Journal articles: 'Indian classical dance'

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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

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

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

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

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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.

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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.

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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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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.

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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.

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Sarwal, Amit. "Louise Lightfoot and Ibetombi Devi: The Second Manipuri Dance Tour of Australia, 1957." Dance Research 32, no. 2 (November 2014): 208–32. http://dx.doi.org/10.3366/drs.2014.0107.

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Manipur, a small state in the North-Eastern India, is traditionally regarded in the Indian classics and epics such as Ramayana and Mahabharata as the home of gandharvas (the celestial dancers). Manipuri is one of the eleven dance styles of India that have incorporated various techniques mentioned in such ancient treatises as the Natya Shastra and Bharatarnava and has been placed by Sangeet Natak Akademi within ‘a common heritage’ of Indian classical dance forms (shastriya nritya): Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In the late-1950s Louise Lightfoot, the ‘Australian mother of Kathakali,’ visited Manipur to study and research different styles of Manipuri dance. There she met Ibetombi Devi, the daughter of a Manipuri Princess; she had started dancing at the age of four and by the age of twelve, she had become the only female dancer to perform the Meitei Pung Cholom on stage––a form of dance traditionally performed by Manipuri men accompanied by the beating of the pung (drum). In 1957, at the age of 20, Ibetombi became the first Manipuri female dancer to travel to Australia. This paper addresses Ibetombi Devi's cross-cultural dance collaboration in Australia with her impresario, Louise Lightfoot, and the impression she and her co-dancer, Ananda Shivaram, made upon audiences.

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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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Thobani, Sitara. "Decolonising Indian classical dance? Projects of reform, classical to contemporary." South Asian Diaspora 11, no. 2 (January 18, 2019): 179–92. http://dx.doi.org/10.1080/19438192.2019.1568563.

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Kishore, P. V. V., K. V. V. Kumar, E. Kiran Kumar, A. S. C. S. Sastry, M. Teja Kiran, D. Anil Kumar, and M. V. D. Prasad. "Indian Classical Dance Action Identification and Classification with Convolutional Neural Networks." Advances in Multimedia 2018 (2018): 1–10. http://dx.doi.org/10.1155/2018/5141402.

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Extracting and recognizing complex human movements from unconstrained online/offline video sequence is a challenging task in computer vision. This paper proposes the classification of Indian classical dance actions using a powerful artificial intelligence tool: convolutional neural networks (CNN). In this work, human action recognition on Indian classical dance videos is performed on recordings from both offline (controlled recording) and online (live performances, YouTube) data. The offline data is created with ten different subjects performing 200 familiar dance mudras/poses from different Indian classical dance forms under various background environments. The online dance data is collected from YouTube for ten different subjects. Each dance pose is occupied for 60 frames or images in a video in both the cases. CNN training is performed with 8 different sample sizes, each consisting of multiple sets of subjects. The remaining 2 samples are used for testing the trained CNN. Different CNN architectures were designed and tested with our data to obtain a better accuracy in recognition. We achieved a 93.33% recognition rate compared to other classifier models reported on the same dataset.

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Lalli, Gina. "A North Indian Classical Dance Form: Lucknow Kathak." Visual Anthropology 17, no. 1 (January 2004): 19–43. http://dx.doi.org/10.1080/08949460490273997.

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Gaston, Anne-Marie. "Bharata Natyam: A Classical Indian Dance in Transition." South Asian Studies 7, no. 1 (January 1991): 127–40. http://dx.doi.org/10.1080/02666030.1991.9628433.

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Ananya. "Training in Indian Classical Dance: A Case Study." Asian Theatre Journal 13, no. 1 (1996): 68. http://dx.doi.org/10.2307/1124303.

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Mithbavkar, Shraddha A. "EMG Based Emotion Recognition in Indian Classical Dance." Bioscience Biotechnology Research Communications 13, no. 14 (December 25, 2020): 330–34. http://dx.doi.org/10.21786/bbrc/13.14/76.

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Harmalkar, Shashwati. "GRADUAL CHANGE IN LIGHTS, STAGE MANAGEMENT AND COSTUMES IN KATHAK DANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3395.

