Relevant bibliographies by topics / Bharatanatyam

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Bharatanatyam'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

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Journal articles on the topic "Bharatanatyam"

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IYENGAR, KALPANA MUKUNDA. "Bharatanatyam Dance." Dev Sanskriti Interdisciplinary International Journal 13 (January 31, 2019): 16–24. http://dx.doi.org/10.36018/dsiij.v13i.111.

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This article explores an Asian Indian American youth’s Bharatnatyam dance literacy education in a major city in the southwest of the U.S. I draw from sociocultural, multimodal, transmediation, and multiple intelligencies theories to support my claims. Findings reveal the young adult’s dance education contributed to cultural preservation (Iyengar & Smith, 2016). A plethora of research on the contributions of dance education in the physical development of children is available. This study offers understandings of how formal classical dance (Bharatanatyam) is both beneficial physically and psychologically. Dance, especially Bharatanatyam, culturally codified and schematized contributes to literacy learning in school.
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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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Tharmenthira, Shopana. "The God Murugan in Bharatanatyyam." International Research Journal of Tamil 2, no. 2 (February 18, 2020): 74–81. http://dx.doi.org/10.34256/irjt2028.

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Bharatanatyam is the bhava (expression), raga (melody) and tala (rhythm) are gathered together. It is a beautiful aesthetic art. This article is exploring how God Murugan is special in this great Bharatanatyam dance. The purpose of this study is to examine how hand seals, foot movements, and heroic bhavas are used to illustrate the characteristics of Kandan or God Murugan. The idea is to lead the people and the person into a spiritual state of light when they are revealed through the Bharata dance rather than the highlighting of Kandan's unique qualities. In this case, the Bharatanatyam forms of the senior dancers of the Jaffna and the Bharatanatyam forms of the University of Jaffna dance have been studied until they are known. This system includes the seals applied to the forms of the God of Muruga and the concluding remarks. These are used in detail analysis, field analysis, and meteorology. Through this process, young people will learn to deal with Bharatanatyam and Lord Muruga with a sense of devotion.
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IYENGAR, SLOKA, CHANDANA R. HOSUR, MANSI THAKKAR, DRASHTI MEHTA, and VIBHAKAR KOTAK. "Reflections on Bharatanatyam and Neuroscience. A Dance Studies Perspective." International Review of Social Research 11, no. 1 (December 14, 2021): 288–97. http://dx.doi.org/10.48154/irsr.2021.0027.

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Building on recent interest in the convergence of arts and sciences, we propose specific areas of intersection between the disciplines of Bharatanatyam, a classical Indian dance, and neuroscience. We present personal reflections by practitioners of both disciplines and propose that Bharatanatyam can be used to understand and explain brain functioning and that neuroscience can help analyze the dancing Bharatanatyam brain. We explore conceptual areas of convergence between the two fields as well as specific points of connection using language acquisition, rhythm, music, and cognition as examples. We conjecture that Bharatanatyam training and practice support long-term neuronal plasticity in various parts of the brain, including but not limited to the hippocampus, motor, premotor cortex, and the cerebellum. The beginning of the study of the intersection between these disciplines will pave the way for additional allied fields of rich thinking, exploration and potentially, therapy.
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Bhavana, Sivayokan. "Understanding the Theoretical Framework of Choreography in Bharatanatyam: An Overview." Integrated Journal for Research in Arts and Humanities 2, no. 5 (September 15, 2022): 50–57. http://dx.doi.org/10.55544/ijrah.2.5.9.

