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Artykuły w czasopismach na temat „Indian dance – Great Plains”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2025

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1

McPherson, Robert. "Circles, Trees, and Bears: Symbols of Power of the Weenuche Ute." American Indian Culture and Research Journal 36, no. 2 (2012): 103–30. http://dx.doi.org/10.17953/aicr.36.2.w280374p4142140q.

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The Ute community of White Mesa, comprised of approximately 315 people, sits in the corner of southeastern Utah, eleven miles outside of Blanding. The residents, primarily of Weenuche Ute and Paiute ancestry, enjoy a cultural heritage that embraces elements from plains, mountain, and desert/Great Basin Indian culture. Among their religious practices are the Worship Dance, Ghost Dance, Sun Dance, and Bear Dance. Although each ceremony is unique, and performed for a variety of reasons, the common ground among them cannot be missed. Healing the sick, renewing necessities for survival, connecting

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Gautom, Priyanka, Jamie H. Thompson, Jennifer S. Rivelli, et al. "Abstract A044: Creating culturally relevant colorectal cancer screening messages and materials for tribal communities in the Great Plains." Cancer Epidemiology, Biomarkers & Prevention 32, no. 12_Supplement (2023): A044. http://dx.doi.org/10.1158/1538-7755.disp23-a044.

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Abstract Introductory sentences indicating the purposes of the study: We applied a modified version of boot camp translation (BCT), a validated community participatory approach, to engage tribal community members in the Great Plains to develop culturally and locally relevant colorectal cancer (CRC) screening messages and materials. Brief description of pertinent experimental procedures: CRC is one of the leading causes of cancer death in the United States and disproportionally affects American Indian adults, especially American Indians living in the Great Plains. Routine CRC screening leads to

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Dr., Martina Parashar. "The eternal ethos and appeals of Assamese society propagated by Bihu Folk Songs." International Journal of Advance and Applied Research 4, no. 21 (2023): 34–37. https://doi.org/10.5281/zenodo.8134392.

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Bihu folk songs and Bihu dance are the most youthful and fascinating parts of Bihu culture in Assamese nationalism. Bihu culture with its rich and colourful heritage is upholding the customary ethos of Assamese people through the ages. The present form of Bihu music was not as such at the time of its inception. Bihu music is a commonly adopted and practiced folk music of all the ethnic, religious and linguistic sections of the people of Assamese society. Assamese people with its Ostric and Mongoloid origin were spread over the entire Brahmaputra valley in fragments since the medieval age of In

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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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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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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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Carlson, Paul H., and Brad D. Lookingbill. "War Dance at Fort Marion: Plains Indian War Prisoners." Journal of Southern History 73, no. 3 (2007): 722. http://dx.doi.org/10.2307/27649526.

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Ahern, W. H. "War Dance at Fort Marion: Plains Indian War Prisoners." Journal of American History 93, no. 4 (2007): 1255. http://dx.doi.org/10.2307/25094673.

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Frisbie, Charlotte J. ": War Dance: Plains Indian Musical Performance . William K. Powers." American Anthropologist 94, no. 1 (1992): 215–16. http://dx.doi.org/10.1525/aa.1992.94.1.02a00560.

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Stockel, H. Henrietta. "War Dance at Fort Marion: Plains Indian War Prisoners." Western Historical Quarterly 38, no. 2 (2007): 230–31. http://dx.doi.org/10.1093/whq/38.2.230.

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Lawrence, Elizabeth Atwood. "The Symbolic Role of Animals in the Plains Indian Sun Dance." Society & Animals 1, no. 1 (1993): 17–37. http://dx.doi.org/10.1163/156853093x00127.

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AbstractFor many tribes of Plains Indians whose bison-hunting culture flourished during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Generally held in late spring or early summer, the rite celebrates renewal-the spiritual rebirth of participants and their relatives as well as the regeneration of the living earth with all its components. The sun dance reflects relationships with nature that are characteristic of the Plains ethos, and includes symbolic representations of various animal species, particularly the eagle and the buffalo, that once played vita

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14

Kalesnik, Frank. "War Dance at Fort Marion: Plains Indian War Prisoners (review)." Journal of Military History 71, no. 1 (2007): 234–35. http://dx.doi.org/10.1353/jmh.2007.0041.

