Remembering Mulk Raj Anand
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mid Wales Llanidloes
This document is a snapshot of content from a discontinued BBC website, originally published between 2002-2011. It has been made available for archival & research purposes only. Please see the foot of this document for Archive Terms of Use. 4 May 2012 Accessibility help Text only BBC Homepage Wales Home Archer's Actor - Jamila Massey more from this section Last updated: 03 August 2006 Llanidloes The actor Jamila Massey is Archer's Actor - Jamila Massey Chartist Revolt famous for her role as Auntie Claims to Fame Satya in Radio 4 's daily Clywedog Dam Clywedog Sailing Club BBC Local agricultural sopa opera the Archers. She has lived in Going Solar Mid Wales Great Outdoors Festival 2007 Llanidloes for nearly twenty Things to do Info Centres years. Read on to find out Llani Car Club People & Places more about her life and work. Llanidloes Museum Nature & Outdoors My Town History Outside Looking In Phototour Religion & Ethics How did you get into acting? Rotary Across Wales Walk Arts & Culture Sport Centre Fun Day Music I came to the UK with my parents in 1946. After the war, my Timber-Framed Buildings TV & Radio father didn't want to be in the army anymore and he applied to the BBC and got a producer's job at 200 Oxford Street. Local BBC Sites The studios were later moved to Bush House. He was that News rare commodity - a born broadcaster - and, I suspect, some Sport of that rubbed off on to me. Weather Travel At that time, there were few Asians in this country and Neighbouring Sites certainly very few Asian children. -
Ym Mis Mai 2010 Dathlwyd Pedwaredd Flwyddyn
o bobl wedi cyfranogi, neu wedi mynychu digwyddiadau Gwanwyn, a drefnwyd gan 92 o grwpiau cymunedol a mudiadau. Mae hyn yn cynrychioli cynnydd o 10% mewn cyfranogiad ers 2009, wedi’i fynegi o ran y mudiadau a gyfranogodd, a chynnydd o 14% amcangyfrifol wedi’i fynegi o ran cyfranogwyr • crëwyd cyfleoedd ar gyfer grwpiau a mudiadau sy’n ymwneud â cherddoriaeth, dawns, celf, ysgrifennu a disgyblaethau artistig arall, i arddangos neu i berfformio eu gwaith a chymell 2010 aelodau newydd i gyfranogi • codwyd proffil Gŵyl Gwanwyn ymhellach ar Cyflwyniad draws Cymru. Derbyniodd gŵyl Gwanwyn sylw ffafriol yn ‘Ychwanegu Bywyd at Flynyddoedd Ym mis Mai 2010 dathlwyd – Ymagweddau Cymreig at Bolisi Heneiddio’ a pedwaredd flwyddyn Gŵyl Gwanwyn: gyhoeddwyd gan y Sefydliad Materion Cymreig. Gŵyl y Celfyddydau a Chreadigrwydd Hefyd, dyfynnwyd bod yr ŵyl yn enghraifft batrymol yn adroddiad ‘Ageing Artfully’ a ar gyfer Pobl Hŷn a gyd-drefnir gan gyhoeddwyd gan Sefydliad Baring Age Cymru. • mae cydberthnasau’n datblygu gyda nifer o fudiadau a lleoliadau’r celfyddydau, yn Wedi i fwy o nawdd i gael ei neilltuo ar ei chyfer genedlaethol ac yn rhanbarthol, sy’n awyddus oddi wrth Lywodraeth Cynulliad Cymru (LlCC) a i fod yn rhan o’r ŵyl yn 2011 a thu hwnt. Chyngor Celfyddydau Cymru (CCC), bu’n bosib Datblygwyd perthynas dda yn arbennig gyda i’r ŵyl i ddilyn ei nod o hyrwyddo manteision Gŵyl Lenyddiaeth y Gelli, o ganlyniad i lansio’r iechyd a lles i bobl hŷn, trwy gyfranogi mewn detholiad ‘Aged to Perfection’, ac mae perthynas gweithgareddau artistig a chreadigol i: waith debyg yn cael ei meithrin gyda Gŵyl • hyrwyddo digwyddiadau lleol ar draws Cymru i Gerdd Gregynog yng Nghanolbarth Cymru. -
Monstrous Aunties: the Rabelaisian Older Asian Woman in British Cinema and Television Comedy
Monstrous Aunties: The Rabelaisian older Asian woman in British cinema and television comedy Estella Tincknell, University of the West of England Introduction Representations of older women of South Asian heritage in British cinema and television are limited in number and frequently confined to non-prestigious genres such as soap opera. Too often, such depictions do little more than reiterate familiar stereotypes of the subordinate ‘Asian wife’ or stage the discursive tensions around female submission and male tyranny supposedly characteristic of subcontinent identities. Such marginalisation is compounded in the relative neglect of screen representations of Asian identities generally, and of female and older Asian experiences specifically, within the fields of Film and Media analysis. These representations have only recently begun to be explored in more nuanced ways that acknowledge the complexity of colonial and post-colonial discoursesi. The decoupling of the relationship between Asian and Indian, Pakistani and Bangladeshi heritage, together with the foregrounding of religious rather than national-colonial identities, has further rendered the topic more complex. Yet there is an exception to this tendency. In the 1990s, British comedy films and TV shows began to carve out a space in which transgressive representations of aging Asian women appeared. From the subversively mischievous Pushpa (Zohra Segal) in Gurinder Chadha’s debut feature, Bhaji on the Beach (1993), to the bickering ‘competitive mothers’ of the ground-breaking sketch show, Goodness, Gracious Me (BBC 1998 – 2001, 2015), together 1 with the sexually-fixated grandmother, Ummi (Meera Syal), in The Kumars at Number 42 (BBC, 2001-6; Sky, 2014), a range of comic older female figures have overturned conventional discourses. -
An Introduction to The-History of Music Amongst
AN INTRODUCTION TO THE-HISTORY OF MUSIC AMONGST INDIAN SOUTH AFRICANS IN NATAL 1860-1948: 10WARDS MEL VEEN BETH J ACf::::'GN DURBAN JANUARY 1988 Of ~he hi stoczf ffiCISi C and mic and so; -political status Natal, 186<)- 1948. The study conce ns itself e:-:pr- essi on of musi c and the meanings associated with it. Music for-ms, music per-sonalities, and music functions ar-e tr-aced. Some expl anations of the rel a tionships between cl ass str-uctur-es, r- eligious expr-ession, political affiliation, and music ar-e suggested. The first chapter establishes the topic, par-ameters, motivation, pur-pose, theor-etical framewor-k, r esear-ch method and cons traints of the study. The main findings ar-e divided between two chronological sections, 1860-1920 and 1920-1948. The second chapter- describes early political and social structures, the South African phase of Gandhi's satyagraha, Muslim/Hindu festivals, early Christian activity, e arly organisation of a South Indian Hindu music group, the beginnings of the Lawrence family, and the sparking of interest in classical Indian music. The third chapter indicates the changing nature of occupation and life-style f rom a rural to an how music styles changed to suit t he new, Assimilation, assimilation music:: Ind :i. dn Ei s_ fo~ s.. Hindu an·I Muslim.. are identified. including both imported recorcl recor· / and the growth of the cl assi -al music movement ar-e traced, and the role of the "Indian II or-chestr·a is anal yst~d . Chapter· four presents the main conclusions, regarding the cultural, political, and social disposition of Indi a n South Africans, educational implications, and s ome areas requiring further research. -
Setting the Stage: a Materialist Semiotic Analysis Of
SETTING THE STAGE: A MATERIALIST SEMIOTIC ANALYSIS OF CONTEMPORARY BENGALI GROUP THEATRE FROM KOLKATA, INDIA by ARNAB BANERJI (Under the Direction of Farley Richmond) ABSTRACT This dissertation studies select performance examples from various group theatre companies in Kolkata, India during a fieldwork conducted in Kolkata between August 2012 and July 2013 using the materialist semiotic performance analysis. Research into Bengali group theatre has overlooked the effect of the conditions of production and reception on meaning making in theatre. Extant research focuses on the history of the group theatre, individuals, groups, and the socially conscious and political nature of this theatre. The unique nature of this theatre culture (or any other theatre culture) can only be understood fully if the conditions within which such theatre is produced and received studied along with the performance event itself. This dissertation is an attempt to fill this lacuna in Bengali group theatre scholarship. Materialist semiotic performance analysis serves as the theoretical framework for this study. The materialist semiotic performance analysis is a theoretical tool that examines the theatre event by locating