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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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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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K. G. J. U., Dissanayake, und Manamperi A. K. M. „A Study of Dance Usage in Kusa Paba Movie“. Vidyodaya Journal of Humanities and Social Sciences 08, Nr. 02 (01.07.2023): 78–88. http://dx.doi.org/10.31357/fhss/vjhss.v08i02.07.
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A dance technique used to supplement the acting can be identified in modern Sinhala films that have taken Indian historical stories as a source. The Sinhala film Kusa Paba, directed by Sunil Ariyaratne, is based on the Kusa Jãtaka in the book Pansiya Panas Jathaka Potha, and it is set in North Indian social culture. The research problem of this study is to investigate how the proposed social culture is revealed through the use of dance in the Kusa Paba film. The central assumption of this study is to identify the use of dance in this film and, secondarily, to recognize the proposed social culture. This study is based primarily on qualitative data and inductive reasoning. The data gathered through the methods of watching the film, library research, and interviews has been presented as a contextual analysis. For those dance scenes, costumes and composition, background decoration, and music styles were well used to represent North Indian culture. The study revealed that South Indian culture is highlighted through the use of dances such as Kudirai Attam, Kathakali and the constant use of basic postures, foot movements and hasta mudras in Bharata Nãtyam. The study concluded that other dance-related features are more indicative of the projected social culture than the dance style and motions employed in the Kusa Paba movie. Accordingly, the research recommends that these negative impacts can be reduced through proper source analysis and through an optimal interrelationship with the film squad to choreograph the cinema dance.
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Jones, Daystar/Rosalie. „Dreaming the Fourth Hill“. Dance Research Journal 48, Nr. 1 (April 2016): 13–18. http://dx.doi.org/10.1017/s0149767716000048.
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Dancer. Teacher. Choreographer. Writer. Passionate Amateur Mime and Mask-Maker. Wannabe Puppeteer. Founder, Director of Daystar: Contemporary Dance-Drama of Indian America. Acknowledged ‘pioneer’ of native modern dance USA. My father's insight: One day you will realize that you were blessed to be a descendant of the original peoples of this land.
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Deshkar, Ankita. „Non-Verbal Communication in Indian Classical Dance Forms“. Bodhi: An Interdisciplinary Journal 10, Nr. 1 (18.06.2024): 1–16. http://dx.doi.org/10.3126/bodhi.v10i1.66929.
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This study delves into the intricate world of non-verbal communication within the rich mosaics of the Indian classical dance forms. The statement quoted by Noam Chomsky, “Language is not an inborn quality, it is creative and acquired”. The objective of this research is to analyse and focus on the need for humans to communicate, that too using non-verbal communication. Dance will not be relegated to simply a performance genre but will be treated as an essential ingredient of life. The focus would be on identifying the non-verbal elements of the dance that would communicate not just the stories but also social messages if needed through the gestures and other elements in Indian Classical Dance Forms. For this analysis, the researcher has considered, Bharatanatyam, Kuchipudi, Mohiniyattam, and Kathakali, the dance forms that trace their origin to the southern states of India namely, Tamil Nadu, Andhra Pradesh, and Kerala. The research employs a multidisciplinary approach, combining elements of anthropology and performing arts to unravel the communicative nuances in the intricate hand gestures, facial expressions, body postures, and rhythmic footwork inherent in Indian classical dances. By examining the symbolism and cultural significance of gestures (mudras), the utilization of facial expressions (abhinaya), and the synchronization of movements with musical rhythms, the research seeks to unveil the deeper layers of communication that lie beneath the surface of these mesmerizing performances.
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Sarwal, Amit. „Louise Lightfoot and Ibetombi Devi: The Second Manipuri Dance Tour of Australia, 1957“. Dance Research 32, Nr. 2 (November 2014): 208–32. http://dx.doi.org/10.3366/drs.2014.0107.
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Manipur, a small state in the North-Eastern India, is traditionally regarded in the Indian classics and epics such as Ramayana and Mahabharata as the home of gandharvas (the celestial dancers). Manipuri is one of the eleven dance styles of India that have incorporated various techniques mentioned in such ancient treatises as the Natya Shastra and Bharatarnava and has been placed by Sangeet Natak Akademi within ‘a common heritage’ of Indian classical dance forms (shastriya nritya): Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In the late-1950s Louise Lightfoot, the ‘Australian mother of Kathakali,’ visited Manipur to study and research different styles of Manipuri dance. There she met Ibetombi Devi, the daughter of a Manipuri Princess; she had started dancing at the age of four and by the age of twelve, she had become the only female dancer to perform the Meitei Pung Cholom on stage––a form of dance traditionally performed by Manipuri men accompanied by the beating of the pung (drum). In 1957, at the age of 20, Ibetombi became the first Manipuri female dancer to travel to Australia. This paper addresses Ibetombi Devi's cross-cultural dance collaboration in Australia with her impresario, Louise Lightfoot, and the impression she and her co-dancer, Ananda Shivaram, made upon audiences.
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Anami, Basavaraj S., und Venkatesh Arjunasa Bhandage. „A Comparative Study of Certain Classifiers for Bharatanatyam Mudra Images' Classification using Hu-Moments“. International Journal of Art, Culture and Design Technologies 8, Nr. 2 (Juli 2019): 58–71. http://dx.doi.org/10.4018/ijacdt.2019070104.
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India is rich in culture and heritage where various traditional dances are practiced. Bharatanatyam is an Indian classical dance, which is composed of various body postures and hand gestures. This ancient art of dance has to be studied under guidance of dance teachers. In present days there is a scarcity of Bharatanatyam dance teachers. There is a need to adopt technology to popularize this dance form. This article presents a 3-stage methodology for the classification of Bharatanatyam mudras. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours of mudras using canny edge detector. In the second stage, Hu-moments are extracted as features. In the third stage, rule-based classifiers, artificial neural networks, and k-nearest neighbor classifiers are used for the classification of unknown mudras. The comparative study of classification accuracies of classifiers is provided at the end. The work finds application in e-learning of ‘Bharatanatyam' dance in particular and dances in general and automation of commentary during concerts.
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McCann, Gillian. „Performing Gender, Class and Nation: Rukmini Devi Arundale and the Impact of Kalakshetra“. South Asia Research 39, Nr. 3_suppl (23.09.2019): 61S—79S. http://dx.doi.org/10.1177/0262728019872612.
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Rukmini Devi Arundale, herself a choreographer and dancer, is considered one of the key figures in re-creating Bharatanatyam. Through her utopian arts colony, Kalakshetra, started during the movement towards Indian independence, she taught what she deemed to be a classical, religious and aesthetically pleasing form of dance. Her rejection of what she termed vulgarity and commercialism in dance reflects her Theosophical worldviews and her class position in a rapidly changing South India. The article examines the ways in which her understanding of Bharatanatyam developed in the context of contested forms of nationalism as a gender regime that contributed to creating proper middle-class, Hindu and Indian subjects. It also examines the impacts of this form of cultural heritage relating to gender, culture and nationalism in today’s globalised South Asian dance scenario.
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Khandelwal, Meena, und Chitra Akkoor. „Dance on!: Inter-collegiate Indian dance competitions as a new cultural form“. Cultural Dynamics 26, Nr. 3 (16.06.2014): 277–98. http://dx.doi.org/10.1177/0921374014537913.
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Inter-collegiate Indian dance competitions emerged in the late 1990s in the United States and have since become wildly popular. Why dance? Why now? We explore these questions through Nachte Raho, a competition hosted by a University of Iowa student organization. Such events allow participants to publicly embody the contradictions they experience as minoritized children of immigrants on a predominantly White campus. Thus, dance enables community building among minoritized students and has entertainment value to non-Indians. Students distinguish Nachte Raho from unruly “community functions” organized by immigrant parents and aim instead to produce a professionalized show intended primarily for peers.
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Chakravarty, Esha, Indrani Chakravarty, Ipsito Chakravarty und Prasenjit Bhattacharjee. „Effects of Dance Therapy on Balance and Risk of Falls in Older Persons“. Innovation in Aging 4, Supplement_1 (01.12.2020): 234–35. http://dx.doi.org/10.1093/geroni/igaa057.756.
