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Добірка наукової літератури з теми "Indian dance"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 3 березня 2023

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Статті в журналах з теми "Indian dance":

Katrak, Ketu H. "Toward Defining Contemporary Indian Dance: A Global Form." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 129–39. http://dx.doi.org/10.1017/s2049125500000613.

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This essay explores innovations in contemporary Indian dance based in classical Indian dance, martial arts and Western dance vocabularies. Who is making change and how does change work? I delineate the parameters of contemporary Indian dance as a genre (since the 1980s) and distinguish it from Bollywood style “free” dance. I analyze the creative choreography of one prominent contemporary Indian dancer, Chennai (India) based Anita Ratnam. Ratnam's signature style, evoking the “feminine transcendental,” is rooted in Indian aesthetic along with a pan-Asian scope. Ratnam's over twenty-year dance career of solo, group, and collaborative work, along with pioneering artist, Astad Deboo, serve as role models for second-generation contemporary Indian dancers such as Los Angeles–based Post-Natyam Collective's movement explorations, among other dancers based in the diaspora.

Dharmalingam, B., M. S. Kanagathara, M. Muthumari, and P. Avanthraj. "Dance form of Karagattam - The Regional Folk Dance in Tamil Nadu." Shanlax International Journal of Arts, Science and Humanities 7, no. 1 (July 1, 2019): 71–75. http://dx.doi.org/10.34293/sijash.v7i1.485.

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India is a land of varied cultures and traditions, diversities in all spheres which make the Indian culture quite unique. Indian folk and tribal dances are the product of different socio-economic set up and traditions evolved over ages.. In India, we have festivals and celebrations virtually every day and dances are performed to express joy and festivity. This has added to the richness of Indian culture. Since every festival is accompanied by celebration of folk and tribal dances and almost all of them have continually evolved and improvised. In India, we have festivals and celebrations virtually every day and dances are performed to express joy and festivity. This has added to the richness of Indian culture. Since every festival is accompanied by celebration of folk and tribal dances and almost all of them have continually evolved and improvised. Folk dances are performed for every possible occasion – to celebrate the arrival of season’s birth of a child, a wedding and festivals which are plenty with minimum of steps or movements. Indian folk dances are full of energy vitality. Some dances are performed separately by men and women while in some performances, men and women dance together.

Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.

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Kumar, K. V. V., and P. V. V. Kishore. "Indian Classical Dance Mudra Classification Using HOG Features and SVM Classifier." International Journal of Electrical and Computer Engineering (IJECE) 7, no. 5 (October 1, 2017): 2537. http://dx.doi.org/10.11591/ijece.v7i5.pp2537-2546.

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Digital understanding of Indian classical dance is least studied work, though it has been a part of Indian Culture from around 200BC. This work explores the possibilities of recognizing classical dance mudras in various dance forms in India. The images of hand mudras of various classical dances are collected form the internet and a database is created for this job. Histogram of oriented (HOG) features of hand mudras input the classifier. Support vector machine (SVM) classifies the HOG features into mudras as text messages. The mudra recognition frequency (MRF) is calculated for each mudra using graphical user interface (GUI) developed from the model. Popular feature vectors such as SIFT, SURF, LBP and HAAR are tested against HOG for precision and swiftness. This work helps new learners and dance enthusiastic people to learn and understand dance forms and related information on their mobile devices.

Putcha, Rumya S. "Between History and Historiography: The Origins of Classical Kuchipudi Dance." Dance Research Journal 45, no. 3 (December 2013): 91–110. http://dx.doi.org/10.1017/s0149767713000260.

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This article examines the intertwined discourses and debates of classicism, linguistic regionalism, caste, and gender in the case of South Indian dance. By focusing on the dance form, Kuchipudi, from Andhra Pradesh, the first administrative region in India formed on the basis of language, this study exposes the important connections between identity politics and the creation of cultural icons, such as classical dance. This study deconstructs the paradox of Kuchipudi's classicization, as it has become historicized as a symbol of masculine, Brahminical, Telugu culture, on the one hand, and the projects of Indian modernity, which center on the iconicization of the female dancer, on the other.Through archival, discursive, and ethnographic analysis, this article examines how the construction of classicism in Kuchipudi dance creates and supports hegemonic versions of Telugu history. This focus extends previous studies of Indian classical dance by sustaining questions about the reification of the Kuchipudi dancing body, the implications that this has regarding the fate of hereditary courtesan dancers, and the discursive strategies that allow Brahmin male history and female dance practice to coalesce.

KABIR, ANANYA JAHANARA. "Rapsodia Ibero-Indiana: Transoceanic creolization and the mando of Goa." Modern Asian Studies 55, no. 5 (January 11, 2021): 1581–636. http://dx.doi.org/10.1017/s0026749x20000311.

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AbstractThe mando is a secular song-and-dance genre of Goa whose archival attestations began in the 1860s. It is still danced today, in staged rather than social settings. Its lyrics are in Konkani, their musical accompaniment combine European and local instruments, and its dancing follows the principles of the nineteenth-century European group dances known as quadrilles, which proliferated in extra-European settings to yield various creolized forms. Using theories of creolization, archival and field research in Goa, and an understanding of quadrille dancing as a social and memorial act, this article presents the mando as a peninsular, Indic, creolized quadrille. It thus offers the first systematic examination of the mando as a nineteenth-century social dance created through processes of creolization that linked the cultural worlds of the Indian and Atlantic Oceans—a manifestation of what early twentieth-century Goan composer Carlos Eugénio Ferreira called a ‘rapsodia Ibero-Indiana’ (‘Ibero-Indian rhapsody’). I investigate the mando's kinetic, performative, musical, and linguistic aspects, its emergence from a creolization of mentalités that commenced with the advent of Christianity in Goa, its relationship to other dances in Goa and across the Indian and Atlantic Ocean worlds, as well as the memory of inter-imperial cultural encounters it performs. I thereby argue for a new understanding of Goa through the processes of transoceanic creolization and their reverberation in the postcolonial present. While demonstrating the heuristic benefit of theories of creolization to the study of peninsular Indic culture, I bring those theories to peninsular India to develop further their standard applications.

Sarwal, Amit. "Louise Lightfoot and Ibetombi Devi: The Second Manipuri Dance Tour of Australia, 1957." Dance Research 32, no. 2 (November 2014): 208–32. http://dx.doi.org/10.3366/drs.2014.0107.

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Manipur, a small state in the North-Eastern India, is traditionally regarded in the Indian classics and epics such as Ramayana and Mahabharata as the home of gandharvas (the celestial dancers). Manipuri is one of the eleven dance styles of India that have incorporated various techniques mentioned in such ancient treatises as the Natya Shastra and Bharatarnava and has been placed by Sangeet Natak Akademi within ‘a common heritage’ of Indian classical dance forms (shastriya nritya): Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In the late-1950s Louise Lightfoot, the ‘Australian mother of Kathakali,’ visited Manipur to study and research different styles of Manipuri dance. There she met Ibetombi Devi, the daughter of a Manipuri Princess; she had started dancing at the age of four and by the age of twelve, she had become the only female dancer to perform the Meitei Pung Cholom on stage––a form of dance traditionally performed by Manipuri men accompanied by the beating of the pung (drum). In 1957, at the age of 20, Ibetombi became the first Manipuri female dancer to travel to Australia. This paper addresses Ibetombi Devi's cross-cultural dance collaboration in Australia with her impresario, Louise Lightfoot, and the impression she and her co-dancer, Ananda Shivaram, made upon audiences.

Obeng, Pashington. "Siddi Street Theatre and Dance in North Karnataka, South India." African Diaspora 4, no. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.

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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Siddi dances and street theatre parallel and yet may differ from other performing arts in South India. Further, the paper complicates the current discourse on how diasporic African communities use the performing arts. My paper goes beyond the Atlantic Diaspora model. It examines ways in which Siddis of South Asia use their dance and theatre to express multiple domains of cultural art forms alongside the everyday use of such performances including a counter-hegemonic stance.

Anami, Basavaraj S., and Venkatesh Arjunasa Bhandage. "A Comparative Study of Certain Classifiers for Bharatanatyam Mudra Images' Classification using Hu-Moments." International Journal of Art, Culture and Design Technologies 8, no. 2 (July 2019): 58–71. http://dx.doi.org/10.4018/ijacdt.2019070104.

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India is rich in culture and heritage where various traditional dances are practiced. Bharatanatyam is an Indian classical dance, which is composed of various body postures and hand gestures. This ancient art of dance has to be studied under guidance of dance teachers. In present days there is a scarcity of Bharatanatyam dance teachers. There is a need to adopt technology to popularize this dance form. This article presents a 3-stage methodology for the classification of Bharatanatyam mudras. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours of mudras using canny edge detector. In the second stage, Hu-moments are extracted as features. In the third stage, rule-based classifiers, artificial neural networks, and k-nearest neighbor classifiers are used for the classification of unknown mudras. The comparative study of classification accuracies of classifiers is provided at the end. The work finds application in e-learning of ‘Bharatanatyam' dance in particular and dances in general and automation of commentary during concerts.

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Дисертації з теми "Indian dance":

Sayyed, Mubaashera Irfan, Наталія Анатоліївна Пилипенко-Фріцак, Наталия Анатольевна Пилипенко-Фрицак, and Nataliia Anatoliivna Pylypenko-Fritsak. "Traditional Indian Dance As Symbolic Nonverbal Communication." Thesis, Sumy State University, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84793.

