This volume featrues over 250,000 words and more than 125 photographs identifying and defining theatre in more than 30 countries from India to Uzbekistan, from Thailand to New Zealand and featuring extensive documentation on contemporary Chinese, Japanese, Indian and Australian theatre.
The History Of Sri Lanka From The Earliest Times To The Present Sri Lanka Is An Ancient Civilization, Shaped And Thrust Into The Modern Globalizing World By Its Colonial Experience. With Its Own Unique Problems, Many Of Them Historical Legacies, It Is A Nation Trying To Maintain A Democratic, Pluralistic State Structure While Struggling To Come To Terms With Separatist Aspirations. This Is A Complex Story, And There Is Perhaps No Better Person To Present It In Reasoned, Scholarly Terms Than K.M. De Silva, Sri Lanka S Most Distinguished And Prolific Historian. A History Of Sri Lanka, First Published In 1981, Has Established Itself As The Standard Work On The Subject. This Fully Revised Edition, In Light Of The Most Recent Research, Brings The Story Right Up To The Early Years Of The Twenty-First Century. The Book Provides Comprehensive Coverage Of All Aspects Of Sri Lanka S Development From A Classical Buddhist Society And Irrigation Economy, To Its Emergence As A Tropical Colony Producing Some Of The World S Most Important Cash Crops, Such As Cinnamon, Tea, Rubber And Coconut, And Finally As An Asian Democracy. It Is A Study Of The Political Vicissitudes Of Sri Lanka S Ancient Civilization And The Successive Phases Of Portuguese, Dutch And British Colonial Rule. The Unfortunate Consequences Of Becoming A Centre Of Ethnic Tension And Sri Lanka S Long-Standing Relationship With India Are Also Discussed. Exhaustively Researched And Analytical, This Book Is An Invaluable Reference Source For Students Of Ancient, Colonial And Post-Colonial Societies, Ethnic Conflict And Democratic Transitions, As Well As For All Those Who Simply Want To Get A Feel Of The Rich And Varied Texture Of Sri Lanka S Long History.
This book explores the development of Sinhala stylistic drama from its earliest manifestations to the post-independence era. Bulathsinghala examines the impact of indigenous and imported folk theatrical forms on the work of the most significant postcolonial stylistic dramatists and on key plays that they produced. In the process, the book explores a number of myths and misunderstandings regarding Sri Lanka’s folk heritage and seeks to establish more reliable information on the principal indigenous Sri Lankan folk dramatic forms and their characteristics. At the same time, by drawing connections between folk drama and the post-independence stylistic theatrical movement, the author demonstrates the essential role of the former in Sinhala culture prior to the advent of Western and other influences and shows how both continue to inflect Sri Lankan drama today. This book will help to open the field of South Asian drama studies to an audience consisting not only of scholars and students but also of general readers who are interested in the fields of drama and theatre and Asian studies.
With 600 signed, alphabetically organized articles covering the entirety of folklore in South Asia, this new resource includes countries and regions, ethnic groups, religious concepts and practices, artistic genres, holidays and traditions, and many other concepts. A preface introduces the material, while a comprehensive index, cross-references, and black and white illustrations round out the work. The focus on south Asia includes Afghanistan, Bangladesh, India, Pakistan, and Sri Lanka, with short survey articles on Tibet, Bhutan, Sikkim, and various diaspora communities. This unique reference will be invaluable for collections serving students, scholars, and the general public.
Pattini-goddess, virgin, wife and mother; folk deity of Sinhala Buddhists and Jains; and assimilated goddess of the Hindu pantheon-has been worshiped in Sri Lanks and South India for fifteen hundred years or more, as she still is today. This long-awaited book is the culmination of Gananath Obeyesekere's comprehensive study of the Pattini cult and its historical, sociological, and psychoanalytical role in the culture of South Asia. A well-known anthropologist and a native of Sri Lanka, Obeyesekere displays his impeccable scholarship and a stunning range of theoretical perspectives in this work, the most detailed analysis of a single religious complex in South Asian ethnography (and possibly in all of anthropology). Since 1955 Obeyesekere has observed and participated in modern performances of the rituals of worship, healing, and propitiation in the Pattini cult, particularly the postharvest ritual known as the gammaduva. He presents detailed texts of the gammaduva, placing them in their historical and mythic traditions. Using the texts, he formulates a cultural analysis of the Buddhist pantheon and a critique of empiricist notions of South Asian historiography. Obeyesekere shows that some seemingly historical figures of South India and Sri Lanka are mythic characters and that their historical significance can best be understood by an anthropological analysis of myth rather than through a reification of myth in history. The concurrent Hindu worship of Pattini with its myths and rituals is described in detail. Obeyesekere documents the Sanskritization of Pattini, the changing physical structures of the goddess's shrines from the 1930s to the present, the assumption by Brahman priests of ritual functions formerly carried out by folk priest, and the sociocultural causes of these changes. He traces, too, the origins and diffusion of the cult throughout its entire history, as well as its survival today. Of psychological interest is the problematic status of Pattini as virgin, wife, and mother and her relationship with her god-husband Palanga and his courtesan Madevi. Obeyesekere discusses the psychodynamics of this relationship in detail and explains its role in Hindu-Buddhist socialization and family structure. Further, he uses this analysis to account for local variations in the performance and structure of the ritual. The ritual of the killing and resurrection of Pattini's husband and her role as mater dolorosa will interest scholars of comparative religion.
