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Copyright by Kristen Dawn Rudisill 2007
Copyright by Kristen Dawn Rudisill 2007 The Dissertation Committee for Kristen Dawn Rudisill certifies that this is the approved version of the following dissertation: BRAHMIN HUMOR: CHENNAI’S SABHA THEATER AND THE CREATION OF MIDDLE-CLASS INDIAN TASTE FROM THE 1950S TO THE PRESENT Committee: ______________________________ Kathryn Hansen, Co-Supervisor ______________________________ Martha Selby, Co-Supervisor ______________________________ Ward Keeler ______________________________ Kamran Ali ______________________________ Charlotte Canning BRAHMIN HUMOR: CHENNAI’S SABHA THEATER AND THE CREATION OF MIDDLE-CLASS INDIAN TASTE FROM THE 1950S TO THE PRESENT by Kristen Dawn Rudisill, B.A.; A.M. 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 December 2007 For Justin and Elijah who taught me the meaning of apu, pācam, kātal, and tuai ACKNOWLEDGMENTS I came to this project through one of the intellectual and personal journeys that we all take, and the number of people who have encouraged and influenced me make it too difficult to name them all. Here I will acknowledge just a few of those who helped make this dissertation what it is, though of course I take full credit for all of its failings. I first got interested in India as a religion major at Bryn Mawr College (and Haverford) and classes I took with two wonderful men who ended up advising my undergraduate thesis on the epic Ramayana: Michael Sells and Steven Hopkins. Dr. Sells introduced me to Wendy Doniger’s work, and like so many others, I went to the University of Chicago Divinity School to study with her, and her warmth compensated for the Chicago cold. -
Readying the Purnahutis, to Dressing of 11 Rudrams, Accompanied the Devi and Every Murthi Inside by Bilva Archana for 11 Shiva the Temple
Sri Chakra The Source of the Cosmos The Journal of the Sri Rajarajeswari Peetam, Rush, NY Blossom 13 Petal 1 March 2009 Om Nama Shivaya... MarchMarch NewsletterNewsletter Since the last issue... The beginning of December saw Aiya come up to Toronto to teach the kids’ class and Kitchener/ Waterloo to teach a class and make personal visits. He was back in Rochester for Karthikai Deepam on Dec. 11. The temple hosted large crowds later in the month when it Clockwise from top: Aiya was hosted a Rudra homam workshop honoured by Nemili Ezhilmani; on the 27th and the annual kids’ Annamalai temple and mountain; Aiya Matangi homam on the 28th. and Amma at the conference; Aiya The next big event after that was delivering his address on mantra, tantra and yantra; our gurus hanging Thiruvempavai for the first 10 days out with their gurus. of 2009. After Ardhra Dharshanam, Aiya and Amma briefly visited Delaware before embarking on a two-week trip to India. Satpurananda. They were in Kanchipuram and After the conference, Amma and Nemili on the 16th, where they Aiya flew to Visakapatnam to see received a wonderful welcome. Ammah and Guruji and also to Aiya’s rendition of Bala Kavacham visit Devipuram. After that, they was playing as they entered the went to kumbhakonam and later Nemili peetam. From there, Amma met Sri Shangaranarayanan to and Aiya went to Thiruvannamalai, discuss items needed for the SVTS and then Chidambaram. kumbhabhishekam in 2010. They then came back to Upon returning from India on Chennai, where they visited the evening of Jan. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility. -
Global Feminisms: Interview Transcripts: India Language: English
INDIA Global Feminisms: Comparative Case Studies of Women’s Activism and Scholarship Interview Transcripts: India Language: English Interview Transcripts: India Contents Acknowledgments 3 Shahjehan Aapa 4 Flavia Agnes 23 Neera Desai 48 Ima Thokchom Ramani Devi 67 Mahasweta Devi 83 Jarjum Ete 108 Lata Pratibha Madhukar 133 Mangai 158 Vina Mazumdar 184 D. Sharifa 204 2 Acknowledgments Global Feminisms: Comparative Case Studies of Women’s Activism and Scholarship was housed at the Institute for Research on Women and Gender at the University of Michigan (UM) in Ann Arbor, Michigan. The project was co-directed by Abigail Stewart, Jayati Lal and Kristin McGuire. The China site was housed at the China Women’s University in Beijing, China and directed by Wang Jinling and Zhang Jian, in collaboration with UM faculty member Wang Zheng. The India site was housed at the Sound and Picture Archives for Research on Women (SPARROW) in Mumbai, India and directed by C.S. Lakshmi, in collaboration with UM faculty members Jayati Lal and Abigail Stewart. The Poland site was housed at Fundacja Kobiet eFKa (Women’s Foundation eFKa) in Krakow, Poland and directed by Slawka Walczewska, in collaboration with UM faculty member Magdalena Zaborowska. The U.S. site was housed at the Institute for Research on Women and Gender at the University of Michigan in Ann Arbor, Michigan and directed by UM faculty member Elizabeth Cole. Graduate student interns on the project included Nicola Curtin, Kim Dorazio, Jana Haritatos, Helen Ho, Julianna Lee, Sumiao Li, Zakiya Luna, Leslie Marsh, Sridevi Nair, Justyna Pas, Rosa Peralta, Desdamona Rios and Ying Zhang. -
Musical Instruments of South Asian Origin Depicted on the Reliefs at Angkor, Cambodia
Musical instruments of South Asian origin depicted on the reliefs at Angkor, Cambodia EURASEAA, Bougon, 26th September, 2006 and subsequently revised for publication [DRAFT CIRCULATED FOR COMMENT] Roger Blench Mallam Dendo Ltd. 8, Guest Road Cambridge CB1 2AL United Kingdom Voice/ Fax. 0044-(0)1223-560687 Mobile worldwide (00-44)-(0)7967-696804 E-mail [email protected] http://www.rogerblench.info/RBOP.htm Cambridge, Monday, 02 July 2007 TABLE OF CONTENTS 1. INTRODUCTION: MUSICAL ICONOGRAPHY IN SE ASIA..................................................................1 2. MUSICAL ICONOGRAPHY AT ANGKOR ................................................................................................1 3. THE INSTRUMENTS......................................................................................................................................2 3.1 Idiophones.....................................................................................................................................................................2 3.2 Drums............................................................................................................................................................................3 3.3 Strings ...........................................................................................................................................................................4 3.4 Wind instruments.........................................................................................................................................................5 -
RMTU 2021 Downloadable Schedule
RMTU 2021 /colfinearts 14th Annual Rocky Mountain Sou th Asian Classical Music Festival from CFAA Feb 26-28, Mar 5-7, 12-14, 2021 Register @ rmtu.org | SUBSCRIBE to YouTube.com/colfinearts Day 1 Friday Feb 26th, 6:00 PM MDT | Saturday Feb 27th, 6:30 AM IST Pancharatna Renditions by Colorado Community Artists Basavaraj Brothers Jugalbandi - Carnatic Violin & Hindustani Sitar How to watch RMTU 2021 ? Register @ rmtu.org & SUBSCRIBE to YouTube.com/colfinearts [email protected] rmtu.org +1 (720) 340 CFAA /colfinearts /COLORADOFINEARTSASSOCIATION /COLORADOFINEARTSASSOCIATION RMTU 2021 /colfinearts 14th Annual Rocky Mountain South Asian Classical Music Fes tival | Since 2008 - Presented by Colorado Fine Arts Association (CFAA) Feb 26-28, Mar 5-7, 12-14, 2021 Register @ rmtu.org | SUBSCRIBE to YouTube.com/colfinearts Day 2 Saturday Feb 27th, 8:00 AM MDT | Saturday Feb 27th, 8:30 PM IST Prince Rama Varma Carnatic Concert Conversation with Prince Rama Varma Saturday Feb 27th, 2:00 PM MDT | Sunday Feb 28th, 2:30 AM IST Saturday Feb 27th, 6:00 PM MDT | Monday Feb 28th, 6:30 AM IST Gowri Nandakumar with Rohan Nandakumar Carnatic Vocal Ananya Kashyap Carnatic Vocal Srikriti Bhaskara Carnatic Vocal Milind Tulankar Hindustani Jalatarang Priyanka Nair Carnatic Vocal Srinikapriya Gridharan Carnatic Vocal Sangeetha Rao Carnatic Vocal Annika Ajay Carnatic Flute Godaa Hitesh Carnatic Vocal Viraj Joshi Hindustani Vocal Pavani Chivukula Carnatic Vocal Sooraj Lal Carnatic Vocal Manu Chandrasekharan Carnatic Vocal Saijyothi Ramgopal Carnatic Vocal Manjusha -
