Research paper

The Humanities through the Arts

Anwesha Baruah
Lovely Professional University

Author Note

Note
Anwesha Baruah
Section: A1403
Roll No: A12

Research paper

Contents
Abstract.................................................................................................................... 3
Introduction............................................................................................................... 4
Influence of Architecture in Arts..................................................................................... 5
Relationship between Architecture and Dance..................................................................6
Dance space architecture.......................................................................................... 9
Western Classical Dance............................................................................................ 9
Geometric Space and Corporal Architecture...............................................................11
Investigating architecture with the body....................................................................15
Architecture in Motion......................................................................................... 17
The Indian Classical Dance....................................................................................... 18
The Cosmic....................................................................................................... 20
Conclusion.............................................................................................................. 25
Reference................................................................................................................ 26
Dance and Architectural Mathematics......................................................................26

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Figure 1 file:///F:/notes%20and%20assignments/Documents/dtc
%20cinema/BirenPoster%20(1).pdf.......................................................................7
Figure 2file:///F:/notes%20and%20assignments/Documents/dtc
%20cinema/BirenPoster%20(1).pdf.......................................................................8
Figure 3file:///F:/notes%20and%20assignments/Documents/dtc
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Figure 4file:///F:/notes%20and%20assignments/Documents/dtc
%20cinema/BirenPoster%20(1).pdf.......................................................................9
Figure 5labyrinth1.teach...................................................................................... 12
Figure 6Daedalus_labyrinth,Duomo Lucca cathedrale Lucques
labyrinthe,lifarnur.blogspot.com..........................................................................12
Figure 7epaulement
Figure
8kinesphere......................................................................................................... 13
Figure 9f74dbf11c68be46ea940282127758e8a,

Figure 10Slide15......14

Figure 11Slide03
Figure
12symmetricshape-304x159...............................................................................14
Figure 13a09d77689990e57f01ff2b433559824b
Figure
145402223d4524f33b1e8b9bbe881337ef..........................................................15
Figure 15explosive-dance-portraits-by-alexander-yakovlev-part-2_10,................15
Figure 1607_erich-consemeller_formentanz........................................................16
Figure 17Man Walking Down the Side of a Building (1970)..................................17
Figure 18Dance10_43680a-1024x576
Figure
1928424a3a28d4dd262f1cdd3c2e3812a3..........................................................18
Figure 200,,17296103_303,00,Waltzing with Sasha. Figure 21Sasha Waltz &
Guests................................................................................................................. 18
Figure 220,,16830390_303,00............................................................................. 18
Figure 23classic Indian dance on Pinterest | India
Figure 24Capture
............................................................................................................................ 20
Figure 25Social Reform and the Disenfranchisem
Figure 26The
Devadasi Video Mystery Solved...........................................................................21
Figure 27The Ban Bane From Natyashastra to..................................................22
Figure 28926a57c93d0ddd4206dee5b4500475f6...............................................23
Figure 29Theory of Straight Lines, Circles and Parallels
Figure 30Theory
of Straight Lines, Circles and............................................................................... 24
Figure 31Codex Magica 21................................................................................24

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Figure
32https://libuwspaceprd02.uwaterloo.ca/bitstream/handle/10012/6356/Jayakrishn
an_Kavitha.pdf?sequence=1&isAllowed=............................................................25
Figure
33https://libuwspaceprd02.uwaterloo.ca/bitstream/handle/10012/6356/Jayakrishn
an_Kavitha.pdf?sequence=1&isAllowed=y..........................................................26
Figure 34Theory of Straight Lines, Circles and Parallels Figure 35Theory of
Straight Lines, Circles and................................................................................... 29
Figure 36Codex Magica - 21................................................................................. 30

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Abstract

The branch of architecture is beyond the purely practical realm of zoning laws, norm,
building permits and economy. The influence over space can also be the power to
twirl the human psychology with an ease. Architecture and art has always been
influencing each other to a larger degree thus sharing a synergetic relationship. Indeed
art and architecture were intertwined admirably at various points in history-in the
eastern cultures of east and west, European Gothic, Renaissance and Baroque periods.
It was only in the beginning of the 20th century that people started recognising the
interrelationship of art and architectural design through various examples of paintings,
sculptures and buildings. Although their independence has resulted in giving each
others profession an intellectual and artistic parity thereby learning and taking aid
from each others works. Design has become more a part of the mainstream culture as
quality idea reaches the masses.

