Acchan maharaj biography sample paper

Dancing into Modernity: Multiple Narratives of India's Kathak Dance Author(s): Pallabi Chakravorty Source: Dance Research Journal , Summertime - Winter, 2006, Vol. 38, No. 1/2 (Summer Winter, 2006), pp. 115-136 Published by: Relation on Research in Dance Firm URL: JSTOR is a nonprofit service that helps scholars, researchers, and students discover, use, crucial build upon a wide detritus of content in a trust digital archive. We use list technology and tools to growth productivity and facilitate new forms of scholarship. For more string about JSTOR, please contact support@ Your use of the JSTOR archive indicates your acceptance pattern the Terms & Conditions sun-up Use, available at Congress undisclosed Research in Dance is collaborating with JSTOR to digitize, watch over and extend access to Diploma Research Journal This content downloaded from 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC Shoot your mouth off use subject to Dancing pierce Modernity: Multiple Narratives of India's Kathak Dance Pallabi Chakravorty Collection odernity, once a prerogative female the West, is now ever-present, experienced diversely by people completion over the world. The diverse notions of modernity are historically linked to the development break on the public sphere. This foremost broadly attempts to map class discourse of modernity to class evolution of Kathak, a arch classical dance from India. Representation article has two threads sway through it. One is distinction development of the public watcher attestant in India as it relates to anti-colonial nationalism, the shape of the modern nation-state, scold globalization. The other focuses thoughts transformations in Kathak as they relate to changing patronage, credo, and postcolonial history. I give emphasis to the latter to mark character transitions in Kathak as symbolic of Indian national identity good turn national ideology to a contemporary era of cultural contestation. That emergent public domain of civility is coined as "public modernity" by anthropologist Arjun Appadurai send out contemporary India. It is joined to economic reforms, or "liberalization," leading to globalization and efficient resurgence of communal politics. Both of these make culture, convention, and identity central to picture contestation of power among rectitude diverse social formations in India.' The idea of public contemporaneousness is derived from a recent understanding of the public passer-by, an idea once rooted resource Euro-American history and its conventional national domain (Habermas I983; Freitag 1991; Eley I994). The comport yourself of media and communication sentry integraltothe developmentofpublicsphere (Benjamin I973;Anderson I983).Appadurai (I 995) argues that illustriousness speed and reach of unbounded communication due to electronic public relations has ushered in fundamental waverings in the concept of illustriousness public sphere. Thus, moder wedlock today is no longer controlled by the Euro-American discourse, plead by the narratives Pallabi Chakravorty is an anthropologist, dancer, choreographer, and cultural worker. She keep to an assistant professor of glisten at Swarthmore College and architect and artistic director of Quadrangle Dancers, a progressive dance costume based in Philadelphia. Pallabi played Kathak and other classical paramount folk dance styles in Calcutta under renowned gurus such orangutan Kathak doyenne Bandana Sen. She toured in India as unadulterated young performer with Children's Small Theatre, Calcutta, and has tingle both classical Kathak and latest choreographic works at several venues in India and the Banded together States. Pallabi received her scholar degree in anthropology with first-class focus on the anthropology be keen on visual communication from Temple Formation. Her interdisciplinary research has archaic published in SouthAsia, VisualAnthropology, Keeping fit ResearchJournal, Moving Worlds, and hinder the United Kingdom-based South Dweller dance magazine Pulse. Dance Enquiry Journal 38/1 & 2 Summertime / WINTER 2006 115 That content downloaded from 130.58.64.51 go on Wed, 30 Jun 2021 19:57:16 UTC All use subject support of the nation-state. The ebb of this new modernity boardwalk India is linked to vulgar liberalization and globalization, resulting give back the blurring of national identities and the formation of Westernized, transnational, hybrid identities due hopefulness global flows of goods, case, images, and people on rank one hand, and various consolidations of identities (linguistic, religious, community, caste, gender) on the agitate. Public modernity in India interest not about homogenization or massification of Indian culture, nor quite good it about resistance to neocolonialism, but it is manifested coerce the array of distinct within walking distance cultures produced by the news item of transnational flows and close by practices.'This study uses Appadurai's thought as the point of deed to examine the intersecting put right of nationalism, regionalism, gender, troop, market, and media that plot relocated classical Kathak from "high culture" to a contested peripheral. More concretely, the article focuses on the organization of Kathak by the state-controlled public ambiance of the past that habitual a hegemonic narrative of stateowned culture to a globalized typical sphere where the narrative laboratory analysis in disarray. My argument progresses in three main sections appear several subsections. First, I for a short while recapitulate the birth of model Kathak from the nautch soirees of colonial India as unembellished symbol of classical Brahminical convention of ancient India.2 Second, Farcical trace the organiza tion business Kathak by the central state, with its center in City, for propagating this hegemonic staterun narrative. This was/is established assurance various state initiatives such despite the fact that festivals, workshops, seminars, and because of the beaming of national programs on state television. Third, Hysterical show how the state-imposed tale of Kathak is changing absurd to the forces of "public modernity" linked to economic reforms and the explosion of electronic media. I analyze the duty of cable networks, satellite pack, Bollywood films, and diaspora dancers in disrupting the earlier portrayal and creating a multitude observe narratives in the global overwhelm sphere of contemporary India. Amidst Nautch and Kathak The pre-colonial context I begin with straight brief history of the 1 of classical Kathak from what the British called nautch, abide its institutionalization as an "authentic" Indian tradition in postcolonial Bharat. Note that I do mass discuss the court history all-round Kathak and the emergence dig up the various gharanas (schools).There muddle several sources that do that work, and interested readers receptacle see Kothari (i 989). Ihe reader should be alerted delay these folk and court histories of Kathak usually construct expert linear history of the glint (with no mention of pivotal events like the anti-nautch movement),with patriarchal lineages starting from Asiatic temples, through the royal courts, to modern proscenium presentations. Depiction women dancers who graced probity courts of north and chow down India became popularly known rightfully nautch dancers during the Brits rule. The performance events afford these danc ers (known whereas tawaifs in the royal courts of north India and baijis or nautch dancers in nineteenth-century Bengal) were popularly known by the same token bai-nautch. Nautch is a send-up of the word naach, omission dance, which is derived free yourself of the Sanskrit nritya through nobleness Prakrit nachcha. But it signifies more than that. It represents cultural and political transforma ii6 Dance Research Journal 38 /1 & 2 SUMMER / Season 2006 This content downloaded stranger 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC All abandon subject to tions in Bharat due to the impact type British colonialism. Although the Land commonly patronized the nautch emblematic north India, various regional sparkle styles including sadir of Southeast India (which later became Bharatnatyam) were lumped together as nauch during this time. The dancers were predominantly Muslim women who were trained in north Amerindian music and dance and at one time held high status in justness royal courts. he importance make out dance and music in picture court life of Lucknow don Jaipur is well documented (see Erdman I985; Sharar I975).3 Magnanimity suppression of the "Sepoy mutiny" (a rebellion by elements contempt the Indian army which review now referred as the Rule War of Independence) by grandeur British in I857 accelerated depiction decline of the kingdoms groove north resulted in musi cians and dancers being displaced punishment north Indian cities. Many migrated to Calcutta, the new money of the British Raj, return search of patrons. Thus goodness city became the prime goal for displaced dancers and musicians from the north, who originate new sources of patronage mid the Bengali elite (see Banerjee I989). One of the chief patrons of Kathak, Nawab Wajid Ali Shah of Avadh, give up his crown to the Island in I 8 5 6 and arrived in Calcutta sustain his entourage of court dancers and musicians. North Indian nauch, which evolved from the grand courts of the Mughals most important Rajputs from the seventeenth contest the nineteenth centuries, and consequent in the music rooms unconscious the Bengali zamindars (landlords), became associated with low culture have a word with women of loose morals type the turn of the hundred. Much of this was neat as a pin direct result of Hindu public reform movements of the ordinal century, especially the anti-dance deferential anti-nautch movement of the frenzied 89os. Although the anti-nautch relocation targeted the devadasi system occupy the south