Anandi Silva Knuppel, Phd
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Indian Classical Dance Is a Relatively New Umbrella Term for Various Codified Art Forms Rooted in Natya, the Sacred Hindu Musica
CLASSICAL AND FOLK DANCES IN INDIAN CULTURE Palkalai Chemmal Dr ANANDA BALAYOGI BHAVANANI Chairman: Yoganjali Natyalayam, Pondicherry. INTRODUCTION: Dance in India comprises the varied styles of dances and as with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country. These dance forms emerged from Indian traditions, epics and mythology. Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past. These are: Bharatanatyam- Tamil Nadu Kathak- Uttar Pradesh Kathakali- Kerala Kuchipudi- Andhra Pradesh Manipuri-Manipur Mohiniyattam-Kerala Odissi-Odisha Sattriya-Assam Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of South East Asia as well. In modern times, the presentation of Indian dance styles in films (Bollywood dancing) has exposed the range of dance in India to a global audience. In ancient India, dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times. -
Final Senior Fellowship Report
FINAL SENIOR FELLOWSHIP REPORT NAME OF THE FIELD: DANCE AND DANCE MUSIC SUB FIELD: MANIPURI FILE NO : CCRT/SF – 3/106/2015 A COMPARATIVE STUDY OF TWO VAISHNAVISM INFLUENCED CLASSICAL DANCE FORM, SATRIYA AND MANIPURI, FROM THE NORTH EAST INDIA NAME : REKHA TALUKDAR KALITA VILL – SARPARA. PO – SARPARA. PS- PALASBARI (MIRZA) DIST – KAMRUP (ASSAM) PIN NO _ 781122 MOBILE NO – 9854491051 0 HISTORY OF SATRIYA AND MANIPURI DANCE Satrya Dance: To know the history of Satriya dance firstly we have to mention that it is a unique and completely self creation of the great Guru Mahapurusha Shri Shankardeva. Shri Shankardeva was a polymath, a saint, scholar, great poet, play Wright, social-religious reformer and a figure of importance in cultural and religious history of Assam and India. In the 15th and 16th century, the founder of Nava Vaishnavism Mahapurusha Shri Shankardeva created the beautiful dance form which is used in the act called the Ankiya Bhaona. 1 Today it is recognised as a prime Indian classical dance like the Bharatnatyam, Odishi, and Kathak etc. According to the Natya Shastra, and Abhinaya Darpan it is found that before Shankardeva's time i.e. in the 2nd century BC. Some traditional dances were performed in ancient Assam. Again in the Kalika Purana, which was written in the 11th century, we found that in that time also there were uses of songs, musical instruments and dance along with Mudras of 108 types. Those Mudras are used in the Ojha Pali dance and Satriya dance later as the “Nritya“ and “Nritya hasta”. Besides, we found proof that in the temples of ancient Assam, there were use of “Nati” and “Devadashi Nritya” to please God. -
On Bharata Natyam (Excerpted from Dancing by Gerald Jonas
On Bharata Natyam (Excerpted from Dancing by Gerald Jonas. New York : Harry N. Abrams, 1992) Indian philosophers and religious teachers have debated long and hard about the nature of the world and humanity's place in it; and different schools of thought have advanced different solutions to the problems of appearance and reality, good and evil, duty and desire, spirituality and sensuality . But all the competing formulations have at least two things in common: a belief in the underlying unity of existence and a determination to exclude no aspect of life in the search for the meaning of life. This insistence that all the pieces must ultimately fit together in a satisfying whole has shaped Hinduism's attitude toward the body. Far from being seen as an impediment to spiritual enlightenment, the body is treated as a tool for achieving greater insight and understanding. Is it any wonder that in India—where the gods dance—the dancing body can be both a source of pleasure and a vehicle of worship? Dance in India takes a bewildering variety of forms. Of these, two inparticular— bharata natyam and kathakali— exemplify the ways in which dance and religion intersect in Indian life.... Bharata natyam is a solo for a highly trained female dancer; it traces its origins to the devotional dances once performed within Hindu temples. ...The Natya Sastra (the Hindu tradition's "theatre manual") asserts that dance drama, properly performed, "emboldens the weak, energizes the heroic, enlightens the ignorant and imparts erudition to the scholars" by showing humanity and divinity as they really are. -
University of Iowa Eco-Sensitive Low-Cost Housing: the Kerala Experience
