Mask group
overview
ai.naa

social robots for co-creation and dance performance

ainaa: the urdu word for mirror. as designers and creators, humans have strived to build robots and artificial intelligence in their own image. the advent of generative ai and large language models have given rise to more and more creatives experimenting with the technology for inspiration, co-creation and more. what role, then, can these technologies play in classical dance performances? this projects aims to create interactive robots and conversational models that allow artists to interact with the robots to create expressive performance pieces.

team
aishwarya rane
guide
dina al zenfaly
timeline
12 months
tools
tbd
background
indian classical dance

i have been learning kathak for more than 20 years now, about as long as i have lived. kathak, at its roots, is a storytelling art form. the first few years of my rigorous dance training involved learning the rules of indian classical performance arts as defined in the natyashastra; the anciant indian text that defines the frameworks for human expression. the natyashastra lays out
the
navarasa; 9 categories of human emotions
28
mudras; hand gestures to depict objects and imagery
body postures; which support the navarasa and mudras to express certain stories
technical aspects; standards of beats, rhythm and speed that allow a dancer to adhere to or break away from the music that they are performing to.

social robotics also uses similar methods to ‘teach’ robots how to assess and understand human expression and in turn express themselves so that they are understandable for humans. this overlap is very interesting to me and i think that there is scope to use these frameworks to further our understanding of social behaviours, expression and co-creation in robots.

Group 11

The Nava Rasa, The Nine Emotions of Indian Classical Dance, by Odissi Dancer AuroTejas Hemsell, Shakti Dance School, Photography by Randy Poe

Group 11
SIFF Young Artiste, https://www.quora.com/What-are-the-hand-mudras-used-in-Kathak
Group 11

a look into my notes as i start working on my thesis

updates
coming soon

this the beginning, the first steps, of my year long thesis. keep checking back to this space for more updates as i dance on this yellow brick road!

logo/aisha
Mask group
overview
ai.naa

social robots for co-creation and dance performance

ainaa: the urdu word for mirror. as designers and creators, humans have strived to build robots and artificial intelligence in their own image. the advent of generative ai and large language models have given rise to more and more creatives experimenting with the technology for inspiration, co-creation and more. what role, then, can these technologies play in classical dance performances? this projects aims to create interactive robots and conversational models that allow artists to interact with the robots to create expressive performance pieces.

team
aishwarya rane
guide
dina al zenfaly
timeline
12 months
tools
tbd
background
indian classical dance

i have been learning kathak for more than 20 years now, about as long as i have lived. kathak, at its roots, is a storytelling art form. the first few years of my rigorous dance training involved learning the rules of indian classical performance arts as defined in the natyashastra; the anciant indian text that defines the frameworks for human expression. the natyashastra lays out
the
navarasa; 9 categories of human emotions
28
mudras; hand gestures to depict objects and imagery
body postures; which support the navarasa and mudras to express certain stories
technical aspects; standards of beats, rhythm and speed that allow a dancer to adhere to or break away from the music that they are performing to.

social robotics also uses similar methods to ‘teach’ robots how to assess and understand human expression and in turn express themselves so that they are understandable for humans. this overlap is very interesting to me and i think that there is scope to use these frameworks to further our understanding of social behaviours, expression and co-creation in robots.

Group 11

The Nava Rasa, The Nine Emotions of Indian Classical Dance, by Odissi Dancer AuroTejas Hemsell, Shakti Dance School, Photography by Randy Poe

Group 11
SIFF Young Artiste, https://www.quora.com/What-are-the-hand-mudras-used-in-Kathak
Group 11

a look into my notes as i start working on my thesis

updates
coming soon

this the beginning, the first steps, of my year long thesis. keep checking back to this space for more updates as i dance on this yellow brick road!

logo/aisha
Mask group
overview
ai.naa

social robots for co-creation and dance performance

ainaa: the urdu word for mirror. as designers and creators, humans have strived to build robots and artificial intelligence in their own image. the advent of generative ai and large language models have given rise to more and more creatives experimenting with the technology for inspiration, co-creation and more. what role, then, can these technologies play in classical dance performances? this projects aims to create interactive robots and conversational models that allow artists to interact with the robots to create expressive performance pieces.

team
aishwarya rane
guide
dina al zenfaly
timeline
12 months
tools
tbd
background
indian classical dance

i have been learning kathak for more than 20 years now, about as long as i have lived. kathak, at its roots, is a storytelling art form. the first few years of my rigorous dance training involved learning the rules of indian classical performance arts as defined in the natyashastra; the anciant indian text that defines the frameworks for human expression. the natyashastra lays out
the
navarasa; 9 categories of human emotions
28
mudras; hand gestures to depict objects and imagery
body postures; which support the navarasa and mudras to express certain stories
technical aspects; standards of beats, rhythm and speed that allow a dancer to adhere to or break away from the music that they are performing to.

social robotics also uses similar methods to ‘teach’ robots how to assess and understand human expression and in turn express themselves so that they are understandable for humans. this overlap is very interesting to me and i think that there is scope to use these frameworks to further our understanding of social behaviours, expression and co-creation in robots.

