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dc.contributor.authorMitra, Royona
dc.date.accessioned2007-07-19T09:38:28Z
dc.date.available2007-07-19T09:38:28Z
dc.date.issued2006
dc.date.submitted2007-07-06
dc.identifier.citationMitra, R. (2006). living a body myth, performing a body reality: reclaiming the corporeality and sexuality of the Indian female dancer. Feminist Review, 84 (1), pp 67-83.
dc.identifier.issn0141-7789
dc.identifier.doi10.1057/palgrave.fr.9400301
dc.identifier.urihttp://hdl.handle.net/2436/12814
dc.description.abstractThis paper investigates the dilemma that has been projected upon Indian female dancers’ bodies by contemporary Indian audiences when female desire occupies the centrality of a performance, projecting the female body as sexual, articulate and independent of the discipline and propriety of classicism. The hostility and discomfort towards the expression of female desire and sexuality in performance by the Kolkata (Calcutta) audience demonstrates a socio-culturally specific, post-colonial and nationalist codification of corporeal aesthetics and female sexuality. Using the frameworks of the Indian nationalist construction of womanhood and chaste postcolonial sensibilities of femininity as the basis for this dilemma, this paper adopts Victor Turner’s notions of liminal and liminoid phenomenon and Brechtian defamiliarisation technique as a feminist strategy to construct a framework within which the contemporary Indian dancer can reclaim her sexuality in performance. To investigate the nature of this complex nationalist trope of chaste Indian womanhood, and to analyse the audience’s reception of a performance that attempts to subvert this trope by placing agency on the female body as sexual, I locate my argument in the discussion of The Silk Route: Memory of a Journey by Kinaetma Theatre, UK which was performed in Kolkata in August 2004.
dc.formatapplication/pdf
dc.format.extent91136 bytes
dc.format.mimetypeapplication/msword
dc.language.isoen
dc.publisherSage Publications
dc.relation.urlhttps://journals.sagepub.com/doi/full/10.1057/palgrave.fr.9400301
dc.subjectIndia
dc.subjectPerforming Arts
dc.subjectFemininity
dc.subjectDance
dc.subjectCulture
dc.subjectGender
dc.subjectSexuality
dc.titleLiving a body Myth, Performing a Body Reality
dc.title.alternativeFemininity
dc.typeJournal article
dc.identifier.journalFeminist Review
dc.source.volume84
dc.source.issue1
dc.source.beginpage67
dc.source.endpage83
refterms.dateFOA2020-04-06T11:27:47Z
html.description.abstractThis paper investigates the dilemma that has been projected upon Indian female dancers’ bodies by contemporary Indian audiences when female desire occupies the centrality of a performance, projecting the female body as sexual, articulate and independent of the discipline and propriety of classicism. The hostility and discomfort towards the expression of female desire and sexuality in performance by the Kolkata (Calcutta) audience demonstrates a socio-culturally specific, post-colonial and nationalist codification of corporeal aesthetics and female sexuality. Using the frameworks of the Indian nationalist construction of womanhood and chaste postcolonial sensibilities of femininity as the basis for this dilemma, this paper adopts Victor Turner’s notions of liminal and liminoid phenomenon and Brechtian defamiliarisation technique as a feminist strategy to construct a framework within which the contemporary Indian dancer can reclaim her sexuality in performance. To investigate the nature of this complex nationalist trope of chaste Indian womanhood, and to analyse the audience’s reception of a performance that attempts to subvert this trope by placing agency on the female body as sexual, I locate my argument in the discussion of The Silk Route: Memory of a Journey by Kinaetma Theatre, UK which was performed in Kolkata in August 2004.


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