Swadhinata Trust Oral History Project Archive
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TIDE Salon — Transcript PDF Accessible Text Descriptions and Transcription Produced by Harriet Smith Hughes
1 TIDE Salon — Transcript PDF Accessible text descriptions and transcription produced by Harriet Smith Hughes. Table of Contents Funder’s Introduction Landing Page Introduction to TIDE: by Nandini Das TIDE Salon Introduction Icons and Journey Map Website Footer TIDE Salon Credits Embarkation ‘Alien’ Keyword Alien — Final composition Alien — Keyword essay Alien — Project Archive First project Zoom — all participants Alien — Mid-composition Project WhatsApp Alien — Pre-composition Artist Research Alien — Artist’s experimentation, Zia Ahmed Alien — Post-composition Project Zoom Alien — Steven Savale reflects Alien — Artist Profiles Alien — Fragment by Preti Taneja Alien — Biography of Preti Taneja ‘Traveller’ Keyword Traveller — Final Composition Traveller — Keyword essay Traveller — Project Archive Traveller — Freeplay experiments Traveller — Acoustic live play Traveller — Collaboration WhatsApp 1 Traveller — Collaboration WhatsApp 2 Traveller — Artists’ Project Zoom Part 1 2 Traveller — Artists’ Project Zoom Part 2 Traveller — Post-composition Project Zoom Traveller — Shama Rahman reflects on the project Traveller — Artist Profiles Traveller — Fragment by Preti Taneja ‘Savage’ Keyword Savage — Final composition Savage — Keyword essay Savage — Project archive Savage — Artists’ Project Zoom Part 1 Savage — Ms Mohammed’s Experimentation and Live Takes Savage — Sarathy Korwar’s experimentation Savage — Artists’ Project Zoom Part 2 Savage — WhatsApp / Email Collaborations Savage — Post-composition Project Zoom Savage — Ms. Mohammed reflects on the process Savage — Artist Profiles Savage — Fragment by Preti Taneja Funder’s Introduction [Black background with text, headed by three logos: the TIDE logo; the Oxford University logo; and the ERC, European Research Council logo.] The TIDE project is funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement no. -
Mapping the Body-Politic of the Raped Woman and the Nation in Bangladesh
gendered embodiments: mapping the body-politic of the raped woman and the nation in Bangladesh Mookherjee, Nayanika . Feminist Review, suppl. War 88 (Apr 2008): 36-53. Turn on hit highlighting for speaking browsers Turn off hit highlighting Other formats: Citation/Abstract Full text - PDF (206 KB) Abstract (summary) Translate There has been much academic work outlining the complex links between women and the nation. Women provide legitimacy to the political projects of the nation in particular social and historical contexts. This article focuses on the gendered symbolization of the nation through the rhetoric of the 'motherland' and the manipulation of this rhetoric in the context of national struggle in Bangladesh. I show the ways in which the visual representation of this 'motherland' as fertile countryside, and its idealization primarily through rural landscapes has enabled a crystallization of essentialist gender roles for women. This article is particularly interested in how these images had to be reconciled with the subjectivities of women raped during the Bangladesh Liberation War (Muktijuddho) and the role of the aestheticizing sensibilities of Bangladesh's middle class in that process. [PUBLICATION ABSTRACT] Show less Full Text Translate Turn on search term navigation introduction There has been much academic work outlining the complex links between women and the nation (Yuval-Davis and Anthias, 1989; Yuval-Davis, 1997; Yuval-Davis and Werbner, 1999). Women provide legitimacy to the political projects of the nation in particular social and historical contexts (Kandiyoti, 1991; Chatterjee, 1994). This article focuses on the gendered symbolization of the nation through the rhetoric of the 'motherland' and the manipulation of this rhetoric in the context of national struggle in Bangladesh. -
Diasporic Music in a Time of War”: Pantomime Terrors
“Diasporic Music in a Time of War”: Pantomime Terrors John Hutnyk1 Centre for Cultural Studies at Goldsmiths, University of London I increasingly find it problematic to write analytically about “diaspora and music” at a time of war. It seems inconsequential; the culture industry is not much more than a distraction; a fairy tale diversion to make us forget a more sinister amnesia behind the stories we tell. This paper nonetheless takes up debates about cultural expression in the field of diasporic musics in Britain. It examines instances of creative engagement with, and destabilisation of, music genres by Fun^da^mental and Asian Dub Foundation, and it takes a broadly culture critique perspective on diasporic creativity as a guide to thinking about the politics of hip- hop in a