Relevant bibliographies by topics / Artists, Bengali

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Artists, Bengali'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Artists, Bengali"

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MANJAPRA, KRIS. "FROM IMPERIAL TO INTERNATIONAL HORIZONS: A HERMENEUTIC STUDY OF BENGALI MODERNISM." Modern Intellectual History 8, no. 2 (July 28, 2011): 327–59. http://dx.doi.org/10.1017/s1479244311000217.

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This essay provides a close study of the international horizons ofKallol, a Bengali literary journal, published in post-World War I Calcutta. It uncovers a historical pattern of Bengali intellectual life that marked the period from the 1870s to the 1920s, whereby an imperial imagination was transformed into an international one, as a generation of intellectuals born between 1885 and 1905 reinvented the political category of “youth”. Hermeneutics, as a philosophically informed study of how meaning is created through conversation, and grounded in this essay in the thought of Hans Georg Gadamer, helps to reveal this pattern. While translocal vistas of intellectual life were always present in Bengali thought, the contours of those horizons changed drastically in the period under study. Bengali intellectual life, framed within a center–periphery imperial axis in the 1870s, was resolutely reframed within a multipolar international constellation by the 1920s. This change was reflected by the new conversations in which young Bengalis became entangled in the years after the war. At a linguistic level, the shift was registered by the increasing use of terms such asbideś(the foreign) andāntarjātik(international), as opposed tobilāt(England, or the West), to name the world abroad. The world outside empire increasingly became a resource and theme for artists and writers. Major changes in global geopolitical alignments and in the colonial politics of British India, and the relations between generations within Bengali bhadralok society, provide contexts for the rise of this international youth imagination.
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Crovetto, Helen. "Embodied Knowledge and Divinity: The Hohm Community as Western-style Bāāuls." Nova Religio 10, no. 1 (August 1, 2006): 69–95. http://dx.doi.org/10.1525/nr.2006.10.1.69.

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ABSTRACT: Hohm Sahaj Mandir (Hohm Innate Divinity Temple) is a new religious movement that has achieved international status under the name "Western Bauls." The Western Bauls have a number of similarities to the Bauls of Bengal, wandering minstrels with an ecstatic inclination whose lives are consumed by their search for the divine. Like many Tantric groups, the Western Bauls believe the body is a microcosm of the universe in which divinity is present. Their spiritual praxes are bodybased. In the advanced stages they include an esoteric yoga called kaya sadhana as well as other practices of aropa, the mystical conversion of matter to spirit practiced by the Bauls of Bengal. The close-knit members of the Hohm Community include a high percentage of talented artists, writers, performers, singers and musicians. They emphasize poetry and writing in addition to music, dance, and song, for which the Bengali Bauls are known.
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Datta, Anisha. "Through the eyes of an artist: consumption ethos and commercial art in Bengal." Journal of Historical Research in Marketing 10, no. 3 (August 20, 2018): 242–61. http://dx.doi.org/10.1108/jhrm-03-2018-0014.

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Purpose Through a critical reading of a twentieth-century Bengali artist’s autobiography, this paper aims to attempt to demonstrate how commercial art and the consumption ethos symbolized by that art represented an archetypal bhadralok insignia. A close examination of this insignia reveals how the dynamics of modern liberal values mediating through the colonial capitalist structure in relation to the regional particularities of Bengal opened up a new space of cosmopolitanism, where there is an attempt to reframe cultural practices in the light of a broader global history of interrogation, reason, change and emancipation. Design/methodology/approach This paper is a historical analysis of primary sources. Findings It was found that the bhadralok-led Bengal School of Art influenced commercial art of early postcolonial Bengal. Research limitations/implications The study is limited to the region of Bengal. Originality/value This paper makes contributions to one of the less-researched, but very important areas, of business history in India.
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Prasad, Sunil. "Livelihood Alternative among Patachitra artisan communities." BSSS Journal of Social Work 13, no. 1 (June 30, 2021): 7–23. http://dx.doi.org/10.51767/jsw1302.

