The Book Narrates The Story Of The Sad, Rather Step-Motherly Treatment Meted Out By Orthodox Musicians To Thumri-Especially Their Castigation Of Thumri As A Dance Form. Such Apathy And Castigation Stem From A Colonial Milieu And The Education That Went With It. For All Practical Purposes Not Only Is The Thumri S Dance Portion Too Often Totally Ignored, But It Is Even Considered Superfluousl. The Author Impresseson The Reader The Close Link Between The Dance And The Music. Such At Least Was The Indissoluble Union Of Style In The Past. The Author Hopes That The Book Will Correct This Disturbed Relationship. As Such The Work Is Of Immense Artistic Importance.
I Can Never Say I Was Born To Dance, She Says With A Subtle Hint Of Pride. Yet For This Very Reason, Kumudini Lakhia Went On To Become One Of The Great Modern Innovators Of North Indian Classical Dance. Though She Studied Kathak Throughout Her Life, Her
As thumri moved from the courtesan salon to the Public concert hall, its style and image changed drametically in accordance with the evolving aesthetic of its new bourgeois patrons. Thumri in Historical and stylistic perspectives constitutes a welcome and significant contribution to the study of Hindustani music and south Asian culture in general.
The Idea of Dance is a culmination of Kathak Guru Pandit Shyamal Maharaj’s five-decade-long career as star performer and then beloved Guru to thousands of students. An alumnus of Visva-Bharati, Shantiniketan, and Kathak Kendra, New Delhi, Pandit Shyamal Maharaj has developed a unique style of Kathak, based on the Lucknow Gharana. This book exemplifies the Guru–Shishya parampara as the renowned Guru shares his in-depth knowledge of dance through it with students of Indian classical dance based in India and abroad. The Idea of Dance is based on the syllabus provided by Pracheen Kala Kendra, Chandigarh, and various universities and is meant for students from Prarambhik Part I to those in their Seventh Year of Indian classical dance as well as for all others who have a deep interest in Indian classical dance and wish to acquire knowledge about it.
About the Book A NUANCED AND POWERFUL MICROHISTORY SET AGAINST THE SWEEP OF INDIAN HISTORY. Dharmman Bibi rode into battle during the revolt of 1857 shoulder to shoulder with her patron lover Babu Kunwar Singh. Sadabahar entranced even snakes and spirits with her music, but eventually gave her voice to Baba Court Shaheed. Her foster mothers Bullan and Kallan fought their malevolent brother and an unjust colonial law all the way to the Privy Council—and lost everything. Their great-granddaughter Teema paid for the family’s ruination with her childhood and her body. Bindo, Asghari, Phoolmani, Pyaari … there are so many stories in this family. And you—one of the best-known tawaifs of your times—remember the stories of your foremothers and your own. This is a history, a multi-generational chronicle of one family of well-known tawaifs with roots in Banaras and Bhabua. Through their stories and self-histories, Saba Dewan explores the nuances that conventional narratives have erased, papered over or wilfully rewritten. In a not-so-distant past, tawaifs played a crucial role in the social and cultural life of northern India. They were skilled singers and dancers, and also companions and lovers to men from the local elite. It is from the art practice of tawaifs that kathak evolved and the purab ang thumri singing of Banaras was born. At a time when women were denied access to the letters, tawaifs had a grounding in literature and politics, and their kothas were centres of cultural refinement. Yet, as affluent and powerful as they were, tawaifs were marked by the stigma of being women in the public gaze, accessible to all. In the colonial and nationalist discourse of the nineteenth and twentieth centuries, this stigma deepened into criminalisation and the violent dismantling of a community. Tawaifnama is the story of that process of change, a nuanced and powerful microhistory set against the sweep of Indian history.
Indian classical music has long been fascinating to Western audiences, most prominently since the Beatles' sessions with Ravi Shankar in the 1960s. Du Perron examines Thumi Lyrics, a major genre of Hindustani music, from a primarily linguistic perspective.
A new look at Indian film dance, this book engages with the display and mobilization of the female dancing body to propose new models for theorizing film dance and music more generally. Author Usha Iyer offers a new understanding of how female dancer-actors impact narratives and the music composed for them.
Language is a Developmental, social and cultural phenomenon. When Urdu started its literary journey, writing also treasured it and today we are proud of the great collection of Urdu books. Urdu lovers have also done a remarkable job in writing books on various topics and in conveying the standard writings to the Urdu circles by giving them solid ink. This book although written in English, is one such masterpiece by Krishna S. Dhir. However, it clearly reflects the love of the writer for the Urdu language and its literature. The beginning of this book is an excellent illustration of how the various apabhransha of South Asia interacted with Perso-Arabic and European languages, to give rise to various languages, including Urdu and how they grew up through the time of the Mughals and the British. How all the major religions of the world originated in the Asian continent and the observation of Sufis are highlighted in the second chapter of this book. The role of social and economic institutions and traditions in the evolution of Urdu has been shed light upon. Krishna S. Dhir has painstakingly elaborated upon the protest literature and extensively quoted Mir, Ghalib, Daagh Dehlvi, Sahir Ludhianvi, Faiz Ahmad, Ahmad Fraz and other poets to prove how Urdu poetry has been used to protest against siege, raids, imprisonment, imperialism and colonisation, and to express love and peace. Finally, the writer explores how Urdu is deployed by the diaspora that uses it.
"Akashvani" (English) is a programme journal of ALL INDIA RADIO, it was formerly known as The Indian Listener. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes, who writes them, take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service, Bombay, started on 22 December, 1935 and was the successor to the Indian Radio Times in English, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it used to published by All India Radio, New Delhi. From 1950,it was turned into a weekly journal. Later, The Indian listener became "Akashvani" (English ) w.e.f. January 5, 1958. It was made fortnightly journal again w.e.f July 1,1983. NAME OF THE JOURNAL: AKASHVANI LANGUAGE OF THE JOURNAL: English DATE, MONTH & YEAR OF PUBLICATION: 15 SEPTEMBER, 1974 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 50 VOLUME NUMBER: Vol. XXXIX. No. 36 BROADCAST PROGRAMME SCHEDULE PUBLISHED (PAGE NOS): 12-48 ARTICLE: 1. Goa Shipyard 2. Wealth Tax 3. Embarrassing Moments of My Life 4. Books I Have Been Reading 5. To One’s Wife AUTHOR: 1. Commodore B. P. Paradkar,AVSM 2. S. D. Medadkar 3. Ram Sahay 4. Book Review By V. K. Subramanian 5. George Moses KEYWORDS : 1. Interim development plan, training scheme, better ships 2. Penalties, the wealth tax-act 3. P.M at flooded Faizabad, Chrysanthemums on birthday, Italian village 4. Problem of overweight, spicy anecdotes, 5.‘ Coconut to kerala, carbohydrate intolerance Prasar Bharati Archives has the copyright in all matters published in this “AKASHVANI” and other AIR journals. For reproduction previous permission is essential.