time of war. Examples from music industry and media reportage of the work of these two bands pose both political provocation and a challenge to the seemingly unruffled facade of British civil society, particularly insofar as musical work might still be relevant to struggles around race and war. Here, at a time of what conservative critics call a ‘clash of civilizations’, I examine how music and authenticity become the core parameters for a limited and largely one-sided argument that seems to side-step political context in favour of sensationalised – entrenched – identities and a mythic, perhaps unworkable, ideal of cultural harmony that praises the most asinine versions of multiculturalism while demonizing those most able to bring it about. Here the idea that musical cultures are variously authentic, possessive or coherent must be questioned when issues of death and destruction are central, but ignored. -
ICTM Abstracts Final2
ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants. -
Malda Training Diary
Page 1 of 1 ATI Monograph 13/2006 For restricted circulation only A Probationer’s Training Diary COVER PAGE P. Bhattacharya Learning to Serve Administrative Training Institute Page 2 of 2 Government of West Bengal Page 3 of 3 ATI Monograph 13/2006 For restricted circulation A Probationer’s Training Diary TITLE PAGE P. Bhattacharya Learning to Serve Administrative Training Institute Government of West Bengal Page 4 of 4 Block FC, Bidhannagar (Salt Lake) Kolkata-700106 Page 5 of 5 PREFACE New entrants to the Indian Administrative Service and the West Bengal Civil Service (Executive) have to maintain a Training Diary as part of their district training. While supervising their work in the districts, the ATI faculty has found that in the majority of cases the probationers do not maintain their diaries properly, although these are intended to be records of the details of the training they undergo so that superior officers can check whether they have assimilated the proper lessons from the exposure in the field. During interactions with their Counsellors in the ATI, the trainees have complained that they are handicapped by not having an example to follow. A similar handicap has been reported regarding writing reports of enquiries assigned to probationers in the district. In view of this feedback, the ATI is publishing the diary I maintained in detail as probationer in Malda in 1972, trusting that it will provide civil service probationers with an example of how a training diary can be maintained. We were supposed to send the National Academy of Administration an official training diary and also maintain a personal one. -
394 GLOSSARY Acid Jazz Late 1980S and 1990S
GLOSSARY Acid Jazz Late 1980s and 1990s trend where “London fashion victims created their own early seventies-infatuated bohemia by copying jazz-funk records of the era note by note.”1 Associated with DJ Giles Peterson, acid jazz combined jazz and funk influence with electronica to produce a “danceable” version of jazz. Some of the most prominent British artists associated with acid jazz include are the band 4Hero, producer Ronny Jordan, and the James Taylor Quartet (the last of which at one point included Nitin Sawhney.) Ambient Music intended to create a particular atmosphere. Brian Eno, considered a pioneer of the genre, notes, “One of the most important differences between ambient music and nearly any other kind of pop music is that it doesn’t have a narrative structure at all, there are no words, and there isn’t an attempt to make a story of some kind.”2 Ambient music often substitutes distinct melodies and rhythmic patterns for a wash of sound. Some prominent British artists during the 1990s include The Orb, KLF, Mixmaster Morris and Aphex Twin. Bhangra Bhangra originated as a male folk dance in Punjab to accompany the harvest festival, Baisakhi. It is still performed as a folk dance and may be identified by its characteristic swinging rhythm played on the dhol and dholki, double-sided barrel drums. From the late 1970s onwards, Punjabi immigrants in Britain began to fuse with electronic dance styles including house music and later hip-hop.3 These styles produced a distinct genre of music that was recognized as one of the first prominent examples of British Asian youth culture. -
Keyfinder V2 Dataset © Ibrahim Sha'ath 2014
