It is the UN Year of Light. That is our starting point for our collaborative project.
Now we have to find other inspirations that will come together to influence our collaborative project.
It is the UN Year of Light. That is our starting point for our collaborative project. Now we have to find other inspirations that will come together to influence our collaborative project.
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LasersDaily activities, from scanning items at a grocery store checkout to playing your favorite CD, require the very precise light lasers provide. This page will contain links to resources that will allow you to explore how laser light differs from regular light, browse a timeline of laser science milestones, and learn about the Nobel Prize winning contributions of the many scientists that made the laser possible. A laser is an optical amplifier - a device that strengthens light waves. Some lasers have a well-directed, very bright beam with a very specific color; others emphasize different properties, such as extremely short pulses. The key feature is that the amplification makes light that is very well defined and reproducible, unlike ordinary light sources such as the sun or a lamp. In the fifty years since its discovery, the laser has become an indispensable tool in our daily lives. The laser's many uses stem from its unique properties; for example, the ability to achieve high power while being focused to a pinpoint makes the laser ideal as a precision scalpel in medicine or as a means to slice through thick plates of steel. Other industries reliant on lasers include telecommunications, medical diagnostics, manufacturing, environmental sensing, basic scientific research, space exploration and entertainment. For more : LaserFest.org. Lightsources of the worldLight is a key ingredient for large scientific research facilities known as synchrotrons and Free Electron Lasers (FELs). At the heart of one of these giant machines is a particle accelerator which is used to create an incredibly bright light. This light is so intense it can reveal the atomic and molecular detail of the world around us, and is used by scientists the world over for fundamental and applied research into almost every scientific research field imaginable. There are now more than 60 synchrotrons and FELs around the world dedicated to applications in physics, engineering, pharmacology, and new materials, to name but a few. You can browse these pages for information and links to resources that will allow you to explore the remarkable properties of these magnificent machines. Revealing the world around usThe European Synchrotron Radiation Facility, Grenoble, France© ESRFScientists use synchrotron light to study a vast range of subject matter, from new medicines and treatments for disease to innovative engineering and cutting-edge technology. Whether it is fragments of ancient paintings or unknown virus structures, scientists can study their samples using a machine that is 10,000 times more powerful than a traditional microscope. Synchrotrons are amongst the most advanced scientific facilities in the world, and their pioneering capabilities are helping us to find answers to some of the most challenging problems facing us today. A spectrum of possibilities The Electromagnetic Spectrum© ESRF‘Light’ refers to the breadth of the electromagnetic spectrum, which includes visible light, as well as light with wavelengths that we cannot see such as: radio waves, microwaves, infrared, ultraviolet, X-rays, and gamma rays. These different types of light are used in everyday life, however. For example, airport scanners use X-rays to inspect the contents of your suitcase. The right kind of light and the right equipment can help us see things in much finer detail than the human eye could possibly make out. This capability holds the key to answering some of the fundamental questions about the world around us, such as: what is our planet made from? What are the processes that sustain life? How can we conquer viruses? These questions can only be answered at the molecular level, and this is where lightsources come in. For more: lightsources.org light in natureFrom sunsets to rainbows, from the blues and greens of the ocean to the remarkable range of colors of plants and animals, our first experiences of light and color are through what we see in the natural world. This page will contain resources and links to images so that you can see for yourself the wonderful range of light and color in the natural world and understand the science behind it. Rainbows A rainbow is a beautiful natural phenomena that occurs when drops of rainwater meet sunlight. The multi-color arch is produced by a fundamental process called refraction, or the “bending” of light. In optics, refraction is a phenomenon that often occurs when waves travel from a medium with a given refractive index to a medium with