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The yoga and classical dance traditions of India have been inextricably entwined for millennia. The exacting hand gestures, postures and movements of Indian classical dance can only be achieved through yogic concentration. Conversely, the esthetics, symmetry, and dynamism of dance enhance the practice of yoga. These two traditions, so complementary and essential to one another, are united and explicated for the first time in A Yoga of Indian Classical Dance. Twenty-five years ago Roxanne Kamayani Gupta embarked on a journey of dance and yoga, yearning to unlock their mysteries and discover their common origins. As a twenty-year-old student from America she was miraculously and mysteriously absorbed into Indian culture, became a Hindu, and began an odyssey so unusual and unique that the reader will be enchanted by its telling. Choosing the path of the dancer, Roxanne Gupta accomplished what no Western woman had done before: being accepted and trained by Indian masters and then performing in the Indian classical traditions--from the palaces of maharajas to the arts festivals of Europe and America--while at the same time achieving a doctorate in the anthropology of religion and being initiated into a number of yogic traditions. Having mastered the classical form of Kuchipudi dance and studied with teachers of the hatha and kriya yoga traditions, she brings together these two great streams of consciousness and practice. In this tantric approach to yoga and dance, expressed through the body and through a yoga of emotions, we see the traditions embodied in a manner that embraces the totality of the human experience. The result is the dance of the yogini, the sacred feminine initiatress who dances with one foot in nature and the other in the realm of the gods. With extensive photographs of innovative yoga routines, Roxanne Kamayani Gupta distills her experience into techniques for yogic study certain to assist students of all levels to achieve a dynamic, beautiful, and graceful practice.
India is a pioneer in Performing arts. This books deals with five classical dance forms of india in detai, viz., Bharatanatyam,Kathakali,orissi,manipuri and Kathak.
This book contains the fundamentals of Indian classical dance, specifically Bharatanatyam. Covered topics include the eight classical dances forms of Bharat, origin of dance, hasta mudras, music in dance, legends and gurus in the field, abhinaya, exercise and yoga asana that enhances the dance. The book attempts to cover the material outlined in the syllabus for the Junior and Senior, Karnataka State Examinations. In order to facilitate quick revisions, sample question papers, chapter-by-chapter questions, and compendiums have been included. For readers who may be interested in learning more about Indian classical dance traditions, this book is beneficial.
India’s rich cultural legacy has been founded on the abiding faith of the Indians in the divine power, whose worship had found expression through dance. ‘Bhakti’ or devotion was the underlying essence of the various dance forms that developed in India. Indian Classical Dances is a unique presentation of the eight classical dance styles – Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi and Sattriya, through a concise portrayal of the background of each dance form, the salient features, format of presentation, music and costume. The simplistic approach of the narration coupled with the unique collection of photographs, will enable the lay reader to visualise, comprehend and appreciate the diverse dance forms of India.
Eleven authors analyse recent dance practices in the theatre, in club culture and on film, addressing dance in interdisciplinary relationship with music, painting and play texts. This text attempts to fill a gap with an up-to-date account of exciting and challenging new work, illuminated by fascinating new theoretical frameworks.
Kathak, the Indian classical dance form prevalent in the North, has a long past. Nurtured in the holy precincts of the Hindu temples, Kathak dance has over the centuries, attained refinement and enriched itself with various hues and embellishments. The art of story-telling which found expression in various forms like the Akhyana by the Manabhattas of Gujarat, the Pandavani by the artistes telling stories in Madhya Pradesh, the Harikathas and Kalakshepams of the South, the Kirtanas of the West, the art of Wari-liba, story-telling of the North-East, specially of Manipur, reflects the rich heritage Kathak has inherited over the years. In forms such as Baithakachi Lavani and the bhava to the Ghazals the range is both varied and vast. Though essentially seen in its solo form, Kathak in its Natya aspects shares a large corpus of the Rasalilas of Brindavan. Its journey from the Hindu temples to the courts of the Mughals is quite fascinating and the various elements it has imbibed over the different periods in history have given Kathak an equisite character. The Persian influence, the patronage of the Muslim kings, the flowering of the two main gharanas (schools), the Jaipur and the Lucknow, and the contribution of the Maharaj Brothers, the famous descendants of Kalka-Bindadin, viz.; Acchan Maharaj, Shambhu Maharaj, Lacchu Maharaj and Birju Maharaj, the great gurus of Jaipur like Jailalji and Sunder Prasadji portray Kathak as it has developed in recent times. Whereas the Choreographic attempts by Madame Menaka and later on by Birju Maharaj and Kumudini Lakhia provide a perspective for viewing Kathak in its many-faceted forms. The footwork, the nritta pieces like tode, tukde, parans, the improvisational aspects and the simple graceful gats and gat-nikas, the illusion of miniature paintings coming to life and many other aspects are vividly captured in this most comprehensive and thoroughl;y researched book on Kathak. It has an attractive section on the contemporary practitioners ranging from Birju Maharaj, Sitara Devi, Damayanti Joshi, Kumudini Lakhia, Rohini Bhate, Roshan Kumari, Gopi Krishna, Durgalal to the young exponents who carry forward the tradition in the present times. Lavishly illustrated with colour and black and white photographs and designed by Dolly Sahiar the many-splendoured beauty of Kathak is captured in this volume, which should appeal to the cognoscenti and lay readers alike.
Human being is distinct from other groups of species in many respects. Human being doesn't live by bread alone. He is a social animal and socialization, communication and integration is what makes him social. It has become possible due to culture, which is produced by human beings. It is in the human society alone that culture in its multiple forms has got evolved. The cultural development in human society could be possible because human beings have certain natural, inherent abilities and capacities, which are necessary for its creation. It has been noted by the scientists that the human being in general is far more intelligent and creative than the other animals. He has distinct capacities necessary to reproduce, remember, imagine and to conceptualise.
India's rich cultural legacy has been founded on the abiding faith of the Indians in the divine power, whose worship had found expression through dance. 'Bhakti' or devotion was the underlying essence of the various dance forms that developed in India. Indian Classical Dances is a unique presentation of the eight classical dance styles -- Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi and Sattriya, through a concise portrayal of the background of each dance form, the salient features, format of presentation, music and costume. The simplistic approach of the narration coupled with the unique collection of photographs, will enable the lay reader to visualise, comprehend and appreciate the diverse dance forms of India.
The Book Narrates The Story Of The Sad, Rather Step-Motherly Treatment Meted Out By Orthodox Musicians To Thumri-Especially Their Castigation Of Thumri As A Dance Form. Such Apathy And Castigation Stem From A Colonial Milieu And The Education That Went With It. For All Practical Purposes Not Only Is The Thumri S Dance Portion Too Often Totally Ignored, But It Is Even Considered Superfluousl. The Author Impresseson The Reader The Close Link Between The Dance And The Music. Such At Least Was The Indissoluble Union Of Style In The Past. The Author Hopes That The Book Will Correct This Disturbed Relationship. As Such The Work Is Of Immense Artistic Importance.
This volume emphasizes the necessity for arts teachers to nurture the personal development of their students by expanding their artistic understanding and creativity. In aiming to provide a broader understanding for the effective teaching of the arts, the author provides powerful reasons for seeing the arts as agents of learning, understanding and development. The volume also demonstrates that whilst the arts are centrally concerned with feeling, they are as fully open to objective reasoning as any other subject discipline such as science, but the dichotomy between 'scientism' and 'subjectivism' is all-pervading in a curriculum which marginalises the teaching of the arts.