This book, elucidates the basic steps called Adavus of Bharata Natyam in the traditional Pandanallur style, as taught by the revered Gurus Sri Meenakshi Sundaram Pillai and Sri Muthukumara Pillai, to Sri T.K Narayan and Smt. Jayalakshmi Narayan, parents of the author. It is an honest attempt to explain the various steps with unerring and accurate execution technique. The book offers a visual representation of the Adavus with the help of stick diagrams in a sequential manner so that the beginners and practitioners can understand the finer points of each movement. The author has developed simple schematics to show the various moves, such as jump, stretch, turn, hit etc. The author endeavours to illustrate Adavus in a precise manner in this book. Classification and categorization of each step is the salient feature of this work. Gayathri Keshavan makes a humble effort to pass on the knowledge of this ancient and sacred art to the present and future generations of Bharata Natyam dancers.

As stories of Indian dance’s renaissance span almost a full century, there has emerged a globally dispersed community of Indian dancers, scholars and audiences who are deeply committed to keeping these traditions alive and experimenting with traditional dance languages to grapple with contemporary themes and issues. Scripting Dance in Contemporary India is an edited volume that contributes to this field of Indian dance studies. The book engages with multiple dance forms of India and their representations. The contributions are eclectic, including writings by both scholars and performers who share their experiential knowledge. There are four sections in the book – section I titled, “Representations’ has three chapters that deal with textual representations and illustrations of dance and dancers, and the significance of those representations in the present. Section II titled, “Histories in Process” consists of two chapters that engage with the historiographies of dance forms and suggest that histories are narratives that are continually created. In the third section, “Negotiations”, the four chapters address the different ways in which dance is embedded in society, and the different ways in which the aesthetics of a form has to negotiate with social, economic and political imperatives. The final section, “Other Voices/ Other Bodies” brings voices which are outside the mainstream of dance as ‘serious’ art.

This three-volume set (CCIS 1367-1368) constitutes the refereed proceedings of the 5th International Conference on Computer Vision and Image Processing, CVIP 2020, held in Prayagraj, India, in December 2020. Due to the COVID-19 pandemic the conference was partially held online. The 134 papers papers were carefully reviewed and selected from 352 submissions. The papers present recent research on such topics as biometrics, forensics, content protection, image enhancement/super-resolution/restoration, motion and tracking, image or video retrieval, image, image/video processing for autonomous vehicles, video scene understanding, human-computer interaction, document image analysis, face, iris, emotion, sign language and gesture recognition, 3D image/video processing, action and event detection/recognition, medical image and video analysis, vision-based human GAIT analysis, remote sensing, and more.

This book describes various new computer based approaches which can be exploited for the (digital) reconstruction, recognition, restoration, presentation and classification of digital heritage. They are based on applications of virtual reality, augmented reality and artificial intelligence, to be used for storing and retrieving of historical artifacts, digital reconstruction, or virtual viewing. The book is divided into three sections: “Classification of Heritage Data” presents chapters covering various domains and aspects including text categorization, image retrieval and classification, and object spotting in historical documents. Next, in “Detection and Recognition of Digital Heritage Artifacts”, techniques like neural networks or deep learning are used for the restoration of degraded heritage documents, Tamil Palm Leaf Characters recognition, the reconstruction of heritage images, and the selection of suitable images for 3D reconstruction and classification of Indian land mark heritage images. Lastly, “Applications of Modern Tools in Digital Heritage” highlights some example applications for dance transcription, architectural geometry of early temples by digital reconstruction, and computer vision based techniques for collecting and integrating knowledge on flora. This book is mainly written for researchers and graduate students in digital preservation and heritage, or computer scientists looking for applications of virtual reality, computer vision, and artificial intelligence techniques.

This two volume set (CCIS 1776-1777) constitutes the refereed proceedings of the 7th International Conference on Computer Vision and Image Processing, CVIP 2022, held in Nagpur, India, November 4–6, 2022. The 110 full papers and 11 short papers were carefully reviewed and selected from 307 submissions. Out of 121 papers, 109 papers are included in this book. The topical scope of the two-volume set focuses on Medical Image Analysis, Image/ Video Processing for Autonomous Vehicles, Activity Detection/ Recognition, Human Computer Interaction, Segmentation and Shape Representation, Motion and Tracking, Image/ Video Scene Understanding, Image/Video Retrieval, Remote Sensing, Hyperspectral Image Processing, Face, Iris, Emotion, Sign Language and Gesture Recognition, etc.

Bharatanatyam, an Indian classical dance form; a study.

The book is a wide-ranging collection of essays on Indian classical dance, which include writings on dance appreciation, the criticism, theory and philosophy of dance, as well as some historical and light controversial articles. Also included is a seminal and unique monograph on the contribution of Sanjukta Panigrahi to the development of Odissi. The book approaches the subject from an internationalist point of view and opens up new possibilities for the appreciation of Indian dance in the context of a global intercultural critique. In addition, it is beautifully illustrated with a number of photographs captured by Arun Kumar. It will enrich and provide new ways of understanding for classical Indian dance, both for the dance community and for the general reader.