Browse Items (10 total)

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: 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: 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: 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: 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