Relevant bibliographies by topics / Marathi Songs

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Marathi Songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Marathi Songs"

1

Festino, Cielo. "Grinding Songs from Goa." Aletria: Revista de Estudos de Literatura 31, no. 1 (March 31, 2021): 225–46. http://dx.doi.org/10.35699/2317-2096.2021.25541.

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The aim of this paper is to bring an analysis of oviyos, folkloric songs that Indian women from the Hindu community of Goa, former Portuguese colony in India used to sing while working at the grinding stone. These songs, a sample of Goan folklore, were collected by Heta Pandit in the book Grinding Stories. Songs from Goa (2018), based on her field work with singers Subhadra Arjun Gaus, Saraswati, Dutta Sawant and Sarojini Bhiva Gaonkar. The songs, sung in a dialect of Marathi-Konkani, were transcribed into English. These elaborate songs are of psychological and social significance as they provide a release from a sometimes harsh reality, at the same time they are an invaluable cultural document. They have been analyzed from the perspective of Goan folklore as discussed by Phaldesai (2011), the meaning of folkloric narratives (Dundes, 2007) and a reflection on the genre oviyos (Jassal, 2012).
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Dr Ravindra D. Hajare. "Exploring New Aesthetics of Tribal Poetry with Reference to Korku, Pawari and Banjara Dialects." Creative Saplings 1, no. 8 (November 25, 2022): 22–43. http://dx.doi.org/10.56062/gtrs.2022.1.8.171.

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Gond, Korku, Bhill, Pardhan, Madia, Pawar, Santhali are some tribal communities settled in the hills and forest of India. Many of them are found spread in Maharshtra. The area called Gondwan has the largest number of Gond and Pardhan communities, and once they had their territory there. Similarly, the Korku tribe is settled in the Melghat area of Vidarbha and Pawari in the western region of the Sahyadri. During the course of time, they lost their script, but they were able to preserve their dialects and culture, which is rich and erotic. They sing several folk songs at the festivities and cultural gatherings. Now, due to the spread of education and facilities, many talented poets and writers from the communities have come forward and produced a lot of literature, particularly poetry. They used Marathi script for their poetic expressions. The poets like Ramgopal Bhilavekar in Korku dialect, Santosh Pawara in Pawari dialect and Dr. Veera Rathod in Banjara dialect are some of the important names whose poems in their respective dialects have been taken for the study. This research article is an attempt to bring fore the tribal consciousness expressed by them and a serious and novel attempt to explore their aesthetics with some examples by translating them into English. Hopefully, it will provide an international platform for these tribal senses and sensibilities and bring before the developed world community the richness of rebellious thoughts and a beautiful cadence of content essential in their short but simple compositions.
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3

packel, dan. "Snacking with the Sons of the Soil." Gastronomica 11, no. 1 (2011): 67–70. http://dx.doi.org/10.1525/gfc.2011.11.1.67.

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In April 2010, the Maharashtrian Navnirman Sena (MNS), a right-wing political party, staged a Maharashtrian Food Festival in Mumbai to mark the fiftieth anniversary of the founding of the Indian state of Maharashtra. Led by Raj Thackeray, the firebrand nephew of Bal Thackeray—the leader of the rival Shiv Sena (Maharashtra’s original Marathi-chauvinist party)—the MNS generally attracts media attention for antimigrant rhetoric and violence. The Food Festival, held over a four-night period at an athletic complex in suburban Mumbai, provided an opportunity for the party to show a softer face. Vendors provided visitors samples of Maharashtra’s often-neglected culinary traditions, while women competed for the title of “best cook in Mumbai.” While the party’s explicit Marathi-first sentiments place a natural limit on their political appeal, the festival seemed carefully engineered to raise their electoral fortunes among the Marathi middle classes. Comfortable enough to be less concerned about losing jobs and privileges, this segment of the electorate might be motivated by memories of a delicious (and identity-affirming) dish enjoyed at the festival.
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4

Metkari, Hanamant, Kaniphnath Malhari Kudale, and M. Raja Vishwanathan. "Exploring the Complexity of Mauli: An Analysis of Solidarity, Speech Community, Religion, and Gender in Marathi Address Term Usage." Rupkatha Journal on Interdisciplinary Studies in Humanities 16, no. 2 (June 18, 2024). http://dx.doi.org/10.21659/rupkatha.v16n2.18g.