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India is a rich country with various traditional practices like handicrafts which are ever glorious. Patachitra artisan community in West Bengal is famous globally for its quality paintings. The present study has examined the livelihood alternative among the Patachitra artisan communities in Bengal in India. Descriptive research design is used in this study, and data were collected using a structured interview schedule and participatory rural appraisal method. The study found that the artisans were entirely dependent upon handcraft and its allied activities for their livelihood. Their income, as well as saving, had been increased after getting an artisan card. The study also found that the artisans were not aware of the government`s various welfare schemes and facilities.
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Novillo-Corvalán, Patricia. "Global South Modernism: Tagore, Victoria Ocampo, and the Geopolitics of Horizontal Relations." Modernist Cultures 16, no. 2 (May 2021): 164–90. http://dx.doi.org/10.3366/mod.2021.0327.

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This article explores cultural dialogues between countries located in the (so-called) global South, focusing on India and Argentina through the nexus between the Bengali author, artist, and educationalist Rabindranath Tagore (1861–1941) and the Argentine writer, publisher, and feminist Victoria Ocampo (1890–1979). The article examines the dialectical tensions that arose out of their encounter in Buenos Aires in 1924 which, while forging productive cultural networks through the globalist paradigms proposed by Ocampo's modernist review SUR and Tagore's Bengal-inflected notion of visva-sahitya – as well as the latter's significant contribution to the Argentine cultural scene – it also brought to the fore the geopolitics of empire by foregrounding India's and Argentina's fraught colonial relations with imperial Britain. 1
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Zanatta, Maura, and Anjali Gera Roy. "Facing the Pandemic: A Perspective on Patachitra Artists of West Bengal." Arts 10, no. 3 (August 31, 2021): 61. http://dx.doi.org/10.3390/arts10030061.

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The COVID-19 pandemic has intensely impacted art production and the art market all around the world. This is dramatically visible inside the Patua or Patachitra communities in Medinipur, West Bengal, where Patachitras’ scrolls characterise the economy of folk-art communities in the so-called villages of painters. Patachitras’ singing pictures belong to an ancestral tradition of storytelling and performing art. For centuries, new themes have been embodied inside the Patuas’ repertoire, creating a living heritage that has always reflected the political, religious, cultural, and social main events and, ultimately, COVID-19. Resilience has always been an important component of this heritage, as social changes and new kinds of entertainment have changed the audience addressed and the performances’ function. In the last few decades, the role of travelling artists has resisted and been readapted to the global art market by approaching art fairs and festivals both inside and outside the villages. Now, the impact of COVID-19 on the economy of these artists has been severe, as art fairs and exhibitions have been cancelled, and lockdown orders have stopped tourism and travels, significantly reducing their income. Thus, new approaches and virtual spaces of exhibiting are being experimented with to support the survival of these artists and keep the performances’ essence alive. This article aims to address how the pandemic has affected Patuas’ art market and production both from an economic and social perspective. The difficulties encountered due to the restrictive measures and the impossibility of performing will be analysed through an empirical approach. Based on telephonic interviews conducted with 30 hereditary Patuas from Naya between April 2020 to April 2021 as part of the project “Folk Artists in the Time of Coronavirus”, the article hopes to shed light on the impact of the pandemic on hereditary, performing castes in India, which might mirror the experiences of similar groups in the rest of South Asia. The article will also try to outline the future perspectives for the art market of these folk artists. The article consists of two parts: the first traces the transformative journey of Patachitra and Patachitrakars, and the second focuses on the impact of the pandemic through deploying the concepts of precarity, precariousness, and resilience.
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Singh, Kanak Lata. "A Study on Cultural Sustainable Tourism in Context of Painted Scrolls." Academic Research Community publication 2, no. 2 (May 27, 2018): 7. http://dx.doi.org/10.21625/archive.v2i2.248.

