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Journal articles on the topic 'Bharatanatyam'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Radhika, Puthenedam. "Globalization, Diaspora and the Cultural Landscape: The case of Bharatanatyam in the Diaspora." Nartanam, A quarterly Journal of Indian Dance (ISSN 2455-7250) 4, no. 1 (2004): 15–34. https://doi.org/10.5281/zenodo.5795654.

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Taking the case of Bharatanatyam, a popular form of classical dance in the Indian diaspora, this article deals with the following: 1. how bharatanatyam plays an important role in fulfilling the cultural needs and asserting identity of Indian diaspora community 2. brief history of bharatanatyam in India and its diaspora (both colonial and post colonial/ new diaspora) 3. bharatanatyam beyond diaspora- glogal harmony, cultural diplomacy,  4. cultural interaction in the international arena and its impact on bharatanatyam. These four dimensions intersect one another in significant ways. An att

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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 ps

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3

Sarashetti, Priyanka Dundappa. "The Influence of Bharatanatyam Dance on Mental Health." International Journal of All Research Education and Scientific Methods 12, no. 11 (2024): 3207–9. https://doi.org/10.56025/ijaresm.2024.1211243207.

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Bharatanatyam, one of the oldest classical dance forms of India, has traditionally been revered for its intricate movements, emotional expression, and spiritual significance Recent studies, however, suggest that Bharatanatyam holds therapeutic potential in improving mental health. This research investigates the impact of Bharatanatyam on mental health, focusing on stress reduction, emotional regulation, cognitive improvement, and overall psychological well-being. Through a combination of literature review, qualitative interviews with practitioners, and quantitative analysis of mental health in

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Ramya, A., S. Natarajan, A. Nithya, M. S. Sarala, and S. Karuppuchamy. "EVALUATION OF VARIOUS PARAMETERS OF NATTADAVU IN BHARATANATYAM USING A RASPBERRY Pi-BASED SENSOR." MOMENTO, no. 68 (January 2, 2024): 11–26. http://dx.doi.org/10.15446/mo.n68.110342.

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The Bharatanatyam dance requires excellent coherency and precision from the performer. In order to calibrate and gauge the physical moments of the performer, we propose a Raspberry Pi based sensor. Using the data obtained from the prototype, the classical Bharatanatyam dance movements of a performer have been sensed and analyzed. Based on the results, suggestions to improve the performance of Bharatanatyam are reported.

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Tharmenthira, Shopana. "Aesthetics and Choreography of Bharatanatyam." Journal of Research in Music 2, no. 2 (2024): 29–40. http://dx.doi.org/10.4038/jrm.v2i2.29.

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The word “Aesthetic” in the context of Indian Aesthetics means “Science and philosophy of Fine Art” Bharathe muni wrote the theoretical treatise Natyasastra on Indian performing Arts including theatre, dance acting, and Music. Natyasastra is said to explain Indian aesthetics. Natyasastra is the scientific explanation of classical Indian dances. In this context, Bharatanatyam is also grounded in the principles of the Natyashastra. This research highlights how aesthetic aspects permeate Bharathanatya choreography, which involves designing the dance according to the rhythm of the ragas, along wit

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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 (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 mud

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Kumar, P. M., and G. J. Leema Rose. "PHYSICAL FITNESS FOR BHARATANATYA DANCERS." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024): 37–42. http://dx.doi.org/10.29121/shodhkosh.v5.i6.2024.1053.

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Bharatanatyam is an Indian classical dance that originated from Tamil Nadu in southern India. It is a tradition steeped in Indian history and culture. Today, Bharatanatyam is a dance style that encompasses religious and non-religious themes, as well as fusion styles. Characterized by precise movements, sharp edges, and expressive body language, this tradition has delighted audiences for generations. Like many other aspects of Indian tradition, this art form has struggled through times of oppression. However, with the efforts of teachers and students all over the world, Bharatanatyam has been r

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8

Tharmenthira, Shopana. "The God Murugan in Bharatanatyyam." International Research Journal of Tamil 2, no. 2 (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

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9

Palange, Sakshi, and Albin Jerome. "Prevalence of Flat Foot in Bharatanatyam Dancers." International Journal of Health Sciences and Research 14, no. 5 (2024): 254–59. http://dx.doi.org/10.52403/ijhsr.20240533.