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Abstract Loss of balance and risk of falls is a major problem in older persons. Literature shows increasing use of yoga practices and dance therapy across Indian oldage homes and day care centres to improve balance and reduce risk of falls in older persons. Aim of this study is to evaluate the effects of dance therapy with focus on therapeutic movements derived from Indian classical dances on balance and risk of falls in older adults of Day Care Centres in Calcutta Metropolitan Institute of Gerontology, under Ministry of Social Justice and Empowerment, Govt. of India. Total of 24 older adults across 2 day care centres participated in the study attending dance therapy sessions for 3 months. All of them self reported problems of balance and repeated falls alongwith difficulties in performing Activities of Daily Living. Twenty one of them were females and 3 males. The mean age of the participants was 75.5 years. Limits of Stabililty (LOS) was used to measure balance and pre tests and post tests were performed. Results showed that the Limits of Stability were significantly higher (17.5%) in older persons after participating in the dance therapy sessions. This study supports that dance therapy using movements derived from Indian classical dance forms can support older persons to function with reduced risk of falls, improved balance, safely carry out mobility tasks and perform better Activities of Daily Living . Further studies can show how dance therapy can facilitate healthy ageing and influence State policies on healthy ageing.
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Putcha, Rumya S. „The Modern Courtesan: Gender, Religion and Dance in Transnational India“. Feminist Review 126, Nr. 1 (22.10.2020): 54–73. http://dx.doi.org/10.1177/0141778920944530.
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This article exposes the role of expressive culture in the rise and spread of late twentieth-century Hindu identity politics. I examine how Hindu nationalism is fuelled by an affective attachment to the Indian classical dancer. I analyse the affective logics that have crystallised around the now iconic Indian classical dancer and have situated her gendered and athletic body as a transnational, globally circulating emblem of an authentic Hindu and Indian national identity. This embodied identity is represented by the historical South Indian temple dancer and has, in the postcolonial era, been rebranded as the nationalist classical dancer—an archetype I refer to as the modern courtesan. I connect the modern courtesan to transnational forms of identity politics, heteropatriarchal marriage economies, as well as pathologies of gender violence. In so doing, I examine how the affective politics of ‘Hinduism’ have functionally weaponised the Indian dancing body. I argue that the nationalist and now transnationalist production of the classical dancer-courtesan exposes misogyny and casteism and thus requires a critical feminist dismantling. This article combines ethnographic fieldwork in classical dance studios in India and the United States with film and popular media analysis to contribute to critical transnational feminist studies, as well as South Asian gender, performance and media studies.
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Obeng, Pashington. „Siddi Street Theatre and Dance in North Karnataka, South India“. African Diaspora 4, Nr. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.
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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Siddi dances and street theatre parallel and yet may differ from other performing arts in South India. Further, the paper complicates the current discourse on how diasporic African communities use the performing arts. My paper goes beyond the Atlantic Diaspora model. It examines ways in which Siddis of South Asia use their dance and theatre to express multiple domains of cultural art forms alongside the everyday use of such performances including a counter-hegemonic stance.
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Gardner, Sally. „Beyond anthropomorphism: Odissi and the botanical“. Studies in South Asian Film & Media 4, Nr. 2 (01.10.2012): 157–65. http://dx.doi.org/10.1386/safm.4.2.157_1.
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Drawing on experiences that have entailed watching and learning forms of so-called ‘Indian dance’ (Bharata Natyam and Odissi), and watching Odissi dancers performing in various locations in Orissa’s ‘sacred triangle’ (Puri, Konark, Bhubaneswar), and against my own background in contemporary dance, I propose that the difference of the Odissi body is that the dancer dances with his or her feet in more than one kingdom – that is, he or she maintains a link between human bodies and the bodies of plants. Such a perception can help to displace questions of the dancer’s spatiality and representations, challenging western or westernized visions of the industrial or mechanical body, assumed hierarchies of body parts and their signifying powers, and assumptions about the role of the joints. The sense of a botanical imaginary or specific cultural body-schema at work in Odissi dance is supported by discussion of historical and ethnographic literature pertaining to the (former) female dancers of the Jagannath Temple in Puri; the temple’s links with Oriyan tribal cultures; the dancers’ traditional importance according to an axis of social auspiciousness/inauspiciousness as opposed to social purity/impurity; and the particular processes of the reconstruction of Odissi dance (separate from that of Bharata natyam) after independence.
