Podcasts about danish icelandic

rWotD Episode 2684: High Life (2018 film) Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Sunday, 8 September 2024 is High Life (2018 film).High Life is a 2018 science fiction horror film directed by Claire Denis, in her English-language debut, and written by Denis and her long-time collaborator Jean-Pol Fargeau. Starring Robert Pattinson and Juliette Binoche, it focuses on a group of criminals sent on a space mission toward a black hole while taking part in scientific experiments.Physicist and black hole expert Aurélien Barrau was hired as a consultant, and Danish-Icelandic artist Olafur Eliasson designed the film's spacecraft. High Life premiered on 9 September 2018 at the Toronto International Film Festival.This recording reflects the Wikipedia text as of 00:27 UTC on Sunday, 8 September 2024.For the full current version of the article, see High Life (2018 film) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Emma.

In this episode of Icelandic Art Center's Out there podcast we spoke to the curator Heiðar Kári Rannversson who has been keeping busy with a few exhibitions recently opened locally in Iceland. We discuss the exhibition spring that has sprung in Iceland with a couple of exciting solo exhibitions having opened in Kling & Bang; Andri Björgvinsson and Tara & Silla and the National Gallery; Anna Rún Tryggvadóttir, Þóra Sigurðardóttir and the new iteration of Steina Vasulka's Borealis Installation from 1993 now on display. Heiðar Kári @hkrannversson is an independent curator, art historian and most recently he held a position at the Nordatlantens Brygge in Kobenhavn 2018 - 2022.  He has curated multiple shows across Iceland; The Living Art Museum, the National Gallery and for the Icelandic Art Center. In the episode his most recent exhibitions and projects were discussed including:  Sóley Ragnarsdóttir @soleygendary is a Danish/Icelandic artist that lives and works in Thy, Denmark. Ragnarsdóttir has a sculptural approach to painting, and her works, painted and ornamented with both synthetic and organic materials, hover between figuration and abstraction. She mixes acrylic and epoxy with shells, amber and sea-sanded shards of glass on surfaces of wood, canvas and napkins. Her solo exhibition “Queen of Hearts” curated by HK  is now on display at Gerðarsafn. Þór Vigfússon @arslonga_djupivogur is an artist that lives and works in Iceland. He creates powerful objects with colour, texture, and reflection using prefabricated industrial materials. His deceptively simple works, primarily made of glass, plexiglass, mirrors, and Formica with monotone colour fields, push the boundaries between two- and three-dimensional works. Architecture and space play a vital role in their presentation.His solo exhibition “Numbers, Places” curated by HK is now on display at Gerðarsafn. Outside Looking In, Inside Looking Out is an exhibition that has been traveling around the world and will continue in the coming year with the stopa in Tokyo, Oslo and Paris this Autumn. The exhibition showcases works by established and emerging artists from Iceland. This exhibition project is a collaborative platform between the Icelandic Art Center, the Ministry of Foreign Affairs & Business Iceland, promoting visual art from Iceland abroad. This episode ends with the exhibition of the month segment which is dedicated to the one and only Venice Biennale and its 60th international art exhibition curated by Adriano Pedrosa. Special mentions from the main exhibition include Ahmed Umar's work “Talitin, The Third” (2023) and the Mataaho Collective's installation “Takapau” (2024). For the national pavilions Becky and Tinna briefly discussed the following; Pakui Hardware at the Lithuanian Pavilion, Eimear Walshe's installation at Ireland at Venice, the Nigerian Pavilion with a star-studded artist roaster, Canadian Pavilion's exhibition with Kapwani Kiwanga's installation, Archie Moore's installation at the Australian Pavilion curated by Ellie Buttrose and more! Listen in for a quick review of the cacophony at the Biennale. // Created and produced by the Icelandic Art Center, Out There brings co-hosts Becky Forsythe @beforsythe and Þórhildur Tinna Sigurðardóttir @tindilfaetta in conversation with artists, curators and art professionals at the bokasamlagid.