Iasbaba's 60 Days Plan – Day 48 (History)
IASbaba’s 60 Days Plan – Day 48 (History) 2018 Q.1) Consider the following pairs about Sufi philosophy. Philosophy Meaning 1. Waḥdat al-wujūd Unity of Existence 2. Waḥdat ash-shuhūd Unity of appearance 3. Al-Wujūd Al-Munbasiṭ Self-unfolding Being Which of the above pairs is/are correctly matched? a) 1 only b) 1 and 2 only c) 1, 2 and 3 d) 3 only Q.1) Solution (c) Major ideas in Sufi metaphysics have surrounded the concept of weḥdah meaning "unity", or in Arabic tawhid. Two main Sufi philosophies prevail on this topic. waḥdat al-wujūd literally means the "Unity of Existence" or "Unity of Being" but better translation would be Monotheism of Existence. Wujud (i.e. existence) here refers to Allah's Wujud - implication is Wahdat/Tawheed Of Wujud Of Allah. On the other hand, waḥdat ash-shuhūd, meaning "Apparentism" or "Monotheism of Witness", holds that God and his creation are entirely separate. Al-Wujūd Al-Munbasiṭ (Self-unfolding Being) Shah Waliullah Dehlawi tried to reconcile the two (apparently) contradictory doctrines of waḥdat al-wujūd (unity of being) of Ibn Arabi and waḥdat ash-shuhūd (unity in conscience) of Shaykh Ahmad Sirhindi. Shah Waliullah neatly resolved the conflict, calling these differences 'verbal controversies' which have come about because of ambiguous language. If we leave, he says, all the metaphors and similes used for the expression of ideas aside, the apparently opposite views of the two metaphysicians will agree. Do you know? While orthodox Muslims emphasise external conduct, the Sufis lay stress on inner purity. While the orthodox believe in blind observance of rituals, the Sufis consider love and devotion as the only means of attaining salvation. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
Hindu Patrika
Board of Trustees C HINDU PATRIKAC Term Name Published 2009-2011 Vishal Adma Chairman Bimonthly 2010-2012 Deb Bhaduri Vice Chair DECEMBER/JANUARY 2012 Vol 17/2011 2009-2011 Sanjeev Goyal 2009-2011 Mahendra Sheth 2010-2012 Sadhana Bisarya 2010-2012 Sanjay Mishra 2009-2011 Vishal Adma 2010-2012 Manu Rattan 2011-2013 Mohan Gupta 2011-2013 Priti Mohan 2011-2013 Govind Patel 2011-2013 Mana Pattanayak 2011-2013 Eashwer Reddy 2011 Neelam Kumar 2011 Sridhar Harohalli Vision of HTCC To promote Hinduism’s spiritual and cultural legacy of inspiration and optimism for the larger Kansas City community. Mission of HTCC • Create an environment of worship that enables people to say “yes” to the love of God. • Cultivate a community that nurtures spiritual growth. • Commission every devotee to serve the creation through their unique talents and gifts. • Coach our youth with the spiritual and cultural richness and the diversity they are endowed with • Communicate Hinduism – A way of life to everyone we can and promote inter-faith activities with equal veneration Hindu Temple & Cultural Center of Kansas Hindu Temple Wishes a Very Happy New Year to all the City Members A NON-PROFIT TEMPLE HOURS Day Time Aarti ORGANIZATION Mon - Fri 10:00am-12:00pm 11:00am Please remember to renew your annual membership which runs from January to 6330 Lackman Road Mon - Fri 5:00pm-8:00pm 7:30pm Shawnee, KS 66217-9739 Sat & Sun 9:00am-8:00pm 12:00pm December. Sat & Sun 7:30pm http://www.htccofkc.org Your Current membership status is printed on the mailing label. -
MULTI-FACETED VEDIC HINDUISM Introduction
MULTI-FACETED VEDIC HINDUISM M.G. Prasad Introduction Life in the universe is a wonderful mystery. Human beings have the privilege of seeking, understanding and experiencing the mystery of life. In a triadic approach based on the Vedas, existence of life can be described as God (Ishwara), Universe (Jagat) and individual (Jeeva). Any individual human being could see the universe as an entity that consists of all beings including other individuals and nature. The GOD as Supreme Being is seen as a free and independent entity responsible for Generation, Operation and Dissolution of everything in the universe and all beings. Thus it can be seen that One God as Bramhan with all attributes is the unitary source of all manifestations. Any human being is eligible to make connection with this One Source from which all knowledge manifest. The