By K. Katrak
Via dialogue of a stunning array of artists in India and the diaspora, this book delineates a brand new language of dance at the worldwide level. Myriad flow vocabularies intersect the dancers' artistic panorama, while cutting-edge artistic choreography parodies gender and cultural stereotypes, and represents social matters.
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Extra resources for Contemporary Indian Dance: New Creative Choreography in India and the Diaspora (Studies in International Performance)
In the same talk, Foster indicated that physicality (though expressed differently) is involved in both writing and dancing; how the body is involved for instance in a bending motion of the head during the writing process, or the movement of the fingers on the keyboard, or in using a pen that moves across a page. Writing and dancing come together in the body. Indeed, the body is the link between the gaps in activities such as writing and thinking, or between dancing and thinking. The body is the bridge that enables a crossing from one side to the other.
However, belonging to Contemporary INDIAN dance indicates a desire to retain and communicate an aura and flavor of “Indianness” via movement as in use of mudras, costumes, music, and the overall affect of an Indian aesthetic world. The term “contemporary” is freighted with ambiguous meaning as well. It is important to distinguish Contemporary Indian Dance with its own development in India from Contemporary Dance in the West, or Bollywood dance in India. “In popular imagination,” Bollywood dance “is conflated with ‘contemporary’ Indian dance.
8 Nietzsche’s tightrope walker mirrors a contemporary dancer constructively (not destructively as in Nietzsche) negotiating this in-betweenness and innovating within a new dialectic of form and content. Contemporary Indian Dancers are interdisciplinary artists working between and across disciplines and genres – dance, theatre, martial arts, and visual cultures. The specific challenge in dance is to embody the theoretical and intellectual engagements with different disciplines. I espouse Randy 4 Introduction Martin’s succinctly articulated goal, namely “the theoretical embodied as practice” for interdisciplinary dance scholars: Considerations of diversity in dance would force an opening up of the evaluative criteria by which we know what dance is and what it reaches.