Uttara Asha Coorlawala
Biographic Data
| ID | 3482320 |
|---|---|
| NAME | Uttara Asha Coorlawala |
| GIVEN NAMES | Uttara Asha |
| FAMILY NAME | Coorlawala |
| SIGNATURE | COORLAWALA U A |
| AFFILIATIONS | New York University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 19 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 3 |
The Dancing Subject in Hindi Film
The Sanskritized Body
As Bharatanatyam dancers across the world talk about what they do through listservs, websites, and performance publicity-in academia's world dance courses and amidst international cultural diplomats-I keep re-encountering the Orientalist representation of a "pan Indian transhistorical" devadāsī . Her history is a linear deterioration of aesthetic quality and personal agency, from temple to courts and from courts to streets and to (deserved) aband…
Speaking Back
Kapila Vatsyayan~Formative Influences
Kapila Vatsyayan: You are kind Uttara, but it is hard for me to analyze myself. I have been . . . extraordinarily fortunate. My training began with the practice of dance, from Oriental dance to Kathak to Bharatanatyam and Manipuri. My concurrent training in English literature at Delhi University provided critical apparatus. Although my academic disciplines were English literature, Western art, and whatever we learned in pre-Independent India, I h…
II. Ananya and Chandralekha—A Response to “Chandralekha
Darshan and Abhinaya
In the following study, methods developed within feminist film theory of deconstructing the gaze are applied to “read” abhinaya (the narrational component in Indian classical dancing)(1) and the performer-audience relationship. The study has yielded an alternative model to Kaplan's model of an inevitable male gaze and a performance mechanism for generating transcendence. It also shows that decontextualised readings of dance can yield very differe…
The Toronto conference on “new directions in Indian dance”
New Directions in Indian Dance was the theme of the International Festival and Conference held for one tightly packed week, February 9-15, 1993, in Toronto, Canada. The inclusive title refers to both the traditional and nontraditional Indian dance forms that been constantly evolving within India since Independence, and also beyond India, as immigrants, most specifically in Canada, have been trying to make this artform an accepted part of the Cana…
The Classical Traditions of Odissi and Manipuri
Odissi: Indian Classical Dance Art By Sunil Kothari. Illustrated. 132 pp. Bombay: Marg Publications, 1990. Rs. 595. U.S. $50.00. Dances of Manipur: The Classical Tradition Edited by Saryu Doshi. Illustrated. 128 pp. Bombay: Marg Publications, 1989. Rs. 575. U.S. $48.00
Illustrating Kathak
Kathak Indian Classical Dance Art By Sunil Kothari. Illustrated. 234 pp. New Delhi: Abhinav Publications, 1989. Rs. 800, $110 ($88 prepaid from the U.S. distributor, South Asia Books, P.O. Box 502, Columbia, MO 65205) The Dances of India By Reginald and Jamila Massey. Illustrated. 164 pp. London: Tricolour Books, 1989. $30 ($24 prepaid from the U.S. distributor, South Asia Books)
Ruth St. Denis and India's dance renaissance
Between January 8 and May 9, 1926, as part of their eighteen-month tour of the Orient, the Denishawn Dance Company performed over one hundred dance concerts in India.' These performances by St. Denis, Ted Shawn, and eight dancers were not subsidized by any government, but basically were supported by the sale of tickets and occasionally by royal patrons, such as the Nizam of Hyderabad and the Maharaja Gaekwar of Baroda. The Denishawn dance concert…
The Sanskritized Body
As Bharatanatyam dancers across the world talk about what they do through listservs, websites, and performance publicity-in academia's world dance courses and amidst international cultural diplomats-I keep re-encountering the Orientalist representation of a "pan Indian transhistorical" devadāsī . Her history is a linear deterioration of aesthetic quality and personal agency, from temple to courts and from courts to streets and to (deserved) aband…
Ruth St. Denis and India's dance renaissance