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Aim: To study the prevalence of flat foot in Student Bharatnatyam dancers. Objectives: To evaluate foot posture in Student Bharatanatyam dancers with foot posture index. Methodology: The study was conducted on 223 participants who are practicing Bharatanatyam from 4 month up to 7 years. A written consent was taken and procedure was explained to subjects. Participants who had history of congenital lower limb deformity and lower limb injury in last 6 months, BMI >25 i.e. overweight were excluded from selection criteria. Foot structure was assessed with the help of Foot Posture Index 6 assessm

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Ramaprasad, Preethi. "Nandanar: Visibilizing Caste in Bharatanatyam Performance." Arts 13, no. 2 (2024): 55. http://dx.doi.org/10.3390/arts13020055.

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What are the implications of a bejeweled dancer in fine silk on the proscenium stage performing a piece that undeniably centers caste? As the Bharatanatyam field reflects on the art form’s appropriation from the hereditary dance community, analyzing choreography reveals different bodily representations of caste. Many Bharatanatyam dancers globally perform excerpts of the Nandanar Charitram, by Tamil composer Gopalakrishna Bharathi. The plot traces Nandanar, a Dalit saint who is not allowed in many temples and ends with his immolation, allowing his “purified” self to unite with the Hindu god Sh

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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 (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

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Aliallah @ Ismail, Mohd Yunus, and Norbaizura Abdul Ghani. "Interpretasi Tarian Bharatanatyam Di Dalam Ruang Pengajaran Dan Pembelajaran Berbilang Kaum Di Aswara." International Arts, Culture & Heritage (iJACH) 13 (2025): 181–203. https://doi.org/10.62312/asw.ijach.13.7.2025.

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Kajian ini meneliti pengajaran dan pembelajaran tarian klasik India, Bharatanatyam, yang diperkenalkan di Malaysia sejak tahun 1950-an dan dimasukkan ke dalam silibus pendidikan Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA) sejak tahun 1994. Sebagai sebahagian daripada usaha memupuk kepelbagaian budaya, tarian ini diajar kepada pelajar Fakulti Tari ASWARA dalam konteks ruang pembelajaran berbilang kaum. Kajian menggunakan pendekatan kualitatif melalui kajian etnografi, pemerhatian turut serta, dan temu bual untuk meneliti isu penyesuaian amalan budaya antara guru dan pelajar, matlamat pe

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Maghade, Sachin, and Rudalee Husale. "Association between Anthropometric Measures and Musculoskeletal Injuries in Bharatnatyam Dancers: A Cross-Sectional Study." International Journal of Health Sciences and Research 15, no. 2 (2025): 205–11. https://doi.org/10.52403/ijhsr.20250227.

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Background: Bharatanatyam, a classical Indian dance form, is known for its intricate movements and poses that demand significant physical and psychological endurance. Despite its cultural importance, there is a notable lack of recent data on musculoskeletal (MSK) injuries in Bharatanatyam dancers, particularly concerning the role of anthropometric measures such as Body Mass Index (BMI) and other body circumferences. Objective : This study aimed to determine the association between anthropometric measures and the occurrence of musculoskeletal injuries in Bharatanatyam dancers. Methods: A cross-

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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 (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 compl

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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 (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 diff

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N, Siva Jyothi, Senthil Selvam P, and Gopaldas Ramesh. "Assessment of VO2max between Bharatanatyam and Kuchipudi Dancers." International Journal of Health Sciences and Research 11, no. 5 (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 bot

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J. Subapradha, D. Dhanalakshmi, Dr. Jeyanthi. S, and J. Dharani. "EFFECTIVENESS OF PLYOMETRIC EXERCISE ON LOWER EXTREMITY FUNCTION AMONG CLASSICAL BHARATANATYAM DANCERS." Indian Journal of Physiotherapy and Occupational Therapy - An International Journal 18, Conf 1 (2024): 32. http://dx.doi.org/10.37506/8749rz67.

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Background: Aramandi is the most basic position in Bharatanatyam which is like Demiplie position of ballet dancers in which both the legs were internally rotated. Gaining proficiency in Bharatanatyam requires rigorous training for prolonged periods of time while maintaining specific postures which begin at a very young age during the adolescent growth spurt. Objective. To find out the effectiveness of plyometric exercise on lower extremity function among classical Bharatanatyam dancers Methods. Totally 20 classical dancers were recruited in accordance with inclusion criteria. Classical dancers

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18

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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Subbulakshmi, S. "Geometrical Motifs in Bharatanatyam." Shanlax International Journal of Arts, Science and Humanities 11, no. 2 (2023): 50–53. http://dx.doi.org/10.34293/sijash.v11i2.6613.

