Bharatanatyam Dance Research Articles

Suitability study of certain features and classifiers for Bharatanatyam double-hand mudra images

Bharatanatyam, a traditional Indian classical dance, requires a study under the supervision of experts. At present, there is a scarcity of experts in this fine art, which requires leveraging of technology to make it self-pursuable. This paper presents a three-stage methodology for classification of double-hand mudra images of Bharatanatyam, wherein contours of mudras are obtained first, cell features are extracted that include number of vertical and horizontal intersections of grid lines with the contours of the mudras, mudra type and Hu-moments, second and classified using three classifiers, namely, rule based, artificial neural network and k-nearest neighbour, third. A comparative study of classifiers is given for their suitability. The proposed method finds many applications such as e-learning of mudras and proper postures leading to self-learning of Bharatanatyam dance, and online commentary during concerts.

Eye movements, attention, and expert knowledge in the observation of Bharatanatyam dance.

Previous research indicates that dance expertise affects eye-movement behaviour—dance experts tend to have faster saccades and more tightly clustered fixations than novices when observing dance, suggesting that experts are able to predict movements and process choreographic information more quickly. Relating to this, the present study aimed to explore (1) the effects of expertise on eye movements (as a proxy for attentional focus and the existence of movement-dance schemas) in Indian Bharatanatyam dance, and (2) narrative dance, which is an important component of Bharatanatyam. Fixation durations, dwell times, and fixation-position dispersions were recorded for novices and experts in Bharatanatyam (N = 28) while they observed videos of narrative and non-narrative Bharatanatyam dance. Consistent with previous research, experts had shorter fixation durations and more tightly clustered fixations than novices. Tighter clustering of fixations was also found for narrative dance versus non-narrative. Our results are discussed in relation to previous dance and eye-tracking research.

A Comparative Study of Suitability of Certain Features in Classification of Bharatanatyam Mudra Images Using Artificial Neural Network

Bharatanatyam is an Indian classical dance, which is composed of various body postures and hand gestures. This ancient art of dance has to be studied under the supervision of experts but at present there is dearth of Bharatanatyam dance experts. This has led to take leverage of technology to make this dance self pursuable. Thus, it is the motivation for automation of identification of mudras through image processing. This paper presents a 3-stage methodology for classification of single hand mudra images. The first stage involves acquisition and preprocessing of images of mudras to obtain contours of mudras using canny edge detector. In the second stage, the features, namely, Hu-moments, eigenvalues and intersections are extracted. In the third stage artificial neural network is used for classification of mudras. The comparative study of classification accuracies of using different features is provided at the end. To corroborate the obtained classification accuracies, a deep learning approach, namely, convolutional neural network is adopted. The work finds application in e-learning of ‘Bharatanatyam’ dance in particular and dances in general and automation of commentary during concerts.

A vertical-horizontal-intersections feature based method for identification of bharatanatyam double hand mudra images

Bharatanatyam is an Indian classical dance, which has to be studied under an expert. In villages, semi-urban areas and foreign countries the experts are scarce. In order to promote, popularize and make it self-pursuable, this Indian art requires technological leveraging. With this motivation, the goal of this work is to automate identification of mudras through Image processing. This paper presents a three stage methodology for identification of 24 double hand mudra images of Bharatanatyam dance. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours of mudras using canny edge detector. In the second stage, cell features are extracted that include number of vertical and horizontal intersections of grid lines with the contours of the mudras. In the third stage, a rule based classifier is developed to classify the given image into 24 classes of mudras. The proposed method is implemented using OpenCV with Microsoft visual C++ IDE. The proposed method finds many applications such as e-learning of mudras and proper postures leading to self-learning of Bharatanatyam dance, online commentary during concerts, and adoption to many other forms of dances prevailing in India and outside.

Combined Hu moments, orientation knowledge, and grid intersections feature based identification of Bharatanatyam mudra images

This paper presents a three-stage methodology for identification of mudra images of Bharatanatyam dance. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours and edge images of mudras using canny edge detector. In the second stage, features such as Hu moments, mudra orientation, and grid intersections are extracted and combined feature is defined. In the third stage, a rule-based classifier is used. The proposed method is implemented using OpenCV with Microsoft visual C++ IDE. The work finds application in e-learning of ‘Bharatanatyam’ dance in particular and dances in general and automation of commentary during concerts.

Artificial neural network based identification of Bharatanatyam Mudra images using eigen values

This paper presents a three stage methodology for identification of Mudra images of Bharatanatyam dance. In the first stage, acquired images of Bharatanatyam Mudras are preprocessed to obtain contours of Mudras using canny edge detector. In the second stage, eigen values are extracted as features. In the third stage, an artificial neural network is used for recognition and classification of unknown Mudras. The work finds application in e-learning of Bharatanatyam dance in particular and dances in general and automation of commentary during concerts.

