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Journal articles on the topic 'Odissi dance. Dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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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2

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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3

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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4

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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6

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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7

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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9

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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10

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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11

Cooper, Scheherazaad. "The Alchemy of Rasa in the Performer–Spectator Interaction." New Theatre Quarterly 29, no. 4 (2013): 336–48. http://dx.doi.org/10.1017/s0266464x13000663.

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Born from its usage in the Natyasastra, rasa, as both concept and experience, is notoriously difficult to define. As an experience, rasa is generated within performance but cannot be contrived. However, the conditions for its coming into being can be prepared for by both practitioner and spectator, who generate rasa together within the performance. Rooted in a deeply specific cultural context, rasa is the Indian classical contribution to the particular area of performance studies research that seeks to explore and discuss the ineffable experience of the spectator in performance. However, the c

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12

Chakravorty, Pallabi. "Performing Konarak, Performing Hirapur: Documenting the Odissi of Guru Surendranath Jena by Alessandra Lopez y Royo. 2007. SOAS, University of London, AHRC Research Centre for Cross-Cultural Music and Dance Performance. £10.00. - Interpreting and (Re)Constructing Indonesian Dance and Music HeritagebyAlessandra Lopez y Royo. 2007. SOAS, University of London, AHRC Research Centre for Cross-Cultural Music and Dance Performance. £10.00." Dance Research Journal 40, no. 1 (2008): 92–95. http://dx.doi.org/10.1017/s014976770000142x.

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13

Ryzhakova, Svetlana. "Welcomed and Unwanted: Uncertainty and Possession in a Manasā Cult (North Bengal and West Assam, India)." Journal of Ethnology and Folkloristics 14, no. 1 (2020): 25–48. http://dx.doi.org/10.2478/jef-2020-0003.

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AbstractManasā is a very important goddess of the eastern part of India, particularly for the lower castes of Bengal, West Assam, some districts of Odisha, Jharkhand and Bihar. She is the main goddess for the majority of Rajbansis of North Bengal. The fluid border between deities, witches and human beings is an essential part of both her myth and cult. Being a Tāntric deity, Manasā has an extremely ambivalent character: according to the narratives and ritualistic practice she is at the same time both welcomed and unwanted. Her worship involves negotiation with dangerous divine power, which gen

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14

Mohapatra, Dr Ashis. "The Essence of Popular Folk Dances of Odisha." IOSR Journal of Humanities and Social Science 22, no. 01 (2017): 29–32. http://dx.doi.org/10.9790/0837-2201052932.

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15

Naik, Dr Rajakumar. "Present Scenario of Bathudi culture and Society." International Journal for Research in Applied Science and Engineering Technology 9, no. 8 (2021): 2558–60. http://dx.doi.org/10.22214/ijraset.2021.37814.

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Abstract: Odisha has one of the largest concentrations of tribal population in the whole country. In concrete figure they number around 8 million. Tribal communities differ from all others in many aspects, their distinctive features being clan organization and territorial exogamy, class’s social structure, youth dormitory, colourful rituals and folk art, music and dance. The 62 tribes in Odisha wary in their size, degree of acculturation and economic patterns. While the Kondhs numbering around nine lakh are numerically the largest in the state. the Santals are among the three largest and advan

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16

Rodríguez Freire, Raúl. "La inmortalidad de Ulises, entre Homero y Joyce." Co-herencia 10, no. 19 (2013): 57–71. http://dx.doi.org/10.17230/co-herencia.10.19.3.

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La reescritura de la Odisea de Homero, por parte de James Joyce, sigue siendo tema de debate. El presente artículo tiene por objetivo entregar claves de lectura que permitan comprender que Joyce sí reescribió el tema del Ulises en su obra, pero para comprender de qué manera lo hizo, es necesario revisar, primero, la transformación que sufrió el nombre de Ulises en La divina comedia de Dante y luego, entender la mirada histórica de Giambattista Vico, pues fueron sus reflexiones las que le permitieron a Joyce reescribir el tema homérico, pero a partir de su propio tiempo.

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17

Rodrigues, Henrique Estrada. "Ítaca ao revés." Remate de Males 38, no. 2 (2018): 853–84. http://dx.doi.org/10.20396/remate.v38i2.8652305.