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This paper delves into the intricate semantic nuances and sociopragmatic functions inherent in the Marathi address term “mauli” in the context of a colossal religious gathering. Through morphosyntactic analysis, it uncovers the term’s grammatical gender and its generic usage to encompass feminine and motherly attributes, embracing inclusiveness and generosity. Drawing from primary data collected during the Asadhi pilgrimage of 2023 through semi-structured interviews and participant observations, supplemented by secondary sources such as albums and songs, the study quantitatively and qualitatively examines the frequency and contextual use of “mauli”. Findings reveal its multifaceted sociopragmatic functions, including identity establishment, solidarity marking, politeness expression, and religiosity demonstration. However, its efficacy is constrained by temporal and spatial limitations, potentially hindering broader societal benefits. This exploration sheds light on the complex interplay between linguistic expressions, social dynamics, and religious practices within the Marathi cultural milieu.
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Glushkova, Irina. "Janabai and Gangakhed of Das Ganu: Towards ethnic unity and religious cohesion in a time of transition." Indian Economic & Social History Review, September 8, 2021, 001946462110411. http://dx.doi.org/10.1177/00194646211041156.

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The Varkari tradition of the Marathi-language area of Western India is characterised by devotion to the god Vitthal of Pandharpur as well as the medieval saint-poets who praised him in songs and longed for his company. Modern narratives present Janabai, a poetess who lived presumably during the thirteenth to fourteenth centuries, as one of the Varkari saint-poets. Her rise to fame started in the last decade of the nineteenth century, and by the 1920s, although of obscure origin, she had been geographically pinned to Gangakhed on the Godavari River. The association with this tiny settlement in Marathwada was established by the famous Das Ganu, an itinerant minstrel and preacher. Janabai’s own celebrity reached its peak by the 1960s, when a sign of sanctity in the form of symbolic sandals was installed at the site which went on to become her temple in Gangakhed. In 1975 a new procession, that of Saint Janabai, was added to the list of more than 100 processions travelling at the same time each year to Pandharpur. This article looks into the process of nationalist ‘awakening’ and the manner in which fostering bonds of ethnic unity and religious cohesion have been essential for shaping shared identity. The Varkari tradition and its poets, including Janabai, became the main tools for the creation of a Marathi-language cultural environment and for the domestication of the terrain by and through the power of comprehensible Hindu symbols.
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Patil, Smita M. "Listening to the Call for Social Justice: On Ambedkarite Women’s Songs and Poetic Expressions from Maharashtra, India." Revista Científica Arbitrada de la Fundación MenteClara 8 (July 10, 2023). http://dx.doi.org/10.32351/rca.v8.336.

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Este artículo intenta comprometerse con el activismo artístico de las feministas ambedkaritas de Maharashtra. Intenta analizar algunos de los modos de su compromiso artístico dentro de las otras formas de activismo de los dalits en Maharashtra en particular y la India en general. Basándose en fuentes marathi, uno de los intereses centrales del artículo es profundizar en los mundos sociopolíticos de las mujeres activistas que propagan los principios fundamentales de libertad, igualdad y fraternidad de Ambedkar. Al mismo tiempo, se analizarán las formas en que las mujeres dalit reflexionan sobre las cuestiones de casta, género y patriarcado en el contexto del campo de la (re)producción artística de la cultura como contracultura a la cultura dominante de la India. Las prácticas culturales de Maharashtra se analizarán como una desviación de las lecturas del folclore convencional para diferenciar sus disposiciones estructuradas, matices corporales, etc. Distintas formas de arte y compromisos poéticos entre las secciones marginadas también serán objeto de una lectura atenta, especialmente los géneros de Ovi, Powadas, Jalasa, Buddhageet y Bheemgeet. Se convirtió así en las armas de los dalits para desatar su diatriba política contra la cultura brahmánica. Por lo tanto, crea espacios para investigaciones ontológicas y epistémicas dentro de la rúbrica de la cultura dalit. Así, las fuentes y narrativas primarias y secundarias se desplegarán mientras se investiga el activismo artístico de las mujeres ambedkaritas en el contexto de las canciones y las expresiones poéticas. Este artículo intenta explorar el activismo artístico de las feministas ambedkaritas de Maharashtra.
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Dissertations / Theses on the topic "Marathi Songs"

