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Artículos de revistas 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

Katrak, Ketu H. "Toward Defining Contemporary Indian Dance: A Global Form." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 129–39. http://dx.doi.org/10.1017/s2049125500000613.

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This essay explores innovations in contemporary Indian dance based in classical Indian dance, martial arts and Western dance vocabularies. Who is making change and how does change work? I delineate the parameters of contemporary Indian dance as a genre (since the 1980s) and distinguish it from Bollywood style “free” dance. I analyze the creative choreography of one prominent contemporary Indian dancer, Chennai (India) based Anita Ratnam. Ratnam's signature style, evoking the “feminine transcendental,” is rooted in Indian aesthetic along with a pan-Asian scope. Ratnam's over twenty-year dance c

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2

Wang, Lijun. "Evolution of Indian Classical Dance in the Context of Globalization." Studies in Art and Architecture 3, no. 2 (2024): 27–30. http://dx.doi.org/10.56397/saa.2024.06.06.

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This paper explores the evolution of Indian classical dance in the context of globalization, examining how these ancient art forms have adapted to contemporary global influences. The study begins by tracing the roots and revival efforts of major styles such as Bharatanatyam, Kathak, and Odissi, highlighting their historical significance and regional variations. It then discusses the impact of globalization on these dances, focusing on their introduction to the global stage, adaptations, and fusions with other dance forms, and the role of the Indian diaspora in popularizing these dances abroad.

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3

Krishnan, Hari. "Rupture and Disruption: Reflections on “Making” and “Knowing” Dance." Arts 12, no. 3 (2023): 122. http://dx.doi.org/10.3390/arts12030122.

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This essay follows a somewhat unconventional approach to writing about Indian dance in the diaspora. I say “unconventional” because it unfolds as a kind of self-reflexive narration of my own journey as a “doubly diasporic” Indian dancer, born in Singapore but having made my career in North America. In essence, I map my own unconventional paths to understanding Indian dance in the diaspora, outside the tired and troublesome idea of “dance as heritage”. The aim of this critical meditation on my own work is to offer up new possibilities for moving Indian dance into progressive conceptual spaces t

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4

Srivastava, Nikita, Priyanka Soni, Rajat Singh, Anchal Sharma, and Arun Kumar. "Unraveling the Importance of Indian Classical Dances on Mental Well-Being of Performers." International Journal of Social Science Research and Review 7, no. 8 (2024): 24–41. http://dx.doi.org/10.47814/ijssrr.v7i8.2185.

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Dance has held significant importance in Indian culture and history. It has been used as a form of artistic expression, as a means of indulging in recreation and leisure, as a medium of conveying emotions like joy during special occasions of wedding and festivities. The mental health field has also recognised the importance of dance in recent years with dance movement therapy becoming popular worldwide. Ayurveda has emphasized the power that dance holds in healing and creating inner awareness. Various Indian philosophies support the idea of dance and music being beneficial for human physical a

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5

Wang, YanJun. "DEEP SINGING AND DYNAMIC MUSIC - RESEARCH AND INTRODUCTION OF SPANISH "FLAMENCO" ART." Scientific heritage, no. 125 (November 23, 2023): 4–7. https://doi.org/10.5281/zenodo.10199709.

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Flamenco dance is a special art form that combines song, dance, and guitar performance. Flamenco dance is the music and dance of the Andalusian Gypsies (also known as Flamenco people) in Spain. Originating from the folk songs and dances of Gypsy, Antalusia, Arabia, and Spanish Jews, in the 14th and 15th centuries, Gypsy wanderers brought the Eastern Indian tap dance style and Arab mystical and sentimental charm to Spain in their bold and unrestrained songs and dances.

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6

Dharmalingam, B., M. S. Kanagathara, M. Muthumari, and P. Avanthraj. "Dance form of Karagattam - The Regional Folk Dance in Tamil Nadu." Shanlax International Journal of Arts, Science and Humanities 7, no. 1 (2019): 71–75. http://dx.doi.org/10.34293/sijash.v7i1.485.

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India is a land of varied cultures and traditions, diversities in all spheres which make the Indian culture quite unique. Indian folk and tribal dances are the product of different socio-economic set up and traditions evolved over ages.. In India, we have festivals and celebrations virtually every day and dances are performed to express joy and festivity. This has added to the richness of Indian culture. Since every festival is accompanied by celebration of folk and tribal dances and almost all of them have continually evolved and improvised. In India, we have festivals and celebrations

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7

Vijayta, Jain, and Samar Jeet Singh Dr. "The role of yoga and classical dance in enhancing spiritual well-being." International Journal of Trends in Emerging Research and Development 2, no. 1 (2024): 127–32. https://doi.org/10.5281/zenodo.12620600.