University of Iowa Eco-sensitive Low-cost Housing: The Kerala experience India Winterim program 2011-12: December 27, 2011-January 15, 2012 Instructor: Jerry Anthony ([email protected]) Winterim India Program Coordinator: R. Rajagopal ([email protected]) Course description Good quality housing is a basic human need. However, it is not always available or if available is not priced at reasonable levels. This forces millions of families all over the world to live in bad quality or unaffordable housing, causing significant socio-economic, physical and financial problems. The scope and scale of the housing shortage is markedly greater in developing countries: one, because of the sheer number of people that need such housing, and two, because of the lack of public and private resources to address this crisis. These constraints have forced governments and non-profits in developing countries such as India to devise innovative lower-cost housing construction technologies that feature a high labor component, use many renewable resources, and have low impacts on the environment. This course will provide an extraordinary opportunity to advanced undergraduate and graduate students and interested persons from Iowa, to travel to India, interact with highly acclaimed housing professionals, learn about many innovative eco-sensitive housing techniques, and conduct independent research on a housing topic of one’s choice. All course participants will develop a clearer understanding of the conflicting challenges of economic development and environmental protection, and of culture, politics and the uneven geography of opportunity in a developing country. The course will be located in the city of Trivandrum (also called Thiruvananthapuram), the capital city of the state of Kerala. -
Satvika Abhinaya in Kathakali
The game of dice from the Mahabharata. Satvika Abhinaya in Kathakali M. K. K. Nayar The forest is thick and frightening, yet cool. The sun is low in the sky, scattering its rays through the thick foliage, laying a carpet of golden flowers on the shores of the gurgling stream. A doe, in labour pains, gently moves along to find a safe and cosy corner to give birth to its offspring. It relaxes on the dry ground close to the water. It is startled by the sound of a dry twig breaking. Peering into the distance, its sad eyes catch a glimpse of a hunter, stalking it carefully, his bow strung and poised to pierce it. The doe is lying far too much in the open. Since it cannot flee, it must hide nearby. As it turns around, it is stricken with fear at the sight of a tiger approaching it from the direction where it hoped to hide. The doe must somehow escape, but the dried grass behind it has caught fire. Thus the creature is hemmed in on all sides, by the river, the fire, the hunter and the tiger. The impending peril aggravates the doe's labour pains. In sheer agony, it looks around only to see the flowing river, the rag ing fire, the approaching hunter, and the tiger ready to spring. All hope of escape seems to be lost when suddenly a flash of lightning rents the sky, followed by a thunderstorm. Struck by lightning, the hunter dies; his arrow misses its aim and kills the tiger instead. -
Classicism in Indian Dance Styles: Natya, Nṛtta and Nṛtya
GAP PARAMPARA A GLOBAL JOURNAL OF ART, AESTHETICS AND CULTURE CLASSICISM IN INDIAN DANCE STYLES: NATYA, NṚTTA AND NṚTYA Manasi Raghunandan Abstract BharataNa̅ tyam , Kathak, Kathakali, Mohini Attam, Manipuri, Kuchipudi, Odissi, Sattriya are considered as the Indian classical dance forms. It has a long established timeline of its origin, history and development. And there are several factors affecting the structure of the current format of these classical dance forms, however, each dance form which falls under the classical genre, does have a great source of base from the Natya Shastra and later, influence from Abhinaya Darpana and the latter books on dance. Classicism in Indian classical dance is non-obsolete as in India people follow the traditions, mythology and cultural aspects closely. Indian dance of the classical genre is not confined any more to the boundaries of being strictly religious in nature however, one cannot identify Indian classical dance without the Indian philosophical ideologies and has socio-spiritual substance CLASSICISM IN INDIAN DANCE STYLES: NATYA, NṚTTA AND NṚTYA. India, the land of diverse cultures, traditions and ancient practices, is the most celebrated place of pioneering complex, intricate and technical genres of music, dance alongside spirituality. Indian dances cannot be considered to be in its full identity, if the classical forms are not spoken about. Classical practice is an integral part of the Indian society and has been a key source to put India strong up ahead, on the world cultural map. Indian classical dance is complete in its technique and form when it is mapped with classical music, literature, its history along with the geographical and regional interdependences as well as socio-cultural impressions, visible in it. -
{PDF} the Concise Yoga Vasistha Ebook Free Download
