{"product_id":"indian-ballet-dancing-ide371","title":"Indian Ballet Dancing","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eIDE371\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/pt\/book-author\/projesh%20banerjee\" class=\"underlined\" title=\"Projesh Banerjee\"\u003eProjesh Banerjee\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/pt\/book-publisher\/abhinav%20publication\" class=\"underlined\" title=\"Abhinav Publication\"\u003eAbhinav Publication\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eLanguage:\u003c\/td\u003e \u003ctd\u003eEnglish\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e1983\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eISBN:\u003c\/td\u003e \u003ctd\u003e817017175x\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e194 (B \u0026amp; W Illus: 49)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003eHardcover\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e11.2\" X 8.8\"\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eWeight\u003c\/td\u003e \u003ctd rel=\"product-weight\"\u003e920 gm\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003cp\u003e \u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e The background of Indian ballet is more than the history of its people or of the nation. It is the history of the soul of India. We cannot divorce it from the religion and philosophy of India. Ballet, according to an Indian artiste, is not something for demonstration, but something for realization. It is the means of achieving unity in consciousness. It is the path by which we come near god and attain salvation.\u003c\/p\u003e \u003cp\u003e Ballet in India, with its continuous history of more than three thousand years, grew and was nurtured within the precincts of the temples. This has given the ballet its distinctive quality, and till this century it has been a satisfying concept. True, there were variations, each region had its own attitude but the differences were not deep-rooted.\u003c\/p\u003e \u003cp\u003e For example in \u003ci\u003eKathakali, Bhagavat Mela, Yakshaganam\u003c\/i\u003e and in the other ballets of the South as also those of Orissa, Manipur, Uttar Pradesh, Assam and other states, the basic religious structure remains the same. Moreover in the folk-ballets throughout the country the common people's belief in religion, social problems, joys and sorrows and toil and tribulations are similar. There is oneness.\u003c\/p\u003e \u003cp\u003e The ballets tell the same legends. The \u003ci\u003epuranas,\u003c\/i\u003e the \u003ci\u003e\u003ca href=\"\/pt\/book\/Hindu\/mahabharata\"\u003eMahabharata\u003c\/a\u003e, the Ramayana,\u003c\/i\u003e the \u003ci\u003eBhagavatam\u003c\/i\u003e were and still are the text-books upon which composers based their compositions. The vision is the same whether in the north, south, east or west. So, throughout the country, there is a significant common form. The world of perception is still the original world of dance-the one seen by the sage Bharata. Nandikeshwara still teaches the hand-gestures in the same order as at the beginning of time. Dancers still go to temple walls to copy sculptured images-their costumes, poses, etc. in an attempt to recreate traditional environment.\u003c\/p\u003e \u003cp\u003e Any art-form, and more so a ballet art-form, should be very liberal and adaptable to changes. It may not be out of place to bring to the notice of the readers the significant legend connected with the origin of the ballet, though it has been narrated at length in a later chapter. The first much importance to gods and undermined the position of the \u003ci\u003easuras.\u003c\/i\u003e this enraged the latter and they resented and protested. The great art of ballet was about to die a premature death at the hands of the outraged \u003ci\u003easuras.\u003c\/i\u003e Suddenly Indra came to the rescue of Bharata, and he devised a scheme by which all the races would be pacified. He ordered a pole on which were attached various pieces of cloth of different colours representing the flags of different colour-groups or races. This multi-coloured flag-pole-the \u003ci\u003ejarjara\u003c\/i\u003e or the \u003ci\u003eIndradhwaja\u003c\/i\u003e-and the pole dance associated with it even to this day stand as a symbol of unity and tolerance, two main stays of drama and ballet.\u003c\/p\u003e \u003cp\u003e It aptly said that tradition is a wonderful thing, but we must use it as the central theme round which new patterns may be woven. It is absolutely suicidal to always blindly conform to hidebound tradition and let the creative urge be arrested. The old traditions may be explored but they should be adapted to modern trends. To come out of the well-trodden paths of tradition, and to trends. To come out of the well-trodden paths of tradition, and to tread on new paths is a painful process, but it is absolutely necessary for the growth and progress of both art and artiste.\u003c\/p\u003e \u003cp\u003e The dancer must leave his temple shrine and join in the stream of life. His must be the finger pointing the distant vision, linking the physical and the metaphysical, expressing the half-articulate longing of the soul.\u003c\/p\u003e \u003cp\u003e The ballet is the best form for demonstrating the essential principles of \u003ci\u003eNatyashastra.\u003c\/i\u003e Bharata Muni demonstrated \u003ci\u003enatya\u003c\/i\u003e for the first time in the form of ballet, in \u003ci\u003eIndra Sabha.\u003c\/i\u003e Ballet is a source of education as well as recreation. It has a high cultural value, giving scope for the display of various emotions that touch the heart. This original and ancient form of \u003ci\u003enatya\u003c\/i\u003e was widely practiced for a long time as a form of national art. It is classical in style. In spite of this, it is strange that the indigenous ballet is only considered as traditional, whereas the secular solo dances-\u003ci\u003eBharatanatyam, Manipuri and Kathak-\u003c\/i\u003e are mentioned as important classical styles. It cannot be understood why the ballets performed by the \u003ci\u003eBrahmana Melas\u003c\/i\u003e of Kuchipudi and Melatur, \u003ci\u003eChhau\u003c\/i\u003e of Orissa, ballets of Manipur, \u003ci\u003eTamasha\u003c\/i\u003e of Maharashtra, \u003ci\u003eBhavai\u003c\/i\u003e of Rajasthan and Saurashtra, \u003ci\u003eRas Lila and Nautanki\u003c\/i\u003e of Uttar Pradesh, Satra of Assam and such ballets of other states-are not recognized as classical, when \u003ci\u003eKathakali,\u003c\/i\u003e the ballet of Malabar and certain Manipuri ballets are mentioned as classical.\u003c\/p\u003e \u003cp\u003e In Indian ballet cannot be put in the category of classical type, it may easily occupy the coveted position of a separate form of Indian dancing, distinct from the solo classical types and folk-dances, because it is an entity by itself enjoying a tradition of centuries and highly developed during the last half a century. Ballet dancing is a class by itself.\u003c\/p\u003e \u003cp\u003e One aspect of the modern ballet requires deep thinking and consideration. The modern ballet is very often accused of adopting a \"free style\" dance technique. This is a misnomer. There is no such thing as \"free style\" dance. Our \u003ci\u003eNatyashastra\u003c\/i\u003e have enumerated the rules so widely that strictly speaking any movement, \u003ci\u003egati or chari,\u003c\/i\u003e or any style automatically comes under the classical technique, howsoever the themes might be modern or ultra-modern.\u003c\/p\u003e \u003cp\u003e Classical dance techniques are used to exhibit a theme like Uday Shankar's \u003ci\u003eLabour and Machinery,\u003c\/i\u003e in which a switch of a machine is put on to propel the instrument, or to start a roller or to emit smoke from the chimney.\u003c\/p\u003e \u003cp\u003e For example, take a very simple instance. The usages of the \u003ci\u003epataka\u003c\/i\u003e hand are so wide and have different meanings when placed in different situations. That same \u003ci\u003epataka asamyukta \u003c\/i\u003e (single) hand-gesture can signify a three-wheeler scooter or an aeroplane if properly used by an expert artiste.\u003c\/p\u003e \u003cp\u003e Ballet is the result of concerted action. The talents of all the participants-the dancers, musicians, lightman, even the curtain-puller-taken as a whole, go into it. But above all, there is the choreographer. His vision, farsight, merit, showmanship, and meticulous care in every aspect of the performance, speak of the success. In that matter a solo dancer's task is very easy. A good choreographer often fails because of participants of a lower caliber, inappropriate music and poor costume, besides bad lighting effects and inefficient stage-crew.\u003c\/p\u003e \u003cp\u003e Another very important characteristic feature of the indigenous ballets is that not only there is a marked unity in various art forms of our country, but also ballet, like other arts, can cross all frontiers and link nation with nation. And throughout history we have never been so painfully in need of a \"linking up\" as today. Let the art and artiste dance, and perform ballets, and the choreographers contribute their share to this much needed unity.\u003c\/p\u003e \u003cp\u003e \u003cb\u003eFrom the Jacket:\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e Out of the variegated styles of Indian dance, the author, a reputed balletomane of the country, who is well known and popular among the choreographers and coryphées, has selected this particular type, viz, the Indian ballet which besides the two other forms, classical and folk-dances, is itself a separate form with its individualistic character and technique.\u003c\/p\u003e \u003cp\u003e The Indian ballet dance form, which occupies a secure place in India's traditional and rich cultural heritage, had been neglected for long and no attempt has been made so far by anyone to write a book on the subject. So the author, as a staunch devotee of Indian dance, thought it to be his bounden duty to show the path to the other writers of fine arts to follow, and by their research work add much more for the benefit of the ballet dancers and art lovers.\u003c\/p\u003e \u003cp\u003e The book covers a wide range, traversing over ancient, medieval and indigenous ballets, comes down to the contemporary forms. Almost all the facets, connected with ballet dancing, such as light, ballet-music, choreography etc., have not only been touched and dealt with, but have been adored and embellished.\u003c\/p\u003e \u003cp\u003e It is a fascinating work, first of its kind, and very interesting and pulsating, which the reader will try to gulp in one sitting.\u003c\/p\u003e \u003cp\u003e \u003cb\u003eAbout the Author:\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e Born in 1914 at Allahabad, graduated in 1933, M.A. (English) in 1935, LL.B. in 1937, from Allahabad University. Joined the Allahabad High Court Bar as an Advocate in 1938. Took to journalism in 1939 in the \u003ci\u003eStatesman\u003c\/i\u003e at Calcutta as cinema reviewer, then successively joined the \u003ci\u003eLeader\u003c\/i\u003e (now defunct) of Allahabad in January, 1940 in the editorial staff as a sub-editor and dance, music, drama and painting critic; the \u003ci\u003eAmrita Bazar Patrika,\u003c\/i\u003e Allahabad, which later on became the \u003ci\u003eNorthern India Patrika,\u003c\/i\u003e in September 1943; the Sangeet Natak Akademi, New Delhi, in July 1959 as editor-in-chief of cultural publications of the Cultural Ministry, Government of India; once again the \u003ci\u003eNorthern India Patrika\u003c\/i\u003e in July 1961 in the editorial staff of the same paper in many capacities.\u003c\/p\u003e \u003cp\u003e Is author of famous books on dancing and music, viz, \u003ci\u003eDance of India\u003c\/i\u003e (English and translated in French), \u003ci\u003eFolk Dance of India\u003c\/i\u003e (English and translated in French), \u003ci\u003eShikshaprada Lok Nritya\u003c\/i\u003e (Hindi) in 2 Vols, \u003ci\u003eSangeet Vithika\u003c\/i\u003e (Hindi), and by now is the author of about 3000, articles, published in English, Bengali, Hindi, \u003ca href=\"\/pt\/book\/LanguageandLiterature\/urdu\"\u003eUrdu\u003c\/a\u003e and many other regional and foreign languages.\u003c\/p\u003e \u003cp\u003e Was a teacher of India dancing (theory) at Uday Shankar Culture Centre, Almora, and was the principal of the B.T. College of Music and Dancing, run by the Prayag Sangeet Samity. Is a scenario writer of films, film stories and has written many scripts for \u003ci\u003eHeart of India,\u003c\/i\u003e a Madhya Pradesh Government documentary. Acted as impresario of many internationally famed artistes such as Uday Shankar, Ram Gopal, Indrani Rehman, Damayanti Joshi, P.C. Sorcar (magician), etc.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eCONTENTS\u003c\/b\u003e\n\u003c\/center\u003e \u003cp\u003e \u003c\/p\u003e \u003ctable border=\"0\" cellspacing=\"7\"\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd width=\"90%\"\u003e PROLOGUE\u003c\/td\u003e \u003ctd width=\"10%\"\u003e vii\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003ci\u003eList of Illustrations\u003c\/i\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/td\u003e \u003ctd valign=\"top\"\u003e xiii\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e I.\u003c\/td\u003e \u003ctd\u003e HISTORICAL BACKGROUND\u003c\/td\u003e \u003ctd\u003e 1-29\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 1. Introduction\u003c\/td\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 2. Meaning and Development in West\u003c\/td\u003e \u003ctd\u003e 7\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 3. In Ancient India \u003cp\u003e \u003c\/p\u003e \u003c\/td\u003e \u003ctd valign=\"top\"\u003e 16\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e II.\u003c\/td\u003e \u003ctd\u003e INDIGENOUS BALLETS\u003c\/td\u003e \u003ctd\u003e 31-109\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 4. South India\u003c\/td\u003e \u003ctd\u003e 33\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 5. Gujarat and Saurashtra\u003c\/td\u003e \u003ctd\u003e 51\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 6. Maharashtra\u003c\/td\u003e \u003ctd\u003e 56\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 7. Rajasthan\u003c\/td\u003e \u003ctd\u003e 59\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 8. Orissa\u003c\/td\u003e \u003ctd\u003e 64\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 9. Bihar\u003c\/td\u003e \u003ctd\u003e 69\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 10. Manipur\u003c\/td\u003e \u003ctd\u003e 74\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 11. Assam\u003c\/td\u003e \u003ctd\u003e 81\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 12. Arunachal\u003c\/td\u003e \u003ctd\u003e 89\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 13. Uttar Pradesh\u003c\/td\u003e \u003ctd\u003e 91\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 14. Kashmir\u003c\/td\u003e \u003ctd\u003e 102\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 15. Nepal\u003c\/td\u003e \u003ctd\u003e 104\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 16. South East Asia \u003cp\u003e \u003c\/p\u003e \u003c\/td\u003e \u003ctd valign=\"top\"\u003e 106\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e III.\u003c\/td\u003e \u003ctd\u003e MODERN BALLETS\u003c\/td\u003e \u003ctd\u003e 111-151\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 17. Rabindranath's Lyrical Ballets\u003c\/td\u003e \u003ctd\u003e 113\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 18. Uday Shankar - Father of Modern Ballet\u003c\/td\u003e \u003ctd\u003e 120\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 19. Contemporary Ballet \u003cp\u003e \u003c\/p\u003e \u003c\/td\u003e \u003ctd valign=\"top\"\u003e 135\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e IV\u003c\/td\u003e \u003ctd\u003e BALLET DEPARTMENTS\u003c\/td\u003e \u003ctd\u003e 153-169\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 20. Ballet Music\u003c\/td\u003e \u003ctd\u003e 155\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 21. Lighting\u003c\/td\u003e \u003ctd\u003e 166\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e 22. Choreography \u003cp\u003e \u003c\/p\u003e \u003c\/td\u003e \u003ctd valign=\"top\"\u003e 169\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e EPILOGUE\u003c\/td\u003e \u003ctd\u003e 171\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003ci\u003eBibliography\u003c\/i\u003e\n\u003c\/td\u003e \u003ctd\u003e 176\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003ci\u003eIndex\u003c\/i\u003e\n\u003c\/td\u003e \u003ctd\u003e 177\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003e\u003cu\u003e\u003cfont size=\"5\" color=\"RED\"\u003eSample Pages\u003c\/font\u003e\u003c\/u\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2015\/ide371b.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2015\/ide371c.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2015\/ide371d.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2015\/ide371e.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2015\/ide371f.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2015\/ide371g.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2015\/ide371h.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2015\/ide371i.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e\n\u003c\/div\u003e","brand":"Occultnthings","offers":[{"title":"Default Title","offer_id":44634098663725,"sku":"IDE371","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2094\/2117\/products\/indian_ballet_dancing_ide371.jpg?v=1677869742","url":"https:\/\/occultnthings.com\/pt\/products\/indian-ballet-dancing-ide371","provider":"Occult-N-Things","version":"1.0","type":"link"}