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Shriram Bharatiya Kala Kendra: A History Sumitra Charat Ram Reminisces

By Ashish Khokar

Lustre/Roli Books, 1999. Hardcover. New. The documentation of the recent history of the arts and artists of India has been more fanciful than factual. Artists, creative as they are, compile profiles that do not always stick to facts or bear scrutiny in historical terms. It is left to chroniclers to set the record right. The history of post-independence India is rather recent to have been recorded fully. Early scholars were busy trying to revive and reestablish art forms lost to a long, colonial rule. This book focuses on the last fifty years, coinciding with India attaining freedom from foreign rule. Most dramatis personae are alive and have contributed personal recollections to the book. Sumitra Charat Ram symbolises the generation that was born at the beginning of this century, and through the changing fortunes of the country, helped serve the arts and artists of India by creating a viable platform - the Shriram Bharatiya Kala Kendra - where very few existed in Delhi. Her persona is a perfect foil for the two worlds - the artistic and the commercial - to meet. Ashish Khokar, her collaborator, comes from a family of scholar-artists and is a product of young, independent India. His concerns, as also his insights, are from a point of view of a new, vibrant India. Exposed to arts and artists from childhood and trained in several forms, he offers insights into their beings, while the critic in him dissects their life and times dispassionately. Ultimately, this compilation is relevant for no other reason than the fact that while stars and established names are celebrated, a lot of lesser known but no less talented people are neglected or remain uncelebrated. A sizeable section of this book reads like a who`s who of the art world of India, especially of its capital city, New Delhi. This is the story of the Shriram Bharatiya Kala Kendra, which is the story of the countless artists it has produced and projected. This book celebrates India`s artistic genius. And, in the process, celebrates those who made it possible. Printed Pages: 192. Shriram Bharatiya Kala Kendra: A History Sumitra Charat Ram ReminiscesAshish Khokar9788174360434


Tandava Laksanam or The Fundamentals of Ancient Hindu Dancing

By Bijayeti Venkata Narayanaswami Naidu,Pasupuleti Srinivasulu Naidu,Venkata Rangayya Pantulu

Munshiram Manoharlal Publishers Pvt. Ltd, 2015. 5th or later edition. Hardcover. New. 19 x 25 cm. Tandava Laksanam or The Fundamentals of Ancient Hindu Dancing being a translation into English of the fourth chapter of Natyasastra of Bharata, with a glossary of the technical dance terms compiled from the eighth, ninth, tenth and eleventh chapters of the same work, illustrated with original photographs of the sculptured dance poses in the Great Temple of Siva Nataraja at Cidambaram, and containing special appendices of aesthetic and archaeological interest. Printed Pages: 195. NA


Indian Classical Dances

By Shovana Narayan

Shubhi Publications, 2005. First edition. Hardcover. New. 22 x 30 cm. India is a fascinating country with plurality of ethnicity, cultures, religions and philosophy. Unsurprisingly this plurality extends to the arena of classical dances having the distinction of being the only country with eight recognized classical dance forms, all of which are bound in the single thread of spirituality and philosophy radiating the fragrance of `Indianness`. Though many books on Indian Classical dances are available, this book y Shovana Narayan can easily be described as the `book among books` on Indian Classical dances for it is a comprehensive and detailed encyclopaedia on the eight recognised classical dance forms essaying the historical evolution and influences, characteristic identifying features, techniques and also the format of presentation in an evening`s programme of each style. This book also details the repertoire, texts utilised, accompanying music and musical instruments, costues and make-up so characteristic of each dance form. This book with its exhaustive information and liberal use of photographs is a must for all. Some of the interesting nuggets of information prove to be eye-openers demolishing and demystifying few prevailing hypothesis. Printed Pages: 240. Indian Classical DancesShovana Narayan9788182900233


