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Now Guyana) — Harry T
Dr. and Mrs. JB Singh with family and friends at their home, “Ayodhya,” at 273 Lamaha Street (purchased in 1923), North Cummingsburg, Georgetown, British Guiana (Guyana), circa. 1928. From left to right: (standing) Pratap Narine, “Tappie,” their fourth child and third son; Indal, JB’s youngest brother; Pitamber Doobay, JB’s closest friend and confi- dante; Mrs. Singh; and Victor Ramsaran; (sitting, back row) young lady (name unknown) and Efreda Chandrawati, “Moon,” eldest daughter; (sitting, front row) young lady (name unknown) and Gangadai,“Nelly,” JB’s only sister. The copyrighted pictures of Alice Singh were provided by Karna Singh and were taken from the 'Heritage Collection of Dr. and Mrs. JB Singh'. Courtesy: Dr. Baytoram Ramharack Edited by Somdat Mahabir & Ramesh Gampat 180 YEARS OF INDIANS IN GUYANA (1838-2018) Edited by Somdat Mahabir & Ramesh Gampat Caribbean Hindu Network (CHN) Published on May 5, 2018 Suggested citation of this publication Citation of the entire publication: Somdat Mahabir and Ramesh Gampat (Editors), 180 Years of Indi- ans in Guyana (1838-2018), Caribbean Hindu Network, 2018. Citation of specific papers: Baytoram Ramharack, Remembering Alice Singh of Guyana: Notes from her Diary in Guyana (1838-2018). In: Somdat Mahabir and Ramesh Gampat (Editors), 180 Years of Indians in Guyana (1838-2018), pp 23-33, Caribbean Hindu Network, 2018. Cover picture Dr. and Mrs. JB Singh with family and friends at their home, “Ayodhya,” at 273 Lamaha Street (purchased in 1923), North Cummingsburg, Georgetown, British Guiana (Guyana), circa. 1928. From left to right: (standing) Pratap Narine, “Tappie,” their fourth child and third son; Indal, JB’s youngest brother; Pitamber Doobay, JB’s closest friend and confidante; Mrs. -
KRAKAUER-DISSERTATION-2014.Pdf (10.23Mb)
Copyright by Benjamin Samuel Krakauer 2014 The Dissertation Committee for Benjamin Samuel Krakauer Certifies that this is the approved version of the following dissertation: Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music Committee: Stephen Slawek, Supervisor Charles Capwell Kaushik Ghosh Kathryn Hansen Robin Moore Sonia Seeman Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music by Benjamin Samuel Krakauer, B.A.Music; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2014 Dedication This work is dedicated to all of the Bāul-Fakir musicians who were so kind, hospitable, and encouraging to me during my time in West Bengal. Without their friendship and generosity this work would not have been possible. জয় 巁쇁! Acknowledgements I am grateful to many friends, family members, and colleagues for their support, encouragement, and valuable input. Thanks to my parents, Henry and Sarah Krakauer for proofreading my chapter drafts, and for encouraging me to pursue my academic and artistic interests; to Laura Ogburn for her help and suggestions on innumerable proposals, abstracts, and drafts, and for cheering me up during difficult times; to Mark and Ilana Krakauer for being such supportive siblings; to Stephen Slawek for his valuable input and advice throughout my time at UT; to Kathryn Hansen -
University of Florida Thesis Or
FROM INDIAN TO INDO-CREOLE: TASSA DRUMMING, CREOLIZATION, AND INDO- CARIBBEAN NATIONALISM IN TRINIDAD AND TOBAGO By CHRISTOPHER L. BALLENGEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Christopher L. Ballengee 2 In memory of Krishna Soogrim-Ram 3 ACKNOWLEDGMENTS I am indebted to numerous individuals for helping this project come to fruition. Thanks first to my committee for their unwavering support. Ken Broadway has been a faithful champion of the music of Trinidad and Tobago, and I am grateful for his encouragement. He is indeed one of the best teachers I have ever had. Silvio dos Santos’ scholarship and professionalism has likewise been an inspiration for my own musical investigations. In times of struggle during research and analysis, I consistently returned to his advice: “What does the music tell you?” Vasudha Narayanan’s insights into the Indian and Hindu experience in the Americas imparted in me an awareness of the subtleties of common practices and to see that despite claims of wholly recreated traditions, they are “always different.” In my time at the University of Florida, Larry Crook has given me the freedom—perhaps too much at times—to follow my own path, to discover knowledge and meaning on my own terms. Yet, he has also been a mentor, friend, and colleague who I hold in the highest esteem. Special thanks also to Peter Schmidt for inspiring my interest in ethnographic film and whose words of encouragement, support, and congratulations propelled me in no small degree through the early and protracted stages of research. -
Indo-Caribbean Masculinities, Chutney Genealogies, and Qoolie Subjectivities
Middle Atlantic Review of Latin American Studies, 2020 Vol. 4, No. 2, 56-86 “Meh Just Realize I’s Ah Coolie Bai”: Indo-Caribbean Masculinities, Chutney Genealogies, and Qoolie Subjectivities Ryan Persadie Women and Gender Studies Institute University of Toronto [email protected] In the Anglophone Caribbean, nationalist discourses of sexual citizenship are inextricably linked to the afterlife of colonialism and its far-reaching and affective legacies, resonances, and continuities as it reinscribes alterity on the bodies of sexual and gendered “others.” Focusing our optics on the Indo-Caribbean, I explore how archives of chutney music offer disruptive methods, strategies, and praxes of transgression that trouble discourses of “normative” Creole (Afro-Caribbean) and heteronormative nationalisms as “authentic” ideologies of Indo- Caribbean gendering—notably, masculinity. Drawing upon historical genealogies of sexual- sacred erotics found within the Hindu, women-exclusive, pre-wedding Indo-Caribbean tradition of matikor, I interrogate how men artists in chutney music spaces perform what I conceptualize as “qoolie subjectivities,” or distinct embodied languages of self that operate through what I argue are long-standing entanglements of Indo-Caribbeanness and queerness that, when excavated via the body, cultivate critical forms of Indo-Caribbean knowing and living. In this essay, I specifically focus on acts of remaking the pejorative term “coolie” from a grammar of harm to one of reclamation, and agentive potential. Such performances choreograph embodiments of erotic self-making, or “qoolieness,” as methods of pursuing transgressive Indo-Caribbean means of doing nonnormative gender and sexuality, offering us important vocalities that speak through genealogies of (post)indentureship chutney feminisms. -
Reading Diaspora and Sundar Popo's Chutney Lyrics As Indo
Mohabir, R 2019 Chutneyed Poetics: Reading Diaspora and Sundar Popo’s Chutney Lyrics as Indo-Caribbean Postcolonial Literature. Anthurium, 15(1): 4, 1–17. ARTICLE Chutneyed Poetics: Reading Diaspora and Sundar Popo’s Chutney Lyrics as Indo-Caribbean Postcolonial Literature Rajiv Mohabir Auburn University, US [email protected] It is my intent for these new readings of Sundar Popo’s song lyrics to not only challenge modern epistemic violence perpetrated against the deemed frivolity of Chutney (as a genre’s) lyrics, but also to utilize the original texts to understand these songs as an essential postcolonial Indo-Caribbean literature. Since the archive of Caribbean literature includes predominantly English, Spanish, French, and various nation languages, I posit the inclusion of Caribbean Hindi as a neglected archive is worth exploring given its rich significations as literature. I engage chutney music, a form of popular music, as poetry to illustrate the construction of Indo-Caribbean identity through the linguistic and poetic features of its lyrics as a cultural production that are created by the syncretisms of the Caribbean. This paper is written in four sections: 1. A Chutneyed Diaspora, 2. Methods and Approach, 3. Chutney Translation and Analysis: Bends Towards Meaning and 4. Diaspora as Chutney. The first section provides a historical stage for the emergence of Chutney music, concentrating on an introduction to the trends of its study by contemporary ethnomusicologists. The second section introduces my own approach to the study of oral traditions as literature and my engagement with my subjective postcolonial positioning as an individual of Indo-Caribbean origin. -
Obituary: David Mcallester Attracting Attention As the First Female World Dance Alliance-Americas
SEM Newsletter Published by the Society for Ethnomusicology Volume 40 Number 4 September 2006 Becoming Ethnomusi- Barbara Smith_ Hon- 2006 Charles Seeger cologists ored by UH Manoa Lecturer: Adrienne L. By Philip V. Bohlman, SEM President Music Department Kaeppler, Smithso- In this column (p.4-5), I turn from Saturday, April 29, 2006. Friends, nian Institution colleagues and supporters of the arts my concern with the issues forming the _ By Ricardo D. Trimillos, University of gathered at the UH Manoa Music De- _ context of ethnomusicology to its meth- Hawai‘i at Manoa ods. At first glance, that turn might partment as the Amphitheatre and Eth- seem like a shift from external to inter- nomusicology Wing of the complex is nal issues. We do, in fact, become dedicated in the name of Emeritus Pro- ethnomusicologists by studying it as a fessor Barbara B. Smith. discipline. Interdisciplinarity, however, Smith’s tenure as a faculty member is not so much a concept of internal and researcher has spanned virtually workings as it is of the bigger picture. It the entire life of the department—from poses questions about how we join her arrival in Hawai‘i in 1949, through together and how we recognize our her official “retirement” in 1982, and to differences before transcending them. the present day in which she remains an Interdisciplinarity, moreover, is a con- active contributor to the university and cept that ethnomusicologists hold as department as a mentor and through very precious. Many, if not most, of us fieldwork and advocacy research. feel it distinguishes our field from oth- “This is a wonderful opportunity to ers, which, so we believe, are narrower recognize the life’s work of an outstand- ing teacher, researcher and performer,” in scope and more limited in their claim _ on knowledge. -
4.845(SJIF) Research Journal of English (RJOE) Vol-3, Issue-4, 2018
Oray’s Publications Impact Factor: 4.845(SJIF) Research Journal Of English (RJOE) Vol-3, Issue-4, 2018 www.rjoe.org.in An International Peer-Reviewed English Journal ISSN: 2456-2696 Indexed in: International Citation Indexing (ICI), International Scientific Indexing (ISI), Directory of Research Journal Indexing (DRJI) Google Scholar & Cosmos. __________________________________________________________________________________ GIRMIT: DIASPORA OF THE ASIATIC SLAVES IN SEA OF POPPIES BY AMITAV GHOSH ____________________________________________________________ Dr Avinash Badgujar Arts, Comm and Science College, Varangaon. Dist- Jalgaon, Maharashtra Abstract: The word girmit refers to the transportation of labour on the basis of the agreement. It also refers to the indentured labour system prevailing in the early nineteenth century. Satis Rai uses the word girmit for "a group of Indians who left the shore of India more than a century ago to fulfil labour needs of the British and other European colonial empires under the Indian indenture system.” (Girmit Focus, Para, 1). I wanted to understand what it was like for deeply rooted people from India’s heartland to travel across the seas (which they thought as the ‘kalapani’). It took a great deal of courage to undertake such a journey- this is one of the reasons why I am fascinated by the migration of labourers. (Chasing the dragon). On the day of Deeti’s vision, Zachary Reid, the son of American freedwoman and her white master, along with his motley crewmates dock the bird-like ship, the Ibis, a few hundred miles away from the village of Deeti. Zachary has started his career on the Ibis as a carpenter in Baltimore but very soon he is promoted to the second mate of the ship. -
Singing Alha, Birha, and the Ramayan in the Indic Caribbean
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2012 The trajectories of transplants: Singing Alha, Birha, and the Ramayan in the Indic Caribbean Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/310 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Trajectories of Transplants: Singing Alhâ, Birhâ, and the Râmâyan in the Indic Caribbean Peter Manuel Abstract: Indo-Caribbean music culture includes a stratum of traditional genres derived from North India’s Bhojpuri region. This article discusses three such genres: Alhâ- singing, an archaic form of birhâ, and an antiphonal style of singing the Tulsidas Râmâyan. Despite the lack of supportive contact with the Bhojpuri region after 1917, these genres flourished until the 1960s, after which the decline of Bhojpuri as a spoken language in Trinidad and Guyana, together with the impact of modernity in general, undermined their vitality. A comparative perspective with North Indian counterparts reveals illuminating parallels and contrasts. Indo-Caribbean music culture is a rich and heterogeneous entity, comprising syncretic commercial popular hybrids like chutney-soca, unique neo-traditional forms like tassa drumming and local-classical singing, and traditional genres like chowtâl which are essentially identical to their South Asian forebears. In this article I examine a particular stratum of Indo-Caribbean music, in the form of a set of narrative folk song genres transplanted from North India’s Bhojpuri region during the indentureship period (1845-1917). -
LCSH Section B
B, Madame (Fictitious character) BT Boeing bombers B lymphocyte differentiation USE Madame B (Fictitious character) Jet bombers BT Cell differentiation B (Computer program language) B-50 bomber (Not Subd Geog) — — Molecular aspects [QA76.73.B155] UF B-29D bomber BT Molecular biology BT Programming languages (Electronic Boeing B-50 (Bomber) — Tumors (May Subd Geog) computers) Boeing Superfortress (Bomber) [RC280.L9] B & D (Sexual behavior) Superfortress (Bomber) UF B cell neoplasia USE Bondage (Sexual behavior) XB-44 bomber B cell neoplasms B & L Landfill (Milton, Wash.) BT Boeing bombers B cell tumors This heading is not valid for use as a geographic Bombers B lymphocyte tumors subdivision. B-52 (Bomber) BT Lymphomas UF B and L Landfill (Milton, Wash.) USE B-52 bomber NT Burkitt's lymphoma B&L Landfill (Milton, Wash.) [UG1242.B6] Multiple myeloma BT Sanitary landfills—Washington (State) UF B-52 (Bomber) B/D (Sexual behavior) B-1 bomber Stratofortress (Bomber) USE Bondage (Sexual behavior) USE Rockwell B-1 (Bomber) BT Boeing bombers B.E.2 (Military aircraft) (Not Subd Geog) B-2 bomber (Not Subd Geog) Jet bombers UF BE2 (Fighter plane) [Former heading] [UG1242.B6] Strategic bombers BE2 (Military aircraft) UF Advanced Technology Bomber B-57 (Miltary aircraft) Bleriot Experimental 2 (Military aircraft) Spirit (Stealth bomber) USE Canberra (Military aircraft) British Experimental 2 (Military aircraft) Stealth bomber B-58 (Bombers) Royal Aircraft Factory B.E.2 (Military aircraft) BT Jet bombers USE B-58 bomber BT Airplanes, Military Northrop aircraft B-58 bomber (Not Subd Geog) Royal Aircraft Factory aircraft Stealth aircraft UF B-58 (Bombers) B emission stars Strategic bombers B-58 Hustler (Bombers) USE Be stars B-3 organ General Dynamics B-58 Shell stars USE Hammond B-3 organ Hustler (Bombers) B. -
Jaswina Elahi
Work in progress. Please, do not quote with permission of the author. E-mailaddress:[email protected]/[email protected] Little informal institutions: Traditional dances of the Surinamese Hindustani Community Jaswina Elahi Abstract While the scholarly literature agrees that traditions are a kind of institution, the relationship between these two concepts has not been much elaborated. This paper argues first that current perspectives on institutions do not include traditions as they focus on formal and ubiquitous institutions, such as corporations, government and schools. In addition, the paper conceptualizes traditions as a specific form of institutions. Second, the paper argues that because some small institutions, like those of ethnic minorities in Western societies, are less omnipresent, scholarly interest has remained largely limited to language, religion and family structures. Third, the paper argues that in this perspective a specific category of institutions, represented by ethnic traditions, has been ignored. These traditions are recurrent (although not omnipresent), informal and small, while fostering the social cohesion of the ethnic community. The proposition that these specific traditions are a kind of little institution that is recurrent and fosters the ethnic community is exemplified by folk dances of the Dutch Hindustani community. Keywords: traditions, institutions, traditional dances, baithak gana ke naach, londa ke naach, ahir ke naach, social cohesion 1. Introduction Institutions are often divided in formal and informal categories, and scholars have mainly focused on formal institutions, for example in terms of religion (Abrutyn, 2013; Stark, 2007), organisations (DiMaggio & Powell, 1983; Scot, 2001), legal systems (Abrutyn, 2009; Turner,1997), political parties (Rhodes et al., 2006; Lowndes & Roberts, 2013 ) and economics and markets (Nee, 2005; Nentjes, 2004). -
The Lyrics of Thumn
The Lyrics of Thumn: Hindi Poetry in a Musical Genre Lara Mirene (Lalita) du Perron A thesis submitted to the University of London for the degree of Doctor of Philosophy (PhD) Department of the Languages and Cultures of South Asia School of Oriental and African Studies January 2000 ProQuest Number: 10731628 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731628 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract Thumri is a vocal genre in North Indian (Hindustani) art music. It was traditionally used in songstress-courtesan performance, in the early nineteenth century as an accompaniment to interpretive dance, and later as a lyrical and emotive song form. TTiumri is now one of the most popular genres in contemporary art music. The lyrics of thumri have not been the subject of extensive academic enquiry. This dissertation examines thumri texts from two perspectives: linguistic and contextual. It is primarily based on song texts collected during field work in North India in 1996-97, as well as on material transcribed from commercial recordings and printed sources. -
Ustad Amir Khan, S
THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’, Mumbai ------------------------------------------------------------------------ ISSN 0971-7942 Volume - Annual: TRN 2006 ------------------------------------------------------------------------------------------------------------ S.I.R.C. Branches: Mumbai, Pune, Solapur, Nanded, Tuljapur, Baroda, Amravati ============================================================= Feature Article in this Issue: Gramophone Celebrities Master Ashraf Khan Gauhar Jan of Calcutta (C.1870-1930) Keshavrao Bhosle & Bal Gandharva Other articles: Ustad Amir Khan, S. D. Burman, Smt. Saraswati Rane 1 ‘The Record News’ - Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1000 Overseas US $ 100 Life Membership Rs. 10000 Overseas US $ 1000 Annual term: July to June Members joining