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Kim, Youngsuk. „A Study on the Similar Structure of Baratanatiyam and Hatha Yoga Based on The Shiva Mythology“. Korean Society of Culture and Convergence 44, Nr. 11 (30.11.2022): 1127–40. http://dx.doi.org/10.33645/cnc.2022.11.44.11.1127.
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This study analyzed similar structure between the traditional dance of Baratanatiyam which has deep Indian history and Hatha yoga which is centered on physical training, based on Shiva mythology. For conducting the research, we collected various papers and journals related to Shiva mythology, Indian dance, Hatha yoga, and other scientific articles on Indian traditional dance to enhance understanding of Indian traditional culture. Through this, the background composition and characteristics of Indian dance and Hatha yoga derived by Shiva mythology were identified and the gestures of the shiva god were used to symbolize the meanings contained in the gestures. First, it has a symbolic similarity that coincides with the ultimate goal of reaching the state of liberation. Second, the characteristics of Nritta, Nritya, and Natya of Baritanatiyam have structural similarities that work similarly to the structure of Hatha Yoga. Third, symmetrical and repetitive motions and elaborate and standardized motions act in the same pattern. As a result, this study focuses on the understanding of contact between Indian dance and Hatha yoga, which have been separated into different areas and develops the new language of yoga that has become popular in Korea and embraces it within dance studies to promote diversity in dance studies.
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Sinha, Tanusri. „REFLECTION OF MUSIC & DANCE IN ANCIENT INDIAN INSCRIPTION“. International Journal of Research -GRANTHAALAYAH 9, Nr. 4 (06.05.2021): 375–78. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3875.
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The word ‘inscription’ is derived from the Latin word ‘Inscripto’ which means something that is inscribed or engraved. It was engraved on clay (terracotta), stone pillars, copper plates, walls of temples, caves, and on the surface of much other metal and also even palm leaves. Very often we’ve seen it on coins and seals. It consists of important texts or symbols that reveal crucial information and evidence of ancient kings and their empires. Music is the soul of Indian culture. Indian music has an affluent tradition with its root in Vedic time. It is said that Indian music owes its origin to the Sāma Veda. The Vedic hymns were chanted with a particular pitch and accent which are used in religious work. Dance in India also has a rich and vital tradition since the beginning of our civilization. Dances of Indi were to give symbolic expressions which are also enlightened to religious ideas. Ancient Inscriptions, Engraving of Inscription, Music, Dance, Epigraphical Evidence.
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Lopez y Royo, Alessandra, und Sunil Kothari. „New Directions in Indian Dance“. Dance Research Journal 36, Nr. 2 (01.12.2004): 135. http://dx.doi.org/10.2307/20444597.
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Bose, Mandakranta. „Indian Modernity and Tagore's Dance“. University of Toronto Quarterly 77, Nr. 4 (Oktober 2008): 1085–94. http://dx.doi.org/10.3138/utq.77.4.1085.
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Simas, Rosy, und Sam Aros Mitchell. „Playing Indian, between Idealization and Vilification: Seems You have to Play Indian to be Indian“. American Indian Culture and Research Journal 43, Nr. 4 (01.10.2019): 133–40. http://dx.doi.org/10.17953/aicrj.43.4.simas-mitchell.
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This commentary essay, a co-written dialogue, attends to the ongoing phenomenon that has plagued American history known as “playing Indian.” In oscillating between the simultaneous conquest and dispossession of Native people, this phenomenon allows “white” Americans to define, mask, and evade the multiple paradoxes that stem from settler-colonial violence. Simas and Mitchell have worked extensively in the dance field. As their conversation discusses both the histories and the strategies of these “performances,” the coauthors explore the repercussions of non-Native people’s attempts to perform Native experiences through dance paradigms in particular. They link the aesthetic and fiscal consequences of “playing Indian” to the trauma of erasure and invisibilization that has continued to haunt Native experience.
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Otero, Daniel. „History of the belly dance: is it to entice men or a female’s rite of passage?“ Arts & Humanities Open Access Journal 4, Nr. 5 (16.10.2020): 203–12. http://dx.doi.org/10.15406/ahoaj.2020.04.00171.
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One of the most beautiful-classical forms of dance which has persisted since 220 B.C.E. (Before the Common Era) came from the Egyptian culture with its traditional ‘bedlah’ (suit) or suit. But it grew from the off-spring of the Arab Empire (Islamic expansions, 632-1492) and then spread towards India.1 It has been said or noted that from this dance style evolved the traditional patterns used by the Indian women with their saris, to the Romani (Gypsy) women while dancing flamenco in the medieval period, and the later burlesque techniques which flourished in the Nineteenth and Twentieth Centuries. Belly dance didn’t only influence these latter cultures, but it further influenced in the ways of dress and fashion for females. A dance taken from humble origins and converted into something for the international spectrum to glorify the body of women who wished to be in contact with Mother Earth/Nature. This dance wasn’t only for a female’s rite of passage. It was modified through different times in history to be danced in the courts of the Imperial Palaces across the Middle East. Through time, even used by the infamous Mata Hari to spy on men and used to get information during World War I. Belly dance grew, and with time became part of the line-up of classical dances. Because it is one of the oldest and most enjoyed worldwide. With this paper, I intend to demonstrate that belly dancing isn’t only to entice. It is more than that, it can be adapted to a woman’s anatomy and give her way into womanhood.
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Purkayastha, Prarthana. „Subversive bodies: Feminism and New Dance in India“. Studies in South Asian Film & Media 4, Nr. 2 (01.10.2012): 189–99. http://dx.doi.org/10.1386/safm.4.2.189_1.
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This article explores how the Indian navanritya or ‘New Dance’ body, as crafted by choreographers Manjusri Chaki Sircar and Ranjabati Sircar, provided an alternative to the hegemonic representation of femininity in Indian classical dance. The Sircars’ feminist ideology-driven rebuttal of institutional and patriarchal dance pedagogy and praxis produced local critiques of cultural nationalism in and through the dancing body. This article discusses how these new bodies, shaped by a simultaneous eschewal and espousal of Indian cultural legacy, produce a complex picture of negotiation, one in which dialectical relationships between culture and the bodies that are situated within it are seen to emerge.
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Kishore, P. V. V., K. V. V. Kumar, E. Kiran Kumar, A. S. C. S. Sastry, M. Teja Kiran, D. Anil Kumar und M. V. D. Prasad. „Indian Classical Dance Action Identification and Classification with Convolutional Neural Networks“. Advances in Multimedia 2018 (2018): 1–10. http://dx.doi.org/10.1155/2018/5141402.
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Extracting and recognizing complex human movements from unconstrained online/offline video sequence is a challenging task in computer vision. This paper proposes the classification of Indian classical dance actions using a powerful artificial intelligence tool: convolutional neural networks (CNN). In this work, human action recognition on Indian classical dance videos is performed on recordings from both offline (controlled recording) and online (live performances, YouTube) data. The offline data is created with ten different subjects performing 200 familiar dance mudras/poses from different Indian classical dance forms under various background environments. The online dance data is collected from YouTube for ten different subjects. Each dance pose is occupied for 60 frames or images in a video in both the cases. CNN training is performed with 8 different sample sizes, each consisting of multiple sets of subjects. The remaining 2 samples are used for testing the trained CNN. Different CNN architectures were designed and tested with our data to obtain a better accuracy in recognition. We achieved a 93.33% recognition rate compared to other classifier models reported on the same dataset.
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Marathe, Aishwarya, und Rekha Wagani. „ROLE OF GURU IN THE SUSTENANCE OF PASSION TOWARDS CLASSICAL DANCE: A QUALITATIVE ENQUIRY“. ShodhKosh: Journal of Visual and Performing Arts 3, Nr. 2 (08.11.2022): 326–40. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.213.
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Guru is held in great respect and significance in Indian culture since he is the source of all wisdom and learning. India has a rich heritage of several art forms that are closely related to many aspects of life and are still practiced today and passed down from one generation to the next through the "Guru Shishya Parampara". The present study focuses on Indian classical dancers where each shishya has his own unique journey of learning wherein he evolves as a dancer and a human being. During this learning process, the role of guru plays a significant role in the life of the shishya and his overall grooming and continuing the dance journey for years together. Thus, understanding exactly the elements which keep the dancer going is extremely crucial. Therefore, this study aims to explore and understand the possible factors that help classical dancers to continue this long journey and sustain their passion throughout. The present study adopts a qualitative approach in which twelve Indian classical dancers were interviewed telephonically after contacting them using purposive sampling. Thematic analysis was done to illuminate the hidden meaning of the experiences shared by participants which reflected dancers’ experiences and perceptions regarding their guru and how it has shaped them as dancers and human beings both. In addition to this, it also the dancers also expressed how they could sustain their interest and passion for Indian classical dance and could pursue it further.
