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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility.
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Bharathanatyam Dancers in Olden Day Cinema
S.B.ABARNA. International Journal of Engineering Research and Applications www.ijera.com ISSN: 2248-9622, Vol. 10, Issue 6, (Series-VI) June 2020, pp. 01-03 RESEARCH ARTICLE OPEN ACCESS Bharathanatyam Dancers in Olden Day Cinema S.B.ABARNA1, Dr. SUJATHA MOHAN2 1Research Scholar Department of music and fine arts,Vels University Vistas, Chennai-600117 2RESEARCH GUIDE: Department of music and fine arts,Vels University, Vistas,Chennai-60017 ABSTRACT: Bharathanatyam is the dance form practiced in Tamil Nadu. A reference to dance in Tamil texts goes back about2000 year ago to the period of sangam literature. Bharathanatyam was earlier performed by the Devadasis and Rajadasis, who performed in the temple and court respectively. Tanjorequartets who were supported by Maratha king, crafted the repertoire known as Margam. The Margam forms the basis of the bharatanatyam performance former even today.In film industry olden film also enlighten with all types of abhinaya. Many famous dancers are success in film industry andgot popularity as well. Few examples are Travancore sisters, Vyjayanthimala, Kumari Kamala, L.Vijayalakshmi, VenniraAadai Nirmala, M.K.Saroja, E.V Saroja ,Rajasulochana, HemaMalini are dancers who got popularity and success in film industry. KEYWORDS: Abhinaya, Bharathanatyam, Cinema, Dancers, Gurus. ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 07-06-2020 Date of Acceptance: 23-06-2020 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION: convenient medium for people to understand such Bharathanatyam is a major form of Indian themes. Among the forms of classical dance classical dance that originated in the State of Tamil prevalent in India, bharathanatyam occupies pre- Nadu. It is one of eight forms of dance recognized eminent position.
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This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Aesthetics of Emotional Acting: An Argument for a Rasa-based Criticism of Indian Cinema and Television PIYUSH ROY PhD South Asian Studies The University of Edinburgh 2016 1 DECLARATION This thesis has been composed by me and is my own work. It has not been submitted for any other degree or professional qualification. Piyush Roy 25 February 2017 2 For Thakuba (Aditya Prasanna Madhual), Aai (Malatilata Rout), Julki apa and Pramila Panda aunty II संप्रेषण का कोई भी माध्यम कला है और संप्रेषण का संदेश ज्ञान है. जब संदेश का उद्येश्य उत्तेजना उत्पन करता हो तब कला के उस 셂प को हीन कहते हℂ. जब संदेश ननश्वार्थ प्रेम, सत्य और महान चररत्र की रचना करता हो, तब वह कला पनवत्र मानी जाती है II ननदेशक चंद्रप्रकाश निवेदी, उपननषद् गंगा, एप.
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Divorce in Tamil Film Industry
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Dakshinachitra Library
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Prospectus 2021-22
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The Artifice of Brahmin Masculinity in South Indian Dance
Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Ahmanson Foundation Endowment Fund in Humanities. Impersonations Impersonations The Artifice of Brahmin Masculinity in South Indian Dance Harshita Mruthinti Kamath UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advanc- ing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by Harshita Mruthinti Kamath This work is licensed under a Creative Commons CC-BY-NC-ND license. To view a copy of the license, visit http://creativecommons.org/licenses. Suggested citation: Kamath, H. M. Impersonations: The Artifice of Brahmin Masculinity in South Indian Dance. Oakland: University of California Press, 2019. DOI: https://doi.org/10.1525/luminos.72 Library of Congress Cataloging-in-Publication Data Names: Kamath, Harshita Mruthinti, 1982- author. Title: Impersonations : the artifice of Brahmin masculinity in South Indian dance / Harshita Mruthinti Kamath. Description: Oakland, California : University of California Press, [2019] | Includes bibliographical references and index.
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Brought to Life by the Voice Explores the Distinctive Aesthetics and in South India
ASIAN STUDIES | ANTHROPOLOGY | ETHNOMUSICOLOGY WEIDMAN Playback Singing To produce the song sequences that are central to Indian popular cinema, sing- ers’ voices are first recorded in the studio and then played back on the set to and Cultural Politics be lip-synced and danced to by actors and actresses as the visuals are filmed. Since the 1950s, playback singers have become revered celebrities in their | own right. Brought to Life by the Voice explores the distinctive aesthetics and in South India affective power generated by this division of labor between onscreen body and VOICE THE BY LIFE TO BROUGHT offscreen voice in South Indian Tamil cinema. In Amanda Weidman’s historical and ethnographic account, playback is not just a cinematic technique, but a powerful and ubiquitous element of aural public culture that has shaped the complex dynamics of postcolonial gendered subjectivity, politicized ethnolin- guistic identity, and neoliberal transformation in South India. BROUGHT TO LIFE “This book is a major contribution to South Asian Studies, sound and music studies, anthropology, and film and media studies, offering original research and BY THE new theoretical insights to each of these disciplines. There is no other scholarly work that approaches voice and technology in a way that is both as theoretically VOICE wide-ranging and as locally specific.” NEEPA MAJUMDAR, author of Wanted Cultured Ladies Only! Female Stardom and Cinema in India, 1930s–1950s “Brought to Life by the Voice provides a detailed and highly convincing explo- ration of the varying links between the singing voice and the body in the Tamil film industry since the mid-twentieth century.
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