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In yoga, physical postures and alignments foster awareness and meditation. In dance, these elements are crafted to evoke aesthetic pleasure and emotional resonance in the audience. Rooted in Hindu mythology, both dance and yoga in India share a divine origin. The Natya Shastra and Abhinaya Darpana narrate how dance was divinely conceived by Lord Brahma, integrating elements from the four Vedas, thus elevating it to the status of the fifth Veda. Nataraja, Shiva's form as the Lord of Dance, symbolizes cosmic cycles of creation and destruction through his dances - Lasya and Tandava, reflecting pa

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8

KABIR, ANANYA JAHANARA. "Rapsodia Ibero-Indiana: Transoceanic creolization and the mando of Goa." Modern Asian Studies 55, no. 5 (2021): 1581–636. http://dx.doi.org/10.1017/s0026749x20000311.

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AbstractThe mando is a secular song-and-dance genre of Goa whose archival attestations began in the 1860s. It is still danced today, in staged rather than social settings. Its lyrics are in Konkani, their musical accompaniment combine European and local instruments, and its dancing follows the principles of the nineteenth-century European group dances known as quadrilles, which proliferated in extra-European settings to yield various creolized forms. Using theories of creolization, archival and field research in Goa, and an understanding of quadrille dancing as a social and memorial act, this

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9

Putcha, Rumya S. "Between History and Historiography: The Origins of Classical Kuchipudi Dance." Dance Research Journal 45, no. 3 (2013): 91–110. http://dx.doi.org/10.1017/s0149767713000260.

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This article examines the intertwined discourses and debates of classicism, linguistic regionalism, caste, and gender in the case of South Indian dance. By focusing on the dance form, Kuchipudi, from Andhra Pradesh, the first administrative region in India formed on the basis of language, this study exposes the important connections between identity politics and the creation of cultural icons, such as classical dance. This study deconstructs the paradox of Kuchipudi's classicization, as it has become historicized as a symbol of masculine, Brahminical, Telugu culture, on the one hand, and the p

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10

Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a st

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11

Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a st

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12

Kumar, K. V. V., and P. V. V. Kishore. "Indian Classical Dance Mudra Classification Using HOG Features and SVM Classifier." International Journal of Electrical and Computer Engineering (IJECE) 7, no. 5 (2017): 2537. http://dx.doi.org/10.11591/ijece.v7i5.pp2537-2546.

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Digital understanding of Indian classical dance is least studied work, though it has been a part of Indian Culture from around 200BC. This work explores the possibilities of recognizing classical dance mudras in various dance forms in India. The images of hand mudras of various classical dances are collected form the internet and a database is created for this job. Histogram of oriented (HOG) features of hand mudras input the classifier. Support vector machine (SVM) classifies the HOG features into mudras as text messages. The mudra recognition frequency (MRF) is calculated for each mudra usin

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13

K.V.V., Kumar, and Kishore P.V.V. "Indian Classical Dance Mudra Classification Using HOG Features and SVM Classifier." International Journal of Electrical and Computer Engineering (IJECE) 7, no. 5 (2017): 2537–46. https://doi.org/10.11591/ijece.v7i1.pp2537-2546.

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Digital understanding of Indian classical dance is least studied work, though it has been a part of Indian Culture from around 200BC. This work explores the possibilities of recognizing classical dance mudras in various dance forms in India. The images of hand mudras of various classical dances are collected form the internet and a database is created for this job. Histogram of oriented (HOG) features of hand mudras input the classifier. Support vector machine (SVM) classifies the HOG features into mudras as text messages. The mudra recognition frequency (MRF) is calculated for each mudra usin

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14

K. G. J. U., Dissanayake, and Manamperi A. K. M. "A Study of Dance Usage in Kusa Paba Movie." Vidyodaya Journal of Humanities and Social Sciences 08, no. 02 (2023): 78–88. http://dx.doi.org/10.31357/fhss/vjhss.v08i02.07.