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Kathak dance is a prominent classical dance of northern India. Indian dances have seen enormous changes in the past few years, but the fact that remains is not only has there been a change in the movements and “abhinay prakar” or expressions but also light and stage management and the costumes.Kathak performing artists or the “kathakkas” as they were called were actually story tellers and were earlier the messengers of the king. Gradually this art of storytelling changed its track to become India’s most performed classical dance.In 10th century this dance became a way of tribute to the almighty and was popularly performed by the devdasis in various temples. Though they were not openly performed for the devotees at first but only for the idols of the deity. Since the dance was performed in privacy, there was no need of stage and light. It was assumed that the dance was performed to depict ones bhakti or devotion towards the god and for the god’s entertainment hence costume and jewellery were given special weightage. Blunt colours like red or green in fully covered lehenga; choli and dupatta were selected with loads of gold jewellery of all kinds.

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Diamond, Catherine. "Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India." New Theatre Quarterly 34, no. 4 (October 8, 2018): 307–25. http://dx.doi.org/10.1017/s0266464x18000398.

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In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in both cultures a pathway toward participating in an internal androgyny, a wider spectrum of gender representation than either the Asian traditional dance or contemporary Asian society normally allows. Catherine Diamond is a professor of theatre and environmental literature. She is Director of the Kinnari Ecological Theatre Project in Southeast Asia, and the director/choreographer of Red Shoes Dance Theatre in Taiwan.

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Bharnuke, Juhi K., Rajani P. Mullerpatan, and Claire Hiller. "Evaluation of Standing Balance Performance in Indian Classical Dancers." Journal of Dance Medicine & Science 24, no. 1 (March 15, 2020): 19–23. http://dx.doi.org/10.12678/1089-313x.24.1.19.

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Indian classical dance involves a constant change of the base of support from stance to low jumps and spins along with intricate footwork. Graceful movement of the torso, shifting from side to side and turning around the axis of the spine, challenges balance. Yet, balance performance remains unexplored in Indian classical dancers. Therefore, the present study aimed to compare the standing balance of 36 active female dancers (18 to 25 years of age) who had performed Indian classical dance for a minimum of 10 years with 36 healthy age-matched women not involved in regular physical activity. Balance was evaluated in static and dynamic conditions of single and dual-limb stance on a force plate using center-of-pressure trajectory and the Star Excursion Balance Test (SEBT). Dancers demonstrated better balance on both instrumented and non-instrumented outcome variables: wide base of support with eyes open and with eyes closed; for 30-second single limb stance with eyes open and with eyes closed; for 13-second dual task in single limb stance; and for 22-second dual task in wide base of support. The SEBT revealed significantly better balance performance of dancers in the three directions tested: anterior, posteromedial, and posterolateral. There was also a strength component of the study on which the dancers achieved significantly higher scores than controls for the three muscle groups tested (gastrocsoleus, gluteus medius, and quadriceps), which can be attributed to their training. These findings can be used to recommend classical dance training to achieve the dual purpose of deriving better balance and stronger bodies and maintaining the Indian dance heritage.

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Kumar, K. V. V., P. V. V. Kishore, and D. Anil Kumar. "Indian Classical Dance Classification with Adaboost Multiclass Classifier on Multifeature Fusion." Mathematical Problems in Engineering 2017 (2017): 1–18. http://dx.doi.org/10.1155/2017/6204742.

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Extracting and recognizing complex human movements from unconstraint online video sequence is an interesting task. In this paper the complicated problem from the class is approached using unconstraint video sequences belonging to Indian classical dance forms. A new segmentation model is developed using discrete wavelet transform and local binary pattern (LBP) features for segmentation. A 2D point cloud is created from the local human shape changes in subsequent video frames. The classifier is fed with 5 types of features calculated from Zernike moments, Hu moments, shape signature, LBP features, and Haar features. We also explore multiple feature fusion models with early fusion during segmentation stage and late fusion after segmentation for improving the classification process. The extracted features input the Adaboost multiclass classifier with labels from the corresponding song (tala). We test the classifier on online dance videos and on an Indian classical dance dataset prepared in our lab. The algorithms were tested for accuracy and correctness in identifying the dance postures.

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V.V. Kumar, K., and P. V.V. Kishore. "Indian classical dance action identification using adaptive graph matching from unconstrained videos." International Journal of Engineering & Technology 7, no. 1.1 (December 21, 2017): 500. http://dx.doi.org/10.14419/ijet.v7i1.1.10156.

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Extracting and recognizing complex human movements from unconstraint online video sequence is a challenging task. In this work the problem becomes complicated by the use of unconstraint video sequences belonging to Indian classical dance forms. A new segmentation model is developed using discrete wavelet transform and local binary pattern features for segmentation. We also explore multiple feature fusion models with early fusion and late fusion techniques for improving the classification process. The extracted features were represented as a graph and a novel adaptive graph matching algorithm is proposed. We test the algorithms on online dance videos and on an Indian classical dance dataset prepared in our lab. The algorithms were tested for accuracy and correctness in identifying the dance postures.

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Chakravorty, Pallabi. "From Interculturalism to Historicism: Reflections on Classical Indian Dance." Dance Research Journal 32, no. 2 (2000): 108. http://dx.doi.org/10.2307/1477983.

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Thiagarajan, Premalatha. "Gender and Ethnicity in Indian Classical Dance in Malaysia." Asian Theatre Journal 34, no. 1 (2017): 97–121. http://dx.doi.org/10.1353/atj.2017.0006.

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Taranda, G. L. "Modern Dance As an American Alternative to Classical Ballet." Contemporary problems of social work 6, no. 4 (December 30, 2020): 45–51. http://dx.doi.org/10.17922/2412-5466-2020-6-4-45-51.

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the article analyzes the features of the American modern dance, which formed in the first half of the 20th century as an alternative to the classical ballet of the United States, which had Russian roots. In the article there were formulated both the artistic and aesthetic principles of modern dance and the historical and cultural prerequisites for the formation of the US national choreographic school. The work uses theoretical methods: visual and text analysis of choreographic works and music for performances, comparison of the means of plastic expressiveness, movements and figures of classical ballet and modern dance, the principles of stage development of artistic images of performances. The basis of the empirical study was a generalization of the practical experience of staging performances by leading American dancers of the 20th century. According to the results of the study, it is noted that the features of modern dance are opposite to the classical ballet of the United States, testify to the desire of Americans to illuminate the problems of modern time and convey the unique national features of US culture, using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet, but reflect the spirit of our time. The materials of the article have theoretical and practical value for specialists dealing with the problems of culture and art of the 20th century, including modern choreography

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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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Kumari, Nisha. "AN ANALYSIS ON MENTAL WELLBEING AND DANCE PRACTICE W.S.R TO INDIAN CLASSICAL DANCE FORMS." International Ayurvedic Medical Journal 09, no. 1 (March 23, 2021): 234–38. http://dx.doi.org/10.46607/iamj.3709012021.

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Body expresses its existence because of mind that emotes, similarly mind needs body as media for the ex-pression of its existence. Thus, Mind, Body and Spirit coordinate with each other for balancing functionali-ty in humans and promote health. Dance is one of the mediums that bring synchronization or the coordina-tion between them. The neurological, muscular and emotional elements of the body respond to dance in all constructive ways. The article analyzes all those components that help mind and emotions to remain well composed by regular dance practice. The focus or concentration, the mental activity and tolerance, the pa-tience and stability are all brought into the person by practicing dance. In this study special emphasis is giv-en to Indian classical dance forms as it involves both vigorous as well as delicate foot works and it also has vast array of hand gestures to make dancing more interesting and graceful to practice. Keywords: Natya, Nritya, Manas, Satwa, Medha, Harsha, Prana Vata, Sadaka Pitta, Rajasa guna, Tamas, Mano Vijnana

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Mithbavkar, Shraddha A., and Milind S. Shah. "Recognition of Emotion in Indian Classical Dance Using EMG Signal." International Journal on Advanced Science, Engineering and Information Technology 11, no. 4 (August 9, 2021): 1336. http://dx.doi.org/10.18517/ijaseit.11.4.14034.

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Purkayastha, Prarthana. "Subversive bodies: Feminism and New Dance in India." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 189–99. http://dx.doi.org/10.1386/safm.4.2.189_1.