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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.

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.

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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.

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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.

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.

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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.

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

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ABSTRACT How can I as a Swedish dancer devoted to the Indian classical dance form, kathak, re root it into my own cultural sphere? And express topics beyond the Sub Indian continent without diluting the essence of the art form? I don’t want to create a new dance style.I don’t want to add anything. I want to explore and investigate how I within the tradition of kathak dance and Hindustani music can shuffle the classical format in order to create a longer narrative. To create a dramaturgical nerve in the performance and take it further than the traditional short dances and compositions connected by being strung together on a basic rhythm. During this work I have followed different strands of evolution within me as a kathak dancers as well as personal experiences that has led up to this need of making it my kathak dance, rather than my Indian kathak dance. It’s also a close study of the relationship between a student and her master and how the master forces his student to mature to become her own master. I want to use the kathak dance as an artistic expression to create performances based on topics interesting to me. I want to use the rhythmical patterns to enhance, elaborate and ornament the story told. How can I use the bols and sound from the kathak dance and Hindustani music? What happens if I instead of using bols create similar material but based on the Swedish language? The unexpected result of my research, the unexpected finding of what happened with me after I decided to drop India, and to focus my gaze to my own cultural space by being a native Swedish person living in Stockholm was that I lost my dance. I lost my geography.

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.

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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.

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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.

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.

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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.

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.

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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.

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Книги з теми "Indian dance":

Vatsyayan, Kapila. Indian classical dance. 2nd ed. New Delhi: Ministry of Information and Broadcasting, 1997.

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Katrak, Ketu H. Contemporary Indian Dance. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809.

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Vatsyayan, Kapila. Indian classical dance. 2nd ed. New Delhi: Ministry of Information and Broadcasting, 1997.

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Millman, Anne. Indian dance qualitative research. London: Arts Council of Great Britain, 1988.

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Laubin, Reginald. Indian dances of North America: Their importance to Indian life. Norman: University of Oklahoma Press, 1989.

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Sudhakar, Kanaka. Indian classical dancing: The therapeutic advantages. New Delhi: Sterling Publishers, 1994.

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Banerji, Projesh. Art of Indian dancing. New Delhi: Sterling Publishers, 1985.

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Banerji, Projesh. Art of Indian dancing. London: Oriental University Press, 1986.

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Sookdeo, Sandra. Indian dance for the Caribbean. San Juan, Trinidad, W.I: Chakra Pub. House (Caribbean), 1994.

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Khokar, Mohan. The Splendours of Indian dance. New Delhi: Himalayan Books, 1985.

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Частини книг з теми "Indian dance":

Katrak, Ketu H. "Introduction." In Contemporary Indian Dance, 1–25. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_1.

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Katrak, Ketu H. "Contested Histories: “Revivals” of Classical Indian Dance and Early Pioneers of Contemporary Indian Dance." In Contemporary Indian Dance, 26–55. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_2.

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Katrak, Ketu H. "Abstract Dance with Rasa: Pioneers Astad Deboo and Shobana Jeyasingh." In Contemporary Indian Dance, 56–83. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_3.

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Katrak, Ketu H. "Beyond Tradition: Contemporary Choreography by Masters of Traditional Indian Dance and Emerging Innovators." In Contemporary Indian Dance, 84–122. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_4.

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Katrak, Ketu H. "Hybrid Artists and Transnational Collaborations: Chennai, Toronto, Kuala Lumpur." In Contemporary Indian Dance, 123–53. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_5.

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Katrak, Ketu H. "Dancing in the Diaspora Part I: North America." In Contemporary Indian Dance, 154–99. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_6.

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Katrak, Ketu H. "Dancing in the Diaspora Part II: Britain." In Contemporary Indian Dance, 200–219. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_7.

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Katrak, Ketu H. "Conclusion: Ways of Looking Ahead." In Contemporary Indian Dance, 220–22. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_8.

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Hanna, Judith Lynne. "Classical Indian Dance and Women’s Status." In Dance, Gender and Culture, 119–35. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22747-1_8.

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Hanna, Judith Lynne. "Classical Indian Dance and Women’s Status." In Dance, Gender and Culture, 119–35. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23842-2_8.

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Тези доповідей конференцій з теми "Indian dance":

Samanta, Soumitra, Pulak Purkait, and Bhabatosh Chanda. "Indian Classical Dance classification by learning dance pose bases." In 2012 IEEE Workshop on Applications of Computer Vision (WACV). IEEE, 2012. http://dx.doi.org/10.1109/wacv.2012.6163050.

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Bisht, Ankita, Riya Bora, Goutam Saini, Pushkar Shukla, and Balasubrmanian Raman. "Indian Dance Form Recognition from Videos." In 2017 13th International Conference on Signal-Image Technology & Internet-Based Systems (SITIS). IEEE, 2017. http://dx.doi.org/10.1109/sitis.2017.30.

