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Artykuły w czasopismach na temat "Kathak (dance)"
Upadhyay, Dwijesh, i 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, nr 4 (30.04.2017): 339–51. http://dx.doi.org/10.29121/granthaalayah.v5.i4.2017.1828.
Pełny tekst źródłaDavid, Ann R., i 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.
Pełny tekst źródłaGrover, Bhavna. "NEW EXPERIMENT IN KATHAK DANCE: ANALYTICAL STUDY". International Journal of Research -GRANTHAALAYAH 3, nr 1SE (31.01.2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3446.
Pełny tekst źródłaOstor, Akos, Robert Gottlieb i Nazir Ali Jhairazbhoy. "Circles-Cycles Kathak Dance". Yearbook for Traditional Music 22 (1990): 185. http://dx.doi.org/10.2307/767963.
Pełny tekst źródłaJones, Betty True, i Robert S. Gottlieb. "Circles-Cycles Kathak Dance". Dance Research Journal 23, nr 1 (1991): 43. http://dx.doi.org/10.2307/1478703.
Pełny tekst źródłaJhala, Jayasinhji, i Robert Gottlieb. "Circles--Cycles Kathak Dance". Ethnomusicology 35, nr 2 (1991): 311. http://dx.doi.org/10.2307/924754.
Pełny tekst źródłaSingh, Monika. "CHANGING PICTURE OF KATHAK DANCE". International Journal of Research -GRANTHAALAYAH 3, nr 1SE (31.01.2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3423.
Pełny tekst źródłaSparshott, Francis, i Sushil Kumar Saxena. "Swinging Syllables: Aesthetics of Kathak Dance". Journal of Aesthetics and Art Criticism 51, nr 1 (1993): 88. http://dx.doi.org/10.2307/431982.
Pełny tekst źródłaHarmalkar, Shashwati. "GRADUAL CHANGE IN LIGHTS, STAGE MANAGEMENT AND COSTUMES IN KATHAK DANCE". International Journal of Research -GRANTHAALAYAH 3, nr 1SE (31.01.2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3395.
Pełny tekst źródłaDalidowicz, Monica. "Crafting fidelity: pedagogical creativity in kathak dance". Journal of the Royal Anthropological Institute 21, nr 4 (16.10.2015): 838–54. http://dx.doi.org/10.1111/1467-9655.12290.
Pełny tekst źródłaRozprawy doktorskie na temat "Kathak (dance)"
Tjerned, Veronica. "Granatäppleblomknopp : rytm som dramatisk båge". Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-492.
Pełny tekst źródłaDioudonnat, Edwige. "Kathak et flamenco : contextes, figures et formes de deux traditions chorégraphiques". Nice, 2001. http://www.theses.fr/2001NICE2004.
Pełny tekst źródłaGopalan-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.
Pełny tekst źródłaKathak, an Indian dance, comprises specific body technics and narrative significances. The democratisation of this art has lead to the deformation of its teaching and its presentation. Hence, we would like to rehabilitate its fundamental corpus in order to formalize and institutionalize its instruction. The study consists in elaborating teaching contents for a keen but uninitated French public for whom no teaching strategy has been defined as yet. Our general hypothesis is that the transmission of knowledge intended for lay French pubic requires transposition. Our principal question is the balanced mix of body techniques and narrative significances in the teachable kathak On the theoritical level, we will comply with the principles of didactic transposition which supervises the passage of an objet of reference into a teaching objet and on the operational level, we will follow the methodology of didactic engineering which controls the conception and the effects of teaching contents
Fratagnoli, Federica. "Les danses savantes de l'Inde à l'épreuve de l'Occident : formes hybrides et contemporaines du religieux". Paris 8, 2010. http://www.theses.fr/2010PA083976.