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Bharatanatyam is one of the oldest classical dance forms which are in practice today. It has three divisions within itself: Nritham, Nrithyam, and Natyam. Nritham is the pure dance or rhythmic movement of the body, Nrithyam is the part of the dance that conveys emotions, and Natyam is the dramatic representation of dance. For any piece of dance, choreography is important. Choreography, being the art of designing dance, includes inventing or arranging movement and choosing dramatic structures to organize and present it to the audience. Effective choreography comes from the understanding of different elements of movement and the aspects of designing movements. Effective choreography is crucial not just for pieces of a traditional Bharatanatya repertoire, like a Varnam, Patham, or Thillana, but also for dance dramas. However, choreographing a dance drama slightly differs as it incorporates drama elements in addition to dance elements. This paper discusses the theories used in choreography and the elements and aspects that are important in the choreography of any item in a traditional Bharatanatya repertoire. It then discusses how these theories are used in the choreography of dance dramas. Further, this paper postulates that understanding the theoretical framework of choreography can contribute to creating visually compelling and harmonious strings of movements, by bridging the gap between the science behind the body movements and the artistic quality of such movements.
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Kumar, Lavanya P., and Shruti J. Shenoy. "Survey of Musculoskeletal Injuries among Female Bharatanatyam Dancers in the Udupi District of India." Medical Problems of Performing Artists 36, no. 3 (September 1, 2021): 199–206. http://dx.doi.org/10.21091/mppa.2021.3022.

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BACKGROUND: Bharatanatyam is an Indian classical dance form that is practiced globally. There is limited information about the prevalence of injuries in Bharatanatyam dancers. OBJECTIVES: To investigate the prevalence of musculoskeletal injuries and specifics of dance training in female Bharatanatyam dancers in the Udupi district of India. METHODS: We developed and tested a survey for Bharatanatyam dancers regarding injury history in the prior year, including location, time loss, cause, and need for medical help. We also obtained demographic and training information. RESULTS: 101 dancers completed the survey. 10.8% of dancers reported musculoskeletal injuries because of participation in dance. They sustained 0.65 injuries/1,000 hours of dancing. The most frequently injured areas were ankle (27.2%) and knee (27.2%) followed by lower back (13.6%) and hip (9%). Despite being injured, 36.4% of the dancers continued to dance. 54.5% of the injured dancers sought the help of a medical professional for their dance-related injuries. The most common surface for dance was concrete followed by other hard surfaces such as marble and tile. CONCLUSION: Female Bharatanatyam dancers are prone to injuries of the lower extremity and back. Most dancers in our study practice the Pandanalluru style on hard surfaces. There is a need to investigate the impact of training factors on the injury occurrence.
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Wolf, Richard K., Madurai N. Krishnan, Errol Maibach, and Manjula Lusti-Narasimhan. "Margam: The Complete Bharatanatyam." Yearbook for Traditional Music 33 (2001): 200. http://dx.doi.org/10.2307/1519671.

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N, Siva Jyothi, Senthil Selvam P, and Gopaldas Ramesh. "Assessment of VO2max between Bharatanatyam and Kuchipudi Dancers." International Journal of Health Sciences and Research 11, no. 5 (May 21, 2021): 188–95. http://dx.doi.org/10.52403/ijhsr.20210529.

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Dance is the good form of exercise, the movement of the body in a rhythmic way to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself which the body is capable. Though Bharatanatyam and Kuchipudi may look similar to the untrained eye, there are many differences which affect the mechanics of movement among practitioners of both art forms. The purpose of this study is to assess the vo2 max of Bharatanatyam and kuchipudi dancers and to find out whether there is any difference in the vo2 max between both the dancers. Total of 30 subjects who met the inclusion criteria were taken for study; Group A (n=15) Bharatanatyam dancers. Group B (n=15) kuchipudi dancers. Queen’s college step test was used to assess the vo2 max. Pre and post-test heart rate was measured and vo2 max calculated. Statistical analysis was tested with t test at 95% level of significance (p<0.05). The result of the present study suggest that there is no significant difference in the aerobic capacity among Bharatanatyam (Group A) and Kuchipudi (Group B) Dancers when assessed with Queen’s College Step test. Key words: Bharatanatyam, Kuchipudi, Cardio respiratory fitness, VO2 max, Queen’s college step test.
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Puri, Rajika. "Bharatanatyam Performed: A Typical Recital." Visual Anthropology 17, no. 1 (January 2004): 45–68. http://dx.doi.org/10.1080/08949460490274022.

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Mullerpatan, Rajani P., and Juhi K. Bharnuke. "Differences in Foot Characteristics Between Bharatanatyam Dancers and Age-Matched Non-Dancers." Medical Problems of Performing Artists 37, no. 1 (March 1, 2022): 53–57. http://dx.doi.org/10.21091/mppa.2022.1009.

