Relevant bibliographies by topics / Performing arts India

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

Academic literature on the topic 'Performing arts India'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Performing arts India"

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Narayan, Shovana. "Performing Arts Museums and Collections in India." Museum International 49, no. 2 (1997): 32–37. http://dx.doi.org/10.1111/1468-0033.00088.

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McGowan, Abigail. "Performing Pasts: Reinventing the Arts in Modern South India." History: Reviews of New Books 37, no. 4 (2009): 151. http://dx.doi.org/10.1080/03612759.2009.10527382.

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Obeng, Pashington. "Siddi Street Theatre and Dance in North Karnataka, South India." African Diaspora 4, no. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.

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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Siddi dances and street theatre parallel and yet may differ from other performing arts in South India. Further, the paper complicates the current discourse on how diasporic African communities use the performing arts. My paper goes beyond the Atlantic Diaspora model. It examines ways in which Siddis of South Asia use their dance and theatre to express multiple domains of cultural art forms alongside the everyday use of such performances including a counter-hegemonic stance.
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Brenneis, Donald, and Bonnie C. Wade. "Performing Arts in India: Essays on Music, Dance and Drama." Asian Folklore Studies 44, no. 1 (1985): 146. http://dx.doi.org/10.2307/1177999.

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Zarrilli, Phillip, and Bonnie C. Wade. "Performing Arts in India: Essays on Music, Dance, and Drama." Asian Theatre Journal 3, no. 1 (1986): 132. http://dx.doi.org/10.2307/1124585.

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Trivedi, Madhu. "Tradition and Transition: The Performing Arts in Medieval North India." Medieval History Journal 2, no. 1 (1999): 73–110. http://dx.doi.org/10.1177/097194589900200105.

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Wade, Bonnie C., Betty True Jones, Judy Van Zile, et al. "Performing Arts in India: Essays on Music, Dance, and Drama." Asian Music 18, no. 2 (1987): 1. http://dx.doi.org/10.2307/833942.

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Martin, Carol. "Feminist analysis across cultures: Performing gender in India." Women & Performance: a journal of feminist theory 3, no. 2 (1987): 32–40. http://dx.doi.org/10.1080/07407708708571102.

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Afzal-Khan, Fawzia. "Roshan Ara Begum: Performing Classical Music, Gender, and Muslim Nationalism in Pakistan." TDR/The Drama Review 62, no. 4 (2018): 8–22. http://dx.doi.org/10.1162/dram_a_00790.

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The imbrication of issues of nation, class, gender, and religion necessitates a critical revision of the so-called secular postcolonial modernity embraced by Indian nationalists, including musicologists. The life and struggle of Roshan Ara Begum — Pakistan’s first and, to date, arguably greatest singer of classical music — is an instructive example of the complex intertwining of agency, resistance, and resignation in Muslim-identified Pakistan and Hindu-identified India.
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Thiagarajan, Deborah. "Dakshinachitra, a museum for the folk performing arts and crafts of South India." Museum International 40, no. 1 (1988): 52–56. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00727.x.

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Dissertations / Theses on the topic "Performing arts India"

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Nadadur, Kannan Rajalakshmi. "Performing 'religious' music : interrogating Karnatic Music within a postcolonial setting." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/18272.

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This research looks at contemporary understandings of performance arts in India, specifically Karnatic Music and Bharatnatyam as ‘religious’ arts. Historically, music and dance were performed and patronized in royal courts and temples. In the early 20th century, increased nationalist activities led to various forms of self-scrutiny about what represented ‘true’ Indian culture. By appropriating colonial discourses based on the religious/secular dichotomy, Karnatic Music was carefully constructed to represent a ‘pure’ Indian, specifically ‘Hindu’ culture that was superior to the ‘materialistic’ Western culture. Importantly, the category called divine was re-constructed and distinguished from the erotic: the divine was represented as a category that was sacred whilst the erotic represented ‘sexual impropriety.’ In so doing, performance arts in the public sphere became explicitly gendered. Feminity and masculinity were re-defined: the female body was re-imagined as ‘sexual impropriety’ when in the public sphere, but when disembodied in the private sphere could be deified as a guardian of spirituality. Traditional performing communities were marginalized while the newly defined music and dance was appropriated by the Brahmin community, who assumed the role of guardians of the newly constructed Indian-Hindu identity, resulting in caste-based ‘ownership’ of performance arts. Mechanical reproduction of Karnatic Music has created a disconnect in contemporary Indian society, in which Karnatic Music is disembodied from its contexts in order to be commodified as an individual’s artistic expression of creativity. This move marks a shift from substantive economics (music was performed and experienced within a specific context, be it royal patronage or Indian nationalist movements) to formal economics (music as a performer’s creative property). I question the understanding of Karnatic Music as ‘religious’ music that is distinguished from the ‘secular’ and seek to understand the colonial patriarchal mystification of the female body in the private sphere by deconstructing the definition of the ‘divine.’ In doing so, I also question the contemporary understanding of Karnatic Music as an item of property that disembodies the music from its historical context.
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Hamilton, Mark James. "Martial Dance Theatre: A Comparative Study of Torotoro Urban Māori Dance Crew (New Zealand) & Samudra Performing Arts (India)." Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5092.

