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Relevant bibliographies by topics / Odissi dance. Dance

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Dissertations / Theses
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Academic literature on the topic 'Odissi dance. Dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Odissi dance. Dance"

1

Gardner, Sally. "Beyond anthropomorphism: Odissi and the botanical." Studies in South Asian Film & Media 4, no. 2 (2012): 157–65. http://dx.doi.org/10.1386/safm.4.2.157_1.

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Drawing on experiences that have entailed watching and learning forms of so-called ‘Indian dance’ (Bharata Natyam and Odissi), and watching Odissi dancers performing in various locations in Orissa’s ‘sacred triangle’ (Puri, Konark, Bhubaneswar), and against my own background in contemporary dance, I propose that the difference of the Odissi body is that the dancer dances with his or her feet in more than one kingdom – that is, he or she maintains a link between human bodies and the bodies of plants. Such a perception can help to displace questions of the dancer’s spatiality and representations

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Schnepel, Cornelia. "Bodies Filled with Divine Energy: The Indian Dance Odissi." Paragrana 18, no. 1 (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

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Sarwal, Amit. "Louise Lightfoot and Ibetombi Devi: The Second Manipuri Dance Tour of Australia, 1957." Dance Research 32, no. 2 (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

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Ewing-Pierce, Jennifer. "The ethos of the periphery." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (2020): 127–36. http://dx.doi.org/10.1386/peet_00028_3.

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In the scholarly world where disembodied language and intellectualism reign, Kaustavi Sarkar, a dancing archive, performs embodied epistemologies. Even in her native Odissi dance discipline, Sarkar works from the margin as a questioner and an experimenter in a codified practice that values obedience and tradition. It is from this periphery that Sarkar develops a unique ethos of traditional dance that turns the conservatism of classical forms to open-layered intracultural and intercultural dance dialogues through dance.

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Sarkar, Kaustavi. "De-centring the choreographer: Historically inspired interruptions/disruptions in an exploration between sculpture and movement1." Choreographic Practices 10, no. 2 (2019): 269–91. http://dx.doi.org/10.1386/chor_00007_1.

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Abstract This article reflects the process of choreographic making where the choreographer actively decentres her choreographic choices by collaborating with participating dancers and historical inspirations. It explores the creative potential of archives ‐ a set of temple-sculptures found in eastern India called the Alasa-Kanyas (meaning indolent maidens) ‐ as past evidence of historically marginalized bodies of the temple-dancers, also known as Maharis, in the field of the eastern Indian classical dance form called Odissi. Alasa-Kanya: Sculpture in Odissi (AK), a Practice as Research (PaR) e

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Varley, Julia. "Sanjukta Panigrahi: Dancer for the Gods." New Theatre Quarterly 14, no. 55 (1998): 249–73. http://dx.doi.org/10.1017/s0266464x00012197.

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The great classical Indian dancer and co-founder of the International School of Theatre Anthropology, Sanjukta Panigrahi, died in June 1997. An outstanding exponent – and virtually the rediscoverer – of Odissi dance, Sanjukta Panigrahi was born in Orissa into a Brahmin family, and defied the prejudice of her caste as the first girl to pursue Odissi dance as a career. With the support of her family, she began studying at the age of five under the guru Kelucharan Mahapatra, with whom she worked for many years, and also trained in Bharata Natyam for six years with the master Rukmini Devi. Julia V

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Sikand, Nandini. "Beyond tradition: The practice of sadhana in Odissi dance." Journal of Dance & Somatic Practices 4, no. 2 (2012): 233–47. http://dx.doi.org/10.1386/jdsp.4.2.233_1.

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8

Catalano, Elena. "Shaping experience in dance: Perspectives on body–mind relationships in Odissi." Journal of Dance & Somatic Practices 6, no. 1 (2014): 9–28. http://dx.doi.org/10.1386/jdsp.6.1.9_1.

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Jędrzejko, Paweł. "Translocality/Methodology. The Americas, or Experiencing the World." Review of International American Studies 13, no. 2 (2020): 5–13. http://dx.doi.org/10.31261/rias.10013.

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The Americas offer a peculiar stage for translocal methodologies. If we agree that the products of Chinese American culture—which, in the course of the last 170 years of interaction, has evolved into a unique, American, phenomenon—can not be labeled as “Made in China,” then contemporary Chinese medicine in the Americas cannot legitimately be perceived solely as an ‘import.’ Beyond doubt, phenomena such as the emergence of the American College of Traditional Chinese Medicine at the California Institute of Integral Studies testify to the fact that the once ‘exotic’ forms of therapy are now being

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Jędrzejko, Paweł. "Translocality/Methodology. The Americas, or Experiencing the World." Review of International American Studies 13, no. 2 (2020): 5–13. http://dx.doi.org/10.31261/rias.10013.

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The Americas offer a peculiar stage for translocal methodologies. If we agree that the products of Chinese American culture—which, in the course of the last 170 years of interaction, has evolved into a unique, American, phenomenon—can not be labeled as “Made in China,” then contemporary Chinese medicine in the Americas cannot legitimately be perceived solely as an ‘import.’ Beyond doubt, phenomena such as the emergence of the American College of Traditional Chinese Medicine at the California Institute of Integral Studies testify to the fact that the once ‘exotic’ forms of therapy are now being

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Dissertations / Theses on the topic "Odissi dance. Dance"

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Dandekar, Sarala. "Dance carved in stone an investigation of the contemporary presentation of Odissi dance /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ27342.pdf.

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Sen, Sabina Sweta. "When our senses dance : sensory-somatic awareness in contemporary approaches to Odissi dance in India." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24294.

