The Bharatanatyam module was written by Hari Krishnan. Krishnan is Assistant Professor of Dance in the Department of Dance at Wesleyan University (Connecticut, USA) and the artistic director of Toronto based company inDANCE. His research areas include queering the dancing body, colonialism, post-colonialism and Indian dance, contemporary dance and hybridization, globalization and the arts of India, Bharatanatyam in Tamil cinema and the history of devadasi-courtesan dance traditions in South India. Krishnan is a regular contributor to academic conferences and scholarly publications on cultural history and dance. As an award winning dance-maker, he is frequently commissioned for his avant-garde, subversive and transgressive choreography to create work on soloists and companies around the world. Krishnan is a recipient of several international grants and has also been nominated for Bessie (New York City) and Dora (Toronto) awards.
Videos
Texts
Gaston, Anne-Marie. 1996. “Training of Bharata Natyam Teachers.” In Bharata Natyam: From Temple to Theatre. Delhi: Manohar.
Kersenboom, Saskia. 1991. “The Traditional Repertoire of the Tiruttani Temple Dancers.” InRoles and Rituals for Hindu Women, ed. Julia Leslie. Rutherford: Fairleigh Dickinson University Press.
O’Shea, Janet. “Tradition and the Individual Dancer.” In At Home in the World: Bharata Natyam on the Global Stage. Middletown, CT: Wesleyan University Press.
Allen, Matthew Harp. 1997. “Rewriting the Script for South Indian Dance.” The Drama Review, 41 (3), 63-100.
Srinivasan, Amrit. 1988. “Reform or Continuity? Temple ‘Prostitution’ and the Community in the Madras Presidency.” In Structures of Patriarchy: State, Community and Household in Modernising Asia, ed. Bina Agarwal. Delhi: Kali for Women.
Grau, Andrée. 2007. “Political Activism and South Asian Dance: The Case of Mallika Sarabhai.”South Asia Research 27 (1): 43-55
Narayana Rao, Velcheru and David Shulman. 2002. “Muddupalani.” In Classical Telugu Poetry: An Anthology. Berkeley: University of California Press.
Krishnan, Hari. 2008. “Inscribing Practice: Reconfigurations and Textualizations of Devadasi Repertoire in Nineteenth and Early
Ramanujan, A.K., Velchuru Narayana Rao and David Shulman. 1994. When God is a Customer: Telugu Courtesan Songs by Ksetrayya and Others. Berkeley: University of California Press.
Viswanathan, T. and Matthew Allen. 2004. “Contextualizing South Indian Performance, Socially and Historically.” In Music in South India: The Karnatak Concert Tradition and Beyond. New York: Oxford University Press.
Whitehead, Judith. 1998. “Community Honor/Sexual Boundaries: A Discursive Analysis of Devadasi Criminalization in Madras, India, 1920-1947.” In Prostitution: On Whores, Hustlers, and Johns, ed. James E. Elias et al. New York: Prometheus Books.
Chatterjea, Ananya. “Chandralekha: Negotiating the Female Body and Movement in Cultural/Political Signification.” In Moving History/Dancing Cultures: A Dance History Reader, ed. Ann Dils and Anna Cooper Albright. Middletown, CT: Wesleyan University Press.
Arundale, Rukmini. 1948. “Bhava, Raga, Tala.” In Some Selected Speeches and Writings of Rukmini Devi Arundale (Vol. 1), ed. Shakuntala Ramani. Chennai: Kalakshetra Foundation [2003].
Balasaraswati, T. [1975]. “On Bharatanatyam.” In Sangeet Natak 72-73 (April-September 1984): 8-14.
Krishnan, Hari. 2008. “Inscribing Practice: Reconfigurations and Textualizations of Devadasi Repertoire in Nineteenth and Early Twentieth Century South India.” In Performing Pasts: Reinventing the Arts in Modern South India, ed. Indira Viswanathan Peterson and Devesh Soneji.
Soneji, Davesh. 2008. “Memory and the Recovery of Identity: Living Histories and the Kalavantulu of Coastal Andhra Pradesh.” In Performing Pasts: Reinventing the Arts in Modern South India, ed. Indira Viswanathan Peterson and Devesh Soneji.
