Academic literature on the topic 'Sattriya (Dance)'

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Journal articles on the topic "Sattriya (Dance)"

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Sarmah, Chayanika, and Parismita Sarma. "A dataset of Sattriya dance: Classical dance of Assam." Data in Brief 52 (February 2024): 109878. http://dx.doi.org/10.1016/j.dib.2023.109878.

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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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Singh, Jay, Neha Alghare, Basant Kumar Sonber, and Ankita Deshmukh. "Classical Indian Dance Genres for Better Mental Health: Revisiting Empirical Evidences." Mind and Society 13, no. 04 (2025): 15–24. https://doi.org/10.56011/mind-mri-134-20243.

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This narrative review is an attempt to understand the psychological advantages pertinent to Indian classical dance genres, including eight major classical dance forms like Bharatanatyam, Kathak, Manipuri, Kathakkali, Kuchipudi, Odissi, Sattriya, and Mohiniyattam. Highlighting their prospective therapeutic applications in the field of mental health is the main aim of this article. Indian classical dance forms represent a comprehensive practice that harmonizes the mind, body, and spirit, facilitating emotional expression and fostering cultural connections. Classical dance styles like Bharatanaty
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Bordoloi, Saswati D. "‘Mukha’: The Mask Tradition of Assam-with Special Reference to Samaguri Sattra." Cultural Syndrome 2, no. 1 (2020): 20–34. http://dx.doi.org/10.30998/cs.v2i1.267.

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Cultural heritage influences every aspect of life. Man has made the masks in dance rituals, dramas, folk songs, temples and different socio-cultural context. The use of masks in rituals or ceremonies is a very ancient human practice across the world. This mask or mukhas are said to be the base of the Assamese culture and tradition. They are worn mostly in bhaonas. Materials like bamboo, cane, cloth, clay etc. are used for making masks. Samaguri Sattra is a place of conservation and retention of vanishing art form of mukha. Sankardeva’s philosophies had transcended the boundaries of religion an
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Saikia, Dimple. "SATTRIYA DANCE: AN AESTHETICAL OUTLOOK." ShodhKosh: Journal of Visual and Performing Arts 5, no. 1 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.639.

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Aesthetic is the pursuits of one’s individual mind. The theory or sense of beauty is always in connotation with art appreciation or criticism and is cultivated in the responsive spectators. The aesthetic experience evolve among the sahridaya and varies from person to person depending upon the perception of beauty. Indian Classical Dances are sacred art forms associated with the union of individual soul with the Absolute. They imbibe the spiritual values. Sattriya dance, one of the classical dance form from Assam, created by the great saint Sankaradeva in the 15th -16th century was a product of
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Borah, Hemanta, and Namrata Phukan Gogoi. "A STUDY ON THE ORIGINS AND EVOLUTION OF SATTRIYA DANCE IN ASSAM." ShodhKosh: Journal of Visual and Performing Arts 5, no. 3 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i3.2024.2638.

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Sattriya dance was established in the 15th century A.D. by the Vaishnava saint Mahapurusha Sankaradeva as a vital means of propagating the Vaishnava faith. It has been maintained, as a unique dance form, by the Sattras or Vaishnava monasteries for centuries, hence the name. The tradition is strict on the principles of hand gestures, footwork, costumes, and music. It mainly consists of two streams of Bhaona repertoire such as Gayan-Bhayanar Nach and Kharmanar Nach and independent dances such as Chali, Rajagharia Chali, Jhumura, and Nadu Bhangi. Chali is characterized by grace, while Jhumura is
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Books on the topic "Sattriya (Dance)"

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Centre for Cultural Resources and Training (India), ed. Sattriya dance =: Satriyā nr̥tya. Centre for Cultural Resources and Training, 2007.

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Mahanta, Anudhriti. Facets of Sattriya dance and music. Anudhriti Mahanta, 2011.

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Bora, Tanuja. Aspects of Sattrīyā dance. Purbanchal Prakash, 2013.

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Kandali, Mallika. Sattriya: The living dance tradition of Assam. Publication Board Assam, 2014.

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Akademi, Sangeet Natak, ed. The Sattriya dance of Assam: An analytical and critical study. Sattriya Kendra of Sangeet Natak Akademi, 2016.

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Śaikiẏā, Śailena. Satrīẏa nr̥tyata eka dr̥shṭipāta. Pāblikeśvana Āru, 2018.

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(India), Marg Foundation, ред. Sattriya: Classical dance of Assam = Satrīẏā nr̥tya. Marg Foundation, 2013.

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Sattriya nrtya aru Satriya nrtyara tala. Asama Prakasana Parishada, 2015.

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Richman, Paula, and Rustom Bharucha, eds. Performing the Ramayana Tradition. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552506.001.0001.

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Performing the Ramayana Tradition: Enactments, Interpretations, and Arguments, edited by Ramayana scholar Paula Richman and Rustom Bharucha, scholar of Theater and Performance Studies, examines diverse retellings of the Ramayana narrative as interpreted and embodied through a spectrum of performances. Unlike previous publications, this book is neither a monograph on a single performance tradition nor a general overview of Indian theater. Instead, it provides context-specific analyses of selected case studies that explore contemporary enactments of performance traditions and the narratives from
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Book chapters on the topic "Sattriya (Dance)"

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Mahanta, Pradip Jyoti. "Sattriya dance." In Reflections of Dance along the Brahmaputra. Routledge India, 2023. http://dx.doi.org/10.4324/9781003398776-3.

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Saikia, Sumpi, and Sarat Saharia. "The Sattriya Dance Ground Exercise Video Dataset for Dynamic Dance Gesture Recognition." In Advances in Intelligent Systems and Computing. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7394-1_27.

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Devi, Mampi, Sarat Saharia, and D. K. Bhattacharyya. "A Dataset of Single-Hand Gestures of Sattriya Dance." In Heritage Preservation. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7221-5_14.

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Dadhara, Manash Protim, Anjan Kumar Sarma, and Sarat Saharia. "Classification of Hand Gestures of Sattriya Dance Using Skeleton-Based Features." In Algorithms for Intelligent Systems. Springer Nature Singapore, 2025. https://doi.org/10.1007/978-981-96-3256-5_4.

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Devi, Mampi, and Sarat Saharia. "An Empirical Analysis of Three Moments on Sattriya Dance Single-Hand Gestures Dataset." In Lecture Notes in Electrical Engineering. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4765-7_69.

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Richman, Paula. "The Ramayana Narrative Tradition as a Resource for Performance." In Performing the Ramayana Tradition. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552506.003.0001.

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This chapter examines case studies of Ramayana performances from different Indian regions and their relationships to diverse Ramayana texts, and provides a map of the volume. “Orientations and Beginnings” sets out an overview of intersections between Ramayana Studies and Performance Studies. “The Politics of Caste” deals with a Hindi poem and play scripts about the beheading of Shambuk, a Shudra character in the Ramayana tradition, linking them to Dalit demands for equality in 20th- and 21st-century India. “Interrogating the Anti-Hero” examines performances centered on Ravana as anti-hero or a
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Conference papers on the topic "Sattriya (Dance)"

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Devi, Mampi, and Sarat Saharia. "A two-level classification scheme for single-hand gestures of Sattriya dance." In 2016 International Conference on Accessibility to Digital World (ICADW). IEEE, 2016. http://dx.doi.org/10.1109/icadw.2016.7942540.

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