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Nair, Sreenath. „Sreenath Nair with Neena Prasad“. Indian Theatre Journal 7, Nr. 1 (01.06.2023): 7–15. http://dx.doi.org/10.1386/itj_00033_7.
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Dr Neena Prasad is a leading dancer and scholar of Mohiniyattam. Proficient in Mohiniyattam, Bharatanatyam, Kuchipudi and Kathakali, she is a leading disciple of Kalamandalam Sugandhi and Padamsri Kalamandalam Kshemavathy. She has recently received the presidential award for overall contribution to Indian classical dance. In this conversation she speaks about the philosophy and techniques of her art, the ways in which it carved out the niche for herself as one of the most talented and reliable dancers in India. For Prasad, dance is the only truth and the essence that makes her existence as an artist. This conversation is an archive, the archive that shows the journey of a dancer from her formative period to the level of mastery of the art through continuous research and practice.
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Diyora, Bharat Tulashibhai. „Music and Dance Culture in the City of Vadodara in the Nineteenth and Twentieth Centuries“. Scholars Journal of Arts, Humanities and Social Sciences 9, Nr. 7 (07.07.2021): 310–14. http://dx.doi.org/10.36347/sjahss.2021.v09i07.002.
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The arts of dance and music are of great importance to the culture of India. Classical Indian dances and music are among the most graceful and beautiful in the world. The Maharaja Sayajirao Gaekwad as a head of state led to making Baroda a city representative of art, which is at once indigenous and modern. Expert artists from across the Indian Subcontinent were invited to perform as well as to extend the knowledge of music to the people of Vadodara. Artists were often encouraged with awards and rewards for their performances on various occasions. Maharaja Sayajirao wanted to disseminate the tradition as well as ear for music among the people of Vadodara, so he decided to employ more artists in the court. Hence, many young and old, professional and novices were appointed. So this paper covered all the aspect of music and dance which evolved under vision of the Maharaja Sayajirao.
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Witmer, Robert, und William K. Powers. „War Dance: Plains Indian Musical Performance“. Yearbook for Traditional Music 27 (1995): 159. http://dx.doi.org/10.2307/768117.
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Levine, Victoria Lindsay, und William K. Powers. „War Dance: Plains Indian Musical Performance“. Ethnomusicology 36, Nr. 3 (1992): 426. http://dx.doi.org/10.2307/851877.
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Sarkar, Kaustavi. „Indian Classical Dance Education in Diaspora“. Dance Education in Practice 6, Nr. 3 (02.07.2020): 6–14. http://dx.doi.org/10.1080/23734833.2020.1791568.
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Cloudsley, Peter. „War Dance. Plains Indian Musical Performance“. Journal of Arid Environments 21, Nr. 1 (Juli 1991): 127. http://dx.doi.org/10.1016/s0140-1963(18)30741-9.
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Hatton, Orin T., und William K. Powers. „War Dance: Plains Indian Musical Performance“. American Indian Quarterly 16, Nr. 3 (1992): 440. http://dx.doi.org/10.2307/1185821.
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Royo, A. L. y. „Indian Classical Dance: A Sacred Art?“ Journal of Hindu Studies 3, Nr. 1 (23.03.2010): 114–23. http://dx.doi.org/10.1093/jhs/hiq008.
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Harrod, Howard, und William K. Powers. „War Dance: Plains Indian Musical Performance“. Ethnohistory 39, Nr. 3 (1992): 364. http://dx.doi.org/10.2307/482308.
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Sen, Sabina Sweta. „Indian modern dance, feminism and transnationalism“. Studies in Theatre and Performance 35, Nr. 3 (26.03.2015): 278–80. http://dx.doi.org/10.1080/14682761.2015.1028730.
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Diamond, Catherine. „Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India“. New Theatre Quarterly 34, Nr. 4 (08.10.2018): 307–25. http://dx.doi.org/10.1017/s0266464x18000398.
