Relevant bibliographies by topics / Indian classical dance

Contents

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

Academic literature on the topic 'Indian classical dance'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Indian classical dance.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Indian classical dance"

1

Putcha, Rumya S. "Between History and Historiography: The Origins of Classical Kuchipudi Dance." Dance Research Journal 45, no. 3 (December 2013): 91–110. http://dx.doi.org/10.1017/s0149767713000260.

Full text
Abstract:
This article examines the intertwined discourses and debates of classicism, linguistic regionalism, caste, and gender in the case of South Indian dance. By focusing on the dance form, Kuchipudi, from Andhra Pradesh, the first administrative region in India formed on the basis of language, this study exposes the important connections between identity politics and the creation of cultural icons, such as classical dance. This study deconstructs the paradox of Kuchipudi's classicization, as it has become historicized as a symbol of masculine, Brahminical, Telugu culture, on the one hand, and the projects of Indian modernity, which center on the iconicization of the female dancer, on the other.Through archival, discursive, and ethnographic analysis, this article examines how the construction of classicism in Kuchipudi dance creates and supports hegemonic versions of Telugu history. This focus extends previous studies of Indian classical dance by sustaining questions about the reification of the Kuchipudi dancing body, the implications that this has regarding the fate of hereditary courtesan dancers, and the discursive strategies that allow Brahmin male history and female dance practice to coalesce.
APA, Harvard, Vancouver, ISO, and other styles
2

Kumar, K. V. V., and P. V. V. Kishore. "Indian Classical Dance Mudra Classification Using HOG Features and SVM Classifier." International Journal of Electrical and Computer Engineering (IJECE) 7, no. 5 (October 1, 2017): 2537. http://dx.doi.org/10.11591/ijece.v7i5.pp2537-2546.

Full text
Abstract:
Digital understanding of Indian classical dance is least studied work, though it has been a part of Indian Culture from around 200BC. This work explores the possibilities of recognizing classical dance mudras in various dance forms in India. The images of hand mudras of various classical dances are collected form the internet and a database is created for this job. Histogram of oriented (HOG) features of hand mudras input the classifier. Support vector machine (SVM) classifies the HOG features into mudras as text messages. The mudra recognition frequency (MRF) is calculated for each mudra using graphical user interface (GUI) developed from the model. Popular feature vectors such as SIFT, SURF, LBP and HAAR are tested against HOG for precision and swiftness. This work helps new learners and dance enthusiastic people to learn and understand dance forms and related information on their mobile devices.
APA, Harvard, Vancouver, ISO, and other styles
3

Katrak, Ketu H. "Toward Defining Contemporary Indian Dance: A Global Form." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 129–39. http://dx.doi.org/10.1017/s2049125500000613.

Full text
Abstract:
This essay explores innovations in contemporary Indian dance based in classical Indian dance, martial arts and Western dance vocabularies. Who is making change and how does change work? I delineate the parameters of contemporary Indian dance as a genre (since the 1980s) and distinguish it from Bollywood style “free” dance. I analyze the creative choreography of one prominent contemporary Indian dancer, Chennai (India) based Anita Ratnam. Ratnam's signature style, evoking the “feminine transcendental,” is rooted in Indian aesthetic along with a pan-Asian scope. Ratnam's over twenty-year dance career of solo, group, and collaborative work, along with pioneering artist, Astad Deboo, serve as role models for second-generation contemporary Indian dancers such as Los Angeles–based Post-Natyam Collective's movement explorations, among other dancers based in the diaspora.
APA, Harvard, Vancouver, ISO, and other styles
4

Putcha, Rumya S. "The Modern Courtesan: Gender, Religion and Dance in Transnational India." Feminist Review 126, no. 1 (October 22, 2020): 54–73. http://dx.doi.org/10.1177/0141778920944530.

