CULTURAL TRANSLATION OF BHARATA NATYAM

Dr. B. Malathi

Abstract


The practice of Bharata Natyam in its widespread diasporic form as a automobile to convey parts of Indian myth and nation gives it an over-determined distinctiveness. Classes may take room once a week, in changed locations, and interrelated cultural backgrounds of music, mythology, ceremonial are offered at times throughout intensive straw-hat camps or plants with master teachers staying from India. Their daily reality is inside fast-paced American philosophy that is distant from loud, colourful bazaars and the caught orality of many tongues, as common in Bombay. At times, the script is heard via narration, or it is projected on the screen. One wristwatches the body in motion as glowing as attending to the text.

Full Text:

PDF

References


Balasaraswati. (1978). On Bharata Natyam. Dance Chronicle, 2(2), 106-116.

O'shea, J. (2007). At home in the world: Bharata Natyam on the global stage. Wesleyan University Press.

Malathi.,(2017).revival of Indian culture and south Indian classical dance. International

Interdisciplinary research journal. Research Direction.

Katrak, K. H. (2004). ‘Cultural Translation’of Bharata Natyam into ‘Contemporary Indian Dance’. Second‐generation South Asian Americans and cultural politics in diasporic locations. South Asian Popular Culture, 2(2), 79-102.

Satkunaratnam, A. (2013). Staging War: Performing Bharata Natyam in Colombo, Sri Lanka. Dance Research Journal, 45(1), 81-108.

Yodh, M. (1988). Bharata Natyam: Dance and Identity. The Massachusetts Review, 29(4), 673-676.

Zubko, K. C. (2014). Dancing bodies of devotion: fluid gestures in Bharata Natyam. Lexington Books.


Refbacks

  • There are currently no refbacks.




Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

Copyright © 2021 INTERNATIONAL EDUCATION AND RESEARCH JOURNAL