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1
Sayyed, Mubaashera Irfan, Наталія Анатоліївна Пилипенко-Фріцак, Наталия Анатольевна Пилипенко-Фрицак e Nataliia Anatoliivna Pylypenko-Fritsak. "Traditional Indian Dance As Symbolic Nonverbal Communication". Thesis, Sumy State University, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84793.
Testo completoAbstract (sommario):
Dance could be described as a performance art form in which
the basic tool is the body and its purposefully selected movement in
an intentionally rhythmical and culturally pattern with an aesthetic
value and symbolic potential. Human has been using the body and its
movement as a tool to express feelings and desires since prehistoric
times and continues until now. When we dance, our bodies fire up
with emotion and allow us to express what words cannot. In folk
cultures around the world, people dance to impart knowledge and
wisdom, express their emotions or devotion, and pass down the
stories and legends of their gods and ancestors.
2
Tatonetti, Lisa Marie. "From Ghost Dance to Grass Dance : performance and postindian resistance in American Indian Literature /". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392799368.
Testo completo
3
Thobani, Sitara. "Dancing diaspora, performing nation : Indian classical dance in multicultural London". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c189d163-b113-408f-9f3b-181c6fd5fbce.
Testo completoAbstract (sommario):
This thesis examines the performance of Indian classical dance in the contemporary 'diaspora space' (Brah 1996) represented by the city of London. My aim is to analyse whether and how performances of "national" art, assumed to represent an equally "national" culture, change when performed in transnational contexts. Drawing upon theories of postcolonialism, multiculturalism and diaspora, I begin my study with an historical analysis of the reconstructed origins of the dance in the intertwined discourses of British colonialism and Indian nationalism. Using this analysis to ground my ethnography of the present-day practice of the dance, I unearth its relation to discourses of contemporary multiculturalism and South Asian diasporic identity. I then demonstrate specific ways in which the relationship between colonial and postcolonial artistic production on the one hand and contemporary performances of national and multicultural identity on the other are visible in the current practices and approaches of diasporic and multicultural Indian classical dancers. My thesis advances the scholarship that has demonstrated the link between the construction of Indian classical dance and the Indian nationalist movement by highlighting particular ways in which historical narrative, national and religious identities, gendered ideals and racialised categories are constituted through, and help produce in turn, contemporary Indian classical dance practices in the diaspora. Locating my study in the UK while still accounting for the Indian nationalist aspects of the dance, my contribution to the scholarly literature is to analyse its performance in relation to both Indian and British national identity. My research demonstrates that Indian classical dance is co-produced by both British and Indian national discourses and their respective cultural and political imperatives, even as the dance contributes to the formation of British, Indian and South Asian diasporic politico-cultural identities.
4
Thannoo, Babita. "Mauritian sega music and dance rhythm and creolisation in the Indian Ocean". Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595796.
Testo completoAbstract (sommario):
This thesis examines the Mauritian music and dance form known as sega and its performance of embodied creolisation through rhythm. It argues that sega's Afro-diasporic form encodes a performative history of sacred African presence in Mauritius and the Indian Ocean. This history can be traced to an Indo-oceanic maritime history of contact, trade and settlement that incorporated Mauritius within a regional network comprising East Africa and the wider Indian Ocean. I explore sega's origins in sacred rituals performed by slaves and argue that sega's contemporary secular performance perpetuate sacred devotion through its African rhythmic structure. Drawing from the rich literature on Afro-diasporic musical genres in the Caribbean and the Americas, this thesis demonstrates sega's performance of the sacred through embodied rhythms in dance and the corporeal production of rhythm. This performance of sacred devotion, my thesis demonstrates, is perpetuated through its modem form, sega d'ambiance, performed on modem instruments and inclusive of foreign musical influences. Modem sega's popular success in the Indian Ocean, this thesis argues, circulates on an existing circuit of Indo-oceanic rhythms in the South West Indian Ocean. My thesis further contends that sega's performative history of embodied creolisation complicates the discourse of creolisation elaborated in the Caribbean through its rhythmic convergence with demotic Bhojpuri music and dance traditions in Mauritius. This convergence, this thesis argues, evidences a shared history or embodied creolisation based upon a common body politic of sacred and pleasure performance in Afro-Malagasy and North Indian demotic traditions. Embodied creolisation, my thesis contends, substantiates the body's kinetic memory of rhythmic creolisation able to counter purist ethno-religious discourses in Mauritius.
5
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.
Testo completoAbstract (sommario):
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.
6
Pee, Mary Teresa Lay Hoon. "The development of Chinese, Indian and Malay dance in Singapore to the 1970s". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35808/7/35808_Digitised%20Thesis.pdf.
Testo completo
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Bose, Mandakranta. "The evolution of classical Indian dance literature : a study of the Sanskritic tradition". Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:07f89602-1892-4fa5-9d77-767a874597ef.
Testo completoAbstract (sommario):
The most comprehensive view of the evolution of dancing in India is one that is derived from Sanskrit textual sources. In the beginning of the tradition of discourse on dancing, of which the earliest extant example is the Natyasastra of Bharata Muni, dancing was regarded as a technique for adding the beauty of abstract form to dramatic performances. An ancillary to drama rather than an independent art, it carried no meaning and elicited no emotional response. Gradually, however, its autonomy was recognized as also its communicative power and it began to be discussed fully in treatises rather than in works on drama or poetics-a clear sign of its growing importance in India's cultural life. Bharata's description of the body movements in dancing and their interrelationship not only provided the taxonomy for all subsequent authors on dancing but much of the information on its actual technique. However, Bharata described only what he considered to be artistically the most cultivated of all the existing dance styles, leaving out regional and popular varieties. These styles, similar in their basic technique to Bharata's style but comprising new types of movements and methods of composition, began to be included in later studies. By the 16th century they came to occupy the central position in the accounts of contemporary dancing and coalesced into a distinct tradition that has remained essentially unchanged to the present time. Striking technical parallels relate modern styles such as Kathak and Odissi to the later tradition rather than to Bharata's. The textual evidence thus shows that dancing in India evolved by assimilating new forms and techniques and by moving away from its early dependency on drama. In the process it also widened its aesthetic scope beyond decorative grace to encompass emotive communication. Beauty of form was thus wedded to the matter of emotional content, resulting in the growth of a complex art form.
8
Shankar, Bindu S. "Dance imagery in South Indian Temples: study of the 108-karana sculptures". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079459926.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains 355 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 March 16.
9
Weisman, Eleanor Frances. "A movement and dance residency at a Lakota Indian reservation school : an action research study /". The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335538536.
Testo completo
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Eells, Paul Christopher. "Now I must try to live as they did Reginald Laubin and American Indian representation /". Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1939207261&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
Testo completo
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Ponce, Gálvez Carlos Alfonso. "Recepción y Performance de Bollywood en Lima : los casos de "Show Indian Dance" y "Bollywood Perú"". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/9148.
Testo completoAbstract (sommario):
Los elencos “Show Indian Dance” y “Bollywood Perú” fueron los actores principales para obtener información del trabajo de campo. Sin embargo, a través de ellos pude conocer y tratar con otras fuentes quienes también pertenecen a la comunicad de fans de Bollywood, en su mayoría provenientes de otras agrupaciones coreográficas, tanto de la ciudad de Lima como también del interior del país. La colectividad de consumidores de esta propuesta cinematográfica en Lima (y en otras ciudades del país) concentra a diferentes tipos de seguidores, quienes a su vez mayoría participan en diversas comunidades virtuales, como consecuencia de los diversos actores y actrices de un star-system a quienes los fans siguen apasionadamente. Estas comunidades, en conjunto, proyectan la idea de una comunidad mayor, a la que los mismos fans reconocen como “Bollywood”. Los seguidores activos de este movimiento son en gran parte jóvenes, que van desde los 15 a los 30 años de edad, mientras que los expertos o referentes principales suelen superar ese rango. Tanto la recepción de Bollywood a través de las películas y de otros insumos, y el performance de Bollywood a través de sus danzas, de los clubes de fans, y de las redes virtuales crean un cambio en el comportamiento de los consumidores, integrándolos en una comunidad de consumo, dedicándole tiempo, sacrificios y costumbres. A su vez, la recepción es activa, con lo que a través de su participación re-contextualizan Bollywood en algo más legible al contexto peruano.Tesis
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Berkowitz, Adam Eric. "Finding a Place for "Cacega Ayuwipi" within the Structure of American Indian Music and Dance Traditions". Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096024.