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O artigo analisa o poema Finismundo: a última viagem, publicado por Haroldo de Campos em 1990. Este texto trabalha com a hipótese de que Finismundo, embora construído do ponto de vista do naufrágio das utopias (do naufrágio de certo “aventuroso deslugar”, segundo termos do poema), ainda pontua uma hybris ironicamente utópica. Para desenvolver essa questão, a análise aqui proposta se atém ao modo como Haroldo de Campos desenvolve o tema das viagens de Odisseu a partir de sedimentos poéticos provenientes tanto do cânone literário (especialmente Homero, Dante e Pound) como de seu próprio trabalho

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18

Hriberšek, Matej. "Evripidova in zajčeva Medeja (Intervju z Danetom Zajcem)." Keria: Studia Latina et Graeca 1, no. 1-2 (1999): 137. http://dx.doi.org/10.4312/keria.1.1-2.137-145.

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l. Morda se zdi prvo vprašanje nekoliko nenavadno, pa vendar, če bi vas nekdo, ki vas ne pozna vprašal, kdo je pravzaprav Dane Zajc, kaj bi mu odgovorili ? ... O tem bi lahko govorila sedaj drugače, ker je človek samemu sebi tako ali tako uganka in bi težko odgovoril, kdo sem - ampak če povem svoje življenjske podatke: rojen sem devetindvajsetega leta, dokončal sem srednjo šolo, gimnazijo v Ljubljani, enainpetdesetega leta so me vrgli iz gimnazije, bil sem nekaj časa zaprt, potem sem moral oditi k vojakom: privatno sem naredil maturo leta 1958, vendar je bila takrat študentska organizacija pro

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19

Nayak, Manoranjan. "IMPORTANCE OF ODISSI MUSIC IN ODISSI DANCE." PARIPEX INDIAN JOURNAL OF RESEARCH, November 15, 2019, 1–2. http://dx.doi.org/10.36106/paripex/5406689.

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Odissi music is the finest reconciliation of harmony with melody, which suffers no diminution of the essential quality of the classical music.The individual character of Odissi Music makes every recital an interpretation and self-expression. The unique identity of Odissi classical music lies in its presentation with equal importance to the Odissi dance and its classical ornamentation.Both Odissi music and Odissi dance have retained its distinctive identity in spite of the diversity in language, religion, and culture that was brought to Odisha's geographical localization by bridging the souther

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20

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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21

"Segmentation of an Indian Classical Dance Videos using Different Segmentation Methods." International Journal of Innovative Technology and Exploring Engineering 9, no. 2 (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 detectio

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22

Dr. Sudarsan Behera and Dr. B. Rangaiah. "Identification of Emotional Maturity among Traditional Dancers: As a Function of Dance Style, Gender and Residency." International Journal of Indian Psychology 3, no. 4 (2016). http://dx.doi.org/10.25215/0304.088.

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Maturity in general strength of mind withstand of capacity to evaluate an appropriate manner. Dance is a dynamic root to develop emotional expression and feelings through body movement and practice also linked with emotional maturity. People practicing different styles of dance could be significantly different from each other. The present study has been designed to investigate the level of emotional maturity among traditional dancers as a function of dance style, gender and residency. Following a 2 x 2 x 2 factorial design was adopted, 389 traditional dancers were included for study through pu

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23

KOUKLANAKIS, Andrea. "Algumas considerações sobre a tradução de Finismundo para o Inglês." Revista Texto Poético 9, no. 15 (2014). http://dx.doi.org/10.25094/rtp.2013n15a137.

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Este trabalho é um comentário sobre a minha tradução de Finismundo: a última viagem, poema de Haroldo de Campos. Dentre outras caracterizações, Finismundo é uma tradução interpretativa do herói Odisseu e de Ulysses. O primeiro concebido num mundo pós-clássico; e o segundo enfaticamente pós-heroico. O poema é também um comentário indireto sobre a audácia inerente às traduções dos épicos de Homero. Neste sentido, Haroldo implicitamente alude às primeiras traduções da Ilíada e Odisseia para o português, feitas por Odorico Mendes, no século XIX, as quais considera audaciosas e avant-garde (Campos,

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