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INTRODUCTION: The ankle–foot complex is the third most common site of pain in Indian dancers. In Bharatanatyam dance, rhythmic stamping performed barefoot at varying speeds may influence the height of the medial longitudinal arch, causing structural alteration of the ankle-foot complex. As little information is available on the ankle-foot complex of Bharatanatyam dancers, the present study was conducted to test the hypothesis that foot characteristics of Bharatanatyam dancers differ from those of non-dancers. METHODS: Female professional Bharatanatyam dancers (n=21), aged 18–30 years, with a minimum of 8 years of performance experience after completing formal dance training, and 21 control non-dancers participated in this study. Physical foot examination included navicular drop test and Feiss line. Foot geometry and pedobarography were recorded as participants walked barefoot at self-selected walking pace over a pressure-platform. An average of five gait cycles was computed to analyse maximum peak pressure (MPP), pressure time integral, contact time, and foot geometry of the midfoot, forefoot, great toe, and second to fifth toes. Analysis of covariance was performed for intergroup comparison of all variables with gait speed as a covariate. RESULTS: During walking, dancers presented a higher medial-longitudinal-arch, wider midfoot, and wider forefoot (cm) (p<0.001), indicating an over-pronated foot due to lower medial longitudinal arch height. Total plantar peak pressure (kPa) was 37% higher among dancers, whereas MPP was 24% higher on midfoot and 13% higher on forefoot, indicating greater plantar loading during walking. CONCLUSION: Greater plantar loading and an over-pronated foot during the most commonly performed weight-bearing activity of daily living (e.g., walking) explain the common prevalence of ankle and foot pain among dancers. These findings will inform clinicians and Bharatanatyam dancers on dancer’s foot function and guide strategies for prevention and management of foot pain.
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Dissertations / Theses on the topic "Bharatanatyam"

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Banerjee, Suparna. "Emerging contemporary Bharatanatyam choreoscape in Britain : the city, hybridity and technoculture." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/emerging-contemporary-bharatanatyam-choreoscape-in-britain(96730b2d-768c-4d04-b9ee-d50e831c14be).html.

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The thesis investigates how Bharatanatyam dance practice is reconfigured through the specific cultural histories and novel practices of emerging dance artists in Britain. At the outset, I engage with how various dance labels are contested socially and culturally by diverse groups of people. In doing so, I intertwine the discussion with the politics of identity to illuminate how these dance artists negotiate their multiple identities, encompassing the issues related to race, ethnicity, gender and citizenship. Through a situated reading of postmodern and postcolonial praxes, I argue that these dance artists construct a permeating border by continually bringing new elements into their contemporary works, dismantling the purity/hybridity dyad. Additionally, I demonstrate how the theme of the ‘city’ is adopted as a performative device to portray kaleidoscopic patterns of cultural, historical and psychological climates of urban cities. While analysing non-proscenium choreographies, I demonstrate how an assembly of the senses overlap with various architectural places to create a complex web of history, cultural identity and memory to construct a ‘site’, which in turn, opens up rooms for discussing the previously ignored senses, including tactility, gustation and olfaction. Furthermore, I reveal how digital performance as a genre is increasingly celebrated by these dance artists, which decisively has challenged the bodily boundary and influenced the psycho-visual aesthetics of contemporariness. Drawing on interdisciplinary theoretical lenses, my readings of a range of danceworks and a mixed-method approach, I argue that contemporary Bharatanatyam practice is always in a state of flux due to the incessant mobility of people, ideas, cultures, histories and differential artistic subjectivities, and therefore it restricts any closure of meanings. In a nutshell, this thesis offers a new perspective on the disjuncture and reconfiguration of contemporary practice of Bharatanatyam dance in the 21st century British context, provoking new ways of seeing, interpreting and appreciating contemporary performance.
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MORTILLARO, MARIA CATERINA. "Il Bharatanatyam cristiano: Una forma d'inculturazione del cristianesimo attraverso la danza-teatro indiana." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2016. http://hdl.handle.net/10281/102550.

