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Journal articles on the topic 'Bharatanatyam'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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O'Shea, Janet. "At Home in the World? The Bharatanatyam Dancer As Transnational Interpreter." TDR/The Drama Review 47, no. 1 (March 2003): 176–86. http://dx.doi.org/10.1162/105420403321250071.

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Bharatanatyam dancers often explain what they are about to perform, offering an introduction to the dance and to the particular narrative to be enacted. This kind of preperformance synopsis brings into play an English verbal framework and a South Indian choreographic one. The explanation interprets the “Eastern” choreography through the “Western” linguistic system. This spoken interlocution risks representing bharatanatyam more as a means of entry into a cultural field of reference than as a set of choreographic choices and compositional devices.

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12

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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14

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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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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16

Banerjee, Suparna. "Creating living forms: choreography in Bharatanatyam." Research in Dance Education 6, no. 1-2 (January 2005): 41–52. http://dx.doi.org/10.1080/14617890500373113.

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Iyengar, Kalpana Mukunda, and Howard L. Smith. "The Sacred Bharatanatyam Dance: Transcendental Aesthetics." South Asian Review 41, no. 1 (November 27, 2019): 69–86. http://dx.doi.org/10.1080/02759527.2019.1692278.

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18

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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Di Nota, Paula M., Michael P. Olshansky, and Joseph F. X. DeSouza. "Expert Event Segmentation of Dance Is Genre-Specific and Primes Verbal Memory." Vision 4, no. 3 (August 10, 2020): 35. http://dx.doi.org/10.3390/vision4030035.

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By chunking continuous streams of action into ordered, discrete, and meaningful units, event segmentation facilitates motor learning. While expertise in the observed repertoire reduces the frequency of event borders, generalization of this effect to unfamiliar genres of dance and among other sensorimotor experts (musicians, athletes) remains unknown, and was the first aim of this study. Due to significant overlap in visuomotor, language, and memory processing brain networks, the second aim of this study was to investigate whether visually priming expert motor schemas improves memory for words related to one’s expertise. A total of 112 participants in six groups (ballet, Bharatanatyam, and “other” dancers, athletes, musicians, and non-experts) segmented a ballet dance, a Bharatanatyam dance, and a non-dance control sequence. To test verbal memory, participants performed a retrieval-induced forgetting task between segmentation blocks. Dance, instrument, and sport word categories were included to probe the second study aim. Results of the event segmentation paradigm clarify that previously-established expert segmentation effects are specific to familiar genres of dance, and do not transfer between different types of experts or to non-dance sequences. Greater recall of dance category words among ballet and Bharatanatyam dancers provides novel evidence for improved verbal memory primed by activating familiar sensorimotor representations.

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20

Iyengar, Mukunda Kalpana. "Bharatanatyam and Mathematics: Teaching Geometry Through Dance." Journal of Fine and Studio Art 5, no. 2 (October 31, 2015): 6–17. http://dx.doi.org/10.5897/jfsa2015.0031.

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21

Kotian, Shruti, Charu Eapen, and Shyam Krishnan K. "Abdominal Muscle Endurance in Trained Bharatanatyam Dancers." Critical Reviews in Physical and Rehabilitation Medicine 32, no. 3 (2020): 221–32. http://dx.doi.org/10.1615/critrevphysrehabilmed.2020035854.

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22

Mohan, Nithyakalyani, and Jahnanvi Narayanan. "Assessment of cardiovascular endurance in Bharatanatyam dancers." TMR Non-Drug Therapy 5, no. 1 (2022): 5. http://dx.doi.org/10.53388/tmrnd20220304005.

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23

Iyengar, Kalpana Mukunda. "Bharatanatyam and Transnational Literacy Through SocioCultural Pedagogy." IOSR Journal of Humanities and Social Science 19, no. 10 (2014): 50–59. http://dx.doi.org/10.9790/0837-191085059.