KeyFinder v2 dataset © Ibrahim Sha'ath 2014 ARTIST TITLE KEY 10CC Dreadlock Holiday Gm 187 Lockdown Gunman (Natural Born Chillers Remix) Ebm 4hero Star Chasers (Masters At Work Main Mix) Am 50 Cent In Da Club C#m 808 State Pacifc State Ebm A Guy Called Gerald Voodoo Ray A A Tribe Called Quest Can I Kick It? (Boilerhouse Mix) Em A Tribe Called Quest Find A Way Ebm A Tribe Called Quest Vivrant Thing (feat Violator) Bbm A-Skillz Drop The Funk Em Aaliyah Are You That Somebody? Dm AC-DC Back In Black Em AC-DC You Shook Me All Night Long G Acid District Keep On Searching G#m Adam F Aromatherapy (Edit) Am Adam F Circles (Album Edit) Dm Adam F Dirty Harry's Revenge (feat Beenie Man and Siamese) G#m Adam F Metropolis Fm Adam F Smash Sumthin (feat Redman) Cm Adam F Stand Clear (feat M.O.P.) (Origin Unknown Remix) F#m Adam F Where's My (feat Lil' Mo) Fm Adam K & Soha Question Gm Adamski Killer (feat Seal) Bbm Adana Twins Anymore (Manik Remix) Ebm Afrika Bambaataa Mind Control (The Danmass Instrumental) Ebm Agent Sumo Mayhem Fm Air Sexy Boy Dm Aktarv8r Afterwrath Am Aktarv8r Shinkirou A Alexis Raphael Kitchens & Bedrooms Fm Algol Callisto's Warm Oceans Am Alison Limerick Where Love Lives (Original 7" Radio Edit) Em Alix Perez Forsaken (feat Peven Everett and Spectrasoul) Cm Alphabet Pony Atoms Em Alphabet Pony Clones Am Alter Ego Rocker Am Althea & Donna Uptown Top Ranking (2001 digital remaster) Am Alton Ellis Black Man's Pride F Aluna George Your Drums, Your Love (Duke Dumont Remix) G# Amerie 1 Thing Ebm Amira My Desire (Dreem Teem Remix) Fm Amirali -
Dhaka's Electronic Music Scene | Norient.Com 7 Oct 2021 23:30:47
Dhaka's Electronic Music Scene | norient.com 7 Oct 2021 23:30:47 Dhaka's Electronic Music Scene by Faisal Mohammed Khan Dhaka is the Detroit of Bangladesh. But it took some time. Before, the city produced its own independent scene, British Bengalis layed the ground for one of the most influential music styles in the 1990s: Asian underground. Later, Dhakas mainstream scene undermined the cultural values of the alternative scene. An essay about how Dhakas ever growing electronic music scenes are looking for unique sound identities in a globalized world. Introduction Talking about electronic music in a Bangladeshi context is a tricky business. It will seem like there are too many jargons to describe sounds that are already familiar to millions of people in Bangladesh and feel conflicted about its vague beginnings, the culture it seems to represents (including the prejudices) and its place in both the contemporary and the future music scene of Dhaka. As I will discuss further, my focus will be mostly on Dhaka as https://norient.com/index.php/stories/dhakas-electronic-music-scene Page 1 of 7 Dhaka's Electronic Music Scene | norient.com 7 Oct 2021 23:30:47 the musical hub as it constantly introduces new ideas by virtue of being the country’s most globally and nationally connected city, which is constantly trying to introduce new ideas. The electronic music scene has similarities with that of Detroit or Berlin largely in terms of how the illegal underground party scene came into being. Yet there are more dissimilarities, like the unique socio-economic situations. -
'Police on My Back' Was Written in England by Eddy Grant and Recor
This is the Author's Accepted Manuscript of a publication in Social Identities, vol 19, no 5 (2013), pp. 536-551. ‘Police On My Back’ and the Postcolonial Experience ‘Police On My Back’ was written in England by Eddy Grant and recorded by his group, the Equals, in 1967. Since then it has been covered by a number of artists. In this article I am concerned with the original and four covers. Over the forty years between the Equals version of the song and the final version with which I am concerned the meaning of the lyrics has changed from being an expression of Jamaican rude boy culture to being a song that expresses the oppression of migrants from British and European colonies living in the metropoles of the colonisers. This article tracks the changes in musical and lyrical expression in the song against the increasingly oppressive circumstances of those migrants and their descendents. These are the circumstances that contributed to the British riots of 1981 and of 2011, and the French riots of 1981 and the many subsequent riots climaxing in those of 2005. ‘Police On My Back’ has always been hybrid. Grant’s version placed rude boy lyrics with a British beat group sound. Later, as the lyrics came to reflect the circumstances of the migrants, so the musical backing came to include a variety of musical forms many of which expressed the heritages of the performers and asserted the legitimacy of those heritages in a multicultural context. 1 ‘Police On My Back’; postcolonial; Equals; the Clash; Lethal Bizzle; riots One song that can be read as a marker of the changing experience of migrants in Britain and Europe is ‘Police On My Back’. -
284 Chapter 4 Compilasians: from Asian Underground To
