Professional The final animation, as a professional animation of the motion-capture dance data, provides the fluidity of motion perhaps closest to the movement of the performing human body. The avatar is gendered with strong female characteristics and is currently clothed in undergarments (though the dancer has expressed her intention to ask the animator to add clothing, similar to those on the temple sculptures). All culturally specific markers have been removed apart from the motion vocabulary itself. The face is still expressionless (and perhaps somewhat uncanny in its detachment), but the hand gestures are represented in even more intricate, fluid detail. The avatar’s single-tone gray color is perhaps helpful in decreasing the avatar’s almost-not-quite-human dissonance by heightening the distinction between a real human performer and a digital avatar representing a human body. This monochrome color scheme is particularly interesting in that despite its fluid movements, it appears as if it were a sculpture of metal or stone come to life—resonances that are especially interesting in light of this project’s goal to account for the voices and agency of the mahari dancers, silenced in history but preserved in stone on the temple sculptures. With this background and context, this avatar (and its previously discussed counterparts) could be framed as the next development in a tradition of remediation, with dance data/representation being passed from the body of the teacher to the student, through sculpture and written text, to the most recently available technologies, digital motion capture. These newest technologies, however, emphasize the dancer’s own agency to participate in her own self-representation through recording and animating her own performance, rather than being the producer of an ephemeral performance to be viewed, recorded, and captured by others.