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Bharatanatyam
Ancient Indian dances originated either in worship or are ascribed to the gods themselves. Bharatanatyam was born in the temples. Today it is one of the most sought-after forms among students and aficionados of Indian classical dance. Over the last two centuries Bharatanatyam has evolved from a highly codified style to one with maximum freedom to innovate. The dance s journey from the temple to the proscenium is the subject of this book.
The Dance Orissi
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Mudras of India
A photographic guide presents more than 200 Indian hand gestures used in yoga and dance, in a fully indexed and cross-referenced format, giving both the Sanskrit and English name for each.
Classical Dance
The essence of Indian dance is a celebration of spirituality and life.The traditions of Indian classical dance encompass India's artistic and aesthetic wealth. The various classical forms, not only help project and platform a culture, but are an act of propitiation too.
Health Psychology and Counselling
Proceedings of the International Conference on Health Psychology and Counselling, held at Visakhapatnam during 13-15 November 2007.
Attendance
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Dance Matters
This volume presents a multidisciplinary perspective on dance scholarship and practice as they have evolved in India and its diaspora, outlining how dance histories have been written and re-written, how aesthetic and pedagogical conventions have changed and are changing, and how politico-economic shifts have shaped Indian dance and its negotiation with modernity.. Written by eminent and emergent scholars and practitioners of Indian dance, the articles make dance a foundational socio-cultural and aesthetic phenomena that reflects and impacts upon various cultural intercourses -- from art and architecture to popular culture, and social justice issues. They also highlight the interplay of vario...
Magda Nachman
The political and social turmoil of the twentieth century took Magda Nachman from a privileged childhood in St. Petersburg at the close of the nineteenth century, artistic studies with Léon Bakst and Kuzma Petrov-Vodkin at the Zvantseva Art Academy, and participation in the dynamic symbolist/modernist artistic ferment in pre-Revolutionary Russia to a refugee existence in the Russian countryside during the Russian Civil War followed by marriage to a prominent Indian nationalist, then with her husband to the hardships of émigré Berlin in the 1920s and 1930s, and finally to Bombay, where she established herself as an important artist and a mentor to a new generation of modern Indian artists.
Shanmukha
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