On a trip to Los Angeles to screen Apolonia, Apolonia (2022), Oscar-nominated and Emmy-winning Danish-Icelandic documentary film producer SIGRID DYEKJÆR shares her thoughts on a few of her other notable international co-productions, including The Cave (2019) and The Territory (2023). Sigrid talks about team building in support of the director's vision, her interest in ethical filmmaking, and the changing landscape of the documentary film market.Sigrid selects a work by Kirsten Justesen from the SMK collection.https://open.smk.dk/en/artwork/image/KKS1993-71(Photographer: Les Kaner)----------We invite you to subscribe to Danish Originals for weekly episodes. You can also find us at:website: https://danishoriginals.com/email: info@danishoriginals.com----------And we invite you to donate to the American Friends of Statens Museum for Kunst and become a patron: https://donorbox.org/american-friends-of-statens-museum-for-kunst

One of the eight national dances of India, bharatanatyam, partly originates from the area around Tranquebar. During the time that Tranquebar was a Danish colony, devadasis, women who did service at temples through dance, were patronized by the Thanjavur royal court. In 1623, a Danish–Icelandic soldier routinely observed the devadasis dancing outside the Masilamaninathar temple opposite Fort Dansborg, which he was guarding. His accounts of the dancers are interesting at two levels; first, they provide us with unique data on the role of the devadasis at the village level in seventeenth century Tamil Nadu. Secondly, they shed light on a certain imagination and perspective on Indian religion grounded in European Christian thought at the time. Since the seventeenth century the dance of the devadasis has undergone a dramatic transformation, as it has been taken from its original setting to a national middle class arena in which females of very different socio-cultural backgrounds learn the dance now called bharatanatyam. Stine elaborates on her fieldwork done in one of the bharatanatyam dance institutions situated in New Delhi, and deals with reflections on Hinduism as well as Christianity through dance practice. Parallel to that some methodological reflections on the study on cultural encounters through dance are presented. Though set in very different contexts, the two accounts shed light on Christian perspectives on Hinduism through their encounter with a dominant South Indian dance form. In this episode, Stine Simonsen Puri, explores history and practice of the Indian temple dance today called bharatanatyam through a focus on cultural encounters with the dance from both a Hindu and a Christian perspective. Being a board member of the Nordic Center India, part of the Faculty of Modern India and South Asian Studies as well as Teaching Associate Professor at the Department of Cross-Cultural and Regional studies, Stine shares her expertise on Indian's socio-cultural issues. Her knowledge especially stems from her extensive fieldwork at a bharatanatyam Dance School in New Delhi as well as her research part of the Tranquebar Initiative. Marianne Tykesson is a student assistant as the Nordic Institute of Asia Studies and a Cross-Cultural Studies Student at the University of Copenhagen with a particular interest in the research of social injustice and cross-national encounters. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

One of the eight national dances of India, bharatanatyam, partly originates from the area around Tranquebar. During the time that Tranquebar was a Danish colony, devadasis, women who did service at temples through dance, were patronized by the Thanjavur royal court. In 1623, a Danish–Icelandic soldier routinely observed the devadasis dancing outside the Masilamaninathar temple opposite Fort Dansborg, which he was guarding. His accounts of the dancers are interesting at two levels; first, they provide us with unique data on the role of the devadasis at the village level in seventeenth century Tamil Nadu. Secondly, they shed light on a certain imagination and perspective on Indian religion grounded in European Christian thought at the time. Since the seventeenth century the dance of the devadasis has undergone a dramatic transformation, as it has been taken from its original setting to a national middle class arena in which females of very different socio-cultural backgrounds learn the dance now called bharatanatyam. Stine elaborates on her fieldwork done in one of the bharatanatyam dance institutions situated in New Delhi, and deals with reflections on Hinduism as well as Christianity through dance practice. Parallel to that some methodological reflections on the study on cultural encounters through dance are presented. Though set in very different contexts, the two accounts shed light on Christian perspectives on Hinduism through their encounter with a dominant South Indian dance form. In this episode, Stine Simonsen Puri, explores history and practice of the Indian temple dance today called bharatanatyam through a focus on cultural encounters with the dance from both a Hindu and a Christian perspective. Being a board member of the Nordic Center India, part of the Faculty of Modern India and South Asian Studies as well as Teaching Associate Professor at the Department of Cross-Cultural and Regional studies, Stine shares her expertise on Indian's socio-cultural issues. Her knowledge especially stems from her extensive fieldwork at a bharatanatyam Dance School in New Delhi as well as her research part of the Tranquebar Initiative. Marianne Tykesson is a student assistant as the Nordic Institute of Asia Studies and a Cross-Cultural Studies Student at the University of Copenhagen with a particular interest in the research of social injustice and cross-national encounters. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