another at an oblique angle. Sunsets Perhaps one of the most frequently occurring visual displays of light in nature, sunsets are also a result of refraction. In astronomy, sunset is the point when the trailing edge of the Sun’s sphere disappears below the horizon. The brilliant array of colors that appear in the sky during sunset are created by scattered airborne particles passing through rays of white sunlight traveling through the atmosphere. Because the evening air contains more particles than morning air, sunsets are typically more radiantly colored than sunrises. Photosynthesis The process that converts energy in sunlight to chemical energy used by green plants and other organisms is called photosynthesis. Although it is performed differently by different species, the process always begins when energy from light is absorbed by proteins called reaction centers that contain green chlorophyll pigments. A seemingly simple process, photosynthesis is actually quite complex and is the basis by which we grow all of our food and produce important resources such as fossil fuels. Northern Lights Also known as the Aurora Borealis, the Northern lights is a natural light display that occurs in the sky in the arctic (northernmost) region on Earth. In fact, auroras be seen all over the world, but occur most frequently in high altitude regions. Caused by the collision of solar wind and magnetospheric charged particles with the high altitude atmosphere, most auroras occur in a band known as the auroral zone. NASA’s Astronomy Picture of the Day archive also includes some visually stunning instances of light in nature:
art and culturePaintings and murals in all cultures of the world show how artists have used light and shade and color to illustrate mood and create atmosphere. Modern technological possibilities allow artists to use light in new ways in entertainment and performance, and large scale lighting installations can dramatically highlight the beauty of architecture. This page will provide resources to allow you to see the many different ways in which light impacts on art and culture, and it will also describe how the scientific uses of light provide new insights into the study of our past. Laser Light Shows From concerts to theme parks, laser light shows entertain audiences of all ages. The precision and strength of lasers allow for light to illuminate crowds, create designs on infrastructures, and can even be seen in the night sky. Stained Glass One of the oldest example of light in art, stained glass dates back to the fourth century. This form of art relies on natural light to illuminate it’s brilliance and great detail. Most commonly, stained glass windows include art depicting biblical stories and can be found in churches and other significant buildings. Photography and Cinematography Light is essential in producing photos and film. In photography, lighting can be the difference between an incredible shot and a terrible one. It can also be used to produce photographs in darkrooms, wherein photographers can manipulate light during exposure and use processing chemicals to create a desired effect. In cinematography, light is necessary to create an image exposure on a frame of film or on a digital target. The art of lighting for cinematography goes far beyond basic exposure, however, into the essence of visual storytelling. Lighting contributes considerably to the emotional response an audience has watching a motion picture. Theater and Dance In live performances, effective lighting is so important that it typically warrants a working crew, commonly known as lighting technicians. Stage lighting in performance arts pieces not only allows the audience to see what’s happening on stage, but can also be used to set the tone, direct focus, or alter one’s position in time and space. Lighting design is a highly technical field and involves manipulating luminaires to find the appropriate intensity, color, direction, focus, and position. In both theater and dance, light plays a tremendous role in developing the plot of performances and evoking emotion within the audience. Architectural Illumination With advancements in LED technology, building illumination has become a common form of light art. Displays on buildings and even major landmarks are executed for both celebratory and advertising purposes. These spectacular visuals involve digitized images shown on a building’s surface and may range anywhere from 2D to 4D. Building illumination may also refer to the decorative or functional lighting of any architectural structure. For more information on this, see Light in the Built Environment. Art Restoration The semi-controversial process of art restoration and conservation involves using various methods to preserve the artwork for posterity. Because art is a strong link to history and cultures of the past, this process involves following international ethical guidelines so