This book traces the emergence of modernism in art in South Asia by exploring the work of the iconic artist George Keyt. Closely interwoven with his life, Keyt’s art reflects the struggle and triumph of an artist with very little support or infrastructure. He painted as he lived: full of colour, turmoil and intensity. In this compelling account, the author examines the eventful course of Keyt’s journey, bringing to light unknown and startling facts: the personal ferment that Keyt went through because of his tumultuous relationships with women; his close involvement with social events in India and Sri Lanka on the threshold of Independence; and his somewhat angular engagement with artists of the ’43 Group. A collector’s delight, including colour plates and black and white photographs, reminiscences and intimate correspondences, this book reveals the portrait of an artist among the most charismatic figures of our time. This book will be of interest to scholars and researchers of art and art history, modern South Asian studies, sociology, cultural studies as well as art aficionados.
Social, political, economic and constitutional developments are considered as well as the evolution of science and arts in the development process. This is in accordance with the Sri Lankan tradition of seeing the world as a connected whole."--BOOK JACKET.
This book explores whether global music copyright law and the performers’ rights regime (PRR) have been able to improve the economic position of artists, as they were originally intended to. The author investigates whether this regime effectively addresses contemporary issues regarding royalty payments and cover songs in Sri Lankan music, drawing on the empirical findings of a case study she conducted on the Sinhala music industry. She finds that the PRR developed internationally and implemented in Sri Lanka is predicated on a particular view of the role of performers and their relationships with other actors in the music industry; although this view can be found in the USA, UK and India, it does not seem to reflect the established practices and relationships within Sri Lanka’s contemporary music industry. While providing a socio-historical and legal analysis of these differing industrial settings and investigating the manner in which they impact the PRR’s (in)ability to deliver improved economic security for Sinhala singers, the book also offers policymakers recommendations on how to supplement current national copyright law and the PRR in order to provide a secure economic position for music artists in Sri Lanka.
The Garland Encyclopedia of World Music is a ten-volume reference work, organized geographically by continent to represent the musics of the world in nine volumes. The tenth volume houses reference tools and descriptive information about the encyclopedia’s structure, criteria for inclusion and other information specific to the field of ethnomusicology. An award-winning reference, its contributions are from top researchers around the world who were active in fieldwork and from key institutions with programs in ethnomusicology. GEWM has become a familiar acronym, and it remains highly revered for its scholarship, uncontested in being the sole encompassing reference work with a broad survey of world music. More than 9,000 pages, with musical illustrations, photographs and drawings, it is accompanied by 300+ audio examples.
Formations of Ritual was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. Yaktovil is an elaborate healing ceremony employed by Sinhalas in Sri Lanka to dispel the effects of the eyesight of a pantheon of malevolent supernatural figures known as yakku. Anthropology, traditionally, has articulated this ceremony with the concept metaphor of "demonism." Yet, as David Scott demonstrates in this provocative book, this use of "demonism" reveals more about the discourse of anthropology than it does about the ritual itself. His investigation of yaktovil and yakku within the Sinhala cosmology is also an inquiry into the ways in which anthropology, by ignoring the discursive history of the rituals, religions, and relationships it seeks to describe, tends to reproduce ideological-often, specifically colonial-objects. To do this, Scott describes the discursive apparatus through which yakku are positioned in the moral universe of Sinhala, traces the appearance of yakku and yaktovil in Western discourse, evaluates the contribution of these figures and this ceremony in anthropology, and attempts to show how the larger anthropology of Buddhism, in which the anthropology of yaktovil is embedded, might be reconfigured. Finally, he offers a rereading of the ritual in terms of the historically selfconscious approach he proposes.The result points to a major rethinking of the historical nature not only of the objects, but also of the concepts through which they are constructed in anthropological discourse. David Scott teaches in the Department of Anthropology at the University of Chicago.