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La, Trobe Jyoshna. "Red earth song : Marai Kirtan of Rarh : devotional singing and the performance of ecstasy in the Purulia District of Bengal, India." Thesis, SOAS, University of London, 2010. http://eprints.soas.ac.uk/29278/.

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Kirtan is devotional hymn singing, music and dance in praise of a deity usually performed by a group of devotees, as well as a literary tradition. Marai kirtan is a style of kirtan found in the rural area of West Bengal known as Rarh, particularly in the Purulia District (Manbhum) where the tradition exists in its most potent form of expression. It is performed inside the local temples by a variety of village based kirtan groups that are both egalitarian and competitive in nature. In Purulia, the term marai meaning "circular", but the inner meaning is "to grind", for "if you grind Hari nam, the name of god, like sugar cane in your heart, then it will also melt for god" (JM, 2006: Pers.comm.). Marai kirtan is considered the best way of worshipping god, of creating musical intensity and arousing devotion for god. It also has various utilitarian purposes such as the bringing of rain and auspiciousness to the village as well as a means of social protest. My research reveals that marai kirtan has a very distinctive performance structure consisting of various musical sections that generate musical/devotional intensity to reach a climax (katan matan). Elaborate melodic lines and complex rhythmic compositions are interwoven with improvisations and dance choreographies that produce ecstatic heights for prolonged periods with the use of only two words, Hari Bolo, highlighting the inherent creative musical dynamism within the marai kirtan performance. My methodology consists of ethnographic investigation built upon observation and interviews in the field, incorporating Rarhi terms and meanings, combined with an analysis of performances through a study of audio/visual recordings made on location. Due to the paucity of documentation on marai kirtan and lack of relevant literary material, my investigation concentrates on the collection of data at its source and a phenomenological perspective of the tradition. I have examined six different kirtan groups: the Brahmans, Mahatos, Rajwar, Karandhi villagers and the Vaisnavas with particular focus on the Mahato group from Kostuka village, whose lives have been transformed by marai kirtan.
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Books on the topic "Marathi Songs"

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Govinda. Svātantryakavi Govinda yāñcī kavitā. Mumbaī: Anubhava Pablikeśanas, 1993.

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Govinda. Svātantryakavi Govinda yāñcī kavitā. Mumbaī: Anubhava Pablikeśanas, 1993.

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Sāvaḷārāma, Pī. Gaṅgā Jamunā: Pī. Sāvaḷārāma gītasaṅgraha. Mumbaī: Manoramā Prakāśana, 1991.

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Mahāmbare, Gaṅgādhara. Marāṭhī yugalagīte. Puṇe: Padmagandhā Prakāśana, 2005.

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Phaḍake, Sudhīra. Noṭeśanasaha, Sudhīra Phaḍake yāñcī sumadhura gāṇī. Puṇe: Nitīna Prakāśana, 2003.

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Rāmajośī. Rāmajośīkr̥ta Lāvaṇyā: Prastāvanā, ṭīpā yāsaha sampādita. 5th ed. Puṇe: Padmagandhā Prakāśana, 1998.

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7

1939-, Gāre Govinda, and Joga Sudhīra, eds. Ādivāsī lokagīte. Puṇe: Ādivāsī Sãśodhana va Praśikshaṇa Sãsthā, Mahārāshṭra Rājya, 1986.

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Jagatāpa, Vijaya Rāmacandra. Yallamādevīcī gāṇī: Śodha āṇi pralekhana prakalpa. Nāgapūra: Dakshiṇa Madhya Kshetra Sãskr̥tika Kendra, Sãskr̥ti Mantrālaya, Bhārata Sarakāra, 2014.

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9

Parāñjape, Tārābāī. Sīmā pradeśātīla bhāvagaṅgā. Haidarābāda: Marāṭhī Sāhitya Parishada, Āndhra Pradeśa, 1985.