Group 11

the nava rasa, the nine emotions of indian classical dance, by odissi dancer aurotejas hemsell, shakti dance school, photography by randy poe

Group 11
siff young artiste, https://www.quora.com/what-are-the-hand-mudras-used-in-kathak
Group 11

a look into my notes as i start working on my thesis

updates
coming soon

this the beginning, the first steps, of my year long thesis. keep checking back to this space for more updates as i dance on this yellow brick road!

logo/aisha
Mask group
overview
ai.naa

social robots for co-creation and dance performance

ainaa: the urdu word for mirror. as designers and creators, humans have strived to build robots and artificial intelligence in their own image. the advent of generative ai and large language models have given rise to more and more creatives experimenting with the technology for inspiration, co-creation and more. what role, then, can these technologies play in classical dance performances? this projects aims to create interactive robots and conversational models that allow artists to interact with the robots to create expressive performance pieces.

team
aishwarya rane
guide
dina al zenfaly
timeline
12 months
tools
tbd
background
indian classical dance

i have been learning kathak for more than 20 years now, about as long as i have lived. kathak, at its roots, is a storytelling art form. the first few years of my rigorous dance training involved learning the rules of indian classical performance arts as defined in the natyashastra; the anciant indian text that defines the frameworks for human expression. the natyashastra lays out
the
navarasa; 9 categories of human emotions
28
mudras; hand gestures to depict objects and imagery
body postures; which support the navarasa and mudras to express certain stories
technical aspects; standards of beats, rhythm and speed that allow a dancer to adhere to or break away from the music that they are performing to.

social robotics also uses similar methods to ‘teach’ robots how to assess and understand human expression and in turn express themselves so that they are understandable for humans. this overlap is very interesting to me and i think that there is scope to use these frameworks to further our understanding of social behaviours, expression and co-creation in robots.

Group 11

the nava rasa, the nine emotions of indian classical dance, by odissi dancer aurotejas hemsell, shakti dance school, photography by randy poe

Group 11
siff young artiste, https://www.quora.com/what-are-the-hand-mudras-used-in-kathak
Group 11

a look into my notes as i start working on my thesis

updates
coming soon

this the beginning, the first steps, of my year long thesis. keep checking back to this space for more updates as i dance on this yellow brick road!

logo/aisha
Mask group
overview
ai.naa

social robots for co-creation and dance performance

ainaa: the urdu word for mirror. as designers and creators, humans have strived to build robots and artificial intelligence in their own image. the advent of generative ai and large language models have given rise to more and more creatives experimenting with the technology for inspiration, co-creation and more. what role, then, can these technologies play in classical dance performances? this projects aims to create interactive robots and conversational models that allow artists to interact with the robots to create expressive performance pieces.

team
aishwarya rane
guide
dina al zenfaly
timeline
12 months
tools
tbd
background
indian classical dance

i have been learning kathak for more than 20 years now, about as long as i have lived. kathak, at its roots, is a storytelling art form. the first few years of my rigorous dance training involved learning the rules of indian classical performance arts as defined in the natyashastra; the anciant indian text that defines the frameworks for human expression. the natyashastra lays out
the
navarasa; 9 categories of human emotions
28
mudras; hand gestures to depict objects and imagery
body postures; which support the navarasa and mudras to express certain stories
technical aspects; standards of beats, rhythm and speed that allow a dancer to adhere to or break away from the music that they are performing to.

social robotics also uses similar methods to ‘teach’ robots how to assess and understand human expression and in turn express themselves so that they are understandable for humans. this overlap is very interesting to me and i think that there is scope to use these frameworks to further our understanding of social behaviours, expression and co-creation in robots.

Group 11

the nava rasa, the nine emotions of indian classical dance, by odissi dancer aurotejas hemsell, shakti dance school, photography by randy poe

Group 11
siff young artiste, https://www.quora.com/what-are-the-hand-mudras-used-in-kathak
Group 11

a look into my notes as i start working on my thesis

updates
coming soon

this the beginning, the first steps, of my year long thesis. keep checking back to this space for more updates as i dance on this yellow brick road!

logo/aisha