DOCSLIB.ORG

Bharata's Natyashastra-Based Theatre Analysis Model

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bharata's Natyashastra-Based Theatre Analysis Model Bharata’s Natyashastra-based Theatre Analysis Model: An experiment on British South Asian and contemporary Indian theatre in English Submitted by Mrunal Prabhudas Chavda to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama In January 2015 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Acknowledgements This dissertation would never have been finished without the guidance and support of my supervisory team, help from friends and support from my family and wife. I would like to express my deepest gratitude to my supervisor, Jerri Daboo, for her excellent guidance, caring and patience, and providing me with an excellent atmosphere for doing research. I would like to thank Catherine Turner, my second supervisor, who flagged several issues. I would also like to thank Graham Ley for guiding my research in its earlier phase and supported my research and helping me to develop my background in drama and theatre studies. I also thank Jane Milling, my research mentor, who became my first point of contact in the UK providing me pastoral care, inspiration and motivation. I would like to thank Erin Walcon, Mike Rose-Steele, Nora Williams, Evelyn O’Malley, and Gayatri Simmons, Mandeep Singh, Rupal Trivedi and many friends in Exeter and in India who listened to my wandering thoughts and shaped to refine them in the process of interaction. I would like to thank my mother and father (this research is dedicated to him), brother and sisters and my second family in Exeter especially Ravi Nathwani, Jessi Nathwani and Anita Nathwani. They were always supporting me and encouraging me with their best wishes. Finally, I would like to thank my wife, Vinu and my daughter Yuyutsa. They were always there cheering me up and stood by me through the good times and bad. 2 Contents Acknowledgements ........................................................................................................................... 2 Abstract................................................................................................................................................. 4 Introduction ......................................................................................................................................... 5 Chapter One: ..................................................................................................................................... 26 Existing Models of Theatre Analysis, the Natyashastra, and a Proposed Model ........... 26 Chapter Two: British South Asian theatre, Contemporary Indian theatre in English, and Bollywood: Critical Contexts ................................................................................ 58 Chapter Three: Production Analysis ......................................................................................... 107 Part 1: British South Asian theatre ............................................................................................ 107 Wah! Wah! Girls: The Musical (Britain Meets Bollywood) ..................... 110 The Kanjoos- The Miser ............................................................................ 136 Kabbadi Kabbadi Kabbadi ........................................................................ 168 Part 2: Contemporary Indian theatre in English: Where Did I Leave My Purdah .......... 197 Chapter Four: Conclusion............................................................................................................ 227 Appendices ...................................................................................................................................... 251 Appendix 1: Tabulated Natyashastra ........................................................................................ 251 Appendix 2: Flyers ......................................................................................................................... 321 Appendix 3: Interview Transcripts ............................................................................................. 324 Interview with Hardeepsingh Kohli .......................................................... 324 Interview with Jatinder Verma .................................................................. 332 Interview with Satinder Chohan ............................................................... 342 Interview with Helena Bell ........................................................................ 352 Interview with Asif Khan ........................................................................... 362 Interview with Shalini Peiris ..................................................................... 366 Interview with Lillete Dubey ..................................................................... 369 Interview with Mahesh Dattani ................................................................. 385 Appendix 4: Glossary ....................................................................................................................... 393 Bibliography .................................................................................................................................... 