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Author: Source Wikipedia
Publisher: University-Press.org
ISBN: 9781230550848
Category :
Languages : en
Pages : 30
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Book Description
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 28. Chapters: Bharatanatyam, Bharata Natyam, Dance forms of Tamil Nadu, Rukmini Devi Arundale, Dhananjayans, Smitha Madhav, Alarmel Valli, Sampath Kumar D.Y., Dappan koothu, Mrinalini Sarabhai, Adyar K. Lakshman, Balasaraswati, Joyce Paul Poursabahian, Padmini Chettur, Medha Yodh, C. V. Chandrasekhar, Aparna Sindhoor, E. Krishna Iyer, Kavadi, Kshetrayya, Pandanallur style, Melattur style, Sunil Kothari, Karakattam, Puliyattam, Vijay Madhavan, Oyilattam, Arangetram, Chitra Visweswaran, Paampu attam, Viji Prakash, Mayilattam. Excerpt: Bharata Natyam or Bharatanatyam (Tamil: ) is a classical dance form originating in Tamil Nadu, nowadays practiced throughout South India by predominantly young females and women. It is held as the national dance of India. The dance is accompanied by the classical Carnatic music. It has its inspirations from the sculptures of the ancient temple of Chidambaram. Bharata Natyam comes from the words Bhava (Expression), Raga (Music), Tala (Rhythm) and Natya (Classic Indian Musical Theatre). Today, it is one of the most popular and widely performed dance styles and is practiced by many dancers all over the world. The Encyclopaedia Britannica states that Bharata Natyam is Sanskrit for Bharata's dancing. Surviving texts of the golden age of Tamil literature and poetry known during the Sangam Age such as the Tolkappiyam ( ), as well as the later Silappadikaram ( ), testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly..
Author: Source Wikipedia
Publisher: University-Press.org
ISBN: 9781230550848
Category :
Languages : en
Pages : 30
Get Book Here
Book Description
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 28. Chapters: Bharatanatyam, Bharata Natyam, Dance forms of Tamil Nadu, Rukmini Devi Arundale, Dhananjayans, Smitha Madhav, Alarmel Valli, Sampath Kumar D.Y., Dappan koothu, Mrinalini Sarabhai, Adyar K. Lakshman, Balasaraswati, Joyce Paul Poursabahian, Padmini Chettur, Medha Yodh, C. V. Chandrasekhar, Aparna Sindhoor, E. Krishna Iyer, Kavadi, Kshetrayya, Pandanallur style, Melattur style, Sunil Kothari, Karakattam, Puliyattam, Vijay Madhavan, Oyilattam, Arangetram, Chitra Visweswaran, Paampu attam, Viji Prakash, Mayilattam. Excerpt: Bharata Natyam or Bharatanatyam (Tamil: ) is a classical dance form originating in Tamil Nadu, nowadays practiced throughout South India by predominantly young females and women. It is held as the national dance of India. The dance is accompanied by the classical Carnatic music. It has its inspirations from the sculptures of the ancient temple of Chidambaram. Bharata Natyam comes from the words Bhava (Expression), Raga (Music), Tala (Rhythm) and Natya (Classic Indian Musical Theatre). Today, it is one of the most popular and widely performed dance styles and is practiced by many dancers all over the world. The Encyclopaedia Britannica states that Bharata Natyam is Sanskrit for Bharata's dancing. Surviving texts of the golden age of Tamil literature and poetry known during the Sangam Age such as the Tolkappiyam ( ), as well as the later Silappadikaram ( ), testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly..
Author: V. Isvarmurti
Publisher:
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 212
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Book Description
Author: Gayathri Keshavan
Publisher: Notion Press
ISBN: 1648999972
Category : Performing Arts
Languages : en
Pages : 401
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Book Description
This book, elucidates the basic steps called Adavus of Bharata Natyam in the traditional Pandanallur style, as taught by the revered Gurus Sri Meenakshi Sundaram Pillai and Sri Muthukumara Pillai, to Sri T.K Narayan and Smt. Jayalakshmi Narayan, parents of the author. It is an honest attempt to explain the various steps with unerring and accurate execution technique. The book offers a visual representation of the Adavus with the help of stick diagrams in a sequential manner so that the beginners and practitioners can understand the finer points of each movement. The author has developed simple schematics to show the various moves, such as jump, stretch, turn, hit etc. The author endeavours to illustrate Adavus in a precise manner in this book. Classification and categorization of each step is the salient feature of this work. Gayathri Keshavan makes a humble effort to pass on the knowledge of this ancient and sacred art to the present and future generations of Bharata Natyam dancers.
