Browse Items (1050 total)

Tags: hula, Hula dancers, Islands of the Pacific

Tags: abstraction in dance, artist discussion, audio transcript, choreography, contemporary dance, cross-cultural performance, dance seminar, dancer training, embodiment, gesture and hand language, improvisation, Indian dance, movement theory, narrative dance, oral history, performance studies, performing arts education, physical contact in dance, touch and weight

Tags: audio transcript, choreography, cross-cultural performance, dance pedagogy, dance theory, global dance traditions, Indian classical dance, lecture recording, modern dance, oral history, performance studies, performing arts education, seminar discussion, tradition and innovation, Western contemporary dance

Tags: audience expectations, audio transcript, ballet tradition, Bharatanatyam, choreography, colonialism and culture, cross-cultural performance, dance and politics, gender in performance, Indian classical dance, modernism in the arts, oral history, performance theory, seminar recording, tradition and innovation

Tags: audio transcript, choreography, cross-cultural performance, dance pedagogy, global performance traditions, guru-shishya parampara, Indian classical dance, Kathak, lecture discussion, oral history, performance studies, performing arts education, ritual and performance, seminar recording, theatre theory, tradition and innovation

Tags: academic seminar, audio transcript, ballet history, contemporary choreography, cross-cultural performance, dance pedagogy, dance tradition, embodied practice, gender and dance, Indian classical dance, lecture recording, oral history, performance studies, performance theory, tradition and innovation

Tags: abstraction and narrative, audio transcript, choreography, contemporary dance, cross-cultural performance, dance pedagogy, dance theory, dancer training, embodiment, Indian classical dance, movement vocabulary, oral history, partnered movement, performance studies, physical contact in dance, seminar discussion, tradition and innovation

Tags: audio transcript, ballet, choreography, cross-cultural performance, dance education, dance pedagogy, Indian classical dance, Kathak, lecture recording, modern dance, movement analysis, oral history, performance theory, performing arts training, rhythm and musicality, seminar discussion, tradition and innovation

Tags: audio transcript, cross-cultural performance, dance and movement, global performance traditions, interdisciplinary performance, lecture recording, opera and ballet, oral history, origins of theatre, performance studies, performing arts education, ritual and performance, seminar discussion, theatre theory, tradition and innovation, world theatre traditions

Tags: audience reception, audio transcript, ballet, Bharatanatyam, choreography, colonialism and the arts, contemporary dance, cultural identity, dance and modernity, dance and tradition, dance training, discipline and rebellion, gender and performance, Indian classical dance, intercultural performance, late twentieth century, narrative and abstraction, oral history, performance studies, postcolonial performance, seminar discussion, Western dance traditions

Tags: Ali Akbar Khan, audio transcript, composition, cross cultural collaboration, East West musical exchange, ethnomusicology, globalization of music, Hindustani music, improvisation, Indian classical music, Indian film music, Indo jazz, Indo Western fusion, L Subramaniam, modern Indian composers, postcolonial music, Rabindranath Tagore, radio and cinema, radio documentary, raga system, Ragas and a Republic, ravi shankar, tala and rhythm, twentieth century music history, Vanraj Bhatia, Western classical music, Zakir Hussain

Tags: Ali Akbar Khan, audio transcript, Carnatic music, colonial representations of India, composition, cross cultural music, East West musical exchange, global circulation of music, Hindustani music, improvisation, Imrat Khan, Indian classical music, Indian music in the West, North South Indian music traditions, notation, oral tradition, Orientalism in music, postcolonial cultural identity, radio documentary, raga system, Ragas and a Republic, ravi shankar, tala and rhythm, tanpura drone, twentieth century music history, Vilayat Khan, vocal and instrumental music, Western classical music and India, Zakir Hussain

Tags: Ali Akbar Khan, All India Radio, audio transcript, Bonnie Wade, commercialization of music, film music in India, gharana system, globalization of Indian music, Hariprasad Chaurasia, improvisation and spontaneity, Indian cinema songs, Indian classical music, M Balamuralikrishna, media and music, microphones and amplification, Nasir Jairazbhoy, national integration through music, performance practice changes, preservation and change, radio broadcasting, raga time theory, Ragas and the Republic, Ram Narayan, ravi shankar, recording technology, technology and tradition, twentieth century India, Western audiences