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In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in both cultures a pathway toward participating in an internal androgyny, a wider spectrum of gender representation than either the Asian traditional dance or contemporary Asian society normally allows. Catherine Diamond is a professor of theatre and environmental literature. She is Director of the Kinnari Ecological Theatre Project in Southeast Asia, and the director/choreographer of Red Shoes Dance Theatre in Taiwan.
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Schnepel, Cornelia. „Bodies Filled with Divine Energy: The Indian Dance Odissi“. Paragrana 18, Nr. 1 (September 2009): 188–99. http://dx.doi.org/10.1524/para.2009.0012.
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AbstractThis article is based on interviews made with gurus and dancers in Orissa, East India. The Odissi, a classical dance which stands at the centre of attention here, is a mixture of centuries-old traditions and relatively new influences, or even inventions. By discussing the dance′s history, its aesthetic qualities and, most importantly, the emic points of view of contemporary practitioners of the dance, it is shown that today′s Odissi is based on ideas and practices that stem as much from old Sanskrit writings and late-medieval temple practices as they do from the contemporary realms of popular Hinduism and tribal religion and art. For its practitioners, the dance represents a form of devotion to Jagannath, and Odisssi is thus understood as a spiritual dance through which a relationship between the god and his adherents is established or performed. While the attitude exhibited by dancers and audience alike is one of spirituality and bhakti, this spirituality and loving surrender can only be achieved through the bodily practice of the dance, which turns the presence of the deity into a somatic experience in which all the bodily senses are involved.
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Mills, Antonia. „The Meaningful Universe: Intersecting Forces in Beaver Indian Cosmology“. Culture 6, Nr. 2 (08.07.2021): 81–91. http://dx.doi.org/10.7202/1078738ar.
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The Beaver Indians of Northeastern B.C. view the events of their world as the manifestation of forces operating between the various levels of spirit. This fundamental shamanic world view has undergone several waves of Christian influence. The first part of the paper describes the meaningful universe that resulted from the intersection of the ancient shamanic philosophy with the Prophet Dance religion. The second part of the paper describes the recent conversion of some Beaver to Pentecostal Christianity and then compares this world view to the antecedent shamanic, the current Prophet Dance and the White Pentecostal philosophy. It demonstrates that the Beaver Indian “Meaningful Universe” maintains a striking similarity to its past versions.
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Chakraborty, Aishika. „In Leotards Under Her Sari: An Indian Contemporary Dancer in America“. Congress on Research in Dance Conference Proceedings 2014 (2014): 39–51. http://dx.doi.org/10.1017/cor.2014.6.
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Traversing through disparate cultural and geographic frontiers, my paper maps the journey of a Bengali dancer, Manjusri Chaki-Sircar, who travels from India to America via Africa before putting her “roots” finally down in India, exploring the migration of body movements across the world. Spelling a new body politics, her dance inscribes the signature of her-self in moving space(s); weaving varied patterns of life experiences; telling tales of displacements, exodus, and resettlements; and fashioning a glocal perspective of movement in a “global political moment.”Situating Manjusri within a counter-centric discourse, my paper underscores the counter-hegemonic agency of her feminist choreographies that opened up “an other” genre of bodily idiom, turning the flattering feminine performance into a site for cultural politics. From the dynamic landscape of post-partitioned Bengal, I will trace how the idiom evolved, migrated, and altered, changing, by the end of the century, the face of Indian contemporary dance.
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IYENGAR, KALPANA MUKUNDA. „Bharatanatyam Dance“. Dev Sanskriti Interdisciplinary International Journal 13 (31.01.2019): 16–24. http://dx.doi.org/10.36018/dsiij.v13i.111.
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This article explores an Asian Indian American youth’s Bharatnatyam dance literacy education in a major city in the southwest of the U.S. I draw from sociocultural, multimodal, transmediation, and multiple intelligencies theories to support my claims. Findings reveal the young adult’s dance education contributed to cultural preservation (Iyengar & Smith, 2016). A plethora of research on the contributions of dance education in the physical development of children is available. This study offers understandings of how formal classical dance (Bharatanatyam) is both beneficial physically and psychologically. Dance, especially Bharatanatyam, culturally codified and schematized contributes to literacy learning in school.