as not to tarnish or destroy any works of art. Modern conservation laboratories use light-based scientific equipment such as microscopes, spectrometers, and x-ray instruments to better understand object and their components. The data collected from such inspections help in deciding the conservation treatments necessary. light in lifeThrough photosynthesis, light is at the origin of all life. Photonic technologies provide new tools for doctors and surgeons, new developments in optometry and vision science improve quality of life, and light-based technologies are used every day in medical diagnostics in ways that we are often unaware of. This page will contain links to resources that will allow you to understand how light science and light technologies impact on medicine, vision and life sciences in general. MEDICINE In light technology continue to revolutionize the medical industry. Medical imaging, surgical procedures, and even diagnoses rely upon the use of light. Medical imaging is the process of creating visual representations of the interior of a body for further medical analysis. Such imaging is generally used in medical fields such as neuroscience, cardiology, psychiatry, and psychology, amongst others. Common applications include CT (computed tomography) scans, MRIs (magnetic resonance imaging), ultrasounds, and X-rays (a form of radiography). With the invention of the laser just over 50 years ago, the role of light in medical procedures has grown immensely. Lasers are especially crucial in dermatology (skin), ophthalmology (eyes), and dentistry due to their precision and high power density. In fact, lasers are now widely used for common procedures such as tumor, tattoo, hair, and birthmark removal. Eye surgery and other surgical procedures now also use the power of lasers rather than invasive methods of the past. More recently, light applications - specifically lasers - have been used in medical diagnosis due to their non-invasive properties. Routine diagnostics such as tissue oxygenation, early detection of tumors by fluorescence, and early detection of dental cavities are all performed by laser-based medical apparatus. LIFE SCIENCES is crucial in exploring the fundamentals of life and our surrounding environment. The overarching fields of physical and natural sciences rely on photonics technology to explore and better understand our world. Physical science includes physics, astronomy, chemistry, and earth science, and has led to our understanding of far-reaching concepts such as matter, gravity, origins of the Universe, molecular structure, and meteorology. Natural sciences, on the other hand, explore nature’s phenomena and how the Universe works. Branches of natural science include biology, chemistry, physics, astronomy, and earth sciences. Biology especially depends on light sciences to further research concepts such as molecular biology. Across the board, instruments developed through light technology are used frequently in life sciences. Found both in both research labs and classrooms, microscopes are used for viewing objects too small to be seen by the naked eye. On the other end of the spectrum,telescopes are instruments that help us to see distant objects in space in order to view and understand the Universe. Technology such as high resolution cameras, laser microdissection, and molecular probe development all aid in the understanding of our natural environment. VISION It is said that the eyes are the windows to the soul; however, it is optics and photonics that play a major role in studying the eye. Optics and vision go together and optical and photonics technologies are used to examine, correct, and test normal and abnormal vision. These include the whole gamut from simple eyeglasses all the way to laser correction, photodynamic therapies, low vision aids and retinal implants to enable the blind to see. Optics and photonics has enabled the development of sophisticated devices such as optical coherence tomography, photorefraction, LASIK techniques, etc. There is also a great need for mobile technologies – that is using inexpensive smartphone technologies and building inexpensive, lightweight optics/photonics based attachments to detect air pollution levels, malaria in blood cells, allergens in food, etc. In terms of vision it is possible to devise apps and add-on devices to detect /diagnose blinding diseases such as age related macular degeneration, refractive correction, and other abnormalities in the field, especially in developing countries and be able to perform telemedicine. To learn more about how optics and photonics are shaping the way we live and see, view the following resources: Optics BookshelfThese pages contain links to a range of publications on light and light-based technologies published by our partners, sponsors and collaborators. They include academic journals, textbooks, books for the general reader and magazines.
