國立虎尾科技大學 |

Mahari Out : = Deconstructing Odissi .

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Mahari Out :/
其他題名:	Deconstructing Odissi .
作者:	Sarkar, Kaustavi.
面頁冊數:	1 online resource (205 pages)
附註:	Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.
標題:	Dance. -
電子資源:	click for full text (PQDT)
ISBN:	9780355442809

Mahari Out : = Deconstructing Odissi .
Sarkar, Kaustavi.

Mahari Out :Deconstructing Odissi . - 1 online resource (205 pages)

Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.

Thesis (Ph.D.)--The Ohio State University, 2017.

Includes bibliographical references

I surface the artistic lineage of the Maharis or temple dancers marginalized in the history of the eastern Indian classical dance style called Odissi by focusing on the mediation of Mahari ritual performance within the embodied knowledge of contemporary Odissi practice. I position my investigation in the field of Practice-as-Research evidencing my research inquiry through praxis---theory imbricated in practice as defined by Practice-as-Research scholar Robin Nelson. Imbricating critical cultural theory and movement practice, I examine Mahari praxis within an interdisciplinary investigation combining religious studies, sexuality studies, technology studies, dance studies, and South Asian studies. The Mahari danced in the Hindu temples of Odisha, the state from which Odissi originates, from the twelfth to early twentieth century. Mythically, she descends from the Alasa-Kanya, female sculptural figure adorning the temple-walls of Odisha. Being ritually married to Jagannath , the Hindu male deity presiding over Odissi dance, she had a sexual life outside of social marriage within circles of the indigenous elites. Although, Odissi is premised on Mahari ritual performativity in front of Jagannath to establish historical continuity, it does not acknowledge her creative practice for her alleged links to prostitution. I redress the appropriation of the Mahari in Odissi technique, by reimagining her in my choreographed Odissi movement and in its subsequent digital mediation as 3D data using motion capture technology. In solo and group choreographic works and their virtual adaptations, I explore the Mahari's ritual performance in the temple alongside examining her mythical associations in ancient and medieval temple-sculpture. In an intermodal inquiry spanning live dancing, digital visualization of live movement, and stone sculpture, I highlight the unacknowledged aesthetics of the Mahari tradition within the Odissi body by discovering the twisting movements of the Mahari in my practice. Bringing poststructuralist theories of deconstruction together with technological and improvisatory measures of deconstructing my embodied practice, I argue that the Mahari performativity creates a potential to subvert the conservative horizon of Odissi. In my innovative methodological maneuver, multiple registers of mediation---historical and technological---co-construct Mahari embodiment across stone sculpture, 3D data, and the live dancing body enlivening the ever-elusive Mahari in her aesthetic, social, sexual, and historical complexity, and reorienting Odissi 's patriarchal center occupied by Jagannath.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355442809Subjects--Topical Terms:

556850
Dance.
Index Terms--Genre/Form:

554714
Electronic books.

Mahari Out : = Deconstructing Odissi .
LDR:03813ntm a2200325K 4500 001 913143
005 20180614071649.5
006 m o u
007 cr mn||||a|a||
008 190606s2017 xx obm 000 0 eng d
020 $a 9780355442809
035 $a (MiAaPQ)AAI10702703
035 $a (MiAaPQ)OhioLINK:osu1499694454160469
035 $a AAI10702703
040 $a MiAaPQ $b eng $c MiAaPQ
100 1 $a Sarkar, Kaustavi. $3 1185832
245 1 0 $a Mahari Out : $b Deconstructing Odissi .
264 0 $c 2017
300 $a 1 online resource (205 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.
500 $a Includes supplementary digital materials.
500 $a Adviser: Norah Zuniga-Shaw.
502 $a Thesis (Ph.D.)--The Ohio State University, 2017.
504 $a Includes bibliographical references
520 $a I surface the artistic lineage of the Maharis or temple dancers marginalized in the history of the eastern Indian classical dance style called Odissi by focusing on the mediation of Mahari ritual performance within the embodied knowledge of contemporary Odissi practice. I position my investigation in the field of Practice-as-Research evidencing my research inquiry through praxis---theory imbricated in practice as defined by Practice-as-Research scholar Robin Nelson. Imbricating critical cultural theory and movement practice, I examine Mahari praxis within an interdisciplinary investigation combining religious studies, sexuality studies, technology studies, dance studies, and South Asian studies. The Mahari danced in the Hindu temples of Odisha, the state from which Odissi originates, from the twelfth to early twentieth century. Mythically, she descends from the Alasa-Kanya, female sculptural figure adorning the temple-walls of Odisha. Being ritually married to Jagannath , the Hindu male deity presiding over Odissi dance, she had a sexual life outside of social marriage within circles of the indigenous elites. Although, Odissi is premised on Mahari ritual performativity in front of Jagannath to establish historical continuity, it does not acknowledge her creative practice for her alleged links to prostitution. I redress the appropriation of the Mahari in Odissi technique, by reimagining her in my choreographed Odissi movement and in its subsequent digital mediation as 3D data using motion capture technology. In solo and group choreographic works and their virtual adaptations, I explore the Mahari's ritual performance in the temple alongside examining her mythical associations in ancient and medieval temple-sculpture. In an intermodal inquiry spanning live dancing, digital visualization of live movement, and stone sculpture, I highlight the unacknowledged aesthetics of the Mahari tradition within the Odissi body by discovering the twisting movements of the Mahari in my practice. Bringing poststructuralist theories of deconstruction together with technological and improvisatory measures of deconstructing my embodied practice, I argue that the Mahari performativity creates a potential to subvert the conservative horizon of Odissi. In my innovative methodological maneuver, multiple registers of mediation---historical and technological---co-construct Mahari embodiment across stone sculpture, 3D data, and the live dancing body enlivening the ever-elusive Mahari in her aesthetic, social, sexual, and historical complexity, and reorienting Odissi 's patriarchal center occupied by Jagannath.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Dance. $3 556850
655 7 $a Electronic books. $2 local $3 554714
690 $a 0378
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a The Ohio State University. $b Dance. $3 1185833
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10702703 $z click for full text (PQDT)