Indian Classical Dance Research Articles

MCM-Vb\\documentclass[12pt]{minimal} \\usepackage{amsmath} \\usepackage{wasysym} \\usepackage{amsfonts} \\usepackage{amssymb} \\usepackage{amsbsy} \\usepackage{mathrsfs} \\usepackage{upgreek} \\setlength{\\oddsidemargin}{-69pt} \\begin{document}$$V_b$$\\end{document}F: dance hand gestures recognition with vision based features

To digitize and preserve the cultural heritage in the form of Indian classical dance become apparent area of research. Sattriya classical dance of North-East India (Assam) is one of the eight Indian classical dance forms that requires immediate preservation. Sattriya classical dance consists of 29 Asamyukta hastas (single-hand gestures) and 14 Samyukta hastas (double-hand gestures). Moreover, the foundation of Samyukta hasta depends on understanding Asamyukta hasta. Therefore, the paper aims to classify single-hand gestures of Sattriya classical dance only. Although, a solution based on two level classification method to classify the Sattriya classical dance is available in recent literature, but it requires a trial and error method to select the optimized features. Since, Asamyukta hastas can appear closely similar to each other and therefore misclassification chances are very high. Thus, accuracy rate obtained for the two level classification method was only 75.45%. So, to address this issues in this paper, a Multilevel Classification Model with Vision based Features (MCM-Vb\\documentclass[12pt]{minimal} \\usepackage{amsmath} \\usepackage{wasysym} \\usepackage{amsfonts} \\usepackage{amssymb} \\usepackage{amsbsy} \\usepackage{mathrsfs} \\usepackage{upgreek} \\setlength{\\oddsidemargin}{-69pt} \\begin{document}$$V_b$$\\end{document}F) has been proposed to classify the Asamyukta hastas of Sattriya classical dance. This model uses two types of feature matching, viz., high-level feature matching and low-level feature matching. To extract the high-level features and low-level features different algorithm has been proposed. In this model, features are automatically selected. This proposed MCM-Vb\\documentclass[12pt]{minimal} \\usepackage{amsmath} \\usepackage{wasysym} \\usepackage{amsfonts} \\usepackage{amssymb} \\usepackage{amsbsy} \\usepackage{mathrsfs} \\usepackage{upgreek} \\setlength{\\oddsidemargin}{-69pt} \\begin{document}$$V_b$$\\end{document}F model is also tested on Asamyukta hasta mudras of Bharatanatyam classical dance of South India (Tamil Nadu). This model obtain an accuracy 94.12%, 87.14% for Sattriya classical dance Single-Hand Gestures (SSHG) dataset and Bharatnatyam classical dance Single-Hand Gestures (BHSG) dataset respectively. This paper also provides the comparative study of the proposed model MCM-Vb\\documentclass[12pt]{minimal} \\usepackage{amsmath} \\usepackage{wasysym} \\usepackage{amsfonts} \\usepackage{amssymb} \\usepackage{amsbsy} \\usepackage{mathrsfs} \\usepackage{upgreek} \\setlength{\\oddsidemargin}{-69pt} \\begin{document}$$V_b$$\\end{document}F with traditional bench-mark classifier model such as Naive Bayes, Decision Tree and Support Vector Classifier (SVM) etc.

THE DANCE OF JUSTICE: A RAWLSIAN PERSPECTIVE IN SRIVIDYA NATARAJAN’S THE UNDOING DANCE

This article delves into the role of Bharatanatyam, a classical Indian dance, as a transformative force for Kalyani, the protagonist in the novel The Undoing Dance (2018). It investigates how Bharatanatyam serves not only as a form of artistic expression but also as a means of transcending caste boundaries and societal expectations. By applying the concept of the difference principle, a framework within socio-political theory, the study examines how caste-based discrimination is confronted and reimagined through the medium of dance. Natarajan's narrative, which alternates between past and present, underscores the significance of Bharatanatyam in conveying Kalyani’s inner turmoil, struggles, and ultimate empowerment. Kalyani’s journey is marked by her revaluation of her Devadasi roots—a lineage steeped in both cultural richness and societal stigmatisation. As she reconnects with her heritage, she gains a deeper understanding of the matriarchal traditions within her community and begins to reinterpret them through her dance. This exploration leads to a redefined sense of identity and womanhood, where Bharatanatyam becomes a vessel for Kalyani’s self-expression and liberation. This study argues that classical dance, particularly Bharatanatyam, provides a unique lens through which the complexities of the Indian caste system can be viewed, offering Devadasi women in South India a powerful tool for reclaiming their narratives and challenging the entrenched social hierarchies. Through dance, Kalyani not only reclaims her heritage but also transforms her pain and suffering into a powerful statement of resilience and identity.