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Kale, Manjeeta R., and Priti P. Rege. "Classification of expressions in Indian Classical Dance using LBP." In 2019 IEEE 16th India Council International Conference (INDICON). IEEE, 2019. http://dx.doi.org/10.1109/indicon47234.2019.9029006.

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Galindo, Ed, Ben Rinehart, John Moeller, and Tony Messina. "Dance of the Salmon: An Indian Summer Experience." In Waterpower Conference 1999. Reston, VA: American Society of Civil Engineers, 1999. http://dx.doi.org/10.1061/40440(1999)5.

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Dewan, Swati, Shubham Agarwal, and Navjyoti Singh. "A deep learning pipeline for Indian dance style classification." In Tenth International Conference on Machine Vision (ICMV 2017), edited by Jianhong Zhou, Petia Radeva, Dmitry Nikolaev, and Antanas Verikas. SPIE, 2018. http://dx.doi.org/10.1117/12.2309445.

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Saha, Sriparna, Shreya Ghosh, Amit Konar, and Atulya K. Nagar. "Gesture Recognition from Indian Classical Dance Using Kinect Sensor." In 2013 Fifth International Conference on Computational Intelligence, Communication Systems and Networks (CICSyN). IEEE, 2013. http://dx.doi.org/10.1109/cicsyn.2013.11.

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Biswas, Snigdha, Anirudh Ghildiyal, and Sachin Sharma. "Classification of Indian Dance Forms using Pre-Trained Model-VGG." In 2021 Sixth International Conference on Wireless Communications, Signal Processing and Networking (WiSPNET). IEEE, 2021. http://dx.doi.org/10.1109/wispnet51692.2021.9419426.

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Naik, Ashwini Dayanand, and M. Supriya. "Classification of Indian Classical Dance Images using Convolution Neural Network." In 2020 International Conference on Communication and Signal Processing (ICCSP). IEEE, 2020. http://dx.doi.org/10.1109/iccsp48568.2020.9182365.

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Samanta, Soumitra, and Bhabatosh Chanda. "Indian Classical Dance Classification on Manifold Using Jensen-Bregman LogDet Divergence." In 2014 22nd International Conference on Pattern Recognition (ICPR). IEEE, 2014. http://dx.doi.org/10.1109/icpr.2014.771.

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Arpitha, D., M. Balasubrahmanyam, and D. Anil Kumar. "Depth based Indian Classical Dance Mudra's Recognition using Support Vector Machine." In 2022 4th International Conference on Smart Systems and Inventive Technology (ICSSIT). IEEE, 2022. http://dx.doi.org/10.1109/icssit53264.2022.9716486.

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Звіти організацій з теми "Indian dance":

Rincón-Castro, Hernán. ¿Cuánto tributan efectivamente el consumo, el trabajo y el capital en Colombia? Cálculos con las Cuentas Nacionales base 2015. Banco de la República, May 2021. http://dx.doi.org/10.32468/be.1161.

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Анотація:

A partir de un análisis que no es contable ni financiero sino económico, Rincón-Castro y Delgado-Rojas (2017) calculan para Colombia las tasas efectivas promedio de tributación sobre el consumo y los factores de producción trabajo y capital para el período comprendido entre 1994 y 2016. Para su estudio los autores utilizan las Cuentas Nacionales del DANE bases 1994 y 2005. El objetivo del presente estudio es realizar los mismos cálculos y con la misma metodología para el período 2005-2019, pero con las Cuentas Nacionales base 2015. Los resultados indican que el cambio de base produjo una reducción sustancial de las tasas efectivas del trabajo y del capital. Por ejemplo, para 2016, la tasa efectiva promedio del trabajo se redujo en 3 puntos porcentuales y del capital en 6 puntos porcentuales. ¿Cuál es la explicación? Los cambios de las bases tributarias que introdujo la nueva base de la contabilidad nacional, ya que la metodología de cálculo, las definiciones de las tasas, los parámetros y los supuestos no cambian. Entre 2017 y 2019 se suman los efectos de las leyes de reforma tributaria 819 de 2016 y 1943 de 2018. Los cálculos para 2019 indican que la tasa efectiva promedio de tributación del consumo es 12,7%, del trabajo es 18% y del capital es 15%. La desagregación de la tasa del trabajo muestra que la tasa de los salarios es 2,3%, de la nómina es 2,7% y de la seguridad social es 13%. La desagregación de la tasa del capital muestra que la de los hogares, quienes son los dueños del capital, es 3,8%, mientras que la de las sociedades es 21,1%. Así, los impuestos en Colombia no son efectivamente tan altos, pero tampoco tan bajos ni tan bien repartidos.