One of the eight national dances of India, bharatanatyam, partly originates from the area around Tranquebar. During the time that Tranquebar was a Danish colony, devadasis, women who did service at temples through dance, were patronized by the Thanjavur royal court. In 1623, a Danish–Icelandic soldier routinely observed the devadasis dancing outside the Masilamaninathar temple opposite Fort Dansborg, which he was guarding. His accounts of the dancers are interesting at two levels; first, they provide us with unique data on the role of the devadasis at the village level in seventeenth century Tamil Nadu. Secondly, they shed light on a certain imagination and perspective on Indian religion grounded in European Christian thought at the time. Since the seventeenth century the dance of the devadasis has undergone a dramatic transformation, as it has been taken from its original setting to a national middle class arena in which females of very different socio-cultural backgrounds learn the dance now called bharatanatyam. Stine elaborates on her fieldwork done in one of the bharatanatyam dance institutions situated in New Delhi, and deals with reflections on Hinduism as well as Christianity through dance practice. Parallel to that some methodological reflections on the study on cultural encounters through dance are presented. Though set in very different contexts, the two accounts shed light on Christian perspectives on Hinduism through their encounter with a dominant South Indian dance form. In this episode, Stine Simonsen Puri, explores history and practice of the Indian temple dance today called bharatanatyam through a focus on cultural encounters with the dance from both a Hindu and a Christian perspective. Being a board member of the Nordic Center India, part of the Faculty of Modern India and South Asian Studies as well as Teaching Associate Professor at the Department of Cross-Cultural and Regional studies, Stine shares her expertise on Indian's socio-cultural issues. Her knowledge especially stems from her extensive fieldwork at a bharatanatyam Dance School in New Delhi as well as her research part of the Tranquebar Initiative. Marianne Tykesson is a student assistant as the Nordic Institute of Asia Studies and a Cross-Cultural Studies Student at the University of Copenhagen with a particular interest in the research of social injustice and cross-national encounters. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

One of the eight national dances of India, bharatanatyam, partly originates from the area around Tranquebar. During the time that Tranquebar was a Danish colony, devadasis, women who did service at temples through dance, were patronized by the Thanjavur royal court. In 1623, a Danish–Icelandic soldier routinely observed the devadasis dancing outside the Masilamaninathar temple opposite Fort Dansborg, which he was guarding. His accounts of the dancers are interesting at two levels; first, they provide us with unique data on the role of the devadasis at the village level in seventeenth century Tamil Nadu. Secondly, they shed light on a certain imagination and perspective on Indian religion grounded in European Christian thought at the time. Since the seventeenth century the dance of the devadasis has undergone a dramatic transformation, as it has been taken from its original setting to a national middle class arena in which females of very different socio-cultural backgrounds learn the dance now called bharatanatyam. Stine elaborates on her fieldwork done in one of the bharatanatyam dance institutions situated in New Delhi, and deals with reflections on Hinduism as well as Christianity through dance practice. Parallel to that some methodological reflections on the study on cultural encounters through dance are presented. Though set in very different contexts, the two accounts shed light on Christian perspectives on Hinduism through their encounter with a dominant South Indian dance form. In this episode, Stine Simonsen Puri, explores history and practice of the Indian temple dance today called bharatanatyam through a focus on cultural encounters with the dance from both a Hindu and a Christian perspective. Being a board member of the Nordic Center India, part of the Faculty of Modern India and South Asian Studies as well as Teaching Associate Professor at the Department of Cross-Cultural and Regional studies, Stine shares her expertise on Indian's socio-cultural issues. Her knowledge especially stems from her extensive fieldwork at a bharatanatyam Dance School in New Delhi as well as her research part of the Tranquebar Initiative. Marianne Tykesson is a student assistant as the Nordic Institute of Asia Studies and a Cross-Cultural Studies Student at the University of Copenhagen with a particular interest in the research of social injustice and cross-national encounters. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

One of the eight national dances of India, bharatanatyam, partly originates from the area around Tranquebar. During the time that Tranquebar was a Danish colony, devadasis, women who did service at temples through dance, were patronized by the Thanjavur royal court. In 1623, a Danish–Icelandic soldier routinely observed the devadasis dancing outside the Masilamaninathar temple opposite Fort Dansborg, which he was guarding. His accounts of the dancers are interesting at two levels; first, they provide us with unique data on the role of the devadasis at the village level in seventeenth century Tamil Nadu. Secondly, they shed light on a certain imagination and perspective on Indian religion grounded in European Christian thought at the time. Since the seventeenth century the dance of the devadasis has undergone a dramatic transformation, as it has been taken from its original setting to a national middle class arena in which females of very different socio-cultural backgrounds learn the dance now called bharatanatyam. Stine elaborates on her fieldwork done in one of the bharatanatyam dance institutions situated in New Delhi, and deals with reflections on Hinduism as well as Christianity through dance practice. Parallel to that some methodological reflections on the study on cultural encounters through dance are presented. Though set in very different contexts, the two accounts shed light on Christian perspectives on Hinduism through their encounter with a dominant South Indian dance form. In this episode, Stine Simonsen Puri, explores history and practice of the Indian temple dance today called bharatanatyam through a focus on cultural encounters with the dance from both a Hindu and a Christian perspective. Being a board member of the Nordic Center India, part of the Faculty of Modern India and South Asian Studies as well as Teaching Associate Professor at the Department of Cross-Cultural and Regional studies, Stine shares her expertise on Indian's socio-cultural issues. Her knowledge especially stems from her extensive fieldwork at a bharatanatyam Dance School in New Delhi as well as her research part of the Tranquebar Initiative. Marianne Tykesson is a student assistant as the Nordic Institute of Asia Studies and a Cross-Cultural Studies Student at the University of Copenhagen with a particular interest in the research of social injustice and cross-national encounters. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia.

One of the eight national dances of India, bharatanatyam, partly originates from the area around Tranquebar. During the time that Tranquebar was a Danish colony, devadasis, women who did service at temples through dance, were patronized by the Thanjavur royal court. In 1623, a Danish–Icelandic soldier routinely observed the devadasis dancing outside the Masilamaninathar temple opposite Fort Dansborg, which he was guarding. His accounts of the dancers are interesting at two levels; first, they provide us with unique data on the role of the devadasis at the village level in seventeenth century Tamil Nadu. Secondly, they shed light on a certain imagination and perspective on Indian religion grounded in European Christian thought at the time. Since the seventeenth century the dance of the devadasis has undergone a dramatic transformation, as it has been taken from its original setting to a national middle class arena in which females of very different socio-cultural backgrounds learn the dance now called bharatanatyam. Stine elaborates on her fieldwork done in one of the bharatanatyam dance institutions situated in New Delhi, and deals with reflections on Hinduism as well as Christianity through dance practice. Parallel to that some methodological reflections on the study on cultural encounters through dance are presented. Though set in very different contexts, the two accounts shed light on Christian perspectives on Hinduism through their encounter with a dominant South Indian dance form. In this episode, Stine Simonsen Puri, explores history and practice of the Indian temple dance today called bharatanatyam through a focus on cultural encounters with the dance from both a Hindu and a Christian perspective. Being a board member of the Nordic Center India, part of the Faculty of Modern India and South Asian Studies as well as Teaching Associate Professor at the Department of Cross-Cultural and Regional studies, Stine shares her expertise on Indian's socio-cultural issues. Her knowledge especially stems from her extensive fieldwork at a bharatanatyam Dance School in New Delhi as well as her research part of the Tranquebar Initiative. Marianne Tykesson is a student assistant as the Nordic Institute of Asia Studies and a Cross-Cultural Studies Student at the University of Copenhagen with a particular interest in the research of social injustice and cross-national encounters. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

One of the eight national dances of India, bharatanatyam, partly originates from the area around Tranquebar. During the time that Tranquebar was a Danish colony, devadasis, women who did service at temples through dance, were patronized by the Thanjavur royal court. In 1623, a Danish–Icelandic soldier routinely observed the devadasis dancing outside the Masilamaninathar temple opposite Fort Dansborg, which he was guarding. His accounts of the dancers are interesting at two levels; first, they provide us with unique data on the role of the devadasis at the village level in seventeenth century Tamil Nadu. Secondly, they shed light on a certain imagination and perspective on Indian religion grounded in European Christian thought at the time. Since the seventeenth century the dance of the devadasis has undergone a dramatic transformation, as it has been taken from its original setting to a national middle class arena in which females of very different socio-cultural backgrounds learn the dance now called bharatanatyam. Stine elaborates on her fieldwork done in one of the bharatanatyam dance institutions situated in New Delhi, and deals with reflections on Hinduism as well as Christianity through dance practice. Parallel to that some methodological reflections on the study on cultural encounters through dance are presented. Though set in very different contexts, the two accounts shed light on Christian perspectives on Hinduism through their encounter with a dominant South Indian dance form. In this episode, Stine Simonsen Puri, explores history and practice of the Indian temple dance today called bharatanatyam through a focus on cultural encounters with the dance from both a Hindu and a Christian perspective. Being a board member of the Nordic Center India, part of the Faculty of Modern India and South Asian Studies as well as Teaching Associate Professor at the Department of Cross-Cultural and Regional studies, Stine shares her expertise on Indian's socio-cultural issues. Her knowledge especially stems from her extensive fieldwork at a bharatanatyam Dance School in New Delhi as well as her research part of the Tranquebar Initiative. Marianne Tykesson is a student assistant as the Nordic Institute of Asia Studies and a Cross-Cultural Studies Student at the University of Copenhagen with a particular interest in the research of social injustice and cross-national encounters. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

One of the eight national dances of India, bharatanatyam, partly originates from the area around Tranquebar. During the time that Tranquebar was a Danish colony, devadasis, women who did service at temples through dance, were patronized by the Thanjavur royal court. In 1623, a Danish–Icelandic soldier routinely observed the devadasis dancing outside the Masilamaninathar temple opposite Fort Dansborg, which he was guarding. His accounts of the dancers are interesting at two levels; first, they provide us with unique data on the role of the devadasis at the village level in seventeenth century Tamil Nadu. Secondly, they shed light on a certain imagination and perspective on Indian religion grounded in European Christian thought at the time. Since the seventeenth century the dance of the devadasis has undergone a dramatic transformation, as it has been taken from its original setting to a national middle class arena in which females of very different socio-cultural backgrounds learn the dance now called bharatanatyam. Stine elaborates on her fieldwork done in one of the bharatanatyam dance institutions situated in New Delhi, and deals with reflections on Hinduism as well as Christianity through dance practice. Parallel to that some methodological reflections on the study on cultural encounters through dance are presented. Though set in very different contexts, the two accounts shed light on Christian perspectives on Hinduism through their encounter with a dominant South Indian dance form. In this episode, Stine Simonsen Puri, explores history and practice of the Indian temple dance today called bharatanatyam through a focus on cultural encounters with the dance from both a Hindu and a Christian perspective. Being a board member of the Nordic Center India, part of the Faculty of Modern India and South Asian Studies as well as Teaching Associate Professor at the Department of Cross-Cultural and Regional studies, Stine shares her expertise on Indian's socio-cultural issues. Her knowledge especially stems from her extensive fieldwork at a bharatanatyam Dance School in New Delhi as well as her research part of the Tranquebar Initiative. Marianne Tykesson is a student assistant as the Nordic Institute of Asia Studies and a Cross-Cultural Studies Student at the University of Copenhagen with a particular interest in the research of social injustice and cross-national encounters. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the eight national dances of India, bharatanatyam, partly originates from the area around Tranquebar. During the time that Tranquebar was a Danish colony, devadasis, women who did service at temples through dance, were patronized by the Thanjavur royal court. In 1623, a Danish–Icelandic soldier routinely observed the devadasis dancing outside the Masilamaninathar temple opposite Fort Dansborg, which he was guarding. His accounts of the dancers are interesting at two levels; first, they provide us with unique data on the role of the devadasis at the village level in seventeenth century Tamil Nadu. Secondly, they shed light on a certain imagination and perspective on Indian religion grounded in European Christian thought at the time. Since the seventeenth century the dance of the devadasis has undergone a dramatic transformation, as it has been taken from its original setting to a national middle class arena in which females of very different socio-cultural backgrounds learn the dance now called bharatanatyam. Stine elaborates on her fieldwork done in one of the bharatanatyam dance institutions situated in New Delhi, and deals with reflections on Hinduism as well as Christianity through dance practice. Parallel to that some methodological reflections on the study on cultural encounters through dance are presented. Though set in very different contexts, the two accounts shed light on Christian perspectives on Hinduism through their encounter with a dominant South Indian dance form. In this episode, Stine Simonsen Puri, explores history and practice of the Indian temple dance today called bharatanatyam through a focus on cultural encounters with the dance from both a Hindu and a Christian perspective. Being a board member of the Nordic Center India, part of the Faculty of Modern India and South Asian Studies as well as Teaching Associate Professor at the Department of Cross-Cultural and Regional studies, Stine shares her expertise on Indian's socio-cultural issues. Her knowledge especially stems from her extensive fieldwork at a bharatanatyam Dance School in New Delhi as well as her research part of the Tranquebar Initiative. Marianne Tykesson is a student assistant as the Nordic Institute of Asia Studies and a Cross-Cultural Studies Student at the University of Copenhagen with a particular interest in the research of social injustice and cross-national encounters. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

ORENDA SPECIAL: featuring Jenny Lund Madsen Thirty Days of Darkness, Paul E Hardisty The Forcing, Eva Björg Ægisdöttir You Can't See Me chat to Paul Burke about their latest novels.JENNY LUND MADSEN trans. Megan E Turney* Thirty Days of Darkness PAUL E HARDISTY The Forcing  EVA BJÖRG ÆGISDÖTTIR trans. Victoria Cribb You Can't See MeORENDA Paul Burke writes for Crime Time, Crime Fiction Lover and the European Literature Network. He is also a CWA Historical Dagger Judge 2023.Music courtesy of  Guy Hale author of The Comeback Trail trilogy, featuring Jimmy Wayne - KILLING ME SOFTLY - MIKE ZITO featuring Kid Anderson.GUY HALE *Apologies to Megan E Turney for mispronouncing her name on the podcast and for English pronunciation of Danish/Icelandic names. Produced by Junkyard DogCrime TimeCrime Time FM is the official podcast ofGwyl Crime Cymru Festival 2023CrimeFest 2023CWA Daggers 2023& ?? (December)

Danish-Icelandic artist Olafur Eliasson is known for his large-scale installations that challenge people to rethink the way they see world issues, especially global warming. His immersive works have been shown around the world, from Paris to Tokyo. Eliasson talks to FRANCE 24 about his latest exhibition "Trembling Horizons" at the Castello di Rivoli museum of contemporary art in Turin, Italy. Also on the programme, we go out and about in Paris with street artist Seth. Plus we visit a new exhibition in the south of France showing the voluptuous art of Niki de Saint Phalle.

Most films are suffering the onslaught of The Batman, says James Cameron-Wilson, looking at the UK box office. This dark version of the Dark Knight, almost 3 long hours long, took £13.5m over the weekend, the 3rd highest since the pandemic. British indie comedy Ali & Ava made #9. James had reservations about Netflix's true-life survival drama Against The Ice, a Danish-Icelandic co-production. But he loved Portuguese The Metamorphosis of Birds, almost a new cinematic art form in itself, out in selected cinemas and on various streaming platforms. Learn more about your ad choices. Visit megaphone.fm/adchoices

The award-winning Danish–Icelandic artist Olafur Eliasson is renowned for his work with sculptures, photography and installation art which explores issues around perception, climate and public response. For the past months he’s been working on his next project called “Life”, at the Fondation Beyeler in Switzerland this April and has granted In The Studio special access to follow his creative process. Olafur is on a mission to ensure that he doesn’t pre-empt his audience’s response to the final work- and that includes not releasing much detail about the project beforehand. But, as reporter Neil McCarthy finds out, it involves a major reconfiguration of the gallery – including removing the famous full-length gallery windows and flooding it with water from the outside lily pond. Reporter Neil McCarthy talks to Olafur at different stages in the execution of the work and also hears from the gallery’s Director Sam Keller about the technical challenges which will need to be overcome to create a work which poses many questions about the nature of space and environment – and which stays watertight!

The Danish-Icelandic artist Ólafur Elíasson is understandably inspired by the natural elements. But what we might not necessarily glean at first glance - of, say, a gallery pumped full of precipitation, or a simple spinning spiral - is that these elements can inspire us to change the world. Music used: The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, “Daymaze,” “Plate Glass,” “Discovery Harbor,” “Wahre,” “Checkered Blue,” “Quarry Clouds,” “Enter the Room” See the images: https://bit.ly/3sJUXWu Support the show: www.patreon.com/lonelypalette

Danish-Icelandic artist Olafur Eliasson returns to TATE Modern with the thought-provoking and visually arresting exhibition "Olafur Eliasson: In Real Life". Emma Lewis, assistant curator at TATE talks to us about Olafur's love of geometry, his twisted sense of colour, and his big plans for the environment. More info www.culturealt.com More info www.culturealt.com - Instagram @maiamorgen

How far can artists and their work change the world? Can artistic endeavour lead to concrete action to mitigate the impact of global warming, or is this fanciful? Zeinab Badawi is at the Tate Modern in London, interviewing award-winning Danish-Icelandic artist Olafur Eliasson about his new exhibition and why he believes art can be a force for good in the world. Image: Olafur Eliasson (Credit: Neil Hall/EPA)

It's the season two finale of Chris and Rifa's weekly review of culture, tech and diversity. For this packed episode, we binge-watch the entire run of HBO's hugely acclaimed multi award-winning political satire Veep, starring Julia Louis-Dreyfus, to mark the occasion of that show finishing. We also mooch up to Tate Modern for a preview of Danish/Icelandic artist Olafur Eliasson's major new solo exhibition 'In Real Life', which, spoiler alert, is sensational. And on Netflix we check out Aziz Ansari's new stand-up special Right Now, that inevitably reflects on his changed status after last year's accusation against him of sexual misconduct. Rifa is reading New Philosopher magazine (which she actually bought for Chris), while Chris is reading Benjamin Myers' poetic non fiction work Under The Rock. Thank you very much for supporting Refigure through our second season. We love you. Refigure will be back in autumn for season three but in the meantime you can still find us at: Facebook.com/RefigurePod, Twitter @RefigurePod and on Instagram @RefigureUK.

We talk to the Danish-Icelandic artist about the urgent threat to the environment as his work Ice Watch, featuring chunks of glacier, go on show outside Tate Modern and Bloomberg’s HQ in London. We also discuss the potentially catastrophic effects of sea level rise to Mediterranean and European heritage with Anna Somers Cocks. And we talk to David Castillo, the Miami gallerist, as Art Basel makes its annual return to Florida. See acast.com/privacy for privacy and opt-out information.

The seventh TALK in Heartland Podcast is a live conversation that took place at Heartland in 2017. It's called On Art and Responsibility. The conversation is between the renowed Danish-Icelandic artist Olafur Eliasson and the Academy Award nominated documentarist Joshua Oppenheimer. The talk is about how art can raise awareness of political and cultural issues and whether or not this is the artists' responsibility. The talk is moderated by Danish film director and consultant at the Danish Film Institute Mikkel Munch-Fals.    

All day long I'd bidi-bidi-bum... Sheldon Harnick is 93 and won worldwide acclaim as the lyricist of the hugely successful Fiddler on the Roof. As a new production of Rothschild & Sons, one of his lesser-known musicals, opens in this country he talks about a lifetime of lyrics.Britain's first professor of Musical Theatre, Professor Millie Taylor, and theatre critic David Benedict discuss the evolution of the musical since the premiere of Fiddler on the Roof in 1964.The Danish Icelandic artist Olafur Eliasson is best known for his large-scale installation art using natural elemental materials, such as The Weather Project, a dazzling sun in Tate Modern's Turbine Hall. Nikki Bedi met him at his studio in Copenhagen to discuss his views on the cultural landscape of Denmark, artistic collaborations and breakdancing.Presenter: Nikki Bedi Producer: Rebecca Armstrong.

Philip Seymour Hoffman's final film A Most Wanted Man, based on the novel by John le Carré, is reviewed by Mark Eccleston; Danish-Icelandic artist Olafur Eliasson discusses his exhibition influenced by JMW Turner at Tate Britain with Kirsty Lang, and critic Charlotte Mullins reviews a major new exhibition Late Turner at the same gallery, and Tamzin Outhwaite and Ben Ockrent on their play Breeders. Producer Jerome Weatherald.