Abstract
Bharatanatyam in Great Britain is currently identified as a South Asian dance. This understanding of the art as a transnational genre of a geolocal area contrasts with the Indian perspective of the form as an Indian national art of the nation state. This paper traces the development of the term "South Asian" in U.S. academic practice in the post– World War II era and notes the adoption of the term in the British academy and by dance practitioners in the United Kingdom. The South Asian label was transformative in that it transnationalized and hybridized the historical identity of Indian bharatanatyam in the 1980s. This transformation was realized not just through the juxtapositing of local/global terms but through the establishment of local/global institutions. The history and implications of the borrowing are detailed.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.