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24

Sharma, Monica, Shibili Nuhmani, Deepti Wardhan, and Qassim I. Muaidi. "Comparison of Lower Extremity Muscle Flexibility in Amateur and Trained Bharatanatyam Dancers and Nondancers." Medical Problems of Performing Artists 33, no. 1 (March 1, 2018): 20–25. http://dx.doi.org/10.21091/mppa.2018.1005.

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OBJECTIVE: This study compared lower limb muscle flexibility between amateur and trained female Bharatanatyam dancers and nondancers. METHODS: Subjects consisted of 105 healthy female volunteers, with 70 female Bharatanatyam dancers (35 trained, 35 amateurs) and 35 controls, with a mean (±SD) age of 16.2±1.04 yrs, height 155.05±4.30 cm, and weight 54.54±2.77 kg. Participants were assessed for range of motion (ROM) in hip flexion, hip extension, hip abduction and adduction, hip external rotation, hip internal rotation, knee flexion, knee extension, ankle dorsiflexion (DF), and ankle plantar flexion (PF) by using a standardized goniometer. To assess for significant difference between groups, one-way ANOVA was applied, and multiple comparisons were made using Bonferroni correction. RESULTS: Trained dancers had a significantly greater hip flexion, extension, abduction, and external rotation ROM than amateurs and nondancers (p<0.05). Also, internal rotation and adduction were markedly less in trained dancers (p<0.05). Knee flexion, extension, and ankle DF were higher and ankle PF ROM was lesser in trained dancers. However, not much variation was found in ankle DF and PF between amateur dancers and nondancers (p>0.05). CONCLUSION: Results showed that there are significant differences in lower limb muscle flexibility between trained and amateur Bharatanatyam dancers and nondancers. These differences may be due to individual dance postures such as araimandi and muzhumandi.

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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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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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LaFrance, Cheryl. "Theorizing Hybridity and Identity: The “Edge-Effect” and “Dynamic Nucleus” in Bharatanatyam-Inspired Contemporary Dances of Two Choreographers." Congress on Research in Dance Conference Proceedings 2012 (2012): 90–96. http://dx.doi.org/10.1017/cor.2012.11.

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Dancer-choreographer Nova Bhattacharya uses the ecological term “edge-effect” to describe her experience within the choreographic process where her bharatanatyam training and her contemporary dance creativity overlap to create a lingua franca. Hari Krishnan, dancer-choreographer and scholar, describes his work as “constantly ruptured” within his “post-post-modern experience.” This paper argues that the creative processes underlying the respective contemporary dance-making practices of Nova Bhattacharya and Hari Krishnan are cultural ecosystems demonstrating the rich dynamic of the edge-effect at the intersection of bharatanatyam and contemporary dance aesthetics and themes. Within the edge-effect, both reception and rupture occur as artistic identities evolve. Furthermore, reception and rupture occur within the performance venue as the performers' and audiences' worlds overlap—another negotiated edge-effect. While the ecological metaphor of the edge-effect helps to conceptualize these interactive spaces, the sociological metaphor of a “dynamic nucleus” (Lloyd Wong) helps us to theorize the nature and energy of the critically reflective exchanges occurring, between contemporary and bharatanatyam sensibilities, in both the studio and concert theater. The edge-effect and dynamic nucleus metaphors build on Homi Bhaha's concept of the “cultural interstices” within which individual and communal identities are initiated and culture is located. Additionally, these metaphors expand on Guillermo Gômez-Peña's theory of “multihybrid identities, in a constant process of metamorphosis” as today's “border-culture” becomes tomorrow's institutional art. This paper provides dance scholars with a way of conceptualizing the energy of dance as a cultural force influencing experiences of hybridity and identity for performers and audiences within intercultural contexts.

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Prakash, Praveen, Anjana M. Nath, Mereena Joy, and Prashanth Prabhu. "Evaluation of auditory working memory in Bharatanatyam dancers." Journal of Otology 17, no. 2 (April 2022): 95–100. http://dx.doi.org/10.1016/j.joto.2022.01.003.

