DOCSLIB.ORG

Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi Ethiraj Gabriel Dattatreyan University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Social and Cultural Anthropology Commons Recommended Citation Dattatreyan, Ethiraj Gabriel, "Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi" (2015). Publicly Accessible Penn Dissertations. 1037. https://repository.upenn.edu/edissertations/1037 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1037 For more information, please contact [email protected]. Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi Abstract Delhi has nearly doubled in population since the early 1990s due to in-migration (censusindia.gov, 2011). These migrants, like migrants around the world, strive to adapt to their new surroundings by producing themselves in ways which make them socially, economically, and politically viable. My project examines how recent international and intranational immigrant youth who have come to Delhi to partake in its economic possibilities and, in some cases, to escape political uncertainty, are utilizing globally circulating popular cultural forms to make themselves visible in a moment when the city strives to recast its image as a world class destination for roaming capital (Roy, 2011). I focus on two super diverse settlement communities in South Delhi to explore the citizenship making claims of immigrant youth who, to date, have been virtually invisible in academic and popular narratives of the city. Specifically, I follow three groups of ethnically diverse migrant youth from these two settlement communities as they engage with hip hop, a popular cultural form originating in Black American communities in the 1970s (Chang, 2006; Morgan, 2009; Rose, 1994). As hip hop's music and its practices gain popularity amongst youth in Delhi from across a wide spectrum of class and ethnic positions, I trace how these migrant youth utilize its styles and globally reaching networks coupled with inexpensive digital capture technology to fashion themselves and their settlement communities as part of a world class urbanity in the making. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Anthropology First Advisor John L. Jackson Second Advisor Stanton E. Wortham Keywords hip hop, India, media, urbanity, youth Subject Categories Social and Cultural Anthropology This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/1037 AESTHETIC CITIZENSHIP; POPULAR CULTURE, MIGRANT YOUTH, AND THE MAKING OF ‘WORLD CLASS’ DELHI Ethiraj Gabriel Dattatreyan A DISSERTATION in Anthropology and Education Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2015 Supervisor of Dissertation: Co-Supervisor of Dissertation _____________________________________ __________________________________ John L. Jackson, Jr., Richard Perry Professor Stanton E.F. Wortham, Judy & Howard of Communication, Anthropology & Africana Berkowitz Professor of Education Studies Graduate Group Chairperson, Anthropology Graduate Group Chairperson, Education ______________________________________ __________________________________ Clark L. Erickson, Professor of Anthropology Stanton E.F. Wortham, Judy & Howard Berkowitz Professor of Education Dissertation Committee: John L. Jackson, Jr. Richard Perry Professor of Communication, Anthropology, & Africana Studies Stanton E.F. Wortham, Judy & Howard Berkowitz Professor of Education Lisa Mitchell, Associate Professor of South Asia Studies AESTHETIC CITIZENSHIP: POPULAR CULTURE, MIGRANT YOUTH, AND THE MAKING OF WORLD CLASS DELHI. COPYRIGHT 2015 Ethiraj Gabriel Dattatreyan This work is licensed under the Creative Commons Attribution- Non Commercial-Share Alike 3.0 License To view a copy of this license, visit http://creativecommons.org/licenses/by-ny-sa/2.0/ DEDICATION I dedicate this book to Tajeme Sylvester and the many moments we shared on the streets of New York at the start of the new millennium, the smoke of 9/11 just clearing as we rhymed to understand the twists and turns of our lives and struggled to peer into our individual futures through the words we conjured in our meanderings. Rest in peace. iii ACKNOWLEDGMENTS The journey that has culminated in the production of this artifact owes several debts of gratitude. First, I