Unraveling the Importance of Indian Classical Dances on Mental Well-Being of Performers

Unraveling the Importance of Indian Classical Dances on Mental Well-Being of Performers

Comparison of anthropometric measurements related to the medial longitudinal arch of feet between non-dancers and Bharatnatyam dancers- an observational study

BackgroundBharatnatyam is an Indian classical dance form that involves rhythmic barefoot tapping at varying speeds. The intense impact forces generated during this dance can result in biochemical alterations in the feet, potentially causing injuries to ligaments, tendons, and fascia. This can lead to changes in the structure of the foot over time. Therefore, this study was conducted to compare anthropometric measurements related to the medial longitudinal arch of the foot in non-dancer, mid-stage, and last stage Bharatnatyam dancers. MethodsThe study was conducted on 192 participants. They were divided into three groups: 1) Non dancers 2) Mid-stage Bharatnatyam dancers, and 3) Last-stage Bharatnatyam dancers. Each group consisted of 64 participants each. Various measurements were taken on both the right and left foot using a wooden platform, foot image, and footprint. Later the results were analyzed statistically. ResultsOn comparing the parameters in non-dancers and mid-stage Bharatnatyam dancers it was found that all the parameters were found to be significant except right and left arch index. On comparing the parameters of mid-stage and last-stage Bharatnatyam dancers, it was found that none of the parameters showed significant value. On comparing the non-dancers and last-stage Bharatnatyam dancers, it was found that except right and left arch index all the parameters were found to be significant. ConclusionFrom the results of the present study, it can be concluded that there were significant changes in the arches of the foot between the non-dancers and mid-stage and last-stage Bharatnatyam dancers.

Understanding similarities and exploring possibilities of using somatic dance/movement aspects of Odissi dance for social, cognitive and emotional development in population with autism spectrum disorder

Dance allows for expressions of various emotions and interactions. It can be used for entertainment and exercising, as well as for movement therapy, improving health and wellness, and promoting relaxation. It has been known to enhance mindfulness, well-being, healing of body and mind, etc. The key contributions of this work are as follows: (1) present an overview of Odissi dance elements; (2) aggregate certain studies that explore the relevance of somatic dance/movement therapy for neurodegenerative disorders such as autism spectrum disorders (ASDs); (3) exploring the many similarities between Odissi dance, an Indian classical dance (ICD) form, and somatic dance/movements; and (4) study the implication of using the Odissi dance form as a dance/movement therapy as an alternative rehabilitation tool for a population with neurocognitive disorders such as ASD. ICDs such as Odissi dance practices and somatic dance/movements have been found to have numerous similarities. There are many characteristics of the Odissi dance form that are relatable to somatic dance/movements. Somatic dance/movement praxis generically includes body, action, space, time and energy. These practices are a customary part of Odissi dance as well. The Odissi dance form also allows an in-depth examination of the human body, feelings and flow through music, beat tempo and lyrics. These practices help develop an awareness of the body, its connection and its movements. The fundamental elements of somatic dance/movements, such as mindfulness, breath, sensing, connectivity, initiation, rhythm, movement patterns, temperament depiction and mirroring, are also prevalent in Odissi dance. The various aspects of somatic dance/movement and Odissi dance are explored, and their similarities are investigated in this work. This study also explores having Odissi dance as an alternative rehabilitation therapy form for the population suffering from ASD conditions. Twenty-seven children suffering from some degree of ASDs, aged between 4 and 14 years, for six months, underwent regular Odissi dance training. The participants were taught Odissi’s basics and trained in Bhumi Pranam, Guru Pranam, Mangalacharan and the initials of Sthayee and Battu. Certified teachers and therapists were involved in teaching the participants. Interactions with participants and parents/guardians presented an intuition of the usefulness of regular Odissi dance practice. Feedback was aggregated from subjective questionnaires. These feedbacks indicated increased general health, including physical well-being, cognitive enhancement and sensory-motor coordination. Almost all also reported betterment in social conditions and certain presented clinical conditions.

