DOCSLIB.ORG

The Artifice of Brahmin Masculinity in South Indian Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. | Identifiers: LCCN 2018061418 (print) | LCCN 2019003975 (ebook) | ISBN 9780520972230 (Epub) | ISBN 9780520301665 (pbk. : alk. paper) Subjects: LCSH: Brahmans—India, South--Social life and customs. | Gender identity in dance—India, South. | Female impersonators—India, South—Social life and customs. | Kuchipudi (Dance)—Social aspects—India, South. Classification: LCC DS432.B73 (ebook) | LCC DS432.B73 K36 2019 (print) | DDC 306.4/846081109548—dc23 LC record available at https://lccn.loc.gov/2018061418 28 27 26 25 24 23 22 21 20 19 10 9 8 7 6 5 4 3 2 1 for Baliakka Contents List of Illustrations ix Acknowledgments xi Note on Transliteration xv Introduction 1 1. Taking Center Stage: The Poet-Saint and the Impersonator of Kuchipudi Dance History 33 2. “I am Satyabhama”: Constructing Hegemonic Brahmin Masculinity in the Kuchipudi Village 55 3. Constructing Artifice, Interrogating Impersonation: Madhavi as Vidūṣaka in Village Bhāmākalāpam Performance 80 4. Bhāmākalāpam beyond the Village: Transgressing Norms of Gender and Sexuality in Urban and Transnational Kuchipudi Dance 104 5. Longing to Dance: Stories of Kuchipudi Brahmin Women 134 Conclusion: Rewriting the Script for Kuchipudi Dance 159 Notes 169 Bibliography 193 Index 219 Illustrations FIGURES 1–2. Vedantam Satyanarayana Sarma in the village of Kuchipudi 3 3. Ramalingeshvara and Balatripurasundari temple in the center of the Kuchipudi village 15 4. Siddhendra’s mūrti (image) in a temple in the Kuchipudi village 45 5–11. Vedantam Venkata Naga Chalapathi Rao donning Satyabhama’s strī-vēṣam 60–61 12. Chinta Ravi Balakrishna as the sūtradhāra 83 13. Satyabhama addressing Madhavi 84 14. Madhavi and Satyabhama offer flowers to Krishna (performed by Yeleswarapu Srinivas) 90 15. Sasikala Penumarthi enacts Satyabhama 110 16. Vedantam Raghava as the sūtradhāra 112 17. Madhavi and Satyabhama 113 18. Madhavi wears Satyabhama’s nose ring 115 19. Satyabhama combs Madhavi’s hair 126 20. Author impersonates Krishna 129 21. Vedantam Rajyalakshmi in her home in the Kuchipudi village 139 22. Chavali Balatripurasundari in her home in Hyderabad 151 x Illustrations MAPS 1. India (2018) 16 2. The Kuchipudi village 17 TABLE 1. Sūtradhāra/Madhavi/Madhava across Bhāmākalāpam performance contexts 117 Acknowledgments Writing is a performative act that demands collective labor in the guise, or vēṣam, of a singular voice. Although a monograph, this book would not be possible without the collective efforts of teachers, mentors, colleagues, and friends. My Kuchipudi guru, Sasikala Penumarthi, first introduced me to Kuchipudi through her exquisite skills in performance. Chavali Balatripurasundari, the daughter of guru Vempati Chinna Satyam, deepened my knowledge of Kuchipudi through her persistent dedication to her father’s legacy. Inspired by Baliakka’s story, I dedicate this book to her. I am deeply indebted to Joyce Burkhalter Flueckiger, my incredibly generous advisor who has supported me throughout, from the start of this project to its finish. Joyce’s intellectual insights, deep love of India, and commitment to her students are truly remarkable, and she has been the single force that has shaped my academic training over the years. Velcheru Narayana Rao has sparked my interest in all things Telugu since the day I met him. I am grateful not only for Narayana Rao’s unbridled enthusiasm for reading Telugu texts, but also for his insightful observations and inspirational claims. My mentor at the University of Hyderabad, Anuradha Jonnalagadda, has been a guiding force through this project. Anuradha’s expansive knowledge of Kuchipudi dance history is an inspiration, and she is the single most influential scholar of Kuchipudi dance to date. I also thank the other scholars who influenced the shape of this book, including Laurie Louise Patton, an intellectual tour de force who