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Jadhav, Sangeeta, Manish Joshi, and Jyoti Pawar. "Art to Smart: An Automated Bharatanatyam Dance Choreography." Applied Artificial Intelligence 29, no. 2 (February 7, 2015): 148–63. http://dx.doi.org/10.1080/08839514.2015.993557.

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Zubko, Katherine C. "Intimate earthly embodiments: Dancing the seasons in bharatanatyam." Dance, Movement & Spiritualities 4, no. 2 (September 1, 2017): 147–72. http://dx.doi.org/10.1386/dmas.4.2.147_1.

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Kumar, Anita. "What's the Matter?: Shakti's (Re)Collection of Race, Nationhood, and Gender." TDR/The Drama Review 50, no. 4 (December 2006): 72–95. http://dx.doi.org/10.1162/dram.2006.50.4.72.

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The 2005 Student Essay Contest winner weaves together the narratives of members of Viji Prakash's Shakti bharatanatyam school community, dancing in and out of positions of marginality to unravel the notion of group identity as cohesive, homogenous, and pure as she confronts her own performance and corporealization of South Asian American identity.

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Wildhagen, Joana Pinto. "Tradição como transgressão: Kalanidhi Narayanan e Chandralekha." Pitágoras 500 7, no. 1 (August 24, 2017): 16. http://dx.doi.org/10.20396/pita.v7i1.8650796.

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O artigo apresenta uma reflexão sobre o teatro-dança indiano bharatanatyam e o contexto pós-colonial a partir da trajetória de duas artistas: Kalanidhi Narayanan (1928-2016) e Chandralekha (1928-2006). Ambas transgrediram a tradição vigente em busca dos princípios vitalizadores da cultura milenar hinduísta, evidenciando a representação do feminino e a necessidade de se (re)pensar a arte em diálogo com os tempos contemporâneos.

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Walankar, PrachitaP, VrushaliP Panhale, and Aishwarya Sridhar. "Analysis of postural risk and pain assessment in bharatanatyam dancers." Indian Journal of Occupational and Environmental Medicine 24, no. 2 (2020): 66. http://dx.doi.org/10.4103/ijoem.ijoem_190_19.

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Penkar, Leora, and Aparna Sadhale. "Balance in Bharatanatyam dancers and non-dancers: A comparative study." Journal of Society of Indian Physiotherapists 4, no. 2 (September 15, 2020): 92–96. http://dx.doi.org/10.18231/j.jsip.2020.014.

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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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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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Mullerpatan, Rajani, Juhi Bharnuke, and Claire Hiller. "Gait Kinematics of Bharatanatyam Dancers with and without Low Back Pain." Critical Reviews in Physical and Rehabilitation Medicine 31, no. 1 (2019): 1–10. http://dx.doi.org/10.1615/critrevphysrehabilmed.2019030243.

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Maale, Prof Bhavana R. "Normalized Chain Codes and Oriented Distances based Bharatanatyam Hand Gesture Recognition." International Journal for Research in Applied Science and Engineering Technology 8, no. 7 (July 31, 2020): 492–95. http://dx.doi.org/10.22214/ijraset.2020.30243.

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Whitmer, Olivia. "Dancing the Past into the Present: Ruth St. Denis and Bharatanatyam." Journal of Popular Culture 37, no. 3 (January 29, 2004): 497–504. http://dx.doi.org/10.1111/j.0022-3840.2004.00082.x.

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Tambe, Sharayu S., and Anjali S. Puntambekar. "Analysis of female athlete triad in adolescent female Bharatanatyam dancer using low energy availability questionnaire." International Journal Of Community Medicine And Public Health 8, no. 8 (July 27, 2021): 4024. http://dx.doi.org/10.18203/2394-6040.ijcmph20213039.