it within definite material conditions of production and reception like organization, funding, training, availability of spaces and the public discourse on theatre. The data presented in this dissertation was gathered in Kolkata using: auto-ethnography, participant observation, sample survey, and archival research. The conditions of production and reception are each examined and presented in isolation followed by case studies. The case studies bring the elements studied in the preceding section together to demonstrate how they function together in a performance event. The studies represent the vast array of theatre in Kolkata and allow the findings from the second part of the dissertation to be tested across a variety of conditions of production and reception. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Constructing Diasporic Identity Through Kathak Dance: Flexibility, Fixity, and Nationality in London and Los Angeles A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Shweta Saraswat 2019 © Copyright by Shweta Saraswat 2019 ABSTRACT OF THE DISSERTATION Constructing Diasporic Identity Through Kathak Dance: Flexibility, Fixity, and Nationality in London and Los Angeles by Shweta Saraswat Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2019 Professor Anurima Banerji, Chair This dissertation focuses on the role of the classical Indian dance form Kathak in negotiating questions of cultural identity and national affiliation among members of the Indian diaspora residing in London, UK, and Los Angeles, USA. This study considers how institutional actions and discourses related to the practice of Kathak dance in these two cities and the personal experiences of dancers themselves reflect certain political, aesthetic, and social values that impact the formation of diasporic identity. The dissertation argues that Indian diasporic subjects negotiate a fundamental tension through their practice of Kathak dance: the tension between Kathak’s inherent flexibility and contextual conditions of fixity. ii As described in Chapter 1, Kathak’s inherent flexibility refers to certain foundational elements of the dance that center around creative interpretation, improvisation, and immersive practice (riyaaz), as well as the expression of multiple identities that these foundational elements enable. A discourse of Kathak’s flexibility frames the dancer’s transcendence and/or transformation of socially assigned identifications as an act of aesthetic virtuosity with cross- cultural significance. -
JOHN SCHLESINGER [Extent 140 Archive Boxes]
JOHN SCHLESINGER [Extent 140 Archive Boxes] INTRODUCTION JOHN RICHARD SCHLESINGER Born: London, 16 February 1926. Died: Palm Springs, California, 25 July 2003 Education: Uppingham School; Balliol College, Oxford Early Career: As an actor playing small parts in films including SINGLE- HANDED (GB,1953), The DIVIDED HEART (GB,1954), OH... ROSALINDA! (GB,1955), BATTLE OF THE RIVER PLATE (GB,1956), BROTHERS IN LAW! (GB,1956) and in television The ADVENTURES OF ROBIN HOOD (tx 1956-1957), WOMAN OF PROPERTY (tx 2/5/1957). As Director: Schlesinger's career behind the camera began with a short film BLACK LEGEND (GB,1948) and work for BBC Television writing and directing documentaries for the TONIGHT and MONITOR Series 1956-1961. A British Transport Film TERMINUS (GB,1961) written and directed by Schlesinger, launched his film career proper. Schlesinger’s feature films: A KIND OF LOVING (GB,1962), BILLY LIAR (GB,1963), DARLING (GB,1965), FAR FROM THE MADDING CROWD (GB,1967), MIDNIGHT COWBOY (US,1969), SUNDAY BLOODY SUNDAY (GB,1971), DAY OF THE LOCUST (US,1974), MARATHON MAN (US,1976), YANKS (GB,1979), HONKY TONK FREEWAY (US,1981), FALCON AND THE SNOWMAN (US,1985), BELIEVERS (US,1987), MADAME SOUSATZKA (GB,1988), PACIFIC HEIGHTS (US,1990), INNOCENT (GB,1993), EYE FOR AN EYE (US,1995), The NEXT BEST THING (US,2000). Schlesinger's television credits include: SEPARATE TABLES (tx 1983) AN ENGLISHMAN ABROAD (tx 29/11/1983), A QUESTION OF ATTRIBUTION (tx 20/10/1991) and COLD COMFORT FARM (tx 1/1/1995). Schlesinger also directed the following: OPERA LES -
Download Programme