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India is known for its reach in Art and Culture. Cultural tourism provides a major contribution to the development of the country from different aspects. Apart from supporting the Indian economy, cultural tourism also helps in preserving and developing unique art traditions which are slowly dying out due to negligence. patachitra, the painted scroll of Bengal is one of them. The patachitra tradition is an essential part of intangible heritage based on tour practices. Patuas, as they are known as a community, chiefly represent a group of artists wandering with their painted scrolls and narrating the stories from place to place to earn their livelihood. The patachitra is a platform where several mediums of communication are united such as visual messages, oral traditions and music during process of storytelling. These painted scrolls represent narration of Hindu mythologies as well as folklore. In this regard, considering business as one of the purposes of tour, this research about patua artists working for patachitra in West Bengal is an attempt to reveal the fact that artifacts, as a part of culture, and tourism are two sides of the same coin. The existence of one is essential for the survival of the other.
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Zubair, Hassan Bin, and Dr Saba Sadia. "Analyzing Indian Socio-Political Thoughts, Hunger and Freedom in Bhabhani Bhattacharya’s Novel “So Many Hungers”." IJOHMN (International Journal online of Humanities) 5, no. 4 (August 14, 2019): 57–70. http://dx.doi.org/10.24113/ijohmn.v5i4.106.

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This paper focuses on the Indian cultural background having the themes like hunger, poverty, famine, war, politics, freedom, imperialism, economic exploitation, class consciousness in the Indo-Anglian English fiction writer Bhabani Bhattacharya’s novel So Many Hungers!, related to the socio-political and economic situations of Bengali’s society. The theme of the novel is mainly the existing pressing problems of India especially the rural India before and after the Independence. Realism is one of the most remarkable features of Bhabani Bhattacharya’s fiction. His novel shows a passionate awareness of life in India, the social awakening and protest, the utter poverty of peasants, the Indian freedom struggle and its various dimensions, the tragedy of partition of the country, the social and political transitions, the mental as well as the physical agony of the poor peasants and labor class people of the Indian society, especially that of Bengal and other adjoining states. Bhattacharya believes that an artist should inevitably be concerned with truth and reality, his portrayal of the life and society is never a photographic one nor a journalistic record. One can very well find the reflection of Indian culture, tradition and struggle in it.
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Yadav, Vishal. "RELIGION IN THE COLOR SYSTEM UNDER BADRINATH ARYA." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3678.

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Indian modern art is considered to have started from the mid-19th century. When the English ruler decided to set up art colleges in Madras, Calcutta, Mumbai, Lahore and Lucknow to train Indian artists in European art. These art colleges hired English artists who painted using natural English method. During this time, Japanese artists Hidisa and Taikan came to Calcutta who trained the Wash system first in India to Avindranath Thakur and this is how the Wash system was born in India. When it comes to the Indian wash system, first comes the atmosphere of the Bengal School, by which trained artists were established in all the important art centers of the country and an atmosphere of wash painting was created all over the country. In such a situation, after the Bengal School, Lucknow has emerged as the second center for wash depictions. Here, another developed form of wash came out, where opaque or opaque colors were used in Bengal, whereas in Lucknow it was avoided. The technique of wash painting was originally introduced by Avindnath Thakur in Calcutta. Some of his subjects were appointed in Lucknow Arts and Crafts College, thus the technique was further developed in Lucknow and later all these artists worked in this medium and developed it in which Arpit Kumar Haldar, Abdul Rahman Chughtai, LM Sen and Badrinath Artists like Arya kept experimenting with watercolor in the wash method. भारतीय आधुनिक कला की प्रारंभ 19वीं सदी के मध्य से मानी जाती है। जब अंग्रेजी शासक ने यूरोपियन कला में भारतीय कलाकारों को प्रशिक्षित करने के लिए मद्रास, कलकत्ता, मुंबई, लाहौर व लखनऊ में कला महाविद्यालय स्थापति करने का निर्णय लिया। इन कला महाविद्यालयों ने स्वाभाविक अंग्रेजी पद्धति से चित्रण करने वाले अंग्रेजी कलाकारों की नियुक्ति हुई। इसी दौरान जापान के कलाकार हिदिसा और ताईकान कलकत्ता आए जिन्होंने वाॅश पद्धति का प्रषिक्षण भारत में सर्वप्रथम अविन्द्रनाथ ठाकुर को दिया और इसी प्रकार भारत में वाॅश पद्धति का जन्म हुआ। जब भारतीय वाॅश पद्धति की बात आती है तो सबसे पहले बंगाल स्कूल का एक ऐसा वातावरण समाने आता है जिससे प्रशिक्षित होकर कलाकार देश के सभी महत्वपूर्ण कला केन्द्रों में स्थापित हुए और वाॅश चित्रण का एक वातावरण पूरे देश में सृजित हुआ। ऐसे में बंगाल स्कूल के बाद लखनऊ वाॅश चित्रण के लिए दूसरे केन्द्र के रुप में उभरा। यहां पर वाॅश का दूसरा विकसित रुप सामने आए जहां बंगाल में अपारदर्शी या अल्पदर्शी रंगों का प्रयोग हुआ वहीं लखनऊ में इससे बचा गया। वाॅश चित्रकला की तकनीक प्रारंभ मूलतः अविन्दनाथ ठाकुर ने कलकत्ता में किया था। उनके कुछ विषय लखनऊ कला एवं शिल्प महाविद्यालय में नियुक्ति हुए इस प्रकार वह तकनीक लखनऊ में और विकसित हुई तथा बाद में इन सारे कलाकारों ने इस माध्यम में काम करते हुए इसका विकास किया जिसमें आर्पित कुमार हालदार, अब्दूल रहमान चुगताई, एल0 एम0 सेन व बद्रीनाथ आर्य जैसे कलाकारों ने जलरंग से वाॅश पद्धति में प्रयोग करते रहे।
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Bakel, M. A., A. Appadurai, C. Baks, Ákos Östör, W. E. A. Beek, B. Bernardi, H. W. Bodewitz, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 143, no. 1 (1987): 159–98. http://dx.doi.org/10.1163/22134379-90003345.

