Статті в журналах: "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 of the dance accurately. Lucknow and the Banaras Gharana have played an important role in the association of Kathak dance. For the consistency of Kathak dance, the tabla players created and selected the characters, character groups, compositions according to the characters of the dance, compositions etc. The result of this is that with time, tabla playing material developed. Looking at the present form of Kathak.Dance also highlights the fact that tabla playing material has also played an important role in the development of Kathak.Nritya and its dance material. On this basis, both can be called complementary to each other. Music scholars also support the fact that while on one hand the tabla compositions have contributed to the enrichment of the Kathak dance, on the other hand various Kathakas have played an important role in the development of the tabla instrument. Based on the facts, the period of the Kathak dance and the revival of the tabla is considered to be the late 1700 century. It can be said that the tabla style and Kathak dance developed simultaneously. The tabla playing material; compositions and Kathak dance material; the development and expansion of compositions also continued to grow due to the tabla association with Kathak dance. The purpose of the proposed paper is to investigate and analyze the development of interrelations of the works of tabla and Kathak dance.

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2

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 areas in the teaching of classical and popular dance forms, such as Kathak, Bharatanatyam, and Bollywood.

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3

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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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 form of dance for Hindu kings and Muslim Nawabs, who were naturally adorned and luxuries, became adorned here as Kathak. In the nineteenth century, on the basis of style and lineage, three styles of Kathak dance developed as Gharanas, which are known as Jaipur Gharana, Lucknow Gharana and Banaras Gharana. Another obsolete gharana, the Raigad gharana developed under the patronage of Raja Chakradhar Singh of Raigad. Different styles of each household were distinguished according to the region and nature of the kings. Until that time, Kathak was traditionally performed in every household and dances based on mythology were performed as a new experiment. After the development of the dharnas, the main changes came in the side of Kathak. At that time, new uses of Kathak developed such as Salami, Aamad and Thumri, Dadra etc. in acting instead of Pramanam. भारतीय शास्त्रीय नृत्य कथक की आरंभ से ही एक विशाल व समृद्ध परम्परा रही है। प्रारंभ से ही समय परिवर्तन के साथ-साथ कथक नृत्य में नवीन प्रयोग होते रहे और नृत्य परिवर्तित भी होता गया। सोलहवीं शताब्दी जिसे हम रीति-काल के नाम से पहचानते है उस समय तक कथक नृत्य पर राम व कृष्ण भक्ति का प्रभाव था तथा राम व कृष्ण लीलाओं ही कत्थक नृत्य का मुख्य आधार थी। सत्र्ाहवीं व अठारहवीं शताब्दी में जब कथक नर्तको को नवाबो व राज्यों का संरक्षण प्राप्त हुआ और कथक नृत्य में नये प्रयोग हुए फलतः अनेक परिवर्तन आये। हिन्दु राजाओं के यहाँ कथक नृत्य का सात्विक रूप रहा और मुस्लिम नवाबों जो स्वभावतः श्रृंगारप्रिय व विलासिता पूर्ण थे, यहाँ पर कथक का स्वरुप श्रृंगारिक बना। शैली व वंशावली के आधार पर उन्नीसवी सदी में कथक नृत्य की तीन शैलियाँ, घरानों के रूप में विकसित हुई जो जयपुर घराना, लखनऊ घराना व बनारस घराना के रूप में जाने जाते है। एक अन्य अप्रचलित घराना, रायगढ़ घराना जो रायगढ़ के राजा चक्रधर सिंह के संरक्षण में विकसित हुआ। प्रत्येक घराने की भिन्न-भिन्न शैली उस क्षेत्र व राजाओं के स्वभाव के अनुसार प्रतिष्ठित हुई। उस समय तक प्रत्येक घराने में कथक की प्रस्तुति परम्परागत रूप से की जाती थी और पौराणिक कथाओं पर आधारित नृत्य नवीन प्रयोग के रूप में किये जाते थे। धरानों के विकसित होने पर मुख्य परिवर्तन कथक के नृत्त पक्ष में आ गये। उस समय कथक के नवीन प्रयोग विकसित हुए जैसे- प्रणाम के टुकडे के स्थान पर सलामी, आमद व अभिनय में ठुमरी, दादरा आदि का प्रचलन हुआ।

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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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5

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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6

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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7

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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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 आज पुराना हो गया और जो कल आनेवाला है वह भी कुछ ही दिनों से अतीत की गाथा बनकर रह जाता है। समय जिस गति से आगे बढ़ रहा है, उसके साथ परिवर्तन की लहर भी उतनी ही गति से प्रवहमान है।वर्तमान समय में नृत्यकला का क्षेत्र भी इससे अछूता नहीं है। इस क्षेत्र में परिवर्तन और नवाचार ने इसे कई रूपों में प्रदर्शित किया है। प्राचीनकाल से विद्यमान कत्थक नृत्य धर्म-अध्यात्म से परिपूर्ण नृत्य शैली थी। मंदिरों में भजन-कीर्तन के समय कथावाचकों के द्वारा अभिनय युक्त कथा कहने से कत्थक नृत्य की उत्पत्ति मानी जाती है।

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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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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 almighty and was popularly performed by the devdasis in various temples. Though they were not openly performed for the devotees at first but only for the idols of the deity. Since the dance was performed in privacy, there was no need of stage and light. It was assumed that the dance was performed to depict ones bhakti or devotion towards the god and for the god’s entertainment hence costume and jewellery were given special weightage. Blunt colours like red or green in fully covered lehenga; choli and dupatta were selected with loads of gold jewellery of all kinds.