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Gradwohl, David M. "Review: War Dance: Plains Indian Musical Performance by William K. Powers." Explorations in Ethnic Studies ESS-13, no. 1 (1993): 42–43. http://dx.doi.org/10.1525/ess.1993.13.1.42.

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16

Liu, Chang. "Contemporary Inheritance and Interpretation of Silk Road Music and Dance Culture in the Tang Dynasty." Scientific Journal Of Humanities and Social Sciences 6, no. 11 (2024): 73–80. http://dx.doi.org/10.54691/15z5g409.

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The Tang Dynasty was a glorious period in the development of ancient Chinese music and dance, and also the most developed stage of the Silk Road. The strength of the country and the stability of the political situation provided a relatively peaceful space for the development of music and dance art in the Tang Dynasty, and also created conditions for the exchange of music and dance between the Central Plains and the Western Regions. Tang Dynasty Silk Road music and dance exchanges have great significance and value in history, and have profound reference significance in today's context of freque

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17

Mousseau, Richard J. "Abstract IA018: “Pursuing Wicozani for the Oceti Sakowin”: Reducing cancer disparities among AI/AN in the Great Plains." Cancer Epidemiology, Biomarkers & Prevention 32, no. 1_Supplement (2023): IA018. http://dx.doi.org/10.1158/1538-7755.disp22-ia018.

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Abstract American Indian and Alaska Native (AI/AN) populations are among the underserved minority groups in the country and have the lowest survival rates for nearly all types of cancer of any subpopulation in the United States. Great Plains AI/AN populations have the highest age-adjusted cancers mortality compared to Native Americans from any other region. Addressing disparities in cancer outcomes among Great Plains AI/AN populations poses challenges in transportation, access to services, linguistic, and cultural variates. The Great Plains Tribal Leaders Health Board Community Health Departme

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18

Lee, Naomi R., Rachel L. Winer, Stephen Cherne, et al. "Human Papillomavirus Prevalence Among American Indian Women of the Great Plains." Journal of Infectious Diseases 219, no. 6 (2018): 908–15. http://dx.doi.org/10.1093/infdis/jiy600.

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Kelley, Allyson, Jennifer Giroux, Mark Schulz, et al. "American-Indian diabetes mortality in the Great Plains Region 2002–2010." BMJ Open Diabetes Research & Care 3, no. 1 (2015): e000070. http://dx.doi.org/10.1136/bmjdrc-2014-000070.

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Schusky, Ernest L. "The Evolution of Indian Leadership on the Great Plains, 1750-1950." American Indian Quarterly 10, no. 1 (1986): 65. http://dx.doi.org/10.2307/1184156.

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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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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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23

Wu, Renguang, and James L. Kinter. "Analysis of the Relationship of U.S. Droughts with SST and Soil Moisture: Distinguishing the Time Scale of Droughts." Journal of Climate 22, no. 17 (2009): 4520–38. http://dx.doi.org/10.1175/2009jcli2841.1.

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Abstract The impacts of droughts depend on how long droughts persist and the reasons why droughts extend to different time scales may be different. The present study distinguishes the time scale of droughts based on the standardized precipitation index and analyzes the relationship of boreal summer U.S. droughts with sea surface temperature (SST) and soil moisture. It is found that the roles of remote SST forcing and local soil moisture differ significantly for long-term and short-term droughts in the U.S. Great Plains and Southwest. For short-term droughts (≤3 months), simultaneous remote SST

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Hartmann, William E., and Joseph P. Gone. "American Indian Historical Trauma: Community Perspectives from Two Great Plains Medicine Men." American Journal of Community Psychology 54, no. 3-4 (2014): 274–88. http://dx.doi.org/10.1007/s10464-014-9671-1.