Garba Rasa a Folk Music and Dance

By Kalhans Patel

Neeraj Publishing House, 2009. First edition. Hardcover. New. This book deals with the most important and the popular subject about the prized Cultural Heritage of Gujarat, mainly its folk art forms, with special reference to the Garaba-Rasa. It examines Garaba-Rasa from the prehistoric to the present and from cultural, literary and archaeological points of view. But it is not merely an academic study; it includes the musical and performative aspects of the genre. The approach undertaken here is both multi-disciplinary and interdisciplinary. The study is the result of extensive field work and archival research. This book illustrates the distinguished aspect of Gujarat`s Rasa-Garaba. The famous folk art of Garaba is basically associated with the worship of Mother Goddess, a sentimental phenomena. It is a symbolic representation of Mother Goddess worship as a supernatural power of fertility, creativity, and universality, under the impact of Shakti cult Garaba was developed and under the impact of Vaishnavism, or Krishna cult, Rasa was developed. The book encompasses a wide range of fields cutting across each other. Although, it is a part of the larger discipline of Ethnoarchaeology with the physical and the cultural environmental study, it can be allied with such subjects as Ethno-Musicology, Indology, Sociology, Cultural Anthropology, Art, History, Linguistics, Literature, Music and Dance. The book can be useful to the scholars interested in specialized disciplines mentioned above and the common people who are brought up in the traditions of folk art, music and dance of Gujarat. Though scholarly and richly allusive to literature and ancient scriptures, it is written in a simple and lucid style which can be easily intelligible to the common masses interested in knowing the rich Cultural Heritage of Gujarat. The book also includes some most popular sample Garabas which are written, composed and rendered by the author and some folk songs collected from rural and tribal areas as rare collection and rendered by the author, who has a lifelong interest in these songs. CONTENTS: Introduction; Acknowledgement; 1. Etiology and Geneses of Garba 2. Antiquity and Beginning of Rasa 3. Development of Rasa Through the Ages 4. Rasa in Present Days 5. Origin and Development of Garaba 6. Rasa-Garaba in Sculptures and Paintings 7. Rasa-Garaba in Relation to Religious and Social Changes Printed Pages: 146. Garba Rasa a Folk Music and DanceKalhans Patel9788190565080


Kathaka: The Tradition; Fusion and Diffusion (Series: New Vistas in Indian Performing Arts 9)

By Ranjana Srivastava

D.K. Printworld (P) Ltd., 2008. First edition. Hardcover. New. 19 x 25 cm. The book traces the history of Kathaka from ancient to the medieval period: its origin and continuous evolution in a struggle for existence through a process involving fusion, diffusion and adaptation. It studies its etymological meaning in a painstaking effort which involves a discussion on the influence of Kathakya Acarya, Sage Katha and the generic similarities between Rasalila, Hallisaka, Carcari, Rasa, and present-day Kathaka. It shows that Kathaka has as ancient origin and is an indigenous Indian dance. It deals with the three distinct sections that form the present-day Kathaka. Surveying a host of religious and secular literature including the Natyasastra, the Abhinaya Darpana and the Sangita Ratnakara and referring to sculptural reliefs from temples and illustrations from manuscripts including the the Akbar-Nama, it undertakes a detailed and illuminating study of gestures, postures, movements and stances of Kathaka An attempt to help readers gain a better insight into the Kathaka dance, the volume will interest practitioners and lovers of classical dance forms of India. Printed Pages: 288. Kathaka: The Tradition; Fusion and Diffusion (Series: New Vistas in Indian Performing Arts 9)Ranjana Srivastava9788124604731


Nayika Bheda in Kathak

By Chetana Jyotishi

Agam Kala Prakashan, 2009. First edition. Hardcover. New. 19 X 25 cm. Nayika Bheda in Kathak deals with various types of heroines with respect to their mental setup and apparent behaviour. Women are ever behaviour right from an early age can provide a clue to dealing with them. Various female characters in Natya, ie Drama, revolve around her temperament, and attitude towards life as a whole. Drama attempts to portray true picture of women hitherto called Nayika. Kathak dance is rich in this respect. It presents various facets of Nayika through a number of Kavittas, Thumaris and the like. However, contrary to general notion, Kathak leads the viewer to higher and sacred levels of Sringara Rasa. Printed Pages: 252. Nayika Bheda in KathakChetana Jyotishi9788173200779