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9

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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10

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 dancer through imaginative interpretations of the ṭhumrī song-text and the connoisseur spectator’s interactive response in culturally specific meaning-making. Ṭhumrī performance epitomized the poetic “nāyikā,” who dominated prolific classic and regional literature over the millennia.

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Salekar, Bhagyashree, Rashi Patil, and Mrunal Patil. "Association of Foot Deviations with Foot Functional Activity and Dynamic Balance in Female Kathak Dancers." International Journal of Health Sciences and Research 14, no. 4 (April 9, 2024): 35–43. http://dx.doi.org/10.52403/ijhsr.20240406.

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Kathak, an Indian Classical dance involves complex rhythmical foot work which makes Kathak dancers more prone to foot posture deviations and musculoskeletal injuries. Foot deviations can be associated with ankle and foot pain, joint and postural instability, soft tissue injuries, etc. which may negatively affect balance and dance performance. Hence current study aimed to explore association of foot deviation with foot functional activity and dynamic balance among female Kathak dancers. A cross-sectional study design 80 female Kathak dancers between age group of 18- 40 years were assessed for foot deviations, foot functional activity, and dynamic balance by Navicular drop test, foot function index, and Y balance test respectively. Percentile analysis of Navicular drop test showed that a large population of kathak dancers (56.25%) has pronated feet. Foot functional activity showed that maximum population (86.25%) didn’t have any foot function impairment. 25% population had below baseline score in Y balance test showing higher risk of losing balance and musculoskeletal injuries. Pearson’s correlation showed that Navicular drop test has very weak positive correlation with Foot Function Index with R value 0.21and has a very weak negative correlation with Y balance test with R value -0.027 and -0.03 of right & left leg respectively. Thus, current study concludes that Kathak dancers are more prone to have flat feet. Medial Longitudinal Arch Height has very weak positive correlation with foot function and very weak negative correlation with Y balance test suggesting that flat feet have very weak impact on foot function and dynamic balance. Key words: Kathak dancers, Medial longitudinal arch height, Navicular drop test, Dynamic balance, Foot function index.

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Dalidowicz, Monica. "Crafting fidelity: pedagogical creativity in kathak dance." Journal of the Royal Anthropological Institute 21, no. 4 (October 16, 2015): 838–54. http://dx.doi.org/10.1111/1467-9655.12290.

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Adra, Najwa. ": Circles-Cycles Kathak Dance . Robert S. Gottlieb." American Anthropologist 93, no. 1 (March 1991): 252. http://dx.doi.org/10.1525/aa.1991.93.1.02a00970.

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14

Chakravorty, Pallabi. "Whose History? Kathak Dance and Its Practitioners." Dance Chronicle 38, no. 3 (September 2, 2015): 410–14. http://dx.doi.org/10.1080/01472526.2015.1085244.

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15

Wang, Lijun. "Evolution of Indian Classical Dance in the Context of Globalization." Studies in Art and Architecture 3, no. 2 (June 2024): 27–30. http://dx.doi.org/10.56397/saa.2024.06.06.

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This paper explores the evolution of Indian classical dance in the context of globalization, examining how these ancient art forms have adapted to contemporary global influences. The study begins by tracing the roots and revival efforts of major styles such as Bharatanatyam, Kathak, and Odissi, highlighting their historical significance and regional variations. It then discusses the impact of globalization on these dances, focusing on their introduction to the global stage, adaptations, and fusions with other dance forms, and the role of the Indian diaspora in popularizing these dances abroad. The influence of technological advancements on teaching, performance, and preservation of Indian classical dance is analyzed, alongside the significance of cultural exchange and cross-cultural collaborations in enriching dance practices. The paper concludes by addressing the future challenges and directions for Indian classical dance, including the sustainability of traditional forms, the balance between authenticity and innovation, and shifts in audience demographics and interests. Through this comprehensive examination, the paper underscores the dynamic interplay between tradition and modernity in the globalization of Indian classical dance.

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Verma, Vinita. "'NEW EXPERIMENTS IN CLASSICAL DANCE': KATHAK AND HAVELI MUSIC TERMS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3430.

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Music, that is, singing, playing and dancing, is supernatural and supernatural because of its nature. Spiritual music is the path leading to salvation through self-promotion by making life sacred. The dance has originated from the core of religion. Mystics have defined it as the basis of ecstasy.Dance and singing are said to be the best means of attaining salvation here. The Kathak dance, which is otherwise called 'Natvari dance', implies that Kathak dance relies mostly on Krishnacharitra for its expression. Uto Kathak has traditionally been exhibited on many verses, thumri, bhajans, etc. But for some years, a unique adornment of its own art is being done by art seekers through innovative experimentation in every field of art which is known as art (fans ) Is also well appreciated and accepted. Kathak dance, while staying within the limits of scripture, has always made new experiments in the field of emotion display. संगीत ंअर्थात् गायन, वादन और नृत्य अतिप्राचीन और ब्रह्मस्वरूप होने के कारण अलौकिक है । आद्यात्मिक संगीत जीवन को पवित्र बनाकर आत्मोन्नति द्वारा मोक्ष की ओर ले जानेवाला मार्ग है । नृत्य का आरंभ धर्म के मूल भाव से हुआ है । मनीषियों ने इसे परमानंद का आधार निरूपित किया है ।नृत्य और गान को हमारे यहांॅं, मोक्ष प्राप्ति का श्रेष्ठतम साधन बताया गया है । कथक नृत्य जिसका अन्य नाम ही ‘नटवरी नृत्य’ है, इसका द्योतक है कि कथक नृत्य अपनी अभिव्यक्ति के लिए अधिकांशतः कृष्णचरित्र पर ही निर्भर है । यू ंतो कथक में परंपरागत अनेकों पद, ठुमरी, भजन इत्यादि पर भाव प्रदर्शन किया ही जाता रहा है किंतु कुछ वर्षो से कला के हर क्षेत्र में नवीन प्रयोग द्वारा अपनी अपनी कला का एक अपूर्व श्रृंगार कला साधकोें द्वारा किया जा रहा है जिसे कला (प्रशंसकों) द्वारा भी सहर्ष सराहा एवं स्वीकारा जा रहा है । कथक नृत्य ने भी शास्त्र की सीमा में रहते हुए भाव प्रदर्शन के क्षेत्र में नित नवीन प्रयोग किये है ।

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Chakravorty, Pallabi. "Dancing into Modernity: Multiple Narratives of India's Kathak Dance." Dance Research Journal 38, no. 1-2 (2006): 115–36. http://dx.doi.org/10.1017/s0149767700007415.