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Therrell, Matthew D., and Makayla J. Trotter. "Waniyetu Wówapi: Native American Records of Weather and Climate." Bulletin of the American Meteorological Society 92, no. 5 (2011): 583–92. http://dx.doi.org/10.1175/2011bams3146.1.

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Pictographic calendars called waniyetu wówapi or “winter counts” kept by several Great Plains Indian cultures (principally the Sioux or Lakota) preserve a record of events important to these peoples from roughly the seventeenth through the nineteenth centuries. A number of these memorable events include natural phenomena, such as meteor storms, eclipses, and unusual weather and climate. Examination of a selection of the available winter count records and related interpretive writings indicates that the Lakota and other native plains cultures recorded many instances of unusual weather or climat

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26

Stott, Annette. "Prairie Madonnas and Pioneer Women: Images of Emigrant Women in the Art of the Old West." Prospects 21 (October 1996): 299–325. http://dx.doi.org/10.1017/s0361233300006566.

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In the art of the American West, women have traditionally occupied a minor position. Compared to a surfeit of depictions of cowboys, braves, soldiers, miners, Indian chiefs, scouts, trappers, and traders, there are relatively few images of women; and when considering women who were not native to the plains and prairies, the field narrows still farther. Although literature and popular culture have given us numerous female types of the trans-Mississippi West (saloon and dance-hall girls, frontier mothers, helpless captives, schoolteachers, renegade female outlaws, wild-west-show women), art has

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Rao, Srinivas C., and Brian K. Northup. "Biomass Production and Quality of Indian‐Origin Forage Guar in Southern Great Plains." Agronomy Journal 105, no. 4 (2013): 945–50. http://dx.doi.org/10.2134/agronj2012.0378.

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Yelton, Jeffrey K. "A Comment on John Rowzée Peyton and the Mound Builders: The Elevation of a Nineteenth-Century Fraud to a Twentieth-Century Myth." American Antiquity 54, no. 1 (1989): 161–65. http://dx.doi.org/10.2307/281337.

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Blakeslee (1987) has suggested that the Mound Builder myth in part can be traced to John Rowzée Peyton, who reportedly crossed the Great Plains in 1774 and probed a mound, attributing it to a past, non-Indian civilization. However, critical examination of the account, first published in 1867, indicates that John Rowzée Peyton’s adventure actually was invented by his grandson, John Lewis Peyton.

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Sterzuk, Andrea, and Valerie Mulholland. "Creepy White Gaze: Rethinking the Diorama as a Pedagogical Activity." Alberta Journal of Educational Research 57, no. 1 (2011): 16–27. http://dx.doi.org/10.55016/ojs/ajer.v57i1.55452.

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Drawing on gaze and postcolonial theory, this article provides a theoretical discussion of a problematic photograph published in a provincial teachers’ newsletter. The photo consists of a White settler child and two White settler educators gathered around his heritage fair entry diorama entitled “Great Plains Indians.” This article analyzes this image to gain a better understanding of how curriculum and pedagogical activities work discursively to produce dominant and dominated racial positions in Saskatchewan. Reposant sur un regard et sur une théorie postcoloniale, cet article offre une discu

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Ganser, Elisa. "Dance as Yoga: Ritual Offering and Imitation Dei in the Physical Practices of Classical Indian Theatre." Journal of Yoga Studies 4 (April 10, 2023): 137–71. http://dx.doi.org/10.34000/joys.2023.v4.004.