prompted me on the path of scholarly work in South Asian studies. Vasudha Narayanan, the authority on South India, has shaped the arc of my scholarship from dissertation to book. I am extremely grateful to Anne Monius for her ongoing support of my research and scholarly career, as well as her xi xii Acknowledgments insightful feedback on drafts of the book. I also thank Sara McClintock for her careful eye when reading early versions of the book in its dissertation stage. I extend my gratitude to the many members of the Kuchipudi dance community who supported my fieldwork in India. In particular, I am indebted to the late Vempati Ravi Shankar for the countless hours spent discussing dance, Vedantam Venkata Naga Chalapathi Rao for his enthusiasm, Vedantam Raghava for his insights, and my dear friend Pasumarti Mrutyumjaya for his continuing encouragement. I thank the women of Kuchipudi village families who I interviewed in 2014, particularly Vedantam Rajyalakshmi, Vedantam Lakshminarasamma, Vempati Swarajyalakshmi, and Chavali Balatripurasundari, for their insights. Baliakka’s daughter, Sarvani, brought joy to my fieldwork. In addition, I am incredibly grateful to the following members of the Siddhendra Kalakshetra who took time to answer my questions, teach me dance, and support my project: Pasumarti Rattayya Sarma, Vedantam Radheshyam, Vedantam Ramalingasastry, Chinta Ravi Balakrishna, Yeleswarapu Srinivas, and Pasumarti Haranadh. I am also grateful to Vedantam Satyanarayana Sarma, P.V.G. Krishna, Pasumarti Keshav Prasad, Nataraja Ramakrishna, Kalakrishna, Uma Rama Rao, Ajay Kumar, and Haleem Khan, as well as my remaining interlocutors for their willingness to speak with me. I thank Madhavi Puranam, Aruna Bhikshu, and the late G.M. Sarma for their support of this research. Finally, I am deeply grateful to the late Modali Nagabhushana Sarma for his willingness to meet with me in Hyderabad for hours upon end to discuss Kuchipudi dance history. The research for this book was supported by grants from the United States Department of Education’s Fulbright-Hays Doctoral Dissertation Research Abroad program and Emory University’s Graduate Division of Religion’s Initiative in Religious Practices & Practical Theology. I also received support from the American Association of University Women (AAUW) American Fellowships Research Publication Grant and Emory University’s Center for Faculty Development and Excellence Scholarly Writing and Publishing Fund to complete the manuscript. I thank Reed Malcolm, Archna Patel, Emilia Thiuri, Paul Tyler, Tom Sullivan, and the editorial board at the University of California Press for their support. I also thank the anonymous reviewers for their feedback to the manuscript. I am indebted to my outstanding editor, Petra Shenk, for her keen eye and insightful comments on many drafts. I am grateful to the staff at the Sangeet Natak Akademi Archives in New Delhi and the Tirupati Oriental Research Library in Tirupati, Andhra Pradesh. In addition, I thank Velcheru Narayana Rao, P. Venugopala Rao, Bethavolu Ramabrahmam, and Durga Yerramalli for their assistance in translat- ing my primary source materials from Telugu into English. I am grateful to Carla Freeman at Emory College of Arts and Sciences and Sarah McKee at Emory University’s Fox Center for Humanistic Inquiry for their support in publishing this book as an open access monograph. Thanks also to Ben Pease for his detailed maps, Uzma Ansari for her beautiful photographs, and Chris Dodge for indexing. Acknowledgments xiii I am indebted to my colleagues at Emory University for supporting my scholarship, particularly Devin Stewart, Scott Kugle, Ruby Lal, Vincent Cornell, Rkia Cornell, Roxani Margarati, Ofra Yeglin, Brajesh Samarth, Juana McGhee, Paul Courtright, Arun Jones, Ellen Gough, Bobbi Patterson
Load more

Recommended publications
  • How Modern India Reinvented Classical Dance
    ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD.