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Modernity, once a prerogative of the West, is now ubiquitous, experienced diversely by people all over the world. The changing notions of modernity are historically linked to the development of the public sphere. This article broadly attempts to map the discourse of modernity to the evolution of Kathak, a premier classical dance from India. The article has two threads running through it. One is the development of the public sphere in India as it relates to anti-colonial nationalism, the formation of the modern nation-state, and globalization. The other focuses on transformations in Kathak as they relate to changing patronage, ideology, and postcolonial history. I emphasize the latter to mark the transitions in Kathak as emblematic of Indian national identity and national ideology to a new era of cultural contestation. This emergent public domain of culture is coined as “public modernity” by anthropologist Arjun Appadurai in contemporary India. It is linked to economic reforms, or “liberalization,” leading to globalization and a resurgence of communal politics. Both of these make culture, tradition, and identity central to the contestation of power among the diverse social formations in India.

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Rajeev T, Anjana. "Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay LeelaBhansali’s Movies." Journal of Humanities,Music and Dance, no. 11 (August 17, 2021): 1–12. http://dx.doi.org/10.55529/jhmd.11.1.12.

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India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay Leela Bhansali’s Movies” is a close study on the folkdances employed in Bhansali’s movies such as Gujarat’s Garba in Hum Dil De Chuke Sanam (1999), Uttar Pradesh’s Kathak in Devdas (2002), Garba in Goliyon Ki Rasleela Ramleela (2013), Maharashtra’s Jugalbandi, Lavani, Kathak in Bajirao Mastani (2015), and Rajasthan’s Ghoomar and Kathak in Padmaavat (2018). Evaluating all these songs trace back its relation and devotion to North Indian cultures which marks the bond between people and the culture of our society.

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Rajeev T, Anjana. "Hum Dil De Chuke Sanam to Padmaavat: An Epitome onTraditional Indian Folk Dance in Sanjay LeelaBhansali’s Movies." Journal of Humanities,Music and Dance, no. 11 (August 17, 2021): 9–21. http://dx.doi.org/10.55529/jhmd.11.9.21.

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India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay Leela Bhansali’s Movies” is a close study on the folkdances employed in Bhansali’s movies such as Gujarat’s Garba in Hum Dil De Chuke Sanam (1999), Uttar Pradesh’s Kathak in Devdas (2002), Garba in Goliyon Ki Rasleela Ramleela (2013), Maharashtra’s Jugalbandi, Lavani, Kathak in Bajirao Mastani (2015), and Rajasthan’s Ghoomar and Kathak in Padmaavat (2018). Evaluating all these songs trace back its relation and devotion to North Indian cultures which marks the bond between people and the culture of our society.

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20

Rajeev T, Anjana. "Hum Dil De Chuke Sanam to Padmaavat: An Epitome onTraditional Indian Folk Dance in Sanjay LeelaBhansali’s Movies." Journal of Humanities,Music and Dance, no. 11 (August 17, 2021): 1–12. http://dx.doi.org/10.55529/jhmd11.1.12.

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India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay Leela Bhansali’s Movies” is a close study on the folkdances employed in Bhansali’s movies such as Gujarat’s Garba in Hum Dil De Chuke Sanam (1999), Uttar Pradesh’s Kathak in Devdas (2002), Garba in Goliyon Ki Rasleela Ramleela (2013), Maharashtra’s Jugalbandi, Lavani, Kathak in Bajirao Mastani (2015), and Rajasthan’s Ghoomar and Kathak in Padmaavat (2018). Evaluating all these songs trace back its relation and devotion to North Indian cultures which marks the bond between people and the culture of our society.

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Bhalerao, Pranita, and Gaurai Gharote. "Assessment of Foot In Female Kathak Dancers." International Journal of Physiotherapy and Research 12, no. 3 (June 30, 2024): 4714–21. http://dx.doi.org/10.16965/ijpr.2024.113.

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Background: Kathak is the art of storytelling and conveying it to the audience in a different way. Now a days kathak is spreading worldwide, and people are learning and chasing the challenges at top level for this the kathak dancers are focusing more and more over the riyaz followed by intense practice. Tatkar is an important component of this dance form which is performed by foot of dancer, commonly called as footwork. The population increasingly demand the repetitive rhythmic movements at ankle joint and to maintain the ankle stability there is requirement of heavy muscle work. This study examines postural deviations in the foot of female kathak dancers. Methods: The design was quantitative descriptive study utilizing Self Made Questionnaire developed specially for the research and foot posture index scale with the navicular drop test. The questionnaire contained questions related years of practice and frequency of practice with the pain associated to lower limb. Results: Percentage of people with normal and supinated conditions for both right and left feet across the different variables. It's notable that the categories for Pronated, Highly Pronated, and Highly Supinated feet were not observed in the datasets. Conclusion: In the present study it is found out that about 80% of total population have no postural changes found out in the foot the reason behind that can be the regular warm up cool down sessions, stretching and much more postural awareness. To avoid the foot problems and postural deviation now a days institutes are taking great warm up and cool down sessions with stretching for at least 1 hour and then startup with the forceful riyaz. Further research is warranted to make standardized warm up and cool down protocols for kathak dancers. KEYWORDS: Tatkar, kathak, Riyaz, Postural changes, footwork.

