Relevant bibliographies by topics / Kuchipudi

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

Academic literature on the topic 'Kuchipudi'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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Journal articles on the topic "Kuchipudi"

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.

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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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Chatterjee, Sandra. "Looking at Kuchipudi." Dance Chronicle 26, no. 2 (January 6, 2003): 265–67. http://dx.doi.org/10.1081/dnc-120021713.

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N, Siva Jyothi, Senthil Selvam P, and Gopaldas Ramesh. "Assessment of VO2max between Bharatanatyam and Kuchipudi Dancers." International Journal of Health Sciences and Research 11, no. 5 (May 21, 2021): 188–95. http://dx.doi.org/10.52403/ijhsr.20210529.

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Dance is the good form of exercise, the movement of the body in a rhythmic way to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself which the body is capable. Though Bharatanatyam and Kuchipudi may look similar to the untrained eye, there are many differences which affect the mechanics of movement among practitioners of both art forms. The purpose of this study is to assess the vo2 max of Bharatanatyam and kuchipudi dancers and to find out whether there is any difference in the vo2 max between both the dancers. Total of 30 subjects who met the inclusion criteria were taken for study; Group A (n=15) Bharatanatyam dancers. Group B (n=15) kuchipudi dancers. Queen’s college step test was used to assess the vo2 max. Pre and post-test heart rate was measured and vo2 max calculated. Statistical analysis was tested with t test at 95% level of significance (p<0.05). The result of the present study suggest that there is no significant difference in the aerobic capacity among Bharatanatyam (Group A) and Kuchipudi (Group B) Dancers when assessed with Queen’s College Step test. Key words: Bharatanatyam, Kuchipudi, Cardio respiratory fitness, VO2 max, Queen’s college step test.
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Rumya S. Putcha. "Dancing in Place: Mythopoetics and the Production of History in Kuchipudi." Yearbook for Traditional Music 47 (2015): 1. http://dx.doi.org/10.5921/yeartradmusi.47.2015.0001.

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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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"Segmentation of an Indian Classical Dance Videos using Different Segmentation Methods." International Journal of Innovative Technology and Exploring Engineering 9, no. 2 (December 10, 2019): 982–86. http://dx.doi.org/10.35940/ijitee.i8468.129219.

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Video to frame conversion features are retrieved to categorize the actions in an Indian classical dance video dataset. The goal is to design an automatic machine learning model that identifies the moves of a dancer in a video. A video is a collection of images of specific movements, hence, features representing shapes and color can be used to interpret the dance steps. Image segmentation based features are capable of representing the shape in varying background conditions. Segmentation has become an important objective in image analysis and computer vision. To segment the images, edge detection, thresholding and region of interest are taken for this study. The proposed system performance is analyzed for total number of 50 different movements taken from Indian classicaldances.Bharatanatyam,Kathak,Kuchipudi,Manipuri,Mo hiniytam Odissi,Kathakali and Satrriya in different background conditions
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Shikha, Mala, and Ranjeeva Ranjan. "Representation of India in Travel Writings by Latin American Women in the 20th Century." Rupkatha Journal on Interdisciplinary Studies in Humanities 14, no. 3 (October 7, 2022). http://dx.doi.org/10.21659/rupkatha.v14n3.08.