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Background: The aim of this study was to assess adolescent Bharatanatyam female dancers for female athlete triad (FAT) which includes low energy availability (LEA), musculoskeletal injury profile, gastrointestinal function and menstrual dysfunction using in females LEAF questionnaire.Methods: The approval was taken from the institutional review board of K. J. Somaiya college of physiotherapy. A pre-designed, pre-validated, questionnaire was distributed in the google form layout, among population according to the inclusion and exclusion criteria; asking for consent to confirm their willingness to participate voluntarily. After confirmation, the participants were directed to complete the LEAF questionnaire, maintaining their confidentiality. Data collected was analyzed using descriptive statistics.Results: A total of 82 participants took part in this study. The cumulative incidence of musculoskeletal injuries is about 50%. 35.4% of population experienced gaseous or bloated abdomen apart from menstrual function and 32.9% experienced cramps or stomach ache which were not related to menses. 7.3% of population reported primary amenorrhea, 35.8% reported secondary amenorrhea and 18.6% reported oligomenorrhea. Thus, overall, 34.5% population reported all the components of FAT.Conclusions: Prevalence of LEA in Bharatanatyam female dancers was reported amongst which prevalence of musculoskeletal injuries was high amongst the participants followed by menstrual dysfunction. LEA might have been interpreted as a usual or needed procedure to achieve better performance in past, but now it is recognized that it may lead to several negative consequences. Therefore, timely screening of dancers along with adequate training protocol will help alleviate LEA.

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Meduri, Avanthi. "Bharatanatyam as a Global Dance: Some Issues in Research, Teaching, and Practice." Dance Research Journal 36, no. 2 (December 1, 2004): 11. http://dx.doi.org/10.2307/20444589.

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Bhuyan, Himadri, Partha Pratim Das, Jatindra Kumar Dash, and Jagadeesh Killi. "An Automated Method for Identification of Key frames in Bharatanatyam Dance Videos." IEEE Access 9 (2021): 72670–80. http://dx.doi.org/10.1109/access.2021.3079397.

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Unni, Swaroopa. "Bharatanatyam in New Zealand: A story of dance, diaspora and cultural change." Dance Research Aotearoa 4, no. 1 (December 19, 2016): 135. http://dx.doi.org/10.15663/dra.v4i1.48.

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Anami, Basavaraj S., and Venkatesh A. Bhandage. "Artificial neural network based identification of Bharatanatyam Mudra images using eigen values." International Journal of Applied Pattern Recognition 5, no. 3 (2018): 191. http://dx.doi.org/10.1504/ijapr.2018.094813.

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Anami, Basavaraj S., and Venkatesh A. Bhandage. "Artificial neural network based identification of Bharatanatyam Mudra images using eigen values." International Journal of Applied Pattern Recognition 5, no. 3 (2018): 191. http://dx.doi.org/10.1504/ijapr.2018.10016094.

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Anami, B. S., and Venkatesh Bhandage. "SME Features Based Classification of Adavu and Posture Images of Bharatanatyam Dance." International Journal of Arts and Technology 12, no. 4 (2020): 1. http://dx.doi.org/10.1504/ijart.2020.10033274.

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Patel-Grosz, Pritty, Patrick Georg Grosz, Tejaswinee Kelkar, and Alexander Refsum Jensenius. "Coreference and disjoint reference in the semantics of narrative dance." ZAS Papers in Linguistics 61 (January 1, 2018): 199–216. http://dx.doi.org/10.21248/zaspil.61.2018.492.

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This paper presents an exploratory production study of Bharatanatyam, a figurative(narrative) dance. We investigate the encoding of coreference vs. disjoint reference in thisdance and argue that a formal semantics of narrative dance can be modeled in line withAbusch’s (2013, 2014, 2015) semantics of visual narrative (drawing also on Schlenker’s,2017a, approach to music semantics). A main finding of our investigation is that larger-levelgroup-boundaries (Charnavel, 2016) can be seen as triggers for discontinuity inferences(possibly involving the dynamic shift from one salient entity to another).Keywords: co-reference, disjoint reference, dance semantics, iconic semantics, picturesemantics.

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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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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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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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