Soulful Rhythm, Dancing Bodies: Spirituality, Pain Tolerance, and the Risk of Lower Extremity Musculoskeletal Injuries Among Classical Kathak Dancers of India

Background: Dance and dancers reflect happiness, sadness, passion, anger, and all other emotions as every single dancing movement carries a significant signal that goes beyond words. Kathak, an Indian classical dance form, requires a divine balance between the soul and the physical body. This balance allows for a high pain tolerance of the dancers, but the spiritual nature of this dance form also generates ignorance and disinterest in their health seeking behavior towards injuries. Objectives: This comprehensive narrative review is aimed at exploring and examining the prevalence of lower extremity musculoskeletal injuries among Kathak dancers and proposes management strategies for their prevention and treatment. Methods: This review is based on a search of relevant articles, research papers, books and book chapters conducted across a wide array of online sources, utilizing the search engines like PubMed, Medline, CrossRef; etc. Considering the inclusion criterion, the review process included three stages: initial assessment of papers through title and abstract review, a detailed examination of relevant items, and systematic compilation of pertinent information into a categorized table under topical headings. Results: The review finds that the majority of injuries were reported in the foot and ankle region of dancers practicing Kathak. Conclusion: There is a need to develop supplementary exercise training programs and also spread awareness among dancers regarding their physical health and seeking medical care in time to delay/prevent lower extremity injuries.

Indian classical dance: A study of its therapeutic exploration

Dance movement therapy (DMT), a form of expressive art therapy, originated in the early 1940s utilizing the emotional, psychological, spiritual and creative benefits of dance as movement in the form of psychotherapeutic treatment. India has an ancient legacy of dance that recognizes this aspect with artists/therapists applying that rich history to inform their work. This article aims to delineate those therapeutic nuances within the unique technicalities of Indian classical dance (ICD) such as mudras (‘gestures’) and abhinaya (‘expressive features’) that are being practised, addressing various ailments. Through interviews, a set of practitioners from the fraternity who are exploring this curative path share their views and experience over the benefits offered by ICD to the individuals/social communities of non-dancers they work with. These observations combined with personal reflections and supported by citations of research literature, invite systematic investigation on implementing ICD’s potential to further expand its scope within DMT.

PHYSICAL FITNESS FOR BHARATANATYA DANCERS

Bharatanatyam is an Indian classical dance that originated from Tamil Nadu in southern India. It is a tradition steeped in Indian history and culture. Today, Bharatanatyam is a dance style that encompasses religious and non-religious themes, as well as fusion styles. Characterized by precise movements, sharp edges, and expressive body language, this tradition has delighted audiences for generations. Like many other aspects of Indian tradition, this art form has struggled through times of oppression. However, with the efforts of teachers and students all over the world, Bharatanatyam has been revived to continue to serve the people who find joy in the formal and intuitive expressions embodied in the structure of the dance. Bharatanatyam, an ancient classical dance style originating from South India, combines aesthetic beauty, spiritual expression, and physical skill. Bharatanatyam mesmerizes global audiences with its rich cultural background, exquisite footwork, beautiful gestures, and expressive narrative. The dancer's physical health is crucial for performing intricate movements with accuracy, strength, and elegance in this art form.

BHARATANATYAM ENHANCING KIDS WITH ASD & ID

Bharatanatyam is an Indian classical dance that originated in the Hindu temples of Tamil Nadu in southern India. Bharatanatyam dance is a tradition steeped in Indian history and culture. Today, Bharatanatyam is a dance style that encompasses religious and non-religious themes, as well as fusion styles. Characterized by precise movements, sharp edges, and expressive body language, this tradition has delighted audiences for generations. Like many other aspects of Indian tradition, this art form has struggled through times of oppression. However, with the efforts of teachers and students all over the world, Bharatanatyam has been revived to continue to serve the people who find joy in the formal and intuitive expressions embodied in the structure of the dance. It serves as a transforming experience that empowers youngsters with disabilities and autism. Bharatanatyam helps individuals discover their voices, build confidence, and enhance the physical and cognitive abilities needed to overcome life's obstacles. This art form facilitates communication, promoting inclusivity and comprehension among youngsters with varying abilities. Observing the beauty of Bharatanatyam in these young individuals serves as a powerful reminder of the significant influence that art and culture can have on the human spirit, surpassing boundaries and honouring diversity.

