Relevant bibliographies by topics / Kathak (Dance) – India – History

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Academic literature on the topic 'Kathak (Dance) – India – History'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Kathak (Dance) – India – History"

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Chakravorty, Pallabi. "Dancing into Modernity: Multiple Narratives of India's Kathak Dance." Dance Research Journal 38, no. 1-2 (2006): 115–36. http://dx.doi.org/10.1017/s0149767700007415.

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Modernity, once a prerogative of the West, is now ubiquitous, experienced diversely by people all over the world. The changing notions of modernity are historically linked to the development of the public sphere. This article broadly attempts to map the discourse of modernity to the evolution of Kathak, a premier classical dance from India. The article has two threads running through it. One is the development of the public sphere in India as it relates to anti-colonial nationalism, the formation of the modern nation-state, and globalization. The other focuses on transformations in Kathak as they relate to changing patronage, ideology, and postcolonial history. I emphasize the latter to mark the transitions in Kathak as emblematic of Indian national identity and national ideology to a new era of cultural contestation. This emergent public domain of culture is coined as “public modernity” by anthropologist Arjun Appadurai in contemporary India. It is linked to economic reforms, or “liberalization,” leading to globalization and a resurgence of communal politics. Both of these make culture, tradition, and identity central to the contestation of power among the diverse social formations in India.
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Chakravorty, Pallabi. "Whose History? Kathak Dance and Its Practitioners." Dance Chronicle 38, no. 3 (September 2, 2015): 410–14. http://dx.doi.org/10.1080/01472526.2015.1085244.

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Rajeev T, Anjana. "Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay LeelaBhansali’s Movies." Journal of Humanities,Music and Dance, no. 11 (August 17, 2021): 1–12. http://dx.doi.org/10.55529/jhmd.11.1.12.

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India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay Leela Bhansali’s Movies” is a close study on the folkdances employed in Bhansali’s movies such as Gujarat’s Garba in Hum Dil De Chuke Sanam (1999), Uttar Pradesh’s Kathak in Devdas (2002), Garba in Goliyon Ki Rasleela Ramleela (2013), Maharashtra’s Jugalbandi, Lavani, Kathak in Bajirao Mastani (2015), and Rajasthan’s Ghoomar and Kathak in Padmaavat (2018). Evaluating all these songs trace back its relation and devotion to North Indian cultures which marks the bond between people and the culture of our society.
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Rajeev T, Anjana. "Hum Dil De Chuke Sanam to Padmaavat: An Epitome onTraditional Indian Folk Dance in Sanjay LeelaBhansali’s Movies." Journal of Humanities,Music and Dance, no. 11 (August 17, 2021): 9–21. http://dx.doi.org/10.55529/jhmd.11.9.21.

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India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay Leela Bhansali’s Movies” is a close study on the folkdances employed in Bhansali’s movies such as Gujarat’s Garba in Hum Dil De Chuke Sanam (1999), Uttar Pradesh’s Kathak in Devdas (2002), Garba in Goliyon Ki Rasleela Ramleela (2013), Maharashtra’s Jugalbandi, Lavani, Kathak in Bajirao Mastani (2015), and Rajasthan’s Ghoomar and Kathak in Padmaavat (2018). Evaluating all these songs trace back its relation and devotion to North Indian cultures which marks the bond between people and the culture of our society.
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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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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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Walker, Margaret E. "Bells of Change: Kathak Dance, Women and Modernity in India by Pallabi Chakravorty, Kathaka: The Tradition: Fusion and Diffusion by Ranjana Srivastava Bells of Change: Kathak Dance, Women and Modernity in India Chakravorty Pallabi Seagull Books , Calcutta Kathaka: The Tradition: Fusion and Diffusion Srivastava Ranjana D. K. Printworld (P) Ltd. , New Delhi." Dance Research Journal 43, no. 1 (May 12, 2011): 105–7. http://dx.doi.org/10.5406/danceresearchj.43.1.0105.

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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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Chakravorty, Pallabi. "Hegemony, dance and nation: The construction of the classical dance in India." South Asia: Journal of South Asian Studies 21, no. 2 (December 1998): 107–20. http://dx.doi.org/10.1080/00856409808723345.

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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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Dissertations / Theses on the topic "Kathak (Dance) – India – History"

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Tjerned, Veronica. "Granatäppleblomknopp : rytm som dramatisk båge." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-492.

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ABSTRACT How can I as a Swedish dancer devoted to the Indian classical dance form, kathak, re root it into my own cultural sphere? And express topics beyond the Sub Indian continent without diluting the essence of the art form? I don’t want to create a new dance style.I don’t want to add anything. I want to explore and investigate how I within the tradition of kathak dance and Hindustani music can shuffle the classical format in order to create a longer narrative.  To create a dramaturgical nerve in the performance and take it further than the traditional short dances and compositions connected by being strung together on a basic rhythm. During this work I have followed different strands of evolution within me as a kathak dancers as well as personal experiences that has led up to this need of making it my kathak dance, rather than my Indian kathak dance. It’s also a close study of the relationship between a student and her master and how the master forces his student to mature to become her own master.  I want to use the kathak dance as an artistic expression to create performances based on topics interesting to me. I want to use the rhythmical patterns to enhance, elaborate and ornament the story told. How can I use the bols and sound from the kathak dance and Hindustani music? What happens if I instead of using bols create similar material but based on the Swedish language? The unexpected result of my research, the unexpected finding of what happened with me after I decided to drop India, and to focus my gaze to my own cultural space by being a native Swedish person living in Stockholm was that I lost my dance. I lost my geography.
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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.