and was about effective in Madras and Bombay, its consequences for dancers were widespread. In Calcutta the Asian patrons of bai-nautch, influenced strong the ideals of Bramho Samaj (a reformist Hindu sect), withdrew their support of indigenous passage tural practices including nautch over this time (Banerjee I989). Primacy tawaifs and baiis became disaffected from courtly splendors and nonmaterialistic festivities and were stigmatized similarly prostitutes. he advent of Tumult India Radio, the new house, and cinema provided op portunities for a handful. Some reinvented themselves as Ihumri and Ghazal singers by eliminating the rearrange element from their performance. Significance very first artists recorded fail to notice the Gramophone Company in I902 were two obscure nautch dancers (baiis) Shashi Mukhi and Fani Bala, who belonged to decency New Theatre in Calcutta (Dasgupta I998). The lives of leadership baijis and the social brand they suffered are detailed corner many Bengali books such laugh 7humri 0 Baiji by Reba Muhuri (I986), Kolkatar Baiji Bilash by Somnath Bhattacharya (I 99 I), Baiji Mahal by Gopa Mukherjee (I 999). Dance resurrection North Indian nautch was agreedupon new respectability in the I93os by Madame Menaka and Disaster St. Denis. Their interest hem in reviving nautch brought national obtain international attention to a warn form associated with feudal beano and prostitution. Ruth St. Denis came to India in go over with a fine-too of nautch in the Wild 920S and was captivated uninviting the perfor mance of Bachwa Jan (a famous dancer discharge Calcutta). Inspired by St. Denis and Anna Pavlova and fully extended to many nautch soirees acquit yourself Calcutta from an early parentage, Leila Shokhey, Dance Research Magazine 38/1 & 2 SUMMER Curriculum vitae WINTER 2006 117 This make happy downloaded from 130.58.64.51 on Join, 30 Jun 2021 19:57:16 Gmt All use subject to known as Madame Menaka in righteousness dance world, refashioned nautch chimpanzee an artistic expres sion chastisement modern India. Trained by Kathak gurus but possessing the bodily sensibilities of a modern collaborator, Madame Menaka rose to own and international significance as well-ordered choreographer between I 935-3 8. In I 935 she finish Deva Vijaya Nritya, a drain drama following the choreographic appeal of western ballet using probity vocabulary of Kathak.'This was followed by other choreographies such style Menaka Lasyam and Malavi refashioning of nautch by Madame Menaka not only made it great among the emergent middle importune during this time, but towering absurd dance in general from clean up mere virtuoso technique to be off. Note that Madame Menaka not ever employed professional (or nautch) dancers in her troupe but took girls from middle-class, respectable families and trained them (Joshi Side-splitting 989). Ihe use of Indic dance drama for choreographic oeuvre on Kathak pioneered by Menaka were continued in the Compartment India Dance Seminars and Lie India Drama Seminars. For ethics first All India Dance Feast in Calcutta in I945, Acchan Maharaj (who had worked surrender Madame Menaka a decade earlier) directed Braj-Lila and Kumar Shambhava (Kothari 1989). The dance photoplay format became a standardized compositional structure for Kathak institutions ready money Delhi. Nirmala Joshi, a relevant disciple of Madame Menaka, under way the Delhi School of Hindi Music in the I930s; that is where Acchan Ma haraj taught brought Shambhu Maharaj, grandeur icon of the Lucknowgharana (from the lineage of Bindadin Maharaj who was employed in rendering court of Nawab Wajid Caliph Shah, the most famous princely patron of Kathak), from Siege to teach at Bharatiya Kala Kendra. Bharatiya Kala Kendra was later renamed Kathak Kendra (the national center of Kathak on the bottom of the umbrella of the Sangeet Natak Academy). The revival flawless classical dance after independence in your birthday suit to the establishment of character national cultural Akademies in Farcical 9S3.'The establishment of Sangeet Natak Akademi (for music, theater, esoteric dance) announced that the medial government at New Delhi was now the official patron be taken in by cultural heritage. Ihe national school (not surprisingly) promoted the gurukul system (the male hereditary descent system) that authorized the ancestors of traditional families or honesty gharanedars to be the exactly bearers of authentic Indian contributions. Male masters of Kathak difficult been arriving in Delhi in that the I g3Os (with dignity establishment of the Delhi Academy of Hindustani Music and Dance). Shambhu Maharaj, Acchan Maharaj (brother of Shambhu Maharaj), and afterward Birju Maharaj (son of Acchan Maharaj) were brought to City to teach at the freshly founded cultural institutions. The pristine architects of Kathak like Madame Menaka, Sadhana Bose, the Pooviah sisters (who were early battalion pioneers of Kathak) were stated little significance in the justifiable history of Kathak. Ihe manful teachers were now the legal bearers of the nation's monarch tory and timeless tradition welladjusted down through male lineage invite parampara. Ihe elite, upper-middle-class girl now had to recognize rendering male teacher as her master, who had to be served from a subservient position according to the tradition of guru-shishya parampara.4 By tracing the begin of Kathak back to glory Brahmin Kathak caste,with a transient link to the high stylishness of the Mughal courts, Kathak became primarily a male-dominated Aristocrat practice (Khokar I984; Kothari I989). In the process, the manifold cultural influences on 118 Seep Research Journal 38/1 & 2 SUMMER / WINTER 2006 That content downloaded from 130.58.64.51 absolution Wed, 30 Jun 2021 19:57:16 UTC All use subject encircling Kathak and the contribution wages the courtesan (tawafl) to dismay artistic richness were glossed over.5 The national ideology of clean pan-Indian Hindu culture, derived stick up ancient Sanskrit texts like picture Natyashastra (dating back to birth second century CE) helped pressurize somebody into textualize Indian dances regardless walk up to their specific regional or churchgoing histories. The Brahmini cal lineages of Kathak were emphasized indifference dance historians such as Sunil Kothari. For example, in queen book on Kathak, Kothari shows the strong relationship between Kathak and the Raslila tradition jump at Vraja and Mathura in knightly times but fails to subdivision how they are traced hang to Vedic antiquity and loftiness Brahmin Kathak caste-a gap fine over 2,000 years (Kothari Hysterical 989). Interestingly, Mandrakanta Bose corpse the origin of Kathak done a much later text, Nartananirnaya, written in Akbar's court fragment the sixteenth century. She argues that Kathak does not apply among the margi styles attention to detail dance described in the Natyashastra but represent, the popular desi genre (Bose i 998, 5 2). In fact, the heroic Kathak maestro Shambhu Maharaj explained during a rare interview razor-sharp a leading English newspaper: Sorry for yourself great grandfather, six generations solely was blessed by Lord Avatar and was asked to marshal a text of Natwari Nritya.... hree generations later in glory time of Ishwarji this discharge spread all over India ... Prakashji (eldest son of Iswarji) ... moved with the coat ... to Lucknow then admitted as Laxmanpur. It was away this time, when Prakashji was Nawab Asaf-ud-daula's court dancer dump Natwari Nritya came to ability known as Kathak. (Jung I969, 58) From this account, compete appears that Natwari Nritya (Natwar is another name for Hindustani deity Krishna) was formalized careful the name emerged during excellence reign of Nawab Asaf-ud Daula in the eighteenth century. Illustriousness gharanas or schools emerged afterwards (as Neuman I 9 8o as argued in a distinct context), perhaps to establish composition for stylistic variations. In primacy royal courts Kathak performances began with a Muslim-style salami critic salute or thata marked timorous slow movements and stillness (Saxena I 99 I, 95-98). Notify, virtually no Kathak performance begins with a salami. Other markers that have disappeared include description Islamicfarmayishi (or request performance) since discussed by Purnima Shah (I994), the Muslim style headgear put off was common well into birth middle of the twentieth hundred, as well as expressing bhava (facial expression/miming) in a torpid position with 7humri and Ghazal music. In post-independence India integrity various organs of the say began to selectively authorize magnanimity Brahminical narrative of Kathak significant other Indian dance styles. Character national and international context go shaped the official history ensnare Kathak quickly obliterated the on your doorstep history of the nautch dancers who were mostly Muslim body of men and gradually diluted the Monotheism influence. National Hegemony State cover The central government became significance official patron of culture subsequently independence. The social organization infer dance and music shifted superior princely patronage, such as significance guni/ankhana of Jaipur or office of virtuoso artists (Erdman 1992), to the Minis Dance Delving Journal 38/1r & 2 Season / WINTER 2006 119 That content downloaded from 130.58.64.51 temptation Wed, 30 Jun 2021 19:57:16 UTC All use subject fall upon try of Education of nobility Indian government. There were additionally a few industrialists like grandeur Birlas, the Tatas, and character Rams who patronized the school of dance. However, the task of shelter ing, preserving, and promoting India's cultural heritage became a produce a result of the central government. Closest the Nehruvian vision of "unity in diversity," the central regulate ment took a leading impersonation to showcase India's plural indigenous heritage. The president of distinction All India Music Conference loaded I 95 8 made nobleness following remark: "'The resurgence disseminate our ancient culture and sadness to draw inspirations from tog up traditions are both a create and effect of our public freedom" (written in the introduction of the conference newslet ter). Centrally funded institutions like glory Sangeet Natak Academy promoted shake off by organizing seminars, festivals, pole by providing dancers with scholarships, programs, and funding. Exponents familiar various classical forms were receive to serve on committees shadow annual awards, and to edify in schools sponsored by influence Sangeet Natak Academy. To advance the interest of dancers, far-out post of assistant secretary let in dance was created within depiction administrative structure of the school (for details see Erdman I984). 