Journal articles: 'Performing arts India'

1

Narayan, Shovana. "Performing Arts Museums and Collections in India." Museum International 49, no. 2 (1997): 32–37. http://dx.doi.org/10.1111/1468-0033.00088.

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McGowan, Abigail. "Performing Pasts: Reinventing the Arts in Modern South India." History: Reviews of New Books 37, no. 4 (2009): 151. http://dx.doi.org/10.1080/03612759.2009.10527382.

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Obeng, Pashington. "Siddi Street Theatre and Dance in North Karnataka, South India." African Diaspora 4, no. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.

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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Siddi dances and street theatre parallel and yet may differ from other performing arts in South India. Further, the paper complicates the current discourse on how diasporic African communities use the performing arts. My paper goes beyond the Atlantic Diaspora model. It examines ways in which Siddis of South Asia use their dance and theatre to express multiple domains of cultural art forms alongside the everyday use of such performances including a counter-hegemonic stance.

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Brenneis, Donald, and Bonnie C. Wade. "Performing Arts in India: Essays on Music, Dance and Drama." Asian Folklore Studies 44, no. 1 (1985): 146. http://dx.doi.org/10.2307/1177999.

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Zarrilli, Phillip, and Bonnie C. Wade. "Performing Arts in India: Essays on Music, Dance, and Drama." Asian Theatre Journal 3, no. 1 (1986): 132. http://dx.doi.org/10.2307/1124585.

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Trivedi, Madhu. "Tradition and Transition: The Performing Arts in Medieval North India." Medieval History Journal 2, no. 1 (1999): 73–110. http://dx.doi.org/10.1177/097194589900200105.

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Wade, Bonnie C., Betty True Jones, Judy Van Zile, et al. "Performing Arts in India: Essays on Music, Dance, and Drama." Asian Music 18, no. 2 (1987): 1. http://dx.doi.org/10.2307/833942.

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8

Martin, Carol. "Feminist analysis across cultures: Performing gender in India." Women & Performance: a journal of feminist theory 3, no. 2 (1987): 32–40. http://dx.doi.org/10.1080/07407708708571102.

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Afzal-Khan, Fawzia. "Roshan Ara Begum: Performing Classical Music, Gender, and Muslim Nationalism in Pakistan." TDR/The Drama Review 62, no. 4 (2018): 8–22. http://dx.doi.org/10.1162/dram_a_00790.

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The imbrication of issues of nation, class, gender, and religion necessitates a critical revision of the so-called secular postcolonial modernity embraced by Indian nationalists, including musicologists. The life and struggle of Roshan Ara Begum — Pakistan’s first and, to date, arguably greatest singer of classical music — is an instructive example of the complex intertwining of agency, resistance, and resignation in Muslim-identified Pakistan and Hindu-identified India.

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10

Thiagarajan, Deborah. "Dakshinachitra, a museum for the folk performing arts and crafts of South India." Museum International 40, no. 1 (1988): 52–56. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00727.x.

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11

McCann, Gillian. "Performing Gender, Class and Nation: Rukmini Devi Arundale and the Impact of Kalakshetra." South Asia Research 39, no. 3_suppl (2019): 61S—79S. http://dx.doi.org/10.1177/0262728019872612.

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Rukmini Devi Arundale, herself a choreographer and dancer, is considered one of the key figures in re-creating Bharatanatyam. Through her utopian arts colony, Kalakshetra, started during the movement towards Indian independence, she taught what she deemed to be a classical, religious and aesthetically pleasing form of dance. Her rejection of what she termed vulgarity and commercialism in dance reflects her Theosophical worldviews and her class position in a rapidly changing South India. The article examines the ways in which her understanding of Bharatanatyam developed in the context of contested forms of nationalism as a gender regime that contributed to creating proper middle-class, Hindu and Indian subjects. It also examines the impacts of this form of cultural heritage relating to gender, culture and nationalism in today’s globalised South Asian dance scenario.

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Stjernholm, Emil. "Visions of Post-independence India in Arne Sucksdorff’s Documentaries." BioScope: South Asian Screen Studies 8, no. 1 (2017): 81–102. http://dx.doi.org/10.1177/0974927617699648.