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Il Bharatanatyam è uno degli otto stili di danza classica indiana ufficialmente riconosciuti dalle istituzioni indiane. Anche se proviene dalla regione del Tamil Nadu, dopo la riforma negli anni Trenta e Quaranta, si è diffuso in tutto il subcontinente ed è praticato anche in Sri Lanka, nelle Mauritius e ovunque ci sia una comunità indiana. E’ ritenuto un simbolo dell’identità indiana. Nel Natyashastra, uno degli antichi testi teorici su questo argomento, è scritto che il dio Brahma avrebbe originariamente insegnato la scienza della gestualità e della danza in modo che la conoscenza dei Veda potesse essere accessibile a tutte le caste. Attraverso la raffigurazione di tutte le passioni umane, anche quelle negative, e la rappresentazione dei miti, aveva il potere di educare e di rendere gli uomini migliori tanto quanto la preghiera, il digiuno e i rituali. Anche se, nel corso dei secoli, ha perso parte della sua ispirazione spirituale e l’opinione comune ritiene che si sia corrotto, tanto che nel 1947 la Corte Suprema di Madras ha approvato una legge che proibiva l'esecuzione di rituali danzati nei templi, portando la danza sui palcoscenici, il Bharatanatyam ha mantenuto il suo significato religioso. I soggetti di danze sono tratti da poemi epici indù, come il Mahabharata e il Ramayana. Ogni spettacolo deve cominciare con una preghiera a Ganesh, e ci deve essere una danza dedicata a Shiva Nataraja, Signore della Danza Cosmica. Tradurre il linguaggio specifico del Bharatanatyam in un'altra religione è una questione di grande interesse. Quest’arte, infatti, non utilizza solo le espressioni del volto e i movimenti del corpo, ma anche le mudra o hasta, posizioni delle mani che sono simili al linguaggio dei segni dei sordi. Abbiamo circa cinquantadue hasta, ma è possibile aggiungerne, prendendole in prestito dal campo della medicina e dello yoga. Per ogni hasta ci sono molteplici significati, determinati dalla loro posizione nello spazio, dal movimento, dall’orientamento e dal contesto. Solo coloro che hanno studiato a lungo questa lingua complessa e articolata possono comprenderla, il che rende arduo l’atto comunicativo. Una trentina di anni fa, quando p Francis Barboza ha deciso di adattare sistematicamente il Bharatanatyam al cristianesimo, prima di tutto ha creato nuove deva-hasta, ovvero gesti che sono dedicati inequivocabilmente a un dio o a un concetto religioso. Il suo metodo si basa sulla combinazione di gesti tradizionali con profondi concetti teologici. Oggi, molti danzatori cristiani utilizzano le sue "creazioni", ma ho trovato che in India altri raffigurano gli stessi concetti con movimenti e gesti o deva-hasta diversi da quelli creati da Barboza o li utilizzano senza conoscerne il significato esatto. Questo tentativo di inculturazione pone molti problemi anche a livello teologico e culturale. Anche se non esistono divieti formali da parte del Vaticano sull'introduzione del Bharatanatyam nella liturgia, teologi e danzatori, alcuni dei quali fanno parte del clero, stanno portando avanti la sperimentazione e al giorno d'oggi la danza indiana cristiana è praticata sia in India che in Occidente, soprattutto in situazioni paraliturgiche. Da un lato, questi innovatori prendono ispirazione dal Concilio Vaticano II, che promuove l'inculturazione del messaggio evangelico; d'altra parte, sostengono una rivendicazione politica ed evidenziano dinamiche di potere, che esistono tra il centro (rappresentato dalla Chiesa romana) o centri (vale a dire gli istituti dove le sperimentazioni hanno luogo), e la periferia o le periferie. Il Bharatanatyam ha anche una grande importanza per il problema delle caste. Dal momento che è considerato una forma d’arte dei Bramini, è ritenuta un mezzo efficace per promuovere l’ascesa sociale degli Intoccabili, ma di fatto ciò che si ottiene è una braminizzazione del cristianesimo.
Indian dance Bharatanatyam is only one of the eight styles of Indian classical dance officially recognized by the government. Even if it comes from the region of Tamil Nadu, after its reformation in the Thirties, it spread all over the subcontinent and is practiced also in Sri Lanka, in the Mauritius and wherever there is an Indian community. In fact it is a symbol of Indian identity. In the Natyashastra, one the most important and ancient theoretical texts on this topic, it is written that god Brahma originally imparted the science of gesticulation and dance so that knowledge of Vedas could be accessible to all the castes. Depicting all the human passions, even the negative ones, and representing myths, it has the power to educate and to make men better as much as prayer, fasting and rituals. Although, in the course of centuries, it has lost part of its spiritual inspiration and has been corrupted in the eyes of Indian people – in 1947 the Supreme Court of Madras approved a law that prohibited the execution of danced rituals in the temples, relegating them to the theatres- it has maintained its religious meaning. In fact, subjects of dances are taken from the Hindu epics, such as Mahabharata and Ramayana. Every show has to begin with a prayer to Ganesh, and there has to be a dance dedicated to Shiva Nataraja, Lord of Dance. The problem related to the specific language of Bharatanatyam and its translation into another religion is an issue of great interest. It is necessary to learn an ancient and complex code and to adapt it to a new spirituality. Bharatanatyam, in fact, does not use only the expressions of the face and the movements of the body, but utilizes positions of the hands called mudras or hastas, which are similar to language of signs of the dumb. We have about fifty-two hastas, but it is possible to add other mudras from other styles of dance and some that are borrowed from medical or religious fields. The problem is that for every hasta there is a list of meanings, determined by their position in the space, movement, orientation, context. Only those who are trained can understand this complex language and this makes it hard the communication with the audience. About thirty years ago when Fr. Francis Barboza decided to systematically adapt Bharatanatyam to Christianity, first of all he created new deva hastas, particular gestures that are unequivocally dedicated to a specific god or religious concept. His method is based on the combination of traditional gestures with profound theological concepts. Today, many Christian dancers utilize his “creations”, but I found that in India other dancers depict the same concepts with different movements and gestures or use deva hastas created by Barboza without knowing their exact meaning. This attempt of inculturation poses many problems also at the theological and cultural level. Even if there are not explicit approvals or formal prohibitions by the Vatican on the introduction of Bharatanatyam into the liturgy, theologians and dancers – some are part of the clergy – continue the experimentation making effective transformations, and nowadays Christian Indian dance is practiced both in India and in the West, mainly in paraliturgical situations. On one hand, these innovators take inspiration from the Vatican II, which promotes inculturation of the evangelic message; on the other hand, the innovators support a political claim and highlight dynamics of power, which exist between the centre represented by the Roman Catholic Church or the centres, that is to say the institutes where the experimentations take place, and the periphery or the peripheries. Baharatanatyam has also a great importance for the problem of castes. Since it is considered a Brahmin’s form of art, it is considered as a potent mean to socially promote the Untouchables, but it ends to a sort of “brahminization” of Christianity.
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Menon, Vidyakartik Vijayadas. "Reasons Why Dravidian Boys in Australia Do or Do Not Choose to Learn Bharatanatyam." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/367366.

