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Artykuły w czasopismach na temat „Manipuri dance”

Autor: Grafiati

Data publikacji: 3 czerwca 2025

Data aktualizacji: 31 lipca 2025

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1

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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Singha, Sudeshna. "THE IMPACT OF MANIPURI DANCE IN THE ROYAL COURT OF TRIPURA." International Journal of Research -GRANTHAALAYAH 9, no. 3 (2021): 360–67. http://dx.doi.org/10.29121/granthaalayah.v9.i3.2021.3785.

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Manipuri people are a small group of Tripura. During the time of the Maharaja’s these people’s song and music attained a very special status. Firstly, it was royal palace centered, secondly, in various places of Tripura in the Manipuri dominant areas and in their temples, mandaps or at various festivals. According to many writers it can be said clearly like a mirror the Manipuri culture touched Tripura during the tenure of Rajdhar Manikya from 1785 – 1804. And at that very same time the tenure of Manipuri king Bhagyachandra is 1759 – 61 and 1763 – 1798. The Manipuri Raas established by him lat

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Chanu, Nganbi. "Ritual Festival for Appeasing Ancestral Gods: A Study of Kanglei Lai-haraoba Festival of Manipur." Journal of North East India Studies 4, no. 1 (2014): 43–54. https://doi.org/10.5281/zenodo.12772378.

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Lai Haraoba is one of the most important indigenous ritual festivals celebrated by the Meitei community of Manipur. It is celebrated to propitiate and please the ancestral deities to get their blessings in return. It depicts the act of creating universe and its objects, and unveils the endless journey of universe through its ritualistic performances. It is celebrated in Manipur since time immemorial and is being continued till today. The festival includes rituals, ceremonial, dance, music, oral literatures (through hymn and songs) etc. which are handed down from one generation to another. It i

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4

Singh, M. Thoiba. "MANIPURI NATA SANKIRTANA." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (2022): 194–205. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.54.

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Nata-Sankirtana of Manipur is considered as Purvaranga and Mahayajna in Vaisnavite culture of Manipur. Yajna means all acts performed for the satisfaction of paramatama, pritilok, devalok and for those who have sanskar (purification), for the beings and for keeping the cycle of nature, for the goodness (Singh M. T., NATASANKIRTANA AS A MAHAYAJNA, 2017). Not only these, but it also denotes mantra performed by the believers of Sanatana Dharma, Dravya, Shraddha and different Shatkarmas. For centuries, Nata-Sankirtana has been performing as an important practice, as a Gandharva Vidya, Purvaranga,

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5

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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6

Kabui, Dr Kamei Budha, Dr Oinam Ranjit Singh, and Dr Th Mina Devi. "Socio-Cultural Significance Of Rih-Ngai Festival Of Kabuis Of Manipur." History Research Journal 5, no. 5 (2019): 159–65. http://dx.doi.org/10.26643/hrj.v5i5.8056.

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The paper is an attempt to examine the socio-cultural significance of the Rih-ngai festival of Kabui inhabitants, Manipur. The Kabui people celebrate Rih-ngai, war festival on the 13th day of Manipuri lunar month Phairen (February) for one day every year. The practice of head hunting was gone. But, it is preserved in the form of narrative. The male members of Khangchu, male’s dormitory perform the war rituals like Ritaak Phaimei, Kabaomei, Chong Kapmei etc. at the village gate to preserve and promote the rich culture and tradition of the people. The young men have opportunity learn the traditi

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Rihab, Warda. "The emergence of Nata Sankirtana: A Ritualistic Dance Performance." Dhaka University Studies 79, no. 1-2 (2023): 219–32. http://dx.doi.org/10.62296/dus202212013.

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Abstract: Nata Sankirtana is a sacred Manipuri ritualistic dance performance, deeply intertwined with spirituality and traditional rituals. While it may initially appear as a musical dance form driven by the performer’s skills, it holds a profound philosophy, requiring a holistic meditation of the body, mind, and soul. This research paper focuses on the transformation of Nata Sankirtana from local rituals to stage performances, with a particular emphasis on its elegance, unique movements, mudras, and dance styles when viewed from the perspective of Bangladesh. This exploratory research employs

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Singh, Huidrom Rakesh, and Laimayum Subhadra Devi. "The Role of Dance Education for Personality Development of Upper Primary School Students." Harmonia: Journal of Arts Research and Education 21, no. 2 (2022): 246–55. http://dx.doi.org/10.15294/harmonia.v21i2.31634.

