Tradition And Transformation In Mohiniyattam Dance

Tradition and Transformation in Mohiniyattam Dance: An Ethnographic History demonstrates how Mohiniyattam, a form previously stigmatized, was reinvented as a sign of traditional Keralite womanhood. The book traces how the emergence of Mohiniyattam as a traditional form of dance based on a feminine aesthetic was synchronistic with the outlawing of polyandrous marriage practices and devadasi practices, as well as changes in matrilineal inheritance and the outlawing of and reforms in women’s dress customs in Kerala, India. These layers of history and cultural meaning permitted Mohiniyattam’s renaissance as a sign of female grace and tradition. Throughout, Lemos argues that practicing and learning movement is a gateway to understanding a system of semiosis. Danced movement itself can be a locust, a bellwether, and even an agent of social change.

"Textbook for undergrad general education and dance courses on the topic of dance around the world. It serves as a gateway into studying world cultures through dance"--

As stories of Indian dance’s renaissance span almost a full century, there has emerged a globally dispersed community of Indian dancers, scholars and audiences who are deeply committed to keeping these traditions alive and experimenting with traditional dance languages to grapple with contemporary themes and issues. Scripting Dance in Contemporary India is an edited volume that contributes to this field of Indian dance studies. The book engages with multiple dance forms of India and their representations. The contributions are eclectic, including writings by both scholars and performers who share their experiential knowledge. There are four sections in the book – section I titled, “Representations’ has three chapters that deal with textual representations and illustrations of dance and dancers, and the significance of those representations in the present. Section II titled, “Histories in Process” consists of two chapters that engage with the historiographies of dance forms and suggest that histories are narratives that are continually created. In the third section, “Negotiations”, the four chapters address the different ways in which dance is embedded in society, and the different ways in which the aesthetics of a form has to negotiate with social, economic and political imperatives. The final section, “Other Voices/ Other Bodies” brings voices which are outside the mainstream of dance as ‘serious’ art.

In this volume, sixty-eight of the world's leading authorities explore and describe the wide range of musics of India, Pakistan, Bangladesh, Sri Lanka, Kashmir, Nepal and Afghanistan. Important information about history, religion, dance, theater, the visual arts and philosophy as well as their relationship to music is highlighted in seventy-six in-depth articles.

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Transcultural Negotiations of Gender probes into how gender is negotiated along the two axes of ‘belonging’ and ‘longing’– the twin desires of being located within a cultural milieu, while yearning for either what has passed by or what is yet to come. It also probes into the category of ‘transculturality’ itself, by examining how not only does it pertain to the coming together of cultures from diverse spatial locations, but how shifts over time and changing performative modes and technological means of articulation, within what may be presumed to be the same culture, can also lead to the ‘transcultural’. The volume comprises four sections. Part I, ‘(Be)longing in Time’, examines negotiation of gender through transcultural acts of myths, rituals and religious practices being revised and revisited over time. Part II, ‘(Be)longing in Space’, studies how gender is renegotiated when people from different spaces interact, as also when public spaces and domains themselves become sites of such negotiations. In Part III, ‘Performing (Be)longing’, such transcultural negotiations are located in the context of changing modes of performance, considering particularly that gender itself is performative. The final section, ‘Modernity, Technology and (Be)longing’, traces how gender becomes transculturally negotiated in a space like India, with the advent of modernity and its companion technology.