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Artists expresses their emotions and feelings through geometrical shapes which is one of the best way to express their notions. Calmness is represented by the shape circle whereas anxiety and distress are represented by the shape square. Artists use geometrical shapes in their art to suggest balance and order. Artists show geometrical shapes in order to illustrate or emote the illusion of realism. Geometry is one of the easiest way to see the relations of mathematical concepts to dance. Since dancers form shapes with their body, arms, legs as they move while dancing. They form beautiful shapes

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Anjana, Ramesh Sharma. "Vachika Abhinaya As A Tool To Evoke Rasa In Bharatanatyam – With Special Reference To Ragas." Smṛti - A Bi-Annual Peer Reviewed Journal on Fine & Performing Arts 3, no. 2 (2023): 53–66. https://doi.org/10.5281/zenodo.13212809.

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This research explores the symbiotic relationship between Raga and rasa, specifically focusing on Vachika Abhinaya within the context of Bharatanatyam. Emphasising the integral role of music, particularly the seven musical notes, the paper underscores the significance of ragas in Carnatic Classical music, serving as a foundation for the evocation of rasa. Each raga's unique emotional quality contributes to a better understanding of Vachika Abhinaya, thereby enhancing the dancer's bhava. Drawing from Natyasastra, chapters dedicated to music under Vachika Abhinaya, the paper sheds light on the c

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Kavya K and Nithya Narayanan Kutty. "Effect of Foot Intrinsic and Tibialis Posterior Muscle Training on Dynamic Balance in Bharatanatyam Dancers a Comparative Study." Indian Journal of Physiotherapy & Occupational Therapy - An International Journal 16, no. 3 (2022): 32–37. http://dx.doi.org/10.37506/ijpot.v16i3.18393.

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Background: Dancers require good body balance to maintain and continuously change the postures. Due torepetitive foot tapping, changes are seen in the medial longitudinal arch causing flat foot in Bharatanatyam dancerswhich affects their balance and overall performance while dancing. Strengthening extrinsic and intrinsic muscles ismore effective interventions for flexible flat foot. Although foot muscle exercises for the height of MLA have beenlimited to intrinsic foot muscle strengthening without considering extrinsic foot muscle. Exercise interventionsthat comparing foot intrinsic muscle and

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Mullerpatan, Rajani P., and Juhi K. Bharnuke. "Differences in Foot Characteristics Between Bharatanatyam Dancers and Age-Matched Non-Dancers." Medical Problems of Performing Artists 37, no. 1 (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 m

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Balaji, Krithika V., Sudipta Garai, and Anoop C. Choolayil. "The Evolving Prospects of Bharatanatyam: An Enquiry on Changing Religious Landscape." Dance Research 42, no. 2 (2024): 200–219. http://dx.doi.org/10.3366/drs.2024.0431.

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As cultural boundaries expand, symbols of cultural identity, like dance forms, evolve in terms of content and practice. Bharatanatyam, originally a temple dance, originated in the Hindu culture and had long been considered a religious art. However, the art form has gradually expanded its scope beyond its religious context. Contemporary evidence suggests that artists increasingly engage in performances addressing themes that are secular and even compositions based on other religious beliefs, but not without challenges. This article brings to light the evolving religious aspects of Bharatanatyam

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Puri, Rajika. "Bharatanatyam Performed: A Typical Recital." Visual Anthropology 17, no. 1 (2004): 45–68. http://dx.doi.org/10.1080/08949460490274022.

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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 (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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Buathong, Khanarat. "Narittaya Phra U Ma Thewi: A Fusion of Nora and Bharatanatyam in the Worship of Parvati for Creative Performance." Asian Journal of Arts and Culture 25, no. 1 (2025): e272302. https://doi.org/10.48048/ajac.2025.272302.

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This study focuses on the creation of the performance “Narittaya Phra U Ma Thewi”, which portrays the worship of Parvati, her eight weapons, and eight blessings. The research synthesizes information from historical documents, observations, interviews with Nora dance and Indian dramatic arts experts, and the creators’ experiences using Suraphon Wirunrak’s seven-step creation theory. The performance integrates Nora dance and Bharatanatyam, featuring three movements for worship, eight for Parvati’s weapons, and eight for her blessings. It is divided into three parts: Worship Dance, where the Deva

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Vandana, Bharadwaj. "Experience Bharatnatyam through the Lens of Connected Devices." AKSHARASURYA 04, no. 01 (2024): 111–20. https://doi.org/10.5281/zenodo.11162943.