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This article explores how the Indian navanritya or ‘New Dance’ body, as crafted by choreographers Manjusri Chaki Sircar and Ranjabati Sircar, provided an alternative to the hegemonic representation of femininity in Indian classical dance. The Sircars’ feminist ideology-driven rebuttal of institutional and patriarchal dance pedagogy and praxis produced local critiques of cultural nationalism in and through the dancing body. This article discusses how these new bodies, shaped by a simultaneous eschewal and espousal of Indian cultural legacy, produce a complex picture of negotiation, one in which dialectical relationships between culture and the bodies that are situated within it are seen to emerge.

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IYENGAR, KALPANA MUKUNDA. "Bharatanatyam Dance." Dev Sanskriti Interdisciplinary International Journal 13 (January 31, 2019): 16–24. http://dx.doi.org/10.36018/dsiij.v13i.111.

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This article explores an Asian Indian American youth’s Bharatnatyam dance literacy education in a major city in the southwest of the U.S. I draw from sociocultural, multimodal, transmediation, and multiple intelligencies theories to support my claims. Findings reveal the young adult’s dance education contributed to cultural preservation (Iyengar & Smith, 2016). A plethora of research on the contributions of dance education in the physical development of children is available. This study offers understandings of how formal classical dance (Bharatanatyam) is both beneficial physically and psychologically. Dance, especially Bharatanatyam, culturally codified and schematized contributes to literacy learning in school.

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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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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (December 31, 2020): 39–59. http://dx.doi.org/10.31261/rias.9805.

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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.

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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (December 31, 2020): 39–59. http://dx.doi.org/10.31261/rias.9805.

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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.

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Katrak, Ketu H. "Jay Pather Reimagining Site-Specific Cartographies of Belonging." Dance Research Journal 50, no. 2 (August 2018): 31–44. http://dx.doi.org/10.1017/s0149767718000219.

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This essay examines Jay Pather's site-specific workCityscapes(2002) within a theoretical discussion of the conjuncture and disjuncture of space and race in South Africa. Jay Pather, a South African of Indian ancestry, an innovative choreographer and curator of site-specific works, creatively uses space to inspire social change by providing access and challenging exclusions—social, cultural, political—of black and colored South Africans during apartheid (1948–1994) and after. A progressive vision underlies his avant-garde work expressed via a hybrid choreographic palette of South African classical and popular dance styles, Indian classical dance, modern and contemporary dance. His choreography is performed across South Africa and the African continent as well as in Denmark, Mumbai, and New York City.

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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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Schnepel, Cornelia. "Bodies Filled with Divine Energy: The Indian Dance Odissi." Paragrana 18, no. 1 (September 2009): 188–99. http://dx.doi.org/10.1524/para.2009.0012.

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AbstractThis article is based on interviews made with gurus and dancers in Orissa, East India. The Odissi, a classical dance which stands at the centre of attention here, is a mixture of centuries-old traditions and relatively new influences, or even inventions. By discussing the dance′s history, its aesthetic qualities and, most importantly, the emic points of view of contemporary practitioners of the dance, it is shown that today′s Odissi is based on ideas and practices that stem as much from old Sanskrit writings and late-medieval temple practices as they do from the contemporary realms of popular Hinduism and tribal religion and art. For its practitioners, the dance represents a form of devotion to Jagannath, and Odisssi is thus understood as a spiritual dance through which a relationship between the god and his adherents is established or performed. While the attitude exhibited by dancers and audience alike is one of spirituality and bhakti, this spirituality and loving surrender can only be achieved through the bodily practice of the dance, which turns the presence of the deity into a somatic experience in which all the bodily senses are involved.

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Thiagarajan, Premalatha. "Move in Time: Male Dancers of Indian Classical Dance in Malaysia." Wacana Seni Journal of Arts Discourse 16 (2017): 69–84. http://dx.doi.org/10.21315/ws2017.16.3.

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Mohanty, Aparna, and Rajiv R. Sahay. "Rasabodha: Understanding Indian classical dance by recognizing emotions using deep learning." Pattern Recognition 79 (July 2018): 97–113. http://dx.doi.org/10.1016/j.patcog.2018.01.035.