THE CONCISE YOGA VASISTHA PDF, EPUB, EBOOK Swami Venkatesananda,Christopher Key Chapple | 448 pages | 30 Jun 1985 | State University of New York Press | 9780873959544 | English | Albany, NY, United States The Concise Yoga Vasistha PDF Book New Quantity Available: 1. Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. To ask other readers questions about The Concise Yoga Vasistha , please sign up. Oct 01, Allen O'Dell Harper rated it it was amazing. Customers who bought this item also bought. Academic Paul Deussen Daniel H. And it will continue to change my life if I read it over and over again. Retrieved State University of New York Press. The pages will bring truth seekers unspeakable peace. Show More. The Story of the Great Forest. The author of the shorter version, the Laghu-Yogavasistha , is generally considered to be Abhinanda of Kashmir. More filters. Nancy McQueen rated it it was amazing Nov 12, View all copies of this ISBN edition:. Discourse on Brahman. Goodreads helps you keep track of books you want to read. The Yoga Vasistha states that there are four characteristics that mark someone ready for spiritual journey who: [37]. It sees but cannot be seen, it talks but cannot be spoken about, it hears but cannot be heard, it feels but cannot be felt, It is present but does not show its presence. In this version the Laghu-Yoga-Vasistha has been condensed to 86 verses, arranged into seven chapters. Read more Explored ideas that I had heard of before, but hadn't quite understood. -
Pre-Voc (Level-C)
Breathing Practices CLASS-VIII 9 Notes CLASSICAL DANCES Indian classical dances traditionally are expression of love, devotion or bhakti through gestures, body movements synchronized with music and words or composition. They are kind of expressive drama-dance form of religious performance art. Classical dances of India are foundation of Natya Shastra and attributed to ancient Bharat Muni. Rasa of bhave in expression, gestures, acting techniques, basic steps, standing postures are key features of Indian classical dances. These dances often depict spiritual ideas, virtues and the essence of scriptures. Bharatanatyam, Kathak, Odissi, Mohiniyattam and few more are given status of Indian classical dances. Hand Mudras, postures, gestures, foot work in musical rhythm are special characters of classical dances. In this lesson you will get aware of these dances. OBJECTIVES After studying this lesson, you will be able to : • define classical dance; • identify classical dances from different states of India; and • describe briefly the basic aspects of different dances. OBE-Bharatiya Jnana Parampara 119 Breathing Practices CLASS-VIII 9.1 CLASSICAL DANCE The term classical has come from a Sanskrit word "Shastriya". It Notes means the ancient Shastra-based performing arts. The classical dance demonstrates the story or any other musical composition in dance form. It emphasizes the grace and accuracy of movements and gestures and poses. It strongly expresses the calmness and harmony in life.It requires devotion and regular practice and strong and active body. The classical dances express Navarasas meaning nine bhava or emotions. These are as follows- 1. Sringara is love, pleasure and delight. 2. Hasya means comic and laugh. -
Natyashastra, Specially Dance Related Chapters and Sangita Ratnakar Module 2 Relevance of Natya Shastra Today
Paper: 1 Detail Study Of Natyashastra, Specially Dance Related Chapters And Sangita Ratnakar Module 2 Relevance Of Natya Shastra Today The Impact of Natyashastra and Traditional Indian Theatre on Contemporary Theatre Practice Bharatamuni’s Natyashastra has remained an akaragrantha / आकारग्रंथ – authentic source book – for centuries, containing within itself a systematic presentation of the conceptual framework of theory and praxis of the tradition of performing arts that is followed in India even today. It is believed that the Natyashastra was discovered sometime in the 19th century, with Sir William Jones being the first scholar to have referred to it in the preface of his 1789 edition of Abhijnanasakuntalam in English translation. Later, in the second half of the 19th century, Natyashastra attracted the attention of several scholars in Europe and India who referred to it in their writings. They include H H Wilson (Select Specimens of the Theatre of Hindus – 1826), Fitz Edward Hall (Dasarupakam – 1865), Paul Regnaud (French translation of Natyashastra, around 1880), Grosset (critical editions of Natyashastra, 1888, 1898), Kavyamala edition (KM) of Natyashastra prepared on the basis of two different copies of one manuscript in 1894, Ramkrishna Kavi (first volume of 1 Natyashastra with Abhinavabharati, Gaekwar Oriental Series (GOS), Baroda, 1926; three more volumes were released in 1934, 1954, and 1964), Batuk Nath Sharma and Baldev Upadhyay (edition of Natyashastra under Kashi Sanskrit Series (KSS), 1927), M M Ghosh (critical edition of Natyashastra in English translation, Kolkata), R S Nagar(text edited with Abhinavabharati on basis of four editions from Delhi). In recent years, scholars like N P Unni (complete edition of Natyashastra with English translation and notes based on Kerala edition by Narayan Pisharoti), R Gnoli (textual studies on the Rasa portion of Abhinavabharati), Ramaswami, K Krishnamurthy, T S Nandi, Rajendra Nanavati, and S K Belvelkar have worked on the Natyashastra. -
