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Michelle Voss Roberts

at the conclusion of their training. This campus is governed by the local diocese of the Roman Catholic Church, and its programming in the Indian dance form bharatanatyam can be seen as part of the ongoing effort to find local expressions of Christianity. Inculturation (or indigenization) in India

Katherine C. Zubko

One of the traditionally defining features of the Indian classical dance of bharatanāṭyam is the embodied storytelling of narratives related to the Hindu gods and goddesses in interaction with their devotees. 1 While I had read or heard about dance programs that experimented with religious

Katie Noble, Donald Glowinski, Helen Murphy, Corinne Jola, Phil McAleer, Nikhil Darshane, Kedzie Penfield, Sandhiya Kalyanasundaram, Antonio Camurri and Frank E. Pollick

. , 2006 ; Reynolds et al. , 2011 ). Dance also has structured patterns of movements that provides both a complex pattern of continuous motion as well as a set of discrete segments (deLahunta et al. , 2006 ). We chose the classical Indian dance style of Bharatanatyam dance since it has a strong

M. Caterina Mortillaro

Dance has an important role in Indian society and Hindu religion. In the Natyashastra, dance and drama were created by the Brahma in order to ‘teach the path of Virtue’ to mankind. The dances performed by the devadasi, the servants of the temple, according to the Hindu religion, had the power to balance the world, purifying it. It was a mimic art that comprised gestural, vocal and dance movements in order to narrate a myth and perform a prayer. In the last decades in India various theologians and priests have tried to introduce dance in the Christian liturgy with the same role of chants in western liturgy. Bharatanatyam is one of the dance styles that Indian Christians have transformed in order to fit into the Christian context. In fact, the mudra (positions of the hands) and many movements have been changed to represent episodes of the Bible and to perform Christian prayers. The main intent is to acculturate Christianity into Indian society. As I observed in my fieldwork in Andhra Pradesh, this project has many opponents in India and in the West. The Bishop of Gunthur, Gali Bali expressed his reservations about an art that has a strong ‘colour of Hinduism’ and cannot be decodified easily by the assembly of the faithful. Many who oppose this are afraid that the presence of beautiful girls dancing in the church could divert the attention of men away from the ritual. These are some of the reasons why dance has not been officially approved by the Vatican and has not been introduced into liturgy, but nowadays is performed only in a paraliturgical context.

Felix Wilfred

field of art. Katherine Zubko leads us into the world of Indian dance – bharatanāṭyam . While traditionally its gestures and symbols were in reference to Hindu gods and goddesses, she shows how both Hindu and Christian interpreters of the Indian classical dance have harmoniously integrated into this

Issues from Asian Christian Experience  250 Jose Mario C. Francisco Christian Themes and the Role of the Nāyikā in Bharatanāṭyam  269 Katherine C. Zubko The Art of Music in Asian Christianity  290 Verena Grüter Notes from the FILED

Johannes Beltz

(Frankfurt am Main: Suhrkamp Verlag, 2002), 473–474. Over the years the Nataraja rose to become the symbol of Indian dance—in the West as well as in India. 15 Th e ‘neo-classical’ dance style known as Bharatanatyam grew up as a true reinvention of tradition: what was originally a ritual temple practice

Series:

Veronica Baxter

Ibid ., 27. 26 Kerry Bystrom and Sarah Nuttall, “Private lives and public cultures in South Africa,” 318. 27 Njabulo Ndebele, “Rediscovery of the Ordinary,” 41. 28 Rehane Abrahams, “What the Water Gave Me,” 16. 29 Bharatha Natyam (Bharatanatyam) is a form of classical Indian dance, said to be the

Roman Sieler

enjoy a special meaning in worship in Hindu temples or in theatrical performances, such as Bhāratanāṭyam dance. Ācān̠ s draw on a distinctive set of mudrā s, for both combat and healing needs. Penetration of a varmam , no matter which of the two purposes of healing or fighting is intended, has to

A New Light on the Shadows of Heavenly Bodies

Indian Shadow Puppets: From Still Paintings to Motion Pictures

Rui Oliveira Lopes

.A. “Gandhiji and Puppetry.” India Horizons 60. 2 (2013): 27–37. —. Karnataka Puppetry . Udupi, Karnataka: Regional Resources Center for Folk Performing Arts, 1988. Lopes, Rui Oliveira. “O Bharatanatyam e a Pintura de Mithila. A Criação Artística das Mulheres entre a Tradição Religiosa e a