prakriti or to include both. … prakriti, like maya and shakti , in the Bhagavata, is something Vishnu possesses and controls. With prakriti becoming a goddess , or even identified with the Goddess, Devi , the old Samkhyan dualism, between a conscious spirit-person and an active but insentient material force was basically transcended “from the ground up.” P.30
The Vasihnva Puranas are Vishnu Purana, Naradiya Purana, Vamana Purana, Matsya Purana, Garuda Purana, and Shrimat Bhagavata Purana.
The Bhagavata Purana teaches nine primary forms of bhakti, as explained by [[w:Prahlada|Prahlada as:(1) ?rava?a ("listening" to the scriptural stories of K???a and his companions), (2) k?rtana ("praising," usually refers to ecstatic group singing), (3) smara?a ("remembering" or fixing the mind on Vi??u), (4) p?da-sevana (rendering service), (5) arcana (worshiping an image), (6) vandana (paying homage ), (7) d?sya ( servitude ), (8) s?khya ( friendship ), and (9) ?tma-nivedana (complete surrender of the self ).
The Sandilya and Narada bhakthi sutras like the Bhagavata are fundamental works of mysticism . Sandilya bhakthi sutras seem to be older on account of its archaic tone and is evidently modeled on the pattern of the great philosophical Sutras. Narada Bhakthi sutra quotes sandilya but the sandilya does not quote Narada.
One of unique features of the Yakshgana is the high-pitched voice of the Bhagavata .
...the fillip given to such ancient traditional forms as the Sadir, Bhagavata Mela, Kuchipudi , Kathakali , and Yakshagana by the revival movements in the country, has not been wholly to their advantage. Often, indeed we find corrupt tendencies and outlandish tastes...insinuating themselves ... ostensibly in order to make the art fashionable.