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Introduction

Architecture is a kind of branch which sits on a plane that is suspended between arts,
sciences, economics and many other diverse disciplines. It has always been
considered as a form of art which requires devotion, imagination and creativity in
order to evolve and develop variations and permutations in the very same subjects and
programs in order to create new and something special out of the same function to
make it look different, extraordinary, eye pleasing and unremarkable. Architecture can
also be termed as an emotional experience, while phenomenology naturally plays into
the practice. Taking example of the Classical Greek architectural style it can be said
that impressive enormous space was achieved through the feats of engineer as one
achieved though the sculptural and ornamental qualities. Art and built environment
naturally connect with one another in and to produce a contemporary culture. The
traditional boundaries between art and architecture have been distorted increasingly in
works like site specific art, public art and urban intervention. In arts a contextual
approach leads to such kinds of site specific arts or public arts while in architecture a
conceptual design approach with appropriate reasoning and intervention could lead to
such kind of works. Art and Architecture specify such works as critical spatial
practice. The relationship of art and architecture in itself is a piece of artwork over
which infinite concepts from the disciplines like feminism, critical theory and cultural
geography debate into in order to come out with some conclusions. Such discussions
around the urban condition have produced an interdisciplinary terrain of spatial theory
that rediscovered different behaviours of understanding and practicing space.

Influence of Architecture in Arts

(Now, Then and Will always)

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Architecture today is the death of change. Buildings are designed to remain static and
unresponsive to the users evolving mind and body. Spaces solely thrive on people for survival
and wither without them. The association between art and architecture is too often forgotten
which shares a harmonious relationship thus serving each other to create an extraordinary and
unique design out of the same vernacular medium and performing the task in such a way that
it impacts on the human cognition and psychological state as accomplished through dance.
Dance is an expression of an intensified sense of life arising from the inner perception that
stimulates both mind and body. It is the mans natural and primitive means of expressing out
their feeling and emotions which when exhibited in an explicit way turns out to be unique and
memorandum to voice out certain issues of reality. Dance is not only an individual or group
existence but also considered as a cultural mirror who wherein the spirits, character and
artistry of its time are reflected. To the natural environment, dance appears to function
independently but has the ability to influence its surrounding. It engages the spectator with
the choreography thus sharing a symbiotic relationship.

Figure 1 file:///F:/notes%20and%20assignments/Documents/dtc
%20cinema/BirenPoster%20(1).pdf

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Relationship between Architecture and Dance

Architecture and dance are the two disciples of creativity that shares the same language in
terms of shapes, form, space, texture, colour, rhythm etc. Both the disciples define and
manipulate the body (solid) through the space and time in order to define one. Dance frames
the architecture by guiding the eyes of the observer to notice how they see the shape as it is
juxtaposed, body to the buildings. The spatial qualities of architecture can be experienced by
human through the movement of the body over time creating a rhythm in its work of
installations which is brought by the lines and curves to the physical environment which can
also be perceived in the dance performances. The process of re-creation and redefinition of
spaces has resulted in the merging of dance or movement with architecture in order to create
pieces of artwork which is alive within the visual frame of the eye and not just within the
body of the dancer.