http://www.light2015.org/Home/LearnAboutLight/Optics-Bookshelf.html Kathakali Kathakali (കഥകളി, pronounced [kat̪ʰəkaɭi]), a form of ritual dance drama, originated in the Southern Indianstate of Kerala during the late sixteenth century. Evolving from earlier forms of dance drama such asKoodiyattam, Ashtapadiyattom, Krishnattam and Ramanattom, it was performed in palaces and temples and at religious festivals. Kathakali draws its subject matter from the Hindu epics chronicling the lives, loves and conflicts of the gods and heroes of Indian mythology. Sacred Indian dance drama, such as Krishnattom and Ramanattom, emerged as part of Vaishnavism, when cultural influences were eroding the adherence of the people to Hindu traditions. Watching a dramatization ofKrishna’s story was meant to evoke an emotional attachment to Krishna, and bring about the devotion to Krishna that assured salvation. The motivation and purpose of drama traditions such as Kathakali are very different from those of modern Western theater, which is usually intended either to stimulate reflection on moral issues, or simply to entertain an audience and evoke sentiments such as nostalgia and romance. Dance drama like Kathakali can be compared to ancient Greek theater, which was intended to bring about reflection on human nature and inspire higher thought in its audiences. Buddhist drama, such as that which developed in China and Japan, also attempted to engage the audience in self-reflection, in order to bring about a deeper understanding of the truth. Contents [hide]
A traditional Kathakali performance usually lasts all night, but modern performances are often shortened to two to four hours. Accompanied by percussion instruments, two vocalists sing the words of a dialogue, while silent actors vividly translate their words into a language of facial expressions, bodily attitudes and poses, and figurations of the hands (mudras). Kathakali performers with their heavy, stylized makeup, complemented by elaborate costumes and opulent head dresses, make a striking psychological impression on the viewer. The combination of costume, ornaments and makeup colors identifies each character as one of five dramatic types. History Balabadra,Mattbaier, andKrishna in Subadraharanam Kathakali has its origins almost 1500 years ago in the early ritual folk dances and dance dramas of Kerala, in southern India, such as the dances associated with the cult of Bhagavathy (Thiyyattom, Mudiyettu, and Theyyam), that were performed at religious festivals by actors wearing elaborate masks, colorful costumes and headdresses, and intricately painted faces;[1] and socio-religious and material dances such as the Sastrakali and Ezhamattukali. Ashtapadiyattom, a dance drama based on the Gita Govinda of the twelfth-century poet Jayadeva, told the story of Krishna embodied as a humble cowherd, his consort Radha, and three cow girls. In 1655, Manavedan, the Zamorin Raja of Calicut, wrote Krishnagiti, a dance drama to be performed as Krishnattom (Krishnan; attom (enactment)) on eight consecutive nights, incorporating elements of Ashtapadiyattom and Koodiyattam, another form of Sanskrit ritual dance drama. The performance of Krishnattam was strictly restricted to the Guruvayur Temple, palaces of the members of the Zamorin's family, and temples and houses of Namboodiri Brahmins within the jurisdiction of the Zamorin's empire.[2] Krishnattam told the story of Krishna, using dance and mime, while the narrative was sung by musicians. According to legend, Kottarakara Thampuran, the Raja of Kottarakara (once a province of Kerala), a great admirer and promoter of traditional art forms, invited the Zamorin to present Krishnattom in Kottarakkara. The Zamorin refused, saying that Krishnattom was not for the unsophisticated audience of southern Kerala. In response, Kottarakara Thampuran composed several plays and created Ramanattom (Raman; attom(enactment)), also performed on eight consecutive nights. At first, Ramanattom enacted stories from Ramayana and other epics, but as it evolved into Kathakali, it began to encompass many stories.[3] Kathakali shared similarities with both Ramanattom and Krishnanattom, but incorporated several outside elements from the folk and martial arts of Kerala which contributed to its popularity.[3] The increasing use of the local language, Malayalam (as a mixture of Sanskritand Malayalam, called Manipravaalam) made it more popular among the masses, who could not understand the ancient Sanskrit language. In time, masks were discarded in favor of more elaborate facial make up.[4] Around the seventeenth century, acting became separated from singing, leaving the actors free to concentrate on dramatic expression. Towards the end of the seventeenth century, Prince Kottayam wrote four plays based on the Mahabharata, liberating Kathakali from adherence to any particular Hindu epic and distinguishing it from Ramanattom. Emotion expressed in the face became central to performances, and he introduced a white frame around the face, and red features on a green background, to emphasize movements of the facial features. In the eighteenth century, Kapplingattu Nampoothiri (b. 1740) introduced a number of innovations that shaped Kathakali as it is performed today. He improved the percussion accompaniment, and standardized the use of alarrca, the inarticulate cries made by demons and animals. He further borrowed mudras from Koodiyattam, and harmonized their use with body movements. He clarified and defined the five types of character and strengthened the use of three-dimensional makeup. He also developed the “kathi,” (knife) character type, which combined noble features with evil qualities, as the central role in Kathakali plays.