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- J. van Goor, Rechtzetting. - M.A. van Bakel, A. Appadurai, The social life of things. Commodities in cultural perspective, Cambridge: Cambridge University Press. 1986. XIV + 329 pp. - C. Baks, Ákos Östör, Culture and power; Legend, ritual, bazaar and rebellion in a Bengali society, New Dehli etc.: Sage Publications, 1984, 224 pp., including notes and glossary. - W.E.A. van Beek, B. Bernardi, Age class systems; Social institutions based on age, Cambridge University Press, 1985, 199 pp. - H.W. Bodewitz, J.-M Péterfalvi, Le Mahabharata. Livres I à V. Livres VI à XVIII. Extraits traduits du sanscrit par Jean-Michel Péterfalvi. Commentaires, résumé et glossaire par Madeleine Biardeau, Paris: Flammarion, 1985 and 1986. 381 + 382 pp., M. Biardeau (eds.) - Paul Doornbos, Raymond C. Kelly, The Nuer conquest - The structure and development of an expansionist system, Ann Arbor: The University of Michigan Press, 1985, 320 pp. - Henk Driessen, Paul Spencer, Society and the dance: The social anthropology of process and performance, Cambridge: Cambridge University Press, 1985, 224 pp. - D. Gerrets, Daniel Miller, Ideology, power and prehistory, Cambridge: University Press, 1984. 157 pp. numerous figs., Christopher Tilly (eds.) - Peter Kloos, Jacques Lizot, Les Yanomami Centraux, Editions de l’Ecole des Hautes Etudes en Sciences Sociales, Paris 1984, 267 pp. - Peter Kloos, Jacques Lizot, Tales of the Yanomami; Daily life in the Venezuelan forest, Cambridge Studies in Social Anthropology no. 55, Cambridge University Press, 1985, 196 pp. - Peter Kloos, H. Zevenbergen, Zwakzinnigen in verschillende culturen, Lisse: Swets & Zeitlinger, 1986, 109 pp. - Piet Konings, Freek Schiphorst, Macht en Onvermogen: Een studie van de relatie tussen staat en boeren op het Vea-irrigatie project Ghana, Universiteit van Amsterdam, CANSA publikatie nr. 20, 1983, 107 pp. - S. Kooijman, E. Schlesier, Eine ethnographische Sammlung aus Südost-Neuguinea. - H.M. Leyten, Bernhard Gardi, Zaïre masken figuren, Museum für Völkerkunde und Schweizerisches Museum für Volkskunde, Basel, 1986. - J. Miedema, Bruce M. Knauft, Good company and violence: Sorcery and social action in a lowland New Guinea Society, Berkeley, Los Angeles/London: University of California Press, 1985, X + 474 pp. - David S. Moyer, David H. Turner, Life before genesis, a conclusion: An understanding of the significance of Australian aboriginal culture, Toronto Studies in religion volume 1, Peter Lang, New York, 1983, vii + 181 pp. - B. van Norren, Peter Kloos, Onderzoekers onderzocht; Ethische dilemma’s in antropologisch veldwerk, DSWO Press, Leiden, 1984. - Jérôme Rousseau, Victor T. King, The Maloh of West Kalimantan. An ethnographic study of social inequality and social change among an Indonesian Borneo people, Dordrecht-Holland/Cinnaminson-U.S.A.: Foris Publications, Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde no. 108, 1985. viii + 252 pp., maps, diagrams, plates, glossary. - Jérôme Rousseau, Alain Testart, Le communisme primitif, I. Economie et idéologie, Paris: Editions de la Maison des Sciences de l’Homme, 1985, 549 pp. - Arie de Ruijter, David Pace, Claude Lévi-Strauss. The bearer of ashes, London: Routledge and Kegan Paul (Ark Paperbacks), 1986. - B.J. Terwiel, Roland Mischung, Religion und Wirklichkeitsvorstellungen in einem Karen-Dorf Nordwest-Thailands, Weisbaden: Franza Steiner Verlag, 1984. - B.J. Terwiel, Niels Mulder, Everyday life in Thailand; An interpretation, Second, Revised edition, Bangkok: Duang Kamol, 1985. 227 pages, paperback. - R.S. Wassing, Sidney M. Mead, Art and artists of Oceania, The Dunmore Press, Palmerston North, New Zealand, 1983. 308 pp., drawings, black and white illustrations., Bernie Kernot (eds.) - Harriet T. Zurndorfer, Maarten van der Wee, Aziatische Produktiewijze en Mughal India, Ph.D thesis, Katholieke Universiteit, Nijmegen, 1985. xv + 399 pp. - M.A. van Bakel, J. Terrell, Prehistory in the Pacific Islands. A study of variation in language, customs and human biology, Cambridge: Cambridge University Press. 1986, XVI + 299 pp.
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Dissertations / Theses on the topic "Artists, Bengali"

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Nercam, Nicolas. "Peindre au Bengale (1939-1977) : des peintres de la pré-indépendance à ceux de la première génération de la Société des Artistes contemporains : contribution à une lecture plurielle de la modernité." Bordeaux 3, 2002. http://www.theses.fr/2002BOR30020.

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Ce travail de recherche porte sur l'analyse des évolutions des arts plastiques (plus particulièrement de la peinture) et de la réflexion esthétique des artistes du Bengale entre 1939 et 1977. La période historique considérée couvre les événements du combat anticolonial, de la guerre, de l'avénement de l'indépendance et de la partition, ainsi que des troubles sociaux des années soixante. C'est à la lumière des faits marquants politiques, sociaux et culturels que traverse alors cette partie du sous-continent indien, que s'est effectué l'examen des productions artistiques. A la veille des années quarante, la scène artistique du Bengale recherche une alternative à la culture coloniale. Dans le domaine pictural, le naturalisme illusionniste européen incarne l'oppression de la culture britannique sur l'expression des valeurs esthétiques spécifiquement indiennes. La réaction à l'art colonial est de deux types : certains fondent leurs recherches plastiques dans la redécouverte du patrimoine national, auparavant ignoré ou dénigré, d'autres, par contre, ouvrent la sphère artistique nationale aux influences étrangères (européennes, asiatiques. . . ). L'indépendance acquise, le domaine artistique est libéré de l'obsession de l'affirmation d'une identité nationale. Progressivement une modernité progressiste voit le jour. Décomplexée par rapport à son héritage colonial, empruntant librement à la modernité occidentale, tout comme à l'art populaire bengali et revendiquant le contenu social et politique de leurs oeuvres cette première génération de créateurs de la post-indépendance lance les fondements d'une modernité indienne soucieuse de revendiquer à la fois sa spéficité et son appartenance au monde contemporain
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Banerji, Debashish. "Locating Abanindranath Tagore local, national and transnational concerns in a turn-of-the-century Indian artist /." Diss., Restricted to subscribing institutions, 2005. http://proquest.umi.com/pqdweb?did=1144180611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Guha-Thakurta, Tapati. "Art, artists and aesthetics in Bengal, c.1850-1920 : westernising trends and nationalist concerns in the making of a new 'Indian' art." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.352933.

