Bibliografías temáticas / Kathak (dance)

Literatura académica sobre el tema "Kathak (dance)"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 26 de julio de 2024

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Artículos de revistas sobre el tema "Kathak (dance)"

1

Upadhyay, Dwijesh y Mukesh Chandra Pant. "Development of the interrelations of tabla and kathak dance: an analytical study (with special reference to the compositions of tabla and kathak dance)". International Journal of Research -GRANTHAALAYAH 5, n.º 4 (30 de abril de 2017): 339–51. http://dx.doi.org/10.29121/granthaalayah.v5.i4.2017.1828.

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Both the tabla and the Kathak dances are rhythmic and hence there seems to be harmony among them. In the past, mridang was compatible with dance. But later when the dance included aspects such as adornment, miraculousness, pigmentation, etc., the solemn open and strongly relevant of Pakhawaj was unable to reconcile these aspects. In such a situation, the tabla instrument was used for association with Kathak dance, which is considered to be the sophisticated and developed form of mridang (pakhavajdha). The accompaniment of the tabla instrument proved successful in presenting almost all aspects of the dance accurately. Lucknow and the Banaras Gharana have played an important role in the association of Kathak dance. For the consistency of Kathak dance, the tabla players created and selected the characters, character groups, compositions according to the characters of the dance, compositions etc. The result of this is that with time, tabla playing material developed. Looking at the present form of Kathak.Dance also highlights the fact that tabla playing material has also played an important role in the development of Kathak.Nritya and its dance material. On this basis, both can be called complementary to each other. Music scholars also support the fact that while on one hand the tabla compositions have contributed to the enrichment of the Kathak dance, on the other hand various Kathakas have played an important role in the development of the tabla instrument. Based on the facts, the period of the Kathak dance and the revival of the tabla is considered to be the late 1700 century. It can be said that the tabla style and Kathak dance developed simultaneously. The tabla playing material; compositions and Kathak dance material; the development and expansion of compositions also continued to grow due to the tabla association with Kathak dance. The purpose of the proposed paper is to investigate and analyze the development of interrelations of the works of tabla and Kathak dance.
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2

David, Ann R. y Nilima Devi. "“Even the dinner ladies are teaching dance!” Pedagogic Explorations of South Asian Dance in Britain". Congress on Research in Dance Conference Proceedings 41, S1 (2009): 181–87. http://dx.doi.org/10.1017/s2049125500001072.

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This lecture-demonstration examines some of the tensions and contradictions found in the teaching of South Asian dance in Britain through using a demonstration by Leicester Kathak dancer Nilima Devi and evidence gleaned from Ann David's ethnographic research amongst dance students and teachers in Hindu communities in Leicester. It considers how issues of tradition and change within an arena seen as “cultural heritage” are incorporated into pedagogic practice. It questions different perceptions of dance by teenage students and their teachers, as well as articulating some of the problematic areas in the teaching of classical and popular dance forms, such as Kathak, Bharatanatyam, and Bollywood.
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3

Grover, Bhavna. "NEW EXPERIMENT IN KATHAK DANCE: ANALYTICAL STUDY". International Journal of Research -GRANTHAALAYAH 3, n.º 1SE (31 de enero de 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3446.

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Indian classical dance has been a huge and rich tradition since the beginning of Kathak. With the change of time from the beginning, there were new experiments in Kathak dance and dance also changed. By the time of the sixteenth century, which we know as the ritual period, Kathak dance had the influence of Ram and Krishna devotion and Ram and Krishna leelas were the mainstay of Kathak dance. In the seventeenth and eighteenth centuries, when the Kathak dancers received the patronage of the Nawabo and the states and new experiments in Kathak dance resulted in many changes. Kathak was a satvic form of dance for Hindu kings and Muslim Nawabs, who were naturally adorned and luxuries, became adorned here as Kathak. In the nineteenth century, on the basis of style and lineage, three styles of Kathak dance developed as Gharanas, which are known as Jaipur Gharana, Lucknow Gharana and Banaras Gharana. Another obsolete gharana, the Raigad gharana developed under the patronage of Raja Chakradhar Singh of Raigad. Different styles of each household were distinguished according to the region and nature of the kings. Until that time, Kathak was traditionally performed in every household and dances based on mythology were performed as a new experiment. After the development of the dharnas, the main changes came in the side of Kathak. At that time, new uses of Kathak developed such as Salami, Aamad and Thumri, Dadra etc. in acting instead of Pramanam. भारतीय शास्त्रीय नृत्य कथक की आरंभ से ही एक विशाल व समृद्ध परम्परा रही है। प्रारंभ से ही समय परिवर्तन के साथ-साथ कथक नृत्य में नवीन प्रयोग होते रहे और नृत्य परिवर्तित भी होता गया। सोलहवीं शताब्दी जिसे हम रीति-काल के नाम से पहचानते है उस समय तक कथक नृत्य पर राम व कृष्ण भक्ति का प्रभाव था तथा राम व कृष्ण लीलाओं ही कत्थक नृत्य का मुख्य आधार थी। सत्र्ाहवीं व अठारहवीं शताब्दी में जब कथक नर्तको को नवाबो व राज्यों का संरक्षण प्राप्त हुआ और कथक नृत्य में नये प्रयोग हुए फलतः अनेक परिवर्तन आये। हिन्दु राजाओं के यहाँ कथक नृत्य का सात्विक रूप रहा और मुस्लिम नवाबों जो स्वभावतः श्रृंगारप्रिय व विलासिता पूर्ण थे, यहाँ पर कथक का स्वरुप श्रृंगारिक बना। शैली व वंशावली के आधार पर उन्नीसवी सदी में कथक नृत्य की तीन शैलियाँ, घरानों के रूप में विकसित हुई जो जयपुर घराना, लखनऊ घराना व बनारस घराना के रूप में जाने जाते है। एक अन्य अप्रचलित घराना, रायगढ़ घराना जो रायगढ़ के राजा चक्रधर सिंह के संरक्षण में विकसित हुआ। प्रत्येक घराने की भिन्न-भिन्न शैली उस क्षेत्र व राजाओं के स्वभाव के अनुसार प्रतिष्ठित हुई। उस समय तक प्रत्येक घराने में कथक की प्रस्तुति परम्परागत रूप से की जाती थी और पौराणिक कथाओं पर आधारित नृत्य नवीन प्रयोग के रूप में किये जाते थे। धरानों के विकसित होने पर मुख्य परिवर्तन कथक के नृत्त पक्ष में आ गये। उस समय कथक के नवीन प्रयोग विकसित हुए जैसे- प्रणाम के टुकडे के स्थान पर सलामी, आमद व अभिनय में ठुमरी, दादरा आदि का प्रचलन हुआ।
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4

Ostor, Akos, Robert Gottlieb y Nazir Ali Jhairazbhoy. "Circles-Cycles Kathak Dance". Yearbook for Traditional Music 22 (1990): 185. http://dx.doi.org/10.2307/767963.

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5

Jones, Betty True y Robert S. Gottlieb. "Circles-Cycles Kathak Dance". Dance Research Journal 23, n.º 1 (1991): 43. http://dx.doi.org/10.2307/1478703.

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6

Jhala, Jayasinhji y Robert Gottlieb. "Circles--Cycles Kathak Dance". Ethnomusicology 35, n.º 2 (1991): 311. http://dx.doi.org/10.2307/924754.

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7

Singh, Monika. "CHANGING PICTURE OF KATHAK DANCE". International Journal of Research -GRANTHAALAYAH 3, n.º 1SE (31 de enero de 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3423.

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What was yesterday becomes old today and what is to come tomorrow also remains a saga of the past for a few days. With the speed at which time is moving, the wave of change is moving at the same speed.At present, the field of dance is also not untouched by it. Changes and innovation in the region have demonstrated this in many ways. Kathak dance existing since ancient times was a dance form full of religion and spirituality. Kathak dance is considered to have originated by the narrators having narrated the acting by the storytellers during the Bhajan-Kirtan in the temples. जो कल था, वह आज पुराना हो गया और जो कल आनेवाला है वह भी कुछ ही दिनों से अतीत की गाथा बनकर रह जाता है। समय जिस गति से आगे बढ़ रहा है, उसके साथ परिवर्तन की लहर भी उतनी ही गति से प्रवहमान है।वर्तमान समय में नृत्यकला का क्षेत्र भी इससे अछूता नहीं है। इस क्षेत्र में परिवर्तन और नवाचार ने इसे कई रूपों में प्रदर्शित किया है। प्राचीनकाल से विद्यमान कत्थक नृत्य धर्म-अध्यात्म से परिपूर्ण नृत्य शैली थी। मंदिरों में भजन-कीर्तन के समय कथावाचकों के द्वारा अभिनय युक्त कथा कहने से कत्थक नृत्य की उत्पत्ति मानी जाती है।
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8

Harmalkar, Shashwati. "GRADUAL CHANGE IN LIGHTS, STAGE MANAGEMENT AND COSTUMES IN KATHAK DANCE". International Journal of Research -GRANTHAALAYAH 3, n.º 1SE (31 de enero de 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3395.

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Kathak dance is a prominent classical dance of northern India. Indian dances have seen enormous changes in the past few years, but the fact that remains is not only has there been a change in the movements and “abhinay prakar” or expressions but also light and stage management and the costumes.Kathak performing artists or the “kathakkas” as they were called were actually story tellers and were earlier the messengers of the king. Gradually this art of storytelling changed its track to become India’s most performed classical dance.In 10th century this dance became a way of tribute to the almighty and was popularly performed by the devdasis in various temples. Though they were not openly performed for the devotees at first but only for the idols of the deity. Since the dance was performed in privacy, there was no need of stage and light. It was assumed that the dance was performed to depict ones bhakti or devotion towards the god and for the god’s entertainment hence costume and jewellery were given special weightage. Blunt colours like red or green in fully covered lehenga; choli and dupatta were selected with loads of gold jewellery of all kinds.
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Sparshott, Francis y Sushil Kumar Saxena. "Swinging Syllables: Aesthetics of Kathak Dance". Journal of Aesthetics and Art Criticism 51, n.º 1 (1993): 88. http://dx.doi.org/10.2307/431982.

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Shah, Purnima. "Performance of Ṭhumrī in Kathak Dance". Asian Theatre Journal 40, n.º 2 (septiembre de 2023): 326–61. http://dx.doi.org/10.1353/atj.2023.a912919.

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Abstract: During the eighteenth century, Lakhnau, the capital of the royal state of Awadh, emerged as the refined center for the arts. Over the next centuries, kathak maestros and elite tavāifs (soiree singers and dancers) enthralled patron connoisseurs with their exquisite ṭhumrī performances, receiving lavish rewards. Ṭhumrī exemplified an aesthetic synthesis of the devotional (bhakti) and worldly themes based on undifferentiated love situated in the śṛṅgāra rasa (amorous, erotic sentiment). This essay is an attempt to highlight the infinite performative possibilities improvised by the dancer through imaginative interpretations of the ṭhumrī song-text and the connoisseur spectator’s interactive response in culturally specific meaning-making. Ṭhumrī performance epitomized the poetic “nāyikā,” who dominated prolific classic and regional literature over the millennia.
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Tesis sobre el tema "Kathak (dance)"

1

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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2

Dioudonnat, Edwige. "Kathak et flamenco : contextes, figures et formes de deux traditions chorégraphiques". Nice, 2001. http://www.theses.fr/2001NICE2004.