Full text
Abstract:
This article exposes the role of expressive culture in the rise and spread of late twentieth-century Hindu identity politics. I examine how Hindu nationalism is fuelled by an affective attachment to the Indian classical dancer. I analyse the affective logics that have crystallised around the now iconic Indian classical dancer and have situated her gendered and athletic body as a transnational, globally circulating emblem of an authentic Hindu and Indian national identity. This embodied identity is represented by the historical South Indian temple dancer and has, in the postcolonial era, been rebranded as the nationalist classical dancer—an archetype I refer to as the modern courtesan. I connect the modern courtesan to transnational forms of identity politics, heteropatriarchal marriage economies, as well as pathologies of gender violence. In so doing, I examine how the affective politics of ‘Hinduism’ have functionally weaponised the Indian dancing body. I argue that the nationalist and now transnationalist production of the classical dancer-courtesan exposes misogyny and casteism and thus requires a critical feminist dismantling. This article combines ethnographic fieldwork in classical dance studios in India and the United States with film and popular media analysis to contribute to critical transnational feminist studies, as well as South Asian gender, performance and media studies.
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
APA, Harvard, Vancouver, ISO, and other styles
7

Royo, A. L. y. "Indian Classical Dance: A Sacred Art?" Journal of Hindu Studies 3, no. 1 (March 23, 2010): 114–23. http://dx.doi.org/10.1093/jhs/hiq008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Sarkar, Kaustavi. "Indian Classical Dance Education in Diaspora." Dance Education in Practice 6, no. 3 (July 2, 2020): 6–14. http://dx.doi.org/10.1080/23734833.2020.1791568.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
10

Chakravarty, Esha, Indrani Chakravarty, Ipsito Chakravarty, and Prasenjit Bhattacharjee. "Effects of Dance Therapy on Balance and Risk of Falls in Older Persons." Innovation in Aging 4, Supplement_1 (December 1, 2020): 234–35. http://dx.doi.org/10.1093/geroni/igaa057.756.

Full text
Abstract:
Abstract Loss of balance and risk of falls is a major problem in older persons. Literature shows increasing use of yoga practices and dance therapy across Indian oldage homes and day care centres to improve balance and reduce risk of falls in older persons. Aim of this study is to evaluate the effects of dance therapy with focus on therapeutic movements derived from Indian classical dances on balance and risk of falls in older adults of Day Care Centres in Calcutta Metropolitan Institute of Gerontology, under Ministry of Social Justice and Empowerment, Govt. of India. Total of 24 older adults across 2 day care centres participated in the study attending dance therapy sessions for 3 months. All of them self reported problems of balance and repeated falls alongwith difficulties in performing Activities of Daily Living. Twenty one of them were females and 3 males. The mean age of the participants was 75.5 years. Limits of Stabililty (LOS) was used to measure balance and pre tests and post tests were performed. Results showed that the Limits of Stability were significantly higher (17.5%) in older persons after participating in the dance therapy sessions. This study supports that dance therapy using movements derived from Indian classical dance forms can support older persons to function with reduced risk of falls, improved balance, safely carry out mobility tasks and perform better Activities of Daily Living . Further studies can show how dance therapy can facilitate healthy ageing and influence State policies on healthy ageing.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Indian classical dance"

1

Thobani, Sitara. "Dancing diaspora, performing nation : Indian classical dance in multicultural London." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c189d163-b113-408f-9f3b-181c6fd5fbce.