397 3 Abstract This thesis tests a newly developed model based on the Natyashastra, an Indian treatise on performing arts, and uses this for theatrical analysis in the contexts of British Asian theatre productions and contemporary Indian theatre in English. The study offers a tool that can provide an alternative model of analysis. By extending the existing analytical models, we can ask questions concerning the actors’ emotional manifestation and their mental state while acting. This thesis attempts to interpret the actors’ gestures and provides a structure to analyse them. In order to do that, this project uses the Natyashastra and rasa/bhava concepts as performance analysis tools, which might provide an alternate perspective to theatre analysis. The thesis reviews existing models of theatrical analysis and argues for an alternative model in Chapter One. It examines the analysis of theatre productions by scholars of British Asian theatre and contemporary Indian theatre in English in Chapter Two. Here, I review the ways in which scholars of British South Asian theatre have examined theatrical productions so far. Chapter Three tests the proposed model on four theatre productions, illustrating the ways in which theatre productions could be analysed, and identifies the model’s limitations and advantages. Chapter Four discusses findings in the light of the results analysed in Chapter Three; it also outlines some questions which needs further investigation. By doing so, this thesis contributes to the field of performance analysis and theatre studies by developing strong links between the manifestation of the actors’ bodymind, the directors' reception after their first reading of a play’s text, and playwrights’ initial emotions within the text, through production analysis. 4 Introduction This study examines and develops a new model of performance analysis based in the Natyashastra and tests it in the context of British Asian theatre and contemporary Indian theatre in English. This study will interrogate to what extent the Natyashastra in these contexts can overcome some of the possible limitations posed by a semiotic methods of analysis. Though the study has limited scope, it will argue that its usability and transposition can be applied to different types of theatre productions in different cultural contexts. The significance of the Natyashastra lies in the fact that it addresses various aspects of performing arts such as acting, dance, costume and music. Using a case study methodology, this thesis examines the relevance of the Natyashastra in the field of theatre analysis. Exploring the Natyashastra, this study develops, tests, and designs a new model after each production analysis, and borrows from other available models of analysis, to make the new model more useful and applicable. Overview of the problem Performance analysis is a well-established research area in theatre studies. A variety of scholarship has made a significant contribution to theatrical analysis using theatrical signs and codes (see, for instance, Kowzan, 1968, 1975; Schechner, 1985, 2006; Gantar, 1996; Pavis, 1982, 1997, and 2003). However, such terms of reference in a “pluricodified multileveled theatrical system” cannot lead to “[a]n analysis of [the] theatrical medium” as Amossy stated (1981, p. 5). This was due to the complexity of the terms as suggested by numerous critics such as Kowzan (1975), Elam (1980), Ubersfeld (1981), Fischer-Lichte (1983 and 2014), Helbo (1987), and Marini (1993). These critics have assigned terms such as semiotic, cultural and linguistic with multiple discursive meanings. Pavis has refined this analysis further by stating that an “analysis of an actor’s gestures must be carefully adapted to its object and that there is no all-embracing universal methodology” (Pavis, 1997, p. 206). He further maintains that: 5 Our task is to imagine a model combining an aesthetic of production and reception, studying their dialectical interaction – in other words, assessing both the production’s anticipated reception and the
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.
    [Show full text]
  • Unique Interest Based Departures Creative Travel Has a Network of Sales Teams Around the World to Assist You in Your Region
    To make a reservation or for additional information on these journeys or planning a custom option, please email us at [email protected] Excellence in input, discretion in planning, subtlety in delivery - these have defined experiential travel at Creative Travel since 1977. We are proud to be family owned, and professionally managed with over 200 family members across our network. Globally awarded & recognised, with a network all over India, Nepal, Bhutan, Sri Lanka, Tibet & the Maldives, we offer experiences matched by few. Our relationships across the sub-continent that make up this labyrinth of a destination allow us to get priority over the others. Our 40+ year family legacy of fine service has made us the most awarded Destination Management Company in South Asia, a responsibility we take very seriously, today making us South Asia’s largest privately owned destination management company in our industry. Tel 91 124 4567777 Email [email protected] Web www.creative.travel, www.junglesutra.com unique interest based departures Creative Travel has a network of sales teams around the world to assist you in your region. For details please visit www.creative.travel/contacts the essence Unique itineraries - exclusive, carefully crafted interest-based Journeys. All special journeys are led by an expert resource, celebrated in their field of expertise. Small intimate groups of like minded people from across the world. Never more than12 couples in each journey. Guaranteed journey operation with minimum 2 guests. Comprehensive inclusions including cultural interaction with real locals & authentic local cuisine experiences. C O N T E N T S Accommodation in personally selected deluxe properties.