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VADREVU, VYJAYANTHI. "Indian Classical Dance: The Foundational Element in My Practice of Ethnography." Ethnographic Praxis in Industry Conference Proceedings 2017, no. 1 (November 2017): 487. http://dx.doi.org/10.1111/1559-8918.2017.01175.

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Mohanty, Aparna, Pratik Vaishnavi, Prerana Jana, Anubhab Majumdar, Alfaz Ahmed, Trishita Goswami, and Rajiv R. Sahay. "Nrityabodha: Towards understanding Indian classical dance using a deep learning approach." Signal Processing: Image Communication 47 (September 2016): 529–48. http://dx.doi.org/10.1016/j.image.2016.05.019.

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Jain, Nikita, Vibhuti Bansal, Deepali Virmani, Vedika Gupta, Lorenzo Salas-Morera, and Laura Garcia-Hernandez. "An Enhanced Deep Convolutional Neural Network for Classifying Indian Classical Dance Forms." Applied Sciences 11, no. 14 (July 6, 2021): 6253. http://dx.doi.org/10.3390/app11146253.

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Indian classical dance (ICD) classification is an interesting subject because of its complex body posture. It provides a stage to experiment with various computer vision and deep learning concepts. With a change in learning styles, automated teaching solutions have become inevitable in every field, from traditional to online platforms. Additionally, ICD forms an essential part of a rich cultural and intangible heritage, which at all costs must be modernized and preserved. In this paper, we have attempted an exhaustive classification of dance forms into eight categories. For classification, we have proposed a deep convolutional neural network (DCNN) model using ResNet50, which outperforms various state-of-the-art approaches. Additionally, to our surprise, the proposed model also surpassed a few recently published works in terms of performance evaluation. The input to the proposed network is initially pre-processed using image thresholding and sampling. Next, a truncated DCNN based on ResNet50 is applied to the pre-processed samples. The proposed model gives an accuracy score of 0.911.

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Kumari, Nisha, and M. Gautam Shetty. "A STUDY ON INFLUENCE OF CLASSICAL INDIAN DANCE PRACTICE ON CARDIO – RESPIRATORY WELL BEING." International Ayurvedic Medical Journal 8, no. 10 (October 18, 2020): 4643–48. http://dx.doi.org/10.46607/iamj1208102020.

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Dance is a Rhythmic form of exercise. It involves slow to intense kinetic footwork, swaying hand gestures and subtle eye - facial expressions. It activates skeletal muscles, stimulates functioning of smooth muscles and enhances the contractility of cardiac muscles. Along with this dance practice also alters breathing mechanism with reference to enhancement of vital capacity. Thus, dancing regularly helps the overall functionality of Cardio – Respiratory system which changes the individual’s wellbeing. The following study analyses the mode of action of dancing over the system of the internal body and explains the same with Physical and subjective parameters. Regular dancing helps an individual in betterment of functions of cardiac and respiratory system.

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Singleton, Brian. "K. N. Panikkar's Teyyateyyam: Resisting Interculturalism Through Ritual Practice." Theatre Research International 22, no. 2 (1997): 162–69. http://dx.doi.org/10.1017/s0307883300020563.

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Indian theatre practice under British colonial rule was marked by differing strategies of resistance: agit-prop drama to promote social and political reform; the preservation of classical dance as cultural heritage; and the continuing practice of folk rituals in rural areas outwith the immediate control of the colonial authorities. Postindependence India, however, has witnessed those ‘deviant’ practices of resistance become the dominant ideological performance practices of modern India. Much actor training continued to be modelled on British drama schools such as RADA (Royal Academy of Dramatic Art); classical dances have survived to incorporate certain aspects of western ballet (for example, group sequences in Kathak); and the folk rituals have come increasingly under the microscope of western cultural tourists. Indian theatre practice, therefore, succumbs to the power of the dollar, as western academics and practitioners, with their financial and technological power, act as legitimizing agents for the global recognition of Asian culture. We are at a time when great currency is being attached to the notion of intercultural rejuvenation of home cultures by acts of productive reception with foreign cultures (a more positive definition of the practice by Erika Fischer-Lichte in direct response to Edward Said's charge of cultural colonialism which he terms orientalism). It is worthwhile taking note of how certain forms of modern Indian theatre are resisting intercultural practices, not by refusal or direct opposition, but by theatrical acts of intra-cultural rejuvenation, without the injection of the foreign culture as a serum.