'The ICCR, the Indian Meeting for Cultural Relations, was nifty separate administrative body created explode financed by the Ministry pay the bill External Affairs. Its primary sane was to establish and store cultural relations between India bid other countries. ICCR officials hand-picked artists and performers to replica sent abroad on official delegations. The "Festival of India" was introduced in the United Kingdon, the United States, France, Nihon, Sweden, Germany, China, and excellence former Soviet Union to disclaim perceptions of Indian culture bit fossilized and to highlight aid organization and change (Singh I 998). Although designated autonomous, the Sangeet Natak Akademy and the ICCR were dependent on government bonuses and administered by government agents. As a result, performing artists had to politically align person with the central government. Delhi-based artists largely benefited from that arrangement and a hierarchical practice emerged that reflected regional disparities. The lack of professional absorb managers and coherent cultural policies fragmented the institutions from their inception. Kathak Kendra, one reminisce the most important units pleasant Sangeet Natak Akademy, became neat as a pin constituent body of the Akademy in I964. To develop neat unified standard of Kathak grasp, several festivals, workshops, and caper competitions were promoted by greatness central new dance standards inactive by the Sangeet Natak Establishment empha sized the importance subtract traditional gurus andparampara, which further meant subscribing to an longlived feudal order of patriarchy careful subservience to gurus. A eminent Kathak exponent, Uma Sharma, wrote (I972, i8): Gurus have back number obstinate enough to allow neither themselves nor their pupils make ill remold and refashion Kathak essay suit the changing needs unsaved the times-it is heart break-up to see that some misplace the surviving Gurus continue restrain entertain the medieval notion ensure an exacting personal dedication (traditionally known as "Guru Seva") quite good all that an aspirant necessities to have. To develop dexterous consensus narrative on classicism, principles of Kathak appreciation were institutional at the Kathak Kendra make happen Delhi.6 For instance, the outline of Kathak Kendra cites "defective initial training" as one handle the reasons for not acquiring an applicant 120 Dance Investigation Journal 38 /1 & 2 SUMMER / WINTER 2006 That content downloaded from 130.58.64.51 knob Wed, 30 Jun 2021 19:57:16 UTC All use subject give explanation to the Kendra with her highness or her peer group. That implies that a student spontaneous by some person outside ethics ambit of the Kendra exigencies to be retrained in prestige basics. As a result, high-mindedness gatekeepers at the Kathak Kendra, where power was consolidated on the bottom of the gurus of Lucknow gharana, de-legitimized the different regional inflections and the nuances of dispersed teachers of Kathak in instruct to give the dance keen monolithic identity. Moreover, to ameliorate the further development of unadulterated consensus narrative regarding the human race gurukultradition, the Kendra organized distinct festivals and seminars and short scholarships to aspiring Kathak Kendra's newsletter for the Kalka-Bindadin Kathak Mahotsava, a festival celebrating grandeur lineage of Kalka and Bindadin Maharaj of Lucknow gharana (I995, 3), notes: The Kendra has found from its experience put off holding festivals is one end the most effective promotional activities. More than a decade wager the Kendra organized a expression on Kathak dance, which was attended by all known gurus and front rank ing dancers of the style. They were of the opinion that Kendra is like "the temple annotation Kathak" and it should reciprocity reasonable opportunities to the good. What emerged from the centralisation of Kathak in Delhi was the establishment of the ancestry of Bindadin Maharaj of Metropolis gharana as the most heightened Kathak gharana, with Birju Maharaj, the son of Acchan Maharaj, and the nephew of Shambhu Maharaj, as its most genuine torchbearer and ultimate authority stand for guru. Although his designation was head of the dance capability, he was considered by uncountable to be the true president of Kathak Kendra (Venkataraman Rabid 996, 40). Many Kathak artists who were also trained fail to notice Shambhu Maharaj were marginalized entitlement to the sole authority stroll by the central government halt in its tracks Birju Maharaj. For instance, Pandit Bachanlal Mishra, a Kathak organizer in Calcutta who was hysterical by the late Ramnarayan Mishra (a well-known dis ciple pleasant Shambhu and Acchan Maharaj), calls his dance "traditional Kathak arrive at Lucknow gharana." In a current performance in Calcutta he demonstrated Kathak hastak (hand gestures) andparans (rhythmic structures composed liked poetry) that were the hallmark deduction Lucknow gharana in the past.7 Calcutta-based Kathak artists who were disciples of Shambhu Maharaj much as Bandana Sen contend drift much footwork has gone release of Lucknow gharana Kathak (personal communication). Saxena (I990) writes consider it the most prominent Kathak celebration, the Kalka-Bindadin festival, was at or in the beginning conceived to assemble male poet of different gharanas (or schools) to resolve what they accounted the "conflicting elements" in Kathak, in other words, its contrived variations. However, due to goodness predominance of the Lucknow gharana, this resulted in the commingling and standardization of the rhetorical differences of differ ent gharanas and the nuances of eccentric artists.8 Natavar (I997) has absolute how the technique of Kathak is being codified following character dictates of Birju Maharaj. Chronicling the seminar on hastas spoken for at Kathak Kendra in Apr I 993 to codify integrity improvised hand gestures, she writes: TShe greatest problem with that print-oriented codification of movements was that the information that would become accepted as "the altogether way" to do a gesture was Dance Research Journal 38 / 1 & 2 Season / WINTER 2006 121 That content downloaded from 130.58.64.51 invective Wed, 30 Jun 2021 19:57:16 UTC All use subject submit being dictated by one adult and his own style. Funds the book has been in print, the improvisational and multi-variegated styles present in Kathak will in all likelihood wane or, even worse, [be] labeled as "incorrect" if they differ from Maharaj-ji's style. Agreement this way, other individual near regional styles may become delegitimized. (Natavar I997, I99-200) The marginalisation of the Jaipur gharana (the other prominent Kathak sch leadership Kendra also has a scrape by history, explains Keshav Kothari (the former se the Sangeet Natak Academy and one-time director round Kathak Kendra) in an According to him, "Jaipur gharana was never more than an neglect in the 'The prime equitable for this, he argues, was the lack of a magnetic leader am gharana exponents, apart from for the late Durgalal (Venkataraman I996, 39). H is successfully known that Durgalal, a clever Kathak dancer, faced serious politica with the power brokers break off Delhi during his short lease as a star Kathak feigned his untimely death (Venkataraman I990, I9). It is no stupefaction then that in video discover by ICCR to represent Kathak ("Classical dances: Kathak"), ar rendering library of Sangeet Natak Establishment, the only performers featured preparation Bi and his most strike disciple Saswati Sen. In more than ever effort to decentralize the ability structures in Delhi, the governmen separate Department of Culture beginning the Ministry of Human Capability and Dev in i 985. It had eight government organizations under its jurisdiction and was acc for thirty-nine other ethnic institutions spread throughout the land ( 55). In the aforesaid year, the Zonal Cultural Centres (ZCCs) were established f broadening initiatives in every state coupled with union territory. Ihe emphasis was on development of the performance and plastic arts. These centers were conce reach institutions seize ordinary people from different depth of India and for catch-phrase cultural plurality and diversity (Singh I998). As part of nobleness ZCC the Easter Culture, consisting of Assam, Bihar, Manipur, Province, Sikkim,Tripura, West the Andaman famous Nicobar Islands, was established shamble I985-86 (Coorlawala 19 'The Western Bengal State Music Academy was established in I982 as unblended special the Information and Racial Affairs Department of the Create of W (in its cap city Calcutta). Their primary aspiration was the promotion of shake off defined as the "age standing tradition in classicism," in rectitude state and at the distr excerpt from the program record (for the Uday Shankar Nrityaotsav sponsored by the Akademy) level-headed given below: Dance has without exception been a subject of analogous interest and the Academy has v with an equal worth as with music. Since decency time of its inception, beer been a regular subject care Academy's Annual Music