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Performing Indian dance in America: ...

Srinivasan, Priya.

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Performing Indian dance in America: Interrogating modernity, tradition, and the myth of cultural purity.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Performing Indian dance in America: Interrogating modernity, tradition, and the myth of cultural purity./
作者:	Srinivasan, Priya.
面頁冊數:	293 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-01, Section: A, page: 0008.
Contained By:	Dissertation Abstracts International65-01A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3118617
ISBN:	9780496660414

Performing Indian dance in America: Interrogating modernity, tradition, and the myth of cultural purity.
Srinivasan, Priya.

Performing Indian dance in America: Interrogating modernity, tradition, and the myth of cultural purity. - 293 p.

Source: Dissertation Abstracts International, Volume: 65-01, Section: A, page: 0008.

Thesis (Ph.D.)--Northwestern University, 2003.

In this dissertation, I investigate women's performance practices in America in the context of the changing political historical economies of immigration and Orientalism that established a binary in dance between traditional and modern. I trace the development of Oriental and modern dance in the late nineteenth and early twentieth century as part of some white women's cultural and political development. I compare and contrast this history with Bharata Natyam, a late-twentieth-century middle class South Asian diasporic women's dance practice problematically labeled "traditional" and used to perform "model minority" citizenship in America. I demonstrate that the labels under which dance practices in America have been categorized in the twentieth century, that is "traditional" and "modern," are constructed both for and by women performers to negotiate male dominance, albeit in contradictory ways. For example, Oriental dancer, Ruth St. Denis, used Asian philosophies to construct her dance career and emerge as an economically independent, modern, female choreographer in the early part of the twentieth century at the expense of Nautch dancers from India from whom she took many ideas. However, as Martha Graham and Doris Humphrey, dancers from St. Denis's company, broke away to create independent work, St. Denis was labeled out-of-date as Graham and Humphrey emerged as modern figures.

ISBN: 9780496660414Subjects--Topical Terms:

610547
Dance.

Performing Indian dance in America: Interrogating modernity, tradition, and the myth of cultural purity.
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245 1 0 $a Performing Indian dance in America: Interrogating modernity, tradition, and the myth of cultural purity.
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502 $a Thesis (Ph.D.)--Northwestern University, 2003.
520 $a In this dissertation, I investigate women's performance practices in America in the context of the changing political historical economies of immigration and Orientalism that established a binary in dance between traditional and modern. I trace the development of Oriental and modern dance in the late nineteenth and early twentieth century as part of some white women's cultural and political development. I compare and contrast this history with Bharata Natyam, a late-twentieth-century middle class South Asian diasporic women's dance practice problematically labeled "traditional" and used to perform "model minority" citizenship in America. I demonstrate that the labels under which dance practices in America have been categorized in the twentieth century, that is "traditional" and "modern," are constructed both for and by women performers to negotiate male dominance, albeit in contradictory ways. For example, Oriental dancer, Ruth St. Denis, used Asian philosophies to construct her dance career and emerge as an economically independent, modern, female choreographer in the early part of the twentieth century at the expense of Nautch dancers from India from whom she took many ideas. However, as Martha Graham and Doris Humphrey, dancers from St. Denis's company, broke away to create independent work, St. Denis was labeled out-of-date as Graham and Humphrey emerged as modern figures.
520 $a With the reconstruction of dance forms in India during the fight for independence from colonial rule, new forms were constructed under the label "tradition." This served another purpose of maintaining the binary with modern dance. Subsequently, contemporary practitioners of Bharata Natyam in America internalized the label tradition as innate to their form and impart it to second-generation Indian American girls, who do not necessarily accept the dictates handed down to them and renegotiate this label.
520 $a This study unfolds at the intersection of performance studies, Asian American studies, and dance studies. Methodologically, I combine critical historiography with performance ethnography to examine dance practices as they change over time. In this process, I am not just exposing untold histories of women dancers of color in the American context, but also rewriting the myth of "pure" origins of both Indian and American dance.
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