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In the Nāṭyaśāstra, two main types of physical practices are described in some detail: the so-called “bodily acting” (āṅgikābhinaya) and dance (nṛtta). Although their building blocks are to a large extent common, their purpose appears to be different: while bodily acting is used for dramatic mimesis, dance is said to produce beauty and to be auspicious. Peculiar to the technique of dance are the one hundred and eight karaṇas, complex dance movements that require great coordination, balance and flexibility. Sculptural representations of the karaṇas in the mediaeval temples of South India and in

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Kingery-Schwartz, Anne, Rachel S. Popelka-Filcoff, David A. Lopez, Fabien Pottier, Patrick Hill, and Michael Glascock. "Analysis of geological ochre: its geochemistry, use, and exchange in the US Northern Great Plains." Open Journal of Archaeometry 1, no. 1 (2013): 15. http://dx.doi.org/10.4081/arc.2013.e15.

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Samples of pigments indigenous to the US Northern Great Plains were collected in association with the conservation of a buffalo hide tanned and painted by a Crow Indian(s) in the 19th century, which is now in the collection of the National Museum of American Indian. The pigments were characterised using a series of analytical techniques – some common and others uncommon to the conservation science field, including portable X-ray fluorescence (pXRF), X-ray diffraction (XRD), and instrumental neutron activation analysis (INAA). XRF is not capable of differentiating between various ochre samples

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Truden, John. "Where Cowboys and Indians Meet: A Southern Cheyenne Web of Kinship and the Transnational Cattle Industry, 1877–1885." Western Historical Quarterly 50, no. 4 (2019): 363–90. http://dx.doi.org/10.1093/whq/whz072.

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Abstract Between 1877 and 1885, a Southern Cheyenne chief named Stone Calf gathered a coalition of Southern Cheyenne women and men, cultural intermediaries, ranchers, missionaries, and U.S. soldiers together in northwestern Indian Territory. Bound by kinship, gendered labor, economic opportunity, and political necessity, this alliance negotiated the transnational cattle industry’s access to the environmental resources of the Southern Great Plains. Using these powerful ties, Stone Calf’s coalition successfully shaped both the cattle industry’s expansion and displaced the Office of Indian Affair

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Pajin, Dusan. "Indian cosmogonies and cosmologies." Filozofija i drustvo 22, no. 1 (2011): 3–28. http://dx.doi.org/10.2298/fid1101003p.

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Various ideas on how the universe appeared and develops, were in Indian tradition related to mythic, religious, or philosophical ideas and contexts, and developed during some 3.000 years - from the time of Vedas, to Puranas. Conserning its appeareance, two main ideas were presented. In one concept it appeared out of itself (auto-generated), and gods were among the first to appear in the cosmic sequences. In the other, it was a kind of divine creation, with hard work (like the dismembering of the primal Purusha), or as emanation of divine dance. Indian tradition had also various critiques of my

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Toll, Shannon. "Embodying Relationality and Enacting Resistance: Celluloid Mobilities in the Silent Film The Daughter Of Dawn." American Indian Quarterly 47, no. 2 (2023): 157–80. http://dx.doi.org/10.1353/aiq.2023.a906095.

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Abstract: “Embodying Relationality and Enacting Resistance: Celluloid Mobilities in the Silent Film The Daughter Of Dawn ” discusses how Kiowa and Comanche actors embedded their respective material cultures in the 1920 silent film The Daughter of Dawn . Filmed in the Wichita Wildlife Refuge and featuring an all-Indigenous cast, this film is a unique entry in the canon of silent Westerns produced in Oklahoma during its nascent statehood. The author illustrates how the Kiowa and Comanche cast enacted what Michelle Raheja calls “visual sovereignty,” engaging in traditional cultural practices, bot

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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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Zhong, Yafang, Zhengyu Liu, and Michael Notaro. "A GEFA Assessment of Observed Global Ocean Influence on U.S. Precipitation Variability: Attribution to Regional SST Variability Modes." Journal of Climate 24, no. 3 (2011): 693–707. http://dx.doi.org/10.1175/2010jcli3663.1.