CHAPTER 4 COMPILASIANS: FROM ASIAN UNDERGROUND TO ASIAN FLAVAS Introduction The success of those British Asian popular musicians who were associated with the Asian Underground by the end of the 1990s had two imagined outcomes: 1) their success could establish British Asians as significant contributors to British society and popular culture, or 2) their success could eventually falter and, as a result, return British Asian popular musicians to the margins of British society. As Chapter 2 demonstrates, the second outcome proved to become reality; British Asian musicians associated with the Asian Underground did return to the margins of “British culture” as popularly conceived. Before they returned to the margins, recording companies released a plethora of recordings by British Asian musicians, as well as compilation recordings prominently incorporating their music. As shown in Chapter 2, the “world music” category in the context of the award ceremonies served many simultaneous, if at times contradictory, roles that helped define British Asian musicians’ relation to mainstream culture; the most significant of these roles included serving as a dumping ground for exotic others and as a highly visible platform highlighting British Asian musicians’ specific contributions to the music industry. Yet British Asian musicians’ participation within particular compilation recordings offers yet another significant forum that defines their cultural identity. The first British Asian-oriented compilations had been motivated by attempts to capture the atmosphere of particular club scenes and package them for mass consumption; as a result, these compilations most often featured music by artists associated with respective clubs. Yet as a surfeit of 284 British Asian releases saturated the market, British Asian music lost its novelty. -
US 45 Others
Note: Non-Picture sleeved singles come in an Apple company cover, either printed on the East Coast (left) or West Coast (right) APPLE 1800 - YELLOW SUBMARINE / THINGUMYBOB (John Foster & Sons Ltd. Black Dyke Mills Band) Los Angeles #1, no black star, A-side sliced Apple Los Angeles #2, no black star, A-side unsliced Apple Los Angeles #3, Black star, A-side unsliced Apple, Los Angeles #4, Black star, A-side unsliced Apple, Mfd by Apple print on A-side Mfd by Apple print on B-side APPLE 1801 - THOSE WERE THE DAYS / TURN, TURN, TURN (Mary Hopkin) Los Angeles #1 Mfd by Apple Records Inc Los Angeles #2 Mfd by Apple Records Inc on A-Side on A-Side Scranton Mfd by Apple Records Inc Unknown factory Mfd by Apple Records Inc on B-Side on B-Side Unknown factory (probably Winchester), Unknown factory, Mfd by Apple Records Inc on A-Side Mfd by Apple Records Inc on A-Side APPLE 1802 - SOUR MILK SEA / THE EAGLE LAUGHS AT YOU (Jackie Lomax) Scranton Winchester APPLE 1803 - MAYBE TOMORROW / DADDY'S A MILLIONAIRE (The Iveys) Los Angeles #1, narrow font, no black star Los Angeles #2, wide font, with Black star, Mfd. by Apple Records Inc. on A-side Los Angeles #3, wide font, with Black star, Scranton Mfd. by Apple Records Inc. on B-side APPLE PRO-4671/4672 - ROAD TO NOWHERE [3:06] / ROAD TO NOWHERE [5:07] (Trash) Promo Los Angeles APPLE 1804 - ROAD TO NOWHERE / ILLUSIONS (Trash) Los Angeles Scranton APPLE 1805 - CAROLINA IN MY MIND / TAKING IT IN (James Taylor) Los Angeles Unknown factory APPLE PRO-1805 - CAROLINA IN MY MIND / SOMETHING'S WRONG (James Taylor) -
The Tragedy of Bangladesh
Digital Commons @ George Fox University Western Evangelical Seminary Theses Western Evangelical Seminary 3-1982 The Tragedy of Bangladesh Stuart L. Dick Follow this and additional works at: https://digitalcommons.georgefox.edu/wes_theses Part of the Christianity Commons The Tragedy of Bangladesh by Stuart L. Dick A RESEARCH PAPER submitted to Western Evangelical Seminary in partial fulfillment of the requirements for the Master of Divinity March 1982 HI2].30.ARC:-1 I--'APEFt Professor TABLE OF CONTENTS PREFACE • • • • . ii ACKNOWLEDGEMENT . iii TABLE OF MAPS • • . v TABLE OF CHARI'S . v THE TRAGEDY OF BANGLADESH I INTRODUCTION . 1 II BENGALI ROOTS. 8 III ISLAMIC INTRUSION. 19 IV BRITISH SUBJUGATION .•• 25 v THE NEW HOPE - PARTITION • • . VI THE BIRTH OF BANGLADESH. 52 VII BANGLADESH - LAND OF THE BENGALIS. 60 Bengali/Muslim Society - Womanhood in Crisis • 65 The Hope of Bangladesh • . 71 The Biblical Plan of Bringing the Gospel to the Lost • 73 A Proposal to Evangelize the Bengali Muslims of Bangladesh • 75 The Method of Evangelizing the Bengali People. • • • • • .. 80 ----=B=IB=LIOG~HY. 88 APPENDIX A THE SHOCK OF BANGLADESH. • • . • • • . • . , 93 i PREFACE The deeply felt desire of the author for all those who read this account of the tragedy of Bangladesh is that this lesson may prove a blessing for those that have yet to experience tribulation on the earth. The Bible teaches all people will experience tribulation and the way to eter- na.l life .is through tribulation (Acts 14:22). The prayer of the author is the non-Christian reader will be moved to consider the hope of salva tion in Jesus Christ as the only hope of lost and needy people throughout the world.