Testo completoAbstract (sommario):
American Indian music and dance traditions unilaterally contain the following three elements: singing, dancing, and percussion instruments. Singing and dancing are of the utmost importance in American Indian dance traditions, while the expression of percussion instruments is superfluous. Louis W. Ballard has composed a piece of music for percussion ensemble which was inspired by the music and dance traditions of American Indian tribes from across North America. The controversy that this presents is relative to the fact that there is no American Indian tradition for a group comprised exclusively of percussion instruments. However, this percussion ensemble piece, Cacega Ayuwipi, does exhibit the three elements inherent to all American Indian music and dance traditions. Cacega Ayuwipi is consistent with American Indian traditions in that the audience must see the instruments, watch the movements of the percussionists, and hear the percussive expressions in order to experience the musical work in its entirety.
13
Stevens, Susan Georgina 1950. "The psychotherapeutic effects of American Indian traditions such as singing, drumming, dancing and storytelling". Thesis, The University of Arizona, 1998. http://hdl.handle.net/10150/278680.
Testo completoAbstract (sommario):
The Psychotherapeutic Effects of American Indian Traditions Such As Singing, Drumming, Dancing and Storytelling is a thesis comparing the Western Psychotherapeutic view of these activities with the American Indian Literature concerning those artistic actions as well as the American Indian oral tradition and healing ceremonies of the Tlingit, Iroquois, and Sioux and some other Tribes of North American. At different times, some more historic, the two cultural views appear to have many similar psychotherapeutic analyses attesting to the healing qualities of singing, drumming, dancing, and storytelling.
14
Jacobson, Joanna Rose. "The scent of jasmine : experiencing knowledge and emotion in cross cultural contexts of South Indian classical dance". Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/22343.
Testo completoAbstract (sommario):
My thesis uses the experience of learning bharatanatyam, classical dance-form of Tamilnadu, Southern India, to explore anthropological notions of the experience and formulation of emotion. As research unfolded, I became increasingly interested in understanding how bharatanatyam is taught, understood and experienced by those dancers who principally live and study bharatanatyam outside India. Consequently, my fieldwork emerged as multi-sited, and considers dance contexts in Edinburgh, London, and Chidambaram-a small temple town to the south of Chennai, India. My analysis is primarily a phenomenological one. Drawing on Indian aesthetic theory, which gives meticulous and analytical attention to the emotional aesthetic in the dance, I discuss the process through which emotion is taught, formulated, experienced and expressed by dancers, and the relationship between 'personal' and 'aesthetic' emotion. I suggest that the nature of bharatanatyam is implicated in a system of teaching (gurukulam) which may at times be incompatible with the 'displaced' environments in which bharatanatyam is often taught nowadays, but which must be retained in some aspect to render the dance meaningful. Thus my thesis also necessarily considers the epistemological issues which students and teachers experience in the face of particular notions of knowledge and meaning, where tensions reveal important questions for discussion. In a broader context, these are also issues that anthropologists face when confronted with systems of knowledge which challenge how meaning is formulated. Using the dance as an anthropological tool, my work addresses this in relation to discussions of bodily and embodied knowledge, and places them within issues of self and emotion. I suggest, in the case of bharatanatyam, this cannot be wholly understood within our own theoretical framework, a process highlighted by cross-cultural experiences of learning dance. Using theoretical analysis and textual play, I take the reader to a fuller understanding of the very ways in which knowledge may be created and made meaningful.
15
Anandan, Saseedaran K. "Enhancing the performance experience: application of design concepts of form, space and choreography in Indian dance theatre". Thesis, Anandan, Saseedaran K. (2007) Enhancing the performance experience: application of design concepts of form, space and choreography in Indian dance theatre. PhD thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/4356/.
Testo completoAbstract (sommario):
The thesis revisits the key concepts of Indian dance based on the contemporary performance space by introducing design as an integral part of Indian dance, addressing these designs as symbolic or suggestive form (natyadharmi) and not as a realistic form (lokadharmi). In doing so, the thesis aims to explore the possibilities of further integrating design in dance so as to enhance performance experiences. The thesis argues that enhancements are a necessary development in order to express Indian dance in such an integrated way as to allow the “essence” of traditional Indian dance, its spirituality, to be maintained and enhanced.
Expounding on theories of reception, to the extent where the performer is also configured as a receiver, the thesis demonstrates how the form and the formless are conceived by the performer and the receiver. The thesis also investigates how space transformation and choreography affect both the dance and the presentation. The thesis therefore emphasises on design as an important component to investigate how performance experience can be enhanced. It is conceived as a metaphor that develops ideas in dance and how it then creates other possibilities of interactions and communications.
During research, the exploration of design and dance was conducted not only for intellectual inquiry but also to deal with the experience of performances, performers and audiences. To develop a mode of executing Indian dance, the thesis creates a perspective of seeing design and dance as metaphors. The thesis further analyses the concept of symbolic representation in space, time, form and movement, of which the thesis argues, Lord Nataraja as the ideal example of conceptual inspiration.
As a theory of theatricality the thesis argues for the extent to which the value of a performance is enhanced through a shared experience. The experience is enhanced by the multiple design elements integrated within a performance, and directed to induce rasa in both the performer and the audience. Therefore by heightening the performance experience, Indian dance is reflected upon as a spiritual journey enhanced.
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Glynn, John Charles. "Kathakali: A study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala". University of Sydney. Performance Studies, 2001. http://hdl.handle.net/2123/834.
Testo completoAbstract (sommario):
This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Respondents to interviews provide diverse descriptions of their interactions with performances according to their perceived membership to groups of popular spectators or elitist appreciators. They also identify dimensions of performance that may contribute to the development of their own performance competence and their subsequent transition from one group of onlookers to another. The influences that shape the diverse approaches of these groups and have been examined here include traditional Hindu aesthetics, religion, politics, caste structures and the changing shape of patronage, which is itself also a reflection of historical factors of governance. Kathakali is first presented as vignettes of performance that reflect different locations, venues, patronage and program choices. It is then situated in relation to extant, contiguous performance genres that have contributed to its development and/or often share its billing in traditional settings. The politics and aesthetics of the worlds of Kathakali are looked at not only in terms of their traditional, folkloric and classical development but also in contrast to more contemporary, secular and controversial dynamics that are impacting upon Kathakali today.
17
Cara, Nikita. "The effect of Indian dance on gait and balance of children : comparing Grade R and Grade 7 children". University of the Western Cape, 2016. http://hdl.handle.net/11394/5010.
Testo completoAbstract (sommario):
Magister Artium (Sport, Recreation and Exercise Science) - MA(SRES)Through the process of motor learning and control, new skills are then developed. There are various physical activities that enable the development of new motor skills, one being dance. Numerous studies have found that dance has improved sensorimotor control of body sway following just a single dance session. Furthermore, learning dance engages a variety of cognitive resources that improve postural control of children. Dancing therefore contributes to the development and refinement of the fundamental motor skills like gait and balance. The aim of this research was to determine the effect of dance training on gait and balance of Grade R and Grade 7 school children, and to investigate which age group would best demonstrate these effects. This study was conducted using an intervention and control group. The Grade R intervention group constituted a sample of thirty-four participants, the Grade R control consisted of twenty-seven participants, the Grade 7 intervention group and control group consisted of twenty-one participants each. Three different testing instruments were used; a 10-meter walk test for stride pattern analysis, a dynamic balance test known as the tandem gait and the static balance test known as the tandem stance balance test. Both the control and experimental group were required to perform these tests before and after the intervention period. The dance training lasted a period of six weeks and was conducted on a weekly basis. Following the intervention it was found that only Grade R stride pattern in terms of stride frequency was significantly changed and that no significant changes were seen at any time for Grade 7 children stride pattern and balance. The balance changes were seen for both Grade R intervention and control groups, showing that the children were improving with physical activity, which cannot be attributed to dance alone. This highlights that training should be started at the young age, and that physical activity programs like dance are good and diverse options to consider when designing such activities.
18
Garner, Sandra L. "What Sort of Indian Will Show the Way? Colonization, Mediation, and Interpretation in the Sun Dance Contact Zone". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281961865.
Testo completo
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Nadadur, Kannan Rajalakshmi. "Performing 'religious' music : interrogating Karnatic Music within a postcolonial setting". Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/18272.
Testo completoAbstract (sommario):
This research looks at contemporary understandings of performance arts in India, specifically Karnatic Music and Bharatnatyam as ‘religious’ arts. Historically, music and dance were performed and patronized in royal courts and temples. In the early 20th century, increased nationalist activities led to various forms of self-scrutiny about what represented ‘true’ Indian culture. By appropriating colonial discourses based on the religious/secular dichotomy, Karnatic Music was carefully constructed to represent a ‘pure’ Indian, specifically ‘Hindu’ culture that was superior to the ‘materialistic’ Western culture. Importantly, the category called divine was re-constructed and distinguished from the erotic: the divine was represented as a category that was sacred whilst the erotic represented ‘sexual impropriety.’ In so doing, performance arts in the public sphere became explicitly gendered. Feminity and masculinity were re-defined: the female body was re-imagined as ‘sexual impropriety’ when in the public sphere, but when disembodied in the private sphere could be deified as a guardian of spirituality. Traditional performing communities were marginalized while the newly defined music and dance was appropriated by the Brahmin community, who assumed the role of guardians of the newly constructed Indian-Hindu identity, resulting in caste-based ‘ownership’ of performance arts. Mechanical reproduction of Karnatic Music has created a disconnect in contemporary Indian society, in which Karnatic Music is disembodied from its contexts in order to be commodified as an individual’s artistic expression of creativity. This move marks a shift from substantive economics (music was performed and experienced within a specific context, be it royal patronage or Indian nationalist movements) to formal economics (music as a performer’s creative property). I question the understanding of Karnatic Music as ‘religious’ music that is distinguished from the ‘secular’ and seek to understand the colonial patriarchal mystification of the female body in the private sphere by deconstructing the definition of the ‘divine.’ In doing so, I also question the contemporary understanding of Karnatic Music as an item of property that disembodies the music from its historical context.
20
Warren, Laura Michelle. "Central Illinois Powwow Community: A Unique Path of Creation, Cultivation, and Connection to American Indian Culture, Identities, and Community". OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/774.
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Nayee, Sanjana. "Not really bollywood a history of popular hindi films, songs, and dance with pedagogical applications for understanding indian history and culture". Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1534.
Testo completoAbstract (sommario):
Contemporary fascination with 'Bollywood' proliferates much of reality TV dance shows, media blurbs and other communicative outlets. These avenues homogenize India as 'Bollywood', while social and political outlets place Indians and people of South Asian descent into fitted stereotypes that are ridiculed and largely distorted. The intent of this thesis was to explore how the growing international intrigues of popular Hindi films exist beyond 'Bollywood'. This study is especially important because current U.S. demographics are undergoing a 'browning' effect yet a comprehensive method for understanding South Asian peoples and their cultures have been isolated to terrorist 'breeders', the model minority or as products primed for consumption. This thesis discusses the history of popular Hindi popular cinema, its changing methods of songs and dance and includes options of pedagogical applications within secondary level classrooms. In short, this thesis is an effort to highlight the similarities present amongst the differences that are consciously and unconsciously created or implicitly believed by the general population when attempting to decipher the many different components that exist across South Asian cultures, ethnicities, traditions, histories and identities.ID: 031908403; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Accepted in partial fulfillment of the requirements for honors in the major in DEPT HERE.; Thesis (B.A.)--University of Central Florida, 2012.; Includes bibliographical references.
B.S.
Bachelors
Education and Human Performance
English Language Arts Education
22
Ramesh, Rajyashree [Verfasser], e Cornelia [Akademischer Betreuer] Müller. "Sensing and Shaping – the emotive-kinetic grounding of meaning. A cross-disciplinary analysis of Indian Dance Theatre / Rajyashree Ramesh ; Betreuer: Cornelia Müller". Frankfurt (Oder) : Europa-Universität Viadrina Frankfurt, 2019. http://d-nb.info/1203245920/34.
Testo completo
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Kudva, Sonali S. "It's Not All About Song and Dance: How the Natyashastra Informs Contemporary Bollywood". Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556281429094399.
Testo completo
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Massalski, Dorothy Clare. "Cognitive Development and Creativity in a Navajo University Student: An Explorative Case Study using Multiple Intelligence Perspective". Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/193981.
Testo completoAbstract (sommario):
Intelligence and creativity are concepts used to describe the efforts of human beings to achieve the highest aspirations of the human brain-mind-spirit system.Howard Gardner, intelligence and creativity researcher, applied his Multiple Intelligence theory to case studies of creative masters from seven intelligence domains developing a template for research: Life Course Perspective: A Framework for Creativity Analysis. The framework consists of four sections: Child and Master, Creation of a Work, an Analysis of Creativity, The Creator and the Field, and Fruitful Asynchronicity. This case study uses Gardner's framework in examining cognition and creativity in a Navajo/Dineh university student creating in fine arts and nominated in bodily-kinesthetic and intra-personal intelligence. This explorative case study reveals that he also excels in other intelligence domains: linguistic and spatial. Meta-cognitive interviews with the case study subject, and his notebooks provide the data sources concerning his cognition and his creativity.Indigenous educators and researchers assert that there is a discernible difference in perspectives concerning western science conceptions and Indigenous experience. This research discovered points of resonance as well as tangential trajectories of cultural difference from Gardner's research conclusions. Discoveries in this exploration confirm the importance of culture and zeitgeist in knowledge development, pedagogy, schoolingand the creativity process. Emerging themes emanating from these discoveries areChild of the Holy People, Sacred Geography, and Fruitful Asynchronicity from an Indigenous Perspective.Conclusions from this inductive research support Gardner's framework in the cultural study of cognition and creativity, underscores the value of Multiple Intelligence theory, and provide examples of praxis consonant with Indigenous learning processes for Gifted & Talented Education. The American Indigenous symbiotic and synergetic perspectives are novel in the examination of intelligence and creativity in the American education system. The American Indian perspectives are possibly prophetic as they proceed beyond culture and Gifted education intersecting and informing other fields: psychology, educational anthropology, philosophy, and Indigenous studies both in American populations as well as Indigenous gifted students worldwide.
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Pitale, Jaswandi Tushar. "Development of an Interactive Wearable sensor to Promote Motor Learning in Children having Cerebral Palsy". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420761976.
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Rocton, Julie. "Modes d’existence et d’appropriation de l’Abhinayadarpana de Nandikesvara : étude du texte, de son édition et de son usage dans le milieu du bharatanatyam". Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0657.
Testo completoAbstract (sommario):
Cette thèse propose une étude sur l’Abhinayadarpaṇa, « le Miroir du Geste », de Nandikeśvara, traité sanskrit médiéval traitant de l’art de l’expression au moyen des gestes. Ce texte est aujourd’hui une référence théorique particulièrement populaire dans la pratique du bharatanāṭyam, la danse « classique » du Tamil-Nadu (Sud-Est de l’Inde), notamment depuis le tournant dit « revivaliste » dans les années 1930. Conjuguant les approches philologique et ethnographique, cette étude propose une analyse des différentes formes et modes d’appropriation de ce texte. L’étude et la traduction du texte sanskrit, l’analyse des phénomènes d’intertextualité avec d’autres traités sanskrits et des différentes « éditions-traductions » anglaises, ainsi que la présentation de l’usage actuel de ce texte par les praticiens de bharatanāṭyam (d’après les données d’un terrain d’un an à Chennai et à Pondichéry, trois séjours de 2013 à 2016) permettront, d’une part, d’appréhender le caractère polymorphe et dynamique de ce traité dont les formes reflètent les pratiques autant qu’elles les normalisent, et, d’autre part, de dégager une pratique du texte, de l’Inde ancienne à l’Inde actuelle, prenant la forme de commentaires discursifs et gestuelsThis study focuses on Nandikeśvara’s Abhinayadarpaṇa, « The Mirror of Gesture », a medieval Sanskrit treatise about the art of gestural expression. Today this text is a very popular theoretical reference in the bharatanāṭyam milieu, the classical dance of Tamil Nadu (South-East India), since the so-called 1930s revivalism. Through philological and ethnographic approaches, this study aims at analysing the various forms and ways of appropriation of this text. The study and translation of the Sanskrit text, the analysis of intertextuality with other Sanskrit treatises and of various English « edition-translations », and the study of the contemporary use of the text by bharatanāṭyam practitioners (using original data from one year of fieldwork in Chennai and Pondicherry, 2013 to 2016) will make it possible, on the one hand, to explore the polymorphic and dynamic aspects of this treatise, whose forms both reflect and normalise practices - and, on the other hand, to distinguish a text-practice, from Ancient India to the present day, which takes the shape of a discursive and gestural commentaries
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Curda, Barbara. "Enjeux identitaires, relationnels et esthétiques de la transmission de la danse Odissi en Inde. Le cas d'une école émergente à Bhubaneswar". Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20063.