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Prickett, Stacey. "Defying Britain's Tick-Box Culture: Kathak in Dialogue with Hip-Hop." Dance Research 30, no. 2 (November 2012): 169–85. http://dx.doi.org/10.3366/drs.2012.0045.

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With questions of identity and multiculturalism remaining at the centre of debates in the press, political and academia arenas, a dance production tackles these issues head on in a surprisingly humorous and accessible way. Birmingham-based Sonia Sabri Company's Kathakbox is a collaborative production exploring the theme of ‘ticking boxes’ which sets out to challenge preconceptions about identity. Four specialists in kathak, hip-hop, African Caribbean and contemporary dance are joined by three musician-vocalists who eschew instruments, utilising their voices and bodies to create a vibrant rhythmic score influenced by a cosmopolitan mix of styles. Aesthetic and ideological meeting points occur onstage in the critically praised hour-long show, while counter-hegemonic possibilities emerge in associated workshops. The article explores how the narrative potential of kathak opens the way for Muslim women participants to delve into movement possibilities and improvisational potential of both the South Asian dance form and hip-hop.

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Joshi, Shobhana. ""INNOVATIONS IN KATHAK DANCE AND DR. SUCHITRA HARMAKER "." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3458.

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That is, nature does not carry antiquity even for a second. Always newness is pleasurable, so nature takes new forms at the time of transformation. That is why nature is delightful. Nature has soil, water, air, fire which is in contact with us and space which is visible. Apart from these main elements, there are parts of nature - all, water, land, man-made creatures, forests. There are trees, plants, vines in the forest. All these organs of nature are full of diversity. But water cools, fertility in the soil, wind gives life, trees shade, wood, fruits, flowers give medicines, soils are handled; These basic properties are modifiable in all types of trees and in water also, but the process of transformation continues in a continuous, direct and indirect nature. The basic properties of natural products are the latest one, as it is the tradition and innovation of nature. अर्थात् प्रकृति पुरातन का वहन पल भर के लिए भी नहीं करती है। नित्य नवीनता आनंददायी होती है अतः प्रकृति परिवर्तन की टेक पर, नित्य नवीन रूप धारण करती है। इसीलिए प्रकृति रमणीय है। प्रकृति में मिट्टी, जल, हवा, अग्नि है जो हमारे संपर्क में है और अंतरिक्ष जो दृश्यमान है। इन मुख्य तत्वों के अतिरिक्त प्रकृति के अंग हैं- समस्त, जल, थल, नभचर-जीव, जंगल। जंगल में वृक्ष, पौधे, लताएँ हैं। प्रकृति के ये सभी अंग वैविध्य से भरपूर है। पर जल तृषा शान्त करता है, मिट्टी में उर्वरता होती है, हवा प्राण देती है, वृक्ष छाया, लकड़ी, फल, फूल औषधि देते हैं, मिट्टी संभालते हैं; ये मूलभूत गुण सभी प्रकार के वृक्षों में न्यूनाधिक होते है और जल मेें भी किन्तु परिवर्तन की प्रक्रिया सतत् प्रत्यक्ष-अप्रत्यक्ष प्रकृति में चलती रहती है। प्राकृतिक उपादनों के मूलभूत गुण अद्यतन एक हैं यह मानों परंपरा है और नित्य परिवर्तन प्रकृति का नवाचार।

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Lalli, Gina. "A North Indian Classical Dance Form: Lucknow Kathak." Visual Anthropology 17, no. 1 (January 2004): 19–43. http://dx.doi.org/10.1080/08949460490273997.

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Salekar, Bhagyashree C., Mrunal S. Patil, and Rashi R. Patil. "Impact of intrinsic foot muscle training on foot posture and foot functional activity among female kathak dancers with flat feet." International Journal of Research in Medical Sciences 12, no. 7 (June 29, 2024): 2506–10. http://dx.doi.org/10.18203/2320-6012.ijrms20241904.

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Background: Kathak being one of the very complex Indian classical dance forms, has a greater emphasis on foot work thus putting substantial amount of stress over foot which leads to weakness of intrinsic foot muscles, flat foot and functional impairments. Hence current study aimed to study the impact of intrinsic foot muscle strengthening on foot posture and functional activity among female kathak dancers with flat feet. Methods: In this Quasi-Experimental Study, 30 females kathak dancers with flat feet between the age group of 18-40 were selected according the inclusion and exclusion criteria from different Kathak dance academies in Pimpri and Pune. All participants were given intrinsic foot muscle strengthening (5 exercises) for 2 times a week for 4 weeks which were progressed after 2 weeks. Pre and post treatment assessments were done for foot deviations and foot functional activity by Foot posture index and foot function index respectively. Results: Paired T test for pre and post treatment analysis was done with statistical. significant at P<0.05 and 95% confidence interval. FFI score was reduced post treatment with mean difference of 1.26 which was statistically insignificant (p>0.05) but clinically significant. There was no statistically as well as clinically significant difference between the pre and post treatment FPI scores of both right and left leg (p>0.05). Conclusions: Intrinsic foot muscle training showed clinically significant improvement in foot function index but did not show any improvement in foot posture.

