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Universidade Estadual de Campinas

1. Albergaria, Andrea Itacarambi, 1969-. Mudras = o gesto da dança clássica indiana Odissi como caligrafia corporal na cena contemporânea = Mudras: the gesture of Indian classical Odissi dance as body calligraphy in the contemporary scene .

Degree: 2017, Universidade Estadual de Campinas

Resumo: O principal objetivo deste trabalho foi realizar um estudo dos gestos da dança clássica indiana Odissi (mudras) como materiais de criação para o artista intérprete-criador na cena contemporânea. Do resultado de experimentos caligráficos corpóreos surge o trabalho "Muyrakitan, as três pedras", composto pela investigação do mudra e sua utilização não tradicional, em composições pessoais, desenvolvidas ao longo da pesquisa. Além do gesto, o mito hindu de Samudra Manthan (batimento do oceano cósmico e a extração de joias raras) e a lenda amazônica dos amuletos muiraquitãs, retirados do fundo do lago, compõem os motes principais para o trabalho cênico, de construção e pesquisa corporal, cuja travessia de uma margem à outra, em águas simbólicas, remetem à trajetória pessoal da autora, numa ressignificação da tradição milenar da dança clássica indiana Odissi e a contemporaneidade da dança cênica, dialogando com poéticas literárias e dramatúrgicas. O atravessar, ir e voltar pelas margens que circunscrevem tradição e contemporaneidade, guiados pelo estudo dos gestos e os trazendo de forma poética ao contexto cênico, caligrafando o gesto numa expansão consciente de movimentos, possibilitou pensar o corpo como uma folha de papel à espera da escrita; Abstract: The main objective of this work was to perform a study of the Indian classical Odissi dance gestures (mudras) as creative material for the artist-creator in the contemporary scene.As result of body calligraphy the work "Muyrakitan, as três pedras" appears, composed by the investigation of mudra and its non traditional use, in personal compositions, developed throughout the research. In addition to the gesture, the Hindu myth of Samudra Manthan (the beating of the cosmic ocean and the extraction of rare jewels) and the Amazonian legend of the amulets muiraquitãs taken from the bottom of the lake, make up the main motto for the scenic work of construction and body research ,whose crossing from one shore to the other in symbolic waters, refers to the author's personal trajectory, in a re-signification of the ancient tradition of Indian classical dance Odissi and the contemporaneity of the scenic dance, dialoguing with literary and dramaturgic poetics.Crossing, going back and forth along the banks bordering tradition and contemporaneity, guided by the study of gestures and bringing them poetically to the scenic context, calling the gesture in a conscious expansion of movements, made it possible to think of the body as a sheet of paper waiting for the writing Advisors/Committee Members: Andraus, Mariana Baruco Machado, 1977- (advisor), Gatti, Daniela (committee member), Wildhagen, Joana Pinto (committee member).

Subjects/Keywords: Dança - Índia; Odissi (Dança); Dança contemporânea; Dança cênica; Gestualidade

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Albergaria, Andrea Itacarambi, 1. (2017). Mudras = o gesto da dança clássica indiana Odissi como caligrafia corporal na cena contemporânea = Mudras: the gesture of Indian classical Odissi dance as body calligraphy in the contemporary scene . (Thesis). Universidade Estadual de Campinas. Retrieved from http://repositorio.unicamp.br/jspui/handle/REPOSIP/330637

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Albergaria, Andrea Itacarambi, 1969-. “Mudras = o gesto da dança clássica indiana Odissi como caligrafia corporal na cena contemporânea = Mudras: the gesture of Indian classical Odissi dance as body calligraphy in the contemporary scene .” 2017. Thesis, Universidade Estadual de Campinas. Accessed October 19, 2019. http://repositorio.unicamp.br/jspui/handle/REPOSIP/330637.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Albergaria, Andrea Itacarambi, 1969-. “Mudras = o gesto da dança clássica indiana Odissi como caligrafia corporal na cena contemporânea = Mudras: the gesture of Indian classical Odissi dance as body calligraphy in the contemporary scene .” 2017. Web. 19 Oct 2019.