Figure 2file:///F:/notes%20and%20assignments/Documents/dtc
%20cinema/BirenPoster%20(1).pdf

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Figure 3file:///F:/notes%20and%20assignments/Documents/dtc
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Figure 4file:///F:/notes%20and%20assignments/Documents/dtc
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The effects of dance on the humans enlightenment and physical state must be explored in
order to generate a record for emergent choreography. Research on the neuroscience of dance
has executed by novice and expertise in order to understand the biological impact of dance on
human heart and brain. Variations and complex organisations in the choreography of the
dance recitals can generate a healthy, rhythmic pattern of the heartbeat thus stimulating the
motor sensing area of the brain for the viewers. Thus the design concept and planning if
implemented and designed as a choreographer would result in the stimulation of the senses
along with creating a healthier mind and surrounding. Dance does not only offer the creative
and performance based relationship with architecture but also deals with the physical
narration and depiction. Its not only in architecture that buildings or sites hold the memories
and experiences of the people living in and around. The dancers do possess physical narration
which forms an integral part of their beauty and balance and design concept of the
performance. Every number and shape has a religious connotation. Vishnu (Narayan) the
hindu god is considered as the straight line while goddess Parvati denotes the number three in
Bharatanatyam which through her body posture results in the formation of a natural triangle
of the temple architecture.

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Dance space architecture

I believe that dance was the first art. A philosopher has said that dance and
architecture were the first arts.
By Martha Graham
In the function of structuring and thereby actually creating spaces, architecture and dance are
closely related. Yet in the chemistry of the bodies, movements and space, dance doesnt only
design architecture but also engages with the existing structural conditions by intervening
corporeally in the architectonic configuration. History has portrayed the influence and
relationship of dance with architecture in the best possible ways and can be perceived from
the classical dances of the world, may it be the Indian classical dances, the Western classical
dances or the Egyptian classical dance.
Western Classical Dance
In the Greek mythology the name of Daedalus the architect has been mentioned who
pioneered in creating a space for the Cretan King Minos which acted as a place of
imprisonment to the dangerous monster and also offered it as dance space for the kings
daughter Ariadne, the labyrinth. Therefore labyrinth is a space which was utilized both for
architectonic construction and dance. It engages both dance and space at the same time,
whereby the round walls of the dance floor was occupied by the chorus, i.e. the bodies of the
chorus of dancers in a round dance. With this it resulted to the creation of motion and body

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on one hand and space and architecture on the other hand thus already inscribing dance into
the mythology.

Figure 5labyrinth1.teach

Figure 6Daedalus_labyrinth,Duomo Lucca cathedrale Lucques

labyrinthe,lifarnur.blogspot.com

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Geometric Space and Corporal Architecture

In the flow of development, classical ballet that emerged from the courtly dance of the
Renaissance came into view in which a great influence of the architectonic structure can be
perceived in its upright body standing posture. With the configuration of geometric forms and
shape, the classical dance ballet has been reformed and reshaped the body in its dimension
thus conceptualise ballet an idea of corporeal architecture which in turn is connected to the
Euclidean geometric space surrounding it. The present day modern ballet dance played a
significant role in subjecting the dance form to the body space architecture for a critical,
analytical scrutiny.

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Figure 7epaulement
8kinesphere

Figure 9f74dbf11c68be46ea940282127758e8a,

Figure

Figure 10Slide15

diagram on Pinterest | Concept Diagram

Figure 11Slide03
12symmetricshape-304x159

Figure

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Figure 13a09d77689990e57f01ff2b433559824b
145402223d4524f33b1e8b9bbe881337ef

Figure

Figure 15explosive-dance-portraits-by-alexander-yakovlev-part-2_10,
Dance Portraits By Alexan

The dancer through its posture has succeeded in creating a line with the help of
her laegs.

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Oskar Schlemmer for instance examined in his own ballet recital the Triadisches ballet as
well as in his later Bauhaus dance about the laws of cubic space with its invisible stereo
metric network of lines to which the human body is connected to while dancing. The
harmonious relationship of the human body with space and choreutics is an idea which was
developed by some scientist that actually flowed through the crystalline path. While
performing the ballet dance the plastic form which the body produces by its naturally
evolving movements is that of an icosahedron, which forms the space surrounding the dancer
shaping his or her so called kinesphere. The icosahedron then spears to form an organic
crystal which reveals to be a natural cosmetic construction prevailing over both the bodies
i.e. the dancer as well as the entire natural or organic world.

