Thematische Bibliographien / Indian dance

Auswahl der wissenschaftlichen Literatur zum Thema „Indian dance“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Indian dance"

Katrak, Ketu H. „Toward Defining Contemporary Indian Dance: A Global Form“. Congress on Research in Dance Conference Proceedings 40, S1 (2008): 129–39. http://dx.doi.org/10.1017/s2049125500000613.

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This essay explores innovations in contemporary Indian dance based in classical Indian dance, martial arts and Western dance vocabularies. Who is making change and how does change work? I delineate the parameters of contemporary Indian dance as a genre (since the 1980s) and distinguish it from Bollywood style “free” dance. I analyze the creative choreography of one prominent contemporary Indian dancer, Chennai (India) based Anita Ratnam. Ratnam's signature style, evoking the “feminine transcendental,” is rooted in Indian aesthetic along with a pan-Asian scope. Ratnam's over twenty-year dance career of solo, group, and collaborative work, along with pioneering artist, Astad Deboo, serve as role models for second-generation contemporary Indian dancers such as Los Angeles–based Post-Natyam Collective's movement explorations, among other dancers based in the diaspora.

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Wang, Lijun. „Evolution of Indian Classical Dance in the Context of Globalization“. Studies in Art and Architecture 3, Nr. 2 (Juni 2024): 27–30. http://dx.doi.org/10.56397/saa.2024.06.06.

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This paper explores the evolution of Indian classical dance in the context of globalization, examining how these ancient art forms have adapted to contemporary global influences. The study begins by tracing the roots and revival efforts of major styles such as Bharatanatyam, Kathak, and Odissi, highlighting their historical significance and regional variations. It then discusses the impact of globalization on these dances, focusing on their introduction to the global stage, adaptations, and fusions with other dance forms, and the role of the Indian diaspora in popularizing these dances abroad. The influence of technological advancements on teaching, performance, and preservation of Indian classical dance is analyzed, alongside the significance of cultural exchange and cross-cultural collaborations in enriching dance practices. The paper concludes by addressing the future challenges and directions for Indian classical dance, including the sustainability of traditional forms, the balance between authenticity and innovation, and shifts in audience demographics and interests. Through this comprehensive examination, the paper underscores the dynamic interplay between tradition and modernity in the globalization of Indian classical dance.

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Krishnan, Hari. „Rupture and Disruption: Reflections on “Making” and “Knowing” Dance“. Arts 12, Nr. 3 (12.06.2023): 122. http://dx.doi.org/10.3390/arts12030122.

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This essay follows a somewhat unconventional approach to writing about Indian dance in the diaspora. I say “unconventional” because it unfolds as a kind of self-reflexive narration of my own journey as a “doubly diasporic” Indian dancer, born in Singapore but having made my career in North America. In essence, I map my own unconventional paths to understanding Indian dance in the diaspora, outside the tired and troublesome idea of “dance as heritage”. The aim of this critical meditation on my own work is to offer up new possibilities for moving Indian dance into progressive conceptual spaces that direct it out of the discursive field of cultural nationalism that frames the idea of “heritage”.

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Dharmalingam, B., M. S. Kanagathara, M. Muthumari und P. Avanthraj. „Dance form of Karagattam - The Regional Folk Dance in Tamil Nadu“. Shanlax International Journal of Arts, Science and Humanities 7, Nr. 1 (01.07.2019): 71–75. http://dx.doi.org/10.34293/sijash.v7i1.485.

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India is a land of varied cultures and traditions, diversities in all spheres which make the Indian culture quite unique. Indian folk and tribal dances are the product of different socio-economic set up and traditions evolved over ages.. In India, we have festivals and celebrations virtually every day and dances are performed to express joy and festivity. This has added to the richness of Indian culture. Since every festival is accompanied by celebration of folk and tribal dances and almost all of them have continually evolved and improvised. In India, we have festivals and celebrations virtually every day and dances are performed to express joy and festivity. This has added to the richness of Indian culture. Since every festival is accompanied by celebration of folk and tribal dances and almost all of them have continually evolved and improvised. Folk dances are performed for every possible occasion – to celebrate the arrival of season’s birth of a child, a wedding and festivals which are plenty with minimum of steps or movements. Indian folk dances are full of energy vitality. Some dances are performed separately by men and women while in some performances, men and women dance together.