would like to thank Lisa Mitchell for inspiring me to think about returning to India to do fieldwork. If not for her early intervention in my academic career I would not have imagined it possible to come ‘home’ to engage with urban India’s rapidly changing social contexts. Much of my intellectual trajectory in the last three years is a direct result of the sensitive and empathetic guidance of John Jackson Jr. If not for his support, I don’t believe I would have thought it possible to utilize film and photo in my research endeavors or to engage with the slippery task of theorizing youthful experimentations in digital cultural production. Throughout my journey John has provided me steady guidance with a light touch – and for that I am extremely grateful. I would also like to thank Stanton Wortham for his support in the latter stages of my journey into the academe. His pithy and straight to the point advice has been invaluable as I gear up to teach, write, read, make films, and write some more for years to come. I would like to extend a special thanks to Sharon Ravitch for encouraging my interest to develop and design an explicit mechanism for collaborative exchange in my research endeavors. Our conversations during my second year and third year of graduate school and the support she gave me to pursue my own path as an intellectual/educator, enriched my experience in the “field’ greatly. Also, I would also like to offer a sincere thank you to Kathleen Hall and Kathy Schultz who, in my first years at the University of Pennsylvania, really made me feel welcome and in the ‘right’ place. While in Delhi I met so many amazing people who inspired and supported my work. I owe a huge debt of gratitude to Jaspal Singh, who was an amazing interlocutor, thought partner and friend throughout his stay in Delhi. I look forward to thinking and writing with him in years to come. I would also like to acknowledge Amardeep Kainth, whose wit and razor sharp insights made Khirki feel like home and whose proofreading prowess allowed this manuscript to arrive at completion with as few possible blemishes as could be hoped for. I would like to thank Pooja Sood, the director of KHOJ International Artists Association, for supporting my work. The encouragement and support Pooja offered as she encouraged me to think of my work as artistic practice as well as social science method culminated in an exhibition at KHOJ of some of the collaborative film and photography work I did with some of my young interlocutors in Khirki at the tail end of my stay in Delhi – an amazing event which I am deeply thankful came into fruition. Also, I would like to thank the KHOJ staff, Sitara Chowfla, Manjiri Dube, and Tenzin Lekmon to name a few, who created a supportive and friendly space for me to bring some of the young men in my study when we had no other place to go and tirelessly helped us put our show together in the spring of 2014. Aditya Keswani also warrants a heartfelt thank you for all the hours he put in to help complete the final edit of the film, Cry Out Loud. Of course, and perhaps most importantly, a great big thanks to all the young men and women in Delhi’s hip hop scene that took me into their worlds with open hearts and open minds. Their generous creative spirits kept me inspired and hopeful in the days I spent in Delhi and brought me back to my teenage years in NYC where I found creative inspiration and personal upliftment in hip hop’s arts. Last, iv but certainly not least, I am grateful to my partner of many years, Karin Hilfiker, for lovingly keeping me sane during this process of becoming. v ABSTRACT AESTHETIC CITIZENSHIP: POPULAR CULTURE, MIGRANT YOUTH AND THE MAKING OF WORLD CLASS DELHI Ethiraj Gabriel Dattatreyan John Lester Jackson Jr. Stanton E.F. Wortham Delhi has nearly doubled in population since the early 1990s due to in-migration (censusindia.gov, 2011). These migrants, like migrants around the world, strive to adapt to their new surroundings by producing themselves in ways which make them socially, economically, and politically viable. My project examines how recent international and intranational immigrant youth who have come to Delhi to partake in its economic possibilities and, in some cases, to escape political uncertainty, are utilizing globally circulating popular cultural forms to make themselves visible in a moment when the city strives to recast its image as a world class destination for roaming capital (Roy, 2011). I focus on two super diverse settlement communities in South Delhi to explore the citizenship making claims of immigrant youth who, to date, have been virtually invisible in academic and popular narratives of the city. Specifically, I follow three groups of ethnically diverse migrant youth from these two settlement communities as they engage with hip hop, a popular cultural form