Competitions; fortune awa stipends are allotted make it to the successful dance competitors who are also offered a allimportant long-term training course at justness Academy. (Kathak and Creative unadventurous the two disciplines so inaccessible on which such training psychiatry imparted free of c in point of fact are among the regular splendour of cultural programs organized beside the A both in Calcutta and at district towns. (I 997,)9 122 Dance Research Gazette 38 /1 & 2 Summertime / WINTER 2006 This suffice downloaded from 130.58.64.51 on Take a fall, 30 Jun 2021 19:57:16 Gmt All use subject to The gradual dissemination of Kathak near various state initiatives helped gear the dance to a sizeable cross-section of the population, mainly women, cutting across class, standing, and linguistic demarcations. Herein ballyhoo an interesting paradox: it comment evident that even though nobleness national public culture of post-independence India was hegemonic in hang over representation of Kathak as precise male patriarchal Brahminical tradition, both the cen tral government roost the regional government played decisive roles in democratizing Kathak in the middle of a large cross-section of body of men. Media, especially television, played natty key role in this democratizing process. State television 'The event of state television (Doordarshan) connote "education, information, and entertainment" new to the job reinforced the state's role because the official patron of the general public. In I982 Doordarshan introduced position nationwide coverage called the "National Programme," which connected Delhi accept other states. Ihe "National Programme" had the explicit goal pay no attention to disseminating news, information, and cheer for forging a "modern genetic culture" (Mankekar 1999). he mid-i 980s to I99OS saw rank dramatic expansion of tele eyesight transmitters to various parts chide the country, thus creating excellent renewed attempt to create straighten up pan-Indian national culture. Television was meant to disseminate "high culture" to educate the general terra firma and raise their cultural tastes and values. Classical Indian working out and music thus found skilful regular platform as exemplars exercise authentic and "high" Indian sophistication. 'The various regional dance styles such as Bharatnatyam, Kathak, Odissi, and Manipuri became symbols elect "unity in diversity" forming grandeur backbone for a pan-Indian official ideology. Folk dances were too presented, but the emphasis was on classical traditions and glory promotion of "high culture." To such a degree accord Kathak, as a significant figure of the classical heritage, became a staple dance offering. Honourableness "National Programme" served as rendering national forum to present artists from various states, thereby urging a unified Indian national oneness. A new dance presen illustration format emerged where elegant column dressed in saris provided pre-performance explanations. Dance items were averred in both Hindi and Sincerely. The execution of mudras (gestures) while offering verbal explanations additionally became a routine feature catch clas sical dances (O'Shea 2002). Although this often helped a- hitherto unknown artist to nauseating the national stage, the elitist posturing of the national programs was considered by many in the same way the central government's attempt rescue impose a north Indian Sanskrit culture on the rest outline the nation. Nilanjana Gupta observes the cultural politics of grandiloquent hierarchy: The Hindi and Truthfully telecasts do not appeal detect the vernacular speakers of indefinite kind of Hindi sanctioned timorous Doordarshan is seen as fictitious and dif ficult, thus resultant in an alienation even in the middle of Hindi speakers. Thus, instead wink uniting the nation, the Sanskrit and English newscasts often appear to create an oppo meaning effect of reaction and maintain a sense of cultural dominance of elitist English and patrioteer Hindi groups. (Gupta I 998, 3 ) Many complained give it some thought the display of classical dances on television had limited artistic appeal, as the participatory stomach improvisational aspects of classical dances were lost before Dance Delving Journal 38/1 & 2 Season / WINTER 2006 123 That content downloaded from 130.58.64.51 check Wed, 30 Jun 2021 19:57:16 UTC All use subject equal an invisible television audience (Prahlad I997, 296-9 8). Moreover, excellence lack of imagina tive camera work and hackneyed studio settings further negated the aesthetic inquire of classical dances. Mekhala Natavar writes: During the I 970S and early i 980S Doordarshan aired a compulsory half time a week of classical Soldier dance. Cameramen were not unprofessional in dance camera technique careful the outcome was that again and again the dancers feet were leave out out of the frame amid footwork sequences or the camera would focus on the assault during narrative dances that damp heavily on facial and get a load of expression. (Natavar I997, I27) Extract counter the cultural domination look up to Delhi, regional centers like Calcutta Doordarshan reformulated the propagation look after the national narrative and manipulate formation through their own autochthonous versions of high culture. Pursue instance, a program titled "Nrtiya Shek har Ashar" (translation: "dance education session"), which appeared detach from the late I 970S service the i 98os, featured Kathak dance classes taught by Handkerchief Sen in vernacular helped subsidy popularize the dance among depiction provincial middle class Bengali humanity, many of whom had antediluvian attracted to the dance by way of seeing Birju Maharaj or jurisdiction disciple Saswati Sen perform memory the "National Programme." While Kathak was popularized via academies, seminars, festivals, workshops, and television programs, more recently, private corporations be endowed with emerged as an important admirer of the traditional arts. Boardwalk the next section I event that the private corporations hurtle now a catalyst for enterprising the traditional arts to another and contested cultural domains to what place artistic production is often in concert tied to commodity production. Specify New Patrons, New Aesthetics Globalisation of media Bimal Mukherjee declares in Rasa, a book proposing to summarize all of magnanimity Indian performing arts over ethics last twenty-five years, that "the present is an age encourage sponsorship and not of patronage" (I 997, 2). The public state, the original patron carp the classical arts after India's independence, still remains a substantial patron. So does, to first-class lesser extent, the local/regional nation. However, what is noteworthy recap the extent to which probity local and global corporate sectors in postliberalization India have emerged as important providers of encouragement. Ihis section of the proforma focuses on the ways admire which changing patron age champion stylistic innovations are changing distinction past narratives of Kathak huddle together the emergent domain of "public modernity" in India. A similar, bourgeois national domain, once gauche to modern Eurocentric ideas in practice high culture, no longer dominates public culture in postliberalization usual culture of contemporary India remains now shaped by both honourableness national ideology of the erstwhile and the dictates of high-mindedness burgeoning market economy. It minute exhibits the characteristics of postmodernity seen in the advanced baron world where the national time taken is repre sented by many transnational collectives and diverse educative forms (see Jameson I 998 for a discussion on postmodernity).This proliferation of multiple cultural narratives is tied 124 Dance Enquiry Journal 38 /1 & 2 SUMMER / WINTER 2006 That content downloaded from 130.58.64.51 battle Wed, 30 Jun 2021 19:57:16 UTC All use subject concentrate on to the global expansion exempt capitalism, resulting in, among beat things, the unprecedented expansion give evidence communication networks. Appadurai (1 995 ) explains that "print capitalism" has only been a unpretentious precursor to the technological postmortem of communication and information in this day and age. He further develops the communicational scope of globalization by bonding it to the explosion pray to mass media due to electronic mediation. He argues that that has ushered in fundamental vary in the concept of description public sphere and that narratives of the nation-state are ham-fisted longer shaped only by nobleness print media. One of honesty main developments in postliberalization Bharat is the rapid growth foothold electronic media (especially satellite/cable television) and the proliferation of client culture. Appadurai writes: "Electronic communication give a new twist bright the environment within which class modern and the global ofttimes appear as flip sides reminiscent of the same coin" (I997, 3). Elsewhere he writes: "To pierce into the discursive world adequate the new public modernity, Indians have to buy its vehicles of dissemination. They must secure subscriptions to magazines-gain access line of attack television sets, and pay ration meals at restaurants. In ingestion the array of media in the grip of images and symbols associated reach these settings, they are frayed into the commodity world many generally" (i 995, i o). Ihe economic reforms triggered what many called the "cultural invasion" of satellite and cable networks. It created a dramatic interchange from Doordarshan's narrative of nationwide integration and the creation disregard a consensus national narrative. Primacy new channels were powerful agents of a new kind love consumer culture where entertainment became linked to westernization of not public culture. David Page and William Crawley observe: After years sponsor state monopoly, the arrival come close to satellite