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This paper studies the history of dance education in Manipur and social value, psychomotor domain, and creative development of students at the school curriculum in Manipur (India). Dance education plays an essential role in molding a person into a perfect human being with good health and behaviour in society. It also furnishes the essential elements humans need to live in our society other than imparting knowledge and skills. In overall development, Manipuri dance plays the most crucial role in the school curriculum. The descriptive research method used in this study revealed the importance an

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DEVI, LAISHRAM HEMANTAKUMARI, and Yaikhom Hemantakumar. "PROPAGATION OF MANIPURI DANCE TO THE WORLD." International Journal of Research -GRANTHAALAYAH 9, no. 3 (2021): 128–31. http://dx.doi.org/10.29121/granthaalayah.v9.i3.2021.3780.

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The then Manipur was a sovereign state ruled by a lineage of many kings. Inspite of being situated in a far, isolated place from other lands and countries and also surrounded by ranges of hills with thick forestation, the inhabitants of this place faced untold hardship in communicating with other external lands and countries. But the state is now recognised by the outside world due to its rich storage of custom, tradition and culture of dance and music.  Indeed, it is very surprising and happy when we think of the matter. That we cannot but remember afresh and count the Universal poet Gu

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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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Akhtar, Md Nazir. "Manipur Violence- A Geo-Political Analysis." RESEARCH HUB International Multidisciplinary Research Journal 11, no. 4 (2024): 01–04. http://dx.doi.org/10.53573/rhimrj.2024.v11n4.001.

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Manipur is one of the states of North -Eastern India where many cultural arts originate like polo and Manipuri dance. Today, communal violence and ethnic clashes are common and about 252 were killed during ethnic conflict May, 2023 to till now. Here, 33 communities inhabiting the valleys and hills of the state has a long history of violent and deadly clashes. The violence outbreak in Manipur due to directing the Manipur High Court to pursue a 10 years old recommendation to grant Schedule Tribe status to the non- tribal Meitei community. It is bounded by the states of Nagaland to the north, Miz

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Dr., M.Thoiba Singh *1. "NATA SANKIRTANA AND MANIPURI SOCIETY." International Journal of Research - Granthaalayah 6, no. 5 (2018): 476–80. https://doi.org/10.5281/zenodo.1291129.

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The Nata Sankirtana style of singing which was introduced during the reign of Rajarshi Bhagyachandra (1763-1798 A.D.). The great masters and scholars of that period composed and sang the padavali strictly after the Bhagavata tradition and other major Vaishnavite text and based the composition also on the traditional Ragas and Raginis of classical music tradition. Modern research has discovered a lot of regional overtones in the architecture of the particular Ragas and Raginis. The Manipuris call the Nata Sankirtana singing their own and it is clearly a form of collective prayer, a Mahayajna as

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Singh, M. Thoiba. "NATA SANKIRTANA AND MANIPURI SOCIETY." International Journal of Research -GRANTHAALAYAH 6, no. 5 (2018): 476–80. http://dx.doi.org/10.29121/granthaalayah.v6.i5.2018.1481.

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The Nata Sankirtana style of singing which was introduced during the reign of Rajarshi Bhagyachandra (1763-1798 A.D.). The great masters and scholars of that period composed and sang the padavali strictly after the Bhagavata tradition and other major Vaishnavite text and based the composition also on the traditional Ragas and Raginis of classical music tradition. Modern research has discovered a lot of regional overtones in the architecture of the particular Ragas and Raginis. The Manipuris call the Nata Sankirtana singing their own and it is clearly a form of collective prayer, a Mahayajna as

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14

Sarwal, Amit. "Louise Lightfoot and Rajkumar Priyagopal Singh: The First Manipuri Dance Tour of Australia, 1951." South Asian Popular Culture 12, no. 2 (2014): 89–110. http://dx.doi.org/10.1080/14746689.2014.937082.