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This article studies two post-war documentary films set in India, Indian Village (1951) and The Wind and the River (1953), directed by the celebrated Swedish filmmaker Arne Sucksdorff. While many scholars have studied these films in relation to Sucksdorff’s biography and Swedish national cinema, less emphasis has been placed on these Indian documentaries in relation to other international documentary work that took place in India during the post-independence period. The excursion to India took place on commission from the Swedish Cooperative Union and Wholesale Society and therefore the films are studied in relation to Charles R. Acland and Haidee Wasson’s notion of “useful cinema.” In doing so, this article emphasizes the didactic ideas behind the production of sponsored film and the way in which ideas of the welfare state were projected onto post-independence India. Reading these documentaries against the grain, this article also addresses the question of how these films affected the authorial discourse surrounding Arne Sucksdorff and conversely what impact his films had among critics and filmmakers in India.

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Soneji, Davesh. "Living History, Performing Memory: Devadāsī Women in Telugu-Speaking South India." Dance Research Journal 36, no. 2 (2004): 30. http://dx.doi.org/10.2307/20444590.

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Katyal, Anjum. "Performing the Goddess, Sacred Ritual into Professional Performance." TDR/The Drama Review 45, no. 1 (2001): 96–117. http://dx.doi.org/10.1162/105420401300079077.

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Deva Sitala is the Pox Goddess, worshipped widely in India. Follow the physical and psychological preparations of Chapal Bhaduri, a professional actor, who transforms himself into and performs Deva Sitala.

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15

Gommans, Jos. "Cosmopolitanism and Imagination in Nayaka South India." Archives of Asian Art 70, no. 1 (2020): 1–21. http://dx.doi.org/10.1215/00666637-8124961.

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Abstract Questions arising from the so-called Brooklyn kalamkari, a seven-panel, hand-painted cotton textile, have confronted art historians for decades: what do we see, who produced it for whom, what does it mean? With royal court scenes from all over the Indian Ocean world, the Brooklyn kalamkari represents a uniquely cosmopolitan worldview from early-seventeenth-century South India. In this essay I discuss the makings of this particular worldview in the context of early modern processes of globalization and state-formation. By engaging with the work of Indologists Johan Huizinga, Jan Heesterman, and David Shulman on Indian kingship and theater, I then attempt to decode the local and the global, as well as the seen and unseen, meaning of this textile.

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Yarrow, Ralph. "Performing agency: Body learning, Forum theatre and interactivity as democratic strategy." Studies in South Asian Film & Media 4, no. 2 (2012): 211–26. http://dx.doi.org/10.1386/safm.4.2.211_1.

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This article looks at how applications of Forum theatre process and related approaches in India may operate in terms of activation of particular modes of learning centred in the body. It discusses the body: as context (individual and collective, embedded in social, political, physical and emotional practices); with reference to process (activation, multiplication of kinds of knowing through theatre work); as extended beyond everyday operation and beyond the individual/egoic towards collective experience and action, including co-creativity and ‘rational collective action’. The article explores the operation of forms of embodied learning in Forum practice, with particular reference to the work of Jana Sanskriti, in India.

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Zarrilli, Phillip B. "Psychophysical Approaches and Practices in India: Embodying Processes and States of ‘Being–Doing’." New Theatre Quarterly 27, no. 3 (2011): 244–71. http://dx.doi.org/10.1017/s0266464x11000455.

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This essay articulates a South Asian understanding of embodied psychophysical practices and processes with a specific focus on Kerala, India. In addition to consulting relevant Indian texts and contemporary scholarly accounts, it is based upon extensive ethnographic research and practice conducted with actors, dancers, yoga practitioners, and martial artists in Kerala between 1976 and 2003. During 2003 the author conducted extensive interviews with kutiyattam and kathakali actors about how they understand, talk about, and teach acting within their lineages. Phillip Zarrilli is Artistic Director of The Llanarth Group, and is internationally known for training actors in psychophysical processes using Asian martial arts and yoga. He lived in Kerala, India, for seven years between 1976 and 1989 while training in kalarippayattu and kathakali dance-drama. His books include Psychophysical Acting: an Intercultural Approach after Stanislavski, Kathakali Dance-Drama: Where Gods and Demons Come to Play, and When the Body Becomes All Eyes. He is Professor of Performance Practice at Exeter University.

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18

Russell, Martin. "DramaContemporary: India (review)." Asian Theatre Journal 19, no. 2 (2002): 383–86. http://dx.doi.org/10.1353/atj.2002.0040.