Pełny tekst źródłaThis study analyzes new choreographic creations by artists of the Indian diaspora, taking the most fruitful Indian artistic centre in Europe, i. E. Britain, as its reference point. Beginning with an historical analysis of Indian dance forms, this thesis challenges the notions of tradition and authenticity with which they are often associated. The second part of this work deals with a specific case study: the choreographic creations of the Indo-British artist, Akram Khan. An analysis of his work raises questions about the notion of the hybrid, a notion that is commonly associated with the creative work of the Diaspora, which uses a variety of physical techniques to transcend the « tradition ». Such an analysis also reveals close connections with the « religious » question, which gives form to physical expression in India. The last part of the thesis will try to establish how the contemporary dance scene has transferred and relocated the « religious » within these dances. The « religious » is no longer embodied by a deity; rather it has become a movement of immanence through the individual and his or her physical consciousness. This study leads to an examination of the links between three concepts that are very important in a certain field of contemporary creation: sensation, body awareness and « spirituality »
PINHEIRO, Silvia do Socorro Luz. "Kata pessoal: treinamento psicofísico para atores/bailarinos por meio do judô". Universidade Federal do Pará, 2012. http://repositorio.ufpa.br/jspui/handle/2011/7616.
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O objeto desta pesquisa constitui-se na aplicação da arte marcial judô na prática psicofísica do ator/bailarino. Neste sentido, considero a hipótese apresentada de que o judô inclui técnicas úteis para o treinamento do ator/bailarino observadas pela lente da Antropologia Teatral. Portanto, dissertarei sobre minha pesquisa do judô tanto em seus atributos técnicos, quanto filosóficos, a fim de se encontrarem elementos que possam enriquecer o estado “pré-expressivo” 1 dos sujeitos envolvidos – atores/bailarinos –, a partir da construção do “Kata Pessoal”, termo cuja definição implica procedimentos metodológicos do treinamento e deduções empiricamente atestadas nesta pesquisa. Portanto, esta proposta incorpora campos teóricos e práticos distintos, quais sejam o Judô e o Teatro, contendo como foco os princípios e atributos do primeiro, e a abordagem antropológica, do segundo. Minha experiência enquanto professora de judô foi tomada como referência para o estudo, por constituir âmbito filosófico e prático sobre os fundamentos do judô. Quanto aos procedimentos metodológicos levados a cabo, optou-se por uma abordagem qualitativa, de caráter descritivo e hipotético-dedutivo em que foi realizado um levantamento bibliográfico. Houve, também, pesquisa de campo, envolvendo entrevistas e depoimentos, e um laboratório experimental de treinamento psicofísico. Para aplicação deste treinamento, foi selecionado um conjunto de técnicas do judô a partir de princípios como: “equilíbrio de luxo (ou precário)” 2, “energia” 3, “oposição”,4 “corpo-decidido” 5 e “dilatação” 6.
The object of this research is the judo as body practice of the actor/dancer. A hypothesis presented in this paper is that judo includes useful techniques for training the actor/dancer looking through the lens of Theatrical Anthropology. The objective is to research the judo, both technical artifice as philosophical, elements that could enrich your state pre-expressive, which is building the Personal Kata. This proposal incorporates different theoretical and practical fields: judo and theater focus on containing the principles of judo in communion with those of Theatrical Anthropology. My experience as a judo teacher was taken as reference for the study because it represents the area on the philosophical and practical foundations of judo. About methodological procedures, we chose a qualitative approach, but it has a descriptive nature, into which was conducted a bibliographic gathering. Also, the field research, involving interviews and statements; and a laboratory of training, a title of experiment. For application of this training was selected a set of techniques of judo based on criteria such as: balance, energy, contrast-stretched body, organic.
Walker, Margaret Edith. "Kathak dance: A critical history [India]". 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94579&T=F.
Pełny tekst źródłaSharma, Beena, University of Western Sydney, College of Social and Health Sciences i 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.
Pełny tekst źródłaMaster of Arts (Hons)
Skiba, Katarzyna. "Terytoria negocjacji tożsamości narodowej w indyjskich sztukach performatywnych : tradycja klasycznego tańca kathak". Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/74770.
Pełny tekst źródłaSharma, Beena. "Awakening of the serpent energy : an Indian-Aboriginal performance exchange". Thesis, 2001. http://handle.uws.edu.au:8081/1959.7/12477.
Pełny tekst źródłaDhiman, 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.