Legacy of Classical Dances in India

By Usha Mehta

Cyber Tech Publications, 2011. Hardcover. New. The twenty-first century, such a neat division into mutually exclusive territories no longer holds; nor indeed, as this book demonstrates, were such strict demarcations ever wholly operative in Dance research. Some branches of ethnography, in the Eastern European and Scandinavian disciplines of ethnology, ethnography, and Folk life studies, explicitly aimed to document Dances from the past by seeking out older Ways of life to record for posterity. From the middle of the twentieth century, some historians of dance/ influenced by Western European and North American practices of Oral history, for example, similarly found sources among the living about dancing that was no longer performed. In pursuing dance research, it has not always been easy, nor necessarily desirable, to ignore the potential Benefits to be gained by combining synchronic and diachronic perspective. Printed Pages: 280. Legacy of Classical Dances in IndiaUsha Mehta9788178847733


The Power of Performance: Actors, Audiences and Observers of Cultural Performances in India

By Elisabeth Schombucher,Heidrun Bruckner,Phillip B. Zarrilli

Manohar, 2007. First edition. Hardcover. New. 15 x 23 cm. The volume aims at examining the transformative power of performances from three perspectives: that of the performer, of the audience and of the observer. In Part I, different rituals are studied from the perspective of the performers, their physical enactment and their techniques of empowering a performance and creating presence. What makes their performance meaningful, true, efficient? How do they empower a performance? Is it words, action, charisma, or merging the individual personality with the enacted character? The papers in Part II switch over to the perspective of the audience. The meaning and the impact of power cannot be derived from the actor alone. The decision about the authenticity of a performance or about its failure is to a large extent taken by the audience. The contributions to Part II show that there might be an objective meaning in a performance, but it is also subjectively made by each member of the audience. In Part III, problems of cultural translation and representation are dealt with from the perspective of the outside observer. Assuming that actors, participants and audience understand a performance in accordance with their respective cultural and personal background, it becomes essential to consider the observer`s perspective. It is demanded that not observing and describing, but acting oneself is the way to obtain new insights into how the power of performance is obtained. This has resulted in another approach : observers learning to be performers themselves. Three scholars-cum-performers provide new insights into what exactly empowers a performance, what it means to give up one`s own individual personality, what it means to taste emotions and make the audience taste them as well. CONTENTS: Introduction/Heidrun Bruckner and Elisabeth Schombucher I. THE PERFORMER : POWER AND PRESENCE IN THE ENACTMENT OF THE PERFORMER : 1. Spectacle and Power in the Organization of Kingly Ritual : The Case of Jodhpur, Rajasthan/Marzia Balzani 2. Devadasis and Village Goddesses of North Tamil Nadu/Hanne M. de Bruin 3. How to Attain Heaven : The Vajapeya Sacrificial Ritual/Karin Steiner 4. Cakyar Initiation in the Kutiyattam Theatre of Kerala : The Arannerram Performance/Bozena Sliwczynska II. THE AUDIENCE : THE INTERPLAY BETWEEN PERFORMER AND AUDIENCE : 5. Empowering Performance : The Choreographic Techniques of Uday Shankar/Joan L. Erdman 6. Between Performance and Competence : Exploring the idea of Audience According to Indian Classical views/Mirella Lingorska 7. The Power of Listening : Giving Meaning to Divine Words in Possession Performances/Elisabeth Schombucher III. THE OBSERVER: RECONSIDERING THE CATEGORIES OF THE OBSERVER : 8. The Faculty of the Voice/Saskia Kersenboom 9. To Enjoy Playing with play/Heike Moser 10. Embodying the Lion`s `Fury` : Ambivalent Animals, Activation and Representation/Phillip B. Zarrilli 11. Creating Presence : Performing the oral Narrative of Devnarayan/Aditya Malik Contributors Printed Pages: 290. Power of Performance: Actors, Audiences and Observers of Cultural Performances in IndiaElisabeth Schombucher,Heidrun Bruckner,Phillip B. Zarrilli9788173047688


Indian Dance: The Ultimate Metaphor

By Shanta Serbjeet Singh

Ravi Kumar Publisher, 2000. First edition. Hardcover. New. 23 x 29 cm. This book recognises the fact that within India a new generation of Yamini Krishnamurtys and Sonal Mansinghs has grown up. They juggle a serious passion for dance with a host of other interests, from computer studies and mathematics to micro- biology. Indian Dance, The Ultimate Metaphor touches all aspects of Indian dance spanning from the traditional to the futuristic. It blends analysis and interpretation and offers a bracing perspective on how classical dance has taken shape through the ages, enriched our culture and maintained our store of wisdom, sanity and humanity, even as it prepares for the enormous challenges it faces in the new millennium. It celebrates the brilliant flowering of Indian dance throughout the world. Hundreds of young Dutch, Surinamese and other nationalities learn Odissi in Antwerp. Its School of Tabla Teaching is among the best anywhere. There are Japanese teachers of Kathak in Perth. In Montreal, Toronto and many other cities of Canada, a high level of research and scholarly work on Indian dance studies has been going on for several years now. In the United States, even small towns boast of a Bharat Natyam or a Kuchipudi teacher and multi-cultural classes of enthusiastic learners. This is a seminal volume with contributions from some of the most eminent names in their respective fields of dance, complemented by a rare portfolio of photographs of gurus and dancers - both past and present. Printed Pages: 257. NA


The Performing Arts of India: Development & Spread Across the Globe

By Sharon Lowen

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


Bharatanatyam (Dances of India)
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Bharatanatyam (Dances of India)

By Prathibha Prahlad

Wisdom Tree. Hardcover. New. Bharatanatyam, one of the more popular classical dance forms, is a composite art. Widely practiced in Karnataka and Tamil Nadu, it is at once a sensual and divine experience. It was performed by dancers who were called devadasis in the temples as an integral part of the religious rituals. The erstwhile princely courts patronised the temples and hence its various traditions from where the dance form drew its sustenance. Printed Pages: 100. NA


Odissi (Dances of India)
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Odissi (Dances of India)

By Sharon Lowen

Wisdom Tree, 2009. Hardcover. New. The repertoire, training and technique of today`s Odissi is explained with a clarity that students of dance and afficionados of Indian performing arts will find of great value in understanding this lyrical art form. Printed Pages: 104. NA


