Art & Performing Art

<p>Shiv Nadar University is a comprehensive, multidisciplinary, research-focused, and student-centric University offering a full range of academic programs at the undergraduate, postgraduate and doctoral level. With state-of-the-art infrastructure, the University comprises of academic wings, sophisticated labs, international standard sports facilities, amphitheaters, auditorium, conference rooms and smart classrooms. The University&rsquo;s goal is to become internationally recognized for the quality of its research and creative endeavors and their applicability to improving quality of life, generating new insights and expanding the boundaries of human knowledge creativity. Committed to excellence in teaching, research and service, the University aims to serve the higher education needs of India and the world beyond.</p>

Shiv Nadar University

Teaching Odissi in the university space is not new to me. However, as a dancer-scholar located in India, teaching this dance form in a university in the United States expanded and deepened my understanding of this dance form and the ways it can be taught. This encounter, a collision of cultures, beliefs, and movement practices in the dance studio, engendered a pedagogical process that revealed itself as I taught this class over two semesters. The design of the class discussed in this article emerged from an intersection of my own training in Odissi with my guru and the institutional requirements of the program. This paper unpacks my pedagogical process of creating a syllabus, adopting teaching strategies, and assessing student work for negotiating the cultural chasm between me and my students, hoping to generate a sense of critical questioning, mutual curiosity, and respect. © 2022 National Dance Education Organization.

(SoHSS) School of Humanities and Social Sciences

Journal of Dance Education

Locating Odissi in the United States: Dancing through Curricula, Teaching Methods, and Assessment

When the traditional (dance) and the modern (university) intersect within the Liberal Arts, the pedagogical dynamics produced opens possible pathways to approach decolonization as an ongoing praxical pedagogical process. This un-archival unruly lived experience of decolonization proposes a possibility of evoking Indian pasts against the misuses of the present. Arguing for an un-archival response which mediates the insertion of traditional oral mnemocultres into academia, enables knowledge production through heterogeneous modes of practice sustained by an embodied relation with generativity. Examining the relationship between the curriculum, the teacher and the student created in this context, this paper theorizes decolonization as an epistemological move towards understanding, living and moving beyond the colonial translation. © 2020 Informa UK Limited, trading as Taylor & Francis Group.

Research in Dance Education

Choreographing decolonization: pedagogical confrontations at the intersection of traditional dance and liberal arts in higher education in India

Dancing Across Borders: Perspectives on Dance, Young People and Change

Teaching dance as an investigative practice in the contemporary Indian context

World University root node

Multiplos Olhares Sobre Processos Descoloniais nas Artes Cenicas

Debating Modern and Post-Modern in the Indian context: Reflecting on dance history and changing aesthetics of dance in India

CONFIGURING THE ‘CONTEMPORARY': CHOREOGRAPHIC PROCESSES OF NAVTEJ JOHAR, PADMINI CHETTUR, AND JAYACHANDRAN PALAZHY

The questions that this paper poses are placed at the intersection of a Liberal Arts approach to education and the pedagogy of traditional Indian dance forms. These questions are explored through my ongoing pedagogical experiment with teaching the art of abhinaya in the university classroom. This paper charts the journey of exploring what the technique of abhinaya means. How is it generated? Where does an individual find agency and voice within the discipline of a classical Indian dance form? Here abhinaya is generated through a toolbox of methods, which allows students to access their own perceptions and understandings and structure them in ways which can be communicated. Building upon their embodied knowledge, students create multiple layers of meaning, moving from the obvious depictions to abstract forms; a process that forms the bedrock of traditional abhinaya technique. Learning in the class is driven neither by the teacher nor the curriculum, but rather by the student. In its approach, this class cuts across disciplinary boundaries and creates new frictions and relations in the class. It challenges the authority of the teacher and redefines the relationship between the teacher and the taught and what constitutes legitimate knowledge in a given discipline. © 2016 Informa UK Limited, trading as Taylor & Francis Group.