Art to Smart: An Automated Bharatanatyam Dance Choreography

The ancient Indian classical dance form BharataNatyam (BN) can stay alive and dynamic by allowing innovative, experimental ideas. These comprise of a sequence of possible and legitimate dance steps, and it is estimated that using the main body parts, namely head, neck, hands and legs, more than five lakh dance steps can be generated for a single beat. Thus, dance choreography becomes an intensive, creative, and intuitive process. A choreographer has to finalize appropriate dance steps from among millions of possibilities. Though it is not impossible, the human choreographer cannot explore, analyze and remember all these variations among steps because of the large number of available options.Hence, we propose to develop an autoenumeration followed by autoclassification of significant BN dance steps that can be used in dance performance and choreography. The foremost and most challenging task is to have a computational model that represents different BN dance poses. The second task is to develop a genetic algorithm (GA)-driven automatic system that would provide choreographers a list of unexplored, novel dance steps to fit in a single beat. We designed Art to SMart as a system to model the dance art of BharataNatyam. This system generates dance poses. Furthermore, we have developed a stick figure generation module to help visualize the 30-attribute dance vector generated from the system. The results are evaluated using a mean opinion score measure.

A Time to Dance by Padma Venkatraman (review)

Reviewed by: A Time to Dance by Padma Venkatraman Hope Morrison Venkatraman, Padma A Time to Dance. Paulsen/Penguin, 2014 [320p] ISBN 978-0-399-25710-0 $17.99 Reviewed from galleys R* Gr. 7 up Veda Venkat has wanted to study traditional Bharatanatyam dance ever since she was a young girl. When she’s returning home after winning first place at the regional dance competition in Chennai, her vehicle crashes; Veda is caught under the wreckage and ultimately ends up having her leg amputated. Though she initially believes she has lost the art she loves, she eventually acquires a prosthetic, and a new dance teacher helps Veda to use her pain to learn to dance in an entirely new way. This is a deftly wrought free-verse exploration of Veda’s physical and emotional suffering juxtaposed with her passion for dancing. The novel effectively conveys the depth of Veda’s love for her art, making her initial loss of dance emotionally wrenching and her return to it triumphant. The language is lilting and rhythmic, especially in the descriptions of dance, and the sensory elements evocatively describe the sights and sounds of Veda’s rich Indian surroundings. Her existential ponderings, as she attempts to figure out and make peace with her new reality, are woven seamlessly into the tale, and her moments of jealousy and rage are presented honestly. Heart-achingly hopeful and beautifully written, this story will remain with readers long after the final line of verse. [End Page 71] Copyright © 2014 The Board of Trustees of the University of Illinois

Media as Mediator: Intertextual Narrative in Digital and Performative Presentation

“Media as Mediator” tells a tale in two mediums: classical South Indian and Western dance in the seven-dance suite, Liquid Gems , and the fiction Tamil film, Pancha Ratna Media as Mediator was an intervisual presentation that explored sacred characters in a contemporary story in two- and three-dimensions. Intervisuality compares and interprets visual images in a cultural context. This concept enhanced contemporary approaches to classical Hindu myths in Liquid Gems and Pancha Ratna . Media sources brought classical Bharatanatyam dance and Bollywood-style songs into conversation with Western dance forms in the dance suite, Liquid Gems , and the Tamil fiction film, Pancha Ratna. The story focuses on women’s issues in diverse marriage arrangements, dowry and murder/suicide. Contemporary media reports influenced the way in which sacred archetypes inform their modern counterparts in the narrowcast narrative.

Considerations of dance transmission processes: adapting Bharata Natyam in a Singapore primary school

This qualitative case study has, for its purpose, an examination of the pedagogies and practices of a master Bharata Natyam dance instructor working within a Singapore primary school context. It explores the instructor’s adaptation within an after-school weekly activity of the South Indian traditional classical dance form. Considerations of dance pedagogy through the lens of multiculturalism serve as a springboard for discussion on the findings of the study. The inculcation of values development through the guru–shishya relationship, the adaptation of the dance transmission processes from a religious to a secular space, and the negotiation of the dance form towards relevant contemporary contexts for students within a multicultural context were key points of contemplation towards implications for dance education.

Event Segmentation and Biological Motion Perception in Watching Dance

We used a combination of behavioral, computational vision and fMRI methods to examine human brain activity while viewing a 386 s video of a solo Bharatanatyam dance. A computational analysis provided us with a Motion Index (MI) quantifying the silhouette motion of the dancer throughout the dance. A behavioral analysis using 30 naïve observers provided us with the time points where observers were most likely to report event boundaries where one movement segment ended and another began. These behavioral and computational data were used to interpret the brain activity of a different set of 11 naïve observers who viewed the dance video while brain activity was measured using fMRI. Results showed that the Motion Index related to brain activity in a single cluster in the right Inferior Temporal Gyrus (ITG) in the vicinity of the Extrastriate Body Area (EBA). Perception of event boundaries in the video was related to the BA44 region of right Inferior Frontal Gyrus as well as extensive clusters of bilateral activity in the Inferior Occipital Gyrus which extended in the right hemisphere towards the posterior Superior Temporal Sulcus (pSTS).