    [Show full text]
  • Dakkali & Pabbada Cultural Art in Madras Presidency & Hyderabad
    www.ijcrt.org © 2017 IJCRT | Volume 5, Issue 4 December 2017 | ISSN: 2320-2882 Dakkali & Pabbada Cultural Art in Madras Presidency & Hyderabad State. Dr. Jayaram Gollapudi Assistant Professor and Post-Doctoral Fellow Osmania University The title shows unique name in the society the class is based untouchable, mainly in this depressed class are Mang and Mahar . Mang commu nity is Madiga , Chamar, Chindu and Mastini etc; in the Mahar community Mala, Mala Dasari, Netakani and pambala etc; but mainly Madiga Leather worker community is main role in the depressed class culture Art in Madrass presidency and Nizam’s Hyderabad State. As on cultural art area important dependent castes are Dakkali and Pabbada. The Dibbida copper plate inscription of Mastya Arjuna, dated S.119l (A.D. 1269) refers to a tank intended for the use of Antyas (Antyajataka) while delineating the boundaries of the gifted village. This clearly suggests that those who belonged to the lower status of society were not allowed to use the common tanks of the village and that separate tanks were excavated for their use. Chandalas were often expected to render service without any special remuneration, a practice which is known as Vetti (free labour). However, some land was allotted for their subsistence as evident from the term Chandala Kshetramu mentioned in the Chevuru plates of Eastern Chalukya Amma. The research methodology for this project is needed to be explained from important basic points. To understand the Culture is it is necessary to understand the long-term trends in the agrarian economy and the famine sufferings through the historical methodology.
    [Show full text]
  • Superstition: a Rational Discourse
    Superstition: A Rational Discourse Yadnyeshwar Nigale (Translated by Ms Suman Oak) Lokbhumi Prakashan Panaji (Goa) Credits Superstition: A Rational Discourse Author Yadnyeshwar Nigale (Translated by Ms Suman Oak) © Yadnyeshwar Nigale Articles may be reproduced freely acknowledging the source and a copy forwarded to Publisher. First Edition: June 2012 Layout & Production Milind Joshi, Anupam Creations, 2/14, Marwa, Anupam Park Kothrud, Pune 411029 Published & Printed by Ramesh Kolwalkar Lokbhumi Prakashan, Roshan Manzil, Near Cine National, Panaji (Goa) 403001 (Contact: 9763817239/(0832) 2251358) Cover Design Sham Bhalekar, Pune Rs : 150/- 2 Superstition: A Rational Discourse This book is respectfully dedicated to the memory of Comrade Narayan Desai (1920- 2007) a renowned thinker, philosopher & guide and wrote profusely and also was an activist in the progressive and rationalist movements Superstition: A Rational Discourse 3 The Author's Perception The Indian Society as a whole is beset with innumerable slovenly and unscientific concepts like-fatalism, fate or luck, the cycle of birth and death, Karmasiddhanta (present suffering or good fortune is the fruit of deeds in the previous births), astrology, destiny, miracles, concept of being auspicious or inauspicious, vows, observances and what not. To match with this innumerable orthodox senseless traditions and rituals are blindly followed by most of the Indians. In fact, the whole edifice of the Indian society and its culture is founded on these constructs. The psyche of the people does not allow them to examine any custom or tradition or happening and verify its utility, validity and legitimacy. For them, the age old customs, rituals and traditions, started by their wise forefathers are sacrosanct and beyond any criticism, leave alone any change.