Load more

Recommended publications
  • Rashtrapati Bhavan and the Central Vista.Pdf
    RASHTRAPATI BHAVAN and the Central Vista © Sondeep Shankar Delhi is not one city, but many. In the 3,000 years of its existence, the many deliberations, decided on two architects to design name ‘Delhi’ (or Dhillika, Dilli, Dehli,) has been applied to these many New Delhi. Edwin Landseer Lutyens, till then known mainly as an cities, all more or less adjoining each other in their physical boundary, architect of English country homes, was one. The other was Herbert some overlapping others. Invaders and newcomers to the throne, anxious Baker, the architect of the Union buildings at Pretoria. to leave imprints of their sovereign status, built citadels and settlements Lutyens’ vision was to plan a city on lines similar to other great here like Jahanpanah, Siri, Firozabad, Shahjahanabad … and, capitals of the world: Paris, Rome, and Washington DC. Broad, long eventually, New Delhi. In December 1911, the city hosted the Delhi avenues flanked by sprawling lawns, with impressive monuments Durbar (a grand assembly), to mark the coronation of King George V. punctuating the avenue, and the symbolic seat of power at the end— At the end of the Durbar on 12 December, 1911, King George made an this was what Lutyens aimed for, and he found the perfect geographical announcement that the capital of India was to be shifted from Calcutta location in the low Raisina Hill, west of Dinpanah (Purana Qila). to Delhi. There were many reasons behind this decision. Calcutta had Lutyens noticed that a straight line could connect Raisina Hill to become difficult to rule from, with the partition of Bengal and the Purana Qila (thus, symbolically, connecting the old with the new).
    [Show full text]
  • Open Lyric and Liberation.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF PHILOSOPHY LYRIC AND LIBERATION: ADORNO AND THE DIALECTICAL IMPLICATIONS OF BRAZILIAN HIP HOP ALEXANDER GONCALVES Fall 2018 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Philosophy with honors in Philosophy Reviewed and approved* by the following: Eduardo Mendieta Professor of Philosophy Thesis Supervisor Brady Bowman Professor of Philosophy Honors Adviser * Signatures are on file in the Schreyer Honors College. i Abstract This paper offers a critique of the cultural defeatism posited in Theodor Adorno’s 1937 work “On Jazz” through adumbration of the music of Brazilian favelas. Whereas Adorno sees musical attempts at liberation as nullified by their subservience to the whims of government and market, the research and reflection here evidences the emancipatory nature of music. Brazilian Funk demonstrates our capacity to advance change through music, and thus calls upon us to build more efficacious systems for fostering and assimilating music of the world’s people. In refuting Adorno’s condemnation of jazz, I craft a narrative evidencing the pragmatic import of fostering musical outlets within communities while acknowledging the dangers of artistic proliferation in capitalist society. The case of the funk movement in Rio De Janeiro demonstrates art’s function both as a liberatory tool and fulcrum for exploitation. The data substantiating this thesis were compiled through myriad sources: the social and aesthetic theory of Adorno, his contemporaries, and predecessors; interviews with Brazilian funk musicians, musicologists, and enthusiasts; three months investigating the musical communities in Rio De Janeiro and São Paulo; relevant documentaries, ethnographic and historical research, news archives, musical releases, and other online media.
    [Show full text]
  • University of Education, Winneba
    University of Education, Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA DEPARTMENT OF HEALTH PHYSICAL EDUCATION, RECREATION AND SPORTS THE ROLE OF HIPLIFE MUSIC IN THE DEVELOPMENT OF PHYSICAL FITNESS AMONG STUDENTS OF MABANG SENIOR HIGH TECHNICAL SCHOOL ASHANTI REGION ASARE-OWUSU ERIC 2013 University of Education, Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA THE ROLE OF HIPLIFE MUSIC IN THE DEVELOPMENT OF PHYSICAL FITNESS AMONG STUDENTS OF MABANG SENIOR HIGH TECHNICAL SCHOOL ASHANTI REGION BY ASARE-OWUSU ERIC 7100090003 THESIS IN THE DEPARTMENT OF HEALTH PHYSICAL EDUCATION, RECREATION AND SPORTS, FACULTY OF SCIENCE EDUCATION SUBMITTED TO THE SCHOOL OF GRADUATE STUDIES, UNIVERSITY OF EDUCATION, WINNEBA IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE AWARD OF MASTER OF EDUCATION. (PHYSICAL EDUCATION) AUGUST, 2013 University of Education, Winneba http://ir.uew.edu.gh DECLARATION Student’s Declaration I, Eric Asare-Owusu hereby declare that this thesis, with the exception of quotations and references contained in published works which have all been identified and duly acknowledged, is entirely my own original work, and it has not been submitted, either in part or whole, for another degree elsewhere. Signature ……………………………. Date…………………………….. Supervisor’s Declaration I hereby declare that the preparation and presentation of this work was supervised in accordance with the guidelines for supervision of Thesis as laid down by the University of Education, Winneba. Name of Supervisor: Dr. Henry Augustine Pufaa Signature ……………………………. Date………………………….. University of Education, Winneba http://ir.uew.edu.gh DEDICATION This work is dedicated to my dear wife Selina Baidoo who has supported me thus far and my children Hanna Owusuaa Duben, Felix Duben Asare, Kofi Asamoa Asare and Yaw Ofori Asare.
    [Show full text]
  • The Mixtape: a Case Study in Emancipatory Journalism
    ABSTRACT Title of Dissertation: THE MIXTAPE: A CASE STUDY IN EMANCIPATORY JOURNALISM Jared A. Ball, Doctor of Philosophy, 2005 Directed By: Dr. Katherine McAdams Associate Professor Philip Merrill College of Journalism Associate Dean, Undergraduate Studies During the 1970s the rap music mixtape developed alongside hip-hop as an underground method of mass communication. Initially created by disc-jockeys in an era prior to popular “urban” radio and video formats, these mixtapes represented an alternative, circumventing traditional mass medium. However, as hip-hop has come under increasing corporate control within a larger consolidated media ownership environment, so too has the mixtape had to face the challenge of maintaining its autonomy. This media ownership consolidation, vertically and horizontally integrated, has facilitated further colonial control over African America and has exposed as myth notions of democratizing media in an undemocratic society. Acknowledging a colonial relationship the writer created FreeMix Radio: The Original Mixtape Radio Show where the mixtape becomes both a source of free cultural expression and an anti-colonial emancipatory journalism developed as a “Third World” response to the needs of postcolonial nation-building. This dissertation explores the contemporary colonizing effects of media consolidation, cultural industry function, and copyright ownership, concluding that the development of an underground press that recognizes the tremendous disparities in advanced technological access (the “digital divide”) appears to be the only viable alternative. The potential of the mixtape to serve as a source of emancipatory journalism is studied via a three-pronged methodological approach: 1) An explication of literature and theory related to the history of and contemporary need for resistance media, 2) an analysis of the mixtape as a potential underground mass press and 3) three focus group reactions to the mixtape as resistance media, specifically, the case study of the writer’s own FreeMix Radio: The Original Mixtape Radio Show.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting
    HIP-HOP LIFE AND LIVELIHOOD IN NAIROBI, KENYA By JOHN ERIK TIMMONS 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 2018 © 2018 John Erik Timmons To my parents, John and Kathleen Timmons, my brothers, James and Chris Timmons, and my wife, Sheila Onzere ACKNOWLEDGMENTS The completion of a PhD requires the support of many people and institutions. The intellectual community at the University of Florida offered incredible support throughout my graduate education. In particular, I wish to thank my committee members, beginning with my Chair Richard Kernaghan, whose steadfast support and incisive comments on my work is most responsible for the completion of this PhD. Luise White and Brenda Chalfin have been continuous supporters of my work since my first semester at the University of Florida. Abdoulaye Kane and Larry Crook have given me valuable insights in their seminars and as readers of my dissertation. The Department of Anthropology gave me several semesters of financial support and helped fund pre-dissertation research. The Center for African Studies similarly helped fund this research through a pre-dissertation fellowship and awarding me two years’ support the Foreign Language and Area Studies Fellowship. Another generous Summer FLAS Fellowship was awarded through Yale’s MacMillan Center Council on African Studies. My language training in Kiswahili was carried out in the classrooms of several great instructors, Rose Lugano, Ann Biersteker, and Kiarie wa Njogu. The United States Department of Education generously supported this fieldwork through a Fulbright-Hays Doctoral Dissertation Research Award.