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Vyavahāre, Śarada. Marāṭhī strī-gīte. Puṇe: Pratimā Prakāśana, 1991.

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Book chapters on the topic "Marathi Songs"

1

Mason, Sheena Michele. "Toni Morrison’s Marathon Run Home to Racelessness in Song of Solomon, “Recitatif,” and Paradise." In African American Philosophy and the African Diaspora, 111–58. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99944-5_4.

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Zelliot, Eleanor. "Women Saints in Medieval Maharashtra." In Faces of the Feminine in Ancient, Medieval, and Modern India, 192–200. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195122299.003.0013.

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Abstract The Bhakti movement, the spread of devotional religion in medieval India, seems to have been the most inclusive and open of all facets of Hinduism. Saint-poets of all classes and castes, women as well as men, were recorded in the song literature in Tamil, Kannada, Marathi, and Hindi especially; in Maharashtra, an extraordinary number of women sang their devotional songs in Marathi. Their householder and family situations were also extraordinary. Most women saint-poets in other areas left husbands or never married and found that their devotion could flower only if they had no household responsibilities. In contrast, the women saint singers of Maharashtra, with one exception, found ways to be close to the god of the Marathi Bhakti movement, Vighal or Vithoba, while remaining close to brothers, husbands, and sons.
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Chitnis, Suma. "Exploring Tradition and Change among Women in Marathi Culture." In Faces of the Feminine in Ancient, Medieval, and Modern India, 251–69. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195122299.003.0017.

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Abstract In India today, efforts to fathom the traditions in which women’s attitudes and values are rooted and to identify the influences that shape their behavior and their consciousness have led to the exploration of all kinds of source materials in the vernacular languages. Mythology, folklore, folk songs, oral and documented history, different forms of literature, and other wirtings in the regional languages are being avidly explored. Administrative and judicial records, historical archives, newspapers, and magazines in the regional language are being researched and studied. There is a related effort to examine and understand the meanings of local and regional forms of recreation, festivals, custom, ritual, and practices.
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"Abhaṅga – Literally, that never gets broken. A typical Marathi devotional song." In Hinduism and Tribal Religions, 1. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_300002.

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Rules, —Rumsfeld’s. "World Gone Wrong." In The Least Worst Place, 1–22. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199557677.003.0001.

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Abstract Naval Captain Robert Buehn, Bee Bee or Skipper to his friends, gazed out the window of his seaside office at Guantanamo Bay Naval Base and observed the sailboats rocking gently from side to side, balancing effortlessly. Fit, muscular, and of medium height, his clear, blue eyes emitting boundless energy, Buehn was feeling good these days. He had run the Pentagon’s Marine Marathon earlier that fall, just weeks after the lingering fi res of 9/11 had died down. He could still feel the rush of running before a crowd that was openly weeping as the national anthem played at the starting line. Now Buehn was savoring the first idyllic days of a sunny Caribbean winter, blessed by unseasonable summer rains and an unexpected burst of new foliage from the fall. He was looking forward to going fishing with his sons over the upcoming Christmas break, when the phone rang.
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Ito, Akira, Yoko Tsuji, and Taichi Akutsu. "A Japanese Teacher Education Course in Creative Composition Project for Non-Music Majors." In Advances in Early Childhood and K-12 Education, 214–34. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch012.

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The study documents the creative composition project for non-music education major students in Japan to investigate the process of learning from each other. The participants (N=49), non-music major university students, employed Higuchi's idea marathon (IM) to maximize creativity by writing down and recording innovative ideas daily. They spent six months composing music regularly. Some of the challenges that students felt were peer learning to learn together as the composition could be solitary work, and there were many students who possessed different musical background as well as preference in musical style. In this study, the teacher-researcher encouraged each student to care, and group of students to help and support each other and share the work of the students regularly in class. At the end, students reflected on the process of peer learning and peer-assessed creativity in each composition, and students performed the selected song in small groups as units. The study particularly focuses on how students learned from each other and achieved kyosei goal by sharing creativity.
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Ito, Akira, Yoko Tsuji, and Taichi Akutsu. "A Japanese Teacher Education Course in Creative Composition Project for Non-Music Majors." In Research Anthology on Music Education in the Digital Era, 233–49. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-5356-8.ch015.