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Basu, Ruma. "Changing fortunes of artisan production in Bengal and Bihar: 1872-1921." Thesis, 1986. http://hdl.handle.net/2009/6172.

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Books on the topic "Artists, Bengali"

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Śāhī, Kājī Śaokata. Yaśorera yaśasvī śilpī o sāhityika. Yaśora: Āphiẏā Āminuna Nāhāra, 1993.

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Bangladesh), Gallery Chitrak (Dhaka. Contemporary art exhibition: Eminent artists of Bangladesh. Dhaka: Gallery Chitrak, 2009.

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Ambica, Beri, and Gallery Sanskriti, eds. Call of the real: Contemporary Indian artists from Bengal. 2nd ed. Kolkata: Gallery Sanskriti, 2004.

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Chari, Anirudh. Enduring legacy: A show of contemporary artists from Bengal. Kolkata: Akar Prakar, 2011.

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Pathikr̥t̲ citraśilpī Kājī Ābula Kāsema. Ḍhākā: Baiśishṭya Prakāśanī, 1988.

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Bandyopādhyāẏa, Aruṇendu. Rathīndranātha Ṭhākura. Kalakātā: Paścimabaṅga Bāṃlā Ākādemi, 2005.

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Hore, Somnath. My concept of art. Calcutta: Seagull Books, 2009.

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Gupta, Ajita. Bhālabāsāra āḍḍā. Kalakātā: Ānanda, 2007.

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Bīrabhūmera Jhumura o anyānya. Śrīrāmapura, Hugali: Saptarshi Prakāśana, 2010.

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1888-1961, Ṭhākura Rathīndranātha, ed. Pitā-putrī. Kalakātā: Ānanda Pābaliśārsa, 1989.

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Book chapters on the topic "Artists, Bengali"

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Mazumdar, Madhumita. "Re-imagining Kumartuli—The Artisan and the City." In The Making of Goddess Durga in Bengal: Art, Heritage and the Public, 37–59. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0263-4_2.

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Smith, David, and Rajesh Kochhar. "Multimedia Archiving of Technological Change in a Traditional Creative Industry: A Case Study of the Dhokra Artisans of Bankura, West Bengal." In Cognition, Communication and Interaction, 501–16. London: Springer London, 2008. http://dx.doi.org/10.1007/978-1-84628-927-9_28.

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Ahmed, Omar. "Feminist Concerns." In Studying Indian Cinema, 87–106. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0006.

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This chapter surveys the career and legacy of Indian cinema's greatest film-maker, Satyajit Ray. If Raj Kapoor can be credited with popularising Indian cinema around the globe, then Satyajit Ray can certainly lay claim to bringing a measure of artistic credibility and sincerity to Indian cinema. Choosing a favourite Ray film was a tricky proposition given the consistency he maintained as a film-maker over four decades. He may have built his reputation on the Apu trilogy, winning major awards at film festivals, but his lifelong fascination with Bengali novelist Rabindranath Tagore provided the source material for some of his finest and most complex works. Charulata (The Lonely Wife, 1964) forms the focus for the chapter, which covers the Bengal renaissance, Satyajit Ray's status as an auteur, gender representations in the films of Ray, camera and narrative style, the relationships between the three central characters, political undercurrents, and the film's portrayal of married life in the Bengali middle class.
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Batabyal, Debasish, and Dillip Kumar Das. "Urban and Rural Ecotourism in and Around Bolpur." In Advances in Hospitality, Tourism, and the Services Industry, 99–116. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8494-0.ch005.