Figure 1607_erich-consemeller_formentanz

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Investigating architecture with the body

By the mid of 20th century, dancers demonstrated a distinct aversion to the laws of
mathematics and nature. Instead experimentation on the urban architectural features with
respect to dance was carried out. Hence their interest no longer focussed on the abstract
spatial laws in which the movement and orientation of dance was once used to be
demonstrated instead they devoted their dance style to the architectural features as a life
world orientation and human habitat.
In the 1970s the dance recital Man Walking Down the Side of a Building choreographed by
the famous Trisha Brown had her dancer suspended on the cable walk down the side of a
building, tilting he horizontal into the vertical and thus also over turning the spatial
orientation. In her another dance composition Roof Piece from 1973 dancers were stationed
on a series roof tops I the New York district of Soho. The dancers in this very dance recital
were placed in a distance in such a way that were only able to have a view of each other face
after investigating the relationship of proximity and distance and the possibilities and
limitations of human communication.

Figure 17Man Walking Down the Side of a Building (1970)

In Germany, the Berlin choreographer Sasha Waltz combined modern and post modernism in
her performances by exploring the museums of theatre buildings. The niches, corners, arches,

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walls and spaces of the museum were understood at first and then the choreography was
done. Infused by the atmosphere of the rooms, bodies and architecture almost melt into one
another in the Waltz experiment.

Figure 18Dance10_43680a-1024x576
1928424a3a28d4dd262f1cdd3c2e3812a3

Figure

Figure 200,,17296103_303,00,Waltzing with Sasha. Figure 21Sasha Waltz &

Guests

Figure 220,,16830390_303,00

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Architecture in Motion
Long before the radio ballets there were many other such dance recitals and experiments
which were performed in the urban environment. Sudden performances with synchronized
movement were showcased in the public spaces which attracted the focus and attention
thereby creating an urge to watch such dance recitals. Such an approach to urban architecture
through dance enables the choreography to be seen as a structuring of space by bodies, to
liberate itself from dance as energetic movement. Many performances of dance using Utopian
architectural drawings, choreographic objects and performance installation were done which
were static yet it created potential movements within them. Such inherent principles of
movement encourages the spectators to address the choreographed object whether
physically or mentally in order to start moving themselves.
Thus we can articulate that the western classical dance i.e. ballet has incorporated many
architectural elements, features and formula, especially the golden ratio which is the most
frequently used ratio in the field. Moreover the dance postures has been derived from the
basic shapes and forms such as the lines, triangles, squares and cubes etc. in which the
Euclidian geometry has also a role to play in terms of spaces.

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The Indian Classical Dance

Figure 23classic Indian dance on Pinterest | India

24Capture

Figure

The spirit of a place has been affected constantly by the cultural and the traditional value that
change and evolve with the passage of time. The relationship between the architectural
features and the dance culture was unambiguous up to the 18th century, although it is less
compelling than the modern day south Indian culture. But during the 20 th century the
architectural growth in the southern India was polluted by the filthy political parties and their
ruling landscape. Therefore it broke the continuity and the relative evolution of dance and
architecture, thereby heading to the fragmentation and abstraction of dance in to its modern
form.. In India, dance has always been a deep cultural root and therefore has undergone
numerous changes and evolution in its style, form and also in its grammar and geometry.
Earlier the first form of dance practiced in India was the Devdasi dance style in which the girl
dedicated herself to the the Paramatma the Supreme soul for the rest of her life. Originally,
in addition to the taking care of the temple and performing rituals, they learned a dance form

