The press occupies a pivotal place in the modern society. It has become not only a powerful medium of mass communication but also an influential political and social institution. It has been recognised by to all the civilised countries that the press plays a vital role in moulding the public opinion and also in expressing it. The press in India playeda crucial role in rousing the spirit of nationalism among the people of India and also in fulfilling the nationalist aspiration of liberating India from the foreign rule. R.C.Majumdar in his Struggle for Freedom in the Bharatiya Vidhya Bhavan series, remarks that "the press imbued the people with patriotic fervover, indomitable courage and heroic self-sacrifice to an extraordinary degree". A number of works have been published in India and abroad describing the freedom movement in India at the national, regional and district levels.
Gandhian phase of national movement offered to the people a number of constructive programmes and political movements. The success of these programmes and movements depended on politicization and mobilization of the masses. In communicating and propagating the political ideas of the nationalist leaders to the masses the nationalist intelligentsia of Andhra played an effective and remarkable role. They were influenced by the Gandhian ideology and political techniques and through their writings influenced the people to a great extent. They made the people to believe, to accept, to support, to involve and to participate in the national movement. They criticised the colonial rule and authorised the national movement. In the process they wrote dramas, songs, books, pamphlets, leaflets and articles in newspapers imbuing the people with patriotic fervour, indomitable courage and heroic-sacrifice to an extraordinary degree. The consequent efflorescence of nationalist literature contributed to the formation of people s national consciousness and their voluntary participation in the national movement to such an extent that the colonial Government began to sense a threat to its own existence and was forced to resort to proscription and suppression of ideas and oppression of the freedom of the press.
The Nation that has no consciousness of the past cannot give shape to a great and glorious future. Reclaiming our past and recapturing the Dharmic vision is important for the furtherance of our future, to help us emerge as a confident nation capable of playing its civilizational role.History was a tool used first by our colonial masters, then by their Nehruvian successors and the Left-Liberal cabal to colonize our minds and impede our rise from the abyss of a slavish mindset. Shri Nandakumar surveys the entire freedom movement from a historical perspective to bring out in absorbing detail the real motivation of our freedom fighters - to preserve and revitalize the Swa Consciousness our National Selfhood. The book provides us a new template to view our past
The period from the mid-1930s to the end of the 1950s in India saw the cultural expression of a wide range of political sentiments and positions around imperialism, fascism, nationalism, and social transformation. It was a period that covered a crucial transitional phase: from colonialism to a postcolonial context. This transitional period in India coincided with a vibrant radical ethos in many other parts of the world where, among numerous political issues, the aesthetics-politics relationship came to be articulated and debated in unprecedented ways. No history of this period can be written without giving an account of the departures, inventions, and reinventions made by the Indian People's Theatre Association (IPTA) in the fields of drama, music, and dance. Yet music, a very important part of the IPTA's creations as well as the connecting link between the various artistic forms, has not been studied as part of the history of the IPTA movement. This book attempts to fill this gap in knowledge about the vast musical repertoire of the IPTA. It is about the IPTA tradition's music in a national as well as specifically regional contexts (Bengali, Malayalam, Telugu, Assamese, and Hindu/Urdu in particular), situated within the overall cultural and political context of the transitional period in India, and in the context of a radical impulse emergent in many parts of the world from the beginning of the twentieth century. The book is the culmination of an archiving-cum-documentation project of music in the IPTA tradition undertaken by the author. It can also be read as a songbook, including lyrics and musical scores, revivifying the songs and music of a radical impulse in South Asia.
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