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Abstract This paper presents a comprehensive assessment of the observed influence of the global ocean on U.S. precipitation variability using the method of Generalized Equilibrium Feedback Assessment (GEFA), which enables an unambiguous attribution of the influence from multiple ocean basins within a unified framework. The GEFA assessment based on observations for 1950–99 suggests that the tropical Pacific SST variability has the greatest consequence for U.S. precipitation, as both ENSO and meridional modes are associated with notable responses in seasonal mean precipitation. The anomalously c

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Tate, Michael L. "White Man's Paper Trail: Grand Councils and Treaty-Making on the Central Plains, and: War Dance at Fort Marion: Plains Indian War Prisoners (review)." Southwestern Historical Quarterly 111, no. 1 (2007): 95–97. http://dx.doi.org/10.1353/swh.2007.0081.

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De Mars, Annmaria. "Internet Usage by Native Americans with Disabilities Living on American Indian Reservations in the Great Plains." Rural Special Education Quarterly 29, no. 2 (2010): 34–40. http://dx.doi.org/10.1177/875687051002900208.

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Hartmann, William E., and Joseph P. Gone. "Psychological-Mindedness and American Indian Historical Trauma: Interviews with Service Providers from a Great Plains Reservation." American Journal of Community Psychology 57, no. 1-2 (2016): 229–42. http://dx.doi.org/10.1002/ajcp.12036.

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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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Meister, Michael W. "Mountain Temples and Temple-Mountains: Masrur." Journal of the Society of Architectural Historians 65, no. 1 (2006): 26–49. http://dx.doi.org/10.2307/25068237.

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In the first half of the eighth century, Indian craftsmen cut back a high ridge of sandstone, its back to the Beās River and the plains beyond, and carved a grand temple-complex facing northeast toward the Dhauladhar range, the first outcropping of the great Himalayan Mountains. Never completed, and damaged by successive earthquakes that sheered the stone and folded parts of the complex back into the hill, the temple at Masrur-in the modern Indian state of Himachal Pradesh-seems today half returned to its primordial condition. Its ground plan, partial section, and a roof plan, drawn by an unid

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Bleed, Peter. "Operations Research and Archaeology." American Antiquity 56, no. 1 (1991): 19–35. http://dx.doi.org/10.2307/280969.

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Operations research is the systematic study of resource utilization through the manipulation of conceptual models. Used most often by engineers and managers, these models also have potential application in archaeology. Event tree analysis, which models multipart systems with a number of potential consequences resulting from a series of events, makes it possible to analyze artifact-production processes or the operation of complex economic activities such as hunting. Fault tree analysis models the interactions of factors that can cause a technological system to fail. It offers a framework for th

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Shinstine, Debbie S., and Khaled Ksaibati. "Road Safety Improvement Program on Indian Reservations in North Dakota and South Dakota." Transportation Research Record: Journal of the Transportation Research Board 2531, no. 1 (2015): 146–52. http://dx.doi.org/10.3141/2531-17.

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Tribal communities recognize the need to improve roadway safety. A five-step methodology was developed by the Wyoming Technology Transfer Center, Local Technical Assistance Program (WYT2/LTAP), to improve roadway safety on Indian reservations. This methodology was implemented initially on the Wind River Indian Reservation (WRIR); the success of this implementation was the impetus for the Wyoming Department of Transportation, Cheyenne, to fund three systemwide, low-cost safety improvement projects. Given the success of the program on the WRIR, tribes across the country became interested in the

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Thompson, Jamie, Jennifer Rivelli, Priyanka Gautom, et al. "Abstract B091: Listen, Empower, Co-Create: Conducting listening sessions to create tailored messages about colorectal health for American Indian communities." Cancer Epidemiology, Biomarkers & Prevention 33, no. 9_Supplement (2024): B091. http://dx.doi.org/10.1158/1538-7755.disp24-b091.

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Abstract Background We conducted Listening Sessions using a modified version of boot camp translation (BCT), a validated community engaged approach, to engage American Indian community members in the Great Plains and the Pacific Northwest to develop culturally and locally relevant colorectal cancer (CRC) screening messages and materials. Methods CRC is one of the leading causes of cancer death in the US and disproportionally affects American Indian adults. Routine CRC screening leads to earlier diagnosis and prolonged survival from the disease. In partnership with Great Plains Tribal Leaders H

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Li, Jiaxin. "Research on the Origin and Evolution of Hu Jia." Lecture Notes in Education Psychology and Public Media 39, no. 1 (2024): 82–87. http://dx.doi.org/10.54254/2753-7048/39/20240677.