    [Show full text]
  • Organized Hip Hop Movement of Brazil: Strengthening Ventures Through Network Ties
    NESsT Case Study Series 26 Nonprofit Brazil Enterprise and English Self-sustainability August Team (NESsT) 2007 Organized Hip Hop Movement of Brazil: Strengthening Ventures Through Network Ties Developed in cooperation with the Organized Hip Hop Movement of Brazil. mh2odobrasil.blogspot.com The publication of this case study was made possible thanks to the generous support of Nike. Copyright 2007 NESsT. All rights reserved. Not to be distributed, cited, copied or referenced without permission of NESsT. Organized Hip Hop Movement of Brazil NESsT Strengthening Ventures Through Network Ties August 2007 2 Brazil 1 NESsT uses the term Executive Summary "self-financing" to refer to diverse strategies used by civil society The Organized Hip Hop Movement of Brazil is the largest Brazilian hip hop organizations to organization, with a presence in 14 states and business promotion activities in five generate their own of those states. It was founded in 1989 in the city of Fortaleza, the capital of the revenues (sale of State of Ceará, in Brazil's Northeast region. The Movement expanded rapidly products, service fees, throughout the city, and subsequently reached Ceará's interior and surrounding use of hard or soft states. The organization resulted from the merger of the Student Movement and assets, and dividends or Hip Hop's Crews and historically has operated in concert with Brazilian social and investment income). popular movements. NESsT uses the term "social enterprise" to refer to self-financing In 1998, the Movement created a legal non-governmental organization (NGO), activities that are known in Portuguese as Movimento Hip Hop Organizado do Brasil (MH2O), and designed by a CSO to began to function institutionally, becoming one of the largest Brazilian youth significantly strengthen NGOs.
    [Show full text]
  • Hip-Hop & the Global Imprint of a Black Cultural Form
    Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University.
    [Show full text]
  • JOURNEY SO FAR of the River Drain Towards East Water
    n a fast growing city, the place of nature is very DELHI WITH ITS GEOGRAPHICAL DIVISIONS DELHI MASTER PLAN 1962 THE REGION PROTECTED FOREST Ichallenging. On one hand, it forms the core framework Based on the geology and the geomorphology, the region of the city of Delhi The first ever Master plan for an Indian city after independence based on which the city develops while on the other can be broadly divided into four parts - Kohi (hills) which comprises the hills of envisioned the city with a green infrastructure of hierarchal open REGIONAL PARK Spurs of Aravalli (known as Ridge in Delhi)—the oldest fold mountains Aravalli, Bangar (main land), Khadar (sandy alluvium) along the river Yamuna spaces which were multi functional – Regional parks, Protected DELHI hand, it faces serious challenges in the realm of urban and Dabar (low lying area/ flood plains). greens, Heritage greens, and District parks and Neighborhood CULTIVATED LAND in India—and river Yamuna—a tributary of river Ganga—are two development. The research document attempts to parks. It also included the settlement of East Delhi in its purview. HILLS, FORESTS natural features which frame the triangular alluvial region. While construct a perspective to recognize the role and value Moreover the plan also suggested various conservation measures GREENBELT there was a scattering of settlements in the region, the urban and buffer zones for the protection of river Yamuna, its flood AND A RIVER of nature in making our cities more livable. On the way, settlements of Delhi developed, more profoundly, around the eleventh plains and Ridge forest.
    [Show full text]
  • Arts and the City Abstract Booklet
    Arts and the City International Conference Budapest, 23-24 May 2019 Booklet of Abstracts artsandthecity2019.wordpress.com Keynote Speakers BERNARDINE EVARISTO, writer, London (author of Lara, Soul Tourists and Blonde Roots, among other novels) “The Many Londons of Amazing London: The Capital as Muse & City of Experimentation for this Black Woman Writer” As a writer of fiction and verse fiction, London has been a muse in most of my eight books. I am constantly finding ways to narrativize it from multiple perspectives, and through different eras and generations, as well as creating imaginary versions of the capital city in two of my books where I invented parallel universes. In my talk I will investigate how London has manifested as a guiding light for my imagination, how my writing subverts the dominant narratives about the city today and in history, and how London’s rich multiculturalism presents never-ending possibilities for creativity and storytelling. ANDREW GIBSON, Royal Holloway, University of London “The City and the Historicity of Affect in European Art Cinema 1945-80” The city, the metropolis, the megalopolis is what is increasingly given us to think and think from. Cities are where we can pursue truth and reality. What exactly does the city, or, if you like, the planetary megalopolis gives us to think? For me, above all, a historical materialism; but a historical materialism that is sui generis, of its own kind, not to be confused with other historical materialisms, a historical materialism specifically of the city. On the one hand, self- evidently, cities are always material entities, cannot be otherwise.
    [Show full text]
  • Jahanpanah Fort, Delhi
    Jahanpanah Jahanpanah Fort, Delhi Jahanpanah was a fortified city built by Muhammad bin Tughlaq to control the attacks made by Mongols. Jahanpanah means Refuge of the World. The fortified city has now been ruined but still some portions of the fort can still be visited. This tutorial will let you know about the history of the fort along with the structures present inside. You will also get the information about the best time to visit it along with how to reach the fort. Audience This tutorial is designed for the people who would like to know about the history of Jahanpanah Fort along with the interiors and design of the fort. This fort is visited by many people from India and abroad. Prerequisites This is a brief tutorial designed only for informational purpose. There are no prerequisites as such. All that you should have is a keen interest to explore new places and experience their charm. Copyright & Disclaimer Copyright 2017 by Tutorials Point (I) Pvt. Ltd. All the content and graphics published in this e-book are the property of Tutorials Point (I) Pvt. Ltd. The user of this e-book is prohibited to reuse, retain, copy, distribute, or republish any contents or a part of contents of this e-book in any manner without written consent of the publisher. We strive to update the contents of our website and tutorials as timely and as precisely as possible, however, the contents may contain inaccuracies or errors. Tutorials Point (I) Pvt. Ltd. provides no guarantee regarding the accuracy, timeliness, or completeness of our website or its contents including this tutorial.
    [Show full text]
  • Sooloos Collections: Advanced Guide
    Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus ..............................................................................................................................................................
    [Show full text]
  • Report 08-2021
    India Gate, Delhi India Gate - The Pride of New Delhi A magnificent archway standing at the crossroads of Rajpath- the India Gate is a war memorial dedicated to the 70000 Indian soldiers who lost their lives in the First World War fighting on behalf of the allied forces. The erstwhile name of India gate is All India War Memorial. Architecture The India Gate was designed by Sir Edwin Lutyens, the English architect famous for planning a large part of New Delhi . His Royal Highness, the Duke of Connaught laid the foundation stone. Ten years later, Lord Irwin, the then Viceroy of India dedicated the India Gate to the nation. Lutyen was famous for combining classical architecture with traditional Indian elements. A remarkable instance of the classic arch of Lutyen's Delhi Order, the India Gate is a key symbol of New Delhi- the eighth city of Delhi. It bears a strong resemblance to the Arc de Triomphe in France. Though essentially a war memorial, the India Gate also borrows from the Mughal style of creating gateways. The India Gate stands on a base of red Bharatpur stone. The edifice itself is made of red sandstone and granite. An inverted interior dome appears on two square shaped trunks. Imperial signs are inscribed on the cornice. On both the sides of the arch is inscribed the word the word INDIA. The start and end dates of WWI appear on either side of the word. The columns are inscribed with the names of 13516 British and Indian soldiers who had died in the Northwestern Frontier in the Afghan war.
    [Show full text]