Alessandra Lopez Y Royo
Biographic Data
| ID | 117513 |
|---|---|
| NAME | Alessandra Lopez Y Royo |
| GIVEN NAMES | Alessandra Lopez Y |
| FAMILY NAME | Royo |
| SIGNATURE | ROYO A L Y |
| AFFILIATIONS | University of London |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
Dancing the Feminine: Gender and Identity Performances by Indonesian Migrant Women, by Monika Swasti Winarnita
"Dancing the Feminine: Gender and Identity Performances by Indonesian Migrant Women, by Monika Swasti Winarnita." Anthropological Forum, 28(3), pp. 309–310
The Reinvention of Odissi Classical Dance as a Temple Ritual
Indonesian Performing Arts across Borders
Chola: Sacred Bronzes of Southern India by Vidya Dehejia, John Guy, John Eskenazi and Daud Ali
The Prince of the Pagodas , Gong and Tabuh-Tabuhan: Balinese Music and Dance, Classical Ballet and Euro-American Composers and Choreographers
This article looks at the work of 20th century choreographers and composers whose inspiration was Balinese gamelan music. It focuses on two dance works, The Prince of the Pagodas (1957) by Cranko, re-choreographed by MacMillan in 1989, and Gong (2000) by Mark Morris and discusses their interconnection through the music of composers McPhee and Britten, and the relationship of their choreography with Balinese dance. The article reconsiders issues o…
Rock corridor: Buddhism with a contemporary Javanese inflection through a site-specific performance in Tokyo
What does it mean to ‘translate’ or ‘recreate’ performance in a different location and in a different medium? What are the problems associated with ‘translating’ performance works across cultural b
Embodying a Site: Choreographing Prambanan
The article re-engages with the 9th century CE temple complex of Prambanan, in Central Java, as a performance locus, discussing the different phases of a bodily interaction with the site from the reconstitution of its dance units, retrievable from the dance reliefs of the main temple, to an exploration of the temple-dance-site connection. The author proposes that archaeology can be conceived and experienced as an embodied and performative practic…
New Directions In Indian Dance
Issues in Dance Reconstruction: Karaṇas as Dance Texts in a Cross-cultural Context
The Nāṭyaśāstra is a Sanskrit work on drama, dance, and music of uncertain date, which has acquired the status of Ur -text of Indian classical dance. It was in the twentieth century, through the modernization process of bharatanatyam, that the Nāṭyaśāstra and its related texts came to be regarded as setting out the grammar of Indian dance classicism (Coorlawala 1994; Meduri 1996; O'Shea 2001). Chapter 4 of the Nāṭyaśāstra deals specifically with …
Classicism, Post-Classicism and Ranjabati Sircar’s Work: Re-Defining the Terms of Indian Contemporary Dance Discourses
This essay discusses contemporary dance in India, foregrounding the link between dance and politics. The author proposes that contemporary dance in today’s India can be seen as a continuum, marked by tension and rupture. It embraces, on the one hand, ‘classicism’ – strictly speaking ‘neo-classicism’ – and, on the other, an ideological move away from this ‘classicism’, which constitutes itself into an heterogeneous movement motivated by a search f…
Dance in Ninth Century Java: A Methodology for the Analysis and Reconstitution of the Dance
Demonstrating the universalism of the dance, the author, a scholar of Southeast Asia, tells us that rather than focusing solely on contextual issues, such as the nature and function of dance at a particular point in time and in a specific sociocultural context, it is enlightening for scholars of the past to look at these depictions from the dancer's point of view, in other words, in terms of movement reconstitution and its reembodiment. The autho…
Classicism, Post-Classicism and Ranjabati Sircar’s Work: Re-Defining the Terms of Indian Contemporary Dance Discourses
This essay discusses contemporary dance in India, foregrounding the link between dance and politics. The author proposes that contemporary dance in today’s India can be seen as a continuum, marked by tension and rupture. It embraces, on the one hand, ‘classicism’ – strictly speaking ‘neo-classicism’ – and, on the other, an ideological move away from this ‘classicism’, which constitutes itself into an heterogeneous movement motivated by a search f…
Embodying a Site: Choreographing Prambanan