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Bolpur is a district town in Birbhum, West Bengal. This place is famous for Viswabharti in Shanti Niketan where a new school of thought was initiated by Rabindranath Tagore. Later on, the place became an epicenter for Bengali education and culture. Though the place has other noteworthy academic and cultural records, this place has immense scope for urban and rural ecotourism. With the blend of rural Bengal and its rich artistic and spiritual exuberance, Birbhum offers a lot. Now, as a mean of entrepreneurship and employment, ecotourism can provide the local people with new alternative scope and opportunities. This chapter is an attempt to revisit and reorganize destination Bolpur with a sustainable marketing orientation for ecotourism. Further attempt is also made to support industry leaders and tourism academicians interested to invest or study for business and commerce. Familiarization trip has been conducted along with a survey for the tourists to better understand their expectations and perceptions.
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Islam, Sk Makbul. "Shifting Identity of Performing Artists: The Patuas of Bengal." In Performers and their Arts, 44–58. Routledge India, 2020. http://dx.doi.org/10.4324/9780367817596-3.

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McDermott, Rachel Fell. "The Artistry of Durgā and Jagaddhātrī." In Revelry, Rivalry, and Longing for the Goddesses of Bengal, 103–29. Columbia University Press, 2011. http://dx.doi.org/10.7312/columbia/9780231129190.003.0004.

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"4. The Artistry of Durgā and Jagaddhātrī." In Revelry, Rivalry, and Longing for the Goddesses of Bengal. New York Chichester, West Sussex: Columbia University Press, 2011. http://dx.doi.org/10.7312/mcde12918-009.

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Guha, Sriparna, and Anirban Mandal. "Entrepreneurial Ability of Rural Women Artisans of West Bengal." In ROLE OF WOMEN IN NATION DEVELOPMENT, 21–28. Mantech Publications, 2021. http://dx.doi.org/10.47531/mantech.2021.20.

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Ayu Trisnawati, Ida. "The Light Penetrates Silence: Kolok Dance Study in Bengkala Village, Buleleng, Bali." In Creativity - A Force to Innovation [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94397.

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Art is an expression of the pure soul of humans that is not limited by physical. Therefore, everyone can express their art in various forms of art acts such as dancing, singing, painting, and others. This occurs to the Kolok (mute) community in Bengkala village where they express their artistic spirit by dancing. The Kolok community in this village dances Janger Kolok Dance, Baris Bebek Bingar Bengkala (Bebila) Dance or Baris Bebila Dance, and Jalak Anguci Starling Dance. This dance illustrates the joy and excitement of the mute people in Bengkala village who are able to surpass their limitations into an opportunity to fill themselves up. The creation of this dance is motivated by esthetic, economic and religious reasons. Structurally, all Kolok dances in Bengkala follow the same pattern of general dance but there are adjustments to the conditions of the dancers. This dance has the meaning of struggle, discipline, hard work, cooperation, entertainment based on excitement through the limitations of those who are deaf Kolok.
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Lally, Jagjeet. "Exchanges." In India and the Silk Roads, 47–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197581070.003.0003.

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By tracing the flow of goods from sites of production to sites of consumption, this chapter shows that long-distance trade was made up of numerous exchanges. Closely examining these exchanges, it demonstrates how caravan trade integrated the lives of even relatively remote peasants and pastoralists—not to mention bureaucrats, bankers and craftsmen—into larger economic and political structures. In the eighteenth century, the hub of caravan trade in north India shifted to Multan in western Punjab, its environs the site of trade-related production and home to the kinsmen of the pastoralists who plied the caravan routes, and its cities containing the workshops of artisans and the business houses of north-Indian magnates heavily involved in long-distance exchange. By comparing similar but very separate phenomena in Punjab and Bengal, this chapter reveals that globalisation was not a single process but a multiplicity, and one that could create disconnection just as much as greater connectivity.
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