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Sinha, Prathma. "Role of Aesthetic in Understanding Literature: A Study of Tempest." International journal of Research 8, no. 6 (2022): 525–32. https://doi.org/10.5281/zenodo.7978004.

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<em>This paper aims to study Shakespeare’s play Tempest through Rasa theory. Rasa is the study of universal human emotion. Aesthetic has always been the centre of Indian philosophy. The theory of rasa forms aesthetic, which is the foundation of all the Indian theatre and classical dance forms like Bharatanatyam, Kathak, Kathakali, Odissi, Manipuri and others. The Natyashastra portrays the bhavas used to create each rasa bhava or state of mind and rasa are the term concerned with Indian drama and literature. Rasas are created by bhavas. Bharata muni has described it in the Natyashastra, w

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Dr., Md Zahidul Islam. "Folk Literature of Bangladeshi Ethnic People: A Study on Manipuri, Chakma, and Tripura Tribes." International Journal of Social Science and Human Research 08, no. 03 (2025): 1824–29. https://doi.org/10.5281/zenodo.15099597.

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The ethnic groups referred to as the indigenous people live mostly in the Chittagong Hill Tracts, Sylhet Division, Rajshahi Division, and Meymensingh Division. They have their own style of living, culture, religion, literature, agricultural system, etc. These ethnic groups of people are introduced based on their different types of folk literature, which also helps them to rise to the apex of their literary status. In terms of ethnic culture, the indigenous people have their own matriarchal patterns, which prevail in most of the tribal groups. Most of the ethnic groups are disadvantaged. The mo

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Kashyap, Tripura, Karishma Arora, Anubha Doshi, and Karishma Harlalka. "Chakra Awareness through Dance Movement Therapy." Creative Arts in Education and Therapy 9, no. 2 (2023): 180–94. http://dx.doi.org/10.15212/caet/2023/9/18.

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This article introduces a novel approach to holistic healing by integrating dance movement therapy with the Indian chakra system. The multidimensional chakra-imbued therapeutic movement sequence model, created by the authors, addresses the intricate balance of and among the seven chakras: root (muladhara), sacral (svadhisthana), solar plexus (manipura), heart (anahata), throat (vishuddha), third eye (ajna), and the crown (sahasrara). The model facilitates the awareness of energy centers and has the transformative potential to foster stability and resilience. The article highlights the efficacy

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Salam Shantibala Devi. "THE ROLE OF THE AMAIBI IN THE LAI HARAOBA OF MANIPUR." International Journal of Research -GRANTHAALAYAH 6, no. 6 (2018): 38–44. http://dx.doi.org/10.29121/granthaalayah.v6.i6.2018.1332.

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Lai Haraoba is an inseparable part of the cultural life of the Meiteis known as Manipuris in general. It has a dimorigin. Lai Haraoba is a ritual performed under strict rules and order with the objective to please various deities and ancients. During the ritual which may last five days or more, the creation of the world and humans is represented with dance and sing by the maibis accompanied by the pena music of the Maiba. The number of Maibis may vary from three to more than three where only one maiba or Amaiba is employed. There are numerous Umang lais thus to be pleased ritually once in a ye

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Dr., Salam Shantibala Devi. "THE ROLE OF THE AMAIBI IN THE LAI HARAOBA OF MANIPUR." International Journal of Research - Granthaalayah 6, no. 6 (2018): 38–44. https://doi.org/10.5281/zenodo.1299925.

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Lai Haraoba is an inseparable part of the cultural life of the Meiteis known as Manipuris in general. It has a dimorigin. Lai Haraoba is a ritual performed under strict rules and order with the objective to please various deities and ancients. During the ritual which may last five days or more, the creation of the world and humans is represented with dance and sing by the maibis accompanied by the pena music of the Maiba. The number of Maibis may vary from three to more than three where only one maiba or Amaiba is employed. There are numerous Umang lais thus to be pleased ritually once in a ye

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Seitinthang, Lh. "Indigenous Agriculture System of Kukis in Ukhrul District." Journal of North East India Studies 2, no. 1 (2012): 40–48. https://doi.org/10.5281/zenodo.12754456.

