The interests of globalization scholars have remained confined to the study of trade, finance, political economy, consumption and identity. There has been scarcely any emphasis given on exploring the shifting nature of performing and fine arts as a result of the globalization of culture. This paper engages with how traditional Bharatanatyam has evolved with time in India with a chief focus on the debate on authenticity among the local practitioners. The aim is also to investigate how choreographers have borrowed movements and aesthetic expressions to produce genres that represent a form of ‘hybridization’ on global stage, which must be analyzed in the context of globalization of culture. Besides, the article critically discusses how the cultural influx has invigorated niches to create dance forms like Tap Natyam and other cross-cultural works in the light of my own primary research and experimentation in India, Germany and USA.
|Keywords:||Globalization, Hybridization, Indian Classical Dance, Bharatanatyam, Tap Natyam, Globality, Hybridity, Cultural Authenticity, Choreography, Fusion, South Asian Dance|
Assistant Professor, Universe of Performing and Fine Arts, Foundation for Liberal and Management Education, Pune, Pune, Maharashtra, India
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