Download Contemporary Indian Dance: New Creative Choreography in by K. Katrak PDF

By K. Katrak

Via dialogue of a blinding array of artists in India and the diaspora, this book delineates a brand new language of dance at the worldwide level. Myriad circulate 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 info for Contemporary Indian Dance: New Creative Choreography in India and the Diaspora (Studies in International Performance)

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Of course, even in extending traditional forms like bharatanatyam, an artist puts in a lot of thought. However, what is different in the contemporary hybrid style is that the results make different demands on the audience’s imagination and intellect. 12 Introduction The debate between the classical and contemporary in Indian dance continues today and audiences remained resistant until the 1990s to engage with what they could not understand, though they accepted unfamiliarity in other art forms such as painting or sculpture.

Along with creative movement and space use, the soundscape of Contemporary Indian Dance plays a key role in creating a contemporary affect rather than the familiar sounds of classical Carnatic or Hindustani music that evoke, even subconsciously, traditional Indian dance for an audience. Contemporary Indian Dancers’ eclectic musical choices, rich and varied, draw from global music including commissioning original compositions. At times, their deliberate use of silence is very effective. The human voice comes into play in oral story-telling that may parody, or reinterpret well-known Indian myths, and other forms of vocalization via song mixed with movement.

14 In 1984, at a landmark gathering, “East–West Encounter” in Bombay organized by George Lechner (Director of Max Mueller Bhavan), two key elements of innovative work in Indian dance at the time were discussed with several key artists present:15 (1) The secular framework of modern dance, which differs markedly from the religious roots of traditional Indian dance, and (2) the impact of Western stagecraft, lighting, and other technologies (the 1980s were pre-personal computer years) on Indian dance.

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