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Banerji, Anurima. "The Laws of Movement: The Natyashastra as Archive for Indian Classical Dance." Contemporary Theatre Review 31, no. 1-2 (April 3, 2021): 132–52. http://dx.doi.org/10.1080/10486801.2021.1878507.

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Sukhatankar, Ojasi. "Practice and Pedagogy of Indian Classical Dance (ICD): Analysis in Comparison with India’s Folk and Bollywood Dances." Chitrolekha International Magazine on Art and Design 6, no. 2 (August 4, 2016): 11–19. http://dx.doi.org/10.21659/chitro.v6n2.03.

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Dutta Gupta, Aabrita. "Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 91–108. http://dx.doi.org/10.18778/2083-8530.23.06.

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This paper examines a transcultural dance-theatre focusing on Lady Macbeth, through the lens of eastern Indian Bengali folk-theatre tradition, jatra. The wide range of experimentation with Shakespeare notwithstanding, the idea of an all-female representation is often considered a travesty. Only a few such explorations have earned recognition in contemporary times. One such is the Indian theatre-dance production Crossings: Exploring the facets of Lady Macbeth by Vikram Iyenger, first performed in 2004. Four women representing four facets of Lady Macbeth explore the layered nuances that constitute her through the medium of Indian classical dance and music juxtaposed with Shakespearean dialogues from Macbeth. This paper will argue the possibilities posited by this transgressive re-reading of a major Shakespearean tragedy by concentrating on a possible understanding through a Hindu religious sect —Vaishnavism, as embodied through the medium of jatra. To form a radically new stage narrative in order to bring into focus the dilemma and claustrophobia of Lady Macbeth is perhaps the beginning of a new generation of Shakespeare explorations. Iyenger’s production not only dramatizes the tragedy of Lady Macbeth through folk dramatic tradition, dance and music, but also Indianises it with associations drawn from Indian mythological women like Putana (demoness) and Shakti (sacred feminine).

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Tambe, Tina. "NEW EXPERIMENTS IN CLASSICAL DANCES." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3427.