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Agriculture has a vital place in the economy of Manipur with 52.19 percent of the workers in the State engaged as cultivators and agricultural labourers. For centuries the knowledge of agriculture among the Kukis is stored in people’s memories and activities, expressed in the form of stories, songs, folklore, proverbs, dances, myths, cultural values, beliefs, rituals, chief laws, local languages, taxonomy, agricultural practices, equipments and tools. The study was conducted among the Kukis in Ukhrul district of Manipur to investigate indigenous knowledge of agriculture systems. The main

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Roy, Purnima. "Thadous Community and Socio cultural life: A study of Chandel District of Manipur State." Revista Review Index Journal of Multidisciplinary 1, no. 1 (2021): 05–11. http://dx.doi.org/10.31305/rrijm2021.v01.n01.002.

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Thadou the tribe is in an area where the Chandel is located in Manipur. Rice is the main food, and they are vegetarians, and love, to drink a wine made from rice or corn. In general, the family is, in fact, taken together with the family. The marriage is known as the Neila, by means of negotiations. Men tend to wear loincloths. It's a bit like the "dhoti". Women wearing loincloths "hamtan to be" wrapped around your waist, and almost one-half of the thighs. Mithuns and pigs are slaughtered at a party for the community, the lavish ceremony. The youth of the Credit institutions (LOM) is a traditi

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Silion, Reang, and Hrangkhawl Ellen. "Memory, Migration and Oral Heritage: Unveiling the Reang Community's Narratives in Tripura." Criterion: An International Journal in English 15, no. 6 (2024): 01–09. https://doi.org/10.5281/zenodo.14605203.

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Tripura is a small state located in northeast India. The north-eastern includes eight states known as seven sisters and one brother namely Assam, Arunachal Pradesh, Manipur, Meghalaya, Mizoram, Nagaland, Tripura, and Sikkim respectively. It is a place and home to a mix of tribal cultures and religious groups. The Reang community, primarily residing in the state of Tripura in Northeast India, holds a rich and diverse cultural heritage that is deeply rooted in its mnemonic history, migration patterns, vibrant oral narratives. Mnemonic history constitutes an integral part of the Reang community&r

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Lilabati Devi, P., and Soibam Priyadarshini Devi. "TRIPURI MEITEIS IN NATIONALIZATION OF MANIPURI DANCE: AN APPRAISAL OF THEIR CONTRIBUTIONS." ShodhKosh: Journal of Visual and Performing Arts 5, no. 2 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i2.2024.1515.

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Manipur, a far northeastern state of India is known for its rich cultural heritage, prominently manifested in its performing arts. Among the performing art forms of Manipur, Manipuri Dance is regarded and well known nationally and internationally as one of the classical dances of India. It is of great importance that the great poet of India, Rabindranath Tagore institutionalized Manipuri Dance in Santiniketan and paved its way to nationalization of the dance form. And even more, of great significance, that it is the Manipuri Diasporic Community of Tripura that showcased its platform as a dance

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P., Lilabati Devi, and Soibam Priyadarshini Devi. "TRIPURI MEITE IS IN NATIONALIZATION OF MANIPURI DANCE: AN APPRAISAL OF THEIR CONTRIBUTIONS." ShodhKosh: Journal of Visual and Performing Arts 5, no. 2 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i2.2024.1420.

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Manipur, a far northeastern state of India is known for its rich cultural heritage, prominently manifested in its performing arts. Among the performing art forms of Manipur, Manipuri Dance is regarded and well known nationally and internationally as one of the classical dances of India. It is of great importance that the great poet of India, Rabindranath Tagore institutionalized Manipuri Dance in Santiniketan and paved its way to nationalization of the dance form. And even more, of great significance, that it is the Manipuri Diasporic Community of Tripura that showcased its platform as a dance

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P., Lilabati Devi, and Rajkumari Jiteshwori. "MANIPURI RAAS LEELA: THE REMARKABLE MANIPURI CLASSICAL DANCE." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i6.2024.1586.

