Western feminist theory, Asian Indian performance, and a notion of agency

Meduri, Avanthi

doi:10.1080/07407709208571154

Cited by 2 publications

(1 citation statement)

References 9 publications

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“…This shape seeks to deconstruct Western performance contexts (Lakes, 2005) by allowing the audience to be in close proximity to the performer and make decisions about where and how they stand. Inspired by Marina Abramović's The Artist is Present (Charles, 2010), and notions of the feminist gaze (Meduri, 1992) Alesha was compelled to look into the eyes of each audience member. This visual connection was a practice of gratitude to feel the generosity, love and support of the people in the space (Chen et al, 2012).…”

Section: Decolonial Experiences Of Being: Examination Space and Embodimentmentioning

confidence: 99%

The soil in the lines of my mehndi: Toward a decolonial ritual choreographic methodology

Mehta

Foster-Sproull

2021

JASED

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This article explores instigating ritual movement practices as a decolonial approach to practice led research within a Western liberal arts context. By connecting ritual with movement through a decolonial lens, a choreographic methodology was explored to enable belonging, cultural identity and empowerment to evolve within postgraduate practice led research. Ritual movement processes may involve trial and error as well as deep experimentation to unveil and unpack decolonial experience. Building from student-centred personal reflections, this article proposes that ritual movement practice may allow for cultural representation, belonging and decoloniality to occur within a neoliberal educational context. To explore this realm a central query evolved, how might ritual movement practices instigate a decolonial student experience within postgraduate practice led research?

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Section: Decolonial Experiences Of Being: Examination Space and Embodimentmentioning

confidence: 99%

The soil in the lines of my mehndi: Toward a decolonial ritual choreographic methodology

Mehta

Foster-Sproull

2021

JASED

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Dancing and Listening: Odissi across Cultures

Gardner¹

2012

Journal of Intercultural Studies

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This paper discusses issues that arose for me when I interviewed an Odissi dancer about her learning this Indian dance form, travelling as she did from Australia to Orissa to spend several months of each year over an 11-year period to live with her guru, the late Sanjukta Panigrahi. The issues I discuss are the problems associated with making a text from a live encounter, and the choice of perspectives used in analysing that text. Drawing on discussions by ethnographers, anthropologists and others about the role of poetics in intercultural research, and on my own dance experience, I reflect on my 'positioning' in the various stages of the research. I go on to propose that the live, the temporal and what is remembered in the body are important, potentially poetic modalities of knowledge, which can easily be elided in academically validated ways of thinking and doing.

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Western feminist theory, Asian Indian performance, and a notion of agency

Cited by 2 publications

References 9 publications

The soil in the lines of my mehndi: Toward a decolonial ritual choreographic methodology

The soil in the lines of my mehndi: Toward a decolonial ritual choreographic methodology

Dancing and Listening: Odissi across Cultures

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