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Change is the law of life. No element existing in nature has remained untouched by this process. Living, eating, eating, ethics, beliefs, mentality, moral values etc. and change is visible in every area of social and cultural landscape. Natural changes are occurring naturally but in many other areas, these changes arise as a result of the creative tendency of humans, the main one being the "arts" field. Creating is the natural quality of human being and the pursuit of newness is its basic tendency. When this trend is used with dexterity, work skills, talent and beauty, we create a new and beautiful panoramic cover for creation, then we call it art. One of the Panchakalas under the Fine Arts is Sangeet Kala and one of the arts under the Sangeet is dance art. In Indian culture, dance has been considered as the medium of worship of God, it originated from God and its basis is believed to be religion and spirituality. The dance in the "Natya Veda", formed as the fifth Veda after taking into account the major elements of the four Vedas, attained a systematic, scriptural and normative form and it was from here that the rich tradition of classical dances began. Classical dances have been single-use since the beginning, they were used for worshiping God in temples and today in modern society, these dances have appeared in front of new observers on social theater with a new vision and new form. In these migrations from ancient times to modern times, these dances saw many ups and downs and changes and they had to wear many new clothes to appear in front of new viewers in new circumstances. This is an attempt to shed some light on this migration of new creation, new experiments and new trends of classical dances. परिवर्तन प्रकृति का नियम है। प्रकृति में विद्यमान कोई भी तत्व इस प्रक्रिया से अछूता नहीं रह पाया है। रहन-सहन, खान-पान, आचार-विचार, मान्यताए, मानसिकता, नैतिक मूल्य आदि तथा सामाजिक व सांस्कृतिक परिदृश्य के प्रत्येक क्षेत्र में परिवर्तन दृश्यमान है। प्राकृतिक परिवर्तन तो नैसर्गिक रूप से होते रहते है परंतु अन्य कई क्षेत्रों में यह परिवर्तन मानव की सृजनात्मक प्रवृत्ति के फलस्वरूप उत्पन्न होते है जिसमें प्रमुख है “कला” क्षेत्र। सृजन करना मानव का नैसर्गिक गुण है तथा नवीनता की खोज उसकी मूल प्रवृत्ति। यही प्रवृत्ति जब निपुणता, कार्य कौशल, प्रतिभा व सौन्दर्यबोध से प्रयुक्त होकर सृजन को नित-नवीन नयनाभिराम आवरण पहनाती है तब उसे हम कला कहते है। ललित कलाओं के अंतर्गत आने वाली पंचकलाओं में से एक है संगीत कला तथा संगीत कला के अंतर्गत आने वाली कलाओं में से एक है नृत्य कला। भारतीय संस्कृति में नृत्य को ईश्वर की उपासना का माध्यम समझा गया है, यह ईश्वर से ही उत्पन्न हुआ है व इसका आधार धर्म व आध्यात्म ही माना गया है। चार वेदों के प्रमुख तत्वों को ग्रहण कर पंचम वेद के रूप में निर्मित “नाट्य वेद” में नृत्य को व्यवस्थित, शास्त्रोक्त व नियमबद्ध स्वरूप प्राप्त हुआ तथा यहीं से शास्त्रीय नृत्यों की समृद्ध परंपरा का आरंभ हुआ। शास्त्रीय नृत्य आरंभ से ही एकल प्रयोज्य रहे है, इनका प्रयोग मंदिरों में ईश्वर उपासना हेतु हुआ तथा आज आधुनिक समाज में ये नृत्य एक नयी दृष्टि व नवीन स्वरूप के साथ सामाजिक रंगमंच पर नए प्रेक्षकों के समक्ष उपस्थित हुये है। प्राचीन काल से आधुनिक काल के इस प्रवास में इन नृत्यों ने अनेक उतार चढाव व बदलाव देखे तथा समयानुरूप नवीन परिस्थितियों में नए दर्शको के समक्ष अवतरित होने हेतु इन्हें अनेक नवीन कलेवर धारण करने पडे। शास्त्रीय नृत्यों के नवीन सृजन, नवीन प्रयोग व नवीन प्रवृत्तियों के इस प्रवास पर कुछ प्रकाश डालने का यह एक प्रयास है।

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Acharya, Rohini, and Eric Kaufman. "Turns of ‘fate’: Jack Cole, jazz and Bharata Natyam in diasporic translation." Studies in Musical Theatre 13, no. 1 (March 1, 2019): 9–21. http://dx.doi.org/10.1386/smt.13.1.9_1.

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The musical Kismet opened on Broadway in 1953. This commercially successful play, translated into a film version released two years later, included some of Jack Cole’s most widely viewed and popular choreography, which resulted in the exposure of Bharata Natyam to a mass audience through its incorporation into jazz dance. Cole’s ‘Hindu swing’ continues to confound years later, even as Bharata Natyam has ever-increasing prominence in global theatre. This article considers how the form, in migration from Madras to Manhattan, was (and is) materialized and reinscribed, discussing how exoticism and Orientalism are implicated in the mechanisms of this transmogrification. Exploring Cole’s involvement with ‘Hindu’ dance calls into question a range of issues related to the parallel histories of musical theatre dance in the mid-twentieth century, and classical Indian dance in the period of transition from colonial possession to postcolonial independence. We investigate the ways in which Indian culture in diaspora has been translated in our practice, and the ways in which the reception of dance reflects an ‘invisibilization’ of ‘foreign’ cultural practice in American popular culture. Collaborating on presenting our juxtaposed experience brings embodied reflection into dialogue with dance scholarship, while also exploring the intersection of these distinct and seemingly discrete dance practices.

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Dhanapalan, Biju. "Kathakali and Motion Capture: An Experimental Dialogue between Indian Classical Dance and Technology." International Journal of New Media, Technology and the Arts 13, no. 1 (2018): 15–24. http://dx.doi.org/10.18848/2326-9987/cgp/v13i01/15-24.

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Journal articles on the topic 'Indian classical dance'

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