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Rycroft, Daniel J. "India as Exhibition." Art History 42, no. 3 (2019): 608–11. http://dx.doi.org/10.1111/1467-8365.12446.

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Khushu-Lahiri, Rajyashree, and Urjani Chakravarty. "Performing India in America through Pragma-Cultural Markers." Comparative American Studies An International Journal 12, no. 1-2 (2014): 25–31. http://dx.doi.org/10.1179/1477570014z.00000000065.

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Butler, Richard. "The Anglo-Indian Architect Walter Sykes George (1881–1962): a Modernist Follower of Lutyens." Architectural History 55 (2012): 237–68. http://dx.doi.org/10.1017/s0066622x00000113.

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[Lutyens’s system of proportion] began the link between us, by a chance action of mine, within the first year of my meeting him. He would never discuss it. It was intensely personal to him. [… He once] spoke to a group of students. One asked ‘What is proportion?’ and he answered ‘God’.(Walter Sykes George to Hope Bagenal, January 1959)Walter Sykes George (1881–1962) (Fig. 1) was a remarkable Anglo-Indian architect. Obituaries in Indian and British journals cast him as a ‘Renaissance’ man: an artist, Byzantine archaeologist, architect, town planner, philosopher, historian, public intellectual, humanist, Modernist, even an Indian nationalist. He features prominently in one recent history of modern architecture in India, a rare accolade for an ‘Anglo-Indian’ architect — an architect born in Britain who practised and lived for much of his life in India.

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Diamond, Catherine. "Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India." New Theatre Quarterly 34, no. 4 (2018): 307–25. http://dx.doi.org/10.1017/s0266464x18000398.

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In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in both cultures a pathway toward participating in an internal androgyny, a wider spectrum of gender representation than either the Asian traditional dance or contemporary Asian society normally allows. Catherine Diamond is a professor of theatre and environmental literature. She is Director of the Kinnari Ecological Theatre Project in Southeast Asia, and the director/choreographer of Red Shoes Dance Theatre in Taiwan.

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23

Khilnani, Sunil. "The India Project." Architectural Design 77, no. 6 (2007): 12–15. http://dx.doi.org/10.1002/ad.544.

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Nilu, Kamaluddin. "A Transformative Journey: Making A Tempest in Postcolonial India." New Theatre Quarterly 34, no. 2 (2018): 115–29. http://dx.doi.org/10.1017/s0266464x18000039.

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This article is based on the author's production of Aimé Césaire's A Tempest in India. Guided by the concept of transculturation, a key concern of Kamaluddin Nilu in the working process was to develop positions that could be considered parallel to those of Césaire. The topographical condition of present-day India is interpreted as ‘internal colonialism’, locked in differences within, and presented through a double-framed vision. The parallel to ‘black subjectivity’ was found to be the Dalits, who suffer from systematic discrimination and are segregated from the main social body. Further, when adjusting the text to ‘India's world’, the notion of a ‘third space’, benefiting from the performance matrix of the traditional ritualistic performance Ram Lila as well as a heterotopian space concept, was crucial. The intention to make a theatre production that could give the audience an opportunity to engage in a political debate on the hierarchical nature of Indian society was fulfilled. Breaking the established postcolonial political myth meant that the audience was faced with the unexpected. In such cases an indirect or parabolic performance mode of communication rather than a synergetic one becomes likely. Kamaluddin Nilu is an independent theatre director and researcher affiliated with the Centre for Ibsen Studies, University of Oslo. He is currently a Research Fellow at the International Research Centre ‘Interweaving Performance Cultures’ at the Freie University, Berlin. He was Chair Professor of the Theatre Department at Hyderabad University in India, and Artistic Director of the Centre for Asian Theatre (CAT) in Dhaka.

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25

Richmond, Farley. "Between Fame and Shame: Performing Women—Women Performers in India (review)." Asian Theatre Journal 30, no. 1 (2013): 241–45. http://dx.doi.org/10.1353/atj.2013.0007.

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26

Pant, Ritika. "Televisual Tales From Across the Border: Mapping Neo-Global Flows in Media Peripheries." BioScope: South Asian Screen Studies 10, no. 2 (2019): 164–82. http://dx.doi.org/10.1177/0974927619897439.