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KABIR, ANANYA JAHANARA. „Rapsodia Ibero-Indiana: Transoceanic creolization and the mando of Goa“. Modern Asian Studies 55, Nr. 5 (11.01.2021): 1581–636. http://dx.doi.org/10.1017/s0026749x20000311.

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AbstractThe mando is a secular song-and-dance genre of Goa whose archival attestations began in the 1860s. It is still danced today, in staged rather than social settings. Its lyrics are in Konkani, their musical accompaniment combine European and local instruments, and its dancing follows the principles of the nineteenth-century European group dances known as quadrilles, which proliferated in extra-European settings to yield various creolized forms. Using theories of creolization, archival and field research in Goa, and an understanding of quadrille dancing as a social and memorial act, this article presents the mando as a peninsular, Indic, creolized quadrille. It thus offers the first systematic examination of the mando as a nineteenth-century social dance created through processes of creolization that linked the cultural worlds of the Indian and Atlantic Oceans—a manifestation of what early twentieth-century Goan composer Carlos Eugénio Ferreira called a ‘rapsodia Ibero-Indiana’ (‘Ibero-Indian rhapsody’). I investigate the mando's kinetic, performative, musical, and linguistic aspects, its emergence from a creolization of mentalités that commenced with the advent of Christianity in Goa, its relationship to other dances in Goa and across the Indian and Atlantic Ocean worlds, as well as the memory of inter-imperial cultural encounters it performs. I thereby argue for a new understanding of Goa through the processes of transoceanic creolization and their reverberation in the postcolonial present. While demonstrating the heuristic benefit of theories of creolization to the study of peninsular Indic culture, I bring those theories to peninsular India to develop further their standard applications.

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Putcha, Rumya S. „Between History and Historiography: The Origins of Classical Kuchipudi Dance“. Dance Research Journal 45, Nr. 3 (Dezember 2013): 91–110. http://dx.doi.org/10.1017/s0149767713000260.

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This article examines the intertwined discourses and debates of classicism, linguistic regionalism, caste, and gender in the case of South Indian dance. By focusing on the dance form, Kuchipudi, from Andhra Pradesh, the first administrative region in India formed on the basis of language, this study exposes the important connections between identity politics and the creation of cultural icons, such as classical dance. This study deconstructs the paradox of Kuchipudi's classicization, as it has become historicized as a symbol of masculine, Brahminical, Telugu culture, on the one hand, and the projects of Indian modernity, which center on the iconicization of the female dancer, on the other.Through archival, discursive, and ethnographic analysis, this article examines how the construction of classicism in Kuchipudi dance creates and supports hegemonic versions of Telugu history. This focus extends previous studies of Indian classical dance by sustaining questions about the reification of the Kuchipudi dancing body, the implications that this has regarding the fate of hereditary courtesan dancers, and the discursive strategies that allow Brahmin male history and female dance practice to coalesce.

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Kumar, K. V. V., und P. V. V. Kishore. „Indian Classical Dance Mudra Classification Using HOG Features and SVM Classifier“. International Journal of Electrical and Computer Engineering (IJECE) 7, Nr. 5 (01.10.2017): 2537. http://dx.doi.org/10.11591/ijece.v7i5.pp2537-2546.

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Digital understanding of Indian classical dance is least studied work, though it has been a part of Indian Culture from around 200BC. This work explores the possibilities of recognizing classical dance mudras in various dance forms in India. The images of hand mudras of various classical dances are collected form the internet and a database is created for this job. Histogram of oriented (HOG) features of hand mudras input the classifier. Support vector machine (SVM) classifies the HOG features into mudras as text messages. The mudra recognition frequency (MRF) is calculated for each mudra using graphical user interface (GUI) developed from the model. Popular feature vectors such as SIFT, SURF, LBP and HAAR are tested against HOG for precision and swiftness. This work helps new learners and dance enthusiastic people to learn and understand dance forms and related information on their mobile devices.

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Kang, Manpreet Kaur. „Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts“. Review of International American Studies 13, Nr. 2 (31.12.2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.

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Boye, Seika. „Ola Skanks: Delayed Recognition of a Dance Artist Ahead of Her Time“. Canadian Journal of History 56, Nr. 3 (01.12.2021): 216–28. http://dx.doi.org/10.3138/cjh.56-3-2021-0111.

