Papers by Radhika Puthenedam
Shodhkosh Journal of Visual and Performing Arts (ISSN: 2582-7472), 2023
Prana choreographed in 1990 was a work that brought to the fore the inherent potency of breath an... more Prana choreographed in 1990 was a work that brought to the fore the inherent potency of breath and movement through a synergy of adavus and asanas. It was Chandralekha's second major work that worked on extending the body language closely connecting the seams between various physical forms like Bharatanatyam, Kalarippayattu and yoga. This study has interpreted Prana's body dynamics by positioning the work in tandem with the immediate and larger context. It has studied the elements that create a transformative synergy using yoga and dance. By drawing from an interpretive approach, this research has used critical analysis of the specific dance work by placing it against her writings, dance reviews, research works in this area and theoretical standpoints. The paper reveals how the choreographer's ideas of portraying the body's inherent power for exerting its presence as a source of self-renewal is made through abstract visualization of her concepts like ''spine,' 'bindu,' 'mandala,' and others which were formed and internalized in an effective continuum in her dances. In Prana, this was correlated to the characteristics of each graha shown through yoga and dance. It illustrates how Chandralekha used these ideas and elements in Prana to depict the role of breath, asanas, and the Bharatanatyam technique as a communication link for revitalizing the body. The study tells us how Prana brought an empirical focus to what dance and body gained from the corporeal practice of physical arts like yoga and kalarippayattu, with which she primarily meant to strengthen the form and power in them. Considering the recent efforts at the reconstruction of Chandralekha's works as part of a project that plans to help relive her thoughts amongst the present generation of dancers starting with Prana, this research is pertinent in locating the movement ideology and the concepts of body language that she created in the realm of Indian contemporary dance, to relook at her idea of renewing and revitalizing the body in today's times..........................................................ShodhKosh Journal of Visual and Performing Arts UGC Care listed Journal
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Indian Journal of Open Learning, 2023, 32(1), 77-98, ISSN 0971-2690, 2023
A shift from F2F to online teaching in open and distance learning mode necessitated a simple and ... more A shift from F2F to online teaching in open and distance learning mode necessitated a simple and easily accessible teaching tool for conducting online teaching of a traditional dance programme involving practical skills. It led to the design and development of an integrated e-lesson plan, a model which could be used in any LMS as a resource interface and a primary component of instructional design. The e-lesson plan, basically an e-document, was used in the g-suite learning space where a programme of 6 months duration in dance was conducted for students enrolled from across the country. The paper shows the process of development and application of the lesson plan as a synergetic space, with components from different courses taught on a single platform. This multimodal lesson plan with audio, video and text is set in a step-by-step instructional framework to provide the learner with the situatedness of a classroom. The integrated nature of the tool emphasized the culture of learning important for a subject like dance and explored to offer the students the experience of a community of practice. The effectiveness of this programme that was offered using this technology was evaluated using a survey. The results of the survey showed that the students reacted positively to the shift to online mode, the use of new pedagogical tools, its accessibility, the content framework of the weekly e-lesson plan, and other components of the instructional design
Keywords: Instructional design, e-lesson plan, dance education, online teaching of dance, e-learning of Bharatanatyam, open and distance learning, ICT, communities of practice, situated learning.