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Cette thèse porte sur le rapport entre les normes sociales, les pratiques pédagogiques et l’esthétique dans la danse Odissi en Inde. Apparue sur la scène post-coloniale dans la période de l’après-indépendance du pays en tant que « danse classique », l’Odissi véhicule, en dépit du caractère hétérogène, voire multiculturel, de ses pratiquants, des revendications identitaires relatives à l’Etat indien d’Orissa, rebaptisé Odisha en 2011. La recherche a été menée à partir de terrains successifs effectués principalement dans la ville de Bhubaneswar, capitale de l’Orissa, et plus particulièrement dans une école de danse émergente.Un examen des narrations historiques concernant les années de fondation de la danse ainsi que des éléments mythiques sur lesquels les protagonistes basent les représentations de celle-ci, permet d’identifier l’organisation sociale de la communauté des pratiquants, qui se manifeste notamment dans la généalogie officielle de l’Odissi. Dans le cadre de l’observation des pratiques de danse dans l’école, il apparaît que cet ordre social est réactivé discursivement par le maître aux moments des entraînements quotidiens des danseurs. Il use ainsi d’assignations identitaires dans le cadre de son activité pédagogique, tissant des liens dialectiques entre certaines valeurs morales, une éthique relationnelle entre pratiquants, et les pratiques. Ce mode d’action renforce certes la structure hiérarchique de l’école. Toutefois, du point de vue des pratiquants, cette instauration d’un sens moral de la situation se rapporte à certaines qualités esthétiques intrinsèques à la danse, qui apparaît alors comme une manière d’être plus qu’une manière de faireThis thesis addresses the relation between social norms, pedagogical practices and aesthetics in Odissi dance in India. Despite the heterogeneous and even multicultural nature of its practitioners, Odissi, which appeared as a “classical dance” on the post-colonial stage during the country’s post-Independence era, is a vehicle for identity claims relative to the Indian State Orissa, renamed Odisha in 2011. The research was undertaken during successive fieldwork periods mainly in the state capital of Bhubaneswar, and more specifically in an emerging dance school.The social organisation of the community of practitioners, which manifests itself in the official genealogy of Odissi, is identified through an examination of historical narratives on the foundation years of the dance, and of mythical elements on which protagonists base their representations. From observation of dance practices in the school, it becomes clear that this social order is reactivated discursively by the master during daily training sessions. He literally uses identity ascriptions in his pedagogical activity, creating links between certain moral values, a relational ethics between practitioners, and dance practice. This mode of action certainly reinforces the hierarchical structure of the school. However, from the point of view of the practitioners, the institution of a moral sense of the situation is related to certain aesthetic qualities of the dance, which then appears as a mode of being rather than a mode of doing
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Sen, Sabina Sweta. "When our senses dance : sensory-somatic awareness in contemporary approaches to Odissi dance in India". Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24294.
Testo completoAbstract (sommario):
This research investigates sensory-somatic awareness based approaches to the conditioning, training and performance of Odissi dance in India. Through a multidisciplinary and embodied methodology it analyses the practices of three contemporary Odissi dance institutes and a selection of individual dancers in India, who are moving beyond the traditional methodology. Drawing from ethnographic fieldwork in India, this research explores how sensory-somatic approaches incorporated by these dancers generate meaning-making and in what ways this enriches the dancers’ experience of dancing Odissi. As an outcome of the fieldwork, the term sensory-somatic is proposed and analysed in line with the dancers’ embodied experience of dancing Odissi. The analysis entails a paradigm that embraces the corporeal, sentient and socio-cultural bodymind, and the sensory aspects of senses, sensation, perception, sensibility and sensuality. These form two layers: the somatic and sensory which merge together as the sensory-somatic awareness. It takes into consideration the sensory perception and awareness leading to an agentic, enactive and embodied meaning-making and emotional engagement of the dancers. It also examines how the changing socio-cultural situation has been continuously affecting the Odissi dance embodiment. This thesis does not address the religious aspect and the experience of the audience in Odissi performance. The main focus remains the dancers’ individual experience of learning and performing Odissi dance. Moving away from the study of Odissi dance just as a reflection of the state, regional culture and representation of mythologies, this thesis is an investigation of the Odissi dancer’s meaningful, embodied and lived experience of Odissi dancing. It contributes to the debates on body-mind relationship, emotional engagement, place of the ‘self’, the student-oriented learning, psychophysical training and performance, and rasa-bhāva aesthetics. This study reveals that the sensory-somatic awareness is based upon reflexivity, independent enquiry, psychophysical health, bodymind awareness and leads to empowerment, agency, autonomy, plurality, confidence and responsibility, a level of relief from gender biases, and an inclusive approach to learning and performing.
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Purkayastha, Prarthana. "Bodies beyond borders : modern dance in colonial and postcolonial India". Thesis, University of Roehampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505323.
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Kulkarni, Anagha. "Frames in Harmony - A Critical Analysis of Song Sequences in the Films of Guru Dutt". Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/27.
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Guru Dutt was one of the most important filmmakers in India, who worked for a little over a decade starting in 1951. He died prematurely in 1964. In those few years, he made some of Indian cinema?s most memorable films. Song and dance sequences are an integral part of the narrative structure of popular Indian cinema. Guru Dutt, working within that paradigm, devised innovative methods of using song sequences. In his films, the song sequences were not a distraction, but they served the purpose of carrying the narrative forward, expressing the inexpressible, and replacing scenes. He achieved this by his creative use of locations, lyrics, music, camera angles, and placement of the song within the narrative. This study critically analyzes song sequences from five of his films ? Aar Paar (Through and Through, 1954), Mr. and Mrs. 55 (1955), Pyaasa (The Thirsty One, 1957), Kaagaz ke Phool (Paper Flowers, 1959) and Saahib Biwi aur Ghulam (Master Mistress and Slave, 1962). Guru Dutt?s style of song direction focused on realistic depiction and the quality of storytelling. He used each feature of the song to his advantage never losing control of the larger narrative. This study also brings to the fore Guru Dutt?s conflicted views as an artist on the issues of tradition and modernity, and the position of women in the emerging nation.
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Hamilton, Mark James. "Martial Dance Theatre: A Comparative Study of Torotoro Urban Māori Dance Crew (New Zealand) & Samudra Performing Arts (India)". Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5092.
Testo completoAbstract (sommario):
This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit.
The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge.
In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?
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Kimiko, Ohtani. "Rukmini Devi and Bharata Natyam : the revival of classical dance in India". Thesis, Queen's University Belfast, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241425.
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Ramaswami, Siri. "Dance sculpture as a visual motif of the sacred and the secular: a comparative study of the BelurCennakesava and the Halebidu Hoysalesvara temples". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31240926.
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Crémézi, Sylvie. "Au coeur de la danse : le corps résonant à la clef de la résilience culturelle et sociale des Indiens Pueblo Tewa, Navajo et Apache Mescalero du Nouveau-Mexique". Montpellier 3, 2006. http://www.theses.fr/2006MON30015.
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Les cultures pueblo tewa, navajo et apache mescalero du Nouveau-Mexique appliquent une conscience participatoire à leur conception de la vie et de la société avec pour but d'établir une sorte de résonnance avec ce qu'ils percoivent. Ces cultures sont fondées sur une phénoménologie perceptuelle. Au coeur de leur expérience, leurs fondement reposent sur la perception acquise en utilisant le corps tout entier en participation directe avec le monde naturel. La danse y est présente afin de maintenir le flux dynamique et harmonieux de l'univers. La proposition est ici de voir en ces corps éveillés à la présence au monde et en résonance avec la nature et le cosmos qui sont autant de manifestations de champs de significations et de la flexibilité de ces sociétés, un facteur de résilience sociale et culturelleThe Pueblo Tewa, Navajo and Mescalero Apache Indians of New Mexico apply a participatory consciousnes to their conception of life and society to establish a kind of resonance with what they perceive. These cultures are based on perceptual phenomenology. At the core of their experience, they are based on the perception gained from using the entire body of their denses in direct participation with the natural world. Dance is present in order to maintain the harmonious dynamics and flux of the universe. We propose to see in these dancing bodies awakened to the presence of the world, resonating with nature and the cosmos, manifesting meanings and the flexibility of these societies, a factor of social and cultural endurance
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Henson, Sändra Lee Allen. "Dead bones dancing : the Taki Onqoy, archaism, and crisis in sixteenth century Peru /". [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0320102-105954/unrestricted/HensonS041102a.pdf.
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Kaczmarek, Josephine Agnes. "The Dream Dance, an examination of its music and practice among woodlands and central subarctic Indians". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ35065.pdf.
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Ravikumar, Meghana. "The Dancer vs. The Adjudicator: Devadasi Resistance in the 19th-Century Court". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/987.
Testo completoAbstract (sommario):
This thesis investigates the dynamics between devadasi women and judges in the Anglo-Indian court in the Madras Presidency of 19th-century colonial India. The thesis focuses on how the devadasis navigated the colonial legal system and the strategies they utilized as well as the role of the judges' preconceived notions and prejudice in determining the decisions they made.
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Jin, Jisook. "La musique et la danse dans le "cycle indien" de Marguerite Duras". Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10020.
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Mettant en scène l'irreprésentable et l'ineffable, la danse et la musique soutiennent l'écriture de Duras qui repose sur le sensible et l'irrationnel. L'écriture filmique et littéraire de Duras revient inlassablement pour tenter de se ressourcer dans le bal ou la musique et la danse font un corps. Nous avons inscrit le silence, le cri et la voix au même endroit que la musique avec laquelle ils forment "l'autre langage" à la place des mots. La danse entre aussi dans la lignée de la musique en représentant l'instant fulgurant ou le corps libère le vécu intérieur, retravaille la matière du passé. D'autre part, la danse comme "travail du vide" rejoint la voix qui porte sur sa propre décomposition. Cette thèse a pour but de montrer que, dans l'oeuvre durassienne, il y a autre chose à écouter que l'audible, que l'articulation des mots, autre chose à voir comme le bal inaccessible par les mots rationneles, car il se dép^loie essentiellement autour de la mémoire, l'imagination et le fantasme.
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Nair, Sonia. "Rasalila meets Giselle: A journey from sensuality to spirituality". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1780.
Testo completoAbstract (sommario):
This study explores how a traditional Indian storytelling dance form crosses religious and ethnic frontiers. As a performance-oriented analysis, the Kuchipudi style of Indian classical dance will be placed in parallel with western classical ballet to discover the shared and/or distinctive characteristics, in terms of spirituality and ways of communication in both styles. The synchronisation of the two traditional styles aims to reveal how an under- standing of spirituality infused in dance can be gained whilst, at the same time, demonstrat- ing the symbolic and performative relationships between the two classical dance forms.
The selected themes are the classical ballet, ‘Giselle’ (Act II) and the ‘Rasalila’, the eternal circular dance of Lord Krishna, Radha and the Gopis. These dance forms have been chosen since both have underpinning spiritual themes.
Both Giselle and Rasalila depict journeys of eternal romance and unconditional love as the basis of their spiritual evocations. Giselle supports Albrecht to overcome the obstacle in his path, guarding him from death and guiding his realisation of the value of true love. Krishna imparts the truth of comprehensive love and surrenders which is the singular pathway to ultimate bliss or ‘ananda’.
The two performers explore the two sets of characters by remaining within the discipline of their respective art form, creating an unusual and challenging approach to these conventional stories. Through their interpretations, the dancers endeavour to transport the audience to a realm of spirituality.
This project questions the different approaches to belief as practised in Hindu dance and classical ballet. The project also explores nuances of a famous and popular feature of the Kuchipudi repertoire, the plate and the pot dance. Here the dancer balances a pot full of water on her head while, simultaneously, executing rhythmic steps on the brass plate. Along with exhibiting the skills and concentration of the devoted performer, this sequence symbolically represents the elevation of the spirit to another state of endurance through the proficiency of the dancer. Is there an equivalent spiritual immersion found in the exquisite devotion of Giselle or in the precision requires of the ballet dancer? Whilst acknowledging cultural, geographic and historical differences, the placement of the two classical dance forms side by side aims to uncover and explore the spiritual imperatives of both forms.
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Cippiciani, Irani da Cruz 1978. "Abhinaya : a construção de um corpo narrativo : o elemento expressivo do teatro e da dança na Índia". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284616.
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Orientador: Marília Vieira SoaresDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação estuda o conceito e a técnica do Abhinaya, elemento expressivo presente nas formas de dança-teatro indianas, investigando suas possíveis contribuições para a formação e treinamento de atores, bailarinos e performers contemporâneos. Para tanto, inicio este texto estudando o tratado mais relevante sobre o assunto: o Natyasastra, cuja autoria remonta ao sábio mítico Bharatamuni. Trata-se de uma compilação produzida entre os séculos IV a.C. e II d.C., na qual estão descritas as regras para a criação artística nas mais variadas linguagens, incluindo a linguagem dramática, cujo alicerce é a técnica do Abhinaya. Este é composto por quatro grandes grupos de treinamento: Angika (aspectos corporais), Vachika (aspectos discursivos), Aharya (aspectos plásticos/visuais) e Saatvika (aspectos psicofísicos).Meu ponto de partida são os capítulos 6, "The distinction between Sentiment and Emotional Fervour", e 7, "Exposition on Bhavas (Emotional Tracts and States)", em que estão descritos os conceitos de Bhava (estados emocionais) e Rasa (sentimento estético), fundamentos da teoria estética hindu e, em decorrência, da referida técnica. Todas essas informações se unem à experiência pessoal da autora com a técnica, delimitando o tripé que sustenta esta pesquisa: fundamentação teórica, treinamento e produção artística
Abstract: This dissertation is dedicated to the study of the concept and technique of Abhinaya, the expressive element present in all dramatic Dance forms of India, by investigating its possible contributions to the formation and training of contemporary actors, dancers and performers. These aspects are classified in four large training groups: Angika (physical aspects), Vachika (discursive aspects), Aharya (plastic/visual aspects) and Saatvika (psychophysical aspects). Therefore, I start this text studying the most relevant treatise on the subject: the Natyasastra; whose authorship goes back to the mythical sage Bharatamuni. This is a compilation produced between centuries 4 BC and 2 AC, where many of the rules for artistic creation in all the artistic fields are described, mostly about Dance and Drama. My research focuses on the chapters 6 "The distinction between Sentiment and Emotional Fervour" and 7 "Exposition on Bhavas (emotional tracts and states)", where the concepts of Bhava (emotional states) and Rasa (aesthetic pleasure) are described, composing the central part of the Hindu Aesthetic Theory. Such information allies the personal experience of the author with the technique, delimiting the tripod that supports this research: theoretical basis, training and artistic production
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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Catib, Norma Ornelas Montebugnoli [UNESP]. "Os ritos das danças Xondaro e do Terreiro da Aldeia Guarani M'bya - Aguapeú e das danças circulares". Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/96031.
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catib_nom_me_rcla.pdf: 3876729 bytes, checksum: b170b0042d6eb2069f4d0b4b5c0e0375 (MD5)Esse estudo teve como objetivo identificar quais as matrizes presentes nas danças indígenas que aparecem nas danças circulares na contemporaneidade. Trata-se de um estudo de natureza qualitativa, envolvendo uma pesquisa exploratória, desenvolvida por meio de entrevista estruturada, aplicada a uma amostra intencional constituída por 13 sujeitos adultos, de ambos os sexos, com faixas etárias variadas, integrantes da Aldeia do Aguapeú, os quais encontravam-se diretamente envolvidos com os rituais de danças indígenas na população Guarani M’Bya, Município de Mongaguá, SP. Os dados foram analisados descritivamente, utilizando-se a Técnica de Análise de Conteúdo Temático. Os resultados indicam que os Cantos e as danças sagradas são considerados comuns a todas as cerimônias celebrativas indígenas, independente de datas especiais. Os rituais das danças, quando vivenciadas na opy, são como forma de conexão com os Deuses e, do lado de fora da opy, têm o intuito de reunir a comunidade para vivenciar a diversão. Isso demonstra que essas danças inserem-se, tanto nos contextos do sagrado, como no profano, evidenciado no campo do lazer. As danças executadas na comunidade foram: dança Xondaro e dança de Terreiro vivenciadas em círculo. A dança Xondaro é praticada apenas pelo sexo masculino, num contexto de luta semelhante ao da capoeira, com treinamento específico, cujo objetivo é os indígenas permanecerem mais fortes, tanto fisicamente como espiritualmente, além de protegerem a si próprios e à opy. A dança do Terreiro, em círculo, é praticada anteriormente a qualquer apresentação na opy, durante todas às noites, conduzida pelo Pajé, na forma de oração a Nhanderú. As danças indígenas praticadas em circulo preservam importantes experiências com relação aos aspectos simbólicos, bem como, a expressão do sagrado, aspectos que também são identificados...
This study aimed to identifying which of the present matrices in the indian dances that appear in the contemporary circle dances. This qualitative study involved an exploratory research developed through a structured interview, applied to an intentional sample consisted of 13 adult of both sexes, different age groups, members of the Aldeia do Aguapeú, which were directly involved with the rituals of Indian dances in the Guarani population M'Bya, Mongaguá, SP. Data were descriptively analyzed, using Thematic Content Analysis Technique. The results indicate that the songs and sacred dances are considered common to all the commemorative ceremonies, regardless specific dates. The ritual dances, when experienced in opy represent a way of connecting with the Gods and, outside of opy they promote gathering of the community to pleasant experiences. This demonstrates that these dances fall in both contexts the sacred and the profane, evidenced in the field of leisure. The dances which were performed in the community were Xondaro dance and Terreiro dance, both danced in a circle. The Xondaro dance is practiced only by males, in a context of struggle similar to Capoeira, with specific training, whose purpose is that the Indians becoming stronger, both physically and spiritually, and protect themselves and opy. The Terreiro dance was practiced in a circle prior to any presentation at opy during every evening, led by the Shaman in the form of prayer to Nhanderu. The Indian dances practiced in a circle preserve important experiences regording the symbolical aspects, like the sacred expression, aspects that are identifieds in the circle dances. Therefore, it was evident that those dances preserve some characteristics of the Indian dances, considering that the circular of those dances is associated with a ritualization
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Baca, Damian. "Border insurrections How IndoHispano rhetorics revise dominant narratives of assimilation /". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.
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Andrade, Joachim. "Shiva abandona seu trono: destradicionalização da dança Hindu e sua difusão no Brasil". Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/2018.
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Previous issue date: 2007-04-13Hindu Dance one of the most popular artistic forms of India, has received universal acclamation including in Brazil as one of the subtlest expressions of Hinduism. Its intimate connection with the temple, as a ritualistic art, mirroring the imperceptible feelings of devadasis the dancing girls , reflects he inwardness of Hindu culture. This dance is performed according to the most delicate nuances of a musical piece, or a poem, through the vehicle of a body, reflecting the principles laid down by the Natya Shastra treatise. Through some of the pioneer performing artists and a few dedicated visionaries at the beginning of the XX century, the Hindu dance gained unprecedented popularity and initiated its process of detraditionalization. Accompanying the historical processes of modernization and secularization of India the Hindu dance initially did its passage from temple to theater; e then to the other religions in India and consequently to the west and finally to Brazil. In this research the process of detraditionalization as been organized in three parts. In the first part, some questions have been raised with regard to the changes that the dance would face during the process of detraditinalization and also has shown panoramic view of the dance in Brazil. The second part establishes approximation of the Hindu dance with the empirical analyses of the detraditionalization process from the temple until its arrival to the west. In the third part, we treat the modifications suffered by the art as well as the changes occurred in the lives of the dancers. The conclusion deals with the possible contribution this process has given to the society as general and the Sciences of Religion in particular
A dança hindu, uma das formas artísticas mais populares na Índia, tem recebido reconhecimento universal (inclusive no Brasil) como expressão das mais sutis do Hinduísmo. Sua conexão íntima com o templo, como arte ritualística que espelha sentimentos imperceptíveis das devadasis, dançarinas do Senhor , reflete a tendência introspectiva da cultura hindu. Essa dança era realizada conforme os matizes mais delicados de uma peça, ou de um poema, por intermédio do corpo, refletindo os princípios explicitados no tratado mais antigo da dança, o Natya Shastra . Por meio de dançarinos pioneiros e de visionários dedicados no início do século XX, essa dança alcançou uma popularidade sem precedentes e iniciou o processo de destradicionalização. Acompanhando o processo histórico de modernização e secularização da Índia, a dança hindu inicialmente passou do templo ao teatro; depois para as outras religiões na Índia, para o Ocidente e, por fim, para o Brasil. Nesta pesquisa, organizamos o processo da destradicionalização em três blocos. No primeiro, questionamos as possíveis mudanças que a dança deve enfrentar no processo da destradicionalização; também mapeamos a dança no Brasil. O segundo estabelece uma aproximação entre a dança hindu e a análise empírica da destradicionalização, do templo ao Ocidente. No terceiro bloco examinamos as modificações na arte e também as mudanças na vida dos bailarinos. Conclui-se visando a possível contribuição que esse processo faz à sociedade, em particular aos estudos de Ciência da Religião
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Catib, Norma Ornelas Montebugnoli. "Os ritos das danças Xondaro e do Terreiro da Aldeia Guarani M'bya - Aguapeú e das danças circulares /". Rio Claro : [s.n.], 2010. http://hdl.handle.net/11449/96031.
Testo completoAbstract (sommario):
Orientador: Gisele Maria SchwartzBanca: Carmem Maria Aguiar
Banca: Yara Aparecida Couto
Resumo: Esse estudo teve como objetivo identificar quais as matrizes presentes nas danças indígenas que aparecem nas danças circulares na contemporaneidade. Trata-se de um estudo de natureza qualitativa, envolvendo uma pesquisa exploratória, desenvolvida por meio de entrevista estruturada, aplicada a uma amostra intencional constituída por 13 sujeitos adultos, de ambos os sexos, com faixas etárias variadas, integrantes da Aldeia do Aguapeú, os quais encontravam-se diretamente envolvidos com os rituais de danças indígenas na população Guarani M'Bya, Município de Mongaguá, SP. Os dados foram analisados descritivamente, utilizando-se a Técnica de Análise de Conteúdo Temático. Os resultados indicam que os Cantos e as danças sagradas são considerados comuns a todas as cerimônias celebrativas indígenas, independente de datas especiais. Os rituais das danças, quando vivenciadas na opy, são como forma de conexão com os Deuses e, do lado de fora da opy, têm o intuito de reunir a comunidade para vivenciar a diversão. Isso demonstra que essas danças inserem-se, tanto nos contextos do sagrado, como no profano, evidenciado no campo do lazer. As danças executadas na comunidade foram: dança Xondaro e dança de Terreiro vivenciadas em círculo. A dança Xondaro é praticada apenas pelo sexo masculino, num contexto de luta semelhante ao da capoeira, com treinamento específico, cujo objetivo é os indígenas permanecerem mais fortes, tanto fisicamente como espiritualmente, além de protegerem a si próprios e à opy. A dança do Terreiro, em círculo, é praticada anteriormente a qualquer apresentação na opy, durante todas às noites, conduzida pelo Pajé, na forma de oração a Nhanderú. As danças indígenas praticadas em circulo preservam importantes experiências com relação aos aspectos simbólicos, bem como, a expressão do sagrado, aspectos que também são identificados... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This study aimed to identifying which of the present matrices in the indian dances that appear in the contemporary circle dances. This qualitative study involved an exploratory research developed through a structured interview, applied to an intentional sample consisted of 13 adult of both sexes, different age groups, members of the Aldeia do Aguapeú, which were directly involved with the rituals of Indian dances in the Guarani population M'Bya, Mongaguá, SP. Data were descriptively analyzed, using Thematic Content Analysis Technique. The results indicate that the songs and sacred dances are considered common to all the commemorative ceremonies, regardless specific dates. The ritual dances, when experienced in opy represent a way of connecting with the Gods and, outside of opy they promote gathering of the community to pleasant experiences. This demonstrates that these dances fall in both contexts the sacred and the profane, evidenced in the field of leisure. The dances which were performed in the community were Xondaro dance and Terreiro dance, both danced in a circle. The Xondaro dance is practiced only by males, in a context of struggle similar to Capoeira, with specific training, whose purpose is that the Indians becoming stronger, both physically and spiritually, and protect themselves and opy. The Terreiro dance was practiced in a circle prior to any presentation at opy during every evening, led by the Shaman in the form of prayer to Nhanderu. The Indian dances practiced in a circle preserve important experiences regording the symbolical aspects, like the sacred expression, aspects that are identifieds in the circle dances. Therefore, it was evident that those dances preserve some characteristics of the Indian dances, considering that the circular of those dances is associated with a ritualization
Mestre
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Costa, Elisa Massariolli da 1985. "Dançar para a Fonte Xavante = uma experiênciabailarino-pesquisador-intérprete de retorno à Terra Indígena Pimentel Barbosa = Dancing to the Xavante Source: a return experience of the dancer-researcher-performer to the Pimentel Barbosa Indigenous Territory". [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284599.
Testo completoAbstract (sommario):
Orientador: Graziela Estela Fonseca RodriguesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T10:14:16Z (GMT). No. of bitstreams: 2 Costa_ElisaMassariollida_M.pdf: 2444656 bytes, checksum: 46741614e0010602026fcecc9136f1ef (MD5) Costa_ElisaMassariolliDa_M_Anexo.zip: 792303022 bytes, checksum: f187d9f850cd6916b4c497b59e303d8d (MD5) Previous issue date: 2012
Resumo: O objetivo desta pesquisa consistiu em aprofundar-se na fase do Método Bailarino- Pesquisador-Intérprete (BPI) que denominamos de Retorno ao Campo. Essa fase consiste em levar o espetáculo, resultante do processo ocorrido dentro do BPI, ao campo onde foi realizado o Co-habitar com a Fonte para a criação cênica, eixo do Método no qual o bailarino faz uma pesquisa de campo em alguma manifestação cultural ou nicho social brasileiro. A fase do Retorno ao Campo, neste projeto, deu-se por meio da realização de quatro apresentações do espetáculo "Nascedouro" em três diferentes aldeias da Terra Indígena de Pimentel Barbosa, de etnia Xavante, no Norte do Estado do Mato Grosso. "Nascedouro" é resultado de pesquisas de Iniciação Científica no Método BPI, enfocando a etnia Xavante, com a direção da profa. dra. Graziela Rodrigues e interpretação de Elisa Costa. Para a experiência de retornar "Nascedouro" à sua Fonte, intérprete e diretora estiveram nas terras xavante. Fazia parte dos objetivos buscar, por meio do Retorno ao Campo, abertura, comunicação e troca suficientes para proporcionar a intervenção dos pesquisados, gerando um processo de interação, o que, de fato, aconteceu. Após ocorrida a fase do Retorno ao Campo, houve novos laboratório dirigidos, para elaborar cenicamente as reverberações resultantes dessa interação, que resultou em uma performance e também em novas apresentações de "Nascedouro", incorporando os novos sentidos apurados do diálogo entre os Xavante e o espetáculo. Concluímos, após todo esse percurso, que o Retorno ao Campo, no Método BPI, gera identificação e espelhamento com os pesquisados, promove o desenvolvimento do intérprete e também o desenvolvimento do espetáculo, proporcionando inclusive a criação de novos produtos cênicos. Concluímos, também, que uma relação de sintonia e confiança entre diretor e intérprete é essencial para que os processos no Método BPI sejam bem sucedidos
Abstract: The aim of this research has been to plunge into the stage of the Bailarino-Pesquisador- Intérprete Method (BPI, that means, in english, Dance-Research-Performer) which we have named Return to the Field. This very stage consists of taking the performance, which is the result of the process that occurred inside the BPI Method, back to the field where the Cohabiting with the Source for the scenic creation took place. This is a Method in which the performer's object of research is their focus on either a given cultural manifestation or on a certain stratum of the brazilian culture. The stage of the Return to the Field, in this very project, was based upon four presentations of the performance "Nascedouro", which took place in three different indigenous villages in the so-called "Terra Indígena de Pimentel Barbosa" belonging to the ethnic group of the Xavante and situated in the north of Mato Grosso State. "Nascedouro" is the result of the research of the undergraduate on the DRP Method and focus on the ethnic group of the Xavante. With the direction of the Professor Graziela Rodrigues and the performance of Elisa Costa. As for the experience of returning "Nascedouro" to its Source, both performer and director have been to the land of the Xavante people. It was part of the objectives to seek through the Return to the Field, openness, communication and exchange enough to generate a situation in which the objects of the research would interact with the spectacle and which happened in fact. After the Return to the Field stage, there were other directed creation labs that aimed at better elaborating the scenic results of this project, which resulted in a performance as well as in new presentations of "Nascedouro". Therefore, we have concluded that the Return to the Field, in the BPI Method generates identification together with the objects of the research, thus promoting the perfomer's development as well as the performance's development. It can also provide the creation of new scenic products. We have also concluded that being in tune and trusting one another are the essencial elements to the director-performer relationship, so that the processes of the BPI Method's successful
Mestrado
Artes da Cena
Mestra em Artes da Cena
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MORTILLARO, MARIA CATERINA. "Il Bharatanatyam cristiano: Una forma d'inculturazione del cristianesimo attraverso la danza-teatro indiana". Doctoral thesis, Università degli Studi di Milano-Bicocca, 2016. http://hdl.handle.net/10281/102550.
Testo completoAbstract (sommario):
Il Bharatanatyam è uno degli otto stili di danza classica indiana ufficialmente riconosciuti dalle istituzioni indiane. Anche se proviene dalla regione del Tamil Nadu, dopo la riforma negli anni Trenta e Quaranta, si è diffuso in tutto il subcontinente ed è praticato anche in Sri Lanka, nelle Mauritius e ovunque ci sia una comunità indiana. E’ ritenuto un simbolo dell’identità indiana. Nel Natyashastra, uno degli antichi testi teorici su questo argomento, è scritto che il dio Brahma avrebbe originariamente insegnato la scienza della gestualità e della danza in modo che la conoscenza dei Veda potesse essere accessibile a tutte le caste. Attraverso la raffigurazione di tutte le passioni umane, anche quelle negative, e la rappresentazione dei miti, aveva il potere di educare e di rendere gli uomini migliori tanto quanto la preghiera, il digiuno e i rituali. Anche se, nel corso dei secoli, ha perso parte della sua ispirazione spirituale e l’opinione comune ritiene che si sia corrotto, tanto che nel 1947 la Corte Suprema di Madras ha approvato una legge che proibiva l'esecuzione di rituali danzati nei templi, portando la danza sui palcoscenici, il Bharatanatyam ha mantenuto il suo significato religioso. I soggetti di danze sono tratti da poemi epici indù, come il Mahabharata e il Ramayana. Ogni spettacolo deve cominciare con una preghiera a Ganesh, e ci deve essere una danza dedicata a Shiva Nataraja, Signore della Danza Cosmica. Tradurre il linguaggio specifico del Bharatanatyam in un'altra religione è una questione di grande interesse. Quest’arte, infatti, non utilizza solo le espressioni del volto e i movimenti del corpo, ma anche le mudra o hasta, posizioni delle mani che sono simili al linguaggio dei segni dei sordi. Abbiamo circa cinquantadue hasta, ma è possibile aggiungerne, prendendole in prestito dal campo della medicina e dello yoga. Per ogni hasta ci sono molteplici significati, determinati dalla loro posizione nello spazio, dal movimento, dall’orientamento e dal contesto. Solo coloro che hanno studiato a lungo questa lingua complessa e articolata possono comprenderla, il che rende arduo l’atto comunicativo. Una trentina di anni fa, quando p Francis Barboza ha deciso di adattare sistematicamente il Bharatanatyam al cristianesimo, prima di tutto ha creato nuove deva-hasta, ovvero gesti che sono dedicati inequivocabilmente a un dio o a un concetto religioso. Il suo metodo si basa sulla combinazione di gesti tradizionali con profondi concetti teologici. Oggi, molti danzatori cristiani utilizzano le sue "creazioni", ma ho trovato che in India altri raffigurano gli stessi concetti con movimenti e gesti o deva-hasta diversi da quelli creati da Barboza o li utilizzano senza conoscerne il significato esatto. Questo tentativo di inculturazione pone molti problemi anche a livello teologico e culturale. Anche se non esistono divieti formali da parte del Vaticano sull'introduzione del Bharatanatyam nella liturgia, teologi e danzatori, alcuni dei quali fanno parte del clero, stanno portando avanti la sperimentazione e al giorno d'oggi la danza indiana cristiana è praticata sia in India che in Occidente, soprattutto in situazioni paraliturgiche. Da un lato, questi innovatori prendono ispirazione dal Concilio Vaticano II, che promuove l'inculturazione del messaggio evangelico; d'altra parte, sostengono una rivendicazione politica ed evidenziano dinamiche di potere, che esistono tra il centro (rappresentato dalla Chiesa romana) o centri (vale a dire gli istituti dove le sperimentazioni hanno luogo), e la periferia o le periferie. Il Bharatanatyam ha anche una grande importanza per il problema delle caste. Dal momento che è considerato una forma d’arte dei Bramini, è ritenuta un mezzo efficace per promuovere l’ascesa sociale degli Intoccabili, ma di fatto ciò che si ottiene è una braminizzazione del cristianesimo.Indian dance Bharatanatyam is only one of the eight styles of Indian classical dance officially recognized by the government. Even if it comes from the region of Tamil Nadu, after its reformation in the Thirties, it spread all over the subcontinent and is practiced also in Sri Lanka, in the Mauritius and wherever there is an Indian community. In fact it is a symbol of Indian identity. In the Natyashastra, one the most important and ancient theoretical texts on this topic, it is written that god Brahma originally imparted the science of gesticulation and dance so that knowledge of Vedas could be accessible to all the castes. Depicting all the human passions, even the negative ones, and representing myths, it has the power to educate and to make men better as much as prayer, fasting and rituals. Although, in the course of centuries, it has lost part of its spiritual inspiration and has been corrupted in the eyes of Indian people – in 1947 the Supreme Court of Madras approved a