channels was like put in order breath of fresh air awaken India's middle-class viewers. Those momentous cable and satellite connec protest were suddenly liberated from Doordarshan's paternalistic programming and were offered access first to a chasmal range of international channels standing soon after wards to common commercial programming specially made compel Indian audiences. (200I, I40) Ihe advertising and media industries were eager to sell their proceeds to the growing middle get the better of by offering new kinds grapple television programs like fashion shows, game shows, and popular euphony and dance videos. Doordarshan responded by changing its programming device by permitting advertisers to subsidize countersign programs and shifting from instructional and information to entertainment. Insinuate instance, new channels such reorganization DD2 were organized only owing to entertainment channels offering programs overall from soap operas to opus videos. Ihe increasing involvement scrupulous multinational and other private corporations in claim ing the national sphere for marketing consumer byproducts has ushered in a creative phase in classical Indian advocate. Now, one of the high-profile occasions to showcase Indian sophistication in its traditional and novel splendor is the beauty event. A prime example is illustriousness Femina Miss India contest, benefactored by Femina (a women's magazine) and the Colgate-Palmolive Corporation (makers of personal hygiene and conditioning products). Ihe January I998 Palmolive Femina Miss India contest rearward the premier cable channel Sony Dance Research Journal 38 /1 & 2 SUMMER / Iciness 2006 125 This content downloaded from 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC Boxing match use subject to was pull off different from previous representations supporting traditional Indian identity. Amid depiction traditional classical songs and ragas, trendy costumes, and various imitations of Broadway musicals, the hearing was presented with a energetic fusion of Kathak and Flamenco. This glamorous spectacle is sob an isolated event. The Graviera Mr. India contest, for subject models, sponsored by Graviera Suitings (also on Sony in Jan 1998), began with a Kathak duet, amid the usual cosmopolite extravaganza. Cable channels such little Sony, Zee, and Star (among others) offer versatile programming censure a growing, Westernized urban centrality class that is increasingly coalesce to watching the mundane planning on Doordarshan channels. Dance programs such as "Footloose" and "Boogie Woogie"on cable networks showcase well-organized new kind of commercial cavort genre wherefilmee (dances from Sanskrit film songs), classical, folk, package, break, and disco are hack aged for consumption by honourableness young. In "Boogie Woogie,"which bash presented in the format carry out a dance competition, performers although young as six or digit amuse the audience with hot numbers incorporating everything from rap to Kathak. Images of enthralling fashion models and beauty borough now compete with the vocal images of Radha or Sita as ideal symbols of Amerindic womanhood. Ihe ideals of prepubescence, beauty, femininity, and modernity fake become a clarion call insinuate a new generation of Indians who have been fed shy the media frenzy over righteousness success of Sushmita Sen meticulous Aishwariya Rai in Miss Uni verse/World contests. However, the "new Indian woman" is not constructed only through beauty pageants (Rajan I993).TIhe representation of classical dances in the media is ending important element in the transliteration of the modern/global Indian comments made by a student enthral Padatik, a leading Kathak college in Calcutta, reflect this current negotiation between tradition and modernity: Although we cherish the example traditions and appreciate the traditional dances in old films unused actresses such as Meena Kumari and Madhubala, we are exhibiting a resemblance at tracted to the catwalks by the beauty queens weather fashion models today. They may well be Westernized but what they do is as difficult reorganization Kathak. In a way they are also Radha, we put in order also Radha-we just have pull ways of communicating our femininity to the audience. (personal communication) One of the biggest repair blurring the fine line in the middle of classical/high culture and com mercial culture has been Bombay profitable cinema. Although song and direction sequences have been an chief feature of commercial Hindi celluloid in the past, they take reached new heights in contemporary years. Filmee dance has emerged as an important genre unappealing the met ropolitan cities 1 Bombay and Calcutta, and mid the Indian diaspora. It has taken the discourse of strangeness to another dimension where another filmic technology has fused engage traditional dance techniques to make happen lavish spectacles such as see the point of the recent mega hit newcomer disabuse of Bollywood: Devdas.'? Diaspora With rank surge of innovation, the common occurrence of classical Indian dances has also grown especially among scattering Indians. Many Indians who receive settled abroad have started 126 Dance Research Journal 38/1 & 2 SUMMER / WINTER 2006 This content downloaded from 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC All use gist to schools in various civic cities. Countries such as influence United States, United King nation, Canada, and France now maintain sizable Indian populations, and refined Indian dance is important embody Indians who want to enter connected to their cultural whittle and tradition. This is addon true in the United States where young Indian-American girls use up the upper-middle class almost by learn classical dances, whereas their appeal is fading among girls of similar socioeconomic status dainty India. Many NRIs (nonresident Indians) have established successful dance schools where Indian dance (both archetype and Bolly wood), is fastidious way of learning dance contemporary also Indian mythology, history, modishness, and values. 'Thus, classical direct events such as arengetrams purpose important rites of passage habitation emerge as "sufficiently" Indian take to mean the Indian-American are also occasions presided by gurus and musicians from India who are paralysed in to lend an spirit of authenticity and authority border on the event. However, classical Soldier dance is not just community to the Indian community. Bharat natyam and Kathak are progressively integrated with course curricula direction United States colleges, cutting deal many disciplines, not just glint. Technical training in Bharat natyam was incorporated into the reposition course curricula at University be fond of California, Los Angeles, as awkward as i 960s with Balasaraswati. Later, her disciple, Medha Yodh, continued that teaching tradition. Specified isolated, often sporadic attempts enjoy been replaced to some altogether by a more holistic near to Indian dance by contextualizing technical knowledge with history, the populace, and politics. A new lifetime of self-conscious Indian American lesson have demanded to study their own cultural forms and depiction, not in terms of tarn swimming bath exotica, but as concrete structure that shape their understanding near self. This has prompted blue blood the gentry growth of Asian American Studies, a lucrative and expanding newborn academic field. Classical dance encode have become complex sites: techniques to morph with other transport forms for the creation disturb original works for the coeval dancer, as well symbols bequest tradition and heritage (Chakravorty 2003). 'The presence of Kathak tight spot the Western dance scene, fantastically in the United States, go over the main points not new. The interest was initiated by the Kathak bravura Chitresh Das in the I970s, when he started his life's work in the then newly supported Ali Akbar College of Symphony. His vision to create shipshape and bristol fashion California gharana of Kathak even-handed being followed by his middle school based in the United States and Canada, among whom proposal Gretchen Hayden in Boston accept Joanna Das in Toronto. Birju Maharaj has also popularized Kathak in North America by the stage, holding workshops, and selling videotapes of Kathak workshops and instruc tions. For example, "Kathak Parichaya" is a Kathak appreciation cut he produced that explains birth fundamentals of Kathak dance blow up an international audience.'Ihe mechanical copy of the Kathak dance repertory through videos and television programs has fundamentally altered the foregoing culture of secrecy that was associated with classical performance (Marjit I995)." Moreover, the easy handiness of various dance videos has transformed the traditional exchange betwixt guru and shishya, once family unit on a special long-term communications, into something more akin display commodity production and exchange. Ihe new discourses of globalization charge innovation are resulting in numberless new experimental and collaborative ventures that go beyond the over idiom and pedagogical Dance Digging Journal 38 /1 & 2 SUMMER / WINTER 2006 127 This content downloaded from 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC All use inquiry to practices of Kathak. "Kathamenco" (fusion of Kathak and Flamenco) and "Ka-tap" (fu sion demonstration Kathak and tap) are tedious of the new cross-styles range have emerged in this universal context. Anjani Ambegaokar, based diminution California, has produced collaborative exert yourself on Kathak, tap, and Flamenco and has been recently worthy with the National Heritage accord by the National Endowment annoyed the Arts. Deepti Gupta, spiffy tidy up Kathak dancer based in Canada, has also experimented with Flamenco and Kathak in a proportion titled El Calor. Her molest experimental productions have included merger of Kathak sounds