South Asian Dance Intersections最新文献

{"title":"Performing Histories of Abhyudayamu and Yakśagānamu","authors":"Swarnamalya Ganesh","doi":"10.55370/sadi.v1i1.1472","DOIUrl":"https://doi.org/10.55370/sadi.v1i1.1472","url":null,"abstract":"Scholars have established over the past decades that the tradition of historiography in South Asia was not altogether a Western import. This has allowed us to revisit South Indian vernacular literary texts in a new light. Historians A. K. Warder, Romila Thaper, Nicholas Dirks, and the trio of Sanjay Subramaniam, Velcheru Narayana Rao, and David Shulman have argued eloquently in their writing about seeing Indian literature as serious sources of historical evidence. For example, the trio identify sources such as Karanam-s (service gentry who were book keepers/accountants), Raya Vācakamū-s (chronicles of Vijayanagara Kings), and Tārikh-s (modern members of society who wrote history), all seemingly non-traditional sources authored by ministers, court chroniclers, accountants, army chieftains, and others as important materials. I further this argument to investigate the vernacular performative literatures of Abhyudayamu-s in the yakśagānamu style, from early Modern Tañjāvur. Raghunātha-abhyudayamu, a Telugu Yakśagānamu text written by Vijayarāghava Nāyaka in the seventeenth century, records the daily life of his father Raghunātha Nāyaka. \u0000Abhyudayamu is in the versified prose format of dvipada (poetic metre). It enumerates the genealogy, lifestyle, events, people, and place, as well as the escapades of the King. It literally sequences the dawn-to-dusk life of the Telugu Nāyaka King. The Raghunāthaabhyudayamu, is written in the yakśagānamu genre and has a distinct performative quality with song and dance as its central modes of expression. Performing the yakśagānamu, which extolls Raghunātha’s greatness through historic conquests, administrative prowess, warfare genius, processions, cultural and romantic alliances was a way to report history. It was also the assertion of kinship and identity by the Bahujan (historically serving class) Nayaka Kings. Performing the yakśagānamu daily in open court must be read as layered modes of embedding historic memory in public consciousness. \u0000While some of the performative literatures have been brought to light in the past, through publications and discourse, it is in fact in the experience of performance that vestibules the past into the future that cultural memories are built. Parts of the performed rendition are embedded as videos in this article for illustrative purposes. This study, is therefore a reading of literature complimented by embodied practice, that is rendered as performing histories: enacted literary performances imbuing the interpretive tools for cultural research.","PeriodicalId":143610,"journal":{"name":"South Asian Dance Intersections","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129833608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Failure of Rasa: Story of Indian Dance During COVID-19","authors":"Kaustavi Sarkar","doi":"10.55370/sadi.v1i1.1476","DOIUrl":"https://doi.org/10.55370/sadi.v1i1.1476","url":null,"abstract":"What is the premise and promise of Rasa during a period of confusion, turmoil, and fear of human connection? “Rasa is the experience of a state of generalized stasis that results from an accumulation of empathetic responses to performed sequences of emotional experience” (Coorlawala 25). As a practitioner-scholar of traditional Indian dance, I negotiate with tenets of performativity based on texts, such as the Natyasastra, Abhinaya Darpana, Sangeet Ratnakara, Abhinavabharati, Natya Manorama, and Abhinaya Chandrika, among many others that explicitly or implicitly deal with affective communication of narrative, musical, rhythmic, and metaphoric content. \u0000In this article, I explore the complexities of Rasa during a complete lockdown of live performance. Rasa appears in ancient Vedic literature as flavor, liquid, taste, and selfluminous consciousness, among many other meanings. Rasa theory is used across live performance, visual art, and new media. This essay focuses on artistic practice that is collaborative, socially-engaged, external to formal institutions of production, less prescriptive than say, the traditional repertoire in classical Indian dances, and that was produced during the COVID-19 lockdown.","PeriodicalId":143610,"journal":{"name":"South Asian Dance Intersections","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126952280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Crossroads","authors":"P. Srinivasan, P. Chakravorty, U. Sarkar","doi":"10.55370/sadi.v1i1.1470","DOIUrl":"https://doi.org/10.55370/sadi.v1i1.1470","url":null,"abstract":"South Asian Dance Studies has emerged as an international site for critical debates about various intersections of