인도 고전무용 쿠치푸디에 나타난 젠더 변화와 새로운 실험

This paper undertakes an examination of the historical origins, performance style, and evolutionary trajectory of Kuchipudi, a classical Indian dance originating from the village of Kuchipudi in Andhra Pradesh. Traditionally, due to restrictions, women were not permitted to participate in Kuchipudi, resulting in men assuming the female roles, thereby contributing to its distinctive appeal. This gendered performance practice, notably exemplified in works like Bhamakalapam, contributed to the distinctive character of Kuchipudi. Additionally noteworthy is the actor’s dual portrayal of Madhavi/Madhava, seamlessly alternating between male and female roles, with corresponding stage divisions to accommodate these transitions. However, the tradition has undergone significant transformations, particularly since the 1960s. Vempati Chinna Satyam, a pioneering figure in Kuchipudi’s modern evolution, introduced reforms aimed at broadening its accessibility and appeal. These reforms included casting men in male roles and allowing women to perform previously restricted female roles, even including male deities such as Krishna and Shiva portrayed by women. Chinna Satyam’s experimental approach sought to align Kuchipudi with contemporary artistic and societal expectations, leading to its widespread popularity both nationally and globally. Nevertheless, these changes have sparked debates surrounding Kuchipudi’s cultural identity and authenticity. Of course, traditions are not fixed and can always be reinvented. But it’s also important to remember that too much experimentation can often lead to destruction rather than creation. The case of Kuchipudi deserves serious consideration.

Non-Verbal Communication in Indian Classical Dance Forms

This study delves into the intricate world of non-verbal communication within the rich mosaics of the Indian classical dance forms. The statement quoted by Noam Chomsky, “Language is not an inborn quality, it is creative and acquired”. The objective of this research is to analyse and focus on the need for humans to communicate, that too using non-verbal communication. Dance will not be relegated to simply a performance genre but will be treated as an essential ingredient of life. The focus would be on identifying the non-verbal elements of the dance that would communicate not just the stories but also social messages if needed through the gestures and other elements in Indian Classical Dance Forms. For this analysis, the researcher has considered, Bharatanatyam, Kuchipudi, Mohiniyattam, and Kathakali, the dance forms that trace their origin to the southern states of India namely, Tamil Nadu, Andhra Pradesh, and Kerala. The research employs a multidisciplinary approach, combining elements of anthropology and performing arts to unravel the communicative nuances in the intricate hand gestures, facial expressions, body postures, and rhythmic footwork inherent in Indian classical dances. By examining the symbolism and cultural significance of gestures (mudras), the utilization of facial expressions (abhinaya), and the synchronization of movements with musical rhythms, the research seeks to unveil the deeper layers of communication that lie beneath the surface of these mesmerizing performances.

Evolution of Indian Classical Dance in the Context of Globalization

This paper explores the evolution of Indian classical dance in the context of globalization, examining how these ancient art forms have adapted to contemporary global influences. The study begins by tracing the roots and revival efforts of major styles such as Bharatanatyam, Kathak, and Odissi, highlighting their historical significance and regional variations. It then discusses the impact of globalization on these dances, focusing on their introduction to the global stage, adaptations, and fusions with other dance forms, and the role of the Indian diaspora in popularizing these dances abroad. The influence of technological advancements on teaching, performance, and preservation of Indian classical dance is analyzed, alongside the significance of cultural exchange and cross-cultural collaborations in enriching dance practices. The paper concludes by addressing the future challenges and directions for Indian classical dance, including the sustainability of traditional forms, the balance between authenticity and innovation, and shifts in audience demographics and interests. Through this comprehensive examination, the paper underscores the dynamic interplay between tradition and modernity in the globalization of Indian classical dance.

From Tradition to Transformation: Bharatanatyam Explored through Feminist and Psychological Contexts

This study explores the evolution and contemporary significance of Bharatanatyam, an Indian classical dance form. It examines the evolution of the dance form, focusing on the portrayal of stories, emotions, and characters. The research also reimagines the Ashta-Nayikas, the eight main female archetypes in classical dance, through the lens of contemporary psychology. The study uses qualitative data analysis, including media studies, historical texts, and in-depth interviews, to reveal the dynamic interaction between modernity and tradition. The study highlights the dance form’s innate resilience and the need for dance artists to develop coping mechanisms to navigate the intricacies of tradition and modernity.