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Les danses traditionnelles kathak et flamenco sont souvent rapprochées. Par l'analyse croisée de leurs contextes et techniques, cette étude met en évidence leurs spécifités, similitudes et divergences. Dans la première partie sont donc abordés les aspects étymologique, historique, géograpique, culturel et social tandis que la seconde porte essentiellement sur les modes de transmission, l'usage du corps, les costumes, les figures chorégraphiques et les ornementations visuelles (formes géométriques) et sonores (frappes de pieds, notions rythmiques de tâl et compas) sous une forme spectaculaire et signifiante.
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3

Gopalan-Ranganathan, Malini. "La danse indienne Kathak en France : essai de transposition et conception d'une ingénierie didactique". Rennes 2, 2004. http://www.theses.fr/2004REN20056.

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La danse indienne kathak, comporte des techniques corporelles et du sens des récits. La démocratisation de cet art a engendré des déformations dans son enseignement et dans sa présentation. C'est pourquoi, nous pensons réhabiliter son corpus de connaissances pour pouvoir formaliser et institutionnaliser son enseignement. L'étude consiste à élaborer des contenus d'enseignement du kathak à l'attention d'un public français, pour lequel aucune stratégie d'enseignement n'a été mise au point à ce jour. Notre hypothèse générale est que la transmission de savoir prévu pour un public tout venant en France nécessite une transposition. La question centrale est l'équilibre entre sens et technique dans le kathak transposé. Au plan théorique, nous fonctionnons sur le concept de Transposition didactique qui surveille le passage d'un objet de référence à un objet d'enseignement et au plan opérationnel, avec l'Ingénierie didactique qui contrôle la conception et les effets des contenus d'enseignement
Kathak, an Indian dance, comprises specific body technics and narrative significances. The democratisation of this art has lead to the deformation of its teaching and its presentation. Hence, we would like to rehabilitate its fundamental corpus in order to formalize and institutionalize its instruction. The study consists in elaborating teaching contents for a keen but uninitated French public for whom no teaching strategy has been defined as yet. Our general hypothesis is that the transmission of knowledge intended for lay French pubic requires transposition. Our principal question is the balanced mix of body techniques and narrative significances in the teachable kathak On the theoritical level, we will comply with the principles of didactic transposition which supervises the passage of an objet of reference into a teaching objet and on the operational level, we will follow the methodology of didactic engineering which controls the conception and the effects of teaching contents
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4

Fratagnoli, Federica. "Les danses savantes de l'Inde à l'épreuve de l'Occident : formes hybrides et contemporaines du religieux". Paris 8, 2010. http://www.theses.fr/2010PA083976.

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Cette étude se propose d’analyser les nouvelles créations chorégraphiques des artistes de la diaspora indienne, en prenant comme référence privilégiée le contexte anglais, le nœud le plus fructueux de l’expérience artistique indienne en Europe. Partant d’une analyse historiographique des danses de l’Inde, cette thèse remet en question les notions ce tradition et d’authenticité, souvent associées à ces formes de danse. La deuxième partie de ce travail propose une étude de cas spécifique : les créations chorégraphiques de l’artiste indo-anglais Akram Khan. L'examen de ses pièces permet de remettre en cause la notion d’hybride, couramment associée aux créations de la diaspora, qui ont recours à d’autres techniques corporelles pour dépasser la « tradition ». Une telle analyse laissera apparaître des connexions étroites avec la question du « religieux », qui pétrit les pratiques corporelles de l’Inde. La dernière partie de la thèse essayera de saisir comment la scène chorégraphique contemporaine a transféré et re-localisé le « religieux » propre à ces danses. Celui-ci ne s’incarne plus dans une divinité, il passe davantage dans un mouvement d’immanence, par l’individu et sa conscience corporelle. Ce parcours orientera notre étude vers l'examen des liens qui se tissent alors entre trois notions, très importantes dans un certain champ de la création chorégraphique contemporaine : sensation, body awareness (conscience du corps) et « spiritualité »
This study analyzes new choreographic creations by artists of the Indian diaspora, taking the most fruitful Indian artistic centre in Europe, i. E. Britain, as its reference point. Beginning with an historical analysis of Indian dance forms, this thesis challenges the notions of tradition and authenticity with which they are often associated. The second part of this work deals with a specific case study: the choreographic creations of the Indo-British artist, Akram Khan. An analysis of his work raises questions about the notion of the hybrid, a notion that is commonly associated with the creative work of the Diaspora, which uses a variety of physical techniques to transcend the « tradition ». Such an analysis also reveals close connections with the « religious » question, which gives form to physical expression in India. The last part of the thesis will try to establish how the contemporary dance scene has transferred and relocated the « religious » within these dances. The « religious » is no longer embodied by a deity; rather it has become a movement of immanence through the individual and his or her physical consciousness. This study leads to an examination of the links between three concepts that are very important in a certain field of contemporary creation: sensation, body awareness and « spirituality »
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PINHEIRO, Silvia do Socorro Luz. "Kata pessoal: treinamento psicofísico para atores/bailarinos por meio do judô". Universidade Federal do Pará, 2012. http://repositorio.ufpa.br/jspui/handle/2011/7616.