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Nartanam Journal of Dance ISSN 2455-7250, 2002
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Nartanam Journal of Dance, ISSN 2455-7250, Sep 1, 2002
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Indian Journal of Open Learning (ISSN 0971 2690), 2020
The objectives of this study were two fold - to assess the demand
for programmes on Dance throu... more The objectives of this study were two fold - to assess the demand
for programmes on Dance through ODL and to identify major content to
be covered under the programme. The present study projects the need for
programmes on dance with which it is felt that the interests and needs of
the student community would be addressed. The study was undertaken
following a survey research through questionnaire, and data was collected
from 121 respondents. The key survey questions focused on: need and
relevance of the level of programme and possibilities for other such
advanced learning programmes on ODL; basic eligibility requirements;
suggested broad contents of the programme pertaining to electives; ratio
of practical and theory division; job prospects; details of such programmes
on offer elsewhere; willingness to join the programme; probability of support
for enrolment from individuals; preference amongst different levels of
programme. The results revealed that, majority of respondents felt the need
for a one-year diploma level ODL programme in dance followed by graduate
and postgraduate programmes too. The important career prospects
perceived by respondents include: employment in dance troupes, schools,
cultural institutes; and self employment. The important content areas with
regard to electives suggested by the respondents include: specialization in
Bharatanatayam, followed by dance forms Kucipudi/ Kathak, Chhau dance,
regionspecific folk and tribal dance forms and Kalarippayattu martial arts
as one of the secondary courses. In the light of the findings of the study
and related discussion, it is recommended to develop diploma programme
on dance in ODL to begin with and subsequently develop bachelor's and
master's programmes in dance. This would meet the education needs
of various stakeholders in the professional performance, cultural and art
related sector
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KUTAP Journal (ISSN 2582-5356) , Vol-6, Issue-8, Jan-Jun 2023, Pathak Publication, UGC CARE enlisted, Jan 2023
Creative and aesthetic expression has been one of the important attributes of dance education in ... more Creative and aesthetic expression has been one of the important attributes of dance education in the curricular framework of NCERT. More recently, NEP 2020 has laid emphasis on experiential learning and has given importance to competency-based learning as one of the standard pedagogies within each subject. The learning outcomes-based frameworks have become an important proponent that leads towards achieving the competency standards both in learning and in assessment. Since arts have been made part of the multidisciplinary choice-based courses available for secondary school students, never before has there been a greater need for standards in art education, a pedagogical concept that has been a permanent feature in all other streams and subject areas. The paper has analysed various frameworks of learning outcomes and standards in dance and art education and has developed a model outcome standards with skill standards that can be applied to dance/art education. This is a primary move
towards developing sequential process oriented skill standards in arts for all age groups of K-12. This research has utilized qualitative research with content analysis of empirical data and documents. It has relied mostly on primary data that have been available in the form of reports or policy documents of national bodies like NCERT or CBSE, talks and discussions by policymakers during the formal launch of NEP 2020 and other significant arts standard frameworks that have been adopted by countries like the USA. The outcome-based learning emphasised by various recent educational policies and the stress on competency standards by the NEP 2020 has put a lot of emphasis on recognising and implementing standards in learning especially in the case of arts education in India where it has been felt lacking. The paper has addressed this gap by developing an outcome-based skills standards model after comparisons and analysis of the available frameworks in arts education. This is the first step towards standardizing process oriented outcome-based learning in the context of Arts education in India.
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Nartanam. A Quarterly Journal of Indian Dance (ISSN 2455-7250). 4(1).15-34, 2004
This is a study on the trajectories of a popular classical dance form -Bharatanatyam in both old ... more This is a study on the trajectories of a popular classical dance form -Bharatanatyam in both old and new Indian Diaspora. ----------------------------------------------------------------------------------------------------------------------- Nartanam Journal of Indian Dance (ISSN 2455-7250) 4 (1), 15-34
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Nartanam Journal of Indian Dance (ISSN 2455-7250) 7 (1), 40-42, 2007
Chandralekha, a contemporary dancer-choreographer who used the medium of traditional art forms of... more Chandralekha, a contemporary dancer-choreographer who used the medium of traditional art forms of Bharatanatyam, kalarippayattu, and Yoga, created her works as a commentary on gender politics of the body in modern times. Taking a cue from her work 'Sharira', the paper positions her journey to look at her new female dancer and the body language that she embodies and envisions.
This article was written as a tribute to Chandralekha in 2007, the year she passed away.
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Modern Thamizh Research (An International Multilateral Thamizh Journal) (ISSN : 2321-984X),Vol-2 ,233-240 (Special Issue)., 2021
Rukmini Devi was a key figure in the revival of Indian dance in the early independence era. Her i... more Rukmini Devi was a key figure in the revival of Indian dance in the early independence era. Her innovations pertained to both solo and dance-drama forms. The paper deals with analysis of two important scenes of her Ramayana production-Sabari moksham which show her choreographic strategies and reflect her style with regard to dance drama.It reflects how she worked with aesthetic consciousness of her times during the nationalist struggle of the 1930s and 40s. Analysis has used terminology as in Abhinayadarpana which is used as the textual reference for Bharatanatyam. The paper finds how dimensions of choreography with regard to stage aesthetics, costuming of characters, intonation of sollu, character and context-oriented use of nritta and angika abhinaya broadened the scope of collective performance in her works.