An Indian classical dance form, Kathak in maintaining handgrip strength symmetry and reducing the risk of hypertension.

The present paper aimed to study handgrip strength (HGS) asymmetry and its association with hypertension in a sample of Kathak dancers and non-dancers of North India. Data on HGS and blood pressure were collected from 206 Kathak dancers and 235 age-matched controls, using standardized protocols. Pearson correlation coefficients assessed the association between HGS and hypertension, and binary logistic regression identified the risk of developing hypertension. HGS asymmetry was higher among non-dancers. In Kathak dancers, systolic blood pressure (SBP) was positively correlated with HGS and negatively correlated with HGS asymmetry whereas diastolic blood pressure (DBP) was negatively correlated with both HGS and HGS asymmetry. Dancers with high HGS, have significantly reduced risk of developing hypertension. Non-dancers with HGS asymmetry were 1.8 times more likely to report hypertension, relative to dancers. Kathak may be used as an alternative method for maintaining HGS symmetry and reducing the risk of developing hypertension.

GAMNet: A deep learning approach for precise gesture identification

Deep learning has gained popularity across several industries, including object recognition and classification. In the case of Convolutional Neural Networks (CNN), the first layers extract the most noticeable elements, such as shape and margin. As the model progresses, it learns to extract more complex features such as texture and color; conversely, skeleton features encompass significant locations (joints) that do not naturally align with the grid-like architecture intended for these networks. This study emphasizes the importance of structural features in enhancing the performance of deep learning models. It introduces the Gesture Analysis Module Network (GAMNet), which computes abstract structural values within the architecture for feature extraction, prioritization, and classification. These values go through a rigorous evaluation process along with the cutting-edge deep learning model, CNN, and result in intermediate representations, leading to better performance in gesture analysis. An automated dance gesture identification system can address the challenges of recognizing hand movements in unpredictable lighting, varied backgrounds, noise, and changing camera angles. Despite these challenges, GAMNet performed remarkably well, surpassing renowned models like VGGNet, ResNet, EfficientNet, and CNN, achieving a classification accuracy of 96.80%, even in challenging image circumstances. This paper highlights how GAMNet can revolutionize the world of classical Indian dance, opening up new opportunities for research and development in this field.

AI and augmented reality for 3D Indian dance pose reconstruction cultural revival

This paper delves into the specialized domain of human action recognition, focusing on the Identification of Indian classical dance poses, specifically Bharatanatyam. Within the dance context, a “Karana” embodies a synchronized and harmonious movement encompassing body, hands, and feet, as defined by the Natyashastra. The essence of Karana lies in the amalgamation of nritta hasta (hand movements), sthaana (body postures), and chaari (leg movements). Although numerous, Natyashastra codifies 108 karanas, showcased in the intricate stone carvings adorning the Nataraj temples of Chidambaram, where Lord Shiva’s association with these movements is depicted. Automating pose identification in Bharatanatyam poses challenges due to the vast array of variations, encompassing hand and body postures, mudras (hand gestures), facial expressions, and head gestures. To simplify this intricate task, this research employs image processing and automation techniques. The proposed methodology comprises four stages: acquisition and pre-processing of images involving skeletonization and Data Augmentation techniques, feature extraction from images, classification of dance poses using a deep learning network-based convolution neural network model (InceptionResNetV2), and visualization of 3D models through mesh creation from point clouds. The use of advanced technologies, such as the MediaPipe library for body key point detection and deep learning networks, streamlines the identification process. Data augmentation, a pivotal step, expands small datasets, enhancing the model’s accuracy. The convolution neural network model showcased its effectiveness in accurately recognizing intricate dance movements, paving the way for streamlined analysis and interpretation. This innovative approach not only simplifies the identification of Bharatanatyam poses but also sets a precedent for enhancing accessibility and efficiency for practitioners and researchers in the Indian classical dance.