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This essay chronicles my research relationship with choreographer, teacher, educator, and activist Ola Skanks. Canadian-born and of West Indian (St. Lucia and Barbados) descent, Skanks was a groundbreaking dance and fashion design artist who combined modern, Western art forms with traditional dances of the Africa diaspora. I share excerpts from my work to date, including my archival exhibition, It’s About Time: Dancing Black in Canada 1900–1970, to provide context for the circumstances that Black people danced in, socially and/or as performers. This is followed by a selection of photos from Skanks’s archival collection that illustrate the scope of her creative and community contributions. In conclusion, I offer a transcription of a speech I gave when Skanks was inducted into the Dance Collection Danse’s 2018 Encore! Dance Hall of Fame, alongside some of Canada’s most well-known dance artists and community builders. I detail some of the highlights of my meetings with her and also the profundity of the delayed recognition of a woman so far ahead of her time.

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Dissertationen zum Thema "Indian dance"

Sayyed, Mubaashera Irfan, Наталія Анатоліївна Пилипенко-Фріцак, Наталия Анатольевна Пилипенко-Фрицак und Nataliia Anatoliivna Pylypenko-Fritsak. „Traditional Indian Dance As Symbolic Nonverbal Communication“. Thesis, Sumy State University, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84793.

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Dance could be described as a performance art form in which the basic tool is the body and its purposefully selected movement in an intentionally rhythmical and culturally pattern with an aesthetic value and symbolic potential. Human has been using the body and its movement as a tool to express feelings and desires since prehistoric times and continues until now. When we dance, our bodies fire up with emotion and allow us to express what words cannot. In folk cultures around the world, people dance to impart knowledge and wisdom, express their emotions or devotion, and pass down the stories and legends of their gods and ancestors.

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Tatonetti, Lisa Marie. „From Ghost Dance to Grass Dance : performance and postindian resistance in American Indian Literature /“. The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392799368.

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Thobani, Sitara. „Dancing diaspora, performing nation : Indian classical dance in multicultural London“. Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c189d163-b113-408f-9f3b-181c6fd5fbce.

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This thesis examines the performance of Indian classical dance in the contemporary 'diaspora space' (Brah 1996) represented by the city of London. My aim is to analyse whether and how performances of "national" art, assumed to represent an equally "national" culture, change when performed in transnational contexts. Drawing upon theories of postcolonialism, multiculturalism and diaspora, I begin my study with an historical analysis of the reconstructed origins of the dance in the intertwined discourses of British colonialism and Indian nationalism. Using this analysis to ground my ethnography of the present-day practice of the dance, I unearth its relation to discourses of contemporary multiculturalism and South Asian diasporic identity. I then demonstrate specific ways in which the relationship between colonial and postcolonial artistic production on the one hand and contemporary performances of national and multicultural identity on the other are visible in the current practices and approaches of diasporic and multicultural Indian classical dancers. My thesis advances the scholarship that has demonstrated the link between the construction of Indian classical dance and the Indian nationalist movement by highlighting particular ways in which historical narrative, national and religious identities, gendered ideals and racialised categories are constituted through, and help produce in turn, contemporary Indian classical dance practices in the diaspora. Locating my study in the UK while still accounting for the Indian nationalist aspects of the dance, my contribution to the scholarly literature is to analyse its performance in relation to both Indian and British national identity. My research demonstrates that Indian classical dance is co-produced by both British and Indian national discourses and their respective cultural and political imperatives, even as the dance contributes to the formation of British, Indian and South Asian diasporic politico-cultural identities.

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Thannoo, Babita. „Mauritian sega music and dance rhythm and creolisation in the Indian Ocean“. Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595796.

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This thesis examines the Mauritian music and dance form known as sega and its performance of embodied creolisation through rhythm. It argues that sega's Afro-diasporic form encodes a performative history of sacred African presence in Mauritius and the Indian Ocean. This history can be traced to an Indo-oceanic maritime history of contact, trade and settlement that incorporated Mauritius within a regional network comprising East Africa and the wider Indian Ocean. I explore sega's origins in sacred rituals performed by slaves and argue that sega's contemporary secular performance perpetuate sacred devotion through its African rhythmic structure. Drawing from the rich literature on Afro-diasporic musical genres in the Caribbean and the Americas, this thesis demonstrates sega's performance of the sacred through embodied rhythms in dance and the corporeal production of rhythm. This performance of sacred devotion, my thesis demonstrates, is perpetuated through its modem form, sega d'ambiance, performed on modem instruments and inclusive of foreign musical influences. Modem sega's popular success in the Indian Ocean, this thesis argues, circulates on an existing circuit of Indo-oceanic rhythms in the South West Indian Ocean. My thesis further contends that sega's performative history of embodied creolisation complicates the discourse of creolisation elaborated in the Caribbean through its rhythmic convergence with demotic Bhojpuri music and dance traditions in Mauritius. This convergence, this thesis argues, evidences a shared history or embodied creolisation based upon a common body politic of sacred and pleasure performance in Afro-Malagasy and North Indian demotic traditions. Embodied creolisation, my thesis contends, substantiates the body's kinetic memory of rhythmic creolisation able to counter purist ethno-religious discourses in Mauritius.

