When globalization, dominant morality and caste clash, it is women who get trampled. Nowhere was this more evident than in the controversy that arose over so-called ‘dance bars’ in Mumbai in the new millennium. These were bars where men drank.
Anisha Shekhar MukherjiAtman: Odissi Nritya Puran is both a poetic history and a dance manual. The basis for the book is the Odiya text in verse composed by Guru Surendra Nath Jena. Encapsulated in this poetry is his knowledge of the Odissi dance form.
The book under review is not only a rich ethnographic account of hand paintings from the Cheriyal village in the northeastern part of Telangana, a State in southern India but also an almost complete account of the personal journey of Bose the ethnographer.
Ever since cinema emerged as a dominant source of entertainment in the last century, its influence on the public psyche remains unsurpassed. Over time and across space, it has changed forms and with technological innovations, its range and capacity have hugely expanded.
Any survey of Shakespeare requires an intricate triangulation of history, politics and culture. Shakespeare is so integrally related to Cinema that movies which adapt Shakespeare are used to showcase the multidimensional growth of cinema itself—from the minute-long.
The major ingredient of the aura of Bombay Cinema is nostalgia. Films themselves satiate nostalgias for things and ways of living now lost, or never acquired. Nostalgia for rurality, small town sensibilities, the historical past, myths and fables are all important.
Today we stand at a juncture in our evolution as a state and society wherein as inheritors of a complex, yet particular cultural relationship with our past, the way we define the ‘idea’ of ‘ancient India’ is of utmost importance. Though written in two different temporal contexts, the title of Upinder Singh’s collection of essays The Idea of Ancient India resonates with a similar title The Idea of India by Sunil Khilnani.