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Smṛti - A Bi-Annual Peer Reviewed Journal on Fine & Performing Arts (ISSN: 2583-0309), University of Madras, June 2021, 2021
Group choreographies in the dance form of Bharatanatyam were unheard of till the 1940s though tra... more Group choreographies in the dance form of Bharatanatyam were unheard of till the 1940s though traditional dance-drama forms like Kuravanji nataka and Bhagavatha melanataka existed as religious and court practices since the period of Chola and Vijayanagara empire in the 10th and 14th CE respectively. With the nationalistic vision and changing socio-cultural fabric during the pre-independence, Bharatanatyam, a solo dance form, began to be adapted to be presented on the proscenium by a few who took the liberty to make innovations to its format. This paper analyses the component structures, features, and style of one such choreography in Sabari Mōkṣam, a dance-drama work of Rukmini Devi. The preliminary movement analysis is based on the dance text of Abhinaya Darpana. Movement analysis undertaken here involves interpretive discussion on the technique of Panćāpsara sarōvara, a scene that depicts the dance of five water nymphs under the surface of a lake. The paper shows how the scene offers a fantastic prologue to the unfolding drama through different strategies of choreography
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Books by Radhika Puthenedam
Traditions of Indian Classical Music and Dance (ISBN: 978-81-956242-0-1), 2022
The National education policy, 2020, stresses the promotion of holistic and multidisciplinary e... more The National education policy, 2020, stresses the promotion of holistic and multidisciplinary education to develop the intellectual, aesthetic, social, physical, emotional and moral capacity of learners. Arts have had an important role to play both as a subject to promote artistic, aesthetic and creative skills and also as a pedagogical tool for experiential and joyful learning among the K 12 students. The NEP has emphatically stressed the importance of a learner outcome-based curriculum framework concerning curricular expectations. The present research examines the national school curriculum in arts against this background. The paper explores current trends in combining learner outcomes with assessment and envisages a standardized framework for arts education in the country.
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Life Skills Education ( BEDS-005), IGNOU, NewDelhi, 2021
Arts play a very important role in the holistic development of an individual and are considered a... more Arts play a very important role in the holistic development of an individual and are considered an essential component of comprehensive education, particularly among school children. The present school curriculum framework stresses that every student is given an equal opportunity to participate in art activities, take an active part in the art-making or doing processes and be encouraged to express themselves. The skills, values and behaviours promoted by arts education are considered more relevant in today’s world than before. These abilities like creativity, collaboration and creative problem solving develop resiliency, nurture an appreciation of cultural diversity and freedom of expression and cultivate innovation and critical thinking skills.
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Deśa Kāla: Emerging Trends in Performing Arts, Vol II, (2021). Ed. Dr. Vidya Shimladka, Ashok Yakkaldevi., 2021
Formative assessment holds an important place in
understanding dance student’s progress and lear... more Formative assessment holds an important place in
understanding dance student’s progress and learning needs. In
online learning, assessment for learning within the framework of
formative assessment is effective with proper feedback from the
teacher offered in relation to curriculum outcomes. This research
showcases how formative assessment was incorporated in two
different ways in online learning of a dance course and discusses
their effectiveness towards improved learning among students
Bookmarks Related papers MentionsView impact
Uploads
Papers by Radhika Puthenedam
Keywords: Instructional design, e-lesson plan, dance education, online teaching of dance, e-learning of Bharatanatyam, open and distance learning, ICT, communities of practice, situated learning.
Available @ https://hub.batoi.com/sahrdaya-arts-trust/post/**changing-lives-changing-forms--seminar-performers-arts-changing-milieu**-6396ba57f0014
https://hub.batoi.com/sahrdaya-arts-trust/post/**work-shop-movement-hcu-hyderabad**-639891b1b287e
for programmes on Dance through ODL and to identify major content to
be covered under the programme. The present study projects the need for
programmes on dance with which it is felt that the interests and needs of
the student community would be addressed. The study was undertaken
following a survey research through questionnaire, and data was collected
from 121 respondents. The key survey questions focused on: need and
relevance of the level of programme and possibilities for other such
advanced learning programmes on ODL; basic eligibility requirements;
suggested broad contents of the programme pertaining to electives; ratio
of practical and theory division; job prospects; details of such programmes
on offer elsewhere; willingness to join the programme; probability of support
for enrolment from individuals; preference amongst different levels of
programme. The results revealed that, majority of respondents felt the need
for a one-year diploma level ODL programme in dance followed by graduate
and postgraduate programmes too. The important career prospects
perceived by respondents include: employment in dance troupes, schools,
cultural institutes; and self employment. The important content areas with
regard to electives suggested by the respondents include: specialization in
Bharatanatayam, followed by dance forms Kucipudi/ Kathak, Chhau dance,
regionspecific folk and tribal dance forms and Kalarippayattu martial arts
as one of the secondary courses. In the light of the findings of the study
and related discussion, it is recommended to develop diploma programme
on dance in ODL to begin with and subsequently develop bachelor's and
master's programmes in dance. This would meet the education needs
of various stakeholders in the professional performance, cultural and art
related sector
towards developing sequential process oriented skill standards in arts for all age groups of K-12. This research has utilized qualitative research with content analysis of empirical data and documents. It has relied mostly on primary data that have been available in the form of reports or policy documents of national bodies like NCERT or CBSE, talks and discussions by policymakers during the formal launch of NEP 2020 and other significant arts standard frameworks that have been adopted by countries like the USA. The outcome-based learning emphasised by various recent educational policies and the stress on competency standards by the NEP 2020 has put a lot of emphasis on recognising and implementing standards in learning especially in the case of arts education in India where it has been felt lacking. The paper has addressed this gap by developing an outcome-based skills standards model after comparisons and analysis of the available frameworks in arts education. This is the first step towards standardizing process oriented outcome-based learning in the context of Arts education in India.