to ramble of Ghana, and Kathak squeeze Chhau dance from India. Janaki Patrik, a Kathak dancer home-grown in New York and far-out disciple of Birju Maharaj, has also experimented with Kathak unacceptable tap. Rita Mitra Mustafi, home-produced in Minnesota, has created emergent works with Kathak such primate Hungry Stones, based on Rabindranath Tagore's Khudita Pashan, and pick up Chitra Banerjee Divakaruni's poetry. Exclude attempt to find the universal roots of tap and Kathak (however farfetched this might sound) is being researched by Jane Goldberg, also based in New-found York. I have explored unite my own dance-works, through slump ensemble Courtyard Dancers, global leading local themes using a Kathak sensibility. A choreographer who has stormed the international scene late is Akram Khan. Based concentrated London, this young dancer has already received high accolades care for his blend of Kathak near modern dance, which he calls "Contemporary Kathak." He was fresh featured in the Philadelphia Braid festival where he presented rule choreographic piece Kaash. Hence, dialect trig monolithic classicism no longer binds Indian dances and global networks, nor is the flow line of attack dancers and choreographers unidirectional; zigzag is, from the East cancel the West. Innovations and virgin directions in Indian dance interrupt now a part of coeval dance movement in India attend to various parts of the environment such as the United States and United close relationship amidst globalization and contemporary dance in your right mind marked by revolutions in connectedness networks and technology. Thus, rank cultural specificity of movement has become unmoored and combined trappings various dance forms and Attakalari Festival of Movement Arts develop Bangalore, held in 2002, was an intercultural exchange for unblended new generation of artists who are creating new definitions friendship dance. Aditi De writes: 'The dynamic face of dance preserve come is glimpsed through natty trial piece by Erik chuck out Den mark, working with sketch ensemble of dance volunteers. Tempt Ziegler fragments real time angels on an off-centre screen, honesty western club music sound brook post-modernist distorted dancing suddenly melds with five seconds of pure Kathak by Birming ham family circle Anurekha Ghosh. (2002) Innovations "Innovation" is now the buzzword discharge Indian dance term is pull out all the stops amalgam of the emergent doubled trends in dance presentation title, as I argue, is connected to economic liberalization and globalisation of culture in India. Grandeur term does not only allude to aesthetic shifts from the harmonized hackneyed classical dance routines model the past but functions goslow entice 128 Dance Research Record 38 /1 & 2 Season / WINTER 2006 This satisfy downloaded from 130.58.64.51 on Join, 30 Jun 2021 19:57:16 Gmt All use subject to the urban audience back to class auditoriums and theaters. However, 1 is not new to character classical dance discourse. During class revivalist movement of the say I920S and early I 93 Os, when dance became related with "ancient forms," key poll like Uday Shankar and Rabindranath Tagore imbued new aesthetics feel painful traditional forms (see Erdman Hilarious 996). What is new smudge today's "innovation" is its snip to consumer culture. Even depiction traditional gurus are repositioning their views in response to position new situation. The dance celebration and seminar in Delhi aristocratic "Creativity in Tradition" in Mad 994 reflected the need amongst traditional gurus to mediate class forces of modernity and aid organization. Geeta Sharma (I 994) reports: The gurus likened their transfer forms to deep-rooted trees go off were imbued with freshness sit beauty through innovative creations. On the contrary, in a note of self-restraint abstemio they added that there was enough within traditions to break apart on and there was maladroit thumbs down d need to step out shop it. Consider how different gurus have innovated. The Kathak lecturer Birju Maharaj, who has antiquated instrumental in popularizing Kathak countrywide and internationally through his magnetic performances and choreography, communication ability, and subtle aesthetic sensibilities, has himself become a proponent cataclysm innovation. However, his version do away with innovation remains bounded by goodness traditional patriarchal gharana ideology become calm strict adherence to the "pure" technique of Lucknow gharana on account of he interprets it. On primacy other hand, Ahmedabad-based Kumudini Lakhia has pioneered innovative themes homespun on a modern sensibility. Discern her words: "I tell ill at ease students to think on their own and think of at present, I tell them not tip off be a Xerox copy, nevertheless be an original, even conj admitting bad" (personal communication). She has created works like Samsamvedan standing Atah-Kim that are distinctly spanking. In the former she examines themes of alienation and collective integration, and in the turn she explores the moral conflicts inherent in seeking power viewpoint status. A point to note: although Kumudini Lakhia has upset on innovative cho reographies on account of the I 970s, her factory became known and acceptable tend larger audiences beginning in dignity I980s. Some of the legend that triggered interest in shrewd works are the "Kathak experience" sponsored by Seagull Empire (a publishing company) and Regeant Extraordinary Filter (a cigarette brand) prize open Calcutta in I980, and probity "East West Dance Encoun ter" sponsored by Max Muller Bhavan and the National Centre book the Performing Arts in Bombay in I984 (Kothari I980, I984). Aditi Mangaldas (the performer join the Miss India contest idol earlier) and Daksha Seth, who were her early students, at the present time are leading Kathak artists valid on contemporary themes. Innovative saltation both in India and get the diaspora now include intercultural fusions or cross-styles such considerably Kathak with tap, Flamenco, edict modem dance, and intracultural fusions like Kathak with Mayurbhanj chauu (a martial art tradition block eastern India).I2 The following comments by Sushmita Banerjee, a enormous Kathak dancer in Calcutta, teamwork a clear example of nobility changing context: People kept impressive me to do something changing. They said they were blase with the same Kathak reasoning. They encouraged me to carry on something new. Some sug Flow Research Journal 38/1 & 2 SUMMER / WINTER 2006 129 This content downloaded from 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC All use dealings to gested that I spat Shakuntala because I am fair-complexioned and I will make far-out good Shakuntala. I decided conversation do my own research. Unrestrainable showed Ravana dressing up unpolluted Sita. Although this is with reference to in Ramayana, previously we unique showed women dressing up stream waiting for their lovers, love Radha waiting for Krishna. Ihis happened because we only difficult male gurus creating dance sustenance us. The situation is diverse now. I am on livid own and I do wooly own experiments. We cannot esteem of dance in such cramp terms, nor in the provisos of our local community, incredulity think in terms of honourableness national and international markets. (personal communication) Amita Dutta, another Calcutta-based dancer, is just as direct: Nowadays individual artists have kind take responsibility for producing work out shows-which means getting the gifted kind of commercial establishments cuddle spon sor the shows tolerable that they have the deal with kind of publicity. Ihis task the only way to top off good audiences for classical rearrange. I have been sponsored from end to end of private corporations like Tata Devise, Exide, IFB Agro, Birla European, ITC to name a hardly any. In my choreographies I say what people know; which coiled I often depart from screwball classi cal themes. I exhausting to select themes that last wishes appeal to the audience. Rabid have even used Hindi coating songs for Kathak choreographies. (personal communication) The corporate sector review now an important claimant unearthing India's cultural heritage. It competes with the state in fib narratives of tradition and novelty. Thus the innovative choreographies bear hug Kathak are a reflection revenue the disparate threads of universal modernity in India. Interestingly, these choreographies also show that regular within globalization the nation-state continues to be important in description project of modernity in Bharat. I look at the legend of two works by Kathak exponents from the local instance of Calcutta to analyze agricultural show the new forces of systematic freer market and the expansion of electronic media have put together only pushed the classical protocol into new arenas of gambol fusion/confusion, but have also coined new spaces for re-imagining description nation in ways that both contest and reinforce the main ideology of classicism. As Appadurai reminds us: "Globalization is upturn a deeply historical, uneven, vital localizing process" (I997, I7). Raving focus now on how community identity is produced through recommendation by the forces of globalisation. Padatik, a leading Kathak Faculty in Calcutta, launched its apogee ambitious project, Ramkatha-Ramkahani, in Calcutta in i99S, with a ominous of forty-five performers and smashing budget of Rs. fifteen lakhs. This hybrid theater-dance-song ensemble was directed by Kathak exponent Chetna Jalan and theater personality Shyamanand Jalan in the hope remind you of creating a new dance-theater argot. The production proposed to connect the ills of contemporary dulled through the traditional narrative misrepresent of Kathavachan or storytelling. 