Tribal Dances of India

By R.D. Tribhuwan

Discovery Publishing House Pvt. Ltd., 1999. Hardcover. New. In recent years, there has been a World wide concern about preserving traditional art, folklore, Folk music, dance forms.handicrafts & so on.These rich Traditions are vanishing day by day, due to rapid changes that are taking place in these societies.Tribal dance forms are no exception to this rule. Efforts are made to preserve & promote these traditions by documenting them, using various techniques. Social Scientists, including Anthropologists in India, have made passing references of tribal dances in various Monographs & books, however there is not a single Book on tribal dances of India. Hence, this humble Beginning has been made by publishing this book. This piece of work will certainly be useful to students & Research scholars of Anthropology, Sociology, Musicology, Rural & Tribal Studies, Choreography, Art & culture , Music & Dance, Professional Film Makers,and definitely to the Departments of Tribal Development, Social Welfare, Human Resource Development, including Cultural Ministries. Besides this, it will also develop interest among NGO`s & general readers as well. Contents, 1. An Introduction to Tribal Dances of India/Robin D. Tribhuwan and Nandakishore Kapote 2. Indian Perspective on Global Similarities in Dances and Music/Monika Spolia 3. Asurs and Their Dances/Joseph Marianus Kujur 4. Andh Dance Forms/Robin D. Tribhuwan and S.R. Shevkari 5. Birhors and Their Dances/Joseph Marianus Kujur and Michael Topno 6. Wedding, Festival and Hunting Dances of the Bhils/Robin D. Tribhuwan and Vijaya Kulkarni 7. Dances of Rajasthan Bhils/Meenu Walter and Nisha Mathur 8. Crerow and Khuallam Dances of Mizos/J.C. Kurian and R. Th. Varte 9. Dublas and Their Dances/Robin D. Tribhuwan and Preeti R. Tribhuwan 10. The Dhodia Dances/J.C. Patel 11. Dhor Kolis: Changing Facts of Their Rhythm and Melodies/Robin D. Tribhuwan and Shantilal P. Bansode 12. ""Ghumara"" Folk-Dance--A Glory of Kalahandi/Kunj Bihari Nayak 13. The Vanishing ""Ghotuls"" Among the Kondhs of Koraput, Orissa/B.V. Bhanu and R.D. Gambhir 14. Dances of the Garo (A` Chick Mande)/Susan Chand, Subhas Marak and Jashia Marak 15. The Chhibali and Holi Dances of the Gamits/Robin D. Tribhuwan and S.R. Salunke 16. Gavari Dance of the Mewad Bhils/Meenu Walter 17. The Dambadi and Rela Dances of the Gonds of Gadchiroli/Robin D. Tribhuwan 18. The ""Ho"" and Their Dances/Joseph Marianus Kujur 19. Dance and Music of Hmar tribe/Bokul Mutum 20. Kokna Dances/B.V. Bhanu and Robin D. Tribhuwan 21. The Kharias and Their Dances/Joseph Marianus Kujur 22. `Kabui` Dances/Robin D. Tribhuwan and Lancharung Rongmei 23. Ethnographic Profile and Folk Dances of the Kolams/Robin D. Tribhuwan 24. The Korku Dances/Shailaja S. Deogaonkar and S.G. Deogaonkar 25. Festival Dances of the Kotwalia Tribe of Gujarat/Robin D. Tribhuwan and Preeti R. Tribhuwan 26. The Kothmir, Dhamdi, Gauri and Dhol Dances of the Katkaris/Robin D. Tribhuwan and Markus Kappel 27. ""Lodha""` Dances/Nabakumar Duary 28. The Vanishing Melodies of Mahadeo Kolis/Navinchandra Jain and Robin D. Tribhuwan 29. Dances of the Muduvan tribe/C.R. Sathyanarayanan 30. Folk Dances of the Mundas/Susan Chand and Prem Bhingra 31. Dance Traditions of the Malhar Kolis/Robin D. Tribhuwan and Preeti R. Tribhuwan 32. Rela Dance of the Madia/Anjali Kurne 33. War Dances of the Nagas/Susan Chand and Vora Mathotmi 34. Dance and Music of Naga Tribes from Manipur/Bokul Mutum 35. Oraon Dances of Bihar/Chaturbhuj Sahu. 36. Oraon dances in Chotanagpur: an impact study/Nabakumar Duary. 37. Glimpses of Pardhan Culture and Dance forms/Robin D. Tribhuwan and Preeti R. Tribhuwan. 38. Pawaras and Their Dances/John S. Gaikwad 39. Dances and Music of the Paites/Bokul Mutum 40. Dance Forms of the Siddis/Shaunak S. Kuklarni 41. Festival Dances of the Santhals/Susan Chand and David T. Chand 42. Santal Dance/Atul Ch Printed Pages: 436. Tribal Dances of IndiaR.D. Tribhuwan9788171414437


Kuchipudi (Dances of India)

By Radha Reddy,Raja

Wisdom Tree. Hardcover. New. Khuchipudi, from Andhra Pradesh, was originally a dance-drama form. This is the first attempt to demystify the nuances of a form that has always been the preserve of the males. Printed Pages: 100. NA