    [Show full text]
  • Contents SEAGULL Theatre QUARTERLY
    S T Q Contents SEAGULL THeatRE QUARTERLY Issue 17 March 1998 2 EDITORIAL Editor 3 Anjum Katyal ‘UNPEELING THE LAYERS WITHIN YOURSELF ’ Editorial Consultant Neelam Man Singh Chowdhry Samik Bandyopadhyay 22 Project Co-ordinator A GATKA WORKSHOP : A PARTICIPANT ’S REPORT Paramita Banerjee Ramanjit Kaur Design 32 Naveen Kishore THE MYTH BEYOND REALITY : THE THEATRE OF NEELAM MAN SINGH CHOWDHRY Smita Nirula 34 THE NAQQALS : A NOTE 36 ‘THE PERFORMING ARTIST BELONGED TO THE COMMUNITY RATHER THAN THE RELIGION ’ Neelam Man Singh Chowdhry on the Naqqals 45 ‘YOU HAVE TO CHANGE WITH THE CHANGING WORLD ’ The Naqqals of Punjab 58 REVIVING BHADRAK ’S MOGAL TAMSA Sachidananda and Sanatan Mohanty 63 AALKAAP : A POPULAR RURAL PERFORMANCE FORM Arup Biswas Acknowledgements We thank all contributors and interviewees for their photographs. 71 Where not otherwise credited, A DIALOGUE WITH ENGLAND photographs of Neelam Man Singh An interview with Jatinder Verma Chowdhry, The Company and the Naqqals are by Naveen Kishore. 81 THE CHALLENGE OF BINGLISH : ANALYSING Published by Naveen Kishore for MULTICULTURAL PRODUCTIONS The Seagull Foundation for the Arts, Jatinder Verma 26 Circus Avenue, Calcutta 700017 86 MEETING GHOSTS IN ORISSA DOWN GOAN ROADS Printed at Vinayaka Naik Laurens & Co 9 Crooked Lane, Calcutta 700 069 S T Q SEAGULL THeatRE QUARTERLY Dear friend, Four years ago, we started a theatre journal. It was an experiment. Lots of questions. Would a journal in English work? Who would our readers be? What kind of material would they want?Was there enough interesting and diverse work being done in theatre to sustain a journal, to feed it on an ongoing basis with enough material? Who would write for the journal? How would we collect material that suited the indepth attention we wanted to give the subjects we covered? Alongside the questions were some convictions.
    [Show full text]
  • T]Ntversity of Hyderabai) S.N.School Of' Arts and Communication
    I Code No: B-30 T]NTVERSITY OF HYDERABAI) S.N.SCHOOL OF' ARTS AND COMMUNICATION ENTRANCE EXAMINATION. F'EBRUARY _ 2013 M.P.A OHEATRE ARTS) Max. Marks:50 Hall TicketNo. Instructions: i) Write ]our .+- -*r-rz Hall Ticket Number in OMR Answer Sheet given to you. Also write the Hall Ticket Number in the space provided above. iD There is negative marking. Each wrong answer carries -0.33 mark. iii) Answers are to be marked on OMR answer sheet following the instructions provided there upon. iv) Hand over the OMR answer sheet at the end of the examination to the Invigilator. v) No additional sheets will be provided. Rough work can be done in the question paper itself / space provided at the end of the booklet. vi) The question paper.un t" taf<in Uy tfre canaiaates at the end of the examination. 1. The author of the play "Hayavadana" is A) K.Krisbnaiah B) Choramaswami C) Girish Karnad D) Bharatendu Harischandra 2. Guru Kelucharan Mahapathra is an exponent of the form A) Satriya B) Odissi C) Katthak D) Kuchipudi L B -eo 3. World Theatre day is celebrated on A) April26 B) January 31 C) August 15 D)March27 4. M.F.Hussain is a noted A) Painter B) Violinist C) Singer D) Architect 5. The director of play "Charan Das Chor" of Naya Theatre group is A) Vrjay Tendulkar B) Habib Tanvir C) Utpal Dutt D) B.V.Karanth 6. The Golkonda Fort is situated at A) Mumbai B) Hyderabad C) Bhuvaneswar D) Madhurai 7. Number of Vedas are A)2 B) 8 c)4 D) s 8.