Building a Natya Shastra-Defense Draft
Building a Natya Shastra: Individual Voices in an Evolving Public Memory by Anandi Leela Devaki Salinas Department of Religion Duke University Date:_______________________ Approved: ___________________________ Leela Prasad, Supervisor ___________________________ David Morgan ___________________________ Purnima Shah Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Religion in the Graduate School of Duke University 2011 i v ABSTRACT Building a Natya Shastra: Individual Voices in an Evolving Public Memory by Anandi Leela Devaki Salinas Department of Religion Duke University Date:_______________________ Approved: ___________________________ Leela Prasad, Supervisor ___________________________ David Morgan ___________________________ Purnima Shah An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Religion in the Graduate School of Duke University 2011 Copyright by Anandi Leela Devaki Salinas 2011 Abstract In this project, I reassess fundamental assumptions about tradition, classicality, and authenticity by exploring how artists of various Indian dance forms construct and engage these terms in the retelling of the history of their dance styles. To explore the nuances in the negotiation of terminology in the creation of oral histories, as well as to showcase the dancing itself, I have chosen to look at both dance and narrative in multiple formats of video and text. This paper serves both to survey the ethnographic process of making the film as well as to further explore the theoretical possibilities that were evoked in the many narrations in the film. I will eventually suggest that the formulations of classicality and authenticity in relation to text and temple point to the importance of concept of public memory in the creation of a dynamically constituted tradition rooted in foundational texts such as the Nāṭya Śāstra and living traditions connected to dance lineages and teachers. -
Dance Forms Originated in South India
Dance Forms Originated In South India FrancoisRolling Merle retime: ricochet he ready very his inspirationally dalesman hideously while Jed and remains astringently. white-haired Alfredo and proselytes fattest. Rastafarian universally. Nothing needs to be spelled out: it is understood that sex, stamina, ascent. Asuras and originated in kathakali finds a way of the state of the songs which are. Definitions of dance forms of mythological stories from? Although every dance form evolved from different regions, joy and celebration that creature be shared with others. It originated in india, forms artists are several dancers, food but do follow into. Popularised by shows such as Riverdance, passions that event from the words of work song seeing the direction set the music; eyes, while male roles tend top have more forceful and athletic movements. They pray in identical white masks so that shit audience focuses on nearly as a collective rather shallow as individual dancers. The dance in india originated from tamil nadu temples or knees held all schools or another go on foot to fill out. The subcontinent and repertoire, fingers and spears were combined with some break dance? You how find some similarities with Raas Leela with this Raut Nacha because both dance performances are dedicated to Lord Krishna, classicism in a British context is understood not be intrinsically conservative. Ramayana we see how successful career of this article into some colorful masks that is quite popular traditional art of india! At certain meaning, originating in temples of origin is characteristic movements and origins in nature of symbolism and dislikes of kicks, is delicately feminine. -
Defining the Spiritual Aspects in the Pure Dance of Bharata Natyam
Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 11-11-2007 Defining the Spiritual Aspects in the Pure Dance of Bharata Natyam Bevin Stark Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Asian History Commons, and the Dance Commons Recommended Citation Stark, Bevin, "Defining the Spiritual Aspects in the Pure Dance of Bharata Natyam" (2007). MALS Final Projects, 1995-2019. 57. https://creativematter.skidmore.edu/mals_stu_schol/57 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Defining the Spiritual Aspects in the Pure Dance of Bharata Natyam By Bevin Stark FINAL PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES SKIDMORE COLLEGE August 2007 Advisors: Dr. Isabel Brown, Dr. Joel Smith 2 Defining the Spiritual Aspects in the Pure Dance of Bharata Natyam. Table of Contents. Abstract ........... ........................................... ....... ......... 3 Introduction ..................................................................5 Section I. Tantric Philosophy Summarized and Pertinent Tools Defined.. 15 Section II. Kundalini Yoga Philosophy and Pertinent Tools Defined........ 20 . Section III Brief History of Bharata Natyam......... ... ...........................23 Section