This seminar will address Rabindranath Tagore's contribution to dance performance and the evolution of the Bengali dance-drama genre in Bengal in the early 20th century in relation to the religious, cultural and political milieu of that time. Dr Purkayastha has pursued research on dance and currently teaches on the Dance Programme, School of Arts, Roehampton University, London.
Lectures on Dance
Beyond the classical: Tagore and modern dance in Bengal
The dance of emotions
This lecture will be a comparative study of emotions, facial expressions, and gestures in the Natyasastra, Abhinayadarpana, and the works of Charles Darwin and Paul Ekman.
Sastra and Prayoga: Building Bridges Between Text and Performance in the Sanskritic Tradition
Session 21 of the 2007 Shivdasani Conference.
While the general interest of this symposium lies in the relationships between temples, architecture, texts and performance, my presentation focuses on the relation between the formal description and analysis of dance and its practice. My discussion draws exclusively upon the primary source material for our knowledge of the performing arts of India, that is, the extensive body of Sanskrit texts on dance, drama and music.
Colonial Modernity, Memory and the Devadasi Dance Tradition of the Viralmalai Murukan Temple
Session 20 of the 2007 Shivdasani Conference
Temple Texts and Cultural Performances in South Asia
Session 18 of the 2007 Shivdasani Conference
The Dance Performed by the Temple: the Dynamics of Hindu Temple Architecture
Session 17 of the 2007 Shivdasani Conference.
In the forms of shrine, which developed between the 7th and 13th centuries, Hindu temples, conceived as divine bodies, embodied structured patterns of movement in their architectural compositions. Shrines are invested with a sense of centrifugal dynamism that appears to originate at the tip of the finial, or a point just above it, progressing downwards from this point and outwards from the vertical axis. Compositional elements are made to appear to multiply, to emerge and expand out from the body of the shrine, and out from one another, as interpenetrating elements differentiate themselves and come apart. As well as a spatial structure, a temple has a temporal one, of which a given spatial arrangement is a momentary glimpse, or rather, a succession of such glimpses. A series of elements, or of configurations of elements, can be sensed not so much as a chain of separate entities, but as the same thing seen several times, at different stages, evolving and proliferating. This pattern of growth is conveyed through clearly identifiable architectural means.
Performing Hirapur: Dancing the Shakti Rupa Yogini
Krishna In Dance and Miniature Paintings
The representation of Krishna in Indian dance is inspired by miniature paintings. What does the dancer see when she looks at a miniature painting.? How close is the connection between dance and painting?. This lecture demonstration includes video, images and dance to covney a rich mythic and artistic experience.