Vancouver:

Albergaria, Andrea Itacarambi 1. Mudras = o gesto da dança clássica indiana Odissi como caligrafia corporal na cena contemporânea = Mudras: the gesture of Indian classical Odissi dance as body calligraphy in the contemporary scene . [Internet] [Thesis]. Universidade Estadual de Campinas; 2017. [cited 2019 Oct 19]. Available from: http://repositorio.unicamp.br/jspui/handle/REPOSIP/330637.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Albergaria, Andrea Itacarambi 1. Mudras = o gesto da dança clássica indiana Odissi como caligrafia corporal na cena contemporânea = Mudras: the gesture of Indian classical Odissi dance as body calligraphy in the contemporary scene . [Thesis]. Universidade Estadual de Campinas; 2017. Available from: http://repositorio.unicamp.br/jspui/handle/REPOSIP/330637

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

2. Kar, Paromita. The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History.

Degree: PhD, Dance Studies, 2014, York University

This dissertation is dedicated to theorizing the Debaprasad Das stylistic lineage of Indian classical Odissi dance. Odissi is one of the seven classical Indian dance forms recognized by the Indian government. Each of these dance forms underwent a twentieth century “revival” whereby it was codified and recontextualized from pre-existing ritualistic and popular movement practices to a performance art form suitable for the proscenium stage. The 1950s revival of Odissi dance in India ultimately led to four stylistic lineage branches of Odissi, each named after the corresponding founding pioneer of the tradition. I argue that the theorization of a dance lineage should be inclusive of the history of the lineage, its stylistic vestiges and philosophies as embodied through its aesthetic characteristics, as well as its interpretation, and transmission by present-day practitioners. In my theorization of the Debaprasad Das lineage of Odissi, I draw upon Pierre Bourdieu's theory of the habitus, and argue that Guru Debaprasad Das's vision of Odissi dance was informed by the socio-political backdrop of Oriya nationalism, in the context of which he choreographed, but also resisted the heavy emphasis on coastal Oriya culture of the Oriya nationalist movement. My methodology for the project has been ethnographic, supported by original archival research. In the second chapter, I examine the twentieth century history of this stylistic lineage in the context of the Odissi revival of the 1950s, and in the third chapter, I examine the life and artistic work of its founder, the late Guru Debaprasad Das. The fourth chapter is dedicated to analyzing the stylistic characteristics distinct to this style of Odissi, and examining some of the underlying politics of representation, classicism, and regional affiliations which have informed the repertoire and movement lexicon of this lineage. I point to how this lineage has been historically marginalized in scholarship, discourse, and the international stage, and analyze some of the reasons for this marginalization. The fifth and sixth chapter are dedicated to the current practice of the lineage, including pedagogical practices by current teachers, as well as examination of the creation and performance of new repertoire pieces within this lineage, and the various contexts in which this style of Odissi is performed globally. Ultimately, I examine the divergent artistic voices from within the Debaprasad Das lineage itself and argue that the Debaprasad Das lineage of Odissi is itself marked by heterogeneity via multiple and often divergent understandings of the philosophies of the late Guru Debaprasad Das. Advisors/Committee Members: Alcedo, Russ Patrick (advisor).

Subjects/Keywords: Dance; Asian studies; Folklore; Paromita Kar; Guru Debaprasad Das; Dance studies; Classical Indian dance; Odissi dance; Dance history; Dance research; Odissi; Stylistic lineage; Lineage; Dance lineage; Dance heritage; Sociology; Multisited ethnography; Archival research; York University; Fieldwork; Guru Srinath Raut; Guru Durgacharan Ranbir; Nrutyayan

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Kar, P. (2014). The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History. (Doctoral Dissertation). York University. Retrieved from http://hdl.handle.net/10315/27615

Chicago Manual of Style (16th Edition):

Kar, Paromita. “The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History.” 2014. Doctoral Dissertation, York University. Accessed October 19, 2019. http://hdl.handle.net/10315/27615.

MLA Handbook (7th Edition):

Kar, Paromita. “The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History.” 2014. Web. 19 Oct 2019.

Vancouver:

Kar P. The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History. [Internet] [Doctoral dissertation]. York University; 2014. [cited 2019 Oct 19]. Available from: http://hdl.handle.net/10315/27615.