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Tjerned, Veronica. „Granatäppleblomknopp : rytm som dramatisk båge“. Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-492.

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ABSTRACT How can I as a Swedish dancer devoted to the Indian classical dance form, kathak, re root it into my own cultural sphere? And express topics beyond the Sub Indian continent without diluting the essence of the art form? I don’t want to create a new dance style.I don’t want to add anything. I want to explore and investigate how I within the tradition of kathak dance and Hindustani music can shuffle the classical format in order to create a longer narrative. To create a dramaturgical nerve in the performance and take it further than the traditional short dances and compositions connected by being strung together on a basic rhythm. During this work I have followed different strands of evolution within me as a kathak dancers as well as personal experiences that has led up to this need of making it my kathak dance, rather than my Indian kathak dance. It’s also a close study of the relationship between a student and her master and how the master forces his student to mature to become her own master. I want to use the kathak dance as an artistic expression to create performances based on topics interesting to me. I want to use the rhythmical patterns to enhance, elaborate and ornament the story told. How can I use the bols and sound from the kathak dance and Hindustani music? What happens if I instead of using bols create similar material but based on the Swedish language? The unexpected result of my research, the unexpected finding of what happened with me after I decided to drop India, and to focus my gaze to my own cultural space by being a native Swedish person living in Stockholm was that I lost my dance. I lost my geography.

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Pee, Mary Teresa Lay Hoon. „The development of Chinese, Indian and Malay dance in Singapore to the 1970s“. Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35808/7/35808_Digitised%20Thesis.pdf.

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Bose, Mandakranta. „The evolution of classical Indian dance literature : a study of the Sanskritic tradition“. Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:07f89602-1892-4fa5-9d77-767a874597ef.

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The most comprehensive view of the evolution of dancing in India is one that is derived from Sanskrit textual sources. In the beginning of the tradition of discourse on dancing, of which the earliest extant example is the Natyasastra of Bharata Muni, dancing was regarded as a technique for adding the beauty of abstract form to dramatic performances. An ancillary to drama rather than an independent art, it carried no meaning and elicited no emotional response. Gradually, however, its autonomy was recognized as also its communicative power and it began to be discussed fully in treatises rather than in works on drama or poetics-a clear sign of its growing importance in India's cultural life. Bharata's description of the body movements in dancing and their interrelationship not only provided the taxonomy for all subsequent authors on dancing but much of the information on its actual technique. However, Bharata described only what he considered to be artistically the most cultivated of all the existing dance styles, leaving out regional and popular varieties. These styles, similar in their basic technique to Bharata's style but comprising new types of movements and methods of composition, began to be included in later studies. By the 16th century they came to occupy the central position in the accounts of contemporary dancing and coalesced into a distinct tradition that has remained essentially unchanged to the present time. Striking technical parallels relate modern styles such as Kathak and Odissi to the later tradition rather than to Bharata's. The textual evidence thus shows that dancing in India evolved by assimilating new forms and techniques and by moving away from its early dependency on drama. In the process it also widened its aesthetic scope beyond decorative grace to encompass emotive communication. Beauty of form was thus wedded to the matter of emotional content, resulting in the growth of a complex art form.

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Shankar, Bindu S. „Dance imagery in South Indian Temples: study of the 108-karana sculptures“. Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079459926.

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Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages; contains 355 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 March 16.

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Weisman, Eleanor Frances. „A movement and dance residency at a Lakota Indian reservation school : an action research study /“. The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335538536.

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Eells, Paul Christopher. „Now I must try to live as they did Reginald Laubin and American Indian representation /“. Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1939207261&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Bücher zum Thema "Indian dance"

Katrak, Ketu H. Contemporary Indian Dance. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809.