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O objeto desta pesquisa constitui-se na aplicação da arte marcial judô na prática psicofísica do ator/bailarino. Neste sentido, considero a hipótese apresentada de que o judô inclui técnicas úteis para o treinamento do ator/bailarino observadas pela lente da Antropologia Teatral. Portanto, dissertarei sobre minha pesquisa do judô tanto em seus atributos técnicos, quanto filosóficos, a fim de se encontrarem elementos que possam enriquecer o estado “pré-expressivo” 1 dos sujeitos envolvidos – atores/bailarinos –, a partir da construção do “Kata Pessoal”, termo cuja definição implica procedimentos metodológicos do treinamento e deduções empiricamente atestadas nesta pesquisa. Portanto, esta proposta incorpora campos teóricos e práticos distintos, quais sejam o Judô e o Teatro, contendo como foco os princípios e atributos do primeiro, e a abordagem antropológica, do segundo. Minha experiência enquanto professora de judô foi tomada como referência para o estudo, por constituir âmbito filosófico e prático sobre os fundamentos do judô. Quanto aos procedimentos metodológicos levados a cabo, optou-se por uma abordagem qualitativa, de caráter descritivo e hipotético-dedutivo em que foi realizado um levantamento bibliográfico. Houve, também, pesquisa de campo, envolvendo entrevistas e depoimentos, e um laboratório experimental de treinamento psicofísico. Para aplicação deste treinamento, foi selecionado um conjunto de técnicas do judô a partir de princípios como: “equilíbrio de luxo (ou precário)” 2, “energia” 3, “oposição”,4 “corpo-decidido” 5 e “dilatação” 6.
The object of this research is the judo as body practice of the actor/dancer. A hypothesis presented in this paper is that judo includes useful techniques for training the actor/dancer looking through the lens of Theatrical Anthropology. The objective is to research the judo, both technical artifice as philosophical, elements that could enrich your state pre-expressive, which is building the Personal Kata. This proposal incorporates different theoretical and practical fields: judo and theater focus on containing the principles of judo in communion with those of Theatrical Anthropology. My experience as a judo teacher was taken as reference for the study because it represents the area on the philosophical and practical foundations of judo. About methodological procedures, we chose a qualitative approach, but it has a descriptive nature, into which was conducted a bibliographic gathering. Also, the field research, involving interviews and statements; and a laboratory of training, a title of experiment. For application of this training was selected a set of techniques of judo based on criteria such as: balance, energy, contrast-stretched body, organic.
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6

Walker, Margaret Edith. "Kathak dance: A critical history [India]". 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94579&T=F.

