- The Oxford Handbook of Dance and Reenactment
- Introduction: The Power of Recall in a Post-Ephemeral Era
- Tracing Sense/Reading Sensation: An Essay on Imprints and Other Matters
- Giving Sense to the Past: Historical D(ist)ance and the Chiasmatic Interlacing of Affect and Knowledge
- <i>Martha@ . . . The 1963 Interview</i>: Sonic Bodies, Seizures, and Spells
- Reenactment, Dance Identity, and Historical Fictions
- Bound and Unbound: <i>Reconstructing Merce Cunningham’s</i> Crises
- The Motion of Memory, the Question of History: Recreating Rudolf Laban’s Choreographic Legacy
- To the Letter: Lettrism, Dance, Reenactment
- <i>Letters to Lila</i> and Dramaturg’s Notes on <i>Future Memory</i>: Inheriting Dance’s Alternative Histories
- (Re)enacting Thinking in Movement
- Not Made by Hand, or Arm, or Leg: The Acheiropoietics of Performance
- Pedagogic In(ter)ventions: <i>On the Potential of (Re)enacting Yvonne Rainer’s</i> Continuous Project/Altered Daily <i>in a Dance Education Context</i>
- What Remains of the Witness? Testimony as Epistemological Category: Schlepping the Trace
- Baroque Relations: <i>Performing Silver and Gold in Daniel Rabel’s</i> Ballets of the Americas
- Reenacting <i>Kaisika Natakam</i>: Ritual Dance-Theater of India
- Gloriously Inept and Satisfyingly True: Reenactment and the Practice of Spectating
- Blasting Out of the Past: The Politics of History and Memory in Janez Janša’s Reconstructions
- Reenactment as Racialized Scandal
- Reenacting Modernist Time: William Kentridge’s <i>The Refusal of Time</i>
- Quito-Brussels: A Dancer’s Cultural Geography
- Dance and the Distributed Body: <i>Odissi and</i> Mahari <i>Performance</i>
- Choreographic Re-embodiment between Text and Dance
- Affect, Technique, and Discourse: Being Actively Passive in the Face of History: Reconstruction of Reconstruction
- Epilogue to an Epilogue: Historicizing the Re- in Danced Reenactment
- The Time of Reenactment in <i>Basse Danse</i> and <i>Bassadanza</i>
- Time Layers, Time Leaps, Time Loss: Methodologies of Dance Historiography
- (In)Distinct Positions: The Politics of Theorizing Choreography
- Scenes of Reenactment/Logics of Derivation in Dance
- A Proposition for Reenactment: Disco Angola <i>by Stan Douglas</i>
- Dance in Search of Its Own History: On the Contemporary Circulation of Past Knowledge
Abstract and Keywords
This chapter explores multiple dimensions of the reenactment of a thirteenth-century ritual dance-theater work, Kaisika Natakam, of South India. A collaborative effort by scholars, musicologists, and performing artist Anita Ratnam, the revival and reconstruction of this tradition has been performed annually since 1995 in Tirukurungudi village in Tamil Nadu, India. We theoretically distinguish reconstruction from reenactment. This ritual reenactment appeals to modern democratic impulses in that the story uniquely challenges the caste system; indeed it demonstrates that Nambudevan, Lord Vishnu’s devotee, though low-born is an honorable individual who keeps his word, even if that may lead to his death. The story reminds audiences of the significance of music and dance in Hindu worship, exemplified in Nambudevan’s devotional singing that plays a key role in transforming a demon into human form. The chapter also discusses gender issues such as male roles played by females in this ritual dance-theater.
Ketu H. Katrak born in Bombay, India, is a Professor in the Department of Drama at the University of California, Irvine (UCI) and affiliated with the Departments of English and Comparative Literature. Katrak is the author of Contemporary Indian Dance: New Creative Choreography in India and the Diaspora (Palgrave Macmillan, 2011, paperback, 2014), Politics of the Female Body: Postcolonial Women Writers (Rutgers University Press, 2006), and Wole Soyinka and Modern Tragedy: A Study of Dramatic Theory and Practice (Greenwood Press, 1986). Katrak has a forthcoming book (in progress) entitled Jay Pather: Performance and Spatial Politics in South Africa. Katrak’s published essays in drama, dance, and performance, postcolonial theory, and African and postcolonial women writers appear in journals such as Amerasia, Modern Fiction Studies, and South Asian Popular Culture, among others. Katrak is the recipient of a Fulbright Research Award to India (2005–2006), University of California, Humanities Research Institute’s Fellowship (2002), The Bunting Institute Fellowship (1988–1989; Harvard University, Radcliffe College), and the University of Massachusetts Chancellor’s Award for Multiculturalism (1993). Katrak was on the Fulbright Senior Specialist roster (2010–2015).
Anita Ratnam, based in Chennai, India, is highly respected as a performer, writer, speaker, and arts entrepreneur and culture mentor. Her four-decade career, with over a thousand performances in twenty-seven countries, intersects the varied disciplines of dance, theater, storytelling, feminist themes, arts production, music, and costume design. Dr. Ratnam’s Neo Bharatam repertoire distills the classical dance traditions of her Bharatanatyam training, with a focus on ritual traditions reinterpreted for the modern concert stage. Using voice, singing, Vedic hymns, drumming, contemporary mythology, and devised movements, her various choreographies include Seven Graces, Ma3ka, A Million Sitas, and Neelam. In 2000, Ratnam created narthaki.com, the largest web portal on Indian dance featuring articles, reviews, directories of events and information on Indian dancers in India and beyond. In January 2017, Dr. Ratnam was awarded the International Arts Award by UK-based Milapfest for her role in initiating and nurturing this significant dance portal over the past seventeen years. As a respected dance advocate interested in cultural policy, Ratnam served on the executive board of several Indian national arts organizations such as the Ministry of Culture (Grants Committee), ICCR (Indian Council for Cultural Relations), and Sangeet Natak Akademi. Anita Ratnam is a voting member of the Dance Critics Association, United States, and a Fellow of the World Academy of Arts and Sciences, United Kingdom.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.