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Foreign programming on Indian television was largely dominated by American and British TV programmes until 2014, when a Hindi entertainment channel Zindagi, owned by Zee Entertainment Enterprises, began broadcasting syndicated television content from Pakistan. The channel’s tagline Jodey Dilon Ko (uniting hearts) shaped the possibility for peaceful reconciliation between the two political rivals, India and Pakistan, by offering ‘ sarhad paar ki kahaaniyaan’ (stories from across the border) to Indian audiences. The popularity of Pakistani serials in India may be observed against the backdrop of a television industry inundated with formulaic saas–bahu (mother-in-law/daughter-in-law) plotlines over the last decade. While Indian television and films have been a part of Pakistani popular culture for years, Pakistani serials like Humsafar (life partner, 2011) and Zindgai Gulzar Hai (life is a bed of roses, 2012) broadcast on Zindagi gave Indian audiences a peek into their neighbours’ socio-cultural environment. These serials dismantled the conventional mediatised image of the distanced ‘other’ and redefined the former perception of ‘foreign’ as essentially ‘Western’ in Indian television programming. Through an analysis of new trajectories of flows between media peripheries that I term ‘neo-global’ flows, this article argues that Pakistani dramas broadcast on Zindagi between 2014 and 2016 offered a ‘mediating space’ to Indian audiences by maintaining a balance between Indian tradition and Pakistani modernity.

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Bhattacharya, Indranil. "Sound and the masters: The aural in Indian art cinema." Studies in South Asian Film & Media 12, no. 1 (2021): 49–66. http://dx.doi.org/10.1386/safm_00037_1.

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The study of art cinema has emerged as a richly discursive, but, at the same time, a deeply contested terrain in recent film scholarship. This article examines the discourse of art cinema in India through the prism of sound style and aesthetics. It analyses the sonic strategies deployed in the films of Satyajit Ray, Ritwik Ghatak, Mrinal Sen and Mani Kaul, in order to identify the dominant stylistic impulses of sound in art cinema, ranging from Brechtian epic realism on one hand to Indian aesthetic theories on the other. Locating sound as a key element in the discourse of art cinema, the article surveys the different modes through which aesthetic philosophies were translated into formal strategies of sound recording, designing and mixing. Using previous scholarship on art cinema in India as the point of departure, this study combines theoretically informed textual analysis with new historical insights on Indian cinema.

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Roy Bharath, Stéphanie. "John Edward Saché in India." History of Photography 35, no. 2 (2011): 180–92. http://dx.doi.org/10.1080/03087298.2010.533521.

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Richmond, Farley. "The Bhāsa Festival, Trivandrum, India." Asian Theatre Journal 6, no. 1 (1989): 68. http://dx.doi.org/10.2307/1124291.

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Singh, Yogender, Remica Aggarwal, V. K., and Lakshay Aggarwal. "An Attempt to Explore the Various Challenges and Success Factors in Performing Arts Sector in India." International Journal of Computer Applications 176, no. 25 (2020): 1–6. http://dx.doi.org/10.5120/ijca2020919473.

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31

Bharucha, Rustom. "Kroetz's ‘Request Concert’ in India, Part Two: Bombay." New Theatre Quarterly 3, no. 12 (1987): 377–88. http://dx.doi.org/10.1017/s0266464x00002517.

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In the first of this series of three articles, published in NTQ 11, the director Rustom Bharucha – born in India. but living and working mainly in New York – described how he initially became intrigued by the idea of transposing Franz Xaver Kroetz's play without words, Request Concert, concerning the last evening in the life of a very ordinary German woman, into a variety of Asian contexts. His ambition was first realized – in collaboration with fellow-director Manuel Lutgenhorst, and with valued assistance from the International School of Theatre Anthropology – in a production mounted in Calcutta, with the actress Joya Sen. The following account of the second production, in Bombay, illuminates both the varieties of Indian urban life and the varieties of theatrical experience, with fascinating insights into the nature of Bombay's competitive, media-saturated society, and the perceptions of the actress Sulabha Deshpande concerning her role and its technical requirements – and how both shed new light on this play and on the nature of theatricality.

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Easterling, Keller. "With Satellites: Dubai + India." Architectural Design 75, no. 6 (2005): 64–69. http://dx.doi.org/10.1002/ad.175.

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Sorkin, Michael. "A Trip to India." Architectural Design 77, no. 6 (2007): 84–89. http://dx.doi.org/10.1002/ad.567.