[5] Kathakali was traditionally performed during religious festivals. Several Hindu ethnic groups participated in the performance of Kathakali. In its early days, the Nair community dominated because they were often well-versed in the martial art, Kalarippayattu, which is used in Kathakali training and, in a mild form, on the stage. Kathakali, as it is performed today, is just more than four centuries old. It is no longer restricted to temples, palaces and religious festivals, but is often presented in theaters and at special events as entertainment, and is performed far more frequently than the older forms of dance drama to which it is related.[6] EtymologyThe name “Kathakali” derives from the Malayalam words "katha" (story) and "kali" (play). A text written to be produced as a Kathakali is referred to as "Aattakkatha." Elements of fine art Vadyamelam betweenPurappatu and the performance of the Kathakali proper Kathakali is considered to be a combination of five elements of fine art:
Kathakali playsThere are 101 classical Kathakali stories, most of which were initially composed to last a whole night. Modern performances are often shortened to two to four hours by selecting the most dramatic or popular portions of individual stories. For its themes, Kathakali draws upon the inexhaustible lore of the ancient puranas chronicling the lives, loves and conflicts of the gods and heroes of Indian mythology. The most popular stories enacted are Nala Charitam (a story from the Mahabharata), Duryodhana Vadham (a story from theMahabharata), Kalyanasowgandhikam (the story of Bhima going to get flowers for Panchali, from the Mahabharata), Keechaka Vadham(another story of Bhima and Panchali, from the Mahabharata), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), andKarna Shapadham (another story from Mahabharata). Recently, as part of an attempt to popularize the art, stories from other cultures, such as the story of Mary Magdalene from the Bible, Homer's Iliad, and Shakespeare's King Lear have also been adapted into Kathakali scripts. Kathakali is a classical art form that can be appreciated by both novices and connoisseurs, because of its frequent use of “lokadharmi” (the elaboration of folk elements) with which novices are already familiar. “Natyadharmi” (the science of acting elaborated in the classic acting manual, the Natyashastra) is better understood by connoisseurs. A spectator who already knows something about the story being enacted will be better able to appreciate the “personalization” of characters by individual actors. One of the major enjoyments for traditional Kathakali connoisseurs is distinguishing and discussing the "personalizations" that each actor brings to his depiction of the story. The success or failure of amateur Kathakali artists is often determined by their ability to successfully personalize characters. Music Kathakali drummer, using chenda Music is an essential element of Kathakali. The language of the songs used for Kathakali is Manipravalam, a blend of Sanskrit with the local language, Malayalam. Even though the songs are set for “ragas” based onCarnatic music, there is a distinct style of rendition, known as the “sopanam” style, incorporating the moods of temple songs that were sung at the time when Kathakali was evolving. Sopanam has a very slow tempo and is free of embellishments, giving the actors complete freedom to exercise their art of expression.[7] A Kathakali orchestra is composed of a lead vocalist (“ponnani”) keeping time with a resounding gong made of bell metal (chegala), which can be struck with a wooden stick; and a minor vocalist (“singidi”) with a pair of clanking cymbals (elethalam); a chenda (cylindrical drum with a loud but sweet sound) player and maddalamplayer. Sometimes a percussion instrument known as an edakka is also used. Performance
A traditional Kathakali performance is usually conducted at night and ends early in the morning. Kathakali is usually performed in front of akalivilakku (“kali”= dance; “vilakku”= lamp), which provided light when the plays were performed inside temples, residences of nobles, and palaces. A Kathakali performance scheduled to begin at 10:00 pm will be announced in a special manner by the loud playing of chenda, maddalam (percussion), elathalam and chengila(metallic cymbals) during the evening, so that they can be heard even at a distance. This instrumental music, called kelikottu, is very familiar to lovers of Kathakali. Accompanied by the chenda, maddalam, chengala and elethalam, the vocalists sing the words of a dialog from behind the silent actors, who vividly translate their words into a language of facial expressions, bodily attitudes and