identity, power, media, and globalization. This multidisciplinary academic space is also a site for the intersections of theory and praxis/practice, criticality, and creativity. Yet, this arrival of South Asian Dance Studies is happening in a world daunted by political polarization and authoritarianism, inequalities deepened due to the pandemic, wars, refugee and environmental crises, a severe economic and political breakdown in Sri Lanka, and the changing political atmosphere in India—filled with instability, violence and divisive identity politics. \u0000Writing about dance and its history, or even its relevance, needs new methodological frameworks that, at once, give us the ability to speak from within as well as outside. This changing scenario requires the placing of dance within the framework of intersectionality as a survival strategy against the totalitarian reframing of ideas of culture, history, gender, class, caste, human rights and the politics of assertive and often violent marginalizations. Although not directly connected to any of these issues, the three essays below are situated within these discursive spaces that we are calling crossroads. We envision them as sites for interventions.","PeriodicalId":143610,"journal":{"name":"South Asian Dance Intersections","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122327518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Unchanging Reality of Male Dancers in Pakistan","authors":"Sheema Kermani","doi":"10.55370/sadi.v1i1.1474","DOIUrl":"https://doi.org/10.55370/sadi.v1i1.1474","url":null,"abstract":"The social status of male dancers in South Asia has been well-furrowed as a field of scholarly investigation. Since time immemorial, Shiva has been described as Nataraj and Bharata’s Natya Shastra refers to both male and female dancers. Wajid Ali Shah, the ill-fated Nawab of Avadh, was not just a patron of dance, but also a dancer and choreographer who wrote several books on dance like Najo, Bani, and Saut-al Mubarak. A more recent history of male dancing began with the many books on Rabindranath Tagore and Uday Shankar. But the way male dancing found social acceptance in the different countries of South Asia is quite uneven. Post-colonial India and Sri Lanka celebrated dancers such as Uday Shankar; Kathak doyens such as Shambhu Maharaj, Lachhu Maharaj, and Birju Maharaj; the Manipuri Gurus such as Amubi Singh; Kathakali Asan’s such as P.K. Kunju Kurup, T.K. Chandu Pannikar; and many more in the many dance styles of India. Patronage included the national Padma Awards, the National Performing Arts Awards (Sangeet Natak Akademi Awards), and performances and valences of many kinds. Sri Lankan dance flourished under the legendary Chitrasena; things in Pakistan were very different then.","PeriodicalId":143610,"journal":{"name":"South Asian Dance Intersections","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125496483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Journal Information & Table of Contents","authors":"SADI Editorial Team","doi":"10.55370/sadi.v1i1.1468","DOIUrl":"https://doi.org/10.55370/sadi.v1i1.1468","url":null,"abstract":"Journal information, frontmatter, and table of contents.","PeriodicalId":143610,"journal":{"name":"South Asian Dance Intersections","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117121372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rethinking Endings: Amany’s Persistence","authors":"Yashoda Thakore","doi":"10.55370/sadi.v1i1.1473","DOIUrl":"https://doi.org/10.55370/sadi.v1i1.1473","url":null,"abstract":"This article relies on reflexive ethnographic methods to theorize artistic and creative ownership claims. It seeks agency for three women through writing and concrete production performance with a live audience. Focusing on the performance Encounters—a production based on the life story of the dancer, Amany of the early and mid-nineteenth century, I explore the history of a group of Indian dancers from Puducherry and Yanam who were taken to Europe in 1838 to perform at numerous European venues.1 By revisiting the repertoire performed by them and the representation of the dancers, I argue that these dancers were and remain misrepresented in the historical record as Devadasis (“servants of god”), generally misunderstood to be prostitutes. These Devadasis were termed “La Bayaderes” to mean “a female dancer” in French. Autoethnography revealed facts that make these women at once relevant to the present-day performing artists in particular and society at large. This article is also a narrative of women claiming their little-known platform, as three histories of Amany, Mangatayaru, and I come together.","PeriodicalId":143610,"journal":{"name":"South Asian Dance Intersections","volume":" 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120828652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}