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34

Oommen, Susan. "Inventing Narratives, Arousing Audiences: the Plays of Mahesh Dattani." New Theatre Quarterly 17, no. 4 (2001): 347–56. http://dx.doi.org/10.1017/s0266464x00014986.

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In this article Susan Oommen looks at the plays of the popular Indian dramatist Mahesh Dattani as conversations between the writer and his audience on models of reality, and interprets their performance as moments in subjectivization. In initiating an audience into redefining identity, she argues that Dattani provides the parameters within which problematizations may be reviewed and better understood. He also seeks to queer the debate on Indian middle-class morality, thereby challenging its privileged status and underscoring the interconnection between repression and invisibility. The question for the audience is whether Dattani's plays can cue them into experiences of resistance and encourage them to reinvent narratives that may then function as personal histories. One of the plays on which this article focuses, Dance Like a Man, was seen during this year's Edinburgh Festival as part of the Celebration of Indian Contemporary Performing Arts. Susan Oommen works in the English Department in Stella Maris College, India, where she has been on the faculty since 1975. She spent the past academic year at the Institute for Research on Women at Rutgers University.

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35

Kumar, Shanti, and Michael Curtin. "“Made in India”." Television & New Media 3, no. 4 (2002): 345–66. http://dx.doi.org/10.1177/152747602237279.

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Rajagopalan, Mrinalini. "Cosmopolitan Crossings:." Journal of the Society of Architectural Historians 77, no. 2 (2018): 168–85. http://dx.doi.org/10.1525/jsah.2018.77.2.168.

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Between 1805 and 1836, the wealthy dowager ruler Begum Samrū built two large mansions and a Catholic church in North India. In both the makeup of her court and the character of her architecture, the begum's choices reflected her cosmopolitanism. The bishop of her church was from Rome, her closest political allies were English, and her main advisers were Indian. Her architecture, similarly, combined neoclassical façades and Italianate porticoes with Islamic detailing such as muqarnas and Mughal pietra dura; Indian elements such as hammams (bathhouses) sat alongside European-style salons. In Cosmopolitan Crossings: The Architecture of Begum Samrū, Mrinalini Rajagopalan analyzes the begum's architecture as a form of strategic cosmopolitanism—a kind of sociopolitical cunning that allowed Begum Samrū to reimagine the dichotomies between masculine and feminine spaces, domestic and political realms, and European and Indian decor while combining local religiosity with global networks of piety. Indeed, architecture was a key mechanism through which the begum consolidated power in the fraught political climate of nineteenth-century India.

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Mitchell, Roanna, and Pablo Pakula. "Imagining O encountering India: Recounting an embodied experience." Studies in South Asian Film & Media 4, no. 2 (2012): 179–88. http://dx.doi.org/10.1386/safm.4.2.179_1.

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In February 2012, Richard Schechner’s performance-installation Imagining O travelled from its original place of creation in Canterbury (UK) to the International Theatre Festival of Kerala in Thrissur (India). Imagining O is an immersive and participatory experience that brings together voices of Shakespeare’s women and Pauline Reage’s classic French erotic novel The Story of O. This performance report explores the encounter of a primarily European company with the bodies/gazes of an Indian audience, and their role as spectators in shaping the living organism of the performance. Taking a dialogic structure, it exists in the space between two authors’ voices and experiences — Roanna Mitchell as movement director, Dr Pablo Pakula as performer – mirroring the production’s decentred nature and its refusal of an objective standpoint.

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Jones, Betty True, Kay Ambrose, and Ram Gopal. "Classical Dances and Costumes of India." Dance Research Journal 17, no. 2 (1985): 89. http://dx.doi.org/10.2307/1478089.

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Mathur, Saloni. "Charles and Ray Eames in India." Art Journal 70, no. 1 (2011): 34–53. http://dx.doi.org/10.1080/00043249.2011.10791062.

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Daugherty, Diane. "Kutiyattam: Sanskrit Theatre of India (review)." Asian Theatre Journal 21, no. 2 (2004): 224–25. http://dx.doi.org/10.1353/atj.2004.0012.

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Ahmed, Syed Jamil. "Performing and Supplicating Mānik Pīr: Infrapolitics in the Domain of Popular Islam." TDR/The Drama Review 53, no. 2 (2009): 51–76. http://dx.doi.org/10.1162/dram.2009.53.2.51.

