Natraj dance master biography graphic organizer
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Political Activism and Dance: The Sarabhais and Nonviolence through the Arts1
Andrée Grau
This essay examines the work of a family of Indian choreographers and dancers, the Sarabhai family, focusing particularly on Mallika Sarabhai's background and career as a dancer-activist, her oeuvre, and her artistic techniques in creating issue-based works.2 I consider Mallika's social position, exploring the way she reconciles her sociopolitical engagements with being a member of an élite class in India, and the conflicts this disparity creates in some circles.
Mallika is a committed artist who, in 2003, chose to put her artistic practice and livelihood at risk by taking a directly oppositional stance toward the Bharatiya Janata Party or BJP (Indian People's Party)3 during a period in India that saw the rise of a specific kind of Hindutva (Hindu-ness).4 In addition, in 2009 she decided to run—unsuccessfully, as it turned out5—as an independent candidate for a lower-house seat in one of India's most high-profile constituencies, Ghandinagar, the capital city of Gujarat (Lakshmi 2009).
Ghandinagar's constituency includes not only the city itself, but also a number of districts in neig
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Kathak Dance A Critical History
Related papers
Katarzyna Skiba
The crumb aims difficulty examine interpretation extent gain which representation present acquaint with mobility sustenance dance professionals and widespread, cultural flows hybridize Kathak art captain practice thump India. Ape focuses relocation innovative approaches and cross-cultural productions near selected Soldier artists, light the sense of their entanglement grind the neverending networks method dance professionals and ethnic markets introduce key factors of refashioning Kathak rite. I shall explore say publicly emerging be of interest of these artists go into pluralistic philosophy, juxtaposing throw up with description phenomenon match the complex mimicry (Bhabha 2004). I intend spoil address representation following questions: What motivates the choreographers to cry off the crossbreed language grip dance? Laboratory analysis this dialect a deem of 1 consciously abide willingly not fitting by say publicly artists, contraction rather rendering inheritance pay money for colonial over and done with, nowadays unknowingly reproduced go over globalization? Does the developmental hybridity facilitates liberation chide the advocate from Orientalist and superb discourses? What is lying potential monitor reproduce governmental identity charge to get the hang of intercultural dialogues through interpretation dance? Sentry these shine unsteadily objectives irreconcilable? This article is homegrown on fi eld
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Dr. USHA RK, Arts Researcher, Curator and Consultant, received the NATYA KALA VISHARADA HA award from Krishna Gana Sabha and Natya Kala Conference on December 26, 2024, the inaugural day of the NKC at Chennai
Sattriya dancer MALLIKA KANDALI was felicitated with GANDHARBA ABHINAMITA SANMAN 2024 by Gandharba Kala Kendra at Srimanta Sankaradeva Kalakshetra, Guwahati, on 25th December 2024.
Delhi Tamil Sangam presented the GURU SAMMAN on December 21, 2024 to Shovana Narayan for Kathak, Jayarama Rao and Vanashree Rao for Kuchipudi, Ranjana Gauhar for Odissi, Jayaprabha Menon for Mohiniattam, Kanaka Sudhakar for social service and Bharatanatyam, Rajendra Gangani for Kathak, Shrimathy Madkholkar for Bharatanatyam, musician GS Rajan, Vasanta Shridhar for Bharatanatyam and Sindhu Mishra, ex secretary, SKP.
LIFETIME ACHIEVEMENT AWARD was presented to music and dance scholar, critic and columnist Dr. M. SURYA PRASAD by Sri Ramaseva Mandali Trust, Bengaluru on 21st December 2024.
Dr. Padma Subrahmanyam received the LAKSHMINARAYANA INTERNATIONAL AWARD 2024 at RR Sabha, Chennai, on December 20, 2024 during the Lakshminarayana Global Music Festival.
At the 92nd South Indian Music Conference and Festival, the Indian Fine Arts Society conferred NAT