Full text
Abstract:
This thesis examines the performance of Indian classical dance in the contemporary 'diaspora space' (Brah 1996) represented by the city of London. My aim is to analyse whether and how performances of "national" art, assumed to represent an equally "national" culture, change when performed in transnational contexts. Drawing upon theories of postcolonialism, multiculturalism and diaspora, I begin my study with an historical analysis of the reconstructed origins of the dance in the intertwined discourses of British colonialism and Indian nationalism. Using this analysis to ground my ethnography of the present-day practice of the dance, I unearth its relation to discourses of contemporary multiculturalism and South Asian diasporic identity. I then demonstrate specific ways in which the relationship between colonial and postcolonial artistic production on the one hand and contemporary performances of national and multicultural identity on the other are visible in the current practices and approaches of diasporic and multicultural Indian classical dancers. My thesis advances the scholarship that has demonstrated the link between the construction of Indian classical dance and the Indian nationalist movement by highlighting particular ways in which historical narrative, national and religious identities, gendered ideals and racialised categories are constituted through, and help produce in turn, contemporary Indian classical dance practices in the diaspora. Locating my study in the UK while still accounting for the Indian nationalist aspects of the dance, my contribution to the scholarly literature is to analyse its performance in relation to both Indian and British national identity. My research demonstrates that Indian classical dance is co-produced by both British and Indian national discourses and their respective cultural and political imperatives, even as the dance contributes to the formation of British, Indian and South Asian diasporic politico-cultural identities.
APA, Harvard, Vancouver, ISO, and other styles
2

Bose, Mandakranta. "The evolution of classical Indian dance literature : a study of the Sanskritic tradition." Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:07f89602-1892-4fa5-9d77-767a874597ef.

Full text
Abstract:
The most comprehensive view of the evolution of dancing in India is one that is derived from Sanskrit textual sources. In the beginning of the tradition of discourse on dancing, of which the earliest extant example is the Natyasastra of Bharata Muni, dancing was regarded as a technique for adding the beauty of abstract form to dramatic performances. An ancillary to drama rather than an independent art, it carried no meaning and elicited no emotional response. Gradually, however, its autonomy was recognized as also its communicative power and it began to be discussed fully in treatises rather than in works on drama or poetics-a clear sign of its growing importance in India's cultural life. Bharata's description of the body movements in dancing and their interrelationship not only provided the taxonomy for all subsequent authors on dancing but much of the information on its actual technique. However, Bharata described only what he considered to be artistically the most cultivated of all the existing dance styles, leaving out regional and popular varieties. These styles, similar in their basic technique to Bharata's style but comprising new types of movements and methods of composition, began to be included in later studies. By the 16th century they came to occupy the central position in the accounts of contemporary dancing and coalesced into a distinct tradition that has remained essentially unchanged to the present time. Striking technical parallels relate modern styles such as Kathak and Odissi to the later tradition rather than to Bharata's. The textual evidence thus shows that dancing in India evolved by assimilating new forms and techniques and by moving away from its early dependency on drama. In the process it also widened its aesthetic scope beyond decorative grace to encompass emotive communication. Beauty of form was thus wedded to the matter of emotional content, resulting in the growth of a complex art form.
APA, Harvard, Vancouver, ISO, and other styles
3

Jacobson, Joanna Rose. "The scent of jasmine : experiencing knowledge and emotion in cross cultural contexts of South Indian classical dance." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/22343.

Full text
Abstract:
My thesis uses the experience of learning bharatanatyam, classical dance-form of Tamilnadu, Southern India, to explore anthropological notions of the experience and formulation of emotion. As research unfolded, I became increasingly interested in understanding how bharatanatyam is taught, understood and experienced by those dancers who principally live and study bharatanatyam outside India. Consequently, my fieldwork emerged as multi-sited, and considers dance contexts in Edinburgh, London, and Chidambaram-a small temple town to the south of Chennai, India. My analysis is primarily a phenomenological one. Drawing on Indian aesthetic theory, which gives meticulous and analytical attention to the emotional aesthetic in the dance, I discuss the process through which emotion is taught, formulated, experienced and expressed by dancers, and the relationship between 'personal' and 'aesthetic' emotion. I suggest that the nature of bharatanatyam is implicated in a system of teaching (gurukulam) which may at times be incompatible with the 'displaced' environments in which bharatanatyam is often taught nowadays, but which must be retained in some aspect to render the dance meaningful. Thus my thesis also necessarily considers the epistemological issues which students and teachers experience in the face of particular notions of knowledge and meaning, where tensions reveal important questions for discussion. In a broader context, these are also issues that anthropologists face when confronted with systems of knowledge which challenge how meaning is formulated. Using the dance as an anthropological tool, my work addresses this in relation to discussions of bodily and embodied knowledge, and places them within issues of self and emotion. I suggest, in the case of bharatanatyam, this cannot be wholly understood within our own theoretical framework, a process highlighted by cross-cultural experiences of learning dance. Using theoretical analysis and textual play, I take the reader to a fuller understanding of the very ways in which knowledge may be created and made meaningful.
APA, Harvard, Vancouver, ISO, and other styles
4

