Relevant bibliographies by topics / Bharatanatyam (Classical dance)

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Academic literature on the topic 'Bharatanatyam (Classical dance)'

Author: Grafiati
Published: 19 February 2023

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Journal articles on the topic "Bharatanatyam (Classical dance)"

1

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 (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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2

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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3

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 story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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4

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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Abstract:
Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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5

Bhavana, Sivayokan. "Understanding the Theoretical Framework of Choreography in Bharatanatyam: An Overview." Integrated Journal for Research in Arts and Humanities 2, no. 5 (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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6

Vaidyanathan, Rama, and Kaladharan Viswanath. "In conversation." Indian Theatre Journal 4, no. 1 (2020): 107–13. http://dx.doi.org/10.1386/itj_00009_7.

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Rama Vaidyanathan is a leading exponent of Bharatanatyam, a popular classical dance form of South India. Trained under the renowned Guru Saroja Vaidyanathan and the legendary dancer Yamini Krishnamurthy, Rama Vaidyanathan is undoubtedly one of the most profound performers of her generation in the world of dance in India. Kaladharan Viswanath is a leading writer and dance critic and their conversation reveals some deeper insights into the philosophy and practice of Rama Vaidyanathan’s dance and its intersection with music.
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7

McCann, Gillian. "Performing Gender, Class and Nation: Rukmini Devi Arundale and the Impact of Kalakshetra." South Asia Research 39, no. 3_suppl (2019): 61S—79S. http://dx.doi.org/10.1177/0262728019872612.

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Rukmini Devi Arundale, herself a choreographer and dancer, is considered one of the key figures in re-creating Bharatanatyam. Through her utopian arts colony, Kalakshetra, started during the movement towards Indian independence, she taught what she deemed to be a classical, religious and aesthetically pleasing form of dance. Her rejection of what she termed vulgarity and commercialism in dance reflects her Theosophical worldviews and her class position in a rapidly changing South India. The article examines the ways in which her understanding of Bharatanatyam developed in the context of contested forms of nationalism as a gender regime that contributed to creating proper middle-class, Hindu and Indian subjects. It also examines the impacts of this form of cultural heritage relating to gender, culture and nationalism in today’s globalised South Asian dance scenario.
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8

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 (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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9

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 (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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10

David, Ann R. "Migratory Rituals or Classical Dance Forms?: “Trance” Dance and Bharatanatyam as Signifiers of Tamil Identity in Diasporic Hindu Communities in Britain." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 29–35. http://dx.doi.org/10.1017/s204912550000008x.

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This paper examines the performance of religion in British Sri Lankan Tamil Hindu communities using ethnographic research to investigate the use of classical dance and trance, or embodied dance, as performative practice. Contemporary U.K. evidence of Tamil Saivite worship shows an affiliation of dance and ritual being articulated and reinvented through the classical dance form of Bharatanatyam and through its transmission in the temple environment in an increasing display of embodied diasporic Hinduism.
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