| Specifications |
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Publisher: Oxford University Press, New Delhi |
| Author: Davesh Soneji | |
| Language: English | |
| Pages: 461 (33 B/W Illustrations) | |
| Cover: Paperback | |
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8.9" X 5.9" |
| Edition: 2010 | |
| ISBN: 0198065396 | |
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IHF072 |
| Delivery and Return Policies |
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Returns and Exchanges accepted within 7 days |
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Free Delivery |
A dynamic, living cultural practice of modern South Asia. Bharatanatyam is widely recognized as one of the world’s fastest growing dance forms. This reader brings together some of the most important essays on Bharatanatyam written over the last two hundred years.
Drawing from history, dance studies. Anthropology, women’s studies, religious studies, and ethnomusicology, this volume shows how Bharatanatyam has generated complex social histories and varied aesthetic practices. From the earliest essay published in 1806 to pieces by legendary dancers, contemporary artists, and leading dance scholars, this collection captures the multiplicity of voices that constitute this diverse cultural practice. For the first time, this volume opens a window on the history, aesthetics, and personal journeys that have shaped this vital and ever-shifting art.
The comprehensive Introduction by Davesh Soneji provides a broad understanding of the historical, socio-political, and aesthetic issues in Bharatanatyam alongside a contextual mapping of the sources.
The comprehensive Introduction by Davesh Soneji provides a broad understanding of the historical, socio-political, and aesthetic issues in Bharatanatyam alongside a contextual mapping of the sources.
This volume will be invaluable to students and teachers of performing arts, dance studies, South Asian cultural studies, women’s studies, religious studies, and ethnomusicology.
Davesh Soneji is Assistant Professor, South Indian Religions, McGill University, Montreal, Canada. He is the editor (with Indira Viswanathan Peterson) of Performing Pasts: Reinventing the Arts in Modern South India (OUP 2007)
| Davesh Soneji | xi |
| Critical Steps | |
| Thinking through Bharatanatyam in the Twenty-first Century | |
| Devadasi Dance: History and Representation Representations of dance in Colonial South India | |
| P. RAGAVIAH CHARRY | 3 |
| A Short account of the Dancing Girls, Treating Concisely on the general principles of Dancing and Singing, with the translations of two Hindo Songs | |
| JOEP BOR | 13 |
| Mamia, Ammani and other Bayaderes Europe’s Portrayal of India’s Temple Dancers | |
Community, Repertoire, and Aesthetics | |
| SASKIA C. KERSENBOOM | 53 |
| The Traditional Repertoire of the Tiruttani Temple Dancers | |
| HARI KRISHNAN | 69 |
| Inscribing Practice | |
| Reconfigurations and Textualizations of Devadasi Repertoire in Nineteenth and Early Twentieth-century South India | |
| DAVESH SONEJI | 87 |
| Salon to Cinema | |
| The Distinctly Modern Life of the Telugu Javali | |
| S. MUTHULAKSHMI REDDI | 115 |
| Why should the Devadasi Institution in the Hindu Temples be Abolished? | |
| MADRAS DEVADASIS ASSOCIATION | 128 |
| The Humble Memorial of Devadasis of the Madras Presidency | |
| AMRIT SRINIVASAN | 139 |
| Reform or Conformity? Temple Prostitution’ and the Community in the Madras Presidency | |
| TERESA HUBEL | 160 |
| The High Cost of Dancing When the Indian Women’s Movement Went after the Devadasis | |
New Beginnings? Voices from Twentieth Century Madras | |
| V. RAGHAVAN (BHAVA RAGA TALA) | 185 |
| Bharata Natya-Classic Indian Dance The South Indian Sadir-Nautch The Recent Controversy Over the Art | |
| RUKMINI DEVI ARUNDALE | 192 |
| The Spiritual Background of Indian Dance | |
| T. BALASARASWATI | 197 |
| Bharata Natyam | |
| MATTHEW HARP ALLEN | 205 |
| Rewriting the Script for South Indian Dance | |
| AVANTHI MEDURI | 253 |
| Bharatanatyam as World Historical Form | |
| MATTHEW HARP ALLEN | 205 |
| Rewriting the Script for South Indian Dance | |
| AVANTHI MEDURI | 253 |
| Bharatanatyam as World Historical Form | |
| ANNE-MARIE GASTON | 273 |
| Dance and the Hindu Woman Bharatanatyam Re-ritualized | |
| JANET O’SHEA | 297 |
| At Home in the World? The Bharatanatyam Dancer as Transnational Interpreter | |
| ANDREE GRAU | 311 |
| Political Activism and South Asian dance The Case of Mallika Sarabhai | |
| ANITA KUMAR | 325 |
| What’s the Matter? Shakti’s (Re)Collection of Race, Nationhood, and Gender | |
| MRINALINI SARABHAI | 361 |
| Creations | |
| SHOBANA JEYASINGH | 367 |
| Getting Off the Orient Express | |
| CHANDRALEKHA | 374 |
| Reflections on New Directions in Indian Dance | |
| ANANYA CHATTERJEA | 383 |
| Raga and Sloka Troubling Femininity | |
| Notes on Contributors | 401 |
| Acknowledgements | 407 |
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