poses, and figurations of the hands. Mudras (hand gestures) are used as a substitute for spoken language. As the songs proceed, the actors, moving in time to the music, recreate the epic and bring the words to life. Each character’s every emotion is expressed on the face with an intense, stylized vividness, in harmony with the rhythm of the dance and melody of the music. The actors not only express the subjective emotions of the human heart, but give objective impersonations of the characters, scenes, creatures and surroundings. Acting performance of Kathakali inKochi Kathakali Mudras A Kathakali actor needs immense powers of concentration, skill, and physical stamina, gained through training based on Kalaripayattu, the ancient martial art of Kerala. Training begins around the age of ten, and often lasts for eight to ten years. The training program is intensive; each day begins at 3:30 am and ends at 8:30 pm, with short breaks in between. During the monsoon and winter there are rigorous body massage sessions. Each student learns the complete language of Kathakali, memorizing the combinations of facial expressions (rasas), bodily movements and hand gestures (mudras). Dancers also undergo special practice sessions to learn control of their eye movements. There are 24 main mudras and numerous lesser mudras. Each mudra can be classified into samaana-mudras(one mudra symbolizing two entities) or misra-mudras (mudras requiring the use of both the hands). The mudras are a form of sign language used to tell the story. As in other forms of Indian dance drama, a Kathakali artist uses nine main facial expressions (navarasams, anglicized as navarasas; literal translation: “nine tastes,” but more loosely translated as “nine feelings or expressions”): Sringaaram (love), Haasyam (ridicule, humor), Bhayam (fear), Karunam (pathos), Rowdram (anger, wrath), Veeram (valor), Beebhatsam (disgust), Adbhutham (wonder, amazement), and Saantham (tranquility, peace). Make-up and costumes
Kathakali artist as female As in the other forms of ritual dance drama, costumes, ornaments and facial makeup together constitute a character type. There are five main types of characters, usually identified by the predominant color of makeup applied to the face or its pattern: pacha (green), kathi(knife), thadi (beard), kari (black) and minukku (polished). Green is the predominant color of pacha, virtuous and noble male characters with a pious and kingly nature. Kathi, proud, aggressive and unrighteous characters such as the demon king Ravana, are portrayed with red as the predominant color in a green background. There are three varieties of the bearded type, thadi. The most aggressive and demonic, known as chuvanna thadi(red beard), wear predominantly red makeup and a red beard. Mythical and fabulous beings like Hanuman (the monkey god) are known as vellathadi (white beard); aboriginals, forest-men and cave-dwellers are known askarutha thadi (black beard). The lowest and most aggressive beings are kari (black) and have small patterns of red, white and yellow on a completely black face. Gentle and spiritually inclined characters, such as noble women, sages, ascetics and Brahmins, have lustrous, yellowish faces and are known as minukku (polished). The makeup is made from various mineral ores and pigments, ground on a stone and mixed with coconut oil before being applied on the face. Application of the elaborate facial makeup requires hours of labor by the actors and a trained chuttikkaran, who applies fine lines of rice paste and affixes bits of white paper as prescribed for each type of character. Some characters also have enhanced features, such as enlarged noses or elaborate mustaches, made using elaborately cut paper which is stuck to the face with a mixture of rice paste and calcium carbonate. Dancers often turn the whites of their eyes red by placing a "chundanga seed" (from a variety of eggplant which bears small fruits) under their lower eyelids before the performance. The chundanga is prepared by removing the ovaries at the base of the flowers of this plant, and rubbing them in the palm of the hand until they turn from white to black. Elaborate costumes and ornamentation are designed to heighten the superman effect. By the time an actor has assumed his complete costume and makeup, he resembles a sculpture. Large overcoats, flowing scarves, bulging skirts, antique ornaments, opulent head dresses with streaming hair flowing down to the waist and covering the back, complement the elaborate makeup to create enlarged figures that make a striking psychological impression on the viewer. PopularityLike other Hindu forms of dance drama, such as Koodiyattam, Kathakali evolved as a ritual dance, to be performed as an offering at temples and during religious festivals. While the other forms remained relatively unknown, Kathakali reached a broad audience and achieved that status of a widely-recognized national treasure. Several factors have contributed to its popularity. The performance of Kathakali was not restricted to sacred temple grounds or palaces, making it accessible to ordinary people. Kathakali was performed in Malayalam, the spoken language of Kerala, and incorporated local folk