The representation of Krishna in Indian dance is inspired by miniature paintings. What does the dancer see when she looks at a miniature painting.? How close is the connection between dance and painting?. This lecture demonstration includes video, images and dance to covney a rich mythic and artistic experience.
This seminar will address Rabindranath Tagore's contribution to dance performance and the evolution of the Bengali dance-drama genre in Bengal in the early 20th century in relation to the religious, cultural and political milieu of that time. Dr Purkayastha has pursued research on dance and currently teaches on the Dance Programme, School of Arts, Roehampton University, London.
This lecture will be a comparative study of emotions, facial expressions, and gestures in the Natyasastra, Abhinayadarpana, and the works of Charles Darwin and Paul Ekman.
Dr Sangeetha Menon graduated in Zoology, and then took her postgraduate degree in philosophy from the University of Kerala, with a thesis entitled ‘The Concept of Consciousness in the Bhagavad Gita’. A gold-medalist and first rank holder for postgraduate studies, she has been a fellow at the National Institute of Advanced Studies since 1996.
In the forms of shrine, which developed between the 7th and 13th centuries, Hindu temples, conceived as divine bodies, embodied structured patterns of movement in their architectural compositions. Shrines are invested with a sense of centrifugal dynamism that appears to originate at the tip of the finial, or a point just above it, progressing downwards from this point and outwards from the vertical axis.
This paper will discuss the centrality of the temple text in the classical arts of South Asia, and focus specifically on the aesthetic vision of the late Dr. Rukmini Devi Arundale, the celebrated revivalist of twentieth- century Bharatanatyam.
While the general interest of this symposium lies in the relationships between temples, architecture, texts and performance, my presentation focuses on the relation between the formal description and analysis of dance and its practice. My discussion draws exclusively upon the primary source material for our knowledge of the performing arts of India, that is, the extensive body of Sanskrit texts on dance, drama and music.
I must also clarify here that I understand the term “dance” as a hybrid performance genre that consists of non-mimetic