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Tesis sobre el tema "Indian dance"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Sayyed, Mubaashera Irfan, Наталія Анатоліївна Пилипенко-Фріцак, Наталия Анатольевна Пилипенко-Фрицак, and Nataliia Anatoliivna Pylypenko-Fritsak. "Traditional Indian Dance As Symbolic Nonverbal Communication." Thesis, Sumy State University, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84793.

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Dance could be described as a performance art form in which the basic tool is the body and its purposefully selected movement in an intentionally rhythmical and culturally pattern with an aesthetic value and symbolic potential. Human has been using the body and its movement as a tool to express feelings and desires since prehistoric times and continues until now. When we dance, our bodies fire up with emotion and allow us to express what words cannot. In folk cultures around the world, people dance to impart knowledge and wisdom, express their emotions or devotion, and pass down the s

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2

Tatonetti, Lisa Marie. "From Ghost Dance to Grass Dance : performance and postindian resistance in American Indian Literature /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392799368.

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3

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 o

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4

Thannoo, Babita. "Mauritian sega music and dance rhythm and creolisation in the Indian Ocean." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595796.

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This thesis examines the Mauritian music and dance form known as sega and its performance of embodied creolisation through rhythm. It argues that sega's Afro-diasporic form encodes a performative history of sacred African presence in Mauritius and the Indian Ocean. This history can be traced to an Indo-oceanic maritime history of contact, trade and settlement that incorporated Mauritius within a regional network comprising East Africa and the wider Indian Ocean. I explore sega's origins in sacred rituals performed by slaves and argue that sega's contemporary secular performance perpetuate sacr

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5

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 connecte

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6

Pee, Mary Teresa Lay Hoon. "The development of Chinese, Indian and Malay dance in Singapore to the 1970s." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35808/7/35808_Digitised%20Thesis.pdf.

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7

Bose, Mandakranta. "The evolution of classical Indian dance literature : a study of the Sanskritic tradition." Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:07f89602-1892-4fa5-9d77-767a874597ef.

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The most comprehensive view of the evolution of dancing in India is one that is derived from Sanskrit textual sources. In the beginning of the tradition of discourse on dancing, of which the earliest extant example is the Natyasastra of Bharata Muni, dancing was regarded as a technique for adding the beauty of abstract form to dramatic performances. An ancillary to drama rather than an independent art, it carried no meaning and elicited no emotional response. Gradually, however, its autonomy was recognized as also its communicative power and it began to be discussed fully in treatises rather t

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8

Shankar, Bindu S. "Dance imagery in South Indian Temples: study of the 108-karana sculptures." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079459926.

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Thesis (Ph. D.)--Ohio State University, 2004.<br>Document formatted into pages; contains 355 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 March 16.

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9

Weisman, Eleanor Frances. "A movement and dance residency at a Lakota Indian reservation school : an action research study /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335538536.

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10

Eells, Paul Christopher. "Now I must try to live as they did Reginald Laubin and American Indian representation /." Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1939207261&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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11

Ponce, Gálvez Carlos Alfonso. "Recepción y Performance de Bollywood en Lima : los casos de "Show Indian Dance" y "Bollywood Perú"." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/9148.

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Los elencos “Show Indian Dance” y “Bollywood Perú” fueron los actores principales para obtener información del trabajo de campo. Sin embargo, a través de ellos pude conocer y tratar con otras fuentes quienes también pertenecen a la comunicad de fans de Bollywood, en su mayoría provenientes de otras agrupaciones coreográficas, tanto de la ciudad de Lima como también del interior del país. La colectividad de consumidores de esta propuesta cinematográfica en Lima (y en otras ciudades del país) concentra a diferentes tipos de seguidores, quienes a su vez mayoría participan en diversas comunidades

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12

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 exclus

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13

Stevens, Susan Georgina 1950. "The psychotherapeutic effects of American Indian traditions such as singing, drumming, dancing and storytelling." Thesis, The University of Arizona, 1998. http://hdl.handle.net/10150/278680.

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The Psychotherapeutic Effects of American Indian Traditions Such As Singing, Drumming, Dancing and Storytelling is a thesis comparing the Western Psychotherapeutic view of these activities with the American Indian Literature concerning those artistic actions as well as the American Indian oral tradition and healing ceremonies of the Tlingit, Iroquois, and Sioux and some other Tribes of North American. At different times, some more historic, the two cultural views appear to have many similar psychotherapeutic analyses attesting to the healing qualities of singing, drumming, dancing, and storyte

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14

Jacobson, Joanna Rose. "The scent of jasmine : experiencing knowledge and emotion in cross cultural contexts of South Indian classical dance." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/22343.

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My thesis uses the experience of learning bharatanatyam, classical dance-form of Tamilnadu, Southern India, to explore anthropological notions of the experience and formulation of emotion. As research unfolded, I became increasingly interested in understanding how bharatanatyam is taught, understood and experienced by those dancers who principally live and study bharatanatyam outside India. Consequently, my fieldwork emerged as multi-sited, and considers dance contexts in Edinburgh, London, and Chidambaram-a small temple town to the south of Chennai, India. My analysis is primarily a phenomeno

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15

Anandan, Saseedaran K. "Enhancing the performance experience: application of design concepts of form, space and choreography in Indian dance theatre." Thesis, Anandan, Saseedaran K. (2007) Enhancing the performance experience: application of design concepts of form, space and choreography in Indian dance theatre. PhD thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/4356/.

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The thesis revisits the key concepts of Indian dance based on the contemporary performance space by introducing design as an integral part of Indian dance, addressing these designs as symbolic or suggestive form (natyadharmi) and not as a realistic form (lokadharmi). In doing so, the thesis aims to explore the possibilities of further integrating design in dance so as to enhance performance experiences. The thesis argues that enhancements are a necessary development in order to express Indian dance in such an integrated way as to allow the “essence” of traditional Indian dance, its spiritualit

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16

Glynn, John Charles. "Kathakali: A study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala." University of Sydney. Performance Studies, 2001. http://hdl.handle.net/2123/834.

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This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Resp

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17

Cara, Nikita. "The effect of Indian dance on gait and balance of children : comparing Grade R and Grade 7 children." University of the Western Cape, 2016. http://hdl.handle.net/11394/5010.

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Magister Artium (Sport, Recreation and Exercise Science) - MA(SRES)<br>Through the process of motor learning and control, new skills are then developed. There are various physical activities that enable the development of new motor skills, one being dance. Numerous studies have found that dance has improved sensorimotor control of body sway following just a single dance session. Furthermore, learning dance engages a variety of cognitive resources that improve postural control of children. Dancing therefore contributes to the development and refinement of the fundamental motor skills

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18

Garner, Sandra L. "What Sort of Indian Will Show the Way? Colonization, Mediation, and Interpretation in the Sun Dance Contact Zone." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281961865.

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19

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’

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20

Warren, Laura Michelle. "Central Illinois Powwow Community: A Unique Path of Creation, Cultivation, and Connection to American Indian Culture, Identities, and Community." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/774.

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21

Nayee, Sanjana. "Not really bollywood a history of popular hindi films, songs, and dance with pedagogical applications for understanding indian history and culture." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1534.

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Contemporary fascination with 'Bollywood' proliferates much of reality TV dance shows, media blurbs and other communicative outlets. These avenues homogenize India as 'Bollywood', while social and political outlets place Indians and people of South Asian descent into fitted stereotypes that are ridiculed and largely distorted. The intent of this thesis was to explore how the growing international intrigues of popular Hindi films exist beyond 'Bollywood'. This study is especially important because current U.S. demographics are undergoing a 'browning' effect yet a comprehensive method for unders

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22

Ramesh, Rajyashree [Verfasser], and Cornelia [Akademischer Betreuer] Müller. "Sensing and Shaping – the emotive-kinetic grounding of meaning. A cross-disciplinary analysis of Indian Dance Theatre / Rajyashree Ramesh ; Betreuer: Cornelia Müller." Frankfurt (Oder) : Europa-Universität Viadrina Frankfurt, 2019. http://d-nb.info/1203245920/34.

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23

Kudva, Sonali S. "It's Not All About Song and Dance: How the Natyashastra Informs Contemporary Bollywood." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556281429094399.

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24

Massalski, Dorothy Clare. "Cognitive Development and Creativity in a Navajo University Student: An Explorative Case Study using Multiple Intelligence Perspective." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/193981.

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Intelligence and creativity are concepts used to describe the efforts of human beings to achieve the highest aspirations of the human brain-mind-spirit system.Howard Gardner, intelligence and creativity researcher, applied his Multiple Intelligence theory to case studies of creative masters from seven intelligence domains developing a template for research: Life Course Perspective: A Framework for Creativity Analysis. The framework consists of four sections: Child and Master, Creation of a Work, an Analysis of Creativity, The Creator and the Field, and Fruitful Asynchronicity. This case stud

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25

Pitale, Jaswandi Tushar. "Development of an Interactive Wearable sensor to Promote Motor Learning in Children having Cerebral Palsy." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420761976.

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26

Rocton, Julie. "Modes d’existence et d’appropriation de l’Abhinayadarpana de Nandikesvara : étude du texte, de son édition et de son usage dans le milieu du bharatanatyam." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0657.

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Cette thèse propose une étude sur l’Abhinayadarpaṇa, « le Miroir du Geste », de Nandikeśvara, traité sanskrit médiéval traitant de l’art de l’expression au moyen des gestes. Ce texte est aujourd’hui une référence théorique particulièrement populaire dans la pratique du bharatanāṭyam, la danse « classique » du Tamil-Nadu (Sud-Est de l’Inde), notamment depuis le tournant dit « revivaliste » dans les années 1930. Conjuguant les approches philologique et ethnographique, cette étude propose une analyse des différentes formes et modes d’appropriation de ce texte. L’étude et la traduction du texte sa

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27

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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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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29

Purkayastha, Prarthana. "Bodies beyond borders : modern dance in colonial and postcolonial India." Thesis, University of Roehampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505323.

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30

Kulkarni, Anagha. "Frames in Harmony - A Critical Analysis of Song Sequences in the Films of Guru Dutt." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/27.

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Guru Dutt was one of the most important filmmakers in India, who worked for a little over a decade starting in 1951. He died prematurely in 1964. In those few years, he made some of Indian cinema?s most memorable films. Song and dance sequences are an integral part of the narrative structure of popular Indian cinema. Guru Dutt, working within that paradigm, devised innovative methods of using song sequences. In his films, the song sequences were not a distraction, but they served the purpose of carrying the narrative forward, expressing the inexpressible, and replacing scenes. He achieved this

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31

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 Toroto

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32

Kimiko, Ohtani. "Rukmini Devi and Bharata Natyam : the revival of classical dance in India." Thesis, Queen's University Belfast, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241425.

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33

Ramaswami, Siri. "Dance sculpture as a visual motif of the sacred and the secular: a comparative study of the BelurCennakesava and the Halebidu Hoysalesvara temples." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31240926.

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34

Crémézi, Sylvie. "Au coeur de la danse : le corps résonant à la clef de la résilience culturelle et sociale des Indiens Pueblo Tewa, Navajo et Apache Mescalero du Nouveau-Mexique." Montpellier 3, 2006. http://www.theses.fr/2006MON30015.

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Les cultures pueblo tewa, navajo et apache mescalero du Nouveau-Mexique appliquent une conscience participatoire à leur conception de la vie et de la société avec pour but d'établir une sorte de résonnance avec ce qu'ils percoivent. Ces cultures sont fondées sur une phénoménologie perceptuelle. Au coeur de leur expérience, leurs fondement reposent sur la perception acquise en utilisant le corps tout entier en participation directe avec le monde naturel. La danse y est présente afin de maintenir le flux dynamique et harmonieux de l'univers. La proposition est ici de voir en ces corps éveillés à

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35

Henson, Sändra Lee Allen. "Dead bones dancing : the Taki Onqoy, archaism, and crisis in sixteenth century Peru /." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0320102-105954/unrestricted/HensonS041102a.pdf.

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36

Kaczmarek, Josephine Agnes. "The Dream Dance, an examination of its music and practice among woodlands and central subarctic Indians." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ35065.pdf.

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Ravikumar, Meghana. "The Dancer vs. The Adjudicator: Devadasi Resistance in the 19th-Century Court." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/987.

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This thesis investigates the dynamics between devadasi women and judges in the Anglo-Indian court in the Madras Presidency of 19th-century colonial India. The thesis focuses on how the devadasis navigated the colonial legal system and the strategies they utilized as well as the role of the judges' preconceived notions and prejudice in determining the decisions they made.

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Soune-Seyne, Idriss. "Médiation interculturelle de la Danse du Lion dans la communauté sino-réunionnaise : étude des zones Océan Indien (La Réunion, Maurice) et Pacifique sud-ouest (Singapour, Malaisie, Taïwan)." Electronic Thesis or Diss., La Réunion, 2024. http://www.theses.fr/2024LARE0024.

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Portée par la migration engagiste des coolies à La Réunion (Wong-Hee-Kam, 1996), la Danse du Lion se situe à la croisée de l’art sacré, de l’art martial (Wu Shu) et de l’art du spectacle. Cette pratique a pour double projet la médiation intergénérationnelle et l’ouverture interculturelle (Abdallah-Pretceille, 2020) : elle se transforme sur la trajectoire migratoire depuis la Chine sous l'impulsion des Grands Maîtres. La question est de savoir comment les familles sino-réunionnaises s'emparent de cette pratique patrimoniale immatérielle vivante pour opérer la médiation culturelle en contexte. Q

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Jin, Jisook. "La musique et la danse dans le "cycle indien" de Marguerite Duras." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10020.

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Mettant en scène l'irreprésentable et l'ineffable, la danse et la musique soutiennent l'écriture de Duras qui repose sur le sensible et l'irrationnel. L'écriture filmique et littéraire de Duras revient inlassablement pour tenter de se ressourcer dans le bal ou la musique et la danse font un corps. Nous avons inscrit le silence, le cri et la voix au même endroit que la musique avec laquelle ils forment "l'autre langage" à la place des mots. La danse entre aussi dans la lignée de la musique en représentant l'instant fulgurant ou le corps libère le vécu intérieur, retravaille la matière du passé.

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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 betwe

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Cippiciani, Irani da Cruz 1978. "Abhinaya : a construção de um corpo narrativo : o elemento expressivo do teatro e da dança na Índia." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284616.

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Orientador: Marília Vieira Soares<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T15:18:37Z (GMT). No. of bitstreams: 1 Cippiciani_IranidaCruz_M.pdf: 6391076 bytes, checksum: 8e36d233f3e3ace0eae7ee4d908c58a4 (MD5) Previous issue date: 2014<br>Resumo: Esta dissertação estuda o conceito e a técnica do Abhinaya, elemento expressivo presente nas formas de dança-teatro indianas, investigando suas possíveis contribuições para a formação e treinamento de atores, bailarinos e performers contemporâneos. Para tanto, inicio est

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Catib, Norma Ornelas Montebugnoli [UNESP]. "Os ritos das danças Xondaro e do Terreiro da Aldeia Guarani M'bya - Aguapeú e das danças circulares." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/96031.

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Made available in DSpace on 2014-06-11T19:27:59Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-10-18Bitstream added on 2014-06-13T20:36:43Z : No. of bitstreams: 1 catib_nom_me_rcla.pdf: 3876729 bytes, checksum: b170b0042d6eb2069f4d0b4b5c0e0375 (MD5)<br>Esse estudo teve como objetivo identificar quais as matrizes presentes nas danças indígenas que aparecem nas danças circulares na contemporaneidade. Trata-se de um estudo de natureza qualitativa, envolvendo uma pesquisa exploratória, desenvolvida por meio de entrevista estruturada, aplicada a uma amostra intencional constituída por 13

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Baca, Damian. "Border insurrections How IndoHispano rhetorics revise dominant narratives of assimilation /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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Andrade, Joachim. "Shiva abandona seu trono: destradicionalização da dança Hindu e sua difusão no Brasil." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/2018.

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Made available in DSpace on 2016-04-25T19:20:45Z (GMT). No. of bitstreams: 1 Joachim Andrade.pdf: 4023198 bytes, checksum: dc0d71e18966f32fcf73e535661bb773 (MD5) Previous issue date: 2007-04-13<br>Hindu Dance one of the most popular artistic forms of India, has received universal acclamation including in Brazil as one of the subtlest expressions of Hinduism. Its intimate connection with the temple, as a ritualistic art, mirroring the imperceptible feelings of devadasis the dancing girls , reflects he inwardness of Hindu culture. This dance is performed according to the most delicate nuances

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Catib, Norma Ornelas Montebugnoli. "Os ritos das danças Xondaro e do Terreiro da Aldeia Guarani M'bya - Aguapeú e das danças circulares /." Rio Claro : [s.n.], 2010. http://hdl.handle.net/11449/96031.

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Orientador: Gisele Maria Schwartz<br>Banca: Carmem Maria Aguiar<br>Banca: Yara Aparecida Couto<br>Resumo: Esse estudo teve como objetivo identificar quais as matrizes presentes nas danças indígenas que aparecem nas danças circulares na contemporaneidade. Trata-se de um estudo de natureza qualitativa, envolvendo uma pesquisa exploratória, desenvolvida por meio de entrevista estruturada, aplicada a uma amostra intencional constituída por 13 sujeitos adultos, de ambos os sexos, com faixas etárias variadas, integrantes da Aldeia do Aguapeú, os quais encontravam-se diretamente envolvidos com os rit

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Costa, Elisa Massariolli da 1985. "Dançar para a Fonte Xavante = uma experiênciabailarino-pesquisador-intérprete de retorno à Terra Indígena Pimentel Barbosa = Dancing to the Xavante Source: a return experience of the dancer-researcher-performer to the Pimentel Barbosa Indigenous Territory." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284599.

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Orientador: Graziela Estela Fonseca Rodrigues<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T10:14:16Z (GMT). No. of bitstreams: 2 Costa_ElisaMassariollida_M.pdf: 2444656 bytes, checksum: 46741614e0010602026fcecc9136f1ef (MD5) Costa_ElisaMassariolliDa_M_Anexo.zip: 792303022 bytes, checksum: f187d9f850cd6916b4c497b59e303d8d (MD5) Previous issue date: 2012<br>Resumo: O objetivo desta pesquisa consistiu em aprofundar-se na fase do Método Bailarino- Pesquisador-Intérprete (BPI) que denominamos de Retorno ao Campo. Essa

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MORTILLARO, MARIA CATERINA. "Il Bharatanatyam cristiano: Una forma d'inculturazione del cristianesimo attraverso la danza-teatro indiana." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2016. http://hdl.handle.net/10281/102550.

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Il Bharatanatyam è uno degli otto stili di danza classica indiana ufficialmente riconosciuti dalle istituzioni indiane. Anche se proviene dalla regione del Tamil Nadu, dopo la riforma negli anni Trenta e Quaranta, si è diffuso in tutto il subcontinente ed è praticato anche in Sri Lanka, nelle Mauritius e ovunque ci sia una comunità indiana. E’ ritenuto un simbolo dell’identità indiana. Nel Natyashastra, uno degli antichi testi teorici su questo argomento, è scritto che il dio Brahma avrebbe originariamente insegnato la scienza della gestualità e della danza in modo che la conoscenza dei Veda p

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Latuner-El, Mouhibb Marie-Thérèse. "Dessin - Pratiques rituelles - Danse : porosités et transports." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3093.

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La recherche explore, dès le départ, une pratique qui croise le dessin avec des pratiques de danse contemporaine, investissant la tension dynamique avec le sol, l’espace gravitaire. Ces pratiques sont questionnées et réinvesties par l’expérience et l’apprentissage en Inde du sud, de rituels de dessins de poudre tracés au sol : les kolam, apparaissant sur les seuils des maisons tamoules à l’aube et les kalam, réalisés lors de cérémonies rituelles au Kérala. Des dessins éphémères où alternent tracés et effacements, dans un geste sacré qui fait puis défait. Le dialogue entre pratiques rituelles e

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Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance i

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Williamson, Raya. "A Movement for Authenticity: American Indian Representations in Film, 1990 to Present." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494330075140438.

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