Impact Of Mind Sound Resonance Technique On Work-Related Flow Inventory And Sleep Quality Among Enthusiast Kathak Dancers From Different Professional Backgrounds

BackgroundKathak is one of the most popular Indian classical dance forms. Working professionals out of passion enjoy kathak dance but due to work engagements and reduced sleep quality, discontinue the practice of Kathak. Mind Sound Resonance Technique has been proven to improve sleep quality. Investigation among practitioners of Khatak is low and the literature survey supports the basis for this study. The present research aims to explore the influence of MSRT on the work-life inventory and sleep quality among Kathak dancers who are working professionals.ObjectivesThe objective of the study is to assess the potential benefits of enhancing work enjoyment and sleep quality of Kathak dancers from different professional backgrounds through applications of Mind Sound Resonance Techniques.MethodsA single group pre-post study on (N=29) working professionals trained in Kathak were conveniently selected for the study. MSRT was imparted to all the participants for 20 minutes, per two times for 12 weeks. The pre and post-assessments were done on work-life inventory, job satisfaction, absorption, work enjoyment, and intrinsic work motivation using the Work-Related Flow Inventory (WOLF) and sleep quality using the Pittsburgh Sleep Quality Index.ResultsCronbach alpha measuring the reliability score of WOLF was (α = 0.8). Within-group analysis the total score of work-life balance and sleep quality was found to be statistically significant from pre- to post (p<.001).ConclusionThe results indicate improvement in various domains of work-related flow inventory and sleep quality. Thus, rejecting the null hypothesis. We conclude that the Yogic relaxation technique employed in this study attunes the body-mind system to be relaxed and practitioners can bring a balance in their work-life and pursue their interests and passion to lead a fulfilled life.

Gesture Identification Model In Traditional Indian Performing Arts By Employing Image Processing Techniques

Classical dance forms are an integral part of the Indian culture and heritage. Kathakali is an Indian classical dance composed of complex hand gestures, body moments, facial expressions and background music. Kathakali mudras are difficult to understand common peoples. There are 24 classes of hand gestures. The images of hand mudras of kathakali dance are collected from the dataset. The proposed work explores the possibilities of recognizing classical dance mudras in kathakali dance forms in india. This system has achieved an accuracy of 84% with Convolutional Neural Network for classifying the mudras.

The Crossover: Integrating Indian Sign Language with the Mudras in an Indian Classical Dance Performance Creation

Indian classical dance uses a variety of non-verbal communication devices, with gestures called hasta or mudra being one of the most ancient sign languages powerful to transmit the meaning of the lyrics through dance. The classical dance forms of Kerala have an elaborate scheme of gestures drawn from the ancient text on aesthetic sign language, called Hastalakṣanadīpika, inspired by the Vedic, Nāṭya and Tantric traditions. The following is an attempt to document a performance-oriented, socially inclusive effort that makes Indian traditional dance performance discernible to the Deaf and Hard of Hearing (DHH) community, a disparate group that is hardly considered as a spectator during performance creation by mainstream Indian classical dancers. The Indian Sign Language (ISL) of individuals with hearing impairments is elaborate, yet is rarely used as a gestural language along with other aesthetic gestural sign languages to disseminate a narrative in a work of art. In her role as both creator and performer, Methil Devika creates work in Mohiniyāṭṭam, a graceful dance form of Kerala, integrating the sign language of those with hearing impairments along with the gestural language prescribed in the ancient treatise Hastalakṣanadīpika. She applies it strategically in her work of art, as an interlinking tool between the art and the audience. In the first few moments, “all walls came crumbling down,” something the performer quotes in the visual documentation of the work. Any separation between the hearing impaired and the artiste, as well as the spectators, become inconsequential. The performance and the presentation have been video documented in a film called The Crossover, and the following is an attempt to describe the creative process.

Indian Classical Dancers in the Diaspora: How Free Improvisation and Contact Improvisation Programs Help Enhance Dance Proficiency, Improvisation Competence, and Forming Multigroup Ethnic Identities

ABSTRACT This article reports a quasi-experiment on the impact of contact improvisation (CI) sessions and free improvisation (FI) interfaces on dance proficiency, improvisation competence/output quality, and multigroup ethnic identity formation of Indian classical dancers in the United Kingdom, United States, Singapore, and Australia. FI participants reported higher scores on dance proficiency, improvisation competence, and multigroup ethnic identity formation compared to those who participated in the CI sessions. FI was most effective for diaspora female Indian classical dancers, Bharatanatyam dancers, dancers with 9–12 years of dance education, who had an advanced/higher diploma formal education in dance, who attended 21–40 (>50%) FI interfaces, and completed 21–40 (>50%) FI homework sessions. FI is a performance technique foregrounding spontaneity and a modality to augment the repertoire of Indian classical dances to speak to an international audience by adapting western aesthetics. It is a way to bring contemporariness into Indian classical dances and shape postcolonial dancer identities.