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named sadir which was the then name of the present classical dance form Bhratanatyam.
During that period the kind of dance performed by the devdasis were out of devotion and
introspection. Therefore, the dance form didnt follow any definite technical movement and
gesture. At around 10 century a revolution took place which resulted in the refinement of the
dance form by the Tanjore brothers from which Bhratanatyan and all other dance forms took
birth. The structures of the dance form were captured from the spirit and architectural features
of temples in the south. Dance and architecture lay claim to a shared vocabulary and ethos
likely because they share something immediately and apparent- space. The Nataraja Temple
in Chidambaram maintains the inner shrine with its design complexity and integrates it to the
architectural curriculum as well as with the spiritual intention on both the personal and
cosmic scale. In it the architecture functions as an artistic play which features the themes of
the temple dance performed within the walls of the temple.

Figure 25Social Reform and the Disenfranchisem

Devadasi Video Mystery Solved

Figure 26The

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The Foundations of Architecture and Natiyam

In the Natyashastra it says that the four faces of Lord Brahma is believed to have given birth
to the various art forms such as from his west face the art of music and dance has emerged
and from the north face the art of architecture has emerged. These three art forms were
handed over to Shiva, the Lord of Dance and Vishwakarma, the Lord of the art of
architecture.

Figure 27The Ban Bane From Natyashastra to

The Cosmic
The vastupurushammandala is a diagram in the Hindu philosophy which linked building
science, religion, aesthetics and community, when applied in a multiple scale gave rise to
numerous other symbols which aided in the formation of various other activities, one of

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which can be considered as dance. Bharatnatyam dancer acts as a physical manifestation of

both religious and architectural philosophy.

Figure 28926a57c93d0ddd4206dee5b4500475f6

When the evolution of the devdasi dance form started the dancer understood that there was a
need for specific instructions and conventions which could lead them to a definite dance
style. Therefore resulted in the usage of the Natyashastra, a Sanskrit text which all the Indian
classical dance follows. In the Natyshastra (itself it articulates the status of all the art forms
as equal to worship and spiritual attainment or moksha, the release from cycles of rebirth. It
states that both the dance and the dancer operate as a vehicle for heavenly solicitation and are
mirrored in the architectural surrounding. In it the use of Vaastupurushamandala has been
mentioned as the principal of the divine world and that it is this vastupurushmandala which
governs each and every art forms of the world. The vastupurushamandala acts as a mediator
between the human body and the cosmos because of which it links the religious spaces,
physical expanse and the universal scale with both time and space. Therefore play house in
which the dancer used to practice and perform was constructed using a specific grid, with
areas roughly corresponding to the front and backstage of the modern proscenium and with

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squares. They replicated the vastu squares which were marked by four pillars, each at every
corner of the square at a specific distance from each other

Figure 29Theory of Straight Lines, Circles and Parallels

30Theory of Straight Lines, Circles and

Figure 31Codex Magica 21

Figure

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The Indian Classical dance and the Temple Architecture

The anatomical elements of the Hindu temple architecture is featured in the form of shrine
images which were embedded in the body of the temple in a three dimensional form. A
correlation was drawn between the temple shrines and the karanas which has been described
in the Natyashastra as an entity of dance movement. In the dance performances, every dance
sequence consists of a combination of large number of karanas and angaharas. Similarly if
the architecture is taken to be a dance recital then it can be comprehended that the design
elements will act like the angaharas and the karanas which when sequenced and composed in
a definite approach would result in a worthy composition.
The configurations of the movements as expressed by the Hindu temple architecture
connected itself with the human body that can be palpably experienced. Usually the
experience of architectural motion in the temples is achieved through the various rituals and
customs performed within. But in order to link the movements of dance with its temple
architecture one has to have a different perspective of converging building into a dance space
which allows the movements of dance through such a setting. The rhythm in both the subject
can be the link which can be achieved through the movement of eye through the various
architectural elements and along with engaging the brain through its rhythm will create dance
in it. The sculptural depiction of various Gods and Goddesses on the walls of the temples
illustrates the very relationship.