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Manipur is renowned for its cultural heritage, particularly in dance i.e., Manipuri Raas Leela, Pung Cholom, Lai Haraoba, Khamba Thoibi etc. Manipuri Raas Leela, the classical dance form is deeply rooted in the Vaishnavite tradition, depicting the love story of Shrimati Radhika and Lord Shri Krishna. It combines graceful movements, lyrical music and expressive gestures. Pung Cholom knew as the drum dance, this performance features dancers playing pung while performing acrobatic and vigorous movements. It is often performed during religious and cultural festivals. Lai Haraoba ia an ancient ritu

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Rihab, Warda, and Sadia Jisan Ritu. "The Interconnection between the Gaudiya Vaishnavism of Bengal and Manipuri Culture." Dhaka Vishwaviddalaya Potrika, no. 10405 (September 30, 2024). https://doi.org/10.62296/dvp/10405/015.

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The research explores the cultural interconnection between the Gaudiya Vaishnavism of Bengal and Manipuri culture, highlighting the historical influences that have shaped their relationship. It reveals that even before the introduction of Gaudiya Vaishnavism in Manipur, cultural ties were established through kirtana singers, which later deepened into religious associations. The influence of Bengali culture is evident in Manipuri language, literature, music and dance, enriching the cultural landscape of Manipur. Notably, Rabindranath Tagore played a crucial role in popularizing Manipuri dance a

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Devi, Bijelly. "THABAL CHONGBA BEYOND BORDERS: A STUDY OF ITS EVOLUTION AMONG MANIPURI COMMUNITIES IN ASSAM." Social Science Review A Multidisciplinary Journal 2, no. 6 (2024). https://doi.org/10.70096/tssr.240206031.

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Thabal Chongba, the moonlight dance of the Manipuri community, is a cherished tradition that embodies joy, social interaction, and cultural identity. While its origins lie in the heart of Manipur, its practice has extended to Manipuri settlements in Assam, where it continues to thrive as an essential part of community life. This study explores the continuity and evolution of Thabal Chongba among Manipuri communities in Assam, focusing on how it has been preserved without significant influence from the surrounding Assamese culture. The research examines the role of festivals, community gatherin

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Roy, Somi. "Imasi Document: M.K. Binodini Devi in Modern Manipuri Culture." July 26, 2017. https://doi.org/10.5281/zenodo.834802.

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On M.K. Binodini Devi and Her Place in Modern Manipuri Culture L. Somi Roy, M.K. Binodini Memorial Lecture Program Booklet, 2014 [<em>Excerpt</em>] Maharaj Kumari Binodini Devi is the key renaissance figure of modern, contemporary Manipuri culture. A Manipuri writer who bridged the two worlds of ancient royalty and modern life, M.K. Binodini Devi was born as a princess into a palace life. Yet she transcended the constraints of royalty to live to the full the life of an enlightened commoner and emerged as the iconic pioneer in the evolution of Manipuri modernism. M.K. Binodini Devi brought a de

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Khoni, Khangembam. "DANCE AS MIRROR OF SOCIAL AND CULTURAL CHANGE: A PEEK INTO MANIPURI PERFORMANCE HISTORY." ShodhKosh: Journal of Visual and Performing Arts 5, no. 1 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.376.

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The paper attempts to highlight significant moments in the history of Manipuri dance and their implications on the dynamics of social and cultural developments of the time. The dancing body is now no longer a simple reproduction of historically created style of human movement that seem to continue forever as symbol of people’s tradition and culture. The dancer’s body is now read as sign, as discourse, as platform for human experience and the structure and formulations of movements in time in the body do inform particular thoughts, ideas, emotions and affects that were involved in the creation

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Dr Richa Thakur. "TRADITIONS AND SYMBOLISM IN INDIAN CLASSICAL DANCE." Nanotechnology Perceptions, December 7, 2024, 202–7. https://doi.org/10.62441/nano-ntp.vi.3675.

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Indian classical dance is a profound expression of the cultural, spiritual, and artistic heritage of India. Rooted in ancient traditions and religious practices, these dance forms such as Bharatanatyam, Kathak, Odissi, Kathakali, and Manipuri are not only performance arts but also vehicles for conveying symbolic meanings through movement, gesture, and music. This paper explores the rich traditions and deep symbolism embedded in Indian classical dance, focusing on elements like mudras (hand gestures), costumes, music, and the portrayal of mythological narratives. It examines how these dance for

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Singh, Meikam Thoiba, and Rajeshwari Devi Khangembam. "AN OVERVIEW ON MANIPURI NATA SANKIRTANA TALA SYSTEM." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2 (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i2.2023.224.

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Nata Sankirtana is a form of worship, considered as a Purvaranga. It is the cultural soul of Manipuri society from birth to death which is performed using five different areas such as rituals, pung consisting of taalas or rhythm, songs, dance, and story in worshipping the lord. These different aspects utilized are of a complex nature. At present, these are not found in any part of India except in Manipuri Nata Sankirtana ritualistic performance. Such uniqueness is clearly visible in punglons, the drum-beatd used in Sankirtana since long time. This taala shastra system is not found nowadays in

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Lalitkanta, Thounaojam. "EVOLUTION OF PUNG IN MANIPURI NATA SANKIRTANA." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i6.2024.2125.

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‘Time/Hour’ is Pung to the Meitei and it is Wanglen archaically and also the percussive instrument of rhythm in dance and music is also known as pung. Definitively a Pung is a percussion made of a cylindrical object covering its face end or ends with leather. On the other hand, affixing different sylleptic term to the Pung denotes different types of Pung; e.g. (Tyanyei+Pung) Tanyeipung, (Langte+Pung) Langtepung, etc. However, in present days the term Pung simply denotes only the kind of Pung used in the Manipuri Nata Sankirtana as it is named Nata Sankirtana Pung. This may be reason of the Pun

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"Segmentation of an Indian Classical Dance Videos using Different Segmentation Methods." International Journal of Innovative Technology and Exploring Engineering 9, no. 2 (2019): 982–86. http://dx.doi.org/10.35940/ijitee.i8468.129219.

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Video to frame conversion features are retrieved to categorize the actions in an Indian classical dance video dataset. The goal is to design an automatic machine learning model that identifies the moves of a dancer in a video. A video is a collection of images of specific movements, hence, features representing shapes and color can be used to interpret the dance steps. Image segmentation based features are capable of representing the shape in varying background conditions. Segmentation has become an important objective in image analysis and computer vision. To segment the images, edge detectio

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Kermani, Sheema. "Unchanging Reality of Male Dancers in Pakistan." South Asian Dance Intersections 1, no. 1 (2022). http://dx.doi.org/10.55370/sadi.v1i1.1474.

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The social status of male dancers in South Asia has been well-furrowed as a field of scholarly investigation. Since time immemorial, Shiva has been described as Nataraj and Bharata’s Natya Shastra refers to both male and female dancers. Wajid Ali Shah, the ill-fated Nawab of Avadh, was not just a patron of dance, but also a dancer and choreographer who wrote several books on dance like Najo, Bani, and Saut-al Mubarak. A more recent history of male dancing began with the many books on Rabindranath Tagore and Uday Shankar. But the way male dancing found social acceptance in the different countri

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Singh, Thingom Tilakchand, Dr Pooja Rathore, and Dr M. Thoiba Singh. "LAYAKARI IN THE TALAS OF HINDUSTANI SANGIT AND MANIPURI NATA SANKIRTANA." ShodhKosh: Journal of Visual and Performing Arts 5, no. 4 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i4.2024.1972.

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The basic intention of this written composition, as in a discourse, is to expound and purposefully to make known the young learners of music as to how much important the Layakari is in the study of music widely and comprehensively. When music is studied as a subject in schools, colleges, universities and music institutes, Layakari is so important for both theory and practical classes, and therefore, to make it known and learned in depth is of urgent necessity not only for theory but for practical enhancing the practical knowledge. The system of Layakari has been applied for dance, song and dru

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Islam, Dr Md Zahidul. "Folk Literature of Bangladeshi Ethnic People: A Study on Manipuri, Chakma, and Tripura Tribes." International Journal of Social Science and Human Research 08, no. 03 (2025). https://doi.org/10.47191/ijsshr/v8-i3-59.