    [Show full text]
  • Teen Deener Durga Pujo Bangla Class Gaaner Class Sonkirton Saraswati
    Volume 40 Issue 2 May 2015 teen deener Durga Pujo bangla class gaaner class robibarer aroti natoker rehearsal Children’s Day committee odhibeshon sonkirton Saraswati Pujo Mohaloya Seminar Kali Pujo carom tournament shree ponchomee Bangasanskriti Dibos poush parbon Boi paath Seminar Dolkhela gaaner jolsa Setar o tobla Saraswati Pujo Shri ramkrishna jonmotsob Natoker rehearsal Picnic Committee odhibeshon Seminar Picnic Chhayachhobi teen deener Durga Pujo Smart club Pi day Math team Children’s Day Kali Pujo natokchorcha table tennis tournaments anandamela bangabhavan repair Picnic Wreenmukto Bangabhavan noboborsho cultural program bangla class Bangasanskriti Dibos Robibarer aroti Natoker rehearsal Kali Pujo Committee odhibeshon Shree ponchomee sonkirton teen deener Durga Pujo Mohaloya Gaaner class Seminar Jonmashtomee Children’s Day Carom tournament Poush parbon Saraswati Pujo Boi paath Shri ramkrishna jonmotsob Dolkhela Gaaner jolsa Setar o tobla teen deener Durga Pujo Seminar Dolkhela gaaner jolsa Setar o tobla Kali Pujo Shri ramkrishna jonmotsob Seminar bijoyadoshomee bangabhavan repair Wreenmukto Bangabhavan 2 Banga Sanskriti Dibas Schedule From Editor’s Desk Saturday, May 23rd, 2015 With winter behind us and spring upon Streamwood High School us it is time to enjoy sunny days, nature Registration 3:30 p.m to 6:30 p.m walks, and other outdoor activities. Greeting and Best wishes for the Bengali New Year GBM - Reorg Committee Presentatoin 3:30 p.m to 4:30 p.m 1422. Please join us to celebrate Banga San- Snacks 4:30 p.m to 5:30 p.m skriti Dibas and enjoy a nostalgic evening of Bengali culture. You can find more details of Cultural Programs 5:30 p.m to 8:30 p.m the schedule, program highlights, venue and Dinner 8:30 p.m to 10:00 p.m food in the next few pages of the newsletter.
    [Show full text]
  • Bollywood Lens Syllabus
    Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences.
    [Show full text]
  • New and Bestselling Titles Sociology 2016-2017
    New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint.
    [Show full text]
  • The Place of Performance in a Landscape of Conquest: Raja Mansingh's Akhārā in Gwalior
    South Asian History and Culture ISSN: 1947-2498 (Print) 1947-2501 (Online) Journal homepage: https://www.tandfonline.com/loi/rsac20 The place of performance in a landscape of conquest: Raja Mansingh’s akhārā in Gwalior Saarthak Singh To cite this article: Saarthak Singh (2020): The place of performance in a landscape of conquest: Raja Mansingh’s akhārā in Gwalior, South Asian History and Culture, DOI: 10.1080/19472498.2020.1719756 To link to this article: https://doi.org/10.1080/19472498.2020.1719756 Published online: 30 Jan 2020. Submit your article to this journal Article views: 21 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsac20 SOUTH ASIAN HISTORY AND CULTURE https://doi.org/10.1080/19472498.2020.1719756 The place of performance in a landscape of conquest: Raja Mansingh’s akhārā in Gwalior Saarthak Singh Institute of Fine Arts, New York University, New York, NY, USA ABSTRACT KEYWORDS In the forested countryside of Gwalior lie the vestiges of a little-known akhārā; landscape; amphitheatre (akhārā) attributed to Raja Mansingh Tomar (r. 1488–1518). performance; performativity; A bastioned rampart encloses the once-vibrant dance arena: a circular stage dhrupad; rāsalīlā in the centre, surrounded by orchestral platforms and an elevated viewing gallery. This purpose-built performance space is a unique monumentalized instance of widely-prevalent courtly gatherings, featuring interpretive dance accompanied by music. What makes it most intriguing is the archi- tectural play between inside|outside, between the performance stage and the wilderness landscape.