Kimiko, Ohtani. "Rukmini Devi and Bharata Natyam : the revival of classical dance in India." Thesis, Queen's University Belfast, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241425.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Dhiman, Palak. "Multiculturalism and identity formation among second generation Canadian women of South Asian origin through Indian classical dance." 2013. http://hdl.handle.net/1993/22159.

Full text
Abstract:
The main research question of this project asks: what role does Indian classical dance play in the identity formation of second generation Canadian women of South Asian origin as they negotiate their identities as Canadians living in a multicultural country? The research question is analyzed through the theoretical frameworks of both citizenship theory, identity theory, and Bourdieu’s notions of ‘habitus’, ‘field’, and cultural capital. Semi-structured interviews are conducted with dancers of 2 main dance styles (“Kathak” and “Bharatnatyam”) and of various ages over 18. Interviews are also conducted with a dance teacher/creative director and a dance company coordinator. Findings indicate that Indian classical dance influences identity formation in 3 main ways: in the way that the participants embody the dance forms of Kathak and/or Bharatnatyam, in the way they form their identities as individuals, and in the way they form their identities as multicultural Canadians.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Indian classical dance"

1

Indian classical dance. 2nd ed. New Delhi: Ministry of Information and Broadcasting, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Vatsyayan, Kapila. Indian classical dance. 2nd ed. New Delhi: Ministry of Information and Broadcasting, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Dhananjayan on Indian classical dance. 3rd ed. Delhi: B.R. Rhythms, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Kothari, Sunil. Kathak, Indian classical dance art. New Delhi: Abhinav Publications, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Khokar, Mohan. Traditions of Indian classical dance. 3rd ed. New Delhi: Clarion Books associated with Hind Pocket Books, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Celebration of Indian classical dances. Gurgaon: Shubhi Publications, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Glimpses of Indian classical dances. Chandigarh: Unistar Books, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Sudhakar, Kanaka. Indian classical dancing: The therapeutic advantages. New Delhi: Sterling Publishers, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Avinash, Pasricha, ed. Kuchipudi =: Kūcipūdi : Indian classical dance art. New Delhi: Abhinav Publications, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Hejmadi, Patnaik Ahalya, ed. Odissi, an Indian classical dance form. New Delhi: Aryan Books International, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Indian classical dance"

