Bibliografie tematiche / Kathak (dance)

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Letteratura scientifica selezionata sul tema "Kathak (dance)"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Kathak (dance)"

1

Upadhyay, Dwijesh, and 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 (April 30, 2017): 339–51. http://dx.doi.org/10.29121/granthaalayah.v5.i4.2017.1828.

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Both the tabla and the Kathak dances are rhythmic and hence there seems to be harmony among them. In the past, mridang was compatible with dance. But later when the dance included aspects such as adornment, miraculousness, pigmentation, etc., the solemn open and strongly relevant of Pakhawaj was unable to reconcile these aspects. In such a situation, the tabla instrument was used for association with Kathak dance, which is considered to be the sophisticated and developed form of mridang (pakhavajdha). The accompaniment of the tabla instrument proved successful in presenting almost all aspects
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David, Ann R., and Nilima Devi. "“Even the dinner ladies are teaching dance!” Pedagogic Explorations of South Asian Dance in Britain." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 181–87. http://dx.doi.org/10.1017/s2049125500001072.

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This lecture-demonstration examines some of the tensions and contradictions found in the teaching of South Asian dance in Britain through using a demonstration by Leicester Kathak dancer Nilima Devi and evidence gleaned from Ann David's ethnographic research amongst dance students and teachers in Hindu communities in Leicester. It considers how issues of tradition and change within an arena seen as “cultural heritage” are incorporated into pedagogic practice. It questions different perceptions of dance by teenage students and their teachers, as well as articulating some of the problematic area
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Grover, Bhavna. "NEW EXPERIMENT IN KATHAK DANCE: ANALYTICAL STUDY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3446.

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Abstract (sommario):
Indian classical dance has been a huge and rich tradition since the beginning of Kathak. With the change of time from the beginning, there were new experiments in Kathak dance and dance also changed. By the time of the sixteenth century, which we know as the ritual period, Kathak dance had the influence of Ram and Krishna devotion and Ram and Krishna leelas were the mainstay of Kathak dance. In the seventeenth and eighteenth centuries, when the Kathak dancers received the patronage of the Nawabo and the states and new experiments in Kathak dance resulted in many changes. Kathak was a satvic fo
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Ostor, Akos, Robert Gottlieb, and Nazir Ali Jhairazbhoy. "Circles-Cycles Kathak Dance." Yearbook for Traditional Music 22 (1990): 185. http://dx.doi.org/10.2307/767963.

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Jones, Betty True, and Robert S. Gottlieb. "Circles-Cycles Kathak Dance." Dance Research Journal 23, no. 1 (1991): 43. http://dx.doi.org/10.2307/1478703.

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Jhala, Jayasinhji, and Robert Gottlieb. "Circles--Cycles Kathak Dance." Ethnomusicology 35, no. 2 (1991): 311. http://dx.doi.org/10.2307/924754.

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Singh, Monika. "CHANGING PICTURE OF KATHAK DANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3423.

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Abstract (sommario):
What was yesterday becomes old today and what is to come tomorrow also remains a saga of the past for a few days. With the speed at which time is moving, the wave of change is moving at the same speed.At present, the field of dance is also not untouched by it. Changes and innovation in the region have demonstrated this in many ways. Kathak dance existing since ancient times was a dance form full of religion and spirituality. Kathak dance is considered to have originated by the narrators having narrated the acting by the storytellers during the Bhajan-Kirtan in the temples.
 जो कल था, वह आ
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Harmalkar, Shashwati. "GRADUAL CHANGE IN LIGHTS, STAGE MANAGEMENT AND COSTUMES IN KATHAK DANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3395.

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Abstract (sommario):
Kathak dance is a prominent classical dance of northern India. Indian dances have seen enormous changes in the past few years, but the fact that remains is not only has there been a change in the movements and “abhinay prakar” or expressions but also light and stage management and the costumes.Kathak performing artists or the “kathakkas” as they were called were actually story tellers and were earlier the messengers of the king. Gradually this art of storytelling changed its track to become India’s most performed classical dance.In 10th century this dance became a way of tribute to the almight
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Sparshott, Francis, and 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.

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Shah, Purnima. "Performance of Ṭhumrī in Kathak Dance". Asian Theatre Journal 40, № 2 (вересень 2023): 326–61. http://dx.doi.org/10.1353/atj.2023.a912919.

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Abstract: During the eighteenth century, Lakhnau, the capital of the royal state of Awadh, emerged as the refined center for the arts. Over the next centuries, kathak maestros and elite tavāifs (soiree singers and dancers) enthralled patron connoisseurs with their exquisite ṭhumrī performances, receiving lavish rewards. Ṭhumrī exemplified an aesthetic synthesis of the devotional (bhakti) and worldly themes based on undifferentiated love situated in the śṛṅgāra rasa (amorous, erotic sentiment). This essay is an attempt to highlight the infinite performative possibilities improvised by the dance
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Tesi sul tema "Kathak (dance)"

1

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

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ABSTRACT How can I as a Swedish dancer devoted to the Indian classical dance form, kathak, re root it into my own cultural sphere? And express topics beyond the Sub Indian continent without diluting the essence of the art form? I don’t want to create a new dance style.I don’t want to add anything. I want to explore and investigate how I within the tradition of kathak dance and Hindustani music can shuffle the classical format in order to create a longer narrative.  To create a dramaturgical nerve in the performance and take it further than the traditional short dances and compositions connecte
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2

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

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Les danses traditionnelles kathak et flamenco sont souvent rapprochées. Par l'analyse croisée de leurs contextes et techniques, cette étude met en évidence leurs spécifités, similitudes et divergences. Dans la première partie sont donc abordés les aspects étymologique, historique, géograpique, culturel et social tandis que la seconde porte essentiellement sur les modes de transmission, l'usage du corps, les costumes, les figures chorégraphiques et les ornementations visuelles (formes géométriques) et sonores (frappes de pieds, notions rythmiques de tâl et compas) sous une forme spectaculaire e
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Gopalan-Ranganathan, Malini. "La danse indienne Kathak en France : essai de transposition et conception d'une ingénierie didactique." Rennes 2, 2004. http://www.theses.fr/2004REN20056.

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Abstract (sommario):
La danse indienne kathak, comporte des techniques corporelles et du sens des récits. La démocratisation de cet art a engendré des déformations dans son enseignement et dans sa présentation. C'est pourquoi, nous pensons réhabiliter son corpus de connaissances pour pouvoir formaliser et institutionnaliser son enseignement. L'étude consiste à élaborer des contenus d'enseignement du kathak à l'attention d'un public français, pour lequel aucune stratégie d'enseignement n'a été mise au point à ce jour. Notre hypothèse générale est que la transmission de savoir prévu pour un public tout venant en Fra
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Fratagnoli, Federica. "Les danses savantes de l'Inde à l'épreuve de l'Occident : formes hybrides et contemporaines du religieux." Paris 8, 2010. http://www.theses.fr/2010PA083976.

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Cette étude se propose d’analyser les nouvelles créations chorégraphiques des artistes de la diaspora indienne, en prenant comme référence privilégiée le contexte anglais, le nœud le plus fructueux de l’expérience artistique indienne en Europe. Partant d’une analyse historiographique des danses de l’Inde, cette thèse remet en question les notions ce tradition et d’authenticité, souvent associées à ces formes de danse. La deuxième partie de ce travail propose une étude de cas spécifique : les créations chorégraphiques de l’artiste indo-anglais Akram Khan. L'examen de ses pièces permet de remett
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PINHEIRO, Silvia do Socorro Luz. "Kata pessoal: treinamento psicofísico para atores/bailarinos por meio do judô." Universidade Federal do Pará, 2012. http://repositorio.ufpa.br/jspui/handle/2011/7616.

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Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-02-09T16:38:40Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_KataPessoalTreinamento.pdf: 4250340 bytes, checksum: 417c811c56a5ca3f0554b87192507ff1 (MD5)<br>Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-02-09T16:39:22Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_KataPessoalTreinamento.pdf: 4250340 bytes, checksum: 417c811c56a5ca3f0554b87192507ff1 (MD5)<br>Made available in DSpace on 2
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Walker, Margaret Edith. "Kathak dance: A critical history [India]." 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94579&T=F.

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

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

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

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

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Abstract (sommario):
The main research question of this project asks: what role does Indian classical dance play in the identity formation of second generation Canadian women of South Asian origin as they negotiate their identities as Canadians living in a multicultural country? The research question is analyzed through the theoretical frameworks of both citizenship theory, identity theory, and Bourdieu’s notions of ‘habitus’, ‘field’, and cultural capital. Semi-structured interviews are conducted with dancers of 2 main dance styles (“Kathak” and “Bharatnatyam”) and of various ages over 18. Interviews are also c
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Libri sul tema "Kathak (dance)"

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

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

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

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

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

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

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

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Agravāla, Bhāratī. Kathaka nr̥tya meṃ abhinaya aura mudrāoṃ kā viśleshanātmaka adhyayana. Naī Dillī: Rādhā Pablikeśansa, 2012.

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Dave, Prema. Katthaka nr̥tya paramparā. Jayapura: Pañcaśīla Prakāśana, 2004.

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Mittala, Rādhikā. Kathaka-dīkshā. Naī Dillī: Rāja Pablikeśansa, 2013.

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Capitoli di libri sul tema "Kathak (dance)"

1

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

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

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

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

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

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

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

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

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

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

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

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

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

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Abstract (sommario):
Baraj yıkılması sonucu oluşacak taşkın hareketinin belirlenmesi, baraj mansabında herhangi bir yerleşim yeri olması durumunda, tehlikenin saptanması açısından önemli ve gerekli bir çalışmadır. Taşkın hareketi sonucu oluşan suyun hareketinin yanında aynı zamanda sediment taşınımı da toprak dolgu barajlar için incelenmesi gereken önemli bir konudur. Yapılan bu çalışmada homojen yapılı toprak dolgu baraj yıkılma problemi deneysel olarak ele alınmıştır. Dikdörtgen kesitli açık kanalda toprak dolgu barajın su aşması ile yıkılması sonucu taşkın dalgasının mansap boyunca yayılması ve taşkın sonucu ma
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