Browse Items (8 total)

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: 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: 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: 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: 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: bobby mcferrin, improvisation, modern dance, tandy beal