Tags: audio transcript, Benares, Carnatic music, continuity and change, cultural identity, guru shishya parampara, Hindu devotional music, Hindustani music, improvisation, Indian classical music, music and religion, North South musical traditions, oral tradition, performance practice, pilgrimage and music, post-independence India, raga and tala, Ragas and the Republic, regional musical styles, sacred music, spirituality and sound, temple music, Varanasi

Tags: audio transcript, Carnatic music, caste and music, democratization of music, folk music preservation, gharana system, globalization of music, guru-shishya parampara, Hindustani music, Indian classical music, institutional training, instrumental innovation, kalakshetra, music education in India, musical patronage, oral history, performance standards, post-independence India, Ragas and the Republic, Rajasthan folk music, Sangeet Research Academy, santoor, sarangi, tabla, university music programs

Tags: acoustic aesthetics, aesthetics of silence, All India Radio, artist livelihood, broadcast music, Broken Song, changing audiences, commercialization of classical music, court musicians, cultural transition, decline of princely states, democratization of music, Dhrupad tradition, Emperor Akbar, gharana system, government cultural institutions, guru shishya parampara, hereditary musicians, hotels and corporate patronage, Indian classical music, Khayal tradition, listening practices, memory and music, modernity and tradition, Mughal courts, music education, musician patron relationships, oral transmission, palace performance spaces, post-independence India, princely patronage, public concerts, Rabindranath Tagore, Ragas and the Republic, Ram Narayan, royal courts, sarangi music, shortened performance formats, Tansen

Tags: Ali Akbar Khan, All India Radio, Bonnie Wade, Calcutta music scene, Carnatic music, classical music preservation, court musicians, cultural identity, cultural revival movements, Dagar family, decline of princely patronage, Delhi cultural centralization, democratization of music, devadasi tradition, Dhrupad revival, documentary radio, gender and music, government patronage, Hindu Muslim musical exchange, Hindustani music, Imrat Khan, Indian classical music, Khayal tradition, MS Gopalakrishnan, music education, music institutions, nationalism and music, North South musical divide, oral tradition, Pakistan cultural policy, Partition of India, political interference in arts, post-independence India, public audiences, Ragas and the Republic, ravi shankar, regional musical divisions, religious syncretism, shared subcontinental culture, SPIC MACAY, stigma and reform, Western reception of Indian music, women in Indian music, women musicians, youth engagement

Tags: All India Music Conference, Bonnie Wade, British military bands in India, British Raj, classical music pedagogy, colonial documentation of music, colonial India, cultural history of India, cultural hybridity, cultural misunderstanding, cultural nationalism, cultural resistance, Dhrupad, Dr. Ramanathan, East–West musical exchange, ethnomusicology, European musical influence, fusion music, gamaka, harmonium, harmonium controversy, Hindustani music, historical recordings, Imrat Khan, Indian aesthetics, Indian classical music, Indian independence movement, Indian modernity, Indian musical identity, Indian musicology, Indian nationalism, instrument adaptation, Khayal, L. Subramaniam, missionary music, Mukund Lath, music revival movements, musical heritage, musical modernity, musical reform, nationalist music discourse, oral tradition, performance practice, post-Independence music culture, pre-Independence music culture, Rabindranath Tagore, raga, raga theory, shruti, sitar, standardization of music, Suchitra Mitra, Sumati Mutatkar, tabla, Tagore songs, tanpura, veena, violin in Indian music, Western notation in India

Tags: 16-beat cycle, Ashit Desai, Asif Ali Khan, bols, ceremonial music, childbirth songs, classical and folk fusion context, classical dance repertoire, classical Indian music, cultural anthropology, cultural preservation, cultural storytelling, devotional songs, Durga Lal, ethnomusicology, folk instruments, folk singing, footwork patterns, gat nikas, Ghazi Khan, Indian expressive arts, Indian folk culture, Indian rhythm, Jaipur gharana, jala finale, Kathak, kathak compositions, Kathak performance, Latif Ahmed Khan, life-cycle ceremonies, Lucknow gharana, Manganiyar lineage, Manganiyar musicians, melodic patterns, narrative songs, North Indian classical dance, North Indian performing arts, paran, paran amad, performance practice, raga-based folk performance, Rajasthan folk traditions, Rajasthani folk music, Rajasthani oral traditions, regional musical heritage, rhythm improvisation, rhythmic cycles, ritual music, Rukmani, sarangi accompaniment, tabla accompaniment, teen taal, tihai, traditional music ensembles, vocal improvisation, wedding songs, women’s songs