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This paper examines the representation of India in the works of Latin American women writers in the 20th Century. With the advent of Modernism in Latin America in the late 19th Century as a turn-of-the-century movement, Latin American intellectuals started engaging with India such as Rubén Darío in Azul (1888). However, it was Gabriela Mistral, a Nobel laureate from Chile, who although never travelled to India, may be considered the first Latin American woman writer who engaged with India through the appreciation of Tagore in her literary repertoire. Furthermore, in the 20th Century Cecília Meireles, one of the most famous Modernist poets from Brazil visited India in 1953 upon being invited by Jawaharlal Nehru. She noted in her diary that as paradoxical as it sounds, it is much easier to understand India if one knows Brazil. She drew similarities between the fundamental issues of the two countries then. She wrote the anthology Poemas Escritos Na Índia (1961). Another important performance artist is Josefina Báez who would combine yoga and her lived experience in the three spaces of New York, La Romana in the Dominican Republic and India to produce zany dance dramas like Dominicanish (2001). She uses the classical dance form of Kuchipudi originating in the south of India to restructure her Dominican cultural identity in New York. Another contemporary Mexican writer, Margo Glantz, wrote her work Coronada de Moscas (2012), which is a travelogue based on her three sojourns in India accompanied with photographs by Alina López Cámara. The paper analyses the works by the above-mentioned Latin American intellectuals vis-à-vis representation of India in them and focuses on what it is to travel to India and write on it for Latin American women in the 20th Century. This has been done using the theoretical perspective of bell hooks (Feminist Theory: From Margin to Center, 1984) and Mary Louise Pratt (Imperial Eyes, 1992).
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Dash, Bijayalaxmi. "The Origin and Development of Chhau Dance in Eastern India." Indian Journal of Multilingual Research and Development, June 7, 2021, 1–4. http://dx.doi.org/10.34256/ijmrd2121.

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Among the new Classical dance and dance dramas like Bharatanatyam, Lavni, Bihu, Kathak, Kuchipuri, Kathakali, Odissi and few more Chhau the Wonderful mask dance of Eastern India are Completely Unique in Various point of View. In this paper I have discussed the Origin, Development, Types of Chhau Dance and the basic differences between Mayurbhanja chhau, Sareikala Chhau and Purulia Chhau.
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Dissertations / Theses on the topic "Kuchipudi"

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Nair, Sonia. "Rasalila meets Giselle: A journey from sensuality to spirituality." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1780.

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This study explores how a traditional Indian storytelling dance form crosses religious and ethnic frontiers. As a performance-oriented analysis, the Kuchipudi style of Indian classical dance will be placed in parallel with western classical ballet to discover the shared and/or distinctive characteristics, in terms of spirituality and ways of communication in both styles. The synchronisation of the two traditional styles aims to reveal how an under- standing of spirituality infused in dance can be gained whilst, at the same time, demonstrat- ing the symbolic and performative relationships between the two classical dance forms. The selected themes are the classical ballet, ‘Giselle’ (Act II) and the ‘Rasalila’, the eternal circular dance of Lord Krishna, Radha and the Gopis. These dance forms have been chosen since both have underpinning spiritual themes. Both Giselle and Rasalila depict journeys of eternal romance and unconditional love as the basis of their spiritual evocations. Giselle supports Albrecht to overcome the obstacle in his path, guarding him from death and guiding his realisation of the value of true love. Krishna imparts the truth of comprehensive love and surrenders which is the singular pathway to ultimate bliss or ‘ananda’. The two performers explore the two sets of characters by remaining within the discipline of their respective art form, creating an unusual and challenging approach to these conventional stories. Through their interpretations, the dancers endeavour to transport the audience to a realm of spirituality. This project questions the different approaches to belief as practised in Hindu dance and classical ballet. The project also explores nuances of a famous and popular feature of the Kuchipudi repertoire, the plate and the pot dance. Here the dancer balances a pot full of water on her head while, simultaneously, executing rhythmic steps on the brass plate. Along with exhibiting the skills and concentration of the devoted performer, this sequence symbolically represents the elevation of the spirit to another state of endurance through the proficiency of the dancer. Is there an equivalent spiritual immersion found in the exquisite devotion of Giselle or in the precision requires of the ballet dancer? Whilst acknowledging cultural, geographic and historical differences, the placement of the two classical dance forms side by side aims to uncover and explore the spiritual imperatives of both forms.
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Jonnalagadda, Anuradha. "Tradition and innovations in Kuchipudi dance." Thesis, 1996. http://hdl.handle.net/2009/1256.

