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At home in the world: Bharata Natya...

O'Shea, Janet.

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At home in the world: Bharata Natyam's transnational traditions (India).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	At home in the world: Bharata Natyam's transnational traditions (India)./
作者:	O'Shea, Janet.
面頁冊數:	302 p.
附註:	Chairperson: Susan L. Foster.
Contained By:	Dissertation Abstracts International62-07A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3021398
ISBN:	0493328416

At home in the world: Bharata Natyam's transnational traditions (India).
O'Shea, Janet.

At home in the world: Bharata Natyam's transnational traditions (India). - 302 p.

Chairperson: Susan L. Foster.

Thesis (Ph.D.)--University of California, Riverside, 2001.

This dissertation examines twentieth-century Bharata Natyam as a choreographic and political practice. I investigate the process through which dancers and promoters recrafted the South Indian dance form <italic>sadir</italic> as the concert practice Bharata Natyam during the period, from the late 1920s to 1940s, known as the Bharata Natyam revival. I consider the political situation in which dancers refigured this dance and examine the dance form's transactions with global, national, and regional discourses. I argue that sets of dialectic relationships—innovation/tradition, nation/region, globality/locality, and reform/revival—culled the emergent concert practice. I suggest not only that these factors influenced Bharata Natyam but also that dancers retained and transformed specific choreographic elements in response to these political forces, developing divergent interpretations of the dance form in the process.

ISBN: 0493328416Subjects--Topical Terms:

610547
Dance.

At home in the world: Bharata Natyam's transnational traditions (India).
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245 1 0 $a At home in the world: Bharata Natyam's transnational traditions (India).
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520 $a This dissertation examines twentieth-century Bharata Natyam as a choreographic and political practice. I investigate the process through which dancers and promoters recrafted the South Indian dance form <italic>sadir</italic> as the concert practice Bharata Natyam during the period, from the late 1920s to 1940s, known as the Bharata Natyam revival. I consider the political situation in which dancers refigured this dance and examine the dance form's transactions with global, national, and regional discourses. I argue that sets of dialectic relationships—innovation/tradition, nation/region, globality/locality, and reform/revival—culled the emergent concert practice. I suggest not only that these factors influenced Bharata Natyam but also that dancers retained and transformed specific choreographic elements in response to these political forces, developing divergent interpretations of the dance form in the process.
520 $a The main focus of this dissertation, however, is the position of the late twentieth-century practitioner. The influence of political agendas on Bharata Natyam, although a feature of the revival, did not end in the 1940s. Rather, the debates sparked during the revival remained at the crux of late twentieth-century choreographic practice. Practitioners continued to revisit the aforementioned dialectical relationships, retaining some approaches and transforming or commenting upon others. In doing so, they contended with different historical and local situations, including an increased globalization of the form and of South Asian communities.
520 $a I make this argument based on the analysis of specific choreographic examples with reference to historical material and ethnographic observations. I treat ‘choreography’ not as a specific end product but as a set of decisions made in rehearsal, performance, and pedagogy. As a group of conscious choices about movement, choreography provides an entry into investigating the subject positions of twentieth-century Bharata Natyam dancers. Dancers' claims to self-representation and to the representation of the dance form, although vexed, reveal larger patterns of resistance to dominant discourses. Thus, I end by looking to the future and querying how the choreographic articulation of broader political concerns opens up the possibility of disrupting the very hegemonic forces that have acted upon Bharata Natyam in the twentieth century.
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