Council of Science Editors:

Kar P. The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History. [Doctoral Dissertation]. York University; 2014. Available from: http://hdl.handle.net/10315/27615

3. sarkar, Kaustavi. Mahari Out: Deconstructing Odissi.

Degree: PhD, Dance, 2017, The Ohio State University

I surface the artistic lineage of the Maharis or temple dancers marginalized in the history of the eastern Indian classical dance style called Odissi by focusing on the mediation of Mahari ritual performance within the embodied knowledge of contemporary Odissi practice. I position my investigation in the field of Practice-as-Research evidencing my research inquiry through praxis—theory imbricated in practice as defined by Practice-as-Research scholar Robin Nelson. Imbricating critical cultural theory and movement practice, I examine Mahari praxis within an interdisciplinary investigation combining religious studies, sexuality studies, technology studies, dance studies, and South Asian studies. The Mahari danced in the Hindu temples of Odisha, the state from which Odissi originates, from the twelfth to early twentieth century. Mythically, she descends from the Alasa-Kanya, female sculptural figure adorning the temple-walls of Odisha. Being ritually married to Jagannath, the Hindu male deity presiding over Odissi dance, she had a sexual life outside of social marriage within circles of the indigenous elites. Although, Odissi is premised on Mahari ritual performativity in front of Jagannath to establish historical continuity, it does not acknowledge her creative practice for her alleged links to prostitution. I redress the appropriation of the Mahari in Odissi technique, by reimagining her in my choreographed Odissi movement and in its subsequent digital mediation as 3D data using motion capture technology. In solo and group choreographic works and their virtual adaptations, I explore the Mahari’s ritual performance in the temple alongside examining her mythical associations in ancient and medieval temple-sculpture. In an intermodal inquiry spanning live dancing, digital visualization of live movement, and stone sculpture, I highlight the unacknowledged aesthetics of the Mahari tradition within the Odissi body by discovering the twisting movements of the Mahari in my practice. Bringing poststructuralist theories of deconstruction together with technological and improvisatory measures of deconstructing my embodied practice, I argue that the Mahari performativity creates a potential to subvert the conservative horizon of Odissi. In my innovative methodological maneuver, multiple registers of mediation—historical and technological—co-construct Mahari embodiment across stone sculpture, 3D data, and the live dancing body enlivening the ever-elusive Mahari in her aesthetic, social, sexual, and historical complexity, and reorienting Odissi’s patriarchal center occupied by Jagannath. Advisors/Committee Members: Zuniga-Shaw, Norah (Advisor).

Subjects/Keywords: Dance; Odissi; Mahari; Derrida; Ritual; Postructuralism; Abhinavagupta; Digital Humanities; deconstruction; Kelucharan Mohapatra Style of Odissi; Motion Capture Technology; Practice-as-Research; Choreography; Alasa-Kanya; Sculpture

…Concurrence of Odissi, Mahari, and Gotipua Performance.” Journal of Emerging Dance Scholarship, 2015… …and Paul Boyce. “Mahari Then and Now: Queering Performativity in Odissi,” edited by… …Odissi demonstrating the foundational elements of Bhakti: Devotion or a seventh century… …devotional paradigm forging personal relationship with Krishna Bhanga: Posture in Odissi Bhitara… …step common to both Mahari and Odissi vocabulary Deis: Dancers in the royal court Devadasi… 

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

sarkar, K. (2017). Mahari Out: Deconstructing Odissi. (Doctoral Dissertation). The Ohio State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=osu1499694454160469

Chicago Manual of Style (16th Edition):

sarkar, Kaustavi. “Mahari Out: Deconstructing Odissi.” 2017. Doctoral Dissertation, The Ohio State University. Accessed October 19, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1499694454160469.

MLA Handbook (7th Edition):

sarkar, Kaustavi. “Mahari Out: Deconstructing Odissi.” 2017. Web. 19 Oct 2019.

Vancouver:

sarkar K. Mahari Out: Deconstructing Odissi. [Internet] [Doctoral dissertation]. The Ohio State University; 2017. [cited 2019 Oct 19]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1499694454160469.

Council of Science Editors:

sarkar K. Mahari Out: Deconstructing Odissi. [Doctoral Dissertation]. The Ohio State University; 2017. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1499694454160469

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