Between January 8 and May 9, 1926, as part of their eighteen-month tour of the Orient, the Denishawn Dance Company performed over one hundred dance concerts in India.' These performances by St. Denis, Ted Shawn, and eight dancers were not subsidized by any government, but basically were supported by the sale of tickets and occasionally by royal patrons, such as the Nizam of Hyderabad and the Maharaja Gaekwar of Baroda. The Denishawn dance concert…
Darshan and Abhinaya
In the following study, methods developed within feminist film theory of deconstructing the gaze are applied to “read” abhinaya (the narrational component in Indian classical dancing)(1) and the performer-audience relationship. The study has yielded an alternative model to Kaplan's model of an inevitable male gaze and a performance mechanism for generating transcendence. It also shows that decontextualised readings of dance can yield very differe…
Illustrating Kathak
Kathak Indian Classical Dance Art By Sunil Kothari. Illustrated. 234 pp. New Delhi: Abhinav Publications, 1989. Rs. 800, $110 ($88 prepaid from the U.S. distributor, South Asia Books, P.O. Box 502, Columbia, MO 65205) The Dances of India By Reginald and Jamila Massey. Illustrated. 164 pp. London: Tricolour Books, 1989. $30 ($24 prepaid from the U.S. distributor, South Asia Books)
Ruth St. Denis and India's dance renaissance
Between January 8 and May 9, 1926, as part of their eighteen-month tour of the Orient, the Denishawn Dance Company performed over one hundred dance concerts in India.' These performances by St. Denis, Ted Shawn, and eight dancers were not subsidized by any government, but basically were supported by the sale of tickets and occasionally by royal patrons, such as the Nizam of Hyderabad and the Maharaja Gaekwar of Baroda. The Denishawn dance concert…
The Toronto conference on “new directions in Indian dance”
New Directions in Indian Dance was the theme of the International Festival and Conference held for one tightly packed week, February 9-15, 1993, in Toronto, Canada. The inclusive title refers to both the traditional and nontraditional Indian dance forms that been constantly evolving within India since Independence, and also beyond India, as immigrants, most specifically in Canada, have been trying to make this artform an accepted part of the Cana…
The Classical Traditions of Odissi and Manipuri
Odissi: Indian Classical Dance Art By Sunil Kothari. Illustrated. 132 pp. Bombay: Marg Publications, 1990. Rs. 595. U.S. $50.00. Dances of Manipur: The Classical Tradition Edited by Saryu Doshi. Illustrated. 128 pp. Bombay: Marg Publications, 1989. Rs. 575. U.S. $48.00
Darshan and Abhinaya
In the following study, methods developed within feminist film theory of deconstructing the gaze are applied to “read” abhinaya (the narrational component in Indian classical dancing)(1) and the performer-audience relationship. The study has yielded an alternative model to Kaplan's model of an inevitable male gaze and a performance mechanism for generating transcendence. It also shows that decontextualised readings of dance can yield very differe…
II. Ananya and Chandralekha—A Response to “Chandralekha
Kapila Vatsyayan~Formative Influences
Kapila Vatsyayan: You are kind Uttara, but it is hard for me to analyze myself. I have been . . . extraordinarily fortunate. My training began with the practice of dance, from Oriental dance to Kathak to Bharatanatyam and Manipuri. My concurrent training in English literature at Delhi University provided critical apparatus. Although my academic disciplines were English literature, Western art, and whatever we learned in pre-Independent India, I h…
Speaking Back
The Sanskritized Body
As Bharatanatyam dancers across the world talk about what they do through listservs, websites, and performance publicity-in academia's world dance courses and amidst international cultural diplomats-I keep re-encountering the Orientalist representation of a "pan Indian transhistorical" devadāsī . Her history is a linear deterioration of aesthetic quality and personal agency, from temple to courts and from courts to streets and to (deserved) aband…
The Dancing Subject in Hindi Film
Art (9 works) · Visual arts (7 works) · Dance (6 works) · Diversity and Impact of Dance (6 works) · Art history (5 works) · Sociology (5 works) · Cinema and Media Studies (3 works) · History (3 works) · South Asian Cinema and Culture (3 works) · Aesthetics (2 works)