The Performing Arts of India: Development & Spread Across the Globe by Sharon Lowen - 2005

Shubhi Publications, 2005. Hardcover. New. 20 x 25 cm. This book originated from the issues of Indian classical performing arts in the world context of presentation, performance, training and learning traditions in today`s milieu by students and artists from non-traditional backgrounds. Many of the ideas presented here were first shared during seminars in the `90`s bringing together artists, gurus, and arts scholars in conjunction with a unique series of classical Indian dance and music festivals that changed the perception that non-Indian practitioners of these arts could be regarded as artists and not simply students. It is fascinating to examine how arts and artists survive and flourish under varied circumstances. Side by side it is important to thoughtfully consider how we all can responsibly further the arts using our Indian and collective capacities. Artists are drawn to a particular aesthetic genre because of inner resonance with the form, which crosses boundaries of region and even nationality. The sadhana (devotion to work or practice as a means toward self-perfection) of an artist is inherently difficult and success of a performer uncertain, more so for those born outside the tradition who leave the security of their home culture to devote years of their lives to their chosen art. Opportunities for foreigners are limited more by restricted entry into the world of performance patronage than by lack of artistic skill. As more non-Indians have been drawn to Indian classical dance in recent years, the standard has been improving. Just as many of the top Western classical Ballet and Modern dancers are from Asia, traditional Indian classical dance forms are becoming international as boundaries fall between borders and art. The first Videshi Kalakar Utsav (Foreign Artists` Festival) was supported by the Delhi Government`s arts body, the Sahitya Kala Parishad, in 1990. This pioneering festival changed forever the idea that non-Indian practitioners of Indian classical dance and music could be students, but not “artists”. The success and vitality of this festival continued inspiring six annual festivals, each accompanied by seminars that marked the reality that Indian arts were becoming international, not only to audiences around the world but also in that the performers themselves were coming from a wide variety of cultural origins. The concept of these festivals and seminars of art without frontiers evokes a generosity of spirit required more than ever today. In acknowledging both the truth and fact that we all share an inner reality that is reflected in art, the many facets of aesthetic ex-pression are potentially available to all without restriction of borders and boundaries, physical or conceptual. Printed Pages: 210. Performing Arts of India: Development & Spread Across the GlobeSharon Lowen9788187226949