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Skiba, Katarzyna. "Between Boundaries of Tradition and Global Flows: Reimagining Communities in Kathak Dance." Congress on Research in Dance Conference Proceedings 2016 (2016): 386–97. http://dx.doi.org/10.1017/cor.2016.51.

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The aim of the paper is to examine the ongoing transformation in Kathak art and practice, in response to demands of global markets, sensibilities of new audiences, and the artists' personal need for self-expression. The paper explores why classical Indian dancers push the barriers of Kathak tradition, and how they redefine the idea of authenticity. Do the innovative choreographies indicate an increasing shift toward individualization, transnationalism, and cultural pluralism, or rather do they attempt to renegotiate the notions of “Indianness”? To what extent is genre hybridity considered as an emerging aesthetic value that reflects complex, multi-layered identities of the performers?

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Chakraborty, Rama, Natesh Babu, and Prasun Chakraborty. "Impact Of Mind Sound Resonance Technique On Work-Related Flow Inventory And Sleep Quality Among Enthusiast Kathak Dancers From Different Professional Backgrounds." International Research Journal of Ayurveda & Yoga 7, no. 3 (April 3, 2024): 1–6. http://dx.doi.org/10.48165/irjay.2024.70301.

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BackgroundKathak is one of the most popular Indian classical dance forms. Working professionals out of passion enjoy kathak dance but due to work engagements and reduced sleep quality, discontinue the practice of Kathak. Mind Sound Resonance Technique has been proven to improve sleep quality. Investigation among practitioners of Khatak is low and the literature survey supports the basis for this study. The present research aims to explore the influence of MSRT on the work-life inventory and sleep quality among Kathak dancers who are working professionals.ObjectivesThe objective of the study is to assess the potential benefits of enhancing work enjoyment and sleep quality of Kathak dancers from different professional backgrounds through applications of Mind Sound Resonance Techniques.MethodsA single group pre-post study on (N=29) working professionals trained in Kathak were conveniently selected for the study. MSRT was imparted to all the participants for 20 minutes, per two times for 12 weeks. The pre and post-assessments were done on work-life inventory, job satisfaction, absorption, work enjoyment, and intrinsic work motivation using the Work-Related Flow Inventory (WOLF) and sleep quality using the Pittsburgh Sleep Quality Index.ResultsCronbach alpha measuring the reliability score of WOLF was (α = 0.8). Within-group analysis the total score of work-life balance and sleep quality was found to be statistically significant from pre- to post (p<.001).ConclusionThe results indicate improvement in various domains of work-related flow inventory and sleep quality. Thus, rejecting the null hypothesis. We conclude that the Yogic relaxation technique employed in this study attunes the body-mind system to be relaxed and practitioners can bring a balance in their work-life and pursue their interests and passion to lead a fulfilled life.

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Metange, Deepika, Loveleen Waghule, and Medha Deo. "The effect of Kathak Dance Movement on Balance and Gait in Parkinson’s Disease- An Experimental Study." Revista Pesquisa em Fisioterapia 12 (January 28, 2022): e4175. http://dx.doi.org/10.17267/2238-2704rpf.2022.e4175.

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INTRODUCTION: Difficulties with gait and balance are common among individuals with Parkinson's disease (PD). Several different exercise programs have been suggested to address balance and gait problems to improve the quality of life and patient compliance with PD exercises. Dance may be an effective tool for addressing these problems because it includes key elements of dynamic balance, can improve functional mobility, and is, at the same time, enjoyable and engaging. OBJECTIVES: The purpose of this study was to assess the effect of Kathak dance movement in addition to conventional physiotherapy on balance and gait in Parkinson's disease patients. METHODS AND MATERIALS: A total of 44 patients diagnosed with Parkinson's disease were included in the study with a mean age of 63.20 + 8.5 years. Patients were randomly divided into two groups, the control group received conventional physiotherapy, and the experimental group received the same along with Kathak dance movements which were Tatkar and Gatnikas. The intervention was given three days a week for four weeks. Pre-and post-assessment for balance and gait was assessed by scales including TUG test, Tinetti, FOG-Q, and UPDRS-III. The within-group comparison was made using Wilcoxon Signed rank test and between the group using the Mann Whitney U test to see the effect of treatment intervention. Results: The mean age of participants for both groups were 64.18±8.53 and 62.23±6.21, respectively. The comparison showed a significant difference in TUG, Tinetti, and FOG-Q within the group with p<0.01. The between-group comparison showed no significant difference between the two treatments interventions with p=0.361 for TUG, p=0.479 for Tinetti, and p= 0.73 for FOG-Q. CONCLUSION: Both groups showed similar improvements in balance and gait in PD patients. Thus, we conclude that the Kathak Dance movement can be used to complement conventional physical therapy exercises.

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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.

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SPARSHOTT, FRANCIS. "Sushil Kumar Saxena, Swinging Syllables: Aesthetics of Kathak Dance." Journal of Aesthetics and Art Criticism 51, no. 1 (December 1, 1993): 88. http://dx.doi.org/10.1111/1540_6245.jaac51.1.0088.

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Carter, Curtis, and S. K. Saxena. "Aesthetical Essays: Studies in Aesthetics, Hindustani Music and Kathak Dance." Dance Research Journal 17, no. 1 (1985): 58. http://dx.doi.org/10.2307/1478226.

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Skiba, Katarzyna. "Cultural Geography of Kathak Dance: Streams of Tradition and Global Flows." Cracow Indological Studies 18, no. 18 (2016): 55–89. http://dx.doi.org/10.12797/cis.18.2016.18.04.

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Ranganathan, Malini, and Monique Loquet. "Teaching Kathak in France: The Interdisciplinary “Milieu”." Dance Research Journal 41, no. 1 (2009): 69–81. http://dx.doi.org/10.1017/s014976770000053x.