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Coorlawala, Uttara Asha. „Introduction“. Dance Research Journal 32, Nr. 1 (2000): 78–81. http://dx.doi.org/10.1017/s0149767700005684.
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It is my pleasure and honor here to introduce three articles by prominent scholars and practitioners of Indian dance to celebrate a set of profound, meticulous acts of devotion—the writings of Kapila Vatsyayan. These essays, originally presented at an honorary panel for Kapila Vatsyayan at the 1998 CORD Conference, offer diverse perspectives and conceptual frames that significantly enrich our appreciation of Vatsyayan's outstanding contribution to dance scholarship. The first frame, that of Janet O'shea, focuses on the interactions between body, subjectivity, a system of dancing, and their combined implications for dance studies. Joan Erdman's frame draws attention to the ways in which Vatsyayan's vision of dance interacts with Indian culture and becomes expressed as thought, art, architecture, and poetry. Mohd Anis Nor considers the impact of Vatsyayan's scholarship on the works of East Asian scholars. Finally, Vatsyayan herself speaks in an informal interview about formative influences on her writings. Her spontaneous responses reflect and confirm issues that the set of papers have raised concerning her postcolonial experience of scholarly research.Janet O'shea, a performer of Bharatanatyam, explores how Vatsyayan's understanding of the bodily experience of dancing informs her organization of the components of dance structures. She observes that Vatsyayan's concept of dance demonstrates how the various Indian dance forms groom the body to reflect the concepts of body-shape, posture, and of articulation of movement that are listed in the theoretical texts. O'shea notes that “this methodological framework situates dance as an active cultural participant in relation to other systems of thought” and offers a model for exploring dance as a system.
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Vargas-Cetina, Gabriela. „India and the Translocal Modern Dance Scene, 1890s–1950s“. Review of International American Studies 13, Nr. 2 (31.12.2020): 39–59. http://dx.doi.org/10.31261/rias.9805.
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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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Vargas-Cetina, Gabriela. „India and the Translocal Modern Dance Scene, 1890s–1950s“. Review of International American Studies 13, Nr. 2 (31.12.2020): 39–59. http://dx.doi.org/10.31261/rias.9805.
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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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Joncheere, Ayla. „Intangible Inventions“. Archiv orientální 83, Nr. 1 (15.05.2015): 71–93. http://dx.doi.org/10.47979/aror.j.83.1.71-93.
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Despite the creation of the Kalbeliya (Kālbeliyā) dance form in the 1980s, it was recognized as a UNESCO intangible cultural heritage in 2010. Rajasthani “Gypsy” performances, featuring a dance designed by the nomadic Kalbeliya community, have quickly become popular among tourists in India as well as on Western world music stages. The state of Rajasthan, where the Kalbeliyas hail from, is celebrated as “India’s heritage state” by the Indian government as it seeks to promote tourism and the international dissemination of Indian culture through performances and festivals. In this paper, I sketch the history of the Kalbeliya dance form from its origins in the 1980s through to the UNESCO nomination in 2010. Moreover, I discuss the effects of its recognition as a world heritage dance tradition. The official approval of the Kalbeliya dance form as a heritage activity further highlights the challenges to UNESCO’s candidate selection process. This paper aims to explain the reasons for the nomination of the Kalbeliya dance form (how and why UNESCO was persuaded to recognize it as a suitable candidate) by connecting this to the continued processes of nationalism and romanticism, the economic strategies adopted by the cultural tourism industry and the commodification and commercialization of Indian folk arts.
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Elswit, Kate. „Inheriting Dance's Alternative Histories“. Dance Research Journal 46, Nr. 1 (April 2014): 5–22. http://dx.doi.org/10.1017/s0149767714000151.
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In 1975, German choreographer Kurt Jooss created his last dance,Dixit Dominus, for Swedish-based Indian dancer Lilavati Häger. After Rani Nair reconstructed what is often seen as a “minor” work, she then createdFuture Memory(2012) to engage more directly with her inheritance, from caring for the personal things and stories that surrounded the piece to re-working its promise of dancing between European and Indian forms. Working outward from my position as dramaturg and historian for this project, this essay addresses the potential and precariousness of contemporary dance's experiments with redoing history at the intersection of multiple contested legacies.