Thesis (Ph. D.)--University of California, Riverside, 2009. / Includes abstract. Includes bibliographical references (leaves 199-212). Issued in print and online. Available via ProQuest Digital Dissertations.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2005. / "May 2005." Abstract and vita. Includes bibliographical references (leaves 196-203).

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2005. / "May 2005." Abstract and vita. Includes bibliographical references (leaves 196-203).

This report summarizes the process of developing, writing, directing, and finishing Fatakra, a short narrative film. The film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin in partial fulfillment of my Master of Fine Arts in Film Production. Additionally, this report contextualizes the making of FATAKRA within my development as an artist and filmmaker. Finally, the report looks forward as I complete what is commonly referred to as a “calling-card” film and leave an academic setting to pursue a filmmaking career. / text

abstract: The Bharata-Natyam student in the United States (US) is challenged by how to effectively translate their dance into contemporary lived experiences. Research reveals that this dilemma is sometimes addressed by transplanting learnt choreographies into a new theme, sometimes adding verbal text to connect learnt choreography to contemporary issues, or sometimes simply giving up the dance form. Years of training in prevalent Bharata-Natyam education methods make students proficient in re-producing choreography but leave them without the tools to create. This is due to emphasis on guarding traditions and leaving interpretation for later stages that never arrive or get interrupted, because students leave their spaces of Indian-ness for college or a job. This work considers how Bharata-Natyam teachers in the US might support students in finding agency in their dance practice, using it to explore their lived experiences outside dance class, and engaging meaningfully with it beyond the Indian diaspora. The desire for agency is not a discarding of tradition; rather, it is a desire to dance better. This work reinforces the ancient Indian tradition of inquiry to seek knowledge by implementing the principles of Bharata-Nrityam, somatics and engaged pedagogy through the use of creative tools. This took place in three stages: (i) lessons in the Bharata-Nrityam studio, (ii) making Kriti with non-Bharata-Natyam dancers, and (iii) designing a collaborative action dance project between senior Bharata-Natyam students and community partners who are survivors of sexual/domestic violence. The results, in each case, demonstrated that the use of creative tools based in the principles above enriched the teaching-learning process through deeper investigation and greater investment for both student and teacher. Students in the early stages of learning thrived, while senior students expressed that having these tools earlier would have been valuable to their practice. These results suggest that when Bharata-Natyam education in the US is refocused through the lenses of Bharata-Nrityam, somatics and engaged pedagogy, teachers can access tools to empower their students in their practice of Bharata-Natyam not only within the context of the Indian diaspora but also beyond. / Dissertation/Thesis / Masters Thesis Dance 2020