Shiva onstage - Info and Reading Options

"Shiva onstage" Table Of Contents:

• 1- Introduction
• 2- 1. Music and the musical instruments
• 3- 1.1 Music and its reception in Uday Shankar's early performances
• 4- 1.2 Counting and measuring. Shankar and German comparative musicology
• 5- 1.3 From "Hindu music" to "Indian music." British and British-Indian musicological writing from William Jones to Ananda K. Coomaraswamy
• 6- 1.3.1 The British orientalists: In search of classical origins
• 7- 1.3.2 S.M. Tagor: "Hindu Music" in the wake of British orientalism
• 8- 1.3.3 A.H. Fox Strangways: The music of Hindostan
• 9- 1.3.4 A.K. Cooraraswamy: "Indian music"
• 10- 1.4 "Then out came the musical instruments." The presentation of music in Uday Shankar's performances
• 11- 2. The unity of the arts
• 12- 2.1 Towards a re-unification of the arts: Uday Shankar's Indian dances in Germany
• 13- 2.2 Reviving ancient greek tragedy: Wagner, Nietzsche, and the modern dance scene
• 14- 2.2.1 Richard Wagner's concept of the united artwork
• 15- 2.2.2 Appropriations in the early modern dance scene
• 16- 2.2.3
• 17- Friedrich Nietsche: Dance and the dionysiac principle
• 18- 2.3 The dance-drama Tandava Nrittya: Indian Natya as a united artwork
• 19- 2.4 Uday Shankar, Modern Dance, and notions of primitivism
• 20- 3. Movement and the body
• 21- 3.1 Towards a definition of oriental dance
• 22- 3.1.1 Oriental dance: A western genre
• 23- 3.1.2 A new level of authenticity: Oriental dancers on western stages
• 24- 3.1.3 Andre Levinson: Dance movements east and west
• 25- 3.2 From oriental to asian dance
• 26- 3.2.1 The genre of asian dance: Levinson and others
• 27- 3.2.2 Uday Shankar: Presenting Indian dance movements in the west
• 28- 3.3 Pressing gender and racial boundaries: The male Indian dancer Uday Shankar
• 29- 4. Art, Religion and Mythology
• 30- 4.1 Filling the lack of religion: Mythology and the spiritual in western modern dance
• 31- 4.2 Dancing the divine: Shankar, Coomaraswamy, and Shiva as Nataraja
• 32- 4.2.1 "He dances and his dance becomes a prayer."Uday Shankar's religious dancing
• 33- 4.2.2 Shankar as Shiva
• 34- 4.3 Indian arts and aesthetics on the rise: The impact of Ananda K. Coomaraswamy
• 35- 4.3.1 From arts and crafts to fine arts in India
• 36- 4.3.2 "Oriental Dances in America"
• 37- 4.4 "Replete with an unknown beauty." The incomprehensibility of Indian dance and music
• 38- Conclusion
• 39- Bibliography.

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