    [Show full text]
  • View Entire Book
    ORISSA REVIEW VOL. LXI NO. 12 JULY 2005 DIGAMBAR MOHANTY, I.A.S. Commissioner-cum-Secretary BAISHNAB PRASAD MOHANTY Director-cum-Joint Secretary SASANKA SEKHAR PANDA Joint Director-cum-Deputy Secretary Editor BIBEKANANDA BISWAL Associate Editor Sadhana Mishra Editorial Assistance Manas R. Nayak Cover Design & Illustration Hemanta Kumar Sahoo Manoj Kumar Patro D.T.P. & Design The Orissa Review aims at disseminating knowledge and information concerning Orissa’s socio-economic development, art and culture. Views, records, statistics and information published in the Orissa Review are not necessarily those of the Government of Orissa. Published by Information & Public Relations Department, Government of Orissa, Bhubaneswar - 751001 and Printed at Orissa Government Press, Cuttack - 753010. For subscription and trade inquiry, please contact : Manager, Publications, Information & Public Relations Department, Loksampark Bhawan, Bhubaneswar - 751001. E-mail : [email protected] Five Rupees / Copy Visit : www.orissagov.nic.in Fifty Rupees / Yearly Contact : Ph. 0674-2411839 CONTENTS Editorial Landlord Sri Jagannath Mahaprabhu Bije Puri Dr. Chitrasen Pasayat ... 1 Jamesvara Temple at Puri Ratnakar Mohapatra ... 6 Vedic Background of Jagannath Cult Dr. Bidyut Lata Ray ... 15 Orissan Vaisnavism Under Jagannath Cult Dr. Braja Kishore Swain ... 18 Bhakta Kabi Sri Bhakta Charan Das and His Work Somanath Jena ... 23 'Manobodha Chautisa' The Essence of Patriotism in Temple Multiplication - Dr. Braja Kishore Padhi ... 26 Kulada Jagannath Rani Suryamani Patamahadei : An Extraordinary Lady in Puri Temple Administration Prof. Jagannath Mohanty ... 30 Sri Ratnabhandar of Srimandir Dr. Janmejaya Choudhury ... 32 Lord Jagannath of Jaguleipatna Braja Paikray ... 34 Jainism and Buddhism in Jagannath Culture Pabitra Mohan Barik ... 36 Balabhadra Upasana and Tulasi Kshetra Er.
    [Show full text]
  • Odisha Review
    ODISHA REVIEW VOL. LXXI NO. 2-3 SEPTEMBER-OCTOBER - 2014 MADHUSUDAN PADHI, I.A.S. Commissioner-cum-Secretary BHAGABAN NANDA, O.A.S, ( SAG) Special Secretary DR. LENIN MOHANTY Editor Editorial Assistance Production Assistance Bibhu Chandra Mishra Debasis Pattnaik Bikram Maharana Sadhana Mishra Cover Design & Illustration D.T.P. & Design Manas Ranjan Nayak Hemanta Kumar Sahoo Photo Raju Singh Manoranjan Mohanty The Odisha Review aims at disseminating knowledge and information concerning Odisha’s socio-economic development, art and culture. Views, records, statistics and information published in the Odisha Review are not necessarily those of the Government of Odisha. Published by Information & Public Relations Department, Government of Odisha, Bhubaneswar - 751001 and Printed at Odisha Government Press, Cuttack - 753010. For subscription and trade inquiry, please contact : Manager, Publications, Information & Public Relations Department, Loksampark Bhawan, Bhubaneswar - 751001. Five Rupees / Copy E-mail : [email protected] Visit : http://odisha.gov.in Contact : 9937057528(M) CONTENTS Nabakalebar Bhagaban Mahapatra ... 1 Good Governance ... 5 The Concept of Sakti and Its Appearance in Odisha Sanjaya Kumar Mahapatra ... 8 Siva and Shakti Cult in Parlakhemundi : Some Reflections Dr. N.P. Panigrahi ... 11 Durga Temple at Ambapara : A Study on Art and Architecture Dr. Ratnakar Mohapatra ... 20 Perspective of a Teacher as Nation Builder Dr. Manoranjan Pradhan ... 22 A Macroscopic View of Indian Education System Lopamudra Pradhan ... 27 Abhaya Kumar Panda The Immortal Star of Suando Parikshit Mishra ... 42 Consumer is the King Under the Consumer Protection Law Prof. Hrudaya Ballav Das ... 45 Paradigm of Socio-Economic-Cultural Notion in Colonial Odisha : Contemplation of Gopabandhu Das Snigdha Acharya ... 48 Raghunath Panigrahy : The Genius Bhaskar Parichha ..
    [Show full text]
  • 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.