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Vatsyayan, Kapila. Indian classical dance. 2. Aufl. New Delhi: Ministry of Information and Broadcasting, 1997.

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Millman, Anne. Indian dance qualitative research. London: Arts Council of Great Britain, 1988.

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Gladys, Laubin, Hrsg. Indian dances of North America: Their importance to Indian life. Norman: University of Oklahoma Press, 1989.

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Sudhakar, Kanaka. Indian classical dancing: The therapeutic advantages. New Delhi: Sterling Publishers, 1994.

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Barboza, Francis Peter. Christianity in Indian dance forms. Delhi, India: Sri Satguru Publications, 1990.

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Banerji, Projesh. Art of Indian dancing. New Delhi: Sterling Publishers, 1985.

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Banerji, Projesh. Art of Indian dancing. London: Oriental University Press, 1986.

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Khokar, Mohan. The Splendours of Indian dance. New Delhi: Himalayan Books, 1985.

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Srinivasan, Priya. Performing Indian dance in America. Evanston, Ill: Northwestern University, 2003.

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Buchteile zum Thema "Indian dance"

Katrak, Ketu H. „Introduction“. In Contemporary Indian Dance, 1–25. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_1.

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Katrak, Ketu H. „Contested Histories: “Revivals” of Classical Indian Dance and Early Pioneers of Contemporary Indian Dance“. In Contemporary Indian Dance, 26–55. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_2.

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Katrak, Ketu H. „Abstract Dance with Rasa: Pioneers Astad Deboo and Shobana Jeyasingh“. In Contemporary Indian Dance, 56–83. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_3.

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Katrak, Ketu H. „Beyond Tradition: Contemporary Choreography by Masters of Traditional Indian Dance and Emerging Innovators“. In Contemporary Indian Dance, 84–122. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_4.

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Katrak, Ketu H. „Hybrid Artists and Transnational Collaborations: Chennai, Toronto, Kuala Lumpur“. In Contemporary Indian Dance, 123–53. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_5.

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Katrak, Ketu H. „Dancing in the Diaspora Part I: North America“. In Contemporary Indian Dance, 154–99. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_6.

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Katrak, Ketu H. „Dancing in the Diaspora Part II: Britain“. In Contemporary Indian Dance, 200–219. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_7.

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Katrak, Ketu H. „Conclusion: Ways of Looking Ahead“. In Contemporary Indian Dance, 220–22. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_8.

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Sen, Sulakshana. „Revisiting Tagore“. In Creativity in Indian Dance, 73–87. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003433774-5.

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Sen, Sulakshana. „Paying Tribute to Tagore through Samanya Kshati“. In Creativity in Indian Dance, 30–57. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003433774-3.

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Konferenzberichte zum Thema "Indian dance"

Samanta, Soumitra, Pulak Purkait und Bhabatosh Chanda. „Indian Classical Dance classification by learning dance pose bases“. In 2012 IEEE Workshop on Applications of Computer Vision (WACV). IEEE, 2012. http://dx.doi.org/10.1109/wacv.2012.6163050.

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Bisht, Ankita, Riya Bora, Goutam Saini, Pushkar Shukla und Balasubrmanian Raman. „Indian Dance Form Recognition from Videos“. In 2017 13th International Conference on Signal-Image Technology & Internet-Based Systems (SITIS). IEEE, 2017. http://dx.doi.org/10.1109/sitis.2017.30.

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Pradeep, Radhika, R. Rajeshwari, V. R. Ruchita, Radhika Bubna und H. R. Mamatha. „Recognition of Indian Classical Dance Hand Gestures“. In 2023 International Conference on Inventive Computation Technologies (ICICT). IEEE, 2023. http://dx.doi.org/10.1109/icict57646.2023.10134484.

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Kale, Manjeeta R., und Priti P. Rege. „Classification of expressions in Indian Classical Dance using LBP“. In 2019 IEEE 16th India Council International Conference (INDICON). IEEE, 2019. http://dx.doi.org/10.1109/indicon47234.2019.9029006.

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BELLEAU, Sylvie. „The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra“. In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.