    [Show full text]
  • Bharatanatyam: Eroticism, Devotion, and a Return to Tradition
    BHARATANATYAM: EROTICISM, DEVOTION, AND A RETURN TO TRADITION A THESIS Presented to The Faculty of the Department of Religion In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Taylor Steine May/2016 Page 1! of 34! Abstract The classical Indian dance style of Bharatanatyam evolved out of the sadir dance of the devadāsīs. Through the colonial period, the dance style underwent major changes and continues to evolve today. This paper aims to examine the elements of eroticism and devotion within both the sadir dance style and the contemporary Bharatanatyam. The erotic is viewed as a religious path to devotion and salvation in the Hindu religion and I will analyze why this eroticism is seen as religious and what makes it so vital to understanding and connecting with the divine, especially through the embodied practices of religious dance. Introduction Bharatanatyam is an Indian dance style that evolved from the sadir dance of devadāsīs. Sadir has been popular since roughly the 6th century. The original sadir dance form most likely originated in the area of Tamil Nadu in southern India and was used in part for temple rituals. Because of this connection to the ancient sadir dance, Bharatanatyam has historic traditional value. It began as a dance style performed in temples as ritual devotion to the gods. This original form of the style performed by the devadāsīs was inherently religious, as devadāsīs were women employed by the temple specifically to perform religious texts for the deities and for devotees. Because some sadir pieces were dances based on poems about kings and not deities, secularism does have a place in the dance form.
    [Show full text]
  • Criterion an International Journal in English ISSN 0976-8165
    The Criterion www.the-criterion.com An International Journal in English ISSN 0976-8165 Revitalizing the Tradition: Mahesh Dattani’s Contribution to Indian English Drama Farah Deeba Shafiq M.Phil Scholar Department of English University of Kashmir Indian drama has had a rich and ancient tradition: the natyashastra being the oldest of the texts on the theory of drama. The dramatic form in India has worked through different traditions-the epic, the folk, the mythical, the realistic etc. The experience of colonization, however, may be responsible for the discontinuation of an indigenous native Indian dramatic form.During the immediate years following independence, dramatists like Mohan Rakesh, Badal Sircar, Girish Karnad, Vijay Tendulkar, Dharamvir Bharati et al laid the foundations of an autonomous “Indian” aesthetic-a body of plays that helped shape a new “National” dramatic tradition. It goes to their credit to inaugurate an Indian dramatic tradition that interrogated the socio-political complexities of the nascent Indian nation. However, it’s pertinent to point out that these playwrights often wrote in their own regional languages like Marathi, Kannada, Bengali and Hindi and only later translated their plays into English. Indian English drama per se finds its first practitioners in Shri Aurobindo, Harindarnath Chattopadhyaya, and A.S.P Ayyar. In the post- independence era, Asif Curriumbhoy (b.1928) is a pioneer of Indian English drama with almost thirty plays in his repertoire. However, owing to the spectacular success of the Indian English novel, Drama in English remained a minor genre and did not find its true voice until the arrival of Mahesh Dattani.
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • A History of Legal and Moral Regulation of Temple Dance in India
    Naveiñ Reet: Nordic Journal of Law and Social Research (NNJLSR) No.6 2015, pp. 131-148 Dancing Through Laws: A History of Legal and Moral Regulation of Temple Dance in India Stine Simonsen Puri Introduction In 1947, in the state of Tamil Nadu in South India, an Act was passed, “The Tamil Nadu Devadasis (Prevention of Dedication) Act,” which among other things banned the dancing of women in front of Hindu temples. The Act was to target prostitution among the so-called devadasis that were working as performers within and beyond Hindu temples, and who, according to custom also were ritually married or dedicated to temple gods. The Act was the culmination of decades of public and legal debates centred on devadasis, who had come to symbolize what was considered a degenerated position of women within Hindu society. Concurrent with this debate, the dance of the devadasis which had developed through centuries was revived and reconfigured among the Indian upper class; and eventually declared one of Indian national dances, called bharatanatyam (which can translate as Indian dance). Today, while parts of the devadasi tradition have been banned, bharatanatyam is a popular activity for young girls and women among the urban middle and upper classes in all parts of India. The aim of this article is to examine moral boundaries tied to the female moving body in India. I do so by looking into the ways in which the regulation of a certain kind of dancers has framed the moral boundaries for contemporary young bharatanatyam dancers. A focus on legal and moral interventions in dance highlights the contested role of the female body in terms of gender roles, religious ideology, and moral economy.
    [Show full text]