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Sharma, Beena, University of Western Sydney, College of Social and Health Sciences y School of Applied Social and Human Sciences. "Awakening of the serpent energy : an Indian-Aboriginal performance exchange". 2001. http://handle.uws.edu.au:8081/1959.7/12477.

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This is a story of a cross-cultural dance exchange conceptualising myth as a living art through traditional Kathak dance form in collaboration with contemporary Aboriginal dance form, weaving and celebrating the reconciliation and independence of all people through male and female energy to evoke an ancient universal serpent energy. It continues the poetic traditions of interpretation which accompany the arts in both Indian and Aboriginal cultures.
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Skiba, Katarzyna. "Terytoria negocjacji tożsamości narodowej w indyjskich sztukach performatywnych : tradycja klasycznego tańca kathak". Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/74770.

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Sharma, Beena. "Awakening of the serpent energy : an Indian-Aboriginal performance exchange". Thesis, 2001. http://handle.uws.edu.au:8081/1959.7/12477.

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This is a story of a cross-cultural dance exchange conceptualising myth as a living art through traditional Kathak dance form in collaboration with contemporary Aboriginal dance form, weaving and celebrating the reconciliation and independence of all people through male and female energy to evoke an ancient universal serpent energy. It continues the poetic traditions of interpretation which accompany the arts in both Indian and Aboriginal cultures.
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Dhiman, Palak. "Multiculturalism and identity formation among second generation Canadian women of South Asian origin through Indian classical dance". 2013. http://hdl.handle.net/1993/22159.

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The main research question of this project asks: what role does Indian classical dance play in the identity formation of second generation Canadian women of South Asian origin as they negotiate their identities as Canadians living in a multicultural country? The research question is analyzed through the theoretical frameworks of both citizenship theory, identity theory, and Bourdieu’s notions of ‘habitus’, ‘field’, and cultural capital. Semi-structured interviews are conducted with dancers of 2 main dance styles (“Kathak” and “Bharatnatyam”) and of various ages over 18. Interviews are also conducted with a dance teacher/creative director and a dance company coordinator. Findings indicate that Indian classical dance influences identity formation in 3 main ways: in the way that the participants embody the dance forms of Kathak and/or Bharatnatyam, in the way they form their identities as individuals, and in the way they form their identities as multicultural Canadians.
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Libros sobre el tema "Kathak (dance)"

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Milana, Rājendra. Kathā kathaka kī. Naī Dillī: Prakāśana Vibhāga, Sūcanā aura Prasāraṇa Mantrālaya, Bhārata Sarakāra, 2002.

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Śarmā, Jayacandra. Kathak nr̥ttam =: Grammer [sic] of kathak dance. Bīkānera: Kalā-Darśana Saṃsthāna, 1986.

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Śarmā, Jayacandra. Kathak nr̥ttam =: Grammer [sic] of kathak dance. Bīkānera: Kalā-Darśana Saṃsthāna, 1986.

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Guptā, Bhāratī. Kathak sagar. New Delhi: Radha Publications, 2004.

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Caudharī, Pratāpasiṃha. Katthaka nr̥tya: Tathya aura viśleshana. Jayapura: R̥cā Prakāśana, 2014.

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Mahanta, Bhagavāna Dāsa Māṇika. Kathaka gharānā Rāyagaṛha. Dillī: Bī. Āra. Ridamsa, 2015.

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Siṃha, Māṇḍavī. Katthaka nr̥tya paramparā meṃ Rāyagaṛha darabāra. Delhi: B.R. Rhythms, 2013.

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Saxena, Sushil Kumar. Swinging syallables, aesthetics of Kathak dance. New Delhi: Sangeet Natak Akademi, 1991.

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Narayan, Shovana. Rhythmic echoes and reflections: Kathak. New Delhi: Lotus Collection, 1998.

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Kothari, Sunil. Kathak, Indian classical dance art. New Delhi: Abhinav Publications, 1989.