    [Show full text]
  • Canada Archives Canada Published Heritage Direction Du Branch Patrimoine De I'edition
    University of Alberta Ascending the Canadian Stage: Dance and Cultural Identity in the Indian Diaspora by Meera Varghese A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Music Edmonton, Alberta Spring 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-45746-7 Our file Notre reference ISBN: 978-0-494-45746-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • The 45Th ALL INDIA COMPETITIONS in MUSIC and DANCE, 2013
    The 45th ALL INDIA COMPETITIONS IN MUSIC AND DANCE, 2013 (This form duly filled in should reach the Organising Secretary, Navya Nataka Samiti, # 1-8-522/12, Chikkadpally, Hyderabad - 500 020 or the Y.M.C.A., Narayanguda, Hyderabad - 500 029 on or before the 20th November, 2012 ENTRY FORM 1. Name in full (in Block Letters) : Sri / Smt. / Kum.________________________________________________ 2. Address with Pin Code ___________________________________________________________________ ___________________________________________________________________Pin : ______________ 3. Age and Date of Birth____________________________________________________________________ (Proof of age to be produced) 4. Contact No.: ___________________________________________________________________________ 5. Branch and Section in which the entry is made : ______________________________________________ (Tick the appropriate item) 1. Karnatak - Vocal - Senior 11. Bharatanatyam - Senior 2. Karnatak - Veena - Senior 12. Bharatanatyam - Junior 3. Karnatak - Violin - Senior 13. Bharatanatyam - Sub - Junior 4. Karnatak - Mridangam - Senior 14. Kuchipudi - Senior 5. Karnatak - Vocal - Junior 15. Kuchipudi - Junior 6. Karnatak - Vocal - Sub-Junior 16. Kuchipudi - Sub-Junior 7. Hindustani - Vocal - Senior 17. Andhra Natyam - Senior 8. Hindustani - Sitar - Senior 18. Andhra Natyam - Junior 9. Hindustani - Tabla - Senior 19. Andhra Natyam - Sub-Junior 10. Hindustani - Tabla - Junior 20. Kathak - Senior 21. Kathak - Junior Entry fee remitted : Seniors / Juniors / Sub-Juniors Rs.100/-
    [Show full text]
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • Indian Dance Drama Tradition
    Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-4, 2017 (Special Issue), ISSN: 2454-1362, http://www.onlinejournal.in Proceedings of 5th International Conference on Recent Trends in Science Technology, Management and Society Indian Dance Drama Tradition Dr. Geetha B V Post-Doctoral research fellow, Women Studies Department, Kuvempu University, Shankarghatta, Shimoga. Abstract: In the cultures of the Indian subcontinent, for its large, elaborate make up and costumes. The drama and ritual have been integral parts of a elaborate costumes of Kathakalli become the most single whole from earliest recorded history. The recognized icon of Kerala. The themes of the first evidences of ritual dance drama performances Kathakali are religious in nature. The typically occur in the rock painting of Mirzapur, Bhimbetka, deal with the Mahabarat, the Ramayana and the and in other sites, which are various dated 20,000- ancient Scriptures known as the puranas. 5000 bce. The ancient remains of Mohenjo-Daro Kuchipudi dance drama traditions hails from and the Harappa (2500-2000 bce) are more Andhrapradesh. BhamaKalapam is the most definitive. Here archeological remains clearly popular Dance-Drama in Kuchipudi repertoire point to the prevalence of ritual performance ascribed to Siddhendra Yogi. The story revolves involving populace and patrons. The Mohenjo – round the quarrel between satyabhama and Daro seals, bronze fegurines, and images of priest Krishna. and broken torsos are all clear indications of dance In this paper I am dealing with Yakshagana dance as ritual. The aspects of vedic ritual tradition drama tradition. I would like to discuss this art closest to dance and drama was a rigorous system form’s present scenario.
    [Show full text]
  • Dance (Code No
    DANCE (CODE NO. 056 TO 061) 2020-21 The objective of the theory and practical course in Indian Classical Dance, Indian Traditional Dance, Drama or Theatre forms is to acquaint the students with the literary and historical background of the Indian performing arts in general, arid dance drama form offered in particular. It is presumed that the students offering these subjects will have had preliminary training in the particular form, either within the school system or in informal education. The Central Board of Secondary Education being an All India Organization has its schools all over the country. In order to meet the requirements of the schools, various forms or regional styles have been included in the syllabus. The schools may OFFER ANY ONE OF THE STYLES. Since the syllabi are closely linked with the culture, it is desirable that the teachers also make themselves familiar with the aspects of Indian Cultural History; classical and medieval period of its literature. Any one style from the following may be offered by the students: INDIAN CLASSICAL DANCE (a) Kathak (b) Bharatnatyam (c) Kuchipudi (d) Odissi (e) Manipuri (f) Kathakali (A) KATHAK DANCE (CODE NO. 056) CLASS–XII (2020-21) Total Marks: 100 Theory Marks: 30 Time-2 Hours 1. A brief history with other classical dance styles of India. 2. Acquaintance with the life sketch of few great exponents from past and few from present of the dance form. 3. Elementary introduction to the text Natyashastra, Abhinaya Darpan: (a) Identification of the author and (approximate date). (b) Myths regarding the origin of dance according to each text.
    [Show full text]
  • Samaj Laghubitta Bittiya Sanstha Ltd. Demat Shareholder List S.N
    SAMAJ LAGHUBITTA BITTIYA SANSTHA LTD. DEMAT SHAREHOLDER LIST S.N. BOID Name Father Name Grandfather Name Total Kitta Signature 1 1301010000002317 SHYAM KRISHNA NAPIT BHUYU LAL NAPIT BHU LAL NAPIT / LAXMI SHAKYA NAPIT 10 2 1301010000004732 TIKA BAHADUR SANJEL LILA NATHA SANJEL DUKU PD SANJEL / BIMALA SANJEL 10 3 1301010000006058 BINDU POKHAREL WASTI MOHAN POKHAREL PURUSOTTAM POKHAREL/YADAB PRASAD WASTI 10 4 1301010000006818 REJIKA SHAKYA DAMODAR SHAKYA CHANDRA BAHADUR SHAKYA 10 5 1301010000006856 NIRMALA SHRESTHA KHADGA BAHADUR SHRESTHA LAL BAHADUR SHRESTHA 10 6 1301010000007300 SARSWATI SHRESTHA DHUNDI BHAKTA RAJLAWAT HARI PRASAD RAJLAWAT/SAROJ SHRESTHA 10 7 1301010000010476 GITA UPADHAYA SHOVA KANTA GNAWALI NANDA RAM GNAWALI 10 8 1301010000011636 SHUBHASINNI DONGOL SURYAMAN CHAKRADHAR SABIN DONGOL/RUDRAMAN CHAKRADHAR 10 9 1301010000011898 HARI PRASAD ADHIKARI JANAKI DATTA ADHIKARI SOBITA ADHIKARI/SHREELAL ADHIKARI 10 10 1301010000014850 BISHAL CHANDRA GAUTAM ISHWAR CHANDRA GAUTAM SAMJHANA GAUTAM/ GOVINDA CHANDRA GAUTAM 10 11 1301010000018120 KOPILA DHUNGANA GHIMIRE LILAM BAHADUR DHUNGANA BADRI KUMAR GHIMIRE/ JAGAT BAHADUR DHUNGANA10 12 1301010000019274 PUNESHWORI CHAU PRADHAN RAM KRISHNA CHAU PRADHAN JAYA JANMA NAKARMI 10 13 1301010000020431 SARASWATI THAPA CHITRA BAHADUR THAPA BIRKHA BAHADUR THAPA 10 14 1301010000022650 RAJMAN SHRESTHA LAXMI RAJ SHRESTHA RINA SHRESTHA/ DHARMA RAJ SHRESTHA 10 15 1301010000022967 USHA PANDEY BHAWANI PANDEY SHYAM PRASAD PANDEY 10 16 1301010000023956 JANUKA ADHIKARI DEVI PRASAD NEPAL SUDARSHANA ADHIKARI
    [Show full text]