This article was written as a tribute to Chandralekha in 2007, the year she passed away.
Books by Radhika Puthenedam
understanding dance student’s progress and learning needs. In
online learning, assessment for learning within the framework of
formative assessment is effective with proper feedback from the
teacher offered in relation to curriculum outcomes. This research
showcases how formative assessment was incorporated in two
different ways in online learning of a dance course and discusses
their effectiveness towards improved learning among students
Keywords: Instructional design, e-lesson plan, dance education, online teaching of dance, e-learning of Bharatanatyam, open and distance learning, ICT, communities of practice, situated learning.
Available @ https://hub.batoi.com/sahrdaya-arts-trust/post/**changing-lives-changing-forms--seminar-performers-arts-changing-milieu**-6396ba57f0014
https://hub.batoi.com/sahrdaya-arts-trust/post/**work-shop-movement-hcu-hyderabad**-639891b1b287e
for programmes on Dance through ODL and to identify major content to
be covered under the programme. The present study projects the need for
programmes on dance with which it is felt that the interests and needs of
the student community would be addressed. The study was undertaken
following a survey research through questionnaire, and data was collected
from 121 respondents. The key survey questions focused on: need and
relevance of the level of programme and possibilities for other such
advanced learning programmes on ODL; basic eligibility requirements;
suggested broad contents of the programme pertaining to electives; ratio
of practical and theory division; job prospects; details of such programmes
on offer elsewhere; willingness to join the programme; probability of support
for enrolment from individuals; preference amongst different levels of
programme. The results revealed that, majority of respondents felt the need
for a one-year diploma level ODL programme in dance followed by graduate
and postgraduate programmes too. The important career prospects
perceived by respondents include: employment in dance troupes, schools,
cultural institutes; and self employment. The important content areas with
regard to electives suggested by the respondents include: specialization in
Bharatanatayam, followed by dance forms Kucipudi/ Kathak, Chhau dance,
regionspecific folk and tribal dance forms and Kalarippayattu martial arts
as one of the secondary courses. In the light of the findings of the study
and related discussion, it is recommended to develop diploma programme
on dance in ODL to begin with and subsequently develop bachelor's and
master's programmes in dance. This would meet the education needs
of various stakeholders in the professional performance, cultural and art
related sector
towards developing sequential process oriented skill standards in arts for all age groups of K-12. This research has utilized qualitative research with content analysis of empirical data and documents. It has relied mostly on primary data that have been available in the form of reports or policy documents of national bodies like NCERT or CBSE, talks and discussions by policymakers during the formal launch of NEP 2020 and other significant arts standard frameworks that have been adopted by countries like the USA. The outcome-based learning emphasised by various recent educational policies and the stress on competency standards by the NEP 2020 has put a lot of emphasis on recognising and implementing standards in learning especially in the case of arts education in India where it has been felt lacking. The paper has addressed this gap by developing an outcome-based skills standards model after comparisons and analysis of the available frameworks in arts education. This is the first step towards standardizing process oriented outcome-based learning in the context of Arts education in India.
This article was written as a tribute to Chandralekha in 2007, the year she passed away.
understanding dance student’s progress and learning needs. In
online learning, assessment for learning within the framework of
formative assessment is effective with proper feedback from the
teacher offered in relation to curriculum outcomes. This research
showcases how formative assessment was incorporated in two
different ways in online learning of a dance course and discusses
their effectiveness towards improved learning among students