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The Silk Road originated from the Western Han Dynasty. The word Silk indicates that it was originally a trade route, which eventually developed into a bridge for economic, cultural, and artistic exchanges between the East and the West. It connected Central Asia, West Asia, and countries around the Mediterranean, allowing different countries and different styles of music and dance to collide, promoting music exchanges and development in the surrounding countries along the Silk Road. As for the introduction of musical instruments and music into the Central Plains, the Silk Road has undoubtedly h

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Miracle, Jared. "Supernatural sources of martial power: a cross-cultural investigation." Revista de Artes Marciales Asiáticas 9, no. 1 (2014): 42. http://dx.doi.org/10.18002/rama.v9i1.1010.

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<p>This paper utilizes a cross-cultural comparison model of cultural inquiry to approach the question of whether or not there are generalizable trends in the intersection of fighting arts and cultural conceptions of the supernatural. The methods are outlined and background presented to explain how the investigation was undertaken. Sources are limited to the eighteenth and nineteenth centuries and bounded geographically. The regions included are the Japanese archipelago, China, the Afro-Atlantic, the Great Plains of North America, and the Indian subcontinent. The five regions were chosen

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Patole, Vijay Santu. "A Study on Awareness about Social and Cultural issues in India among B.Ed. Student-teachers." Bulletin of Nexus 1, no. 3 (2024): 17–21. https://doi.org/10.5281/zenodo.15016948.

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<strong><em>Abstract</em></strong> <em>This research paper focuses on social and cultural issues in India and as we know that Indian culture is the heritage of social norms and technologies that originated in or are associated with the ethno-linguistically diverse India, pertaining to the Indian subcontinent until 1947 and the Republic of India post-1947. India's languages, religions, dance, music, architecture, food, and customs differ from place to place within the country. India is characterised by more ethnic and religious groups than most other countries. Aside from the roughly 2000 caste

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Uhlir, Shelly. "Mounting Multiple-piece Ensembles for an Exhibit of Plains, Plateau, and Great Basin Attire at The National Museum of the American Indian." Journal of the American Institute for Conservation 51, no. 1 (2012): 99–116. http://dx.doi.org/10.1179/019713612804480853.

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Varley, Julia. "Sanjukta Panigrahi: Dancer for the Gods." New Theatre Quarterly 14, no. 55 (1998): 249–73. http://dx.doi.org/10.1017/s0266464x00012197.

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The great classical Indian dancer and co-founder of the International School of Theatre Anthropology, Sanjukta Panigrahi, died in June 1997. An outstanding exponent – and virtually the rediscoverer – of Odissi dance, Sanjukta Panigrahi was born in Orissa into a Brahmin family, and defied the prejudice of her caste as the first girl to pursue Odissi dance as a career. With the support of her family, she began studying at the age of five under the guru Kelucharan Mahapatra, with whom she worked for many years, and also trained in Bharata Natyam for six years with the master Rukmini Devi. Julia V

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Singleton, Brian. "K. N. Panikkar's Teyyateyyam: Resisting Interculturalism Through Ritual Practice." Theatre Research International 22, no. 2 (1997): 162–69. http://dx.doi.org/10.1017/s0307883300020563.

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Indian theatre practice under British colonial rule was marked by differing strategies of resistance: agit-prop drama to promote social and political reform; the preservation of classical dance as cultural heritage; and the continuing practice of folk rituals in rural areas outwith the immediate control of the colonial authorities. Postindependence India, however, has witnessed those ‘deviant’ practices of resistance become the dominant ideological performance practices of modern India. Much actor training continued to be modelled on British drama schools such as RADA (Royal Academy of Dramati

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