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A dance technique used to supplement the acting can be identified in modern Sinhala films that have taken Indian historical stories as a source. The Sinhala film Kusa Paba, directed by Sunil Ariyaratne, is based on the Kusa Jãtaka in the book Pansiya Panas Jathaka Potha, and it is set in North Indian social culture. The research problem of this study is to investigate how the proposed social culture is revealed through the use of dance in the Kusa Paba film. The central assumption of this study is to identify the use of dance in this film and, secondarily, to recognize the proposed social cult

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15

Jones, Daystar/Rosalie. "Dreaming the Fourth Hill." Dance Research Journal 48, no. 1 (2016): 13–18. http://dx.doi.org/10.1017/s0149767716000048.

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Dancer. Teacher. Choreographer. Writer. Passionate Amateur Mime and Mask-Maker. Wannabe Puppeteer. Founder, Director of Daystar: Contemporary Dance-Drama of Indian America. Acknowledged ‘pioneer’ of native modern dance USA. My father's insight: One day you will realize that you were blessed to be a descendant of the original peoples of this land.

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16

Boye, Seika. "Ola Skanks: Delayed Recognition of a Dance Artist Ahead of Her Time." Canadian Journal of History 56, no. 3 (2021): 216–28. http://dx.doi.org/10.3138/cjh.56-3-2021-0111.

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This essay chronicles my research relationship with choreographer, teacher, educator, and activist Ola Skanks. Canadian-born and of West Indian (St. Lucia and Barbados) descent, Skanks was a groundbreaking dance and fashion design artist who combined modern, Western art forms with traditional dances of the Africa diaspora. I share excerpts from my work to date, including my archival exhibition, It’s About Time: Dancing Black in Canada 1900–1970, to provide context for the circumstances that Black people danced in, socially and/or as performers. This is followed by a selection of photos from Sk

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17

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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18

Muxammedova, Nilufar. "AMERIKA HINDU YOZUVCHLARI IJODIDA TARIXIY MANBALAR TASVIRI." TAMADDUN NURI JURNALI 1, no. 64 (2025): 266–70. https://doi.org/10.69691/6m0wfd64.

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The paper deals with the analysis of Ghost Dance described in the novels of Native American writers. In the novels of these writers there is integration of the history of Ghost Dance and modern American life. Native American writers refer to the history of Native Americans and describe the process of development of Ghost Dance to Grass Dance. The analysis of the use of historical sources in the novels of Native American writers demonstrate Indian identity and how identity is reflected in different colours and movements of Native American dances.

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19

Deshkar, Ankita. "Non-Verbal Communication in Indian Classical Dance Forms." Bodhi: An Interdisciplinary Journal 10, no. 1 (2024): 1–16. http://dx.doi.org/10.3126/bodhi.v10i1.66929.

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This study delves into the intricate world of non-verbal communication within the rich mosaics of the Indian classical dance forms. The statement quoted by Noam Chomsky, “Language is not an inborn quality, it is creative and acquired”. The objective of this research is to analyse and focus on the need for humans to communicate, that too using non-verbal communication. Dance will not be relegated to simply a performance genre but will be treated as an essential ingredient of life. The focus would be on identifying the non-verbal elements of the dance that would communicate not just the stories

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20

Anami, Basavaraj S., and Venkatesh Arjunasa Bhandage. "A Comparative Study of Certain Classifiers for Bharatanatyam Mudra Images' Classification using Hu-Moments." International Journal of Art, Culture and Design Technologies 8, no. 2 (2019): 58–71. http://dx.doi.org/10.4018/ijacdt.2019070104.

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India is rich in culture and heritage where various traditional dances are practiced. Bharatanatyam is an Indian classical dance, which is composed of various body postures and hand gestures. This ancient art of dance has to be studied under guidance of dance teachers. In present days there is a scarcity of Bharatanatyam dance teachers. There is a need to adopt technology to popularize this dance form. This article presents a 3-stage methodology for the classification of Bharatanatyam mudras. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours of mud

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21

McCann, Gillian. "Performing Gender, Class and Nation: Rukmini Devi Arundale and the Impact of Kalakshetra." South Asia Research 39, no. 3_suppl (2019): 61S—79S. http://dx.doi.org/10.1177/0262728019872612.

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Rukmini Devi Arundale, herself a choreographer and dancer, is considered one of the key figures in re-creating Bharatanatyam. Through her utopian arts colony, Kalakshetra, started during the movement towards Indian independence, she taught what she deemed to be a classical, religious and aesthetically pleasing form of dance. Her rejection of what she termed vulgarity and commercialism in dance reflects her Theosophical worldviews and her class position in a rapidly changing South India. The article examines the ways in which her understanding of Bharatanatyam developed in the context of contes

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22

Chakravarty, Esha, Indrani Chakravarty, Ipsito Chakravarty, and Prasenjit Bhattacharjee. "Effects of Dance Therapy on Balance and Risk of Falls in Older Persons." Innovation in Aging 4, Supplement_1 (2020): 234–35. http://dx.doi.org/10.1093/geroni/igaa057.756.

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Abstract Loss of balance and risk of falls is a major problem in older persons. Literature shows increasing use of yoga practices and dance therapy across Indian oldage homes and day care centres to improve balance and reduce risk of falls in older persons. Aim of this study is to evaluate the effects of dance therapy with focus on therapeutic movements derived from Indian classical dances on balance and risk of falls in older adults of Day Care Centres in Calcutta Metropolitan Institute of Gerontology, under Ministry of Social Justice and Empowerment, Govt. of India. Total of 24 older adults

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23

Khandelwal, Meena, and Chitra Akkoor. "Dance on!: Inter-collegiate Indian dance competitions as a new cultural form." Cultural Dynamics 26, no. 3 (2014): 277–98. http://dx.doi.org/10.1177/0921374014537913.

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Inter-collegiate Indian dance competitions emerged in the late 1990s in the United States and have since become wildly popular. Why dance? Why now? We explore these questions through Nachte Raho, a competition hosted by a University of Iowa student organization. Such events allow participants to publicly embody the contradictions they experience as minoritized children of immigrants on a predominantly White campus. Thus, dance enables community building among minoritized students and has entertainment value to non-Indians. Students distinguish Nachte Raho from unruly “community functions” orga

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24

Putcha, Rumya S. "The Modern Courtesan: Gender, Religion and Dance in Transnational India." Feminist Review 126, no. 1 (2020): 54–73. http://dx.doi.org/10.1177/0141778920944530.

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This article exposes the role of expressive culture in the rise and spread of late twentieth-century Hindu identity politics. I examine how Hindu nationalism is fuelled by an affective attachment to the Indian classical dancer. I analyse the affective logics that have crystallised around the now iconic Indian classical dancer and have situated her gendered and athletic body as a transnational, globally circulating emblem of an authentic Hindu and Indian national identity. This embodied identity is represented by the historical South Indian temple dancer and has, in the postcolonial era, been r

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25

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 Sidd

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26

Kim, Youngsuk. "A Study on the Similar Structure of Baratanatiyam and Hatha Yoga Based on The Shiva Mythology." Korean Society of Culture and Convergence 44, no. 11 (2022): 1127–40. http://dx.doi.org/10.33645/cnc.2022.11.44.11.1127.

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This study analyzed similar structure between the traditional dance of Baratanatiyam which has deep Indian history and Hatha yoga which is centered on physical training, based on Shiva mythology. For conducting the research, we collected various papers and journals related to Shiva mythology, Indian dance, Hatha yoga, and other scientific articles on Indian traditional dance to enhance understanding of Indian traditional culture. Through this, the background composition and characteristics of Indian dance and Hatha yoga derived by Shiva mythology were identified and the gestures of the shiva g

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27

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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Paramguru, Kakali. "India's Graham: Martha Graham's Impact on Indian Modern Dance." Dance Research 42, no. 2 (2024): 164–99. http://dx.doi.org/10.3366/drs.2024.0430.

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I conducted semi-structured open-ended Zoom interviews with seven Indian dancers who studied with Martha Graham or her company between 1964 and 2009. Many of these dancers connected with Indian concepts and subject matter for the first time or in a new way through Graham, a phenomenon that would prove controversial in artistic milieus that pressured artists to serve cultural authenticity or embody a degree of ‘Indian-ness.’ Sparking questions and inspiring new approaches, Graham's impact on Indian modern dance cannot be ignored. This paper investigates the new direction(s) brought to Indian da

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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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Sinha, Tanusri. "REFLECTION OF MUSIC & DANCE IN ANCIENT INDIAN INSCRIPTION." International Journal of Research -GRANTHAALAYAH 9, no. 4 (2021): 375–78. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3875.

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The word ‘inscription’ is derived from the Latin word ‘Inscripto’ which means something that is inscribed or engraved. It was engraved on clay (terracotta), stone pillars, copper plates, walls of temples, caves, and on the surface of much other metal and also even palm leaves. Very often we’ve seen it on coins and seals. It consists of important texts or symbols that reveal crucial information and evidence of ancient kings and their empires. Music is the soul of Indian culture. Indian music has an affluent tradition with its root in Vedic time. It is said that Indian music owes its origin to t

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Lopez y Royo, Alessandra, and Sunil Kothari. "New Directions in Indian Dance." Dance Research Journal 36, no. 2 (2004): 135. http://dx.doi.org/10.2307/20444597.

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Bose, Mandakranta. "Indian Modernity and Tagore's Dance." University of Toronto Quarterly 77, no. 4 (2008): 1085–94. http://dx.doi.org/10.3138/utq.77.4.1085.

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Simas, Rosy, and Sam Aros Mitchell. "Playing Indian, between Idealization and Vilification: Seems You have to Play Indian to be Indian." American Indian Culture and Research Journal 43, no. 4 (2019): 133–40. http://dx.doi.org/10.17953/aicrj.43.4.simas-mitchell.

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This commentary essay, a co-written dialogue, attends to the ongoing phenomenon that has plagued American history known as “playing Indian.” In oscillating between the simultaneous conquest and dispossession of Native people, this phenomenon allows “white” Americans to define, mask, and evade the multiple paradoxes that stem from settler-colonial violence. Simas and Mitchell have worked extensively in the dance field. As their conversation discusses both the histories and the strategies of these “performances,” the coauthors explore the repercussions of non-Native people’s attempts to perform

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Otero, Daniel. "History of the belly dance: is it to entice men or a female’s rite of passage?" Arts & Humanities Open Access Journal 4, no. 5 (2020): 203–12. http://dx.doi.org/10.15406/ahoaj.2020.04.00171.

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One of the most beautiful-classical forms of dance which has persisted since 220 B.C.E. (Before the Common Era) came from the Egyptian culture with its traditional ‘bedlah’ (suit‎) or suit. But it grew from the off-spring of the Arab Empire (Islamic expansions, 632-1492) and then spread towards India.1 It has been said or noted that from this dance style evolved the traditional patterns used by the Indian women with their saris, to the Romani (Gypsy) women while dancing flamenco in the medieval period, and the later burlesque techniques which flourished in the Nineteenth and Twentieth Centurie

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Purkayastha, Prarthana. "Subversive bodies: Feminism and New Dance in India." Studies in South Asian Film & Media 4, no. 2 (2012): 189–99. http://dx.doi.org/10.1386/safm.4.2.189_1.

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This article explores how the Indian navanritya or ‘New Dance’ body, as crafted by choreographers Manjusri Chaki Sircar and Ranjabati Sircar, provided an alternative to the hegemonic representation of femininity in Indian classical dance. The Sircars’ feminist ideology-driven rebuttal of institutional and patriarchal dance pedagogy and praxis produced local critiques of cultural nationalism in and through the dancing body. This article discusses how these new bodies, shaped by a simultaneous eschewal and espousal of Indian cultural legacy, produce a complex picture of negotiation, one in which

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Kishore, P. V. V., K. V. V. Kumar, E. Kiran Kumar, et al. "Indian Classical Dance Action Identification and Classification with Convolutional Neural Networks." Advances in Multimedia 2018 (2018): 1–10. http://dx.doi.org/10.1155/2018/5141402.

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Extracting and recognizing complex human movements from unconstrained online/offline video sequence is a challenging task in computer vision. This paper proposes the classification of Indian classical dance actions using a powerful artificial intelligence tool: convolutional neural networks (CNN). In this work, human action recognition on Indian classical dance videos is performed on recordings from both offline (controlled recording) and online (live performances, YouTube) data. The offline data is created with ten different subjects performing 200 familiar dance mudras/poses from different I

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Nair, Sreenath. "Sreenath Nair with Neena Prasad." Indian Theatre Journal 7, no. 1 (2023): 7–15. http://dx.doi.org/10.1386/itj_00033_7.

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Dr Neena Prasad is a leading dancer and scholar of Mohiniyattam. Proficient in Mohiniyattam, Bharatanatyam, Kuchipudi and Kathakali, she is a leading disciple of Kalamandalam Sugandhi and Padamsri Kalamandalam Kshemavathy. She has recently received the presidential award for overall contribution to Indian classical dance. In this conversation she speaks about the philosophy and techniques of her art, the ways in which it carved out the niche for herself as one of the most talented and reliable dancers in India. For Prasad, dance is the only truth and the essence that makes her existence as an

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Marathe, Aishwarya, and Rekha Wagani. "ROLE OF GURU IN THE SUSTENANCE OF PASSION TOWARDS CLASSICAL DANCE: A QUALITATIVE ENQUIRY." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 326–40. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.213.

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Guru is held in great respect and significance in Indian culture since he is the source of all wisdom and learning. India has a rich heritage of several art forms that are closely related to many aspects of life and are still practiced today and passed down from one generation to the next through the "Guru Shishya Parampara". The present study focuses on Indian classical dancers where each shishya has his own unique journey of learning wherein he evolves as a dancer and a human being. During this learning process, the role of guru plays a significant role in the life of the shishya and his ove

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Diyora, Bharat Tulashibhai. "Music and Dance Culture in the City of Vadodara in the Nineteenth and Twentieth Centuries." Scholars Journal of Arts, Humanities and Social Sciences 9, no. 7 (2021): 310–14. http://dx.doi.org/10.36347/sjahss.2021.v09i07.002.

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The arts of dance and music are of great importance to the culture of India. Classical Indian dances and music are among the most graceful and beautiful in the world. The Maharaja Sayajirao Gaekwad as a head of state led to making Baroda a city representative of art, which is at once indigenous and modern. Expert artists from across the Indian Subcontinent were invited to perform as well as to extend the knowledge of music to the people of Vadodara. Artists were often encouraged with awards and rewards for their performances on various occasions. Maharaja Sayajirao wanted to disseminate the tr

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Diamond, Catherine. "Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India." New Theatre Quarterly 34, no. 4 (2018): 307–25. http://dx.doi.org/10.1017/s0266464x18000398.

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In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in

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Schnepel, Cornelia. "Bodies Filled with Divine Energy: The Indian Dance Odissi." Paragrana 18, no. 1 (2009): 188–99. http://dx.doi.org/10.1524/para.2009.0012.

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AbstractThis article is based on interviews made with gurus and dancers in Orissa, East India. The Odissi, a classical dance which stands at the centre of attention here, is a mixture of centuries-old traditions and relatively new influences, or even inventions. By discussing the dance′s history, its aesthetic qualities and, most importantly, the emic points of view of contemporary practitioners of the dance, it is shown that today′s Odissi is based on ideas and practices that stem as much from old Sanskrit writings and late-medieval temple practices as they do from the contemporary realms

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Witmer, Robert, and William K. Powers. "War Dance: Plains Indian Musical Performance." Yearbook for Traditional Music 27 (1995): 159. http://dx.doi.org/10.2307/768117.

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Levine, Victoria Lindsay, and William K. Powers. "War Dance: Plains Indian Musical Performance." Ethnomusicology 36, no. 3 (1992): 426. http://dx.doi.org/10.2307/851877.

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Sarkar, Kaustavi. "Indian Classical Dance Education in Diaspora." Dance Education in Practice 6, no. 3 (2020): 6–14. http://dx.doi.org/10.1080/23734833.2020.1791568.

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Cloudsley, Peter. "War Dance. Plains Indian Musical Performance." Journal of Arid Environments 21, no. 1 (1991): 127. http://dx.doi.org/10.1016/s0140-1963(18)30741-9.

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Hatton, Orin T., and William K. Powers. "War Dance: Plains Indian Musical Performance." American Indian Quarterly 16, no. 3 (1992): 440. http://dx.doi.org/10.2307/1185821.

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Royo, A. L. y. "Indian Classical Dance: A Sacred Art?" Journal of Hindu Studies 3, no. 1 (2010): 114–23. http://dx.doi.org/10.1093/jhs/hiq008.

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Harrod, Howard, and William K. Powers. "War Dance: Plains Indian Musical Performance." Ethnohistory 39, no. 3 (1992): 364. http://dx.doi.org/10.2307/482308.

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Sen, Sabina Sweta. "Indian modern dance, feminism and transnationalism." Studies in Theatre and Performance 35, no. 3 (2015): 278–80. http://dx.doi.org/10.1080/14682761.2015.1028730.

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Chakraborty, Aishika. "In Leotards Under Her Sari: An Indian Contemporary Dancer in America." Congress on Research in Dance Conference Proceedings 2014 (2014): 39–51. http://dx.doi.org/10.1017/cor.2014.6.

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Traversing through disparate cultural and geographic frontiers, my paper maps the journey of a Bengali dancer, Manjusri Chaki-Sircar, who travels from India to America via Africa before putting her “roots” finally down in India, exploring the migration of body movements across the world. Spelling a new body politics, her dance inscribes the signature of her-self in moving space(s); weaving varied patterns of life experiences; telling tales of displacements, exodus, and resettlements; and fashioning a glocal perspective of movement in a “global political moment.”Situating Manjusri within a coun

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