Through discussion of a dazzling array of artists in India and the diaspora, this book delineates a new language of dance on the global stage. Myriad movement vocabularies intersect the dancers' creative landscape, while cutting-edge creative choreography parodies gender and cultural stereotypes, and represents social issues.

As stories of Indian dance’s renaissance span almost a full century, there has emerged a globally dispersed community of Indian dancers, scholars and audiences who are deeply committed to keeping these traditions alive and experimenting with traditional dance languages to grapple with contemporary themes and issues. Scripting Dance in Contemporary India is an edited volume that contributes to this field of Indian dance studies. The book engages with multiple dance forms of India and their representations. The contributions are eclectic, including writings by both scholars and performers who share their experiential knowledge. There are four sections in the book – section I titled, “Representations’ has three chapters that deal with textual representations and illustrations of dance and dancers, and the significance of those representations in the present. Section II titled, “Histories in Process” consists of two chapters that engage with the historiographies of dance forms and suggest that histories are narratives that are continually created. In the third section, “Negotiations”, the four chapters address the different ways in which dance is embedded in society, and the different ways in which the aesthetics of a form has to negotiate with social, economic and political imperatives. The final section, “Other Voices/ Other Bodies” brings voices which are outside the mainstream of dance as ‘serious’ art.

Surveys the main features of contemporary Indian foreign policy.

Indian Classical Dance and the Making of Postcolonial National Identities explores what happens when a national-cultural production is reproduced outside the immediate social, political and cultural context of its origin. Whereas most previous studies have analysed Indian classical dance in the context of Indian history and culture, this volume situates this dance practice in the longstanding trasnational linkages between India and the UK. What is the relation between the contemporary performance of Indian classical dance and the constitution of national, diasporic and multicultural identity? Where and how does Indian dance derive its productive power in the postcolonial moment? How do diasporic and nationalist representations of Indian culture intersect with depictions of British culture and politics? It is argued that classical Indian dance has become a key aspect of not only postcolonial South Asian diasporic identities, but also of British multicultural and transnational identity. Based on an extensive ethnographic study of performances of Indian classical dance in the UK, this book will be of interest to scholars of anthropology, sociology, South Asian studies, Postcolonial, Transnational and Cultural studies, and Theatre and Performance studies.

This book examines modern dance as a form of embodied resistance to political and cultural nationalism in India through the works of five selected modern dance makers: Rabindranath Tagore, Uday Shankar, Shanti Bardhan, Manjusri Chaki Sircar and Ranjabati Sircar.

Contemporary dance, a field distinctly known for privileging innovation and experimentation, has had a rich century-long history in India and is one of the four major dance genres officially recognized by the Indian government, along with classical, folk, and tribal dance. At crucial historical moments, the Indian state has strategically deployed contemporary dance to advance a multicultural and modern image of the subcontinent to the world at large. Despite holding special significance in Indian political discourse, contemporary dance, compared to classical dance, remains under-theorized within Indian performance scholarship. Additionally, existing literature on contemporary Indian dance predominantly focuses on individual artists, delineating their aesthetic sensibilities, dance making techniques, and choreographies in response to social and political discourses circulating in the subcontinent since the early 1900s. My dissertation is the first study to analyze institutional actions that contributed to the formation and consolidation of contemporary Indian dance from the twentieth century to the current moment when the practice evolved into a global phenomenon. My dissertation investigates three institutions that have centrally engaged with contemporary dance in India: the Sangeet Natak Akademi (SNA), the Max Mueller Bhavan (MMB), and the Gati Dance Forum (GDF). I employ multi-sited ethnography, archival research, choreographic analysis, and discourse analysis to ascertain these cultural entities' interventions in the field of contemporary Indian dance. I mainly investigate the following actions mobilized by these institutions to enable the genre's development: policy-making, curating and hosting seminars, conferences, festivals, artistic residencies, and educational programs, conferring awards and honors, and furnishing monetary resources for dance training, creation, performance, and research. In examining these actions, I argue that the three institutions shape the contours of contemporary Indian dance discourse and practice by continually redefining the category and its stakes in line with evolving institutional missions and contingencies. I track what ways these institutions support contemporary dance in relation to the larger cultural, political, and economic changes experienced in India in the twentieth and twenty-first centuries-most notably due to India's shift from a socialist planned-economy to a neoliberal one. My assessment of how the three institutions form the conditions of possibility for contemporary Indian dance builds on a long tradition of critical theory that has generated frameworks for a materialist analysis of cultural production. I also draw from previous scholarship that conceptualizes how the norms, standards, and mechanisms of arts institutions augment and constrain a dance or performance field. Across my three dissertation chapters, I explore the national, bilateral, and local scales of contemporary dance production in India over the last six decades, which covers the time when each institution actively mediated the field. In my first chapter, I probe how the Sangeet Natak Akademi, a performing arts organization founded by the Indian state, assimilated contemporary dance to realize the latter's vision of promoting India's diverse cultural heritage and innovative capacity to compete globally. In my second chapter, I attend to the Max Mueller Bhavan, a network of cultural institutes established across India by the German Federal Foreign Office to facilitate diplomatic relations between the two countries. I interrogate how the MMB "developed" contemporary dance to justify and perpetuate the influence of the West in India. In my third chapter, I assess how the GDF, a performing arts non-profit constituted by contemporary Indian dancers, enabled the practice and ecosystem for experimental choreography by centering on the creative and professional needs of dance exponents. In investigating the above case studies, my dissertation offers critical new insights into the institutionalization of dance modernity in India by evaluating the politics of dance patronage.

During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences. Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill’s Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada’s Aboriginal Dance Program and the American Indian Dance Theatre. Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage. Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance.