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Choreography as feminist strategy: ...

Wade, Trevor Montague.

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Choreography as feminist strategy: Three approaches to Hindu feminism in the dance of Chandralekha, Manjusri Chaki-Sircar, and Daksha Sheth (India).

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Choreography as feminist strategy: Three approaches to Hindu feminism in the dance of Chandralekha, Manjusri Chaki-Sircar, and Daksha Sheth (India)./
Author:	Wade, Trevor Montague.
Description:	374 p.
Notes:	Adviser: Wendy Doniger.
Contained By:	Dissertation Abstracts International62-02A.
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3006564
ISBN:	049315874X

Choreography as feminist strategy: Three approaches to Hindu feminism in the dance of Chandralekha, Manjusri Chaki-Sircar, and Daksha Sheth (India).
Wade, Trevor Montague.

Choreography as feminist strategy: Three approaches to Hindu feminism in the dance of Chandralekha, Manjusri Chaki-Sircar, and Daksha Sheth (India). - 374 p.

Adviser: Wendy Doniger.

Thesis (Ph.D.)--The University of Chicago, 2001.

This dissertation examines the choreography of three female Indian dancers—Chandralekha, Manjusri Chaki-Sircar, and Daksha Sheth—and argues that their work can be understood as feminist religious discourse. Chandralekha, Chaki-Sircar, and Daksha Sheth are leaders in the development of a Modern or New Dance genre in India, and they frequently use dance to explore and reinterpret Hindu concepts and images. Unlike many Indian feminists, they do not reject religion entirely but select particular Hindu ideas to ground their feminist positions. Their choreography employs a two-part feminist strategy, criticizing patriarchal aspects of dominant Hindu discourse while simultaneously constructing alternative images of Hindu womanhood. In the process, they address a crucial feminist problem: how to be both a modern woman and a Hindu.

ISBN: 049315874XSubjects--Topical Terms:

610547
Dance.

Choreography as feminist strategy: Three approaches to Hindu feminism in the dance of Chandralekha, Manjusri Chaki-Sircar, and Daksha Sheth (India).
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245 1 0 $a Choreography as feminist strategy: Three approaches to Hindu feminism in the dance of Chandralekha, Manjusri Chaki-Sircar, and Daksha Sheth (India).
300 $a 374 p.
500 $a Adviser: Wendy Doniger.
500 $a Source: Dissertation Abstracts International, Volume: 62-02, Section: A, page: 0631.
502 $a Thesis (Ph.D.)--The University of Chicago, 2001.
520 $a This dissertation examines the choreography of three female Indian dancers—Chandralekha, Manjusri Chaki-Sircar, and Daksha Sheth—and argues that their work can be understood as feminist religious discourse. Chandralekha, Chaki-Sircar, and Daksha Sheth are leaders in the development of a Modern or New Dance genre in India, and they frequently use dance to explore and reinterpret Hindu concepts and images. Unlike many Indian feminists, they do not reject religion entirely but select particular Hindu ideas to ground their feminist positions. Their choreography employs a two-part feminist strategy, criticizing patriarchal aspects of dominant Hindu discourse while simultaneously constructing alternative images of Hindu womanhood. In the process, they address a crucial feminist problem: how to be both a modern woman and a Hindu.
520 $a My approach to the choreography of Chandralekha, Chaki-Sircar, and Daksha Sheth attempts to contextualize their feminist challenges to dominant discourses by analyzing their departures from convention and denoting their novel innovations. I thus describe the various historical and cultural contexts surrounding dance in India and its connection to national ideals of womanhood. Although no longer performed as part of Hindu temple ritual, dance in India is still considered a repository of Hindu values and beliefs and an emblem of national identity. For many, the classical heroine exemplifies the ideal Hindu woman. Chandralekha, Chaki-Sircar, and Daksha Sheth, however, dislike this traditional woman's submissive, self-negating role and object to her idealization as a spiritual and cultural model. Several chapters detail the life histories of Chandralekha, Chaki-Sircar, and Daksha Sheth, outline their feminist positions, and analyze the feminist strategies employed in their choreography. Each choreographer has formulated a different approach to feminism and its implementation in dance. Chandralekha emphasizes the superiority of women over men; Chaki-Sircar portrays women as equal but different from men; and Daksha Sheth neutralizes sex differences by presenting women and men engaged in the same physical movements. I argue that their choreography contests dominant Hindu discourse and offers three different ways of imagining Hindu womanhood.
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791 $a Ph.D.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3006564