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The ethnic groups referred to as the indigenous people live mostly in the Chittagong Hill Tracts, Sylhet Division, Rajshahi Division, and Meymensingh Division. They have their own style of living, culture, religion, literature, agricultural system, etc. These ethnic groups of people are introduced based on their different types of folk literature, which also helps them to rise to the apex of their literary status. In terms of ethnic culture, the indigenous people have their own matriarchal patterns, which prevail in most of the tribal groups. Most of the ethnic groups are disadvantaged. The mo

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Niyogi, Anindita. "Choreography in Manipuri dance productions based on Contemporary theme with special reference to Poushali Chatterjee and Dr. Bimbavati Devi." INTERNATIONAL JOURNAL OF CREATIVE RESEARCH THOUGHTS 12, no. 5 (2024). https://doi.org/10.56975/ijcrt.v12i5.288473.

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Dissanayake, H. T. S. "Cultural Resilience and Transformation: Real-Time Impact on Lai Haraoba Dance in Manipur." Journal of Intangible Cultural Heritage 3, no. 02 (2025). https://doi.org/10.31357/jich.v3i02.7932.

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The Lai Haraoba traditional dance holds a pivotal role as a cultural cornerstone in Manipur, Northeast India. This indigenous dance form is a manifestation of artistic perfection, embodying a profound vision of human and social life. Rooted in the rural society of Manipur, this traditional element reflects the realities of daily life. This research aims to investigate the impact of real time life on the creation of Lai Haraoba. Utilizing the dance as a primary source and other culturally relevant Indian dances such as Kathak, Bharatanatyam, and Odissi as secondary sources, our study reveals a

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Biswas, Debanjali, and Babina Devi. "“We Can’t Let Go”: Navigating Dance in a (Post-)Conflict Society." Conversations Across the Field of Dance Studies 43 (September 12, 2024). http://dx.doi.org/10.3998/conversations.5959.

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Violence and precarity in Manipur is its past and current. What becomes of dance when violence spills over to various parts of society? What does it mean to be haunted by unspeakable memories of violence and yet dance for self and community, region and nation? The essay is written collaboratively and individually by co-authors - practitioners and researchers who have worked on exhuming the sublimated tensions and contradictions in dance cultures of Manipur (India) in the last decade. Though chronologically years apart, they find ideological connections in the demands of the peoples from their

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Premchandra, Kshetrimayum. "ENACTING THE GODS: THE PERFORMANCE OF HAOBA NURABI EPISODE IN THE LAI HARAOBA OF MANIPUR." ShodhKosh: Journal of Visual and Performing Arts 5, no. 1 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.725.

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This paper examines the performance of the Haoba Nurabi episode in the Meitei Lai Haraoba of Manipur. It attempts to delve into the intricate rituals of Lai Haraoba, a celebration that combines elements such as dance, music, sports, and sacred ceremonies to honour the presiding deities. The paper also provides insights into the performance space known as the laipung, shedding light on the staging and realisation of this traditional performance style. Throughout this paper, the terms drama, theatre, and performance are used interchangeably with due emphasis on spectator experience rather than t

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-, Kathangaipou Pamei, and N. Premi Devi -. "A Study of Customary Laws and Child Adoption Practices by Infertile Parents Amongst the Rongmei Tribes With Special Reference to Noney District, Manipur." International Journal on Science and Technology 16, no. 1 (2025). https://doi.org/10.71097/ijsat.v16.i1.1441.

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The Rongmei, otherwise referred to as “Kabui“, is a significant indigenous ethnic community and one of the prominent Naga tribes having their beautiful vibrant cultural heritage, traditional music, dance and customary rites and rituals, inhabiting primarily in the northeastern states of India, Manipur, Assam, Nagaland, and Tripura. The Rongmei people still contribute to the rich tapestry of cultures in this region of India, and their distinctive traditions continue to play a vital role in shaping the cultural mosaic of this ethnically diverse part of the country. Large numbers of this tribe co

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