Littérature scientifique sur le sujet « Kathak (dance) »
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Articles de revues sur le sujet "Kathak (dance)"
Upadhyay, Dwijesh, et 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, no 4 (30 avril 2017) : 339–51. http://dx.doi.org/10.29121/granthaalayah.v5.i4.2017.1828.
Texte intégralDavid, Ann R., et 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.
Texte intégralGrover, Bhavna. « NEW EXPERIMENT IN KATHAK DANCE : ANALYTICAL STUDY ». International Journal of Research -GRANTHAALAYAH 3, no 1SE (31 janvier 2015) : 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3446.
Texte intégralOstor, Akos, Robert Gottlieb et Nazir Ali Jhairazbhoy. « Circles-Cycles Kathak Dance ». Yearbook for Traditional Music 22 (1990) : 185. http://dx.doi.org/10.2307/767963.
Texte intégralJones, Betty True, et Robert S. Gottlieb. « Circles-Cycles Kathak Dance ». Dance Research Journal 23, no 1 (1991) : 43. http://dx.doi.org/10.2307/1478703.
Texte intégralJhala, Jayasinhji, et Robert Gottlieb. « Circles--Cycles Kathak Dance ». Ethnomusicology 35, no 2 (1991) : 311. http://dx.doi.org/10.2307/924754.
Texte intégralSingh, Monika. « CHANGING PICTURE OF KATHAK DANCE ». International Journal of Research -GRANTHAALAYAH 3, no 1SE (31 janvier 2015) : 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3423.
Texte intégralSparshott, Francis, et Sushil Kumar Saxena. « Swinging Syllables : Aesthetics of Kathak Dance ». Journal of Aesthetics and Art Criticism 51, no 1 (1993) : 88. http://dx.doi.org/10.2307/431982.
Texte intégralHarmalkar, Shashwati. « GRADUAL CHANGE IN LIGHTS, STAGE MANAGEMENT AND COSTUMES IN KATHAK DANCE ». International Journal of Research -GRANTHAALAYAH 3, no 1SE (31 janvier 2015) : 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3395.
Texte intégralDalidowicz, Monica. « Crafting fidelity : pedagogical creativity in kathak dance ». Journal of the Royal Anthropological Institute 21, no 4 (16 octobre 2015) : 838–54. http://dx.doi.org/10.1111/1467-9655.12290.
Texte intégralThèses sur le sujet "Kathak (dance)"
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.
Texte intégralDioudonnat, Edwige. « Kathak et flamenco : contextes, figures et formes de deux traditions chorégraphiques ». Nice, 2001. http://www.theses.fr/2001NICE2004.
Texte intégralGopalan-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.
Texte intégralKathak, 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
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.
Texte intégralThis 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 »
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.
Walker, Margaret Edith. « Kathak dance : A critical history [India] ». 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94579&T=F.
Texte intégralSharma, Beena, University of Western Sydney, College of Social and Health Sciences et 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.
Texte intégralMaster of Arts (Hons)
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.
Texte intégralSharma, Beena. « Awakening of the serpent energy : an Indian-Aboriginal performance exchange ». Thesis, 2001. http://handle.uws.edu.au:8081/1959.7/12477.
Texte intégralDhiman, 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.
Texte intégralLivres sur le sujet "Kathak (dance)"
Milana, Rājendra. Kathā kathaka kī. Naī Dillī : Prakāśana Vibhāga, Sūcanā aura Prasāraṇa Mantrālaya, Bhārata Sarakāra, 2002.
Trouver le texte intégralŚarmā, Jayacandra. Kathak nr̥ttam = : Grammer [sic] of kathak dance. Bīkānera : Kalā-Darśana Saṃsthāna, 1986.
Trouver le texte intégralŚarmā, Jayacandra. Kathak nr̥ttam = : Grammer [sic] of kathak dance. Bīkānera : Kalā-Darśana Saṃsthāna, 1986.
Trouver le texte intégralGuptā, Bhāratī. Kathak sagar. New Delhi : Radha Publications, 2004.
Trouver le texte intégralMahanta, Bhagavāna Dāsa Māṇika. Kathaka gharānā Rāyagaṛha. Dillī : Bī. Āra. Ridamsa, 2015.
Trouver le texte intégralCaudharī, Pratāpasiṃha. Katthaka nr̥tya : Tathya aura viśleshana. Jayapura : R̥cā Prakāśana, 2014.
Trouver le texte intégralSiṃha, Māṇḍavī. Katthaka nr̥tya paramparā meṃ Rāyagaṛha darabāra. Delhi : B.R. Rhythms, 2013.
Trouver le texte intégralSaxena, Sushil Kumar. Swinging syallables, aesthetics of Kathak dance. New Delhi : Sangeet Natak Akademi, 1991.
Trouver le texte intégralNarayan, Shovana. Rhythmic echoes and reflections : Kathak. New Delhi : Lotus Collection, 1998.
Trouver le texte intégralNāyikā bheda in Kathak. Delhi : Agam Kala Prakashan, 2009.
Trouver le texte intégralChapitres de livres sur le sujet "Kathak (dance)"
Das, Sanghamitra, Suchibrota Dutta, Debanjan Banerjee et Arijit Ghosal. « Classification of Bharatnatyam and Kathak Dance Form Through Audio Signal ». Dans 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.
Texte intégralDalidowicz, Monica. « The Sound of Movement : Hearing Kathak Dance ». Dans 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.
Texte intégral« Courtesans and Choreographers : e (Re)Placement of Women in the History of Kathak Dance ». Dans Dance Matters, 299–320. Routledge India, 2012. http://dx.doi.org/10.4324/9780203150450-30.
Texte intégral« About the Making of Circles–Cycles Kathak Dance ». Dans Envisioning Dance on Film and Video, 285–87. Routledge, 2013. http://dx.doi.org/10.4324/9780203954034-64.
Texte intégral« Re-Exporting ‘Tradition’ : e Transcultural Practice of Kathak in Kolkata and the Creation of a New Female Body ». Dans Dance Matters, 225–44. Routledge India, 2012. http://dx.doi.org/10.4324/9780203150450-25.
Texte intégralLutgendorf, Philip. « Avoiding Urdu and the T̤awāʼif : Regendering Kathak Dance in Jhanak Jhanak Payal Baaje ». Dans Bombay Cinema's Islamicate Histories, 295–319. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789383973_11.
Texte intégralMARGNAC, Géraldine nalini. « Śiva ou le fabuleux spectacle ». Dans Théâtre Mythologique, 193–208. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4715.
Texte intégralActes de conférences sur le sujet "Kathak (dance)"
Saha, Anirban, Saptami Ghosh, Partha Pratim Das et Indranil Sarkar. « Recognition and Classification of Accompanying Audios of Kathak Dance ». Dans 2021 10th IEEE International Conference on Communication Systems and Network Technologies (CSNT). IEEE, 2021. http://dx.doi.org/10.1109/csnt51715.2021.9509718.
Texte intégralTaşkaya, Ebru, Gökçen Bombar et Gökmen Tayfur. « Homojen Dolgu Baraj Yıkılması Üzerine Deneysel Bir Çalışma ». Dans International Students Science Congress. Izmir International Guest Student Association, 2021. http://dx.doi.org/10.52460/issc.2021.017.
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