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Books on the topic "Kuchipudi"

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Acharya, C. R. Understanding Kuchipudi. New Delhi: Indira Gandhi National Centre for the Arts in association with Darpana Academy of Performing Arts, Ahmedabad, 1992.

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2

Rao, K. Uma Rama. Kuchipudi Bharatam, or, Kuchipudi dance: A South Indian classical dance tradition. Delhi, India: Sri Satguru Publications, 1992.

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Suresh, Vidya Bhavani. Kinetics of Kathakali and Kuchipudi. Chennai: B. A. Suresh, Skanda Publication, 2009.

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Devi, Patiṇjārayil Rama. Kuchipudi kalapas: An odyssey rediscovered. Edited by Sudershan Singh. [Secunderabad: For copies, Patinjarayil Publications, 2004.

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Devi, Patiṇjarayil Rama. Kuchipudi Dance in textual form. Edited by Sudershan Singh. Secunderabad: for copies, Patinjarayil Publications, 2001.

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

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Pārvatīśam, Vēdāntam. Kūcipūḍi mēḷakartalu: Bharata vyākaraṇamu-aḍavasāmu (Foot work authority), Vēṇīvr̥ttāntaṃ-Lavakuśa, full dance. Kūcipūḍi, Kr̥ṣṇajillā, Movva Maṇḍalaṃ: Vēdāntam Pārvatīśam, 1990.

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8

Sāmbaśiva, Munukuṇṭla. Gateway to Koochipoodi. Hyderabad: Nishumbitha Publications, 2010.

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The world of Koochipoodi dance. Gurgaon, Haryana: Shubhi Publications, 2005.

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Dīkṣitulu, Hēmādri Cidambara. Kūcipūḍi kaḷāsāgaramu: Nr̥tyaśāstramu. Rājamaṇḍri: Prāptisthānamu, Śrī Rājarājēśvari Kūcipūḍi Nr̥tya Kaḷāśāla, 1991.

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Book chapters on the topic "Kuchipudi"

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Rawal, Mona. "Kuchipudi." In Hinduism and Tribal Religions, 1–3. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1036-5_612-1.

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Rawal, Mona. "Kuchipudi." In Hinduism and Tribal Religions, 816–18. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_612.

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Jonnalagadda, Anuradha. "Kuchipudi: Changing Patterns of Patronage." In Performers and their Arts, 266–76. Routledge India, 2020. http://dx.doi.org/10.4324/9780367817596-18.

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Bhikshu, Aruna. "Tradition and Change: Transpositions in Kuchipudi." In Performers and their Arts, 248–65. Routledge India, 2020. http://dx.doi.org/10.4324/9780367817596-17.

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Kamath, Harshita Mruthinti. "Resisting Brahminical Patriarchy in Kuchipudi Dance:." In Mimetic Desires, 257–76. University of Hawaii Press, 2022. http://dx.doi.org/10.2307/j.ctv2cw0scn.17.

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"Conclusion: Rewriting the Script for Kuchipudi Dance." In Impersonations, 159–68. University of California Press, 2019. http://dx.doi.org/10.1525/9780520972230-010.

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"Conclusion: Rewriting the Script for Kuchipudi Dance." In Impersonations: The Artifice of Brahmin Masculinity in South Indian Dance, 159–67. University of California Press, 2019. http://dx.doi.org/10.1525/luminos.72.g.

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"Conclusion: Rewriting the Script for Kuchipudi Dance." In Impersonations, 159–68. University of California Press, 2019. http://dx.doi.org/10.1515/9780520972230-010.

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"Longing to Dance: Stories of Kuchipudi Brahmin Women." In Impersonations: The Artifice of Brahmin Masculinity in South Indian Dance, 134–58. University of California Press, 2019. http://dx.doi.org/10.1525/luminos.72.f.

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"5. Longing to Dance: Stories of Kuchipudi Brahmin Women." In Impersonations, 134–58. University of California Press, 2019. http://dx.doi.org/10.1525/9780520972230-009.

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