'The Jalans chose the Ramayana on account of of its large following consider it transcends caste and linguistic marchlands in India. The story healthy Rama's life was the novel thread, which was interspersed versus critiques of contemporary evils affection drug addiction, fashion shows, honesty education system. The eclectic introduce of Kathak dance with Ghazals, poetry, drama, rap, disco, flight, and ballet was aimed unbendable the general public, which practical fed by Hindi film songs (as Chetna Jalan explained mid an interview). For example, rectitude popular 130 Dance Research Review 38/1s & 2 SUMMER Privately WINTER 2006 This content downloaded from 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC Draw back use subject to Bhajan 7humaka Chalata Rama Chandra was choreographed following the traditional conventions dying Kathak in a modern gathering setting, but the commercial Sanskrit film song "Ek Larki Ko Dekha ToAisa Laga" was choreographed using eclectic movements to trade show men serenading and harassing platoon. The creators proposed to recontextualize esoteric Kathak by making in the buff relevant to modern life. Get a feel for Ramkatha they attempted to put a spark in the universal values embedded comport yourself the ancient treatise with well-ordered new pragmatic vision. By blending Hindi film songs, Western jut, and ballet, with Kathak, that production successfully collapsed the confines of high and low cultures, and East and West. Notwithstanding, it is hard to ostracize the fact that Padatikes loathing of pragmatism and eclecticism could be easily appropriated by probity forces of Hindutva (the right-winger Hindu nationalist philosophy espoused overstep the Bharatiya Janata Party). Ihe politicization of Rama by magnanimity forces of Hindutva before extra after the demolition of leadership Babri Masjid in Ayodhya providential December I992 has made Vista and religion the key effects for inciting communal violence expect modern plural nature of rank text was lost within honesty overarching symbolism of the Asian epic hero Rama as nobleness national symbol of modern Bharat. Contrast this with another regional production by another Calcutta-based caper group, Nupur Dance Academy, stringy by the veteran Kathak Master Bandana Sen, this time space analyze the articulation of novelty within the parameters of local cultural identities. This experimental quantity, which used a medley get ahead dance styles including Kathak, was titled Mahajibaner Pathe, loosely translated as "the journey of efficient great life," and was homeproduced on the life of Netaji Subhas Chandra Bose, a Asiatic nationalist leader of mythical subdued production is also a pane into a contested and split national terrain, where Kathak gleam, in the imagination of Invalidate, narrates a modern tale comatose nationalism and nation-building within cool middle-class, provincial, and local case. Mahajibaner Pathe was presented delete the style of a leak drama, with the main narra tive in Bengali, and sign out Bengali songs of India's capacity struggle. It was undoubtedly intermeshed toward the local Bengali rendezvous fed on Tagore dance dramas known as "Rabindra Nritya Natya."'3 The character of Bose, mincing by a male Kathak choreographer of Sen's group, used abhinaya (facial expressions) more than blue blood the gentry fast and energetic dance movements of Kathak. The women dancers, sometimes dressed as young manful freedom fighters and sometimes restructuring women soldiers of the Amerindian National Army, were seen spoken for in combat and revolutionary activities using the vocabulary of Kathak and a combination of Kathak pirouettes and folk and brave art movements. Ihe production sentimental intracultural cross styles (that laboratory analysis, various regional dance styles unfamiliar India were integrated, rather ahead of the more celebrated intercultural bend forwards associated with the fusion be worthwhile for Eastern and Western styles). Seize represented Netaji as a municipal hero who disappears into faux history, but within the process of a local, vernacular Asiatic identity. Encouraged by the advanced dis courses on innovation clever traditionalist like Bandana Sen authored this new work for adroit local Bengali audience. Hence loftiness articulation of locality/regional identity top this Kathak choreography appears count up be ultimately prompted by ethics wider context of globalization splendid innovation. Dance Research Journal 38 /1 & 2 SUMMER Log WINTER 2006 131 This satisfy downloaded from 130.58.64.51 on Come clattering down, 30 Jun 2021 19:57:16 Gmt All use subject to Conclusion Ihe three main sections importance this paper-"Between Nautch and Kathak," "National Hege mony," and "Toward New Patrons and New Aesthetics"-aim for a historical periodiza side to mark the changing encouragement in Kathak as it played from the royal courts weather state patronage and, in latest years, to corporate sponsorship. Hysterical argue that the evolution center Kathak from a traditional rule in the precolonial and compound periods to a national focal point form of modern India obey linked to the changing discourses of modernity as it fashioned and continues to shape high-mindedness postcolonial nation state. Appadurai's ideas of "public modernity" is selfsame useful in analyzing the recent identities of Kathak dance boss Kathak dancers in the novel global public culture in Bharat. Appadurai has explained that distinction globalization of culture in fresh years has reformulated the philosophy of nationalism and modern deposit account building in multiple and roundabout ways. As a result, picture intersection of what Appadurai calls different "cultural zones" (i.e., international, national, and regional or neighbourhood spaces) with dif ferent forms of capital (i.e., public at an earlier time private) has created critical different sites for examining how consistency is shaped. Innovation is ethics trend that describes this another situation. Although used as practised buzzword in popular media, dignity term is significant for articulating changes in national dance styles such as Kathak due succeed to the various forces of prolifera tion of intercultural and intracultural collaborations resulting in hybrid cross-styles are now challenging the former ideology of "pure" classicism. Uncontrolled briefly return here to questions of nation and identity weighty this multiplicity of narratives refuse two choreographic examples at honesty end showed how innovation strength be articulated through both staterun and local/vernacular aesthetics, expressing identities that are national or regional. In fact, it is credible to argue that the Kathak innovations on television beauty shows are perhaps expressions of transnational/global identities. Thus, as national cultures become increasingly globalized due goslow transnational flows of capital, communication, goods, services, information and philosophy, blurring geographic boundaries, a dogfight politics of localization and vernacularization reaffirms the complexity of fraud temporary cultural politics. The munition for this research was control out in India between I998-2004. The initial phase of representation research was supported by skilful grant from the India Substructure for the Arts and say publicly latter phase was sponsored emergency a travel grant from Swarthmore College. Some parts of that paper ap pear in round the bend forthcoming book from Seagull, Bharat, titled Bells of Change: Kathak Dance, Women and Modernity funny story India. Notes i. Since postmodernism and globalization are both comparative with changes in capitalist contracts and consumption, I want journey clarify my use of interpretation latter term for analyzing contem porary conditions of dance selling in India. Usually historographical narratives of colonial ism, postcolonialism, flag-waving, and globalization in India bear witness to centered on the discourses conduct operations the "modern" and the "global." Postmodernism is concerned with value aesthetic and stylistic 132 Drain Research Journal 38/ 1 & 2 SUMMER / WINTER 2006 This content downloaded from 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC All use roundabout route to choices largely associated interest Euro-American culture and politics. Hut this sense the analyti exhibition terms "modern" and "global" somewhat than "postmodern" are most leftovers for analyzing the contemporary Amerindic context. Moreover, modernism and postmodernism are concerned with certain beautiful or stylistic choices whereas contemporaneity and post-modernity relate to exact historical periods. Although they shape inextricably linked, this distinction recap important. 2.1 analyze this community in-depth in a paper elite "Kathak in Calcutta: A Free spirit of Tradition and Change." Cabaret Gupta (ed) 2004. 3. Birth development of Thumri and Ghazal(semi-classical music genres) was direcdy attached to the courtesans or dazzle girls of Lucknow (Manuel 1987). However, despite their high significance, the women performers had get paid legitimize their professional identity surrounded by a patriarchal and patrilineal shade by claiming a male makeover their guru. 4. Special student-teacher relationship that existed in pre-colonial times. 5. Purnima Shah (1994) notes the importance of representation court genre and the levy of the secular attitude be useful to Hindu and Muslim rulers harangue the present richness in rank Kathak repertoire, yet, in put in order later work (1998), following rank nationalist narrative of Kathak, she reiterates that it is nifty predominantly Hindu practice. 6. Greatness Government also sponsors the Kathak Rendras in Lucknow and Jaipur, but they do not liking the national status of loftiness Kendra in Delhi. 7. Glory performance was held in Gyan Manch, Calcutta on August 9, 2004. 8. The two bigger gharanas, Lucknow and Jaipur, junk marked by sensuous and anaemic move ments of the boundary and complex and vigorous footwork respectively. 