Tags: aesthetic appreciation, Almora dance school, artistic experimentation, artistic freedom, artistic genius analysis, artistic guidance, artistic lineage, audience reception, body language in dance, breaking technique habits, Chhau technique, choreographic lineage, choreographic process, choreography, classical dance criticism, classical dance evolution, classical technique, classical vs modern aesthetics, codified movement, codified technique, contemporary dance practice, contemporary sensibilities, creative boundaries, creative dance, creative evolution, creative imagination, creative mentorship, creative potential, creative risk, creativity in dance, critical appreciation, cultural change, cultural context, dance composition, dance heritage, dance history research, dance institutions in India, dance pedagogy, dancer training, Dartington Hall influence, evolving audience expectations, experimental dance, expressionist dance influence, German dance pedagogy, group choreography, Hanya Holm, improvisation, Indian classical dance, innovation challenges, innovation within tradition, institutional support, interpretative dance, interpretative genius, interpretative imagination, interpretative performance, Kathak, lack of documentation, Mayurbhanj Chhau, modern dance pedagogy, modern Indian dance history, movement vocabulary, Odissi influences, openness in creativity, performer identity, performer psychology, performer–dance distinction, rehearsal processes, repertory company, repertory-based training, rhythmic innovation, rhythmic interpretation, rural audience response, solo dance tradition, solo vs ensemble work, traditional boundaries, training methodologies, tukra, Uday Shankar, Uday Shankar School, urban audience response, uthan, virtual presence in dance, Zohra Sehgal

Tags: abstract choreography, abstract themes, aesthetics in dance, angika, artistic failure and growth, artistic freedom, audience diversity, audience reception, ballet festival, body language, chamber performance, choreographic compositions, choreographic training, choreography, classical dance performance practice, classical Indian dance, classical technique, conservatism in dance, contemporary sensibility, continuity of tradition, costuming, creative dance, creative dancer, creative development, cultural change, cultural outreach, dance and mythology, dance auditions, dance criticism, dance evolution, dance festivals, dance heritage, dance language, dance pedagogy, dance school structure, dance training, dancer creativity, diploma course, encouragement of young choreographers, evolution of classical dance, experiential learning in dance, experimentation, expressional dance, fellowship program, foundation course, full-time dance course, gestures in dance, government-funded arts education, group choreography, guru-shishya tradition, improvisation in dance, innovation festival, innovation in tradition, institutional arts policy, interpretative dancer, Kathak, lighting design, makeup aesthetics, movement abstraction, movement vocabulary, musical visualization, narrative movement, Natya Shastra reference, part-time dance course, performance context, post diploma course, preparatory dance program, proscenium stage, pure dance, repertory company, repertory wing, resettlement colonies performance, rural arts outreach, rural audiences, solo dance tradition, stage experience, symbolic movement, symbolism in choreography, traditional grammar, traditional sensibility, universal artistic appeal, universality of art, urban audiences

Tags: artistic content, artistic form, artistic freedom, artistic survival, artistic training, arts funding India, audience development, ballet, body language, chamber theatre, Chhau, choreography, classical Indian dance, conservatism in arts, contemporary dance education, contemporary dance movement, contemporary Indian dance, contemporary sensibility, creative process, creativity, cultural bureaucracy, cultural policy India, Cunningham technique, dance and societal change, dance audiences in Delhi, dance audiences India, dance documentation, dance evolution, dance festivals, dance pedagogy, dance schools, dance technique, embodiment, employment in dance, experimentation, folk dance, folk dance policy, form and content, freedom of expression, funding for the arts, global influences in dance, government support, Graham technique, group choreography, heritage preservation, ICCR, improvisation, improvisational process, Indian dance heritage, innovation in dance, institutional constraints, intercultural dance influence, jazz dance, Kathakali, Kerala temple theatre, lack of audiences, Limon technique, modern ballet, modern Indian dance history, movement analysis, movement vocabulary, mythology in dance, narrative dance, national dance school concept, Odissi, oral tradition, performance space, performing arts companies, performing arts institutions, proscenium stage, regional forms, rehearsal methods, repertoire, rhythm in dance, Sangeet Natak Akademi, solo dance traditions, space and time, state funding, subconscious influence, tradition versus modernity, traditional sensibility, universal movement principles, Western dance influence