law that prohibited the execution of danced rituals in the temples, relegating them to the theatres- it has maintained its religious meaning. In fact, subjects of dances are taken from the Hindu epics, such as Mahabharata and Ramayana. Every show has to begin with a prayer to Ganesh, and there has to be a dance dedicated to Shiva Nataraja, Lord of Dance. The problem related to the specific language of Bharatanatyam and its translation into another religion is an issue of great interest. It is necessary to learn an ancient and complex code and to adapt it to a new spirituality. Bharatanatyam, in fact, does not use only the expressions of the face and the movements of the body, but utilizes positions of the hands called mudras or hastas, which are similar to language of signs of the dumb. We have about fifty-two hastas, but it is possible to add other mudras from other styles of dance and some that are borrowed from medical or religious fields. The problem is that for every hasta there is a list of meanings, determined by their position in the space, movement, orientation, context. Only those who are trained can understand this complex language and this makes it hard the communication with the audience. About thirty years ago when Fr. Francis Barboza decided to systematically adapt Bharatanatyam to Christianity, first of all he created new deva hastas, particular gestures that are unequivocally dedicated to a specific god or religious concept. His method is based on the combination of traditional gestures with profound theological concepts. Today, many Christian dancers utilize his “creations”, but I found that in India other dancers depict the same concepts with different movements and gestures or use deva hastas created by Barboza without knowing their exact meaning. This attempt of inculturation poses many problems also at the theological and cultural level. Even if there are not explicit approvals or formal prohibitions by the Vatican on the introduction of Bharatanatyam into the liturgy, theologians and dancers – some are part of the clergy – continue the experimentation making effective transformations, and nowadays Christian Indian dance is practiced both in India and in the West, mainly in paraliturgical situations. On one hand, these innovators take inspiration from the Vatican II, which promotes inculturation of the evangelic message; on the other hand, the innovators support a political claim and highlight dynamics of power, which exist between the centre represented by the Roman Catholic Church or the centres, that is to say the institutes where the experimentations take place, and the periphery or the peripheries. Baharatanatyam has also a great importance for the problem of castes. Since it is considered a Brahmin’s form of art, it is considered as a potent mean to socially promote the Untouchables, but it ends to a sort of “brahminization” of Christianity.
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Latuner-El, Mouhibb Marie-Thérèse. "Dessin - Pratiques rituelles - Danse : porosités et transports". Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3093.
Testo completoAbstract (sommario):
La recherche explore, dès le départ, une pratique qui croise le dessin avec des pratiques de danse contemporaine, investissant la tension dynamique avec le sol, l’espace gravitaire. Ces pratiques sont questionnées et réinvesties par l’expérience et l’apprentissage en Inde du sud, de rituels de dessins de poudre tracés au sol : les kolam, apparaissant sur les seuils des maisons tamoules à l’aube et les kalam, réalisés lors de cérémonies rituelles au Kérala. Des dessins éphémères où alternent tracés et effacements, dans un geste sacré qui fait puis défait. Le dialogue entre pratiques rituelles et pratiques artistiques est envisagé partant de cette expérience et de cette immersion ouvrant une proximité avec l’approche anthropologique. Au-delà du religieux, qu’apporte cette mise bord à bord avec les rites, avec ces rites indiens en particulier ? Dans ces entre-deux, la pratique se déploie et engage la collaboration fertile avec différents danseurs, devenus passeurs, dans l’espace ouvert de la performance qui rend visible ce processus de mue du dessin. La poudre constitue un matériau essentiel à ces traversées fragiles. Le dessin est analysé dans ses transports successifs du sol aux corps des danseurs, à l’espace de l’installation, jouant dans l’instant des seuils du visible, disparaissant dans le geste de l’effacement, devenu le geste essentiel dans cet accès au rite. Un dessin qui propulse l’action des corps. Qu’est-ce qui peut se transporter ou non de ces pratiques rituelles et ébranler ainsi la pratique du dessin, devenant à la fois trajectoire et processus ? En quoi finalement ces rites nous regardent-ils, nous plasticiens, malgré leur profonde opacité ?This research explores a practice which mingles drawing with practices of contemporary dance, engaging a relationship of dynamic tension to the ground, to gravitational space. These practices are reinvested by the experience and apprenticeship, undergone in Southern India, of rituals drawings traced with powder on the ground: the kolam, which appear on the doorstep of Tamil houses at dawn, and the kalam, carried out during Kerala ritual ceremonies. They are ephemeral drawings, in which tracings and erasings alternate within a sacred movement which makes and unmakes. The dialogue between ritual and artistic practices is envisaged on the basis of this experience, opening up to a proximity with the anthropological approach. Above and beyond the religious, what parallels can be drawn between artistic practices and rituals, Indian rituals in particular? In this interval the practice reveals itself and engages the fertile collaboration with different dancers, who become mediums in the open space of the performance, which renders visible the drawing’s process of mutation. The drawing is analysed in its successive transpositions from the ground to the dancers’ bodies, to the space of the installation, playing instantaneously on the threshold of the visible, disappearing in the gesture of effacement which becomes the essential gesture in this access to the ritual. The drawing propulses the bodies’ actions. In these ritual practices, what can – or cannot – be conveyed, and thus destabilize the practice of drawing which, by this means, becomes both trajectory and process? Finally what do these rituals have to do with us, visual artists, despite their profound opaqueness?
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Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.
Testo completoAbstract (sommario):
This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.
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Williamson, Raya. "A Movement for Authenticity: American Indian Representations in Film, 1990 to Present". Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494330075140438.
Testo completo
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Fléty, Laura. "Les cortèges de la fortune : dynamiques sociales et corporelles chez les danseurs de morenada (La Paz, Bolivie)". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100068/document.
Testo completoAbstract (sommario):
Lors de la grande célébration de Jesús del Gran Poder qui mobilise chaque année en Bolivie toute la ville de La Paz, la morenada, danse centrale du rituel, met en scène des personnages aux visages noirs portant de lourds costumes, démesurés et opulents. Ces corps-objets ostentatoires sont mis en mouvement par les danseurs, créant une esthétique complexe de la richesse et de l’abondance. La morenada est exécutée par une population urbaine d’artisans et commerçants issus des flux de la migration indigène aymara, qui construisent laborieusement une réussite socio-économique leur permettant de s’imposer en ville. A travers une ethnographie des pratiques corporelles des danseurs de morenada pendant la préparation et la réalisation de la performance, ce travail montre comment la danse peut être un outil de compréhension des processus de reconfiguration des positions individuelles et des identités collectives. En effet, dans l’espace de la morenada, les représentations et pratiques économiques, corporelles et dévotionnelles interagissent pour se transformer mutuellement. Plus largement, ce travail interroge la manière dont dynamiques corporelles et sociales concourent à inventer un rapport singulier à la prospérité : la danse n’est pas seulement le registre expressif de la réussite urbaine, elle en est sa mesure et sa conditionIn Bolivia, the great celebration of Jesús del Gran Poder, mobilizes every year the entire city of La Paz. The morenada, main dance of this ritual, stages characters with black faces, wearing heavy, opulent and disproportionate costumes. These ostentatious body-objects are moved by the dancers, creating an intricate aesthetic of wealth and abundance. The morenada is performed by an urban population of artisans and traders of rural Aymara background. They painstakingly build the socio-economic success that allows them to establish themselves in town. Based upon an ethnography of the morenada dancers’ bodily practices, during the preparation and realization of their performance, this work intends to show that dance can be a powerfull tool for understanding how individual positions and collective identities are constantly reshaping. Indeed, in the space of morenada, economic, bodily and devotional beliefs and practices, interact to transform each other. At a broader scale, this work questions the way bodily and social dynamics contribute to invent a specific relationship to prosperity: dance is not only the expression of urban success, but its measure and condition