Author: Susan Seizer
Publisher: Duke University Press
ISBN: 0822386194
Category : Social Science
Languages : en
Pages : 473
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Book Description
A study of the lives of popular theater artists, Stigmas of the Tamil Stage is the first in-depth analysis of Special Drama, a genre of performance unique to the southernmost Indian state of Tamilnadu. Held in towns and villages throughout the region, Special Drama performances last from 10 p.m. until dawn. There are no theatrical troupes in Special Drama; individual artists are contracted “specially” for each event. The first two hours of each performance are filled with the kind of bawdy, improvisational comedy that is the primary focus of this study; the remaining hours present more markedly staid dramatic treatments of myth and history. Special Drama artists themselves are of all ages, castes, and ethnic and religious affiliations; the one common denominator in their lives is their lower-class status. Artists regularly speak of how poverty compelled their entrance into the field. Special Drama is looked down upon by the middle- and upper-classes as too popular, too vulgar, and too “mixed.” The artists are stigmatized: people insult them in public and landlords refuse to rent to them. Stigma falls most heavily, however, on actresses, who are marked as “public women” by their participation in Special Drama. As Susan Seizer’s sensitive study shows, one of the primary ways the performers deal with such stigma is through humor and linguistic play. Their comedic performances in particular directly address questions of class, culture, and gender deviations—the very issues that so stigmatize them. Seizer draws on extensive interviews with performers, sponsors, audience members, and drama agents as well as on careful readings of live Special Drama performances in considering the complexities of performers’ lives both on stage and off.
Author: Shobhna Gupta
Publisher: Har-Anand Publications
ISBN: 9788124108666
Category : Performing Arts
Languages : en
Pages : 114
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Book Description
"Introduction to Indian dances, fully illustrated."
Author: V. P. Dhananjayan
Publisher:
ISBN:
Category : Dance
Languages : en
Pages : 136
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Book Description
Articles on classical Indic dance forms.
Author: Matthew Harp Allen
Publisher: CRC Press
ISBN: 1000779343
Category : Art
Languages : en
Pages : 534
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Book Description
This book is a study of the Bharata Natyam dance genre "padam" focusing on its patrons and composers and its formal structure, texts, and music. It examines the "rewriting" of South Indian dance and the decades-long debates over the classicization and ownership of South Indian music. The control over the representation of the arts is a subject that should resonate with scholars working in a wide variety of genres and across many countries. The study is diachronic (historical) and also synchronic (examining padams’ organizational structure as a system). Importantly, the text includes 30 Tamil language songs, minutely translated and annotated together with a documentation of their performance history in the 20th century. Classical and modern music composers and performers, ethnomusicologists, librettists, singers, choreographers, art historians, dancers, dance scholars, and dance teachers will find them useful in giving students a deep contextual understanding of Bharata Natyam. The book will find an enthusiastic readership with dance teachers who are actively training Bharata Natyam students. It will also attract a scholarly audience as an anthropological and historical study of an artistic form which has a high profile in South Asia and has become prominent in the growing fields of ethnomusicology, dance ethnography and "world dance."
Author:
Publisher: Disha Publications
ISBN: 9395761296
Category :
Languages : en
Pages : 245
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Book Description
Author: Francis Peter Barboza
Publisher:
ISBN:
Category : Performing Arts
Languages : en
Pages : 266
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Book Description
Author: Rumya Sree Putcha
Publisher: Duke University Press
ISBN: 1478023767
Category : Social Science
Languages : en
Pages : 138
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Book Description
In The Dancer’s Voice Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family’s heirlooms, photographs, and memories, Putcha reveals how women’s citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer’s voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation.