Pełny tekst źródłaKsiążki na temat "Kathak (dance)"
Milana, Rājendra. Kathā kathaka kī. Naī Dillī: Prakāśana Vibhāga, Sūcanā aura Prasāraṇa Mantrālaya, Bhārata Sarakāra, 2002.
Znajdź pełny tekst źródłaŚarmā, Jayacandra. Kathak nr̥ttam =: Grammer [sic] of kathak dance. Bīkānera: Kalā-Darśana Saṃsthāna, 1986.
Znajdź pełny tekst źródłaŚarmā, Jayacandra. Kathak nr̥ttam =: Grammer [sic] of kathak dance. Bīkānera: Kalā-Darśana Saṃsthāna, 1986.
Znajdź pełny tekst źródłaGuptā, Bhāratī. Kathak sagar. New Delhi: Radha Publications, 2004.
Znajdź pełny tekst źródłaMahanta, Bhagavāna Dāsa Māṇika. Kathaka gharānā Rāyagaṛha. Dillī: Bī. Āra. Ridamsa, 2015.
Znajdź pełny tekst źródłaCaudharī, Pratāpasiṃha. Katthaka nr̥tya: Tathya aura viśleshana. Jayapura: R̥cā Prakāśana, 2014.
Znajdź pełny tekst źródłaSiṃha, Māṇḍavī. Katthaka nr̥tya paramparā meṃ Rāyagaṛha darabāra. Delhi: B.R. Rhythms, 2013.
Znajdź pełny tekst źródłaSaxena, Sushil Kumar. Swinging syallables, aesthetics of Kathak dance. New Delhi: Sangeet Natak Akademi, 1991.
Znajdź pełny tekst źródłaNarayan, Shovana. Rhythmic echoes and reflections: Kathak. New Delhi: Lotus Collection, 1998.
Znajdź pełny tekst źródłaNāyikā bheda in Kathak. Delhi: Agam Kala Prakashan, 2009.
Znajdź pełny tekst źródłaCzęści książek na temat "Kathak (dance)"
Das, Sanghamitra, Suchibrota Dutta, Debanjan Banerjee i Arijit Ghosal. "Classification of Bharatnatyam and Kathak Dance Form Through Audio Signal". W 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.
Pełny tekst źródłaDalidowicz, Monica. "The Sound of Movement: Hearing Kathak Dance". W 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.
Pełny tekst źródła"Courtesans and Choreographers: e (Re)Placement of Women in the History of Kathak Dance". W Dance Matters, 299–320. Routledge India, 2012. http://dx.doi.org/10.4324/9780203150450-30.
Pełny tekst źródła"About the Making of Circles–Cycles Kathak Dance". W Envisioning Dance on Film and Video, 285–87. Routledge, 2013. http://dx.doi.org/10.4324/9780203954034-64.
Pełny tekst źródła"Re-Exporting ‘Tradition’: e Transcultural Practice of Kathak in Kolkata and the Creation of a New Female Body". W Dance Matters, 225–44. Routledge India, 2012. http://dx.doi.org/10.4324/9780203150450-25.
Pełny tekst źródłaLutgendorf, Philip. "Avoiding Urdu and the T̤awāʼif: Regendering Kathak Dance in Jhanak Jhanak Payal Baaje". W Bombay Cinema's Islamicate Histories, 295–319. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789383973_11.
Pełny tekst źródłaMARGNAC, Géraldine nalini. "Śiva ou le fabuleux spectacle". W Théâtre Mythologique, 193–208. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4715.
Pełny tekst źródłaStreszczenia konferencji na temat "Kathak (dance)"
Saha, Anirban, Saptami Ghosh, Partha Pratim Das i Indranil Sarkar. "Recognition and Classification of Accompanying Audios of Kathak Dance". W 2021 10th IEEE International Conference on Communication Systems and Network Technologies (CSNT). IEEE, 2021. http://dx.doi.org/10.1109/csnt51715.2021.9509718.
Pełny tekst źródłaTaşkaya, Ebru, Gökçen Bombar i Gökmen Tayfur. "Homojen Dolgu Baraj Yıkılması Üzerine Deneysel Bir Çalışma". W International Students Science Congress. Izmir International Guest Student Association, 2021. http://dx.doi.org/10.52460/issc.2021.017.
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