|
UPSI Digital Repository (UDRep)
|
|
| ||||||||||||||||||||
| Abstract : Universiti Pendidikan Sultan Idris |
| The dance style known as Bharatanatyam has its origins in cultural heritage and is still
practiced, trained, and demonstrated in a variety of forms. Malaysia is usually described
as a particularly multicultural and multireligious secular state dominated by Muslims.
This study focuses on diverse dancers, their progression in Bharatanatyam, and their
contributions to completing Arangetram. Learning a pure dance based solely on nritta
is simple for all cultures to learn Bharatanatyam. When a person advances to the next
level of Bharatanatyam, Arangetram, it will be challenging for them if they are from
another culture. Padam, Varnam, and Shabdam, which are solo expressive dances
formed of emotions that invoke rasa, would be difficult for non-Indian bodies to do (a
taste of spiritual happiness). This research explains how non-Indian bodies embody
spirituality or Indian aesthetics in the understanding of Bharatanatyam. A qualitative
approach will be used in this study whereby data will be gleaned through interviews
with informant and observations as well as through explanatory design research. This
study findings support the belief that one non-Indian body's perspective on studying
sacred art will assist them successfully adapt the spirituality and interpretation to the
dance components. |
| References |
Anand, C. (2014, November 8). Education in spiritual values through Bharatanatyam: Part II. Article - education in spiritual values through bharatanatyam: Part II - Chandra Anand. Retrieved January 9, 2023, from https://narthaki.com/info/articles/art369.html
Bhanumathi, K. N. (2019, October 1). Bharata Natyam training at the TOFA: Pre Arangetram, Arangetram and post- Arangetram / Bhanumathi K Nadson. UM Students' Repository. Retrieved January 9, 2023, from http://studentsrepo.um.edu.my/10590/
Bhosale, B. Bharata’s Natyashastra: Fundamentals of Dramatics and Aesthetics. https://lkouniv.ac.in/site/writereaddata/siteContent/202004120632194475nishi_Ind ian_Aesthetics.pdf
D'Souza, G. (2001). Spiritual theology in Indian thought. Teresianum: Rivista della Pontificia Facoltà Teologica e del Pontificio Istituto di Spiritualità" Teresianum", 52(1), 357-379. https://dialnet.unirioja.es/descarga/articulo/5364090.pdf
Gonzales, Joseph. (2011). Dancing the Malaysian. Petaling Jaya, Malaysia: Strategic Information and Research Development Centre
Gonzales, J. (2013). Malaysian Dancescapes. ASWARA Malaysia.
Ishtiaq, Muhammad. (2019). Book Review Creswell, J. W. (2014). Research Design: Qualitative, Quantitative and Mixed Methods Approaches (4th ed.). Thousand Oaks, CA: Sage. English Language Teaching. 12. 40. 10.5539/elt. v12n5p40. Retrieved from https://www.researchgate.net/publication/332246566_Book_Review_Creswell_J_ W_2014_Research_Design_Qualitative_Quantitative_and_Mixed_Methods_Appr oaches_4th_ed_Thousand_Oaks_CA_Sage
Niveditha, N. (2016, September 22). Indian aesthetics – OpenArt. OpenArt. Retrieved January 12, 2023, from https://www.openart.in/general-topics/indian-aesthetics/
Indian Classical Dances. (n.d.). Indian Classical Dances. Retrieved January 5, 2023, from https://www.culturalindia.net/indian-dance/classical/
Sharma, Priti. (2013). Bharatanatyam: The Crescendo of Non-Verbal Communication. Retrieved from https://www.researchgate.net/publication/349944736_BHARATANATYAM_THE _CRESCENDO_OF_NON_VERBAL_COMMUNICATION
Srikanth, R. (2020, July 9). Evolution of bharatanatyam. The Hindu. Retrieved January 9, 2023, from https://www.thehindu.com/entertainment/dance/evolution-ofbharatanatyam/ article32034579.ece
Stark, Bevin, "Defining the Spiritual Aspects in the Pure Dance of Bharata Natyam" (2007). MALS Final Projects, 1995-2019. 57. https://creativematter.skidmore.edu/mals_stu_schol/57
Thiagarajan, P. (2012). Performing Indian Dance in Malaysia. UC Riverside. ProQuest ID: Thiagarajan_ucr_0032D_11094. Merritt ID: ark:/13030/m52r3vj7. Retrieved from https://escholarship.org/uc/item/4xv2536c
Thiagarajan,Premalatha. 2011. Bharatanatyam in Malaysia. In Sharing Identities: Celebrating Dance in Malaysia, ed. Mohd Anis Md Nor and Stephanie Burridge. London and India: Routledge Publication: 130-147.
Thiagarajan,Premalatha. 2013. Transcending Cultural Boundaries: Hybridization in the Artistic Works of Umesh Shetty. In Dancing Mosaic: Issues on Dance Hybridity. Kuala Lumpur: Cultural Centre: 82-89. Mukhopadhyay, D. Dancing with Nine Colours: The Nine Emotional States of Indian Rasa Theory. https://philpapers.org/rec/MUKDWN
Thiagarajan, P. (2017). Move in Time: Male Dancers of Indian Classical Dance in Malaysia. Wacana Seni Journal of Arts Discourse, 16. http://wacanaseni.usm.my/WACANA%20SENI%20JOURNAL%20OF%20ARTS %20DISCOURSE/wacanaseni_v16/WS_16_3.pdf
Zubko, K. C. (2006). Embodying" Bhakti Rasa" in Bharata Natyam: An Indian- Christian Interpretation of" Gayatri" Mantra through Dance. Journal of Hindu- Christian Studies, 19(1), 10. https://digitalcommons.butler.edu/jhcs/vol19/iss1/10/
POPLI. (2017, January 20). The nine rasas of Indian aesthetics - The Sunday Guardian Live. The Sunday Guardian Live. Retrieved January 12, 2023, from https://www.sundayguardianlive.com/jaipur-lit-fest/8056-nine-rasas-indianaesthetics |
| This material may be protected under Copyright Act which governs the making of photocopies or reproductions of copyrighted materials. You may use the digitized material for private study, scholarship, or research. |