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Capítulos de libros sobre el tema "Kathak (dance)"

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Das, Sanghamitra, Suchibrota Dutta, Debanjan Banerjee y Arijit Ghosal. "Classification of Bharatnatyam and Kathak Dance Form Through Audio Signal". En Emerging Technologies in Data Mining and Information Security, 671–79. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-9774-9_62.

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Adholiya, Ashish y Apeksha Khopkar. "Visualizing Sentiments: Facial Expression Recognition in the World of Kathak Dance Using Deep Learning". En Advances in Data-Driven Computing and Intelligent Systems, 471–87. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-9531-8_38.

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Dalidowicz, Monica. "The Sound of Movement: Hearing Kathak Dance". En The Oxford Handbook of the Phenomenology of Music Cultures, C27.P1—C27.N7. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190693879.013.27.

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Abstract This chapter undertakes a phenomenological investigation of the musicking and moving body that examines how North Indian kathak dancers apprehend sound through movement and simultaneously perceive movement through sound. While our senses can be described empirically as discrete entities, phenomenologically speaking, this is not how we experience the world. It is this entangled and undifferentiated aspect of sensory experience that is explored here through an ethnographic description of the teaching and learning of kathak dance. Kathak dancers are in fact musicians producing complex rhythmic patterns through vocal rhythms and the sound of their bare feet slapping rhythmically on the floor. Learning how to hear dance is a vital part of the process of sensory enskillment that occurs in the learning of this art form.
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"About the Making of Circles–Cycles Kathak Dance". En Envisioning Dance on Film and Video, 285–87. Routledge, 2013. http://dx.doi.org/10.4324/9780203954034-64.

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"Courtesans and Choreographers: e (Re)Placement of Women in the History of Kathak Dance". En Dance Matters, 299–320. Routledge India, 2012. http://dx.doi.org/10.4324/9780203150450-30.

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"Re-Exporting ‘Tradition’: e Transcultural Practice of Kathak in Kolkata and the Creation of a New Female Body". En Dance Matters, 225–44. Routledge India, 2012. http://dx.doi.org/10.4324/9780203150450-25.

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Lutgendorf, Philip. "Avoiding Urdu and the T̤awāʼif: Regendering Kathak Dance in Jhanak Jhanak Payal Baaje". En Bombay Cinema's Islamicate Histories, 295–319. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789383973_11.

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Bose, Srijani. "DANCE MOVEMENT THERAPY – A SHIFT IN FOCUS FROM TRADITIONAL COMMUNICATIVE THERAPY TO A PROJECTIVE INTERVENTION STRATEGY". En Futuristic Trends in Social Sciences Volume 3 Book 12, 306–15. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3bisop5ch10.

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This chapter delves into Dance Movement Therapy (DMT) as a comprehensive intervention for physical and mental well-being, drawing from Maslow's hierarchy and Freudian principles. Tracing DMT's evolution from Marian Chace's pioneering work to its recognition as a psychotherapeutic method, the paper highlights its physiological impact on neurological plasticity, cognitive functions, and its efficacy in conditions like Parkinson's Disease and cancer. Psychologically, DMT engages cognitive, emotional, and creative facets, addressing mental health challenges. The paper envisions DMT as a futuristic intervention adaptable to personalized care models, emphasizing its ability to transcend cultural and linguistic barriers. Introducing Kathak as a potential DMT modality, the paper emphasizes its alignment with DMT principles, offering a unique therapeutic avenue with cultural richness. Overall, DMT emerges as a dynamic and universal methodology, poised to shape the future of healthcare and psychotherapy by emphasizing the interconnectedness of body, mind, art, and culture.
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MARGNAC, Géraldine nalini. "Śiva ou le fabuleux spectacle". En Théâtre Mythologique, 193–208. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4715.

