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ID:
188745
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| Summary/Abstract |
This essay offers an introduction to a special section on ecology and performance in South Asia. Aiming at ‘green’ studies of music and performance, this collection explores intersections between ethnography, history, eco- and ethnomusicology, and film and performance studies by paying particular attention to the ecological turn more broadly visible in South Asian studies. The papers address varied ecological settings of South Asian music and performance, from riverscapes to coastal communities, and from the locations of instrument-makers to negotiations of the climate crisis and the COVID-19 pandemic. The novelty of the section lies not just in mapping the dialogism between ecology and music through reflections on liminality, gender, resistance and identity, but also in bringing forth new archival strategies (digitisation and digital cultures) in conversation with ethnographic findings.
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| 2 |
ID:
188746
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Climate crisis has emerged as an important theme in the performances of patachitra or scroll painting in West Bengal. Besides depicting contemporary subjects, the scrolls also tell traditional stories, such as that of the Manasamangal, through songs and visuals. Across the border, in Bangladesh, the Manasamangal narrative finds numerous embodiments in living traditions, thus closely highlighting a human–nature connection. This paper considers several such performance genres and studies them through the intermediality of printed literature, visual depictions, sound recordings and performance practices in curated spaces. In doing so, it challenges the land-centric frameworks of disciplines and instead understands them through a liquescent methodological approach.
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| 3 |
ID:
181681
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| Summary/Abstract |
The proliferation of print in mid nineteenth century Bengal witnessed several self-reflexive exercises in writing that tried to capture the incongruence between the colonial administration and indigenous everyday lives. Hutom Pyanchar Naksha (or The Observant Owl) written by Kaliprasanna Sinha (1862) is possibly the closest representation in print of such incongruities. This article focuses on the text of Hutom in relation to visual representations and reports by the colonial administration in contemporary English newspapers like The Hindoo Patriot, The Bengal Harkaru and others. In doing so, it will highlight the sensory world of colonial Calcutta that is so vividly captured in Hutom.
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