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The study documents the creative composition project for non-music education major students in Japan to investigate the process of learning from each other. The participants (N=49), non-music major university students, employed Higuchi's idea marathon (IM) to maximize creativity by writing down and recording innovative ideas daily. They spent six months composing music regularly. Some of the challenges that students felt were peer learning to learn together as the composition could be solitary work, and there were many students who possessed different musical background as well as preference in musical style. In this study, the teacher-researcher encouraged each student to care, and group of students to help and support each other and share the work of the students regularly in class. At the end, students reflected on the process of peer learning and peer-assessed creativity in each composition, and students performed the selected song in small groups as units. The study particularly focuses on how students learned from each other and achieved kyosei goal by sharing creativity.
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Woodfield, Ian. "The Encounter with Indian Music." In Music of the Raj, 149–80. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198164333.003.0006.

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Abstract The background to the intense fashion for Indian songs and instruments that swept through Anglo-Indian society in the 1780s lies in the expansion of the East India Company ‘s interests into the central and northern provinces of lndia. It is noteworthy that although Indian tunes were performed and published in Calcutta, they were rarely collected there. Calcutta was perceived as what it was—an English creation. To experience truly ‘authentic ‘ Indian culture, it was widely recognized that a journey inland would be necessary, and an ideal location existed—the kingdom of Oudh. A voyage of two or three months up the Ganges, at the leisurely tourist rate of progress, would bring the visitor to the historic cities of Benares and Luck now, the Company’s most important inland stations. The strategic importance of the kingdom of Oudh grew even as the Mughal Empire waned. At first, the Company regarded Oudh as a valuable buffer state, which offered protection to its possessions in Bengal from the potentially serious threat posed by the Marathas. A delicate balance had to be maintained. Oudh needed to be strong enough to hold up the advance of an aggressor, yet not so strong as to pose a threat itself to the Company in Bengal. One solution was to maintain troops in the region, which the Company began to do during the reign of Shuja-ud-Daulah. His successor Asuf-ud-Daulah was a weaker ruler, who came to be regarded by the English as a libertine with no aptitude for serious government. Company officials thus began to assume a much more active role in ordering the affairs of state. The maintenance of a public show of good relations was now regarded as a top priority, and social intercourse with the Indian nabob and his chief ministers became an important symbol of policy.
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Marshall, P. J. "‘Cornwallis Triumphant’: War in India and the British Public in the Late Eighteenth Century." In War, Strategy, And International Politics, 57–74. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198222927.003.0004.

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Abstract In December 1789 Tipu Sultan, ruler of the powerful state of Mysore, began military operations against his much weaker neighbour, the Raja of Travancore. Travancore was formally an ally of the British East India Company, whose Governor-General, Earl Cornwallis, interpreted Tipu’s moves as a provocation which must be met by all-out war. Thus began the third Anglo-Mysore war. A very large British army was assembled under the Governor of Madras, General William Medows, to invade Mysore from the east, while the East India Company’s Bombay army attacked his western territory. The British also negotiated alliances with the Marathas and with the Nizam of Hyderabad. Their forces too were to invade Mysore. During the campaign season of 1 790 the attacking forces achieved few tangible successes, the main British army eventually withdrawing back towards Madras. For the next campaign Cornwallis himself took personal command of the ‘grand army’ that renewed the invasion. The army penetrated deeply into Mysore, driving Tipu’s forces back to his capital at Seringapatam, but Cornwallis's advance had outrun his capacity to keep his troops supplied, and in adverse weather conditions he felt that he had no alternative but to retreat from Seringapatam. The offensive was resumed in 1792 and a decisive battle was fought outside Tipu’s capital in February. British victory after a night attack compelled Tipu to sue for peace. Cornwallis insisted on large cessions of territory, both to the East India Company and to its allies, together with a substantial indemnity in cash. Two of Tipu’s sons were handed over as hostages while the terms of the treaty were being executed.
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