In-Between Śiva and Jesus. Indian Classical Dance as a ‘Third Space’

2021 ◽  
pp. 337-350
Author(s):  
Dominika Hadrysiewicz
Keyword(s):  
Third Space ◽  
Classical Dance ◽  
Indian Classical Dance

Survey of Musculoskeletal Injuries among Female Bharatanatyam Dancers in the Udupi District of India

2021 ◽  
Vol 36 (3) ◽  
pp. 199-206
Author(s):  
Lavanya P Kumar ◽  
Shruti J Shenoy
Keyword(s):  
Medical Professional ◽  
Musculoskeletal Injuries ◽  
Limited Information ◽  
Classical Dance ◽  
Dance Training ◽  
Lower Back ◽  
Injury Occurrence ◽  
Indian Classical Dance ◽  
The Impact ◽  
And Training

BACKGROUND: Bharatanatyam is an Indian classical dance form that is practiced globally. There is limited information about the prevalence of injuries in Bharatanatyam dancers. OBJECTIVES: To investigate the prevalence of musculoskeletal injuries and specifics of dance training in female Bharatanatyam dancers in the Udupi district of India. METHODS: We developed and tested a survey for Bharatanatyam dancers regarding injury history in the prior year, including location, time loss, cause, and need for medical help. We also obtained demographic and training information. RESULTS: 101 dancers completed the survey. 10.8% of dancers reported musculoskeletal injuries because of participation in dance. They sustained 0.65 injuries/1,000 hours of dancing. The most frequently injured areas were ankle (27.2%) and knee (27.2%) followed by lower back (13.6%) and hip (9%). Despite being injured, 36.4% of the dancers continued to dance. 54.5% of the injured dancers sought the help of a medical professional for their dance-related injuries. The most common surface for dance was concrete followed by other hard surfaces such as marble and tile. CONCLUSION: Female Bharatanatyam dancers are prone to injuries of the lower extremity and back. Most dancers in our study practice the Pandanalluru style on hard surfaces. There is a need to investigate the impact of training factors on the injury occurrence.

scholarly journals Indian Classical Dance Classification with Adaboost Multiclass Classifier on Multifeature Fusion

2017 ◽  
Vol 2017 ◽  
pp. 1-18 ◽  
Author(s):  
K. V. V. Kumar ◽  
P. V. V. Kishore ◽  
D. Anil Kumar
Keyword(s):  
Feature Fusion ◽  
Discrete Wavelet ◽  
Classical Dance ◽  
Video Frames ◽  
Shape Signature ◽  
Human Movements ◽  
Hu Moments ◽  
Interesting Task ◽  
Indian Classical Dance ◽  
Multiclass Classifier

Extracting and recognizing complex human movements from unconstraint online video sequence is an interesting task. In this paper the complicated problem from the class is approached using unconstraint video sequences belonging to Indian classical dance forms. A new segmentation model is developed using discrete wavelet transform and local binary pattern (LBP) features for segmentation. A 2D point cloud is created from the local human shape changes in subsequent video frames. The classifier is fed with 5 types of features calculated from Zernike moments, Hu moments, shape signature, LBP features, and Haar features. We also explore multiple feature fusion models with early fusion during segmentation stage and late fusion after segmentation for improving the classification process. The extracted features input the Adaboost multiclass classifier with labels from the corresponding song (tala). We test the classifier on online dance videos and on an Indian classical dance dataset prepared in our lab. The algorithms were tested for accuracy and correctness in identifying the dance postures.

Technological Mediation in Odissi Dance

2015 ◽  
pp. 474-491
Author(s):  
Shreelina Ghosh
Keyword(s):  
Qualitative Research ◽  
Digital Technologies ◽  
Classroom Community ◽  
Traditional Values ◽  
Online Instructors ◽  
Classical Dance ◽  
Dance Teachers ◽  
Online Videos ◽  
Virtual Class ◽  
Indian Classical Dance

The practice of teaching in an online composition class might potentially eliminate interpersonal interactivity in a classroom community. Digital mediation can be problematic for functional collaboration in a virtual class. The problem that online instructors might face is one that some traditional Odissi dance teachers also experience. In order to explore the conflict between tradition and mediations with technology, this study focuses on Odissi, an Indian classical dance, and examines how digital technologies of teaching, like CDs, DVD, online videos, and synchronous videos, are transforming the practice and teaching of this traditional dance. A qualitative research of the field of Odissi dance revealed that technologizing the dance might be unavoidable, but to some practitioners it may be disrupting Odissi's traditional values. This chapter reasserts the position of the teacher in an online pedagogic space and argues that the presence or simulated presence of bodies might be vital in learning and composing collaboratively.

Creative Dance in India

2018 ◽  
Author(s):  
Ketu H. Katrak
Keyword(s):  
Modern Dance ◽  
The Internet ◽  
Classical Dance ◽  
Creative Dance ◽  
Dynamic Movement ◽  
Indian Classical Dance

Creative Dance in India showcases dynamic movement, innovative uses of lighting and space, and collaborations with visual designers, musicians, and martial artists. This style has come to prominence since the 1980s, influenced by modernizing impacts of globalization, the Internet, and transnational travel. Artistic innovations unfold at the intersection of Indian classical dance styles, most commonly bharatanatyam and kathak, two of eight classical dance styles that figure overtly or subtly in this evolving field. Creative dancers also draw upon modern dance techniques of abstract, non-narrative movement (different from the abstract footwork in Indian classical dance), and use of the floor, along with theatre techniques, and multimedia.

Evaluation of Standing Balance Performance in Indian Classical Dancers

2020 ◽  
Vol 24 (1) ◽  
pp. 19-23
Author(s):  
Juhi K. Bharnuke ◽  
Rajani P. Mullerpatan ◽  
Claire Hiller
Keyword(s):  
Dual Task ◽  
Center Of Pressure ◽  
Standing Balance ◽  
Balance Performance ◽  
Classical Dance ◽  
Eyes Closed ◽  
Eyes Open ◽  
Second Dual ◽  
Indian Classical Dance ◽  
Base Of Support

Indian classical dance involves a constant change of the base of support from stance to low jumps and spins along with intricate footwork. Graceful movement of the torso, shifting from side to side and turning around the axis of the spine, challenges balance. Yet, balance performance remains unexplored in Indian classical dancers. Therefore, the present study aimed to compare the standing balance of 36 active female dancers (18 to 25 years of age) who had performed Indian classical dance for a minimum of 10 years with 36 healthy age-matched women not involved in regular physical activity. Balance was evaluated in static and dynamic conditions of single and dual-limb stance on a force plate using center-of-pressure trajectory and the Star Excursion Balance Test (SEBT). Dancers demonstrated better balance on both instrumented and non-instrumented outcome variables: wide base of support with eyes open and with eyes closed; for 30-second single limb stance with eyes open and with eyes closed; for 13-second dual task in single limb stance; and for 22-second dual task in wide base of support. The SEBT revealed significantly better balance performance of dancers in the three directions tested: anterior, posteromedial, and posterolateral. There was also a strength component of the study on which the dancers achieved significantly higher scores than controls for the three muscle groups tested (gastrocsoleus, gluteus medius, and quadriceps), which can be attributed to their training. These findings can be used to recommend classical dance training to achieve the dual purpose of deriving better balance and stronger bodies and maintaining the Indian dance heritage.

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