traditions and a broad range of familiar episodes from the Hindu epics. During the late nineteenth and twentieth centuries, Kathakali also attracted the interest of Western audiences. Outstanding Kathakali artists such as Kalamandalam Ramankutty Nair (b. 1925, recipient of prestigious Kalidas award), Keezhpadom Kumaran Nair (1913 – 2007, recipient of the prestigious Padmashree award) and Kalamandalam Padmanabhan Nair (1928 – 2007) not only trained young actors in the Kathakali tradition, but created new choreography and gained international exposure by taking Kathakali performances abroad. Kathakali performances have been documented in several films, including Kalamandalam Ramankutty Nair (2005) and the award-winning Vaanaprastham (1999) directed by Shaji N Karun and acted by Mohanlal. Training centers for Kathakali Kerala Kalamandalam From its inception, Kathakali artists and training schools (kaligoyams) were supported by royal patrons who often contributed artistically. In the late nineteenth and early twentieth centuries, the traditional system of patronage collapsed as royal families lost much of their wealth and status, and as Western cultural influences eroded respect for Indian artistic traditions. In 1922, the poet Vallotol began an initiative to restore Kathakali by introducing ticketed performances and an institutionalized training center, the Kalamandalam. The most popular Kathakali artists have obtained their training from one the four oldest training centers, which follow the traditional "gurukula" style:
Indian classical dance The eight dance formsBharatanatyam | Kathak | Kathakali | Kuchipudi | Manipuri | Mohiniaattam | Odissi | Sattriya CreditsNew World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopediastandards. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Credit is due under the terms of this license that can reference both the New World Encyclopediacontributors and the selfless volunteer contributors of the Wikimedia Foundation. To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here: Note: Some restrictions may apply to use of individual images which are separately licensed. Before I could get anywhere with my first assignment, I had to know what I wanted to do. I started reflecting on my first year in the course and what we did then to give me a sort of springboard. I was hoping it would at least help me understand what area or theatre style I was interested in and if there was one similar or derived from it that I could focus on. Being in an international school and an international course, I recall looking into theatre practitioners and practises from all around the world. This helped us learn to have a broad perspective of the world. I learned how culture, traditions and circumstances influence how people chose to express themselves in theatre. Looking over my research material and class discussions from my previous year, something stood out to me. I identify myself as Indian, and have been brought up to be very proud of my culture and traditions. India is a diverse country, where no two cities, much less states, are alike. However, I have never had the chance to reside in my home country due to circumstances of my parents' employment. While I am grateful for the international education I have the opportunity to receive, it also makes me wonder on what I am missing out on in my home country. That's when I realised that even though we had looked at so many practises and practitioners around the world, we had never comprehensively looked at Indian theatre practises. Quickly looking back to the prescribed list we were provided with, I was excited to realise that there was indeed an Indian theatre practise on there. That was Kathakali. A form of dance drama from the state of Kerala. Proud of my Indian roots, I have personally learned classical for over 8 years. Due to this, I immediately formed a connection with this topic. An important point to note is that India has various forms of indigenous dance forms. They originate from all different parts and have varying histories. While they all incorporate forms of drama, they are very different. It is an example of the difference in subtlety. To an untrained eye, the forms might seem similar, interchangeable even. That thought is taboo in our world. Each dance forms has such intricacies, that it is in fact quite difficult for a dancer primarily trained in one form to adopt the other. The heads have different tilts, the hands form different angles, and the expressions tell different stories. Here is where my challenge came in, I already have preconceived notions about classical dance due to my experience with it. That could be a beneficial or detrimental. While it helps me understand the process, the content will be a little more difficult because I need to unlearn my previous knowledge to fully understand Kathakali in its purity. I am excited for this challenge. I personally know a lot of kathakali dancers, who I believe will be a great source for me. I have never taken the initiative to learn about this dance form before. Due to the small town nature of the city, I have also, till today, not attended a Kathakali dance performance. I hope to amend that