Titlebook: Mapping Critical Dance Studies in India; Urmimala Sarkar Munsi Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive

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Urmimala Sarkar Munsit the ability of regulation to achieve its outcomes. Nonetheless, one can still look at regulation and evaluate its effectiveness through a variety of methods. In this study, we examine heritage regulation in Oregon (USA), Israel, and England and compare its effectiveness by examining built-heritage

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Urmimala Sarkar Munsiy law is foremost state law. Only in certain areas fragments of “European” (i.e., European Union) property law can be found. The European Union only has limited competences to legislate, and if it legislates in the field of property law, member states try to limit this by invoking Article 345 of the

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Introduction: All That is Dance,cative practices work as markers of identity, tools for generating solidarity, and a shared sense of belonging. It also challenges the idea of microspecialities of local and embodied knowledge systems as rhizomic structures within and across regions in the country.

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,Understanding Categorization—The ‘Tribal,’ the ‘Folk’, and the ‘Classical’ Dance Forms,er in possibilities than the classical forms. In the context of the recognition of classical forms as superior in presentational possibilities, skills, and public appeal, there are ample evidence of hierarchization in the way these two forms are treated differently within the cultural policies in the country.

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The Modern and the Contemporary in the Context of Dance in India,hy—either in-situ or from some distant locations. Without aspiring to describe all forms that identified themselves as dance from India, it is a survival tactic here to choose to create a space for “all that is dance” in and from the present times.

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To Be Continued: Thoughts on Dance as Response, Responsibility, and Resistance, Indian context. While the spectre of the fast-changing scenario of contemporary dance scenes in the world remains as a reflective presence, the basic focus remains on the ways in which dance in India has become more and more defined by its presentational possibilities as a proscenium art, often obsessively dependent on its aesthetic fixities.