The essay in this book endeavour to capture the multifaceted cultural and aesthetic legacy of Rukmini Devi preserved both in India and international scholars, including dance cirtics, dance administrators, dancers, dance teachers, bueraucrats, and alumni of the world-renowned lalakshetra arts institution that Rukmini Devi founded in 1936. The essaysalso discuss Rukmini Devi`s aesthetic vision in relation to history,to tradition, her creation of ensemble dance-drama productions, and contemporary dance in the United Kingdom.
Why is music from the past significant today and how has it been transformed to suit new values and agendas? This volume examines the globally recurrent cultural processes of revival, resurgence, restoration, and renewal. Interdisciplinary perspectives shed new light on authenticity, recontextualization, transmission, institutionalization, globalization, and post-revival legacies.
In this book, Tracy Pintchman has assembled ten leading scholars of Hinduism to explore the complex relationship between Hindu women's rituals and their lives beyond ritual. The book focuses particularly on the relationship of women's ritual practices to domesticity, exposing and exploring the nuances, complexities, and limits of this relationship. In many cultural and historical contexts, including contemporary India, women's everyday lives tend to revolve heavily around domestic and interpersonal concerns, especially care for children, the home, husbands, and other relatives. Hence, women's religiosity also tends to emphasize the domestic realm and the relationships most central to women. But women's religious concerns certainly extend beyond domesticity. Furthermore, even the domestic religious activities that Hindu women perform may not merely replicate or affirm traditionally formulated domestic ideals but may function strategically to reconfigure, reinterpret, criticize, or even reject such ideals. This volume takes a fresh look at issues of the relationship between Hindu women's ritual practices and normative domesticity. In so doing, it emphasizes female innovation and agency in constituting and transforming both ritual and the domestic realm and calls attention to the limitations of normative domesticity as a category relevant to many forms of Hindu women's religious practice.
This original, field-changing collection explores the plasticity and unfinishedness of human subjects and lifeworlds, advancing the conceptual terrain of an anthropology of becoming. People's becomings trouble and exceed ways of knowing and acting, producing new possibilities for research, methodology, and writing. The contributors creatively bridge ethnography and critical theory in a range of worlds on the edge, from war and its aftermath, economic transformation, racial inequality, and gun violence to religiosity, therapeutic markets, animal rights activism, and abrupt environmental change. Defying totalizing analytical schemes, these visionary essays articulate a human science of the uncertain and unknown and restore a sense of movement and possibility to ethics and political practice. Unfinished invites readers to consider the array of affects, ideas, forces, and objects that shape contemporary modes of existence and future horizons, opening new channels for critical thought and creative expression. Contributors. Lucas Bessire, João Biehl, Naisargi N. Dave, Elizabeth A. Davis, Michael M. J. Fischer, Angela Garcia, Peter Locke, Adriana Petryna, Bridget Purcell, Laurence Ralph, Lilia M. Schwarcz
Finalist for the 2018 Best Book in Hindu-Christian Studies presented by the Society for Hindu-Christian Studies At the turn of the twenty-first century, Selva J. Raj (1952–2008) was one of the most important scholars of popular Indian Christianity and South Asian religion in North America. Vernacular Catholicism, Vernacular Saints gathers together, for the first time in a single volume, a series of his groundbreaking studies on the distinctively "vernacular" Catholic traditions of Tamil Nadu in southeast India. This collection, which focuses on four rural shrines, highlights ritual variety and ritual transgression in Tamil Catholic practice and offers clues to the ritual exchange, religious hybridity, and dialogue occurring at the grassroots level between Tamil Catholics and their Hindu and Muslim neighbors. Raj also advances a new and alternative paradigm for interreligious dialogue that radically differs from models advocated by theologians, clergy, and other religious elite. In addition, essays by other leading scholars of Indian Christianity and South Asian religions—Michael Amaladoss, Purushottama Bilimoria, Corinne G. Dempsey, Eliza F. Kent, and Vasudha Narayanan—are included that amplify and creatively extend Raj's work.
"Since 1979 the international magazine Hinduism Today has been producing a treasury of educational features on all aspects of Sanatana Dharma. Guided by the founder, Satguru Sivaya Subramuniyaswami, the magazine's editors, who are initiated monks of Kauai's Hindu Monastery, collaborated with holy men and women and experts around the world in creating graphically rich guides to virtually every important aspect of Hinduism. The best of those works are assembled in "What Is Hinduism?" for Hindus and non-Hindus alike to discover the culture, beliefs, worship and mysticism that is India's greatest gift to humanity." --Back cover.
This volume presents a multidisciplinary perspective on dance scholarship and practice as they have evolved in India and its diaspora, outlining how dance histories have been written and re-written, how aesthetic and pedagogical conventions have changed and are changing, and how politico-economic shifts have shaped Indian dance and its negotiation with modernity.. Written by eminent and emergent scholars and practitioners of Indian dance, the articles make dance a foundational socio-cultural and aesthetic phenomena that reflects and impacts upon various cultural intercourses -- from art and architecture to popular culture, and social justice issues. They also highlight the interplay of various frameworks: global, national, and local/indigenous for studying these diverse performance contexts, using dance as a critical lens to analyse current debates on nationalism, transnationalism, gender and sexuality, and postcolonial politics. At the performace level, some articles question the accepted divisions of Indian dance (‘classical’, ‘folk’, and ‘popular’) and critique the dominant values associated with classical dance forms. Finally, the book brings together both experiential and objective dimensions of bodily knowledge through dance.
This book, with its focus on the dancing body, is the first of its kind within the larger context of dance in India. The Dancing Body is a body that exists, survives, inhabits and performs in multiple space and time, by moving, laboring, migrating and straddling across geographic, cultural and emotional borders, writing different cultural meanings at different moments of time. In India, discourses around the body in dance have long been trapped within hagiographic histories in and around dancers and their dance. During the last few decades, however, significant scholarly inroads were made into the domain of dance by shaking up the stereotypes, assertions and labels, shaped and moulded by patriarchy, class, caste and power. This book brings together emerging discourses around dance and the body that have become central in the Indian nation-state. Contemporary discourses around identity politics, moral policing, politics of exclusion, and neo-liberal dispossessions vis a vis sexual labour, means of survival, pleasure and agency of dancers have helped frame the focus around labour, leisure and livelihood concerning the everyday existence of the body in dance. This volume will be of great value to students, researchers and scholars in dance, gender studies, cultural studies, and performance studies, with a particular interest in Asian and South Asian Studies. The chapters in this book were originally published in a special issue of South Asian History and Culture. The chapters in this book were originally published in a special issue of South Asian History and Culture.
This book examines the role of Hindu-inspired faith movements (HIFMs) in contemporary India as actors in social transformation. It further situates these movements in the context of the global political economy where such movements cross national boundaries to locate believers among the Hindu diaspora and others. In contemporary neoliberal India, HIFMs have become important actors, and they realize themselves by making public assertions through service. The four pillars of the contemporary presence of such movements are: gurus, sociality, hegemony and social transformation. Gurus, who spearhead these movements, create a matrix of possible meanings in their public discourses which their followers pick up to create messages of personal and social change. Sociality is a core strategy of proliferation across such movements and implies social service, which is qualified by memories of the guru and what they are believed to embody. Hegemony is reflected in the fact that social service in such movements often ominously imbibes right-wing or far-right Hinduism. They propose a model of Hindu-inspired social transformation, involving faith building into and transforming the civil society. The book discusses in a nuanced way several Hindu-inspired faith movements of various hues which have made national and international impact. This topical book is of interest to students and researchers in the fields of sociology, anthropology, social work, and social psychology, with a special interest in the study of religious movements.
Indian Classical Dance and the Making of Postcolonial National Identities explores what happens when a national-cultural production is reproduced outside the immediate social, political and cultural context of its origin. Whereas most previous studies have analysed Indian classical dance in the context of Indian history and culture, this volume situates this dance practice in the longstanding trasnational linkages between India and the UK. What is the relation between the contemporary performance of Indian classical dance and the constitution of national, diasporic and multicultural identity? Where and how does Indian dance derive its productive power in the postcolonial moment? How do diasporic and nationalist representations of Indian culture intersect with depictions of British culture and politics? It is argued that classical Indian dance has become a key aspect of not only postcolonial South Asian diasporic identities, but also of British multicultural and transnational identity. Based on an extensive ethnographic study of performances of Indian classical dance in the UK, this book will be of interest to scholars of anthropology, sociology, South Asian studies, Postcolonial, Transnational and Cultural studies, and Theatre and Performance studies.