The article re-engages with the 9th century CE temple complex of Prambanan, in Central Java, as a performance locus, discussing the different phases of a bodily interaction with the site from the reconstitution of its dance units, retrievable from the dance reliefs of the main temple, to an exploration of the temple-dance-site connection. The author proposes that archaeology can be conceived and experienced as an embodied and performative practic…
Dance in Ninth Century Java: A Methodology for the Analysis and Reconstitution of the Dance
Demonstrating the universalism of the dance, the author, a scholar of Southeast Asia, tells us that rather than focusing solely on contextual issues, such as the nature and function of dance at a particular point in time and in a specific sociocultural context, it is enlightening for scholars of the past to look at these depictions from the dancer's point of view, in other words, in terms of movement reconstitution and its reembodiment. The autho…
Classicism, Post-Classicism and Ranjabati Sircar’s Work: Re-Defining the Terms of Indian Contemporary Dance Discourses
This essay discusses contemporary dance in India, foregrounding the link between dance and politics. The author proposes that contemporary dance in today’s India can be seen as a continuum, marked by tension and rupture. It embraces, on the one hand, ‘classicism’ – strictly speaking ‘neo-classicism’ – and, on the other, an ideological move away from this ‘classicism’, which constitutes itself into an heterogeneous movement motivated by a search f…
Dance in Ninth Century Java: A Methodology for the Analysis and Reconstitution of the Dance
Demonstrating the universalism of the dance, the author, a scholar of Southeast Asia, tells us that rather than focusing solely on contextual issues, such as the nature and function of dance at a particular point in time and in a specific sociocultural context, it is enlightening for scholars of the past to look at these depictions from the dancer's point of view, in other words, in terms of movement reconstitution and its reembodiment. The autho…
New Directions In Indian Dance
Issues in Dance Reconstruction: Karaṇas as Dance Texts in a Cross-cultural Context
The Nāṭyaśāstra is a Sanskrit work on drama, dance, and music of uncertain date, which has acquired the status of Ur -text of Indian classical dance. It was in the twentieth century, through the modernization process of bharatanatyam, that the Nāṭyaśāstra and its related texts came to be regarded as setting out the grammar of Indian dance classicism (Coorlawala 1994; Meduri 1996; O'Shea 2001). Chapter 4 of the Nāṭyaśāstra deals specifically with …
Rock corridor: Buddhism with a contemporary Javanese inflection through a site-specific performance in Tokyo
What does it mean to ‘translate’ or ‘recreate’ performance in a different location and in a different medium? What are the problems associated with ‘translating’ performance works across cultural b
Embodying a Site: Choreographing Prambanan
The article re-engages with the 9th century CE temple complex of Prambanan, in Central Java, as a performance locus, discussing the different phases of a bodily interaction with the site from the reconstitution of its dance units, retrievable from the dance reliefs of the main temple, to an exploration of the temple-dance-site connection. The author proposes that archaeology can be conceived and experienced as an embodied and performative practic…
The Reinvention of Odissi Classical Dance as a Temple Ritual
Indonesian Performing Arts across Borders
Chola: Sacred Bronzes of Southern India by Vidya Dehejia, John Guy, John Eskenazi and Daud Ali
The Prince of the Pagodas , Gong and Tabuh-Tabuhan: Balinese Music and Dance, Classical Ballet and Euro-American Composers and Choreographers
This article looks at the work of 20th century choreographers and composers whose inspiration was Balinese gamelan music. It focuses on two dance works, The Prince of the Pagodas (1957) by Cranko, re-choreographed by MacMillan in 1989, and Gong (2000) by Mark Morris and discusses their interconnection through the music of composers McPhee and Britten, and the relationship of their choreography with Balinese dance. The article reconsiders issues o…
Dancing the Feminine: Gender and Identity Performances by Indonesian Migrant Women, by Monika Swasti Winarnita
"Dancing the Feminine: Gender and Identity Performances by Indonesian Migrant Women, by Monika Swasti Winarnita." Anthropological Forum, 28(3), pp. 309–310
Art (10 works) · Dance (7 works) · History (7 works) · Visual arts (7 works) · Aesthetics (6 works) · Diversity and Impact of Dance (5 works) · Literature (5 works) · Archaeology (4 works) · Asian Studies and History (4 works) · Linguistics (4 works)