Kali Theatre Company presents First performed on 16 March 2005 at Birmingham Rep, The Door Chaos I began writing Chaos a few months after September 11th when the terrorist attacks in New York had left the whole world in a state of shock and confusion. Although most of us, thankfully, didn’t have to endure the terrible pain suffered by the victims and their families, it seemed to me that many people were affected in some way or other, even if it was only that they were questioning the beliefs, ideals, and truths in their lives. All the Muslims I knew condemned the killings, but when the war against Afghanistan and further violence against innocent people followed (this time it was ‘unintentional’), I began to see how some people might find their loyalties drifting. With all the conspiracy theories, censored news reports, confessional video diaries, and leaders of all kinds bombarding us with their own ideas, much of the time people didn’t know what to think or who to believe. I was also thinking about families, and about secrets, resentments and unspoken things that simmer beneath the fabric of most homes, and how they cause splits and divisions in relationships. In Chaos, I’ve tried to explore some wider social and political concerns through the conflicts and dilemmas of the Rizvi family. When each member takes a different stance on big global issues and becomes lost in their own world, the family begins to crack and gradually, deeper, more personal troubles are revealed. In the end, I think the play is about the dangers of obsession and extremism of any kind, the need for tolerance and understanding, and what happens when people stop listening to each other. -
"British Asian Theatre: from Past to Present" 10-13 April 2008 University of Exeter Department of Drama Conference Abstracts
British Asian Theatre: from Past to Present A major international conference at the University of Exeter I 10-13 April 2008 University of Exeter, Department of Drama (Roborough Studios and the Alexander Building) © Suresh Vedak Incorporating: Celebrating British Asian Live Arts Independent Stories Am I In Tune? An exhibition commissioned by Asian Arts Agency New performance commission with poet Shamshad to commemorate 60 years of India and Pakistan’s Khan and musician Kuljit Bhamra. Independence. Friday 11 April, 8.00-10.00pm, Phoenix Centre, Thursday 10 – Sunday 13 April, SR1, Alexander Building, Gandy Street, Exeter. Drama Department, University of Exeter. Mr. Quiver Live Asian Music 4 hour durational performance by Rajni Shah Theatre. Experience ghazals, bhajans and live Asian music with In the final performance of this highly acclaimed production, local artists Tim Jones, Ricky Romain and Jon Sterckx live artist Rajni Shah metamorphoses between Queen (formerly of ‘Dhani’); and Pooja Angra and Bradford Elizabeth I and an Indian bride to bring to life the tensions musicians Najam Javed and Shabaz Hussain. and politics of colonialism and the complexity of identity. Thursday 10 April, 7.30-9.00pm, Roborough Studios, Saturday 12 April, 10.30am, TS3, Alexander Building, Drama Department, University of Exeter. Drama Department, University of Exeter. "British Asian Theatre: From Past to Present" 10-13 April 2008 University of Exeter Department of Drama Conference Abstracts Naseem Khan, author of The Arts Britain Ignores Paradise Lost, Paradise Regained…? British Asian Theatre over 30 years When Madhur Jaffrey emerged from drama school in London in the 1950s, she discovered that hardly any work was offered to her. -
Citizen Khan' - Mrs Khan (Shobu Kapoor) Comes Clean