Kathakali, Kutiyattam and Other Performing Arts: Fifty Years of Theatrical Exploration

By G. Venu

Natana Kairali, 2005. First edition. Softcover. New. 14 x 21 cm. Printed Pages: 229. NA


Aesthetics Kala aur Saundarya ka Darshnik Vivecana (in Hindi)

By Manjula Saxena

D.K. Printworld (P) Ltd, 2008. First edition. Hardcover. New. 15 X 23 cm. After its attainment of Independence, India has witnessed the quickening of a new life in the field of art as well. Cultural exchanges between its various regions have shown a marked upswing, and reflection on cultural matters has also increased beyond expectations. Concurrently, in quite a few of our colleges and universities aesthetics has been included in the syllabi as an optional subject of study. Some books on this subject, mostly written in the traditional way, are surely available; but philosophical aesthetics, which is today regarded as a distinct intellectual achievement of the twentieth century, still remains largely neglected in the field of Indian scholarship. What is worse, a Hindi book on this form of aesthetics has never been attempted before the present work. It is precisely this need which this book seeks to meet fairly. With an eye to facilitate understanding of the basic concepts and related problems of contemporary aesthetics, the author has taken pains to give appropriate references, as illustration, to Hindi, Urdu, and English poetry, and music. This should make the book useful to students of both philosophy and music. Its language is simple Hindustani; and the manner of writing is free from needless ambiguities. Readers in general should therefore find it not only easy to follow, but interesting as well. Printed Pages: 365. Aesthetics Kala aur Saundarya ka Darshnik Vivecana (in Hindi)Manjula Saxena9788124604694


Kathakali: The Dance-Theatre

By Kalamandalam Govindan Kutty

The Asiatic Society, Kolkata, 2004. 5th or later edition. Hardcover. New. 19 x 25 cm. Kathakali the Dance-Theatre, a detailed treatise by Govindan Kutty is probably the first of its kind by a Kathakali actor. It contains all the essentials necessary to a serious student of Kathakali as well as easy stepping stones for the uninitiated to explore the wonderful world of this dance-theatre. The guide to pronunciation is path breaking and should be useful to readers outside Kerala in correcting common but accepted errors. The detailed list of ornaments, the exhaustive tala notation guide the Hasta Lakshana Deepika in Roman script as well as in English translation are evidence of the author`s sincerity and aptitude for detail. Kathakali`s scientific sign language system should achieve wider understanding and popularity on the reading of this book. And Kathakali teachers as well as students should realise the importance of studying & teaching the Kathakali technique instead of merely concentrating on its grand costumery after studying this book. In fact this book should go a long way in supporting the spread and survival of Kathakali as an art form outside Kerala. CONTENTS: Foreword; Preface; Guide to Pronunciation; 1. The Beginning of Kathakali 2. The Development 3. Poorvaranga Vidhanam (The Preliminaries of a Play) 4. The Stage, Make-up and Costume 5. Natanam : a. Nrittam b. Natyam c. Nrityam The Hasta Lakshana Deepika (The Lamp of Hand Gestures) Life Sketches of Some Famous Kathakali Actor-Dancers Printed Pages: 76. NA


Tagore’s: Dance-Drama Omnibus

By Utpal K Banerjee (Tr. & Intro.)

Niyogi Books. Softcover. New. 14 x 21 cm. The six dance-dramas translated in this book cover a culmination of Rabindranath Tagore’s dance-interest in the latter’s most effulgent manifestation. It was only in the last half decade of Tagore’s life that his dance-consciousness reached its zenith and he could offer the best of his life-time passion for dance in the form of six dance-dramas, namely, two music-dramas: Taser Desh (interspersed with prose dialogue), Shapmochan (with narrator), and four full-bodied dance-dramas: Chitrangada, Shyama, Chandalika and Mayar Khela (re-visited). All the dance-dramas are predominantly ‘recitative’ music dramas. The clear story-line is piggybacked mainly on the ‘recitative’ pattern of the melodiously articulated dialogues and narratives, interlaced with songs. The translation follows closely the letter and spirit of the original (including the lyrics), in trying to do justice not only to the rhythm and metre of the original, but also the internal rhymes, so that the exquisite poetry and lyrical beauty of Tagore can be savoured even in the translation. Printed Pages: 182. Tagore’s: Dance-Drama OmnibusUtpal K Banerjee (Tr. & Intro.)9789381523537


New Directions in Indian Dance
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New Directions in Indian Dance

By Sunil Kothari (Ed.)

