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Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam examines how Bharata Natyam, a traditionally Hindu storytelling dance form, moves across religious boundaries through both incorporating choreography on Buddhist, Christian, Muslim, and Jain themes and the pluralistic identities of participants. Dancers traverse religious boundaries by reformulating an aesthetic foundation based on performative rather than solely textual understandings of rasa, conventionally defined as a formula for how to physically craft emotion on stage. Through the ethnographic case studies of this volume, dancers of Bharata Natyam innovatively demonstrate how the rasa of devotion (bhakti rasa), surprisingly absent from classic dance-related texts, serves as the pivotal framework for expanding on their own interreligious thematic and interpretive possibilities. In contemporary Bharata Natyam, bhakti rasa is not just about enhancing religious experience; instead, these dancers choreographically adapt various religious identities and ideas in order to emphasize pluralistic cultural and ethical dimensions in their work. Through the dancing body, multiple religious and secular interpretations fluidly co-exist.
This book sheds light on the purpose of Hindu dance as devotional. Dr. Sabrina D. MisirHiralall explains the history of Hindu dance and how colonization caused the dance form to move from sacred to a Westernized system that emphasizes culture. Postcolonialism is a main theme throughout this text, as religion and culture do not remain static. MisirHiralall points to a postcolonial return to Hindu dance as a religious and sacred dance form while positioning Hindu dance in the Western culture in which she lives.
The Routledge Handbook of Religion and the Body is the first comprehensive volume to feature multireligious cross-cultural perspectives on the body and embodiment. Featuring multidisciplinary approaches and methodologies from the humanities and the social sciences, it addresses the body and embodied religiosity in theological, ethical, and cultural contexts. Comprised of 30 chapters by a team of international contributors, the handbook is divided into four parts: Theology and Embodied Religiosity Gender, Sexuality, and Body Regulations Ritual and Performance Religion, Healing, and the Future of the Body Each part examines central issues, debates, and problems in relation to global belief systems, including embodiments of love, transfiguration, the secular body, disability, body language, maternal bodies, embodied emotions, celibacy, ecology and the body, reshaping the corporal body, initiation rites, physiology, Tantra, Reiki practice, religious experience, technological body modifications, and ethics and the body. Providing a breadth of rich and innovative research, it is a must-read for students and scholars in religious studies, theology, philosophy, sociology, anthropology, psychology, history, and cultural and gender studies. Chapter 7 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
From the time Buddhism entered the mythical land of the snows, Tibetans have expressed their spiritual devotion and celebrated their culture with dance. This book--lavishly illustrated with color and rare historic photographs depicting the dances, costumes, and masks--is the first to explore the significance and symbolism of the sacred and secular ritual dances of Tibetan Buddhism.
Incarnation has always been an important concept within Christian theology. For centuries theologians have wrestled with how best to conceptualize the vexing problem of what it means that Jesus the Christ is fully God and fully human. In this book, Adam Pryor explores how the incarnation has intersected corresponding issues well beyond the familiar question of how any one person might have two natures. Beginning by identifying four critical themes that have historically shaped the development of this doctrine, Pryor goes on to offer a constructive account of the incarnation. His account seeks out the continued meaning of this doctrine given the increasing complexity that characterizes our understanding of human bodies—bodies that can no longer be understood as the locus of distinct subjects separated from the world of objects with the skin as an impenetrable boundary between the two. Making use of contemporary phenomenologies of the flesh and the erotic, Pryor develops an understanding of the incarnation that seeks to go beyond classical issues presented by two natures christologies. Incarnation, in guises as various as Jesus the Christ, cyborg bodies, and sacramental practices, becomes a way that God is diffused into the world, transforming how we are to be-with one another.
Time to Dance is a weekly devotional for Christian dancers of all levels. The devotional is applicable for budding artists to professional dancers and can be done individually or as a group, using the questions for discussion. Time to Dance follows a read it, learn it, live it format, which starts with Scripture and follows up with questions and a challenge for the week. This format allows for acknowledging the Scripture, understanding its significance, and living out the message. Subjects that are covered include the purposes of dance, how dance reflects Gods character, the history of dance, the importance of purity, how each style of dance can glorify God, and how dance can be used as a tool of evangelism. If you are a dancer seeking to deepen your relationship with Christ and use your gifts to glorify his name, Time to Dance can take you on that journey.
The relationship between religion and dance is as old as humankind. Contemporary methods for studying this relationship date back a century. The difference between these two time frames is significant: scholars are still developing theories and methods capable of illuminating this vast history that take account of their limited place within it. A History of Theory and Method in the Study of Religion and Dance takes on a primary challenge of doing so: overcoming a conceptual dichotomy between “religion” and “dance” forged in the colonial era that justified western Christian hostility towards dance traditions across six continents over six centuries. Beginning with its enlightenment roots, LaMothe narrates a selective history of this dichotomy, revealing its ongoing work in separating dance studies from religious studies. Turning to the Bushmen of the African Kalahari, LaMothe introduces an ecokinetic approach that provides scholars with conceptual resources for mapping the generative interdependence of phenomena that appear as “dance” and/or “religion.”