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Mettant en scène les héroïnes, héros et divinités de récits fabuleux transmis oralement, le bharata-nāṭyam peut être considéré comme une forme de théâtre mythologique. Or la notion de « théâtre » dans le domaine indien correspond plutôt au nāṭya, qui recouvre aussi bien le domaine du « théâtre » que celui de la « danse » et cherche à produire le rasa, « saveur » ressentie par les spectateurs. Quant à l’adjectif « mythologique », il s’apparenterait aux kathā, terme sanskrit désignant les « histoires ou récits » ou aux kaṭṭukkatai, terme tamoul signifiant « légendes, contes fabuleux ». Dans l’extrait du poème que nous souhaitons étudier, il est question de Śiva, figure divine du danseur et de la destruction dans l’hindouisme. Quelle dimension du spectacle implique une telle référence ? Comment le mythe est-il repris dans la création poétique et scénique ? Quel est le rôle du rasa dans la résurgence du mythe ? Quatre propositions scéniques nous amèneront à interroger les enjeux linguistiques et esthétiques d’un mythe présents dans le texte littéraire et réactivé dans un art de la scène comme le bharata-nāṭyam.
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Actas de conferencias sobre el tema "Kathak (dance)"

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Saha, Anirban, Saptami Ghosh, Partha Pratim Das y Indranil Sarkar. "Recognition and Classification of Accompanying Audios of Kathak Dance". En 2021 10th IEEE International Conference on Communication Systems and Network Technologies (CSNT). IEEE, 2021. http://dx.doi.org/10.1109/csnt51715.2021.9509718.

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Solkar, Ahmed, Glen Dhingra, Khushi Chavan y Nilesh Patil. "Kathak Dance Movement Recognition and Correction Using Google’s Mediapipe". En 2023 14th International Conference on Computing Communication and Networking Technologies (ICCCNT). IEEE, 2023. http://dx.doi.org/10.1109/icccnt56998.2023.10307349.

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Taşkaya, Ebru, Gökçen Bombar y Gökmen Tayfur. "Homojen Dolgu Baraj Yıkılması Üzerine Deneysel Bir Çalışma". En International Students Science Congress. Izmir International Guest Student Association, 2021. http://dx.doi.org/10.52460/issc.2021.017.

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Baraj yıkılması sonucu oluşacak taşkın hareketinin belirlenmesi, baraj mansabında herhangi bir yerleşim yeri olması durumunda, tehlikenin saptanması açısından önemli ve gerekli bir çalışmadır. Taşkın hareketi sonucu oluşan suyun hareketinin yanında aynı zamanda sediment taşınımı da toprak dolgu barajlar için incelenmesi gereken önemli bir konudur. Yapılan bu çalışmada homojen yapılı toprak dolgu baraj yıkılma problemi deneysel olarak ele alınmıştır. Dikdörtgen kesitli açık kanalda toprak dolgu barajın su aşması ile yıkılması sonucu taşkın dalgasının mansap boyunca yayılması ve taşkın sonucu mansap boyunca yayılan sediment taşınımı incelenmiştir. Baraj gövdesinde medyan dane çapı D50 = 0,441 mm olan malzeme kullanılmıştır. Toprak dolgu baraj gövdesini 20×20 cm’lik tahta plaka üzerine 1,5 kg ağırlığın yaklaşık 20 cm yükseklikten 10 kez düşürülmesi ile sıkıştırılmıştır. İki katman halinde bir katman 10 cm, diğer katman 14 cm kalınlığındaki sediment serilmiş ve sıkıştırılarak baraj kret genişliği 58 cm, baraj genişliği 106 cm, baraj yüksekliği 24 cm olarak şekilde baraj gövdesi hazırlanmıştır. Kanal boyunca 2 adet kamera ile sedimentin alansal yayılımı belirlenmiştir. Deney sonunda alınan ölçümler ile yıkılma sonrası sediment derinlik profili elde edilmiştir. Sediment maximum yayılma uzunluğu 631 cm, maximum yayılma genişliği ise 139 cm ölçülmüştür. Maksimum sediment kalınlığı ise en yüksek 20,8 mm ölçülmüştür.
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