Tags: 10-string violin, accompaniment, artistic freedom, artistic identity, Asian diaspora music, bhangra, British Asian music, Bruce Springsteen, calluses from drums, Carnatic music, Chernobyl contamination case, classical training, collaboration, concert touring, corruption in arts, creative process, cross-cultural collaboration, cultural exchange, double violin, emotional experiences, ethnomusicology, family musical lineage, feedback issues, Frank Zappa, fusion music, global music, Hindustani music, Human Rights Now tour, improvisation, Indian classical music, Indian festivals, instrument design, instrumentation, John McLaughlin, Last Temptation of Christ, live performance, loss of parent, music career challenges, music education, music politics in India, musical influence, musical innovation, musical space, musical upbringing, nepal, North Indian music, outdoor concerts, performance practice, peter gabriel, pop music, quick studio work, radio competitions India, Rajiv Gandhi, recording industry, returning to India, rock music, Shakti, soundtracks, South Indian music, stereophonic violin, studio recording, talking heads, Times of India, Turiyananda Sangeet, Vikku Vinayakram, violin, vocal music, Wesleyan University, world music, world tours, Zakir Hussain

Tags: Almora school, artistic commitment, artistic discipline, artistic integrity, artistic labor, artistic risk, artistic standards, arts institutions, audience development, ballet influence, booking and touring systems, breaking tradition, chamber spaces, choreographic development, choreography, classical movement complexity, classical training, classical vs modern aesthetics, collaboration challenges, committees and consensus, contemporary sensibility, creative limitations, creative process, cross-cultural influence, cultural policy in India, dance criticism, dance production, dancer identity, dancer training, European production systems, folk influence on modern dance, funding challenges, guru–shishya tradition, Indian classical dance, Indian performing arts ecosystem, innovation within tradition, institutional bureaucracy, international comparisons, lack of modern dance lineage in India, lifestyle embedded in classical dance, martha graham, modern ballet, modern dance in India, modernism in Indian dance, movement vocabulary, movement-based innovation, musical format, mythology in dance, Nari Shamanon, narrative structures, organizer–artist dynamics, performance culture, performance environment, performer psychology, production funding, professional dance conditions, proscenium stage, quality control in arts programming, rehearsal process, rushed productions, sustainability of dance practice, tradition and change, troupe development, Uday Shankar, Uday Shankar movement, Western influence on Indian arts, Western theater practice, young dancers

Tags: abstraction in dance, artist exchanges, artistic community, artistic maintenance grants, artistic mentorship, artists’ advocacy, arts funding, Banaras style Bharatanatyam (Banarnium), body-based expressivity, bureaucratic committees, collaboration across traditions, creating new expressive techniques, creative departure from tradition, creative freedom, creative individuality, creative pedagogy, creative training, cross-training in dance, cultural misunderstanding, cultural policy in India, cultural reports, dance as a language, dance education reform, dance institutions, dance seminars, development of new movement vocabulary, educational limitations, evolution of technique, exposure to world dance, extension of classical form, festival culture in India, folk dance fusion, foreign collaborators, freeing the body, French cultural projects, Girish Karnad, government support for the arts, guest teaching, guru–shishya tradition, Homibaba Report, ineffective implementation, influence of family lineage, institutional fatigue, inter-institutional cooperation, intercultural collaboration, internal feeling to external form, jealousy in the arts, July 4th parade concept, kalakshetra, Malika’s dance evolution, Manipuri dance, misunderstandings of Indian culture, movement exercises, narrative vs abstract movement, new work processes, Odissi dance, Odissi technique, performance curation, performance funding, political interference, preservation of classical integrity, production expenses, rasa exploration, regional dance schools, representation of Gujarati theatre, scholarships for dance, senior students’ training, spoof performances, student development, student experimentation, teaching composition through practice, tribal dance weeks, validity in movement, visiting artists, working with poets, workshops

Tags: artistic traditions, audiences and reception, ballet, ballet technique, Bharata Natyam, canon and repertoire, Chinese revolutionary ballet, choreographic process, choreography, classical ballet, codification of technique, conservatism in dance, contemporary performance, Creating Traditions seminar, dance, dance pedagogy, dance training, East Midlands, experimentation in dance, feminism and ballet, gender in dance, hierarchy in ballet companies, Indian classical dance, innovation and tradition, Jennifer Jackson, Kathak, lecture, panel discussion, Phoenix Arts Festival, postmodern dance, Q&A, quotation in dance, reconstruction of dance works, Stephanie Jordan, women in ballet

Tags: classical dance, Eastern India, Odissi, Sharon Lowen

Tags: choreography, dance, Indian dance, innovation, physical contact, seminar discussion, Sharon Lowen, touching in performance, tradition