Sanjukta banerjee dancer biography samples
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A Brief History of Odissi Dance
Odissi is a dance form from the state of Odisha in eastern India. It is recognised as one of the eight classical dance forms of India, and celebrated around the world for its lyricism, sensuality and emphasis on bhakti bhava (attitude of devotion and surrender). Odissi gained visibility in India and internationally from the 1950s onwards when it began to be presented on theatre stages. Since then, Odissi dancers and writers have claimed that it is the oldest of India's classical dance forms, which was earlier performed in the temples of Odisha. These claims are based on a range of architectural and textual evidence, and living ritual traditions. Based on an examination of established and newer scholarship, it may be noted that multiple historical roots, including the artistic and performance traditions of pre-modern Odisha, and the work of artists in post-Independence India, have informed the formation of Odissi as a 'classical' dance form from the mid-twentieth century onwards.
Located on the eastern coast of India, on the shores of the Bay of Bengal, Odisha is bound by land on its other sides. The town of Puri lies at the south-eastern edge of the coast, and approximately 60 kilometres north of it lies Bhubaneswar, established as the st
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Sreebitha P. V
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I) The Predravidian Kerala legacy
"It's my dance-give it back to me."
- La Danseuse (French movie, October 2016)
Let alone the idea of getting hints from an inspiring ritual, rural source in most cases acts like a rejuvenating incubator of talents for 'Shastriya Natya' - the corpus of Indian classical dances [1]. Classic tradition, its model rooted in Hindu history, versus rural creativity, a disposition of the mind, expressed bodily in a "freer way", would be two terms: the two sides of a formal disengagement. Once looking into productions, rural epistemology brings more aesthetics to the light. We find any time the evidence of an argument, a mood or a gesture was picked up from rural performance, passed on to the classical repertoire; it soon has modified the scale of body language. It was the case for the canonization of Bharatanatyam (1932), led by Rukmini Devi Arundale, according to a procedure Indira Viswanathan Peterson describes entirely in the genesis of the art form, outside its rural origin [2]. It is also true for Ottam Thullal, inspired two centuries ago from Padayani vinodams. Something was borrowed, and it was deviated. Much of what creators have picked from the rural, the musical or the dance motif, the idea or the narrative once performed