Journal articles: 'Bharatanatyam (Classical dance)'

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

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

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

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

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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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Vaidyanathan, Rama, and Kaladharan Viswanath. "In conversation." Indian Theatre Journal 4, no. 1 (August 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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McCann, Gillian. "Performing Gender, Class and Nation: Rukmini Devi Arundale and the Impact of Kalakshetra." South Asia Research 39, no. 3_suppl (September 23, 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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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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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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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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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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Parthasarathy, Arpitha. "The Spiritual Form of Ancient Art and Culture - Bharatanatyam (Visual Art) Depicted Using Unique Techniques on Scratchboard (Fine Art) Medium." Journal of Arts and Humanities 6, no. 3 (March 15, 2017): 33. http://dx.doi.org/10.18533/journal.v6i3.1143.

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<p>The most ancient form of dance that is prevailing todays is a form of classical Indian dance, Bharatanatyam. In Sanskrit (and Devanagri), bharatanatyam means "Indian dance", is believed to have divine origin and is of the most ancient form of classical dance. Bharatanatyam is a two thousand-year-old dance form, originally practiced in the temples of ancient India. The art today remains purely devotional even today and this performing art is yet to gain awareness and interest in the western world. This dance form has various implications in improving the higher order thinking in children and provides health benefits in adults apart from cultural preservation. The current study uses scratchboard as a medium to display the artistic movements and emotions. Scratchboard, a fine art is one means by which the visual art is expressed in this current study using sharp tools, namely X-acto 11 scalpel and tattoo needles. This unique medium made up of a masonite hardboard coated with soft clay and Indian ink has been used to not only show the details of the ancient dance form and expression but also to comprehend and transcribe both visual art and fine art. It is for the first time that scratchboard medium has been the innovatively used to show various textures of flower, glistening gold jewels, hand woven silk and the divine expression in the same art ‘devotion’. The current study was carried out in-order to perpetuate, conserve and disseminate these classic forms of visual art and fine art.</p>

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Keshaviah, Aparna. "Decoding the Modern Practice of Bharatanatyam." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 140–50. http://dx.doi.org/10.1017/s2049125500000625.

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As the classical Indian dance form Bharatanatyam globalizes, it suffers under the gravitas of “unbroken tradition.” To numerically characterize tradition in contemporary India, surveys were administered to 212 practitioners on execution, values, knowledge, and pedagogy. Statistical analysis revealed extensive diversity, lack of a consistent core, and fundamental drivers of variation.

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Devarajan, Arthi. "Dancing Krishna in the suburbs: Kinaesthetics in the South Asian American diaspora." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 167–77. http://dx.doi.org/10.1386/safm.4.2.167_1.

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This article explores kinaesthesia as a central aspect of religious pedagogy in a transnational Hindu community, through ethnographic observation of American practitioners of Bharatanatyam (classical Indian dance).1 The Natyanjali School of Dance (Andover, Massachusetts, United States) is a small, multigenerational community, comprised of dance teacher Jeyanthi Ghatraju, a group of South Indian first-generation immigrant IT professionals, and their American-born children. Through Bharatanatyam, pedagogical practices of physical training, repetition and constructions of body comportment, students learn South Asian languages, culture and Hindu religious narratives. Additionally, they absorb practices of social organization and moral knowledge through interactions with their teacher, elders and peers. Although studies of kinaesthesia attend to the physical body and its faculties of movement, sense, socialization and cognitive knowledge, the processes by which kinaesthetics inform the construction of religious experience, value, belief and identity remain relatively unexplored. This article examines the construction of Hindu and Indian identity, personal religiosity and morality, through the kinaesthetic pedagogies of basic step (adavu) repetition, the embodied and discursive pedagogies of dramatic gestural narration of sacred stories (natya), and the interpretive and devotional conjuring of expression (abhinaya) inherent in Bharatanatyam.

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Mullai M I, Bertilla, and G. Yuvarani. "A STUDY TO COMPARE THE EFFECTIVENESS BETWEEN OTAGO EXERCISE AND MODIFIED OTAGO EXERCISE ON DYNAMIC BALANCE AMONG BHARATANATYAM DANCERS." International Journal of Medical and Exercise Science 08, no. 04 (2022): 1372–83. http://dx.doi.org/10.36678/ijmaes.2022.v08i04.002.