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This thesis explores the attitudes of Dravidian boys in Australia towards learning and performing bharatanatyam—a classical dance form that traces its origins to Tamil Nadu in South India. The study argues that at present, research into immigrant South Asian men’s attitudes towards performing identity through classical art forms such as bharatanatyam is highly disjointed and underdeveloped. This thesis identifies significant gaps in existing research, including the role of performing arts education in the negotiation of cultural and gender identity among immigrant men; the experiences of the South Asian diaspora in Australia; and in particular, younger members of the community; and the perceived contribution of classical bharatanatyam in the cultural preservation of diasporic South Asians. This study, therefore, investigates how attitudes towards gender and culture have shaped the way in which boys from immigrant Dravidian backgrounds have negotiated and renegotiated their gender and cultural identities in bharatanatyam spaces in Australia, and in turn, the influence this has had on the choices Dravidian boys make to engage with the art form. The investigation is centred on the following two questions: How do attitudes towards gender influence the decisions of Australian-Dravidian boys to learn or not to learn bharatanatyam? and How do attitudes towards culture influence the decisions of Australian-Dravidian boys to learn or not to learn bharatanatyam?
Thesis (Professional Doctorate)
Doctor of Education (EdD)
School of Education and Professional Studies
Arts, Education and Law
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Polauszach, Ester <1985&gt. "A lezione di Bharatanatyam: processi e pratiche di trasmissione di uno stile coreutico dell'India meridionale." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2326.

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Rocton, Julie. "Modes d’existence et d’appropriation de l’Abhinayadarpana de Nandikesvara : étude du texte, de son édition et de son usage dans le milieu du bharatanatyam." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0657.

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Cette thèse propose une étude sur l’Abhinayadarpaṇa, « le Miroir du Geste », de Nandikeśvara, traité sanskrit médiéval traitant de l’art de l’expression au moyen des gestes. Ce texte est aujourd’hui une référence théorique particulièrement populaire dans la pratique du bharatanāṭyam, la danse « classique » du Tamil-Nadu (Sud-Est de l’Inde), notamment depuis le tournant dit « revivaliste » dans les années 1930. Conjuguant les approches philologique et ethnographique, cette étude propose une analyse des différentes formes et modes d’appropriation de ce texte. L’étude et la traduction du texte sanskrit, l’analyse des phénomènes d’intertextualité avec d’autres traités sanskrits et des différentes « éditions-traductions » anglaises, ainsi que la présentation de l’usage actuel de ce texte par les praticiens de bharatanāṭyam (d’après les données d’un terrain d’un an à Chennai et à Pondichéry, trois séjours de 2013 à 2016) permettront, d’une part, d’appréhender le caractère polymorphe et dynamique de ce traité dont les formes reflètent les pratiques autant qu’elles les normalisent, et, d’autre part, de dégager une pratique du texte, de l’Inde ancienne à l’Inde actuelle, prenant la forme de commentaires discursifs et gestuels
This study focuses on Nandikeśvara’s Abhinayadarpaṇa, « The Mirror of Gesture », a medieval Sanskrit treatise about the art of gestural expression. Today this text is a very popular theoretical reference in the bharatanāṭyam milieu, the classical dance of Tamil Nadu (South-East India), since the so-called 1930s revivalism. Through philological and ethnographic approaches, this study aims at analysing the various forms and ways of appropriation of this text. The study and translation of the Sanskrit text, the analysis of intertextuality with other Sanskrit treatises and of various English « edition-translations », and the study of the contemporary use of the text by bharatanāṭyam practitioners (using original data from one year of fieldwork in Chennai and Pondicherry, 2013 to 2016) will make it possible, on the one hand, to explore the polymorphic and dynamic aspects of this treatise, whose forms both reflect and normalise practices - and, on the other hand, to distinguish a text-practice, from Ancient India to the present day, which takes the shape of a discursive and gestural commentaries
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Hamilton, Mark James. "Martial Dance Theatre: A Comparative Study of Torotoro Urban Māori Dance Crew (New Zealand) & Samudra Performing Arts (India)." Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5092.

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This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit. The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge. In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?
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Jayakrishnan, Kavitha. "Dancing Architecture: The parallel evolution of Bharatanatyam and South Indian Architecture." Thesis, 2011. http://hdl.handle.net/10012/6356.