in the course of this project. To begin my journey I realised I needed to understand more about the entire form of dance-drama before I chose the unique performance convention I wanted as the focus of my presentations. I found this website which was a reliable source to give me some reading material to jump into this idea with: http://www.artindia.net/kathakali.html This video was also a great find in terms of resources. This is one of the biggest parts of our assessment criteria as theatre students because here we depend on our entire ensemble. It is a long drawn out process which we go through together. As an ensemble, we had decided on our platform that we would present it on. The yearly UN Day celebration that the school held. Traditionally, the UN Day Presentation is organized and conceptualized by students. It is a student run production that is a defining time every year for the ABA Community. We hope to maintain that tradition successfully. As students doing the IB Diploma, we also had to be practical. Putting on a show is difficult and time-consuming work. So is there any way we can make it beneficial for us. That is when we realised it is the perfect time to present our collaborative piece to a target audience. Our Inspiration for the year is 'Light'. It is the UN year of Digital Light. So we needed to form a story inspired from that, which would set up the rest of the presentation. Our first task was to think up some ideas. I will come up with and explore more as time progresses, but my initial instinct was to use shadows. As an ensemble we had come to the decision that we wanted the story to be the history of light. The form to present it was what we had to discover. I got interested in the idea of shadows through 3 widely different facets. The first was watching the 9th grade theatre class perform their devised pieces using phone lights and a white curtain on our stage. They performed short stories for a kindergarten class. While it might not have been 'professional', it was effective. It was an interesting mode of storytelling and I found myself engaged even though I wasn't the target audience member. The second was during my research of different practitioners, I remember looking into the works of Jean Rosenthall. She was the revolutionary light engineer for the original West Side Story Broadway production. In collaboration with Lael Wertenbaker, she produced a photo essay on light forms called the 'The magic of light'. It was shot on a miniature stage (scale: two inches to one foot) using small versions of the fresnel and ellipsoidal spotlights. The figures are sculptor's scale-model manikins. The essay is preceded by a mini light plot. The essay was designed to show in simple terms how light coming from the standard theatre lighting positions will look when focused to light an actor in a given area on the stage. The mini light plot is a ground plan showing where the light pipes and instruments are hanging in relation to the stage. The plot also has on it an elevation of one of the tormentor pipes (or "booms," as they are sometimes called) for side lighting, and the ground plan of the tormentor positions used in the photo essay. I found this so interesting and it got me thinking more about the intricacies of shadows. My final push was seeing shadow work in action. The following presentation by 'Attraction', a shadow theatre group, for their first audition for Britain's Got Talent hit an emotional chord with me. If we can be inspired from work like this, it can only be beneficial to our performance. Of course, these are my personal thoughts and nothing is definite until the ensemble is consulted. Hopefully during our next lesson, we will have a forum discussion where I will be able to bring up my ideas and hear others as well. Even if we don't perform as shadows, at least I will know we considered it.
Today we had a discussion about how we make sure all the assessments were done
We also discussed the idea of a theatre retreat to a near by location to a weekend of intense theatre. I really liked that idea because I could see the benefits of it. The IB isn't an easy programme, so to have a weekend that is only about the 'Theatre' without having to worry about the other subjects on our plate. It will be like a moment outside of time. At least, that is the hope. Our instructor was presenting a possible timeline for the year to ensure that we had a productive, successful and hopefully comfortable year. It was open to the forum and after some considerations and queries that we needed addressed, a loose plan for the year was confirmed. Our first assessment according to this plan was the Research Project. This is worth 20% our grade ( 30% if SL). That is a lot, an entire 1/5th of our grade. It sounds like a daunting task. However, I am less worried since I know I can depend on my ensemble for advice and my instructor, as a part of my ensemble, to guide me if I panic. I am actually quite excited for this, its the start of something new. We ended the lesson by going to the library to further research possible world theatre tradition we want our Research Presentation to be about. |
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