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Background of the study: Bharatanatyam is an Indian Classical Dance which involves rhythmic dance movements. There are various postures in the dance form in which dancers need optimum muscle strength and adequate range of motion at required joints. Dancers need good body balance to maintain the postures. The main purpose of the study is to compare the effectiveness between Otago exercise and Modified Otago exercise on dynamic balance among Bharatanatyam Dancers. Methodology: This is an experimental study of Pre and Post comparative type. 20 Female Bharatanatyam Dancers were randomly selected for the study. The study setting was in Nritham; the School of Dance. Study duration is about 6 sessions in a week for 8 weeks. The inclusion criteria include only Female Bharatanatyam Dancers within the age group of 18–25 years. The recruited subjects were allocated into two groups, Group A received Otago exercise program and Group B received Modified Otago exercise program. The exercise program was given for 30 minutes per day for 8 weeks, before and at the end of the treatment session Star Excursion Balance test was assessed as outcome measure. Result: On comparing the mean values of Group A & Group B on Star Excursion Balance Test score for dynamic balance, it shows a significant increase in the post test mean values in both groups in all directions, but Group B was more effective than Group A at P ≤ 0.001. Conclusion: On comparing the effects between the groups showed Modified Otago Exercise Group B is more effective than Group A Otago Exercise.

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Stolberg, Tonie L. "Communicating Science through the Language of Dance: A Journey of Education and Reflection." Leonardo 39, no. 5 (October 2006): 426–32. http://dx.doi.org/10.1162/leon.2006.39.5.426.

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Bharatanatyam, the classical dance style of South India, is adept at conveying complex, multilayered narratives. This paper documents and reflects upon the interactions between the author, a scientist and educator, and a professional dance company as they strive to develop and produce a dance-drama about the carbon cycle. The author examines the process by which scientific ideas are shared with the artists and the way a scientific narrative becomes one with an artistic meaning. The paper also examines areas for possible future science-dance collaborations and explores the necessary features for a collaborative science-dance pedagogy.

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Roberts, Michelle Voss. "‘Who Is My Good Neighbor?’ Classical Indian Dance in the Prophetic Work of the Church." Exchange 41, no. 2 (2012): 103–19. http://dx.doi.org/10.1163/157254312x638337.

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Abstract The use of the classical dance form bharatanatyam by Catholic Christians has inspired vigorous resistance from Hindus and Christians alike. The most salient of these objections relate to the use of power. Some see this form of ministry as a colonialist appropriation; others argue that it perpetuates caste and religious values that do not belong to the majority of Indian Christians, who are Dalits. While the Church may eventually abandon this form of ministry for such reasons, I argue that the case of Nav Sadhana Kala Kendra, a Catholic school of dance and music in Varanasi that produces dance programs on video disc and YouTube, subverts both forms of hegemony.

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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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Katrak, Ketu H. "Innovations in Contemporary Indian Dance: From Religious and Mythological Roots in Classical Bharatanatyam." Religion Compass 7, no. 2 (February 2013): 47–58. http://dx.doi.org/10.1111/rec3.12030.

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Banerjee, Suparna. "Quest for Authenticity in Indian Classical Dance: Innovations and Hybridization of Bharatanatyam on Global Stage." Global Studies Journal 2, no. 3 (2009): 75–86. http://dx.doi.org/10.18848/1835-4432/cgp/v02i03/40627.

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Ajmi, B. "A Critique of Gender Roles in Mahesh Dattani’s Dance Like a Man." Shanlax International Journal of English 10, no. 1 (December 1, 2021): 42–45. http://dx.doi.org/10.34293/english.v10i1.4447.

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Bharatanatyam is an ancient Indian classical dance form that originated from Tamil Nadu. It was performed by devadasis (prostitutes) in royal courts in the early period. Later, the elite Indian class separates it from devadasis and makes it more like a commodity. A man’s passion towards such kind of an art form creates commotion in a patriarchal society. His manhood is questioned and he is considered as inferior to the exaggerated version of masculinity. The breaking of particular roles which are destined to each gender in a society leads to tension within the patriarchy. Mahesh Dattani’s play Dance Like a Man explores themes like gender discrimination, stereotyping, gender roles and identity crisis. In reality, the problems of men due to gender discrimination is not discussed effectively. This play tries to give a clear picture of a male victim of gender discrimination through Jairaj’s character. The current research explores the problems in reversing gender roles, question on masculinity and involvement of society in carrying gender stereotypes as portrayed in Dance Like a Man.

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Azzarelli, Sara. "Dancing across gender boundaries. An exploration on the process of gender identity construction through the Indian classical dance Bharatanatyam." Acta Ethnographica Hungarica 60, no. 1 (June 2015): 77–84. http://dx.doi.org/10.1556/022.2015.60.1.9.

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Jędrzejko, Paweł. "Translocality/Methodology. The Americas, or Experiencing the World." Review of International American Studies 13, no. 2 (December 31, 2020): 5–13. http://dx.doi.org/10.31261/rias.10013.

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The Americas offer a peculiar stage for translocal methodologies. If we agree that the products of Chinese American culture—which, in the course of the last 170 years of interaction, has evolved into a unique, American, phenomenon—can not be labeled as “Made in China,” then contemporary Chinese medicine in the Americas cannot legitimately be perceived solely as an ‘import.’ Beyond doubt, phenomena such as the emergence of the American College of Traditional Chinese Medicine at the California Institute of Integral Studies testify to the fact that the once ‘exotic’ forms of therapy are now being granted a status parallel to those developed throughout the history of Western medicine. Increasingly, as translocal, they are becoming recognized as non-foreign elements of the glocal culture. Similarly, the exploration of the physical world, which, to an experienced dancer of Bharatanatyam, Odissi, or any other of the dominant forms of the classical Indian dance is an obvious function of his or her own experience of the ‘body-in-the-world,’ has, translocally, opened up an altogether new space of profound understanding of ourselves in our environment. It is not about the fashionable, politically correct, ‘openness to other cultures’; it is about the opening up to a parallel meditative experience of the “bodymind,” which neither excludes nor isolates the sphere of emotions from the reality of what-is-being-experienced. Or, to express it in terms more easily comprehensible to a Western reader, dance may prove to be a methodology (not just a method) serving the purpose of a more profound understanding of the complexity and unity of the universe, and a language to express this understanding. Making the most of available traditions might produce much greater benefits than remaining locked within just one, Western, Anglonormative, library of concepts. In the context of the ongoing debate on transnational American Studies, the article offers an insight into how the worldwide studies of the Americas and translocality intersect, and how such a perspective may contribute to the multifaceted process of the decolonization, understood both literally and intellectually.

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Jędrzejko, Paweł. "Translocality/Methodology. The Americas, or Experiencing the World." Review of International American Studies 13, no. 2 (December 31, 2020): 5–13. http://dx.doi.org/10.31261/rias.10013.

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The Americas offer a peculiar stage for translocal methodologies. If we agree that the products of Chinese American culture—which, in the course of the last 170 years of interaction, has evolved into a unique, American, phenomenon—can not be labeled as “Made in China,” then contemporary Chinese medicine in the Americas cannot legitimately be perceived solely as an ‘import.’ Beyond doubt, phenomena such as the emergence of the American College of Traditional Chinese Medicine at the California Institute of Integral Studies testify to the fact that the once ‘exotic’ forms of therapy are now being granted a status parallel to those developed throughout the history of Western medicine. Increasingly, as translocal, they are becoming recognized as non-foreign elements of the glocal culture. Similarly, the exploration of the physical world, which, to an experienced dancer of Bharatanatyam, Odissi, or any other of the dominant forms of the classical Indian dance is an obvious function of his or her own experience of the ‘body-in-the-world,’ has, translocally, opened up an altogether new space of profound understanding of ourselves in our environment. It is not about the fashionable, politically correct, ‘openness to other cultures’; it is about the opening up to a parallel meditative experience of the “bodymind,” which neither excludes nor isolates the sphere of emotions from the reality of what-is-being-experienced. Or, to express it in terms more easily comprehensible to a Western reader, dance may prove to be a methodology (not just a method) serving the purpose of a more profound understanding of the complexity and unity of the universe, and a language to express this understanding. Making the most of available traditions might produce much greater benefits than remaining locked within just one, Western, Anglonormative, library of concepts. In the context of the ongoing debate on transnational American Studies, the article offers an insight into how the worldwide studies of the Americas and translocality intersect, and how such a perspective may contribute to the multifaceted process of the decolonization, understood both literally and intellectually.

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Patel, Kavita. "Analysis of Biomechanical Factors and Application of Rehabilitation Principles in the Comprehensive Management of Patellofemoral Pain Syndrome in a 14-Year-Old Female Dancer of the Indian Classical Dance Form Known as Bharatanatyam." Journal of Womenʼs Health Physical Therapy 41, no. 3 (2017): 163–76. http://dx.doi.org/10.1097/jwh.0000000000000079.

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Jisha Raj, R., Smitha Dharan, and T. T. Sunil. "Dimensionality Reduction and Visualization of Bharatanatyam Mudras." International Journal of Image and Graphics, December 18, 2021. http://dx.doi.org/10.1142/s0219467823500018.

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Cultural dances are practiced all over the world. The study of various gestures of the performer using computer vision techniques can help in better understanding of these dance forms and for annotation purposes. Bharatanatyam is a classical dance that originated in South India. Bharatanatyam performer uses hand gestures (mudras), facial expressions and body movements to communicate to the audience the intended meaning. According to Natyashastra, a classical text on Indian dance, there are 28 Asamyukta Hastas (single-hand gestures) and 23 Samyukta Hastas (Double-hand gestures) in Bharatanatyam. Open datasets on Bharatanatyam dance gestures are not presently available. An exhaustive open dataset comprising of various mudras in Bharatanatyam was created. The dataset consists of 15[Formula: see text]396 distinct single-hand mudra images and 13[Formula: see text]035 distinct double-hand mudra images. In this paper, we explore the dataset using various multidimensional visualization techniques. PCA, Kernel PCA, Local Linear Embedding, Multidimensional Scaling, Isomap, t-SNE and PCA–t-SNE combination are being investigated. The best visualization for exploration of the dataset is obtained using PCA–t-SNE combination.

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Dash, Bijayalaxmi. "The Origin and Development of Chhau Dance in Eastern India." Indian Journal of Multilingual Research and Development, June 7, 2021, 1–4. http://dx.doi.org/10.34256/ijmrd2121.

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Among the new Classical dance and dance dramas like Bharatanatyam, Lavni, Bihu, Kathak, Kuchipuri, Kathakali, Odissi and few more Chhau the Wonderful mask dance of Eastern India are Completely Unique in Various point of View. In this paper I have discussed the Origin, Development, Types of Chhau Dance and the basic differences between Mayurbhanja chhau, Sareikala Chhau and Purulia Chhau.

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Zubko, Katherine C. "embodied palimpsest." Body and Religion 5, no. 1 (July 24, 2022). http://dx.doi.org/10.1558/bar.21543.

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In the South Asian dance style of bharatanatyam, the devotional bodies of dancers and the gods they portray model a performative porosity about ‘religious bodies.’ But what embodied resonances of religiosity transfer when the intention of the dancer or topic is not marked as devotional? Apsaras Arts’ Agathi: The Plight of the Refugee (2017–18) offers an ethnographic case study through which I aim to deepen the theory around the porosity of bodies by developing the theoretical construct of an embodied palimpsest: a framework that allows previous ‘erased’ layers to become present and interactive with later layers. I demonstrate how the choreographed gestures and rasas, or aesthetic moods, utilized to embody certain Hindu myths inform this danced portrayal of migrant experiences, but also note how the interactive layers of the palimpsest reshape classical theories about rasa, in particular karuna rasa, the mood of compassion, and can be used to particularize theories about kinesthetic empathy.

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

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