Adaptation of Bharatanatyam dance pedagogy for multicultural classrooms: questions and relevance in a North American university setting

This article opens up questions around introducing Bharatanatyam, a form of Indian classical dance, to undergraduate learners within a North American university setting. The aim is to observe how the learners understood and received a particular cultural practice and to explore issues related to learning goals, curriculum content, approaches to pedagogy and classroom management. A qualitative approach used the combined methods of action research, ethnography and autoethnography to reveal layers of meanings related to the nature of learning and challenges incurred in implementing traditional teaching method into practice. It is discussed how critical spaces for dialogue and deliberation between the learners and the teacher have generated an adaptive method for accommodating the needs of multicultural classrooms. The study recommends further inquiry-based dialogues among scholars and practitioners to utilise the critical theories for classroom instructions.

Theorizing Hybridity and Identity: The “Edge-Effect” and “Dynamic Nucleus” in Bharatanatyam-Inspired Contemporary Dances of Two Choreographers

Dancer-choreographer Nova Bhattacharya uses the ecological term “edge-effect” to describe her experience within the choreographic process where her bharatanatyam training and her contemporary dance creativity overlap to create a lingua franca. Hari Krishnan, dancer-choreographer and scholar, describes his work as “constantly ruptured” within his “post-post-modern experience.” This paper argues that the creative processes underlying the respective contemporary dance-making practices of Nova Bhattacharya and Hari Krishnan are cultural ecosystems demonstrating the rich dynamic of the edge-effect at the intersection of bharatanatyam and contemporary dance aesthetics and themes. Within the edge-effect, both reception and rupture occur as artistic identities evolve. Furthermore, reception and rupture occur within the performance venue as the performers' and audiences' worlds overlap—another negotiated edge-effect. While the ecological metaphor of the edge-effect helps to conceptualize these interactive spaces, the sociological metaphor of a “dynamic nucleus” (Lloyd Wong) helps us to theorize the nature and energy of the critically reflective exchanges occurring, between contemporary and bharatanatyam sensibilities, in both the studio and concert theater. The edge-effect and dynamic nucleus metaphors build on Homi Bhaha's concept of the “cultural interstices” within which individual and communal identities are initiated and culture is located. Additionally, these metaphors expand on Guillermo Gômez-Peña's theory of “multihybrid identities, in a constant process of metamorphosis” as today's “border-culture” becomes tomorrow's institutional art. This paper provides dance scholars with a way of conceptualizing the energy of dance as a cultural force influencing experiences of hybridity and identity for performers and audiences within intercultural contexts.

Performing for the gods? Dance and embodied ritual in British Hindu temples

Recent ethnographic work in Tamil Hindu temples in London has revealed a new display of performed religious expression that ranges from the bodily movements of the priests during ritual to trance dance and classical Bharatanatyam dance performance. This article examines the performativity of such events, looking at their manifestations through the lens of both anthropological theory and that of performance studies. It considers how such embodied practices are ‘performances of faith’, and how this is manifest through the concepts of rasa and darshan, as found in Hindu ritual. The production and confirmation of a specific British Tamil Hindu identity through such performativity is discussed.

Bharata natyam: from temple to theatre

Introduction: Literature Sources & Methods The Devadasis & the Origins of Bharata Natyam Present State of Bharata Natyam The Sacred & Profane in Bharata Natyam Training of Bharata Natyam Teachers Banis of Bharata Natyam Learning Bharata Natyam in the Modern Setting The Structure & Repertoire of Bharata Natyam Dance Performances at The Madras Music Academy, 1931-1988 Vestiges of Religion in Bharata Natyam Conclusion Glossary Bibliography Index.

"Traditional" Indian Dance and the Making of Interpretive Communities

Janet O'Shea explores the differences between the main styles of South India's bharata natyam dance form and explains the rivalries within this artistic world. Her article compares the kalakshetra style associated with Rukmini Devi and the Tanjore court style of Balasaraswati, examining the differences and similarities between these legendary artists as well. Of special interest is the discussion of how Rukmini Devi and Balasaraswati viewed the place of eroticism (sringara) in bharata natyam. O'Shea proceeds to explain the contributions of the devadasis to the development of bharata natyam,moves along to a treatment of the problems of authority and authenticity, and covers other important topics, including the search for a historical origin for bharata natyam. Janet O'Shea has been a performer of bharata natyam for the past eight years. She has studied the dance form with Smti. Nandini Ramani of Madras, most recently under the auspices of the American Institute of Indian Studies. She holds an M.A. in Tamilfrom the University of California, Berkeley, and is currently pursuing a Ph.D. in dance history and theory from the University of California, Riverside.