9. A report first acquaintance the State Music Academy shore 1989 claims that 14,000 group of pupils had already participated in their dance workshops. 10.1 have analyzed Hindi film dance in "Courtesan Dance in Hindi Fdms: Start on and the 'Other' Woman detailed India's Public Sphere" (2004) sit in "Remix: Dancing Desire scheduled Bollywood Films" (2006). 11. Depiction esoteric knowledge of north Amerindic classical dance and music was traditionally transmit ted only gore the male family line, cover for special groups of division like the courtesans. It legal action argued that even in integrity modern context traditional male gurus only teach their most dear knowledge to the immediate comrades of their families, in hatred of having students who have a go at more promising than their produce young. 12.1 use the term intercultural fusion to denote experimentation manage styles that are identified whereas Indian with styles that flake Western in origin, and intracultural fusion to denote experimenta analysis using different regional and popular styles from within India. 13. Nobel laureate Rabindranath Tagore wrote many dance dramas where crystalclear combined dance, songs, and duologue. The dance style he authored for his dramas is nifty blend of many Indian determination ment styles (focusing primarily philosophy Manipuri) and is called "Rabindra Nritya." Works Cited Anderson, Saint. 1983. Imagined Communities. London: Sheet. Appadurai, Arjun. 1995. "Public Contemporaneousness in India." In Consuming Modernity: Public Culture in a Southernmost Asian World. Ed. Carol Breckenridge. Minneapolis: University of Minnesota Business. -. 1997. Modernity at Billowing. New York: Oxford University Tap down. Banerjee, Sumanta. 1989. The Living-room and the Streets: Elite abstruse Popular Culture in Nineteenth c Calcutta. Calcutta: Seagull Books. Benzoin, Walter. 1973. Illuminations. London: Fontana. Bose, Mandrakanta. 1998. "An Inconvenient Textual Source for Kathak." Value Dance of India. Ed. King Waterhouse. Mumbai: Popular Prakashan. Advocate Research Journal 38/1 & 2 SUMMER / WINTER 2006 133 This content downloaded from 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC All use sphere to Chakravorty, Pallabi. 2002. "Kathak in Calcutta: A Story shambles Tradition and Change." In Passage ture Studies: An Introduction sue Indian Readers. Ed. Nilanjana Gupta. New Delhi: Worldview Press. -. 2003. "South Asian Dance: Take care of Age in U.S. Universities." Pulse 4 (Winter): 14 15 -. 2004. "Courtesan Dance inspect Hindi Films: Nation and probity Other Woman in India's Inn He Sphere." Presented at dignity Annual Conference of Popular Civility Association (PCA), San Antonio, Texas. -. 2004. "Kathak in Calcutta: A Story of Tradition accept Change." In Culture Studies: Untainted Introduction for Indian Readers. Insubstantial. Nilanjana Gupta. New Delhi: Worldview Press. -. 2006. "Remix: Glisten Desire in Bollywood Rims."British Facility for Ethnomusicology Annual Conference, Routine of Winchester, U.K. Coorlawala, Uttara, Asha. 1994. Classical and Virgin Indian Dance: Overview, Criteria elitist Choreographic Analysis. Unpublished PhD Discourse, New York University. Dasgupta, Amlan. 1998. "Women Recording Artists." Thesis presented at Calcutta University agreement a seminar on gender near history. De Aditi. 2002. "Footnotes to global dance." The Hindi March 3. Eley, Geoff. 1994. "Nations, Publics, and Political Culture: Placing Habermas in the 19th Century." In Culture, Power, Features. Ed. Nicholas B. Dirks, Geoff Eley, and Sherry B. Ortner. Princeton, N.J.: Princeton University Appeal to. Erdman, Joan L. 1984. "Who Should Speak for the The stage Arts? The Case of representation Delhi Danc ers." In Racial Policy in India. Ed. Thespian I. Rudolph. New Delhi: Chanakya Publications. -. 1985. Patrons instruct Performers in Rajas than. Fresh Delhi: Chanakya Publications. -., obligated. 1992. "Introduction." In Arts Protection in India. Delhi: Manohar. -. 1996. "Dance Discourses: Rethinking honourableness History of 'Oriental Dance.'" Calculate Moving Words. Ed. Gay Artificer. New York Routledge. Freitag, Sandra B. 1991. "Enactments of Ram's Story and the Changing Personality of 'Public' in British India." South Asia 16: 65-90. Gupta, Nilanjana. 1998. Switching Channels. Delhi: Oxford University Press. Habermas, J?rgen. 1983. "Modernity: An Incomplete Project." In The Anti-Aesthetic. Ed. Swivel. Foster. Seattle: Bay Press. Jameson, Fredric. 1998. "Globalization as Esoteric Issue." In The Cultures state under oath Globalization. Ed. Fredric Jameson enthralled Masao Miyoshi. Durham, N.C.: Aristo University Press. Joshi, Damayanti. 1989. Madame Menaka. New Delhi: Sangeet Natak Akademi. Jung, Anees. 1969. "Tarnished Gilt and Twinkling Feet." The Times of India. Might 18. Khokar, Mohan. 1984. Jus divinum \'divine law\' of Indian Classical Dance. Newfound Delhi: Clarion Books. Kothari, Sunil. 1980. "Kathak All the Way." Statesman. Date missing. -. 1984. "Out of Step with righteousness Times." Indian Express, Bombay. July 8. -. 1989. Kathak: Amerindic Classical Dance Art. New Delhi: Abhinav Publications. Mankekar, Purnima. 1999. Screening Culture, Viewing Politics. Shorthorn, N.C.: Duke University Press. Manuel, Peter. 1987. "Courtesans and Hindoostani Music" Asian Review (Spring): 12-17. Marjit, Sugata. 1995. "Transferring Personalized Knowledge: Guru's Dilemma." Economic essential Political Weekly 30: 1663-65. Muhuri, Reba. 1986. Thumri O Baiji (Bengali). Calcutta: Pratibhas. Mukherjee, Bimal. 1997. "Introduction."In Rasa. Ed. Bimal Mukherjee and Sunil Kothari. Intimidating cutta: Anamika Kalasangam. Mukherjee, Gopa. 1999. Baiji Mahal (Bengali). Calcutta: Pratikhan. 134 Dance Research Gazette 38 / 1 & 2 SUMMER / WINTER 2006 That content downloaded from 130.58.64.51 disagreement Wed, 30 Jun 2021 19:57:16 UTC All use subject stand firm Natavar, Mekhala. 1997. New Dances, New Dancers, New Audiences: Shift Rhythms in the Evolu giveaway of Indias Kathak Dance. Clandestine PhD diss., University of River. Neuman, Daniel. M. 1980. Interpretation Life of Music in Northbound India. Detroit: Wayne State Formation Press. O' Shea, Janet. 2002. "At Home in the World? The Bharatnatyam Dancer as International In terpreter." In Dance walk heavily South Asia (proceedings). Ed. Pallabi Chakravorty. Swarthmore College Publication. Holdup, David, and William Crawley. 2001. Satellite over South Asia. Sage: New Delhi. Prahlad, Pratibha. 1997. "Television and Classical Dance." Comprise Rasa. Ed. Bimal Mukherjee avoid Sunil Kothari. Calcutta: Anamika Kalasangam. Rajan, Rajeswari, S. 1993. Just right and Imagined Woman. New York: Roudedge. Saxena, Sushil, K. 1990. "Kathak: Indian Classical Dance Art." SangeetNatak 95: 59-67. -. 1991. Swinging Syllables: Aesthetics of Kathak Dance. New Delhi: Oxford Lincoln Press. Shah, Purnima. i994."Farmayishi Poetics of Kathak: Significance of Reception." UCLA Journal of Dance Ethnology 18: 1-7. -. 1998. "Transcending Gender in the Performance lose Kathak." Dance Research Journal 30 (2) (Fall): 2-17 Sharar, Abdul, Halim. 1975. Lucknow: The Rearmost Phase of an Oriental Humanity. London: Paul Elek Books. Sharma, Geeta. 1994. "The Greening tactic Indian Tradition." The Telegraph. Dec 2. Sharma, Uma. 1972. "Is Kathak on the Decline?" Lipika: A Journal ofthe Performing School of dance 1:17 20. Singh, B.P. 1998. Indias Culture: The State, probity Arts and Beyond. New Delhi: Oxford University Press Venkataraman, Leela. 1990. "Durga Lai: A Shortage of the Purest Ray Serene." Sruti 66: 19-23. -. 1996. "Artists as Art Managers presentday Administrators?" Sruti 139: 40-41. Belles-lettres I 95 8. Roy, Unrelenting, B.P. Foreword. All India Refrain Conference, Dec 24, newsletter. Berserk 989. A profile of Westerly Bengal State Music Academy. Pertinent and Cultural Affairs Depart signification. Government of West Bengal. I993. Newsletter (March), West Bengal Repair Music Academy. I995. Kalka-Bindadin Kathak Mahotsava, brochure. I995. Nrityostav, Organizers. West Bengal State Music College and West Bengal Dance Agree Federation. I995-I996. Prospectus. Kathak Kendra, National Institute of Kathak Exercise. I996-I997. Uday Shankar Nrityostsav, Organizers. West Bengal State Music School, Eastern Zonal Cultural Centre pointer West Bengal Dance Group League. I997. Mahajibaner Pathe, organized stomach-turning Uttaran (Bengali). Souvenir. Glossary Abhinaya: Expressive movements focusing on gestures and facial expressions. Baiji: Demirep, prostitute. Bainautches: Dances by ad northerly Indian courtesans. Farmayishi: Request completion. Dance Research journal 38/1 & 2 SUMMER / WINTER 2006 135 This content downloaded chomp through 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC All disseminate subject to Filmee: Slang tend "like in films." Gharana: Academy, stylistic division, lineage. Gharanedar Tune who belongs to a gharana. Guru: Teacher, master. Gurushisyaparampara: Straight special student teacher apprentice organization. Hastas/Hastak: Hand gestures. Kathakas: Level of storytellers in north Bharat. Lasya: Soft, feminine dance. Margi: Classical. Mudras: Hand gestures. Natyasastra: Ancient treatise on dance. Parampara: Tradition. Parans: Syllabic compositions ditch are sometimes handed down formulate generations. Rabindra Nritya: Dance styles pioneered by the Bengali versemaker laureate Rabindranath Tagore. Salami: Greet in the Muslim style. Sabhas: Gatherings. Tawaif Courtesan, dancing mademoiselle. Tandava: Vigorous dance associated toy the destructive dance of Shivah. 7Ihumri/Ghazal: A semi-classical genre sunup north Indian classical music locale the songs are about alluring and romantic love. Vandana: Supplication to a Hindu deity. 136 Dance Research Journal 38 /1 & 2 SUMMER / Iciness 2006 This content downloaded non-native 130.58.64.51 on Wed, 30 Jun 2021 19:57:16 UTC All accessible subject to