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This research investigates sensory-somatic awareness based approaches to the conditioning, training and performance of Odissi dance in India. Through a multidisciplinary and embodied methodology it analyses the practices of three contemporary Odissi dance institutes and a selection of individual dancers in India, who are moving beyond the traditional methodology. Drawing from ethnographic fieldwork in India, this research explores how sensory-somatic approaches incorporated by these dancers generate meaning-making and in what ways this enriches the dancers’ experience of dancing Odissi. As an

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Curda, Barbara. "Enjeux identitaires, relationnels et esthétiques de la transmission de la danse Odissi en Inde. Le cas d'une école émergente à Bhubaneswar." Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20063.

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Cette thèse porte sur le rapport entre les normes sociales, les pratiques pédagogiques et l’esthétique dans la danse Odissi en Inde. Apparue sur la scène post-coloniale dans la période de l’après-indépendance du pays en tant que « danse classique », l’Odissi véhicule, en dépit du caractère hétérogène, voire multiculturel, de ses pratiquants, des revendications identitaires relatives à l’Etat indien d’Orissa, rebaptisé Odisha en 2011. La recherche a été menée à partir de terrains successifs effectués principalement dans la ville de Bhubaneswar, capitale de l’Orissa, et plus particulièrement dan

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sarkar, Kaustavi. "Mahari Out: Deconstructing Odissi." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1499694454160469.

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Tandon, Rekha. "Classicism on the threshold of modernity : expanding the physical parameters of Odissi Dance for contemporary audiences." Thesis, City University London, 2005. http://openaccess.city.ac.uk/14148/.

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This thesis examines the present practice of Odissi, the classical dance form of Orissa in Eastern India, with the view to identifying its strengths as a performing art and building on them. The objectives were to share this dance tradition both on stage and in the studio, not just as a stylised Indian movement form of limited interest, but as an integrating dance experience of relevance to today's multicultural world. The primary concern has been determining parallels with yoga and ritual and addressing the question of transcendence through dance, as understood in the Indian tradition. A chor

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Books on the topic "Odissi dance. Dance"

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Patnaik, Dhirendranath. Odissi dance. Orissa Sangeet Natak Adademi, 1990.

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2

Odissi dance. Papyrus, 2014.

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3

J, Capers David, ed. Neo-classical Odissi dance. Harman Pub. House, 2009.

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Roy, Ratna. Neo-classical Odissi dance. Harman Pub. House, 2009.

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5

Dushyant, Parasher, and Raghuvanshi Alka, eds. Odissi, the dance divine. Niyogi Books, 2007.

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6

Rethinking Odissi. Harman Pub. House, 2007.

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7

Avinash, Pasricha, ed. Odissi, Indian classical dance art =: Odiśī nr̥tya. Marg Publications, 1990.

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8

C, Sarangi A., Kulaśreshṭha Sushamā 1945-, and Das Maya, eds. Abhinaya-candrikā and Odissi dance. Eastern Book Linkers, 2001.

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9

Roy, Ratna. Orissi dance in the context of classical dances of India. Mahari, 1994.

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10

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

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Book chapters on the topic "Odissi dance. Dance"

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"Guru Surendranath Jena: Subverting the Reconstituted Odissi Canon." In Dance Matters. Routledge India, 2012. http://dx.doi.org/10.4324/9780203150450-29.

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"The Marketplace of Odissi Dance." In Languid Bodies, Grounded Stances. Berghahn Books, 2016. http://dx.doi.org/10.2307/j.ctvswx748.9.

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3

"Dhanu: archery in Indian Odissi dance." In A Dictionary of Theatre Anthropology. Routledge, 2003. http://dx.doi.org/10.4324/9780203079409-6.

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4

Roebert, Donovan. "Sanjukta Panigrahi’s Contribution to Odissi: 1944–1964." In Essays on Classical Indian Dance. Jenny Stanford Publishing, 2021. http://dx.doi.org/10.1201/9781003121138-29.

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Roebert, Donovan. "On the Terrible Beauty of Moksha in Odissi." In Essays on Classical Indian Dance. Jenny Stanford Publishing, 2021. http://dx.doi.org/10.1201/9781003121138-27.

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Roebert, Donovan. "On the Freedom of Odissi to be Itself." In Essays on Classical Indian Dance. Jenny Stanford Publishing, 2021. http://dx.doi.org/10.1201/9781003121138-44.

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7

"(Re)writing a History of Odissi Dance." In Languid Bodies, Grounded Stances. Berghahn Books, 2016. http://dx.doi.org/10.2307/j.ctvswx748.6.

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Roebert, Donovan. "Jayantika: Archaeology and Imagination in the Reincarnation of Odissi." In Essays on Classical Indian Dance. Jenny Stanford Publishing, 2021. http://dx.doi.org/10.1201/9781003121138-28.

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Roebert, Donovan. "Writing The Odissi Girl: A Literary Analogue for the Dance." In Essays on Classical Indian Dance. Jenny Stanford Publishing, 2021. http://dx.doi.org/10.1201/9781003121138-12.

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10

Royo, Alessandra Lopez y. "The Reinvention of Odissi Classical Dance as a Temple Ritual." In The Archaeology of Ritual. Cotsen Institute of Archaeology Press, 2007. http://dx.doi.org/10.2307/j.ctvdjrr7s.12.

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Conference papers on the topic "Odissi dance. Dance"

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Saha, Sriparna, Shreya Ghosh, Amit Konar, and Ramadoss Janarthanan. "Identification of Odissi dance video using Kinect sensor." In 2013 International Conference on Advances in Computing, Communications and Informatics (ICACCI). IEEE, 2013. http://dx.doi.org/10.1109/icacci.2013.6637461.

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