Hint Sinemasında Klasik Hint Dansları Hint Kültürü, Sineması ve Performans Sanatları

Indian cinema has gained immense popularity across the globe, reaching audiences far beyond its national borders. In recent years, there has been a noticeable growth in the number of Indian film enthusiasts in Turkey. Despite this rising interest, Indian cinema as a field of academic inquiry remains relatively underexplored in Turkish scholarship. This book addresses this gap by offering a detailed analysis of classical Indian dance and its role within the cinematic narrative structure, focusing specifically on the films of renowned Indian director Sanjay Leela Bhansali. By doing so, the study not only contributes to the broader understanding of Indian cinema but also serves as a pioneering work in an emerging field within Turkish cultural and media studies. The book takes a close look at two of Bhansali’s films—Devdas and Bajirao Mastani—to examine how classical Indian dances, namely Kathak and Bharatanāṭyam, are integrated into the cinematic form. These films were selected due to their strong emphasis on visual aesthetics, choreographed sequences, and their intertextual engagement with Indian mythology and history. The analysis is structured around the hypothesis that the dance scenes in Bhansali’s films are not merely ornamental or placed for entertainment value, but are deeply woven into the narrative and emotional arcs of the story. In this context, the book explores whether Bhansali’s cinematic representation of these dance forms remains faithful to their traditional roots, or whether they are adapted to fit the demands of commercial cinema.rnA central objective of this study is to decode the semiotic and narrative functions of dance within Bhansali's work. By analyzing the choreography, costumes, musical lyrics, and their synchronicity with the plotline, the study uncovers how dance serves as a storytelling device. Drawing on the historical and mythological origins of Kathak and Bharatanāṭyam, the book demonstrates that these sequences are structured with intentional narrative and symbolic meaning. Rather than being randomly inserted into the films, these dance performances encapsulate emotional tension, cultural identity, and mythic resonance. From a methodological perspective, the book employs visual analysis and textual interpretation, aligning choreography with lyrical content, mise-en-scène, and costume design. Moreover, it considers how audiences unfamiliar with Indian cultural codes—particularly Turkish viewers—may misinterpret or overlook these layered meanings. Thus, one of the aims of this work is to facilitate a cross-cultural reading of Indian cinema by offering Turkish readers a lens through which to appreciate and interpret classical Indian dances within a cinematic framework.rnThis study also contributes to discussions in cultural and performance studies by positioning dance as an act of embodied storytelling. Bhansali’s films, which are often described as visual operas, provide fertile ground for investigating how dance operates as a communicative form that bridges dialogue, music, and spectacle. By situating the dance scenes within broader socio-cultural and historical contexts, the book argues for a more nuanced understanding of how Indian classical dance translates onto the screen—not merely as aesthetic embellishment, but as an essential component of narrative construction. Ultimately, the book aims to shift prevailing perceptions of dance in Indian cinema, especially within the Turkish context, where such scenes are frequently viewed as exotic or excessive. It invites readers to engage with these sequences not as interruptions but as culturally significant and narratively purposeful expressions. In doing so, the study establishes a foundation for future research into Indian cinema in Turkey and encourages further academic exploration into the interdisciplinary intersections of film, dance, mythology, and cultural identity.