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Rituals and performances supplicating Mānik Pīr, a Sufi culture-hero venerated in isolated rural pockets of western Bangladesh and southern West Bengal (India), function as “infrapolitics” of the subaltern classes in the domain of “popular Islam.” A substantial segment of popular (“folk”) culture of the subaltern classes articulates disguised ideological insubordination critiquing the dominant classes.

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Kazani, Zahra. "Between the Foreign and the Familiar." Journal of Islamic Manuscripts 11, no. 3 (2020): 373–409. http://dx.doi.org/10.1163/1878464x-01103004.

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Abstract A Qurʾan manuscript (British Library Add 5548–5551), attributed to fifteenth-century India, features a curious case of English annotations within its folios. The annotations take the form of interlinear translations superimposed onto its Persian counterpart. This article takes the contents of the English annotations and its physical placement within the body of the text as a platform to investigate the socio-cultural contexts of the manuscript’s circulation. In doing so, it illustrates the life of its owner, Charles Hamilton, an eighteenth-century military official and Orientalist at the East India Company. The content of the annotations suggests the manuscript’s function as a tool for language acquisition in the midst of Orientalist attempts at colonizing Indian knowledge; its physical placement, an embodiment of British encounters in India. The article builds on the nature of manuscript collecting by Company officials and the role that objects can play as they intersect with intellectual history.

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Schlein, Deborah. "In the Ḥakīm’s Own Hand". Journal of Islamic Manuscripts 9, № 2-3 (2018): 264–71. http://dx.doi.org/10.1163/1878464x-00902010.

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AbstractThe history of Greco-Arabic medicine in India can be studied through the Arabic and Persian manuscripts used by its students, practitioners, and collectors. The aim of this paper is to follow the reception of a major medical manuscript tradition in India: the medical encyclopedia of Najīb al-Dīn al-Samarqandī (d. 619/1222), al-Asbāb wa-l-ʿalāmāt, and the many commentaries written on the work in the region. By studying the colophons and ownership notes of these manuscripts, dating from the sixteenth to the nineteenth centuries, we learn about the transmission and reception of ṭibb in the Mughal and Colonial Indian environment.

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Drewal, Henry John, Beheroze Shroff, and Alicia Cannizzo. "India Bibliography." African Arts 46, no. 1 (2013): 26–29. http://dx.doi.org/10.1162/afar_a_00041.

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Flick, Hugh M., Brenda E. F. Beck, Peter J. Claus, Praphulladatta Goswami, Jawaharlal Handoo, and Richard M. Dorson. "Folktales of India." Asian Folklore Studies 46, no. 2 (1987): 330. http://dx.doi.org/10.2307/1178608.

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Gage, Kelly, and Anupama Pasricha. "Editorial—Fashion in India." Fashion Practice 12, no. 2 (2020): 163–71. http://dx.doi.org/10.1080/17569370.2020.1769359.

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Singh, Kanika. "Sikh Museums in India." Material Religion 13, no. 2 (2017): 263–65. http://dx.doi.org/10.1080/17432200.2017.1290246.

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Chakravartty, Paula. "Translating Terror in India." Television & New Media 3, no. 2 (2002): 205–12. http://dx.doi.org/10.1177/152747640200300212.

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49

Martin‐Jones, David. "KABHI INDIA KABHIE SCOTLAND." South Asian Popular Culture 4, no. 1 (2006): 49–60. http://dx.doi.org/10.1080/14746680600555576.

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Kishore, Shweta. "The Promise of Portability: CENDIT and the Infrastructure, Politics, and Practice of Video as Little Media in India 1972–1990." BioScope: South Asian Screen Studies 8, no. 1 (2017): 124–45. http://dx.doi.org/10.1177/0974927617699646.

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Video in the form of “little media” arrived in India in the mid-1970s shortly after Wilbur Schramm proposed the concept in 1973. In this article, I investigate the ways in which the discourse and practices of “little media” were re-formulated in India through specific historical contexts and media formations that assigned it political meanings beyond its initial developmental functions. Taking the case of the important media initiative, Centre for the Development of Instructional Technology (CENDIT), this paper explores the production and circulation of “little media” and the range of context-specific interactive methods the center deployed. The historiographic account of video at this particular juncture contributes to an expansion of Indian screen history. It complicates the dominant understanding of video during this period as a medium for the circulation of commercial cinema with a parallel narrative of purposive and emancipatory video-based initiatives.

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Journal articles on the topic 'Performing arts India'

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