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The COVID-19 pandemic has compelled the performing arts community to explore virtual platforms as a means of continuing their artistic practices. Bharatanatyam, a classical Indian dance form, has also witnessed a shift towards virtual training and performance. The purpose of this abstract is to share my experience in training and performing Bharatanatyam on a virtual platform and discuss the benefits and drawbacks. Alongside I have made an effort to list down few strategies to mitigate the technological drawback to safeguard Bharatnatyam’s authenticity and cultural heritage.

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Bhandage, Venkatesh, Basavaraj Anami, Andrew J, and Balachandra Hadimani. "Classification of Bharatanatyam postures using tailored features and artificial neural network." IAES International Journal of Artificial Intelligence (IJ-AI) 14, no. 1 (2025): 482. http://dx.doi.org/10.11591/ijai.v14.i1.pp482-491.

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Bharatanatyam is a classical dance form of India that upholds the rich culture of India. This dance is learned under the supervision of Guru, the teacher traditionally called in India. The scarcity of experts resulted in the decline of people practicing this dance. There is a need for leveraging technology in preserving and promoting this traditional dance and propagating it amongst the youth. In this research, it is attempted to develop a methodology for automated classification of Bharatanatyam dance postures. The methodology involves extraction of existing features such as speeded up robust

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Venkatesh, Bhandage, Anami Basavaraj, J. Andrew, and Hadimani Balachandra. "Classification of Bharatanatyam postures using tailored features and artificial neural network." IAES International Journal of Artificial Intelligence (IJ-AI) 14, no. 1 (2025): 482–91. https://doi.org/10.11591/ijai.v14.i1.pp482-491.

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Bharatanatyam is a classical dance form of India that upholds the rich culture of India. This dance is learned under the supervision of Guru, the teacher traditionally called in India. The scarcity of experts resulted in the decline of people practicing this dance. There is a need for leveraging technology in preserving and promoting this traditional dance and propagating it amongst the youth. In this research, it is attempted to develop a methodology for automated classification of Bharatanatyam dance postures. The methodology involves extraction of existing features such as speeded up robust

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

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a st

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

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a st

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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 f

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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 (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, studen

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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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Banerjee, Suparna. "Creating living forms: choreography in Bharatanatyam." Research in Dance Education 6, no. 1-2 (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 (2019): 69–86. http://dx.doi.org/10.1080/02759527.2019.1692278.

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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 (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

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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 (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 fle

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

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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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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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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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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 contes

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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 (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 childr

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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

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Satya, Nilayam Research Institute of Philosophy &. Culture. "Interview with Two Eminent Dancers." Satya Nilayam Chennai Journal of Intercultural Philosophy 3 (June 5, 2003): 72–89. https://doi.org/10.5281/zenodo.12703554.

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Chandrasekhar (b 1935) is one of India's senior most Bharatanatyam dancers, trained at the internationally renowned Kalakshetra in Chennai under the able guidance of Smt. Rukmani Devi Arundale. He has imbibed from his mentor the best of Indian art, Culture and aesthetics.

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Naaz, Saba, and K. B. Shiva Kumar. "Integrated deep learning classification of Mudras of Bharatanatyam: A case of hand gesture recognition." Scientific Temper 14, no. 04 (2023): 1374–80. http://dx.doi.org/10.58414/scientifictemper.2023.14.4.46.

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Bharatanatyam is a famous Indian classical dance which incorporates the essence of hand gestures or mudras as a means of communication by performers. Bharatanatyam has around 28 single and 23 double hand gestures respectively. Recognizing the gestures is challenging due to minor structural differences between the gestures and presence of gestures with higher structural similarity. This work proposes a deep learning strategy combining Scale invariant feature transform features with convolutional neural network to address the challenge in accurate recognition of mudras. The gestures are segmente

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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 (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 (2015): 148–63. http://dx.doi.org/10.1080/08839514.2015.993557.

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Iyengar, S. "Facilitating adaptive movement in older adults through Bharatanatyam." Perspectives in Public Health 144, no. 5 (2024): 282–84. http://dx.doi.org/10.1177/17579139241242014.

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