Thematische Bibliographien / Indian dance

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Auswahl der wissenschaftlichen Literatur zum Thema „Indian dance“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 25. Juli 2025

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Zeitschriftenartikel zum Thema "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 c

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Wang, Lijun. "Evolution of Indian Classical Dance in the Context of Globalization." Studies in Art and Architecture 3, no. 2 (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.

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Krishnan, Hari. "Rupture and Disruption: Reflections on “Making” and “Knowing” Dance." Arts 12, no. 3 (2023): 122. http://dx.doi.org/10.3390/arts12030122.

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This essay follows a somewhat unconventional approach to writing about Indian dance in the diaspora. I say “unconventional” because it unfolds as a kind of self-reflexive narration of my own journey as a “doubly diasporic” Indian dancer, born in Singapore but having made my career in North America. In essence, I map my own unconventional paths to understanding Indian dance in the diaspora, outside the tired and troublesome idea of “dance as heritage”. The aim of this critical meditation on my own work is to offer up new possibilities for moving Indian dance into progressive conceptual spaces t

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Srivastava, Nikita, Priyanka Soni, Rajat Singh, Anchal Sharma, and Arun Kumar. "Unraveling the Importance of Indian Classical Dances on Mental Well-Being of Performers." International Journal of Social Science Research and Review 7, no. 8 (2024): 24–41. http://dx.doi.org/10.47814/ijssrr.v7i8.2185.

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Dance has held significant importance in Indian culture and history. It has been used as a form of artistic expression, as a means of indulging in recreation and leisure, as a medium of conveying emotions like joy during special occasions of wedding and festivities. The mental health field has also recognised the importance of dance in recent years with dance movement therapy becoming popular worldwide. Ayurveda has emphasized the power that dance holds in healing and creating inner awareness. Various Indian philosophies support the idea of dance and music being beneficial for human physical a

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Wang, YanJun. "DEEP SINGING AND DYNAMIC MUSIC - RESEARCH AND INTRODUCTION OF SPANISH "FLAMENCO" ART." Scientific heritage, no. 125 (November 23, 2023): 4–7. https://doi.org/10.5281/zenodo.10199709.

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Flamenco dance is a special art form that combines song, dance, and guitar performance. Flamenco dance is the music and dance of the Andalusian Gypsies (also known as Flamenco people) in Spain. Originating from the folk songs and dances of Gypsy, Antalusia, Arabia, and Spanish Jews, in the 14th and 15th centuries, Gypsy wanderers brought the Eastern Indian tap dance style and Arab mystical and sentimental charm to Spain in their bold and unrestrained songs and dances.

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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 (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

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Vijayta, Jain, and Samar Jeet Singh Dr. "The role of yoga and classical dance in enhancing spiritual well-being." International Journal of Trends in Emerging Research and Development 2, no. 1 (2024): 127–32. https://doi.org/10.5281/zenodo.12620600.

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In yoga, physical postures and alignments foster awareness and meditation. In dance, these elements are crafted to evoke aesthetic pleasure and emotional resonance in the audience. Rooted in Hindu mythology, both dance and yoga in India share a divine origin. The Natya Shastra and Abhinaya Darpana narrate how dance was divinely conceived by Lord Brahma, integrating elements from the four Vedas, thus elevating it to the status of the fifth Veda. Nataraja, Shiva's form as the Lord of Dance, symbolizes cosmic cycles of creation and destruction through his dances - Lasya and Tandava, reflecting pa

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KABIR, ANANYA JAHANARA. "Rapsodia Ibero-Indiana: Transoceanic creolization and the mando of Goa." Modern Asian Studies 55, no. 5 (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

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Putcha, Rumya S. "Between History and Historiography: The Origins of Classical Kuchipudi Dance." Dance Research Journal 45, no. 3 (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 p

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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 (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 st

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Dissertationen zum Thema "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 s

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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 o

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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 sacr

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

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

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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 t

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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.<br>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.

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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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Bücher zum Thema "Indian dance"

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

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

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

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

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

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Barboza, Francis Peter. Christianity in Indian dance forms. Sri Satguru Publications, 1990.

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Banerji, Projesh. Art of Indian dancing. Sterling Publishers, 1985.

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

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

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Srinivasan, Priya. Performing Indian dance in America. Northwestern University, 2003.

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Buchteile zum Thema "Indian dance"

Katrak, Ketu H. "Introduction." In Contemporary Indian Dance. 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. 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. 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. 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. 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. 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. 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. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_8.

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Sen, Sulakshana. "Revisiting Tagore." In Creativity in Indian Dance. Routledge India, 2023. http://dx.doi.org/10.4324/9781003433774-5.

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Sen, Sulakshana. "Paying Tribute to Tagore through Samanya Kshati." In Creativity in Indian Dance. Routledge India, 2023. http://dx.doi.org/10.4324/9781003433774-3.

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Konferenzberichte zum Thema "Indian dance"

Sharma, Arpit, S. Esha, Shreya Reddy A, and Radhakrishnan Gopalapillai. "Emotion Recognition in Indian Classical Dance Performances: An Object Detection based Approach." In 2024 5th IEEE Global Conference for Advancement in Technology (GCAT). IEEE, 2024. https://doi.org/10.1109/gcat62922.2024.10924101.

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Gayathri, V., B. Premjith, and D. Govind. "Empirical Estimation of Weights in Score Level Fusion of Various Convolutional Neural Network Based Models for Improved Mudra Classification in Indian Classical Dance." In 2024 IEEE 21st India Council International Conference (INDICON). IEEE, 2024. https://doi.org/10.1109/indicon63790.2024.10958382.

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Sarmah, Chayanika, and Parismita Sarma. "Hand Mudras and Indian Classical Dances: Techniques, Dataset and Future Direction." In 2025 3rd International Conference on Intelligent Systems, Advanced Computing and Communication (ISACC). IEEE, 2025. https://doi.org/10.1109/isacc65211.2025.10969220.

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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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Pradeep, Radhika, R. Rajeshwari, V. R. Ruchita, Radhika Bubna, and H. R. Mamatha. "Recognition of Indian Classical Dance Hand Gestures." In 2023 International Conference on Inventive Computation Technologies (ICICT). IEEE, 2023. http://dx.doi.org/10.1109/icict57646.2023.10134484.

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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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BELLEAU, Sylvie. "The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.

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This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was

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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. 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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Berichte der Organisationen zum Thema "Indian dance"

Toro, Jorge. Cambios demográficos recientes y envejecimiento poblacional. Banco de la República, 2024. http://dx.doi.org/10.32468/blog12082024.

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Recientemente, el DANE publicó los datos actualizados de estadísticas vitales del país que indican una reducción de 14,6 % en los nacimientos durante los primeros cuatro meses de 2024 frente a los mismos meses de 2023. Esta caída es más pronunciada que la caída de 11 % que se había observado en todo 2023 frente a 2022, o la caída de 7 % que se observó en 2022 frente a 2021. Por otro lado, el Centro de Recursos para el Análisis de Conflictos (Cerac), con base en datos de Migración Colombia, ha estimado migraciones netas negativas de alrededor de 550 mil personas en 2022 y 450 mil en 2023, sin c

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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, 2021. http://dx.doi.org/10.32468/be.1161.

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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 reduc

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