multi-faceted knowledge emanating from this One Source is referred as Vedas, which is infinite and eternal. This infinite body of knowledge as Vedas and Vedic literature can be represented as an inverted tree shown in figure 1 and also referred in Bhagavadgita (15-1). Figure 1: Inverted tree This inverted tree representation can be used to describe the multi-faceted Vedic Hinduism (Sanatana dharma). In Vishnusahasranama, we have the verse: Yogo jnanam tathaa sankhyam vidya shilpadi karma cha Vedaa shastraani vijnanam etatt sarvam Janardhanat Which means that yoga, all types of knowledge, art, sculptures, rituals, Vedas, Vedic scriptures and science have emanated from Janardhana denoting One Source. Thus, this multi-faceted nature of Vedic Hinduism or Sanatana Dharma offers the seekers with diverse aptitudes several pathways to approach that One Source of Light and Bliss. -
Om: One God Universal a Garland of Holy Offerings * * * * * * * * Viveka Leads to Ānanda
Om: One God Universal A Garland of Holy Offerings * * * * * * * * Viveka Leads To Ānanda VIVEKNANDA KENDRA PATRIKĀ Vol. 22 No. 2: AUGUST 1993 Represented By Murari and Sarla Nagar Truth is One God is Truth . God is One Om Shanti Mandiram Columbia MO 2001 The treasure was lost. We have regained it. This publication is not fully satisfactory. There is a tremendous scope for its improvement. Then why to publish it? The alternative was to let it get recycled. There is a popular saying in American academic circles: Publish or Perish. The only justification we have is to preserve the valuable contents for posterity. Yet it is one hundred times better than its original. We have devoted a great deal of our time, money, and energy to improve it. The entire work was recomposed on computer. Figures [pictures] were scanned and inserted. Diacritical marks were provided as far as possible. References to citations were given in certain cases. But when a vessel is already too dirty it is very difficult to clean it even in a dozen attempts. The original was an assemblage of scattered articles written by specialists in their own field. Some were extracted from publications already published. It was issued as a special number of a journal. It needed a competent editor. Even that too was not adequate unless the editor possessed sufficient knowledge of and full competence in all the subject areas covered. One way to make it correct and complete was to prepare a kind of draft and circulate it among all the writers, or among those who could critically examine a particular paper in their respective field. -
"Chant and Be Happy": Music, Beauty, and Celebration in a Utah Hare Krishna Community Sara Black
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Chant and Be Happy": Music, Beauty, and Celebration in a Utah Hare Krishna Community Sara Black Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “CHANT AND BE HAPPY”: MUSIC, BEAUTY, AND CELEBRATION IN A UTAH HARE KRISHNA COMMUNITY By SARA BLACK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music The members of the Committee approve the Thesis of Sara Black defended on October 31, 2008. __________________________ Benjamin Koen Professor Directing Thesis __________________________ Frank Gunderson Committee Member __________________________ Michael Uzendoski Committee Member Approved: ___________________________________________________________ Douglass Seaton, Chair, Musicology ___________________________________________________________ Seth Beckman, Dean, College of Music The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Figures iv List of Photographs v Abstract vi INTRODUCTION: ENCOUNTERING KRISHNA 1 1. FAITH, AESTHETICS, AND CULTURE OF KRISHNA CONSCIOUSNESS 15 2. EXPERIENCE AND MEANING 33 3. OF KRISHNAS AND CHRISTIANS: SHARING CHANT 67 APPENDIX A: IRB APPROVAL 92 BIBLIOGRAPHY 93 BIOGRAPHICAL SKETCH 99 iii LIST OF FIGURES Figure 1. Cymbal rhythm 41 Figure 2. “Mekala” beat and “Prabhupada” beat 42 Figure 3. Melodies for Maha Mantra 43-44 Figure 4. “Jaya Radha Madhava” 45 Figure 5. “Nama Om Vishnu Padaya” 47 Figure 6. “Jaya Radha Madhava” opening line 53 Figure 7. “Jaya Radha Madhava” with rhythmic pattern 53 Figure 8. “Jaya Radha Madhava” opening section 54 Figure 9.