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Figure
32https://libuwspaceprd02.uwaterloo.ca/bitstream/handle/10012/6356/Jayakris
hnan_Kavitha.pdf?sequence=1&isAllowed=

The concept of originating from a single point and relating it to a vertical axis is what makes
both the art forms parallel to each other. In dance the navel is considered to be the originating
or the central point of the circular mandala, or the chakra which when stationed vertically and
frontally divides it into its four quadrants through it horizontal and vertical axis and also
highlights its potency. The axial behaviour in the Hindu temple architecture shares the same
similarity but with the slightest of some difference. In the hindu temples, the mandala
remains horizontal as well as align itself to its four cardinal directions. It is a three
dimensional figure which is situated at the central vertical axis and rises itself to the point at
the summit. In it the movement is expressed as moving toward the downward direction from
the summit and towards its exterior from the vertical axis towards its cardinal point.

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Figure
33https://libuwspaceprd02.uwaterloo.ca/bitstream/handle/10012/6356/Jayakris
hnan_Kavitha.pdf?sequence=1&isAllowed=y

Conclusion

In the end, the subject matter can be comprehended that both the subjects run parallel to each
other and that it influences each other in numerous aspects. From the study of both the
Western Classical and Indian Classical dance forms it can be acknowledged that with passage
of time, evolution has taken place in the field of architecture which in turn has resulted in the

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evolution of the various dance styles. Seeing the present as well as the history of the subjects
it can be comprehended that both the fields worked hand in hand thus complimenting and
aiding each other to derive to its various design performances. Therefore, it can be said that
both dance and architecture will keep evolving with the passage of time thus adhering each
other through various new concepts and ideas. In order to understand the linkage between
each other one has to understand the features deeply and the perspective approach toward it
should be concentrated. Only then the relationship and its influence over each other can be
understood.

Reference
i.

http://humanitieslab.stanford.edu/49/75

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ii.

29

https://avijitdasdance.wordpress.com/2012/04/16/my-first-dance-review-onkathakali-published-at-narthaki-com/

iii.

https://libuwspaceprd02.uwaterloo.ca/bitstream/handle/10012/6356/Jayakrishnan_K
avitha.pdf?sequence=1&isAllowed=y

iv.

https://natyarambha.wordpress.com/2015/07/07/theory-of-straight-lines-circles-andparallels/

v.

http://www.prasada.org.uk/research-project-classical-dance

vi.

http://cardinalscholar.bsu.edu/handle/handle/189148

vii.

file:///F:/notes%20and%20assignments/Documents/dtc%20cinema/BirenPoster
%20(1).pdf

viii.
ix.

https://dspace.mit.edu/handle/1721.1/67399?show=full
http://www.janerendell.co.uk/books/art-architecture-a-place-between

Dance and Architectural Mathematics

An incredible relationship seemed to pertain between the architectural mathematics and
dances like Bharatanatyam. This form of the classical dance uses the numbers 3(Trishram),
4(Chaturashram), 5(khandam), 7(Mishram) and 9(Sangeernam) to arrive at a figure of 32 in
every dance movements in various permutation and combination for any kind of dance
choreographies. The body postures of the dancer are characterised by the formation of

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circular and linear geometric features. Some of the specific postures create a magnificent
symmetry in the body as in geometry which aids in beautifying the body structures along
with their movements and gestures. Every number and shape has religious significance. In the
Natyashastra it is mentioned that the Narayan is considered to be a linear figure whereas
Parvati symbolizes the figure 3 through her body movement and posture thus creating a
tribhangi and Lord Shiva symbolizes the number 5 as he is creator of tandav and thereby
possess all the five element of life. Therefore when good posture, balance, centring symmetry
and the geometric correctness are exercised in a definite way then it results in the attainment
of Angasudhi or in architectural terms we can say that the structure evolved out of the
design concept will satisfy each other.

Figure 34Theory of Straight Lines, Circles and Parallels

Straight Lines, Circles and

Figure 35Theory of

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Figure 36Codex Magica - 21

Conclusion

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