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This article approaches the idea of interdisciplinarity as an aspect of the globalization of pedagogical practices through the teaching of kathak dance in France. Our study positions itself in a didactic research program that tackles the question of interdisciplinarity under the theoretical angle of joint action between teacher and students (Ranganathan 2004; Ranganathan and Petrefalvi 2007; Sensevy and Mercier 2007; Loquet, Roncin, and Roesslé 2007; Loquet 2007). In this program, “didactics” is defined as the science whose object of study covers educational, teaching, and training practices. Our contribution to this program concerns the field of knowledge related to the body, in particular in sports and artistic activities (Loquet 2006). The ambition of research in didactics currently taking place in France is to show that the teacher's action cannot be treated in a unilateral way, independent of the student's action, just as the interactions between teacher and student cannot be set apart from the objects of knowledge that unite them. In this model, we grant a central place to the concept of “milieu,” seen in a general way as the space where the teacher and the students interact.

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Vaidya, Priyanka. "IN THE CONTEXT OF GURU-DISCIPLE TRADITION VERSUS DISTANCE EDUCATION KATHAK DANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3454.

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This verse depicts Guru's place in Indian philosophy, culture and tradition. In each of our Yajna sacrifices, in every puja this shloka is spoken. Does it not show the Guru's place in our life? Man has been accepted in Indian philosophy in a coordinated way of karma and knowledge. These two forms only lead him in gaining recognition and prestige in the society. Parents are factors for giving birth to a human being, but the wisdom of wisdom, knowledge and action is attained only by the Guru. Today's generation is forgetting the importance of Guru in the light of new knowledge, which is scientific knowledge, obtained by computer and Internet. But behind all this, man's knowledge, his ability is there, and he is the teacher to make him aware of this knowledge and ability. Only by the knowledge and ability provided by the Guru, a person makes his life happy and prosperous. The way Kabirdas has said यह ष्लोक भारतीय दर्षन, 8व परम्परा में गुरू के स्थान को दर्षाता है। हमारी प्रत्येक यज्ञ आहुति में, हर पूजा में इस ष्लोक को बोला जाता है। क्या यह हमारे जीवन में गुरू के स्थान को नहीं दर्षाता? भारतीय दर्षन में मनुष्य को कर्म और ज्ञान के समन्वित रूप से ही स्वीकार किया गया है। उसके ये दो रूप ही उसे समाज में पहचान एवं प्रतिष्ठा प्राप्त करने में मार्ग प्रषस्त करते हैं। माता-पिता मनुष्य को जन्म देने के कारक हैं, परन्तु बुद्धि, ज्ञान व कर्म का प्रकाष गुरू के द्वारा ही मनुष्य को प्राप्त होता है। आज की पीढ़ी नये ज्ञान के प्रकाष में जो कि वैज्ञानिक ज्ञान है, कम्प्यूटर द्वारा एवं इंटरनेट द्वारा प्राप्त है, को सम्पूर्ण मान गुरू की महत्ता को भूलती जा रही है। परंतु इस सब के पीछे भी मनुष्य का ज्ञान, उसकी योग्यता है और इस ज्ञान और योग्यता से उसको परिचित कराने वाला गुरू ही है। गुरू के द्वारा प्रदत्त ज्ञान और योग्यता से ही मनुष्य अपने जीवन को सुखमय और सम्पन्न बनाता है। जिस प्रकार से कबीरदास जी ने कहा ह

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Mandlik, Yogita. "DANCE THERAPY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3417.

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Dance is the aesthetic language of organs and expressions. The dance expresses Karan, Angahar, Bhava, Vibhav, Anubhav and Rasas. Therefore, dance opens up a door to balanced delivery and development of organs and emotions, which gives satisfaction to the heart and mental conditions. The composition of Kathak dance makes the body a powerful powerful coordinated body and mental level and helps in providing spiritual peace at the spiritual level. Dance is a medium through which emotional energy is carried from one place to another. Dance therapy Kandabam Jimanchal is based on this. It can be called an experiment of speed that not only keeps us physically healthy, but also makes us mentally strong. Dance contains such elements by which the treatment of various diseases is possible. नृत्य अंगो व भावों की सौन्दर्यमयी भाषा हैं। नृत्य में करण, अंगहार, भाव, विभाव, अनुभाव और रसों की अभिव्यक्ति की जाती हैं। अतएव नृत्य द्वारा अंगो व भावों के संतुलित प्रसव और विकास का एक द्वार जैसा खुल जाता है, जो ह्दय और मानसिक स्थितियों को तृप्ति प्रदान करता है। कथक नृत्य की रचना देह को शारीरिक व मानसिक स्तर का समन्वित शक्तिशाली पुंज बना देती हैं और आध्यात्मिक स्तर पर आत्मिक शांति प्रदान करने में सहायक सिद्ध होती है। नृत्य एक ऐसा माध्यम है जिसके जरिए भावनात्मक ऊर्जा को एक जगह से दूसरी जगह ले जाया जाता हैं। नृत्य चिकित्सा क्ंदबम ज्ीमतंचल इसी पर आधारित है। इसे गति का एक ऐसा प्रयोग कह सकते है जो न सिर्फ हमंे शारीरिक रूप से स्वस्थ रहता है, बल्कि हमे मानसिक रूप से भी मजबुत बनाता है। नृत्य मंे ऐसे तत्व निहित होते है जिनके द्वारा विभिन्न रोगों की चिकित्सा संभव है।

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Nijhawan, Amita. "Performativity and Nomadic Subjectivity in Shobana Jeyasingh's TooMortal." New Theatre Quarterly 33, no. 1 (January 10, 2017): 22–30. http://dx.doi.org/10.1017/s0266464x16000609.