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In her book, "Indian Classical dance", Kapila Vatsyayan describes dance as the highest order of spiritual discipline, the enactment of which is symbolic of a ritual sacrifice of one's being to a transcendental order. The Natya-Shashtra, a treatise on drama and dance, reveals the status of the performing arts as equal to prayer and sacrificial rites in the pursuit of moksha, the release form cycles of rebirth. Both dance and dancer function as a vehicle for divine invocation and are mirrored in the architectural surroundings. To investigate this connection between dance and place, it is imperative to understand the mythical origins of architecture and temple dance. the Hindu philosophy of the cosmic man and its religious relationship with the Dravidian architecture of Tamil Nadu is the starting point of the discussion of a south Indian aesthetic. The Vastu-purusha mandala is a philosophical diagram that provides a foundation for Hindu aesthetics, linking physical distance, religious position and universal scale in both time and space. Used as an architectural diagram, it becomes a mediator between the human body and the cosmos. The temple, as a setting for dance performances, and constructed based on the mandala, shares this quality of immersing its participants into a multi-sensory spatial experience. However, while the link between architecture and dance culture was explicit up to the 18th century, it is less compelling in the context of modern south Indian architecture. With an increasingly unstable political landscape during the 20th century, architectural growth in south India during this period is almost stagnant. Unfortunately, this creates a break in the continuity and comparative evolution of dance and architecture, leading to the fragmentation and abstraction of dance in its modern form. South Indian dance has since transformed into a prominent cultural symbol and various incarnations of the dancer have become the isolated yet important link, between tradition and modernity. As an evolving living embodiment of contemporary culture and identity, her transformation from Devadasi, to an icon of nationalism, to a choreographer of 'high art' provides the foundation for the reintegration of architecture in the cultural fabric. The culmination of this research aims to reinstate the importance of architecture as a cultural nexus in order to restring a fragmented dance, community and cultural identity.
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Natarajan, Srividya. "Another stage in the life of the nation: Sadir, Bharatanatyam, feminist theory." Thesis, 1997. http://hdl.handle.net/2009/755.

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Books on the topic "Bharatanatyam"

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Bharatanatyam. New Delhi: Rupa & Co., 2002.

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Khokar, Ashish Mohan. Bharatanatyam. New Delhi: Rupa, 2002.

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Alka, Raghuvanshi, ed. Bharatanatyam. New Delhi: Wisdom Tree, 2004.

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Bhagyalekshmy, S. Approach to Bharatanatyam. Trivandrum, India: CBH Publications, 1992.

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Bharatanatyam: How to-. 2nd ed. Delhi: B.R. Rhythms, 2010.

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Soneji, Devesh. Bharatanatyam: A reader. New Delhi: Oxford University Press, 2010.

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Bharatanatyam: How to--. Delhi: B.R. Pub. Corp., 2002.

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Devesh, Soneji, ed. Bharatanatyam: A reader. New Delhi: Oxford University Press, 2010.

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1936-, Dinesh M. R., and Leela Ramanathan, eds. Bharatanatyam, yesterday, today, tomorrow. New Delhi: Sujata Dinesh, 1985.

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Vaidyanathan, Saroja. Bharatanatyam, an in-depth study. New Delhi: Ganesa Natyalaya, 1996.

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Book chapters on the topic "Bharatanatyam"

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Bhuyan, Himadri, Mousam Roy, and Partha Pratim Das. "Motion Classification in Bharatanatyam Dance." In Communications in Computer and Information Science, 408–17. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-8697-2_38.

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Bhuyan, Himadri, and Partha Pratim Das. "Recognition of Adavus in Bharatanatyam Dance." In Communications in Computer and Information Science, 174–85. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1103-2_16.

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Jadhav, Sangeeta, and Jyoti Pawar. "BharataNatyam Dance Classification with Rough Set Tools." In Advances in Intelligent Systems and Computing, 75–81. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-6602-3_8.

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Jadhav, Sangeeta, and Jyoti D. Pawar. "Aesthetics of BharataNatyam Poses Evaluated Through Fractal Analysis." In Advances in Intelligent Systems and Computing, 401–9. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2471-9_39.

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Aich, Achyuta, Tanwi Mallick, Himadri B. G. S. Bhuyan, Partha Pratim Das, and Arun Kumar Majumdar. "NrityaGuru: A Dance Tutoring System for Bharatanatyam Using Kinect." In Communications in Computer and Information Science, 481–93. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0020-2_42.

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Mallick, Tanwi, Akash Anuj, Partha Pratim Das, and Arun Kumar Majumdar. "Using Musical Beats to Segment Videos of Bharatanatyam Adavus." In Advances in Intelligent Systems and Computing, 581–91. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2104-6_52.

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Mallick, Tanwi, Patha Pratim Das, and Arun Kumar Majumdar. "Bharatanatyam Dance Transcription Using Multimedia Ontology and Machine Learning." In Digital Techniques for Heritage Presentation and Preservation, 179–222. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-57907-4_10.

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Jisha Raj, R., Smitha Dharan, and T. T. Sunil. "Systematic Approach to Tuning a Deep CNN Classifying Bharatanatyam Mudras." In Lecture Notes in Electrical Engineering, 3–23. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4136-8_1.

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Mallick, Tanwi, Partha Pratim Das, and Arun Kumar Majumdar. "Characterization, Detection, and Synchronization of Audio-Video Events in Bharatanatyam Adavus." In Heritage Preservation, 241–68. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7221-5_12.

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Varsha, K. S., and Maya L. Pai. "Bharatanatyam Hand Mudra Classification Using SVM Classifier with HOG Feature Extraction." In Innovations in Computer Science and Engineering, 175–83. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2043-3_22.

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Conference papers on the topic "Bharatanatyam"

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Jadhav, Sangeeta, Manish Joshi, and Jyoti Pawar. "Modeling BharataNatyam dance steps." In the CUBE International Information Technology Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2381716.2381776.

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Saha, Sriparna, Amit Konar, Deblina Gupta, Anasuya Ray, Abhinaba Sarkar, Pritha Chatterjee, and Ramadoss Janarthanan. "Bharatanatyam hand gesture recognition using polygon representation." In 2014 International Conference on Control, Instrumentation, Energy and Communication (CIEC). IEEE, 2014. http://dx.doi.org/10.1109/ciec.2014.6959152.

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Majumdar, Rwitajit, and Priya Dinesan. "Framework for Teaching Bharatanatyam through Digital Medium." In 2012 IEEE Fourth International Conference on Technology for Education (T4E). IEEE, 2012. http://dx.doi.org/10.1109/t4e.2012.53.

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Jadhav, Sangeeta, Anwaya Aras, Manish Joshi, and Jyoti Pawar. "An Automated Stick Figure Generation for BharataNatyam Dance Visualization." In the 2014 International Conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2660859.2660917.

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Paul, Soumen, Rounak Saha, Swarup Padhi, Srijoni Majumdar, Partha Pratim Das, and K. Sreenivas Rao. "NrityaManch: An Annotation and Retrieval System for Bharatanatyam Dance." In FIRE '22: Forum for Information Retrieval Evaluation. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3574318.3574338.

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Hiremath, Renu S., Shreya Bhat, and H. R. Srikanth. "An automated evaluator for a classical dance — Bharatanatyam (Nritta)." In 2017 Second International Conference on Electrical, Computer and Communication Technologies (ICECCT). IEEE, 2017. http://dx.doi.org/10.1109/icecct.2017.8117844.

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Jadhav, Sangeeta, Manish Joshi, and Jyoti Pawar. "Art to SMart: An evolutionary computational model for BharataNatyam choreography." In 2012 12th International Conference on Hybrid Intelligent Systems (HIS). IEEE, 2012. http://dx.doi.org/10.1109/his.2012.6421365.

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Amrutha, R., and Vandana M. Ladwani. "Bharatanatyam hand gesture recognition using normalized chain codes and oriented distances." In 2016 International Conference on Inventive Computation Technologies (ICICT). IEEE, 2016. http://dx.doi.org/10.1109/inventive.2016.7830202.

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Saha, Sriparna, Lidia Ghosh, Amit Konar, and Ramadoss Janarthanan. "Fuzzy L Membership Function Based Hand Gesture Recognition for Bharatanatyam Dance." In 2013 5th International Conference on Computational Intelligence and Communication Networks (CICN). IEEE, 2013. http://dx.doi.org/10.1109/cicn.2013.75.

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Chandrasekaram, Calai, and Lasantha Chandana Goonetilleke. "Movement computation and analysis for entrainment in the rhythms of Bharatanatyam." In MOCO '20: 7th International Conference on Movement and Computing. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3401956.3404257.

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