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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.
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Walker, Margaret Edith. "Kathak dance: A critical history [India]." 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94579&T=F.

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Skiba, Katarzyna. "Terytoria negocjacji tożsamości narodowej w indyjskich sztukach performatywnych : tradycja klasycznego tańca kathak." Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/74770.

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Postma, Gayle, Reinder J. Klein, Stuart Williams, and Calvin Seerveld. "Perspective vol. 24 no. 6 (Dec 1990)." 2013. http://hdl.handle.net/10756/251296.

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Postma, Gayle, Reinder J. Klein, Stuart Williams, and Calvin Seerveld. "Perspective vol. 24 no. 6 (Dec 1990)." 1990. http://hdl.handle.net/10756/277626.

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Books on the topic "Kathak (Dance) – India – History"

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

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Chakravorty, Pallabi. Bells of change: Kathak dance, women, and modernity in India. Kolkata: Seagull Books, 2008.

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An exposition of classical dances of India with special reference to "Kathak". Chandigarh: Abhishek Publications, 2010.

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Kathaka aura adhyātma. Naī Dillī: Rādhā Pablikeśansa, 2001.

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India. Ministry of Information and Broadcasting. Publications Division., ed. Dance legacy of Patliputra. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1999.

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Caube, Vandana. Katthaka nr̥tya meṃ nāyikāem̐. Nivāī: Navajīvana Pablikeśana, 2011.

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Ānanda, Madhukara. Kathaka kā Lakhanaū gharānā aura Paṃ. Birajū Mahārāja. Naī Dillī: Kanishka Pasbliśarsa, Ḍisṭrībyūṭarsa, 2013.

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Kathaka, the tradition: Fusion and diffusion. New Delhi: D.K. Printworld, 2008.

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Siṃha, Māṇḍavī. Bhāratīya saṃskr̥ti meṃ kathaka paramparā. Dillī: Svāti Pablikeśansa, 1990.

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Mahetā, Rūpā. Kathaka paramparā ane Gujarāta. Amadāvāda: Rūpā Mahetā, 2010.

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Book chapters on the topic "Kathak (Dance) – India – History"

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"Courtesans and Choreographers: e (Re)Placement of Women in the History of Kathak Dance." In Dance Matters, 299–320. Routledge India, 2012. http://dx.doi.org/10.4324/9780203150450-30.

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Kaur, Harpreet, and Ayasha Siddika. "Strengthening the Bilateral Relationship Between India and Thailand Through Tourism." In Evaluating Trade and Economic Relations Between India and Southeast Asia, 144–66. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-5774-7.ch008.

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India and Thailand have a long-term relationship. Both countries geographically are in extended neighbourhood and share a maritime boundary. Both countries taken together constitute 18.6% of the world's population. They have deep rooted similar history, cultures, philosophies, and religions. They share the same link of Buddhism. Even Hinduism has some reflection on Thai architecture, arts, names of cities, sculpture, dance, drama, and literature. In this chapter, Thailand has been chosen due to physical proximity, cultural, and ideological similarities with India. India and Thailand have celebrated more than 70 years of bilateral diplomatic relationship. In the past two decades, with regular political exchanges of growing trade and investment, India's relationship with Thailand has grown into a comprehensive partnership. India's ‘Act East' policy has been complemented by Thailand's ‘Act West' policy in bringing the two countries closer. Both countries are important regional partners under BIMSTEC linking Northeastern Indian states with Southeast Asia.
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Walker, Margaret E. "The ‘Nautch’, the Veil and the Bayadère: The Indian Dance as Musical Nexus." In The Music Road, 213–35. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0011.

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During the early period of mercantile contact with India, the exotic spectacle of the Bayadères or Nautch Girls seized the imagination of western sojourners and inspired an abundance of artistic production back in Europe. The ‘dancing girl’ is found everywhere in late 18th- and 19th-century orientalist paintings, poetry, novels, and of course, ballets, operas and other musical compositions. Although there are substantial studies exploring musical orientalisms in western art music, little attention has been paid to the role of real-life performances in such musical creation. This chapter explores the influence of the colonial interaction with Indian dance performances over the long 19th century. It argues not only for a nuanced and historicised approach to musical encounter but also, given the centrality of the Nautch in the Indian context, for the crucial inclusion of dance in the global history of music.
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Dwyer, Rachel. "New Myths for an Old Nation: Bollywood, Soft Power and Hindu Nationalism." In Cinema and Soft Power, 190–209. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456272.003.0010.

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Bollywood, the name by which mainstream Hindi cinema has come to be known over the last two decades, is recognised internationally as a style of glamour and kitsch, associated with song and dance. From being seen as something of a national guilty secret, it has come to mark a new image of modern India where it continues to hold around 95% of domestic film market (Thussu 2007) with the new and other media reinforcing, rather than detracting from, the cinema. India has had a Hindu nationalist government since 2014. Concerns with how the nation is depicted have been mostly internal affairs with cultural wars on social media and on university campuses. This chapter looks at how the Hindi film industry, which practises self-censorship is shaping a new image of Indian history in this climate and how this appeals to its overseas audiences who are mostly found in the Indian diaspora.
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