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In Shobana Jeyasingh's TooMortal, a contemporary dance piece made for historic churches in Britain and Europe, six dancers enact rituals of life's journey. They use the pews as coffins and cradles and in doing so they interact with the architecture and rituals of the church space in new and disruptive ways. In this article Amita Nijhawan utilizes Judith Butler's notion of performativity and Rosi Braidotti's concept of nomadic subjectivity to suggest that through these encounters the dancers construct the church as a space where women can find power, refuge, agency, and perhaps sensuality. The dancers start by engaging with church rituals and imperfectly reiterating them in such a way that the performance takes on a performative function. The dancers’ bodies show the potential for dancing female bodies to disrupt patriarchal spaces and, therefore, the normative social order. Amita Nijhawan is a Teaching Fellow in Dance at the University of Surrey. Among others she has published in Media/Culture Journal, South Asian Popular Culture, and PAJ. She is a kathak and yoga practitioner, and a creative writer.

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Walker, Margaret E. "Bells of Change: Kathak Dance, Women and Modernity in India by Pallabi Chakravorty, Kathaka: The Tradition: Fusion and Diffusion by Ranjana Srivastava Bells of Change: Kathak Dance, Women and Modernity in India Chakravorty Pallabi Seagull Books , Calcutta Kathaka: The Tradition: Fusion and Diffusion Srivastava Ranjana D. K. Printworld (P) Ltd. , New Delhi." Dance Research Journal 43, no. 1 (May 12, 2011): 105–7. http://dx.doi.org/10.5406/danceresearchj.43.1.0105.

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Maloney Leaf, Betsy, and Bic Ngo. "‘You are not invisible’: a qualitative study examining ritual, pedagogical relationships, and student visibility in kathak dance." Research in Dance Education 21, no. 3 (September 1, 2020): 280–95. http://dx.doi.org/10.1080/14647893.2020.1815689.

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Singleton, Brian. "K. N. Panikkar's Teyyateyyam: Resisting Interculturalism Through Ritual Practice." Theatre Research International 22, no. 2 (1997): 162–69. http://dx.doi.org/10.1017/s0307883300020563.

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Indian theatre practice under British colonial rule was marked by differing strategies of resistance: agit-prop drama to promote social and political reform; the preservation of classical dance as cultural heritage; and the continuing practice of folk rituals in rural areas outwith the immediate control of the colonial authorities. Postindependence India, however, has witnessed those ‘deviant’ practices of resistance become the dominant ideological performance practices of modern India. Much actor training continued to be modelled on British drama schools such as RADA (Royal Academy of Dramatic Art); classical dances have survived to incorporate certain aspects of western ballet (for example, group sequences in Kathak); and the folk rituals have come increasingly under the microscope of western cultural tourists. Indian theatre practice, therefore, succumbs to the power of the dollar, as western academics and practitioners, with their financial and technological power, act as legitimizing agents for the global recognition of Asian culture. We are at a time when great currency is being attached to the notion of intercultural rejuvenation of home cultures by acts of productive reception with foreign cultures (a more positive definition of the practice by Erika Fischer-Lichte in direct response to Edward Said's charge of cultural colonialism which he terms orientalism). It is worthwhile taking note of how certain forms of modern Indian theatre are resisting intercultural practices, not by refusal or direct opposition, but by theatrical acts of intra-cultural rejuvenation, without the injection of the foreign culture as a serum.

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Anand Prakash, Akilesh, D. Subaskaran, and Vinitha Akilesh. "Musculoskeletal Pain and Injury in Indian Classical Dancers: A Systematic Review." Medical Problems of Performing Artists 38, no. 3 (September 1, 2023): 164–71. http://dx.doi.org/10.21091/mppa.2023.3020.

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The majority of current research on dance injuries has been on ballet, leaving a void in recent data on musculoskeletal injuries in Indian classical [IC] dance. The prevalence of injuries among IC dancers remains unclear, stressing the importance of injury epidemiology research for improved diagnosis, treatment, prevention, and injury burden reduction. Through a thorough examination of published literature, this study sought to critically evaluate existing research on the epidemiology of musculoskeletal pain and injury in IC dancers. Using Google Scholar and PubMed, a systematic evaluation of the online literature published in English was carried out from inception up to December 31, 2021 following PRISMA guidelines. For studies estimating injury prevalence, the Joanna Briggs Institute Prevalence Critical Appraisal Tool and the Risk of Bias Tool (RoBT) were used to evaluate the studies’ quality. Of 3,917 studies identified, 6 studies, all cross-sectional, of low quality, with a high risk of bias, and featuring young Bharatanatyam and Kathak dancers, were determined to be admissible. Because of the studies’ heterogeneity, severe study limitations, and methodological variability, a meta-analysis could not be carried out. The evidence from the current review is severely constrained, lacking generalizability to IC dancers as a whole and Bharatanatyam in particular. Since injury epidemiology is essential to the whole injury-prevention puzzle, there is a need for standardization in future research, particularly with active and prospective injury surveillance, injury assessment, and injury reporting.

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Parameswaran, UMA. "A Fine Balance between Authenticity and Experimentation." Canadian Theatre Review 94 (March 1998): 42–44. http://dx.doi.org/10.3138/ctr.94.010.

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Rina Singha is a Kathak dancer and choreographer who lives in Toronto. Her major contribution to Canadian culture is her reinscription of Hindu and Muslim aspects of Kathak to retell Bible stories, and the reinscription of Bible stories with Kathak’s dramatic techniques.

