The Impact of Commercialisation on Indian Classical Dance

2020 ◽  
pp. 277-293
Author(s):  
K. Subadra Murthy
Keyword(s):  
Classical Dance ◽  
Indian Classical Dance ◽  
The Impact

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 THE IMPACT OF MANIPURI DANCE IN THE ROYAL COURT OF TRIPURA

2021 ◽  
Vol 9 (3) ◽  
pp. 360-367
Author(s):  
Sudeshna Singha
Keyword(s):  
Small Group ◽  
18Th Century ◽  
Royal Palace ◽  
Classical Dance ◽  
Royal Court ◽  
The Status ◽  
Indian Classical Dance ◽  
The Impact ◽  
First Time

Manipuri people are a small group of Tripura. During the time of the Maharaja’s these people’s song and music attained a very special status. Firstly, it was royal palace centered, secondly, in various places of Tripura in the Manipuri dominant areas and in their temples, mandaps or at various festivals. According to many writers it can be said clearly like a mirror the Manipuri culture touched Tripura during the tenure of Rajdhar Manikya from 1785 – 1804. And at that very same time the tenure of Manipuri king Bhagyachandra is 1759 – 61 and 1763 – 1798. The Manipuri Raas established by him later on achieved the status of Indian classical dance. In later times, Manipuri culture started influencing the royal palace right after Harisheshwari became the queen of Tripura. In that time’s Agartala that means in Old Agartala, near to the royal palace for the first time Radhamadhab temple was established. The name of the Manipuri dominant areas in this Old Agartala is Nalgaria. This is where Maharani Tulsibati took birth. According to the writer Udainarayan Adhikari – “The Manipuri’s who came to Tripura with Princes Harisheshwari of Manipur at the fag end of the 18th century as a result of her wedding with Rajdhar Manikya II of Tripura, were settled in a village near capital old Agartala. This village now goes by the name of Mekhlipara, because Mekhli was the Tripura name for Manipur in the days of yore. There is a small township called Ranir Bazar a few kilometres east of Old Agartala or Khayerpur. It was founded by the Manipuri queen Maharani Tulsibati. Her parents lived at Nalgadiya a little east of Ranirbazar. So she founded this bazaar or township in order to develop this area. The name Ranirbaazar reminds us that it was founded by a Rani (Maharani Tulsibati).

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.

Akram Khan and English National Ballet

2021 ◽  
pp. 542-561
Author(s):  
Graham Watts
Keyword(s):  
Contemporary Dance ◽  
Classical Dance ◽  
Dance Training ◽  
Classical World ◽  
Peter Brook ◽  
Physical Theater ◽  
The Impact ◽  
The Way ◽  
Michael Jackson

This chapter examines the development of Akram Khan’s choreographic pathway as an aggregate of diverse influences, primarily experienced through issues of identity, otherness, and interculturalism. Beginning with the early confusion of juxtaposing classical dance training in kathak and a fascination with Michael Jackson, Khan’s career has progressed, largely through an instinctive opportunism—absorbed from the “formless hunch” philosophy of early mentor, Peter Brook—and an ongoing fascination with the exploratory possibilities of collaboration through the hybrid mixing of dance disciplines to create his own style of mood movement. This process has taken Khan from the classical world of kathak, through contemporary dance, and back into another classical discipline, ballet, with detours along the way into flamenco, the Olympics, and text-based physical theater. The chapter describes the impact of all these experiences on Khan’s contribution to modern ballet, particularly in his association with English National Ballet.

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.

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