'Citizen Khan' - Mrs Khan (Shobu Kapoor) comes clean... - Asian Culture Vulture 12/01/2016 08:12 HOME ART BOOKS FILM MUSIC/DANCE THEATRE TV ‘CITIZEN KHAN’ – MRS KHAN (SHOBU KAPOOR) COMES CLEAN… October 30 2015 It’s back and more outrageous than ever and one of its pivotal characters tries to remember what her first name is… By Suman Bhuchar PRIME-TIME BBC sitcom “Citizen Khan” hits us for a fourth series on Friday (October 30). One of the undoubted stars alongside creator and Mr Khan himself (Adil Ray) is Shobu Kapoor, who plays the stoic and sensible Mrs. Khan, a perfect foil to the self-appointed ‘community leader’. In many ways, Mr and Mrs Khan have become an integral part of the British cultural landscape. Kapoor, who has had a busy year, juggling theatre, TV and film producing, took time out to talk to www.asianculturevulture.com about women and breaking the glass ceiling and just keeping calm and carrying on. file:///Users/user/Desktop/'Citizen%20Khan'%20-%20Mrs%20Khan%20(S…0Kapoor)%20comes%20clean...%20-%20Asian%20Culture%20Vulture.html Page 1 of 3 'Citizen Khan' - Mrs Khan (Shobu Kapoor) comes clean... - Asian Culture Vulture 12/01/2016 08:12 The first question is what is Mrs Khan’s first name? Initially, she didn’t have a first name, because within the Asian culture, parents are always addressed by an ‘honorific’ form, explained Kapoor. “The only time Mrs. Khan was given her first name is in the name badge when she went to work,” she said. “It’s mad but I can’t remember what it is!” www.asianculturevulture.com will give a tweet salute to any reader who can remember what this is? Kapoor described Mrs Khan’s role as the ‘centre piece’ of the sitcom and compared it to a poem by the 16th century poet, John Donne, where she is like the still part of a compass and he is like the roaming point but connected with the centre. -
Encyclopedia of Contemporary British Culture
ENCYCLOPEDIA OF CONTEMPORARY BRITISH CULTURE ENCYCLOPEDIA OF CONTEMPORARY BRITISH CULTURE Edited by Peter Childs and Mike Storry London and New York First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor and Francis Group This edition published in the Taylor & Francis e-Library, 2002. © 1999 Routledge All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Encyclopedia of contemporary British culture/edited by Peter Childs and Mike Storry. p. cm. Includes bibliographical information and index. 1. Great Britain—Civilization—20th century—Encyclopedias. 2. Great Britain—History—Elizabeth II, 1952– —Encyclopedias. I. Childs, Peter, 1962– . II. Storry, Mike, 1943– . DA589.4.E53 1999 98–32205 306’.0941’0904–dc21 CIP ISBN 0-415-14726-3 (Print Edition) ISBN 0-203-02795-7 Master e-book ISBN ISBN 0-203-39998-6 (Glassbook Format) TO JO CROFT Contents Editorial team viii Entries A-Z 1 List of contributors ix Introduction xiii Index 577 Acknowledgements xv How to use this -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Constructing Diasporic Identity Through Kathak Dance: Flexibility, Fixity, and Nationality in London and Los Angeles Permalink https://escholarship.org/uc/item/8st886mh Author Saraswat, Shweta Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Constructing Diasporic Identity Through Kathak Dance: Flexibility, Fixity, and Nationality in London and Los Angeles A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Shweta Saraswat 2019 © Copyright by Shweta Saraswat 2019 ABSTRACT OF THE DISSERTATION Constructing Diasporic Identity Through Kathak Dance: Flexibility, Fixity, and Nationality in London and Los Angeles by Shweta Saraswat Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2019 Professor Anurima Banerji, Chair This dissertation focuses on the role of the classical Indian dance form Kathak in negotiating questions of cultural identity and national affiliation among members of the Indian diaspora residing in London, UK, and Los Angeles, USA. This study considers how institutional actions and discourses related to the practice of Kathak dance in these two cities and the personal experiences of dancers themselves reflect certain political, aesthetic, and social values that impact the formation of diasporic identity. The dissertation argues that Indian diasporic subjects negotiate a fundamental tension through their practice of Kathak dance: the tension between Kathak’s inherent flexibility and contextual conditions of fixity. ii As described in Chapter 1, Kathak’s inherent flexibility refers to certain foundational elements of the dance that center around creative interpretation, improvisation, and immersive practice (riyaaz), as well as the expression of multiple identities that these foundational elements enable.