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This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was a way to question the footprint of the kathakali training in a creation project, to deepen my knowledge of Indian theatre and to explore the connections between kathakali, Natyasastra, the classical Indian treaty of dramaturgy, and my doctoral creation, Le rêve d’Urmila, which has been presented in September 2018 at Université Laval, in Quebec City. As part of my doctoral research on cultural hybridity, I had to train a group of western artists to dance and play with the codes of Indian dance to reach the level of cultural and disciplinary competence needed to produce the doctoral creation. I will thus present the specificities of the training process and expose the ways in which we explored various elements of the kathakali performance: the four abhinaya, rhythmic and musical elements, etc.

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Galindo, Ed, Ben Rinehart, John Moeller und Tony Messina. „Dance of the Salmon: An Indian Summer Experience“. In Waterpower Conference 1999. Reston, VA: American Society of Civil Engineers, 1999. http://dx.doi.org/10.1061/40440(1999)5.

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Dewan, Swati, Shubham Agarwal und Navjyoti Singh. „A deep learning pipeline for Indian dance style classification“. In Tenth International Conference on Machine Vision (ICMV 2017), herausgegeben von Jianhong Zhou, Petia Radeva, Dmitry Nikolaev und Antanas Verikas. SPIE, 2018. http://dx.doi.org/10.1117/12.2309445.

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Saha, Sriparna, Shreya Ghosh, Amit Konar und Atulya K. Nagar. „Gesture Recognition from Indian Classical Dance Using Kinect Sensor“. In 2013 Fifth International Conference on Computational Intelligence, Communication Systems and Networks (CICSyN). IEEE, 2013. http://dx.doi.org/10.1109/cicsyn.2013.11.

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Sokhi, Simer Preet, und Parul Purohit Vats. „Exploring Non-Anthropocentric Design Principles in Indian Classical Dance“. In 15th International Conference of the European Academy of Design. São Paulo: Editora Blucher, 2023. http://dx.doi.org/10.5151/ead2023-3son_paper_16simer-preet-sokhi-et-al.

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Tiwari, Raj Gaurang, Vinay Gautam, Vikrant Sharma, Anuj Kumar Jain und Naresh Kumar Trivedi. „Preserving India’s Rich Dance Heritage: A Classification of Indian Dance Forms and Innovative Digital Management Solutions for Cultural Heritage Conservation“. In 2023 International Research Conference on Smart Computing and Systems Engineering (SCSE). IEEE, 2023. http://dx.doi.org/10.1109/scse59836.2023.10215044.

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Berichte der Organisationen zum Thema "Indian dance"

Rincón-Castro, Hernán. ¿Cuánto tributan efectivamente el consumo, el trabajo y el capital en Colombia? Cálculos con las Cuentas Nacionales base 2015. Banco de la República, Mai 2021. http://dx.doi.org/10.32468/be.1161.

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A partir de un análisis que no es contable ni financiero sino económico, Rincón-Castro y Delgado-Rojas (2017) calculan para Colombia las tasas efectivas promedio de tributación sobre el consumo y los factores de producción trabajo y capital para el período comprendido entre 1994 y 2016. Para su estudio los autores utilizan las Cuentas Nacionales del DANE bases 1994 y 2005. El objetivo del presente estudio es realizar los mismos cálculos y con la misma metodología para el período 2005-2019, pero con las Cuentas Nacionales base 2015. Los resultados indican que el cambio de base produjo una reducción sustancial de las tasas efectivas del trabajo y del capital. Por ejemplo, para 2016, la tasa efectiva promedio del trabajo se redujo en 3 puntos porcentuales y del capital en 6 puntos porcentuales. ¿Cuál es la explicación? Los cambios de las bases tributarias que introdujo la nueva base de la contabilidad nacional, ya que la metodología de cálculo, las definiciones de las tasas, los parámetros y los supuestos no cambian. Entre 2017 y 2019 se suman los efectos de las leyes de reforma tributaria 819 de 2016 y 1943 de 2018. Los cálculos para 2019 indican que la tasa efectiva promedio de tributación del consumo es 12,7%, del trabajo es 18% y del capital es 15%. La desagregación de la tasa del trabajo muestra que la tasa de los salarios es 2,3%, de la nómina es 2,7% y de la seguridad social es 13%. La desagregación de la tasa del capital muestra que la de los hogares, quienes son los dueños del capital, es 3,8%, mientras que la de las sociedades es 21,1%. Así, los impuestos en Colombia no son efectivamente tan altos, pero tampoco tan bajos ni tan bien repartidos.

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