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This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit. The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge. In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?
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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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Gaston, Anne-Marie. "Continuity and recreation in the performing arts of India - a study of two artistic traditions : part I, the makers of modern Bharata Natyam; part II, the musicians of Nathdvara." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315832.

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Anthony, Douglas Richard. "''Acting In'': A Tactical Performance Enables Survival and Religious Piety for Marginalized Christians in Odisha, India." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429801174.

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Thobani, Sitara. "Dancing diaspora, performing nation : Indian classical dance in multicultural London." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c189d163-b113-408f-9f3b-181c6fd5fbce.

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This thesis examines the performance of Indian classical dance in the contemporary 'diaspora space' (Brah 1996) represented by the city of London. My aim is to analyse whether and how performances of "national" art, assumed to represent an equally "national" culture, change when performed in transnational contexts. Drawing upon theories of postcolonialism, multiculturalism and diaspora, I begin my study with an historical analysis of the reconstructed origins of the dance in the intertwined discourses of British colonialism and Indian nationalism. Using this analysis to ground my ethnography of the present-day practice of the dance, I unearth its relation to discourses of contemporary multiculturalism and South Asian diasporic identity. I then demonstrate specific ways in which the relationship between colonial and postcolonial artistic production on the one hand and contemporary performances of national and multicultural identity on the other are visible in the current practices and approaches of diasporic and multicultural Indian classical dancers. My thesis advances the scholarship that has demonstrated the link between the construction of Indian classical dance and the Indian nationalist movement by highlighting particular ways in which historical narrative, national and religious identities, gendered ideals and racialised categories are constituted through, and help produce in turn, contemporary Indian classical dance practices in the diaspora. Locating my study in the UK while still accounting for the Indian nationalist aspects of the dance, my contribution to the scholarly literature is to analyse its performance in relation to both Indian and British national identity. My research demonstrates that Indian classical dance is co-produced by both British and Indian national discourses and their respective cultural and political imperatives, even as the dance contributes to the formation of British, Indian and South Asian diasporic politico-cultural identities.
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Berkowitz, Adam Eric. "Finding a Place for "Cacega Ayuwipi" within the Structure of American Indian Music and Dance Traditions." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096024.

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<p> American Indian music and dance traditions unilaterally contain the following three elements: singing, dancing, and percussion instruments. Singing and dancing are of the utmost importance in American Indian dance traditions, while the expression of percussion instruments is superfluous. Louis W. Ballard has composed a piece of music for percussion ensemble which was inspired by the music and dance traditions of American Indian tribes from across North America. The controversy that this presents is relative to the fact that there is no American Indian tradition for a group comprised exclusively of percussion instruments. However, this percussion ensemble piece, <i> Cacega Ayuwipi</i>, does exhibit the three elements inherent to all American Indian music and dance traditions. <i>Cacega Ayuwipi</i> is consistent with American Indian traditions in that the audience must see the instruments, watch the movements of the percussionists, and hear the percussive expressions in order to experience the musical work in its entirety.</p>
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Mookherjee, Taarini. "Desifying Shakespeare: Performing Contemporary India in Adaptations." Thesis, 2020. https://doi.org/10.7916/d8-kva3-wn36.

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“Desifying Shakespeare” focuses on the sharp spike in Shakespeare performances in India in the last three decades (1993-2018), a period of time that coincides with the advent of globalization, the liberalization of India’s economy, and the emergence of the field of Global Shakespeare. By mobilizing the bilingual portmanteau desify, a word that simultaneously references the abstract and aspirational nation (des) and the quotidian process of making local or native in popular culture, this project argues that these self-consciously Indian productions or “desified Shakespeare” disclose contemporary Indian ideas and inquiries of the nation. The dissertation thus works to demonstrate the discursive overlaps and tensions between race, caste, religion, gender, language, color, and nationality, categories that are historically contingent, fluid, and performative. Each chapter centers around the affordances and appropriations of a different Shakespeare play and its iterations in contemporary India: Romeo and Juliet and the neighborhood as nation, Othello and the performativity of caste, Hamlet and the borderlands,Twelfth Night and diaspora space. “Desifying Shakespeare” thus marks the overlap and tension between the intensely local, the triumphantly national, and the universally global. Over the past two decades, the rise of the Hindu Right in India has resulted in Indian public discourse marking a return to and renewed investigation of the nation and its paronyms: national and nationalism. While the Hindu Right propounds a triumphalist and homogenous narrative of the nation, “Desifying Shakespeare” troubles this narrative by turning to performance, which I argue negotiates the tension between the des or the nation and desifying or the process of making local, concepts that both overlap and oppose each other. Prior studies on Shakespeare in India have relied heavily on the consequences of Shakespearean adaptations’ colonial origins, often restricted to analyses of single productions. However, “Desifying Shakespeare” shifts, in its methodology, to emphasize a synoptic view of Shakespeare in India, its multiple vectors of influence—colonial, global, postcolonial, and transnational—and its diverse areas of overlap. While the tendency within the field of Global Shakespeare is to dismiss the nation in favor of the local and the transnational, this project argues that the local and the transnational are entwined in the contemporary notions of the nation. “Desifying Shakespeare” works to provide an alternative theorization of adaptation by using the portmanteau desify—a word that performs the very action it describes. A combination of des, the Hindi word for country/nation (implicitly understood to mean Indian), and the English suffix “—fy” denoting the transformation or the process of making into, desify is itself a word that desifies the English for change. An analysis of desification, thus involves a shift from a privileging of the putative original to an approach that considers a wider web of influences spanning different media, genres, languages, and sources. Running through this dissertation is a theorization of language in performance, moving between the concepts of neighboring, regional, vernacular, and dialect. “Desifying Shakespeare” thus shifts away from the dominant postcolonial metaphors of narration and imagination to emphasize the role of embodied performance in determining and upending a national identity. How the des is constructed in these productions provides an alternative to a neat narrative of the nation that moves beyond the Indian context to provide a model for Global Shakespeare criticism more broadly.
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Dharmasiri, Kanchuka N. "Transgressing space and subverting hierarchies: a comparative analysis of street theatre groups in Sri Lanka, India, and the United States." 2014. https://scholarworks.umass.edu/dissertations/AAI3615408.

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In this dissertation, "Transgressing Space and Subverting Hierarchies: A Comparative Analysis of Street Theater Groups in Sri Lanka, India, and the United States," I explore how street theater artists in three different national contexts make innovative use of space, performance traditions, language, and audience in order to question economic, political, and cultural power structures. My study involves a comparative analysis of the work of The Wayside and Open Theater in Sri Lanka, People's Theater Forum (Janam) in India, and Bread and Puppet Theater in the United States. I study the ways in which these groups appropriate spaces and, through their performances, transform them into transgressive sites where existing power hierarchies are questioned and subverted. I examine their use of hybridized forms of aesthetics - a combination of traditional formal performance methods and western performance traditions - as well as language to create a dialogic relationship with diverse audiences. While the study of Sri Lankan and Indian street theater groups interrogates the dynamics of space as it manifests itself in postcolonial contexts, my analysis of Bread and Puppet Theater provides material for comparison and contrast by examining the workings of space and power in a "first world" context. My investigation is informed by Ngugi wa Thiong'o's and Safdar Hashmi's work on space, performance, and power as well as theories of national culture and identity elaborated by Frantz Fanon and Homi Bhabha. I will likewise refer to Jacques Derrida's arguments about language and play and André Lefevere's ideas concerning translation and rewriting in order to examine the language used in the plays. While prior studies of street theater focus primarily on its status as a political or cultural event, I propose to engage in an in depth analysis of the performance texts - both written and visual - and examine the nuances in language and the particular performance techniques used by the groups in specific locations.
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"Paradoxes to Intersections—Discovering the Invitations as a Bharata-Nrityam Teacher in the United States." Master's thesis, 2020. http://hdl.handle.net/2286/R.I.63003.

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abstract: The Bharata-Natyam student in the United States (US) is challenged by how to effectively translate their dance into contemporary lived experiences. Research reveals that this dilemma is sometimes addressed by transplanting learnt choreographies into a new theme, sometimes adding verbal text to connect learnt choreography to contemporary issues, or sometimes simply giving up the dance form. Years of training in prevalent Bharata-Natyam education methods make students proficient in re-producing choreography but leave them without the tools to create. This is due to emphasis on guarding traditions and leaving interpretation for later stages that never arrive or get interrupted, because students leave their spaces of Indian-ness for college or a job. This work considers how Bharata-Natyam teachers in the US might support students in finding agency in their dance practice, using it to explore their lived experiences outside dance class, and engaging meaningfully with it beyond the Indian diaspora. The desire for agency is not a discarding of tradition; rather, it is a desire to dance better. This work reinforces the ancient Indian tradition of inquiry to seek knowledge by implementing the principles of Bharata-Nrityam, somatics and engaged pedagogy through the use of creative tools. This took place in three stages: (i) lessons in the Bharata-Nrityam studio, (ii) making Kriti with non-Bharata-Natyam dancers, and (iii) designing a collaborative action dance project between senior Bharata-Natyam students and community partners who are survivors of sexual/domestic violence. The results, in each case, demonstrated that the use of creative tools based in the principles above enriched the teaching-learning process through deeper investigation and greater investment for both student and teacher. Students in the early stages of learning thrived, while senior students expressed that having these tools earlier would have been valuable to their practice. These results suggest that when Bharata-Natyam education in the US is refocused through the lenses of Bharata-Nrityam, somatics and engaged pedagogy, teachers can access tools to empower their students in their practice of Bharata-Natyam not only within the context of the Indian diaspora but also beyond.<br>Dissertation/Thesis<br>Masters Thesis Dance 2020
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Books on the topic "Performing arts India"

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Narayan, Shovana. Performing arts in India: A policy perspective. Kanishka Publishers, Distributors, 2003.

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Divine service and the performing arts in India. A.P.H. Pub. Corp., 2002.

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Trust, National Book, ed. Performance tradition in India. National Book Trust, India, 2001.

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Reba, Pani, ed. Back to the roots: Essays on performing arts of India. Manohar Publishers & Distributors, 2004.

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Associated Chambers of Commerce & Industry of India. Media & entertainment in India: Can we create a better media ecosystem in India? : white paper. Associated Chambers of Commerce & Industry of India, 2009.

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Pandey, S. P. Folk culture in India. Serial Publications, 2005.

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Performance and culture: Narrative, image and enactment in India. Cambridge Scholars, 2011.

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India. Embassy (U.S.). Press & Information Office. Maximum India: Celebrating a civilization. Press & Information Office, Embassy of India, 2011.

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Contemporary Indian dance: Creative choreography towards a new language of dance in India and the diaspora. Palgrave Macmillan, 2011.

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Heidrun, Brückner, Schömbucher Elisabeth, and Zarrilli Phillip B. 1947-, eds. The power of performance: Actors, audiences, and observers of cultural performances in India. Manohar Publishers & Distributors, 2007.

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Book chapters on the topic "Performing arts India"

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Maitra Bajpai, Lopamudra. "Covergence of Narrative and Performing Arts." In India, Sri Lanka and the SAARC Region. Routledge India, 2020. http://dx.doi.org/10.4324/9780429320514-22.

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"33 THE CHANGING INDIAN PERFORMING ARTS SCENE IN SINGAPORE." In Rising India and Indian Communities in East Asia. ISEAS Publishing, 2008. http://dx.doi.org/10.1355/9789812308009-038.

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Sethi, Arshiya. "Negotiating space for dance within the spectrum of contemporary performing arts in a globalized India." In Dance Matters Too. Routledge India, 2018. http://dx.doi.org/10.4324/9781351116183-8.

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Mohideen, Jaya. "Indian Contribution to Visual and Performing Arts in Singapore." In 50 Years of Indian Community in Singapore. World Scientific, 2016. http://dx.doi.org/10.1142/9789813140592_0005.

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Morcom, Anna. "The Creation and Recreation of India’s Illicit Zones of Performing Arts." In Illicit Worlds of Indian Dance. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199343539.003.0002.

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Morcom, Anna. "The Bollywood Dance Revolution and the Embourgeoisement of Indian Performing Arts." In Illicit Worlds of Indian Dance. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199343539.003.0005.

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Booth, Alison. "Negotiating Indianness." In Indians and the Antipodes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199483624.003.0011.

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This chapter focuses on the cultural economy of Auckland as a way to explore manifestations of diversity within the present-day Indian diaspora in New Zealand. The majority of recent migrants to New Zealand live in Auckland and are young professionals and students from Punjab and other parts of north India, whose cultural preferences differ from the more conservative earlier generations of settlers. This chapter investigates the divergence of views on what constitutes authentic Indian culture in New Zealand, particularly the tension between ‘traditional’ and ‘pop’ cultures reflected in the debates over publicly funded performing art events such as the Diwali festival. The chapter points to problems arising from New Zealand government and local council efforts to support multicultural policies and practices without due recognition of the internal diversity of New Zealand’s Indian diaspora.
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Rutherford-Johnson, Tim. "Permission." In Music after the Fall. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520283145.003.0003.

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The rise of the “New Musicology” in the 1980s coincided with a rise in social liberalizations, and their counter-response in the form of the Bush-era “culture wars.” Together they sparked a renewed interest in the listening and performing body, and in musical affect, explored here in composers’ uses of noise, silence, tonality, and meter, from Diamanda Galás to Laurence Crane, Masonna to Michael Torke. Such freedoms were also extended to the mixing of genres, and art music’s crossovers with electronica and indie rock are also discussed, as well as the further challenges to the Romantic concept of Werktreue to which these have given rise.
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