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Seidel, Andrea Mantell. "Sacred Sound: Tuning the Cosmic Strings of the Subtle Dancing Body." Congress on Research in Dance Conference Proceedings 2012 (2012): 140–45. http://dx.doi.org/10.1017/cor.2012.18.

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A. K. Coomaraswamy writes in The Dance of Shiva that Nataraja, the Hindu dancing figure, is the “clearest image of the activity of God which any art or religion can boast of.” Nataraja's dance activates dormant vital energy (kundalini) and resonates with the primordial sacred seed sounds (bijas) of the cosmos. Sanskrit seed sounds such as Aum are described in the Katha Upanishads as “consciousness or God (Brahman) itself.” In his book, Healing Mantras, Ashley-Farrand writes that the practice of mantra brings about positive changes in matter and consciousness by the agency of a subtle vibration. Cyndi Dale in The Subtle Body correlates each note of the ancient Solfeggio scale used in Gregorian chants to the energy centers (chakras) in the body. Sacred sounds are recited in Buddhist chants, Jewish hymns (Zemirot), and the dances of Sufi whirling dervishes, among other traditions. The dancer, through mastery of breath, form, and heightened awareness of sound, possesses the potential to “ride” on the crests of musical waves of sacred sound and harmoniously vibrate with wavelike patterns of energy or “cosmic strings,” identified in quantum physics as the essence of matter, and thereby facilitate healing and self-integration. However, in mainstream dance practice and research, sound/movement spiritual practices are largely relegated to the separate category of “new age,” dance therapy, or yoga. This performative paper discusses how the integration of the mindful use of sacred sound in contemporary dance training has profound implications for expanding consciousness, heightening creativity, and enhancing physical capabilities.

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Miller, Ray. "CORD Awards Panel Award for Outstanding Scholarly Research 2014: “Celebrating the Scholarship of Deidre Sklar”." Congress on Research in Dance Conference Proceedings 2015 (2015): 1–4. http://dx.doi.org/10.1017/cor.2015.1.

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This panel honors the work of Deidre Sklar, the 2014 recipient of Congress on Research in Dance's award for Outstanding Scholarly Research. Panelists Ketu Katrak, Ann Cooper Albright and Miriam Phillips, along with panel moderator, Ray Miller, discuss the impact of Sklar's work on their own research and teaching as well as its impact on the contemporary scholarship in the field of Dance Studies.Invited Panelists: Ray Miller (Moderator), Ann Cooper Albright, Ketu Katrak, and Miriam Phillips

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Vishwakarma, Alka. "Dance Movement Therapy and Kathakin India." Sanglap: Journal of Literary and Cultural Inquiry 08, no. 02 (2022): 57–69. http://dx.doi.org/10.35684/jlci.2022.8206.

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Shah, Purnima. "Contemporary Indian Dance: New Creative Choreography in India and the Diaspora by Ketu H. Katrak." Theatre Journal 65, no. 3 (2013): 444–45. http://dx.doi.org/10.1353/tj.2013.0066.

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Foley, Kathy. "Contemporary Indian Dance: New Creative Choreography in India and the Diaspora by Ketu H. Katrak." Asian Theatre Journal 32, no. 2 (2015): 686. http://dx.doi.org/10.1353/atj.2015.0048.

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Kusumaningtyas, Purwanti. "Solah Bawa Free Movement as a Whole Person Art Practice." k@ta 26, no. 00 (March 1, 2024): 93–100. http://dx.doi.org/10.9744/kata.26.00.93-100.

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Solah bawa, a meditative free movement dance, was developed by Sitras Anjilin (the head of Padhepokan Seni (art center and workshop) Tjipta Boedaja, Tutup Ngisor, Kabupaten Magelang, Central Java). A participatory observation towards a group named Komunitas Sabtuan, guided by Sitras Anjilin, and an etic interpretive analysis of the activity’s details found that solah bawa free movement reflects whole person aspects of human quality development. This article explicates how such art activity as free movement dance can be done by individuals to enhance whole person development. It argues that regular art practice can help individuals develop themselves holistically, and thus, it can promote balanced life.

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Coorlawala, Uttara Asha. "Contemporary Indian Dance: New Creative Choreography in India and the Diaspora by Ketu H. Katrak . 2011. New York: Palgrave Macmillan. xxxviii + 255 pp., photographs, notes, bibliography, glossary. $85.00 cloth." Dance Research Journal 45, no. 1 (April 2013): 137–39. http://dx.doi.org/10.1017/s0149767712000435.

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"Circles--cycles Kathak dance." Choice Reviews Online 28, no. 01 (September 1, 1990): 28–0638. http://dx.doi.org/10.5860/choice.28-0638.

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Bhagchandani, Suman. "Institutions of Change: Kathak dance from Courts to Classrooms." Chitrolekha Journal on Art and Design 2, no. 1 (May 23, 2018). http://dx.doi.org/10.21659/cjad.21.v2n104.

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This paper is a study of the progress of Kathak from the erstwhile courtesan culture to the contemporary classroom, structured practice. It aims to highlight the works of contributors like Nirmala Joshi and Sumitra Charat Ram as the pioneers of institutional Kathak that completely divorced its cultural past in the Mughal courts. Amidst all this cleansisng of Kathak history, Madame Menaka, one of the first female Kathak dancers to perform on the proscenium stage and to legitimise her presence by her association with insitutions of Kathak stands out. Madame Menaka truly deserves more attention in dance history and this paper aims to celebrate her life and works in Kathak. These artists and art entrepreneurs have never come together on the same platform for their contributions in the field of art and culture as they do in this paper. Their works lie scattered in biographies and articles that perform a discrete study on each of them. This paper is therefore an attempt to draw a linear development of Kathak through the works of female art contributors.

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