By Prarthana Purkayastha
This ebook examines sleek dance as a kind of embodied resistance to political and cultural nationalism in India in the course of the works of 5 chosen sleek dance makers: Rabindranath Tagore, Uday Shankar, Shanti Bardhan, Manjusri Chaki Sircar and Ranjabati Sircar.
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Additional resources for Indian Modern Dance, Feminism and Transnationalism
Example text
Pnina Werbner suggests that: [t]he newly-emergent scholarly discourses on transnationalism and diaspora take divergent yet intersecting paths. The focus of current theories of transnationalism is on borders and the management of flows across them: of people, goods, objects, messages. To a lesser extent it is also about the flows of ideas and practices. (Werbner 2004: 895–6) Introduction 17 There are two main arguments in this book regarding transnationalism: the first is that it has much earlier origins than the fall of Empire and the beginnings of globalised trade.
Tagore uses this ancient Buddhist legend for his play, but substitutes the central protagonist of the original (the monk Ananda, and by extension Lord Buddha) with the untouchable girl Prakriti.
Tagore’s experience of Balinese and Javanese performing arts remained ingrained in his memory. Such was the extent of Tagore’s interest in the dances of Southeast Asia that he used his links with the royal courts to maintain contact with Taman Siswa, a Javanese educational institution, which began regularly to send dancers to Shantiniketan (Ghose 1953). Taman Siswa, a social movement initiated by a group of intellectuals in Indonesia in 1922, led to the opening of a private school in Yogyakarta.