Marg Publications, 2010. 5th or later edition. Hardcover. New. 17 x 21 cm. Contains contributions of dancers, choreographers, inn actors, scholars and scholars which cover a wide range of topics which mirror the new directions Indian dance is taking. Explores the tradition of abstraction, martial arts and other dance traditions. Also covers issues of inter-culturalism and modernism. Generously illustrated the book reveals the mystique of the new Indian dance. Printed Pages: 204. New Directions in Indian DanceSunil Kothari (Ed.)9788185026626


Dances with the Cranes

By G.D. Bakshi

Sharada Publishing House, 2004. First edition. Hardcover. New. Dances with the Cranes celebrate, the magic and mystery of death and rebirth. These are poems of reincarnation I that trace the rites of passage of the soul in the flight of the majestic Black Necked Cranes. Each year, from September to 1 November these birds migrate from Tibet and colder regions of China to Bhutan and Arunachal Pradesh. The Black Necked I Cranes is the national bird of Bhutan. It is called Thrug-Thrug-Kam by the Druktas. It is deemed to be a good omen. It is la symbol of good fortune, fidelity and hope. Its hypnotic dance is a metaphor for hypnotic dance is a metaphor for the Trans-migration of the soul. If we can understand the cadence of its dance, we can solve for ourselves the riddles of our I death and rebirth. Today, unfortunately these magnificant birds are facing extinction. In the years to come will these regal cranes dies altogether? Will they vanish without a trace? Will our children see them dance? Do the symbols of our hope and resurrection deserve to die? Today we desperately need to save these birds. In saving them we will save ourselves I and our good earth. Contents:- Foreword Prologue 1. Dragon Kingdom 2. Black Cranes 3. Dances with the Cranes 4. Songs of Life 5. Forever amber 6. Memories and Moon Beams 7. Reincarnation 8. Russet Red Robes and Rosaries 9. Beginnings and Endings 10. I Do Not Know 11. The Cranes Come Again 12. I have Heard that Song Before 13. Imaginings 14. Black Cranes Come Year After Year 15. Strange Plumage 16. The Black Crane Comes 17. Herons Song 18. Truth 19. Regal Wings 20. A “Now” Forever 21. I Love you Mother 22. Buddha Purnima 23. We Live even as We Die 24. Learned Lama 25. Can The ‘I’ Ever Die 26. Nameless Yearnings 27. Songs That Sob on The Breeze 28. Mother I Miss You 29. Ugliness 30. Compassion 31. King of Cranes 32. Clamour of The Cranes 33. Migratory Birds 34. The Birds 35. The King Fisher 36. Sacred Ibis 37. Birds Migrates the Self Transmigrates 38. Incense 39. Rimpoche 40. Iron Mountain 41. Dances with The Cranes 42. I Ching 43. Two Te Ching 44. Two Golden Oreoles 45. Wisdom of the Ashwatha Tree 46. Bardo – The Book of The Dead 47. Gelung Trumphets 48. Will You Recognise Me? 49. Om Mane Padme Hum 50. Om A Hum 51. Whirlpools in the River of Time 52. Fragments of Eternity 53. Rivers Flow 54. Who am I You Ask? 55. That Truth is Not Taught 56. The River of Happiness 57. Waves in the Sea 58. Mystery of The Magic Lake 59. Herons Cry 60. We will come Again 61. Do Not Cry 62. Death on The Battlefield 63. Cherry Blossoms Printed Pages: 88. NA


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