1

Hanna, Judith Lynne. "Classical Indian Dance and Women’s Status." In Dance, Gender and Culture, 119–35. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23842-2_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Hanna, Judith Lynne. "Classical Indian Dance and Women’s Status." In Dance, Gender and Culture, 119–35. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22747-1_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Katrak, Ketu H. "Contested Histories: “Revivals” of Classical Indian Dance and Early Pioneers of Contemporary Indian Dance." In Contemporary Indian Dance, 26–55. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Shubhangi and Uma Shanker Tiwary. "Classification of Indian Classical Dance Forms." In Intelligent Human Computer Interaction, 67–80. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52503-7_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Bhargava, Vinita, and Priya Srinivasan. "Classical Indian Dance and the Dancer: Engaging with Tradition and Modernity." In Resistance in Everyday Life, 247–59. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3581-4_18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Chakravorty, Pallabi. "From interculturalism to historicism: reflections on classical Indian dance (2000/1)." In The Routledge Dance Studies Reader, 223–33. New third edition, Expanded and updated edition. | New York : Routledge, 2019. | “Second edition published by Routledge 2010”–T.p. verso.: Routledge, 2018. http://dx.doi.org/10.4324/9781315109695-21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Kumar, K. V. V., and P. V. V. Kishore. "Indian Classical Dance Mudra Classification Using HOG Features and SVM Classifier." In Smart Computing and Informatics, 659–68. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5544-7_65.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Devi, Mampi, and Alak Roy. "Recognition of Indian Classical Dance Single-Hand Gestures Using Moment Invariant Features." In Communications in Computer and Information Science, 73–80. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-66763-4_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Pattanaik, Sumant Narayan. "A Stylised Model for Animating Bharata Natyam, an Indian Classical Dance Form." In Computers in Art, Design and Animation, 264–73. New York, NY: Springer New York, 1989. http://dx.doi.org/10.1007/978-1-4612-4538-4_21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Naik, Ashwini Dayanand, and M. Supriya. "Classification of Indian Classical Dance 3D Point Cloud Data Using Geometric Deep Learning." In Computational Vision and Bio-Inspired Computing, 81–93. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6862-0_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Indian classical dance"

1

Samanta, Soumitra, Pulak Purkait, and Bhabatosh Chanda. "Indian Classical Dance classification by learning dance pose bases." In 2012 IEEE Workshop on Applications of Computer Vision (WACV). IEEE, 2012. http://dx.doi.org/10.1109/wacv.2012.6163050.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kale, Manjeeta R., and Priti P. Rege. "Classification of expressions in Indian Classical Dance using LBP." In 2019 IEEE 16th India Council International Conference (INDICON). IEEE, 2019. http://dx.doi.org/10.1109/indicon47234.2019.9029006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Saha, Sriparna, Shreya Ghosh, Amit Konar, and Atulya K. Nagar. "Gesture Recognition from Indian Classical Dance Using Kinect Sensor." In 2013 Fifth International Conference on Computational Intelligence, Communication Systems and Networks (CICSyN). IEEE, 2013. http://dx.doi.org/10.1109/cicsyn.2013.11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Naik, Ashwini Dayanand, and M. Supriya. "Classification of Indian Classical Dance Images using Convolution Neural Network." In 2020 International Conference on Communication and Signal Processing (ICCSP). IEEE, 2020. http://dx.doi.org/10.1109/iccsp48568.2020.9182365.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Samanta, Soumitra, and Bhabatosh Chanda. "Indian Classical Dance Classification on Manifold Using Jensen-Bregman LogDet Divergence." In 2014 22nd International Conference on Pattern Recognition (ICPR). IEEE, 2014. http://dx.doi.org/10.1109/icpr.2014.771.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kumar, K. V. V., P. V. V. Kishore, D. Anil Kumar, and E. Kiran Kumar. "Indian classical dance action identification using adaboost multiclass classifier on multifeature fusion." In 2018 Conference on Signal Processing And Communication Engineering Systems (SPACES). IEEE, 2018. http://dx.doi.org/10.1109/spaces.2018.8316338.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Saha, Sriparna, Shreya Ghosh, Amit Konar, and Ramadoss Janarthanan. "A study on leg posture recognition from Indian classical dance using Kinect sensor." In 2013 International Conference on Human Computer Interactions (ICHCI). IEEE, 2013. http://dx.doi.org/10.1109/ichci-ieee.2013.6887795.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Dhanapalan, Biju. "Capturing Kathakali: Performance capture, digital aesthetics, and the classical dance of India." In 2016 22nd International Conference on Virtual System & Multimedia (VSMM). IEEE, 2016. http://dx.doi.org/10.1109/vsmm.2016.7863197.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Indian classical dance' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography