DOCSLIB.ORG

I~~~O~~~;~~;UP NEW DELHI LONDON NEW YORK 11 (IN)VISIBLE PUBLICS Television and Participatory Culture in India

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I~~~O~~~;~~;UP NEW DELHI LONDON NEW YORK 11 (IN)VISIBLE PUBLICS Television and Participatory Culture in India CULTURAL STUDIES IN INDIA Edited by Rana Nayar, Pushpinder Syal and Akshaya Kumar Got'J\P\Jt"1rl'.~i}\n"" cOP'l' ;".fl r""i'~'~· C ~'''r~'0' cA..' C 1\ "'" 'i;.*,l "1.: ••.•:••. " 01 I•••' U~,·- \r~" I~~~O~~~;~~;UP NEW DELHI LONDON NEW YORK 11 (IN)VISIBLE PUBLICS Television and participatory culture in India Abhijit Ray A rubber stamp with the name and address of a person must be very common. But what were uncommon in this little black-ink stamp I discovered sometime in the early 1990s were the two Bengali words of designation: Betar Srota ('Radio Listener'). Proudly displayed by I he rightful user, a paan-shop owner in the southern fringe of Calcutta, Ihis text used to appear below his signature in every letter he wrote 10 All India Radio's Calcutta station, particularly to Vividh Bharati. Apart from being an indicator of popularity of radio in the heydays of public television in India, this is also an amazing testimony of how the ubject interacting with media constitutes its identity. Such personal- izntion may be rare but it hints towards the myriad histories of partici- p.uory culture in India and their various relations with the personal, Ihe private and the public. In this essay I seek to understand some of Ihem with a view to roughly propose a critical agenda for studies in lndian participatory cultures. Indian television has achieved a certain height of inter activity, par- ruipation and mobilization through the genres of Reality TV and 'H'WS. I focus in this essay on the many legacies of the current phase of p.rrticipatory culture around Reality TV launched with Kaun Banega srorepati (KBC) in 2000. More than 'public opinion' that is primar- ily associated with news television, important in our discussion are .p.irticipatory culture' and broadly forms of publicness and collectivity Hound mass media, radio and television to be precise, from the 1950s III rhe 1990s. Such distinction between Reality TV and News (and for tlI,1I matter any generic distinction) is a contingent discursive necessity III understand the complex of generic confluences and overlaps that I h.I racterize our times. The questions I am asking are: Can we now 201 ABHIJIT ROY (IN)VISIBLE PUBLICS reflect back and think of a 'pre-history' of the current form of participa- of a railway township in eastern India in the 1970s and 1980s is of tory culture around Indian television? If yes, what continuities and rup- women enjoying a sunny winter afternoon sitting around a radio set, tures enable us to historicize forms of publicness in the 21st century? listening and chatting while knitting sweaters. Another image is of The first in this project is possibly the task of probing into the young boys and men assembled in the corner of a field listening to the under-researched forms of participation in the era of exclusive domi- live commentary of a Mohun Bagan-East Bengal football match or a nance of state-controlled radio and TV.While print media's forte in this cricket match from Calcutta's Eden Gardens. Yet another memory is regard had mainly been deliberation on civic issues through 'letters to of Mahisasurmardini, a programme designed by 'Akashbani Kolkata' the editor' (and occasionally participation in 'contests'), the radio used narrating Goddess Durga's triumph over the evil Mahisasur with songs to primarily invite participation through song-request programmes. and parts read from Chandi, the Sanskrit script on Durga's deeds. This Television, on the other hand, was to be understood by what James programme, since 1931, has woken up millions of radio-possessing W. Carey once called 'transmission view of communication', being Bengali families at 4 o'clock in the morning on the last day of the Hindu an apparatus that either discouraged or tried to control participation practice of paying the fortnight-long tribute to forefathers on the eve of (1989: 14-23).1 The Indian state's scepticism about the legitimacy Durga Puja. Associated tales range from compulsory bathing before the of the cinematic public in the project of nation-building extended to programme to people listening with flowers in their folded hands in the radio, as radio became a major site for the transmission of Indian popu- mode of a mass prayer. Such was the popular appeal of this programme lar film songs. In 1952, B.Y. Keskar, the then Minister for Cultural that we took long to realize that the day had any other significance than Affairs banned film songs from radio on the charge of vulgarity but the 4 o'clock broadcast. The association of this radio programme with had to lift the ban because, according to a press release, 'it cost the a contingent community or the act of 'coming together' still continues broadcasting organization too much in popularity' (Chatterjee 1992: as many local clubs transmit the programme every year through loud- 36).2 The broadcast public, directly under the aegis of post-colonial speakers in sync with the early morning broadcast. State pedagogy, could never be the libidinal 'vulgar' public of popular We also heard from elders how Akashbani Kolkata's news broadcast cinema, the constituency of capitalism's enchantment with the erotic, on East Pakistan's war of liberation, read by Debdulal Bandyoadhyay the vestige of colonial expansion worldwide of 'entertainment'. One (whose voice had a peculiar melange of romance with an imminent can in fact go to the extent of suggesting that the kind of public the sovereign Bangla nation and the determination of muktijoddhas, sol- State-controlled Media tried to create till the 1980s, though largely in diers fighting for liberation), also drew people around the radio set. vain, was in many ways opposite to the public of popular cinema in The indifference in this popular tale towards the relative silence of India. While the popular cinematic public was conceived as one asso- Calcutta radio about the brutal repression of the Naxalites in West ciated primarily with the streets and lumpen public spaces, the terri- Bengal around the same time needs to be further investigated. The tory of the broadcast public was essentially the home and the family, structure of civility and citizenship within which the collective engage- the sanctity of which, it was thought, could better sustain a citizenship ment of the educated middle class with media and news grew was premised upon the patriarchal order of the nation-family bondage. always unstable, as the mainstream public was eerily discomforted by, Microcosms of the public manifest in small physical assemblies have but couldn't address, the other form of collective engagement based on always been created around portable media like the transistor and the disavowal of the codes of such civility and citizenship, and questioning newspaper. The home-centric sets like the electric radio, the 'record of mainstream media's politics. Since a large part of the leadership in player' and, later, the television, also, had the capability of bringing the 'other' form of mobilization emerged from the same 'bhadralok' the neighbourhood and acquaintances together, especially when the section, the mainstream could never rid itself from the uneasiness of a access to such media was not widespread. This surely was not a 'par- blurred boundary between the sensibilities of civility and that of delin- ticipatory' public but definitely one that was, at least partly, mobilized quency constructed under repressive state regimes. by a particular medium, in the form of small listening/viewing/read- How do we understand such publics? Is there any need to begin to ing and discussing communities. One of my vivid childhood memories historicize participatory culture from such a vantage point? In case of 202 203 ABHIJIT ROY (IN)VISIBLE PUBLICS early television, one can remember the days of popularization of live 'going out for the speciality of a spectacle' constantly negotiates the cricket when people from non-television homes would go to a neigh- new lexicon of 'entertainment', the ever-presence of a domestic flow bour's place to watch the matches. The funeral of Indira Gandhi tele- of sound and images. The larger community of the nationwide watch- vised live in colour on Doordarsharr' comes also to mind as a media ing public, however, always intrudes as a rule through the apparatus event that made large number of people gather in homes having colour itself, generating a peculiar space of 'privatized public'. Television par- television. Whatever may be the reason, problem of access or the plea- ticularly has given rise to a new home, a site that is torn between a sure of collective reception (an overlap of the two possibly describes sense of threat to its property and peace, and a sense of security, an the phenomenon best), these contingent little communities had radio intensification of the boundary of home underlined by the 'distance' or television at their centre. These little popular assemblies, I suggest, of reception. The impression that is created in any act of watching TV cannot merely be understood as a public that were forcefully brought is not exactly of 'being at home' but possibly of 'being in one of the together by a 'lack' and that gradually dispersed as demands for access homes'. The home and the familial space here harbour a certain order were met. I would rather like to explore what correspondence these of porosity and ephemerality. The order of communitarian engage- gatherings had to structures of already existing communities. One ment, hence, is not completely lost from television. In a way the gath- corresponding frame of such collective reception beyond the famil- erings around media, in its early form and present incarnations (for ial space was the 'modern' culture of discussing topical issues around instance, collective watching of a high-power football or cricket match the day's newspaper.
Load more

Recommended publications
  • KPMG FICCI 2013, 2014 and 2015 – TV 16
    #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways.
    [Show full text]
  • Copyright by Peter James Kvetko 2005
    Copyright by Peter James Kvetko 2005 The Dissertation Committee for Peter James Kvetko certifies that this is the approved version of the following dissertation: Indipop: Producing Global Sounds and Local Meanings in Bombay Committee: Stephen Slawek, Supervisor ______________________________ Gerard Béhague ______________________________ Veit Erlmann ______________________________ Ward Keeler ______________________________ Herman Van Olphen Indipop: Producing Global Sounds and Local Meanings in Bombay by Peter James Kvetko, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 To Harold Ashenfelter and Amul Desai Preface A crowded, red double-decker bus pulls into the depot and comes to a rest amidst swirling dust and smoke. Its passengers slowly alight and begin to disperse into the muggy evening air. I step down from the bus and look left and right, trying to get my bearings. This is only my second day in Bombay and my first to venture out of the old city center and into the Northern suburbs. I approach a small circle of bus drivers and ticket takers, all clad in loose-fitting brown shirts and pants. They point me in the direction of my destination, the JVPD grounds, and I join the ranks of people marching west along a dusty, narrowing road. Before long, we are met by a colorful procession of drummers and dancers honoring the goddess Durga through thundering music and vigorous dance. The procession is met with little more than a few indifferent glances by tired workers walking home after a long day and grueling commute.
    [Show full text]
  • THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’ ------ISSN 0971-7942 Volume: Annual - TRN 2011 ------S.I.R.C
    THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’ ------------------------------------------------------------------------ ISSN 0971-7942 Volume: Annual - TRN 2011 ------------------------------------------------------------------------ S.I.R.C. Units: Mumbai, Pune, Solapur, Nanded and Amravati ============================================================= Feature Articles Music of Mughal-e-Azam. Bai, Begum, Dasi, Devi and Jan’s on gramophone records, Spiritual message of Gandhiji, Lyricist Gandhiji, Parlophon records in Sri Lanka, The First playback singer in Malayalam Films 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. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US $ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full
    [Show full text]
  • Sales and Promotions Management DMGT507
    Sales And Promotions Management DMGT507 SALES AND PROMOTIONS MANAGEMENT Copyright © 2011 S L Gupta and SHH Kazmi All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara SYLLABUS Sales and Promotions Management Objectives: The course aims at developing sales management skills. Moreover the course aims to develop a strong foundation of concepts of IMC so that they will be able to apply these concepts in the industry. S. No Description 1. Sales management and control, Buyer seller dyads, Diversity of personal selling situations, AIDAS theory of selling, Selling process. 2. Recruiting and Selecting sales personnel, Executing and evaluating sales training program. 3. Motivating and compensating sales personnel 4. Sales meetings and sales contests, The sales budget 5. Types of sales quota and Quota setting procedure, Sales territory concept, Reasons and Procedures for setting up and revising sales territories, Assignment of sales personnel to territories and routing and scheduling of sales personnel. 6. Integrated Marketing Communication, Advertising Strategy: Fundamentals of an advertising campaign, Finding the Big Idea, Creative execution in advertising 7. Sales promotion: Types of sales promotions, budget allocation, designing sales promotion program. 8. Direct marketing, Public relations, Publicity and Corporate Advertising. 9. The Print Media, The Broadcast Media, Out of home media, Steps involved in media planning 10. DAGMAR approach to setting
    [Show full text]
  • Vividh Bharati's Role in 'Unifying' the Indian Nation
    Vividh Bharati’s 5932/011116 vIvIdh BhaRatI's Role IN 'UNIfyINg' the INdIaN NatIoN Jawhar Sircar RKMIC, 29th January 2014 I. FREEDOM AT MIDNIGHT: 1. When we look back at the last six or seven decades, we see with amazement how India has emerged from a country that was tormented by internal convulsions and external threats to be now ranked among the top countries of the world. The entire picture has changed so dramatically, especially in the last two decades since we opened up our economy that India is now growing rapidly enough to be noticed. Though it has finally been afflicted by the world-wide economic contagion and is passing through a rather low, the world takes note: which it did not, earlier. The 21st century belongs to Asia and it is beyond doubt that China and India would be playing a major role, notwithstanding temporary hiccups along the way. 2. The question is how did this India, that is now proud of her high seat in the assembly of nations of the world, emerge as a cohesive nation that is finally solidly bonded. Let us take ourselves back to the stroke of the midnight hour, on the night of 14th/15th August 1947, when this nation was born: a memorable period that happens but once in a nation’s life-time. It was the most challenging of times, as not only was it a bleeding baby that had been severed from its sibling, but it was in the midst of violence, confusion and rioting. One was reminded of Churchill’s scathing remarks that "in a few years, no trace will remain" for "anarchy will lead to internecine warfare".
    [Show full text]
  • Bollywood Sounds
    Bollywood Sounds Bollywood Sounds The Cosmopolitan Mediations of Hindi Film Song Jayson Beaster-Jones 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Beaster-Jones, Jayson. Bollywood sounds : the cosmopolitan mediations of Hindi film song / Jayson Beaster-Jones. pages cm Includes bibliographical references and index. ISBN 978–0–19–986254–2 (pbk.
    [Show full text]
  • Yogi Hits out at Congress Over Ram Temple Issue
    RNI No.2016/1957, REGD NO. SSP/LW/NP-34/2016-18 Follow us on: @TheDailyPioneer facebook.com/dailypioneer instagram.com/dailypioneer/ Established 1864 Late City Vol. 154 Issue 301 Published From *Air Surcharge Extra if Applicable LANDMARK 5 WORLD 7 SPORT 10 DELHI LUCKNOW BHOPAL EC SEEKS NAMES FOR KHASHOGGI CORPSE WENT MINERVA FC BEAT BHUBANESWAR RANCHI MIZORAM CEO'S POST DOWN THE DRAINS: REPORT AIZAWL 2-1 RAIPUR CHANDIGARH DEHRADUN LUCKNOW, SUNDAY NOVEMBER 11, 2018; PAGES 12+8 `3 www.dailypioneer.com USUALSUSPECTS World body calls SWAPAN DASGUPTA Yogi hits out at Congress Modi feats, not DeMo, Urban Naxals over Ram temple issue rights’ defenders will decide ‘19 results PTI n LORNI (CHHATTISGARH) Congress rule, he said. “The Congress, for its own before the Supreme Court. international human right law, BIMARU — an acronym gains, played with the security Senior Congress leader Kapil Seeks info on especially with regards to aking up the Ram temple formed from the first letters of of the country. Be it Sibal had petitioned before the Articles 9 and 14 of the he ongoing battle over demonetisation appears to be issue, Uttar Pradesh the names of the states of Chhattisgarh or Jharkhand, court that a decision should not reasons for International Covenant on Twaged more in the social media and between politicians RChief Minister Yogi Bihar, Madhya Pradesh, where the issue was giving been taken over the issue before Civil and Political Rights than in the public imagination. The real test over the public Adityanath Saturday sought to Rajasthan, and Uttar Pradesh asylum to Naxalites or using 2019, he said.
    [Show full text]
  • Joint Bulletin – Rotaract Club of Bombay West
    By Rotaract Club of Bombay West and the Rotaract Club of Achievers Lanka Business School RID 3141 RID 3220 Rotaract Club Of Bombay West, today, is one of the most successful clubs in Mumbai having ranked towards the top in District 3141 repeatedly due to its innovative projects and work ethic of its members. Currently holding the tag of the Best Community Club in Mumbai District. However, every big achievement has its small beginning. Ours began on 19th April 1969 as the youth wing of the prestigious Rotary Club of Bombay West, the first baby club of Rotary Club of Bombay itself! Having been dormant for several years, the club was revived in 2017. With the new generation taking over and with fresh ideas and perspectives, Rotaract Club of Bombay West delivered quality in terms of their projects.Today, Our Signature Projects are known in the district and we strive to maintain the quality at the same standard. The Rotaract Club of Achievers Lanka Business School was chartered on the 10th of March,2010 under our parent club, The Rotary Club of Colombo Mid Town. The club is based in one of the leading ACCA & CIMA tuition providers in Sri Lanka and is the first and only CIMA institute with its own Rotaract Club. The club is now in its 12th year, with many successful projects to its name. Within just 11 years from inception, Rotaract club of Achievers Lanka Business School now stands toe-to-toe with several clubs that have been in existence for approximately 30 years. Despite the relative inexperience, the club, guided by able hands of distinguished past presidents has built up a reputation of carrying out one successful project after the other.
    [Show full text]
  • BC-DX 789 05 Jan 2007 ______
    BC-DX 789 05 Jan 2007 ________________________________________________________________________ Private Verwendung der Meldungen fuer Hobbyzwecke ist gestattet, jede kommerzielle Verwendung bedarf der Zustimmung des Newslettereditors. Any items from Glenn Hauser, DX LISTENING DIGEST, and/or World of Radio may be reproduced or broadcast only if full credit be maintained at all stages, from the original source through DXLD, and publications quoting are made available to gh in exchange. A-DX -Information on German spoken A-DX Mailing List read under <http://www.ratzer.at> Reproduction of items from BC-DX / Top Nx is allowed, provided that due credit is given to the contributor and to BC-DX / Top News. Permission is granted to reproduce items of this document by individual hobbyists or non-commercial organizations only. Any commercial use only with prior written consent of the editor of BC-DX / Top News. This file is put together on a voluntary basis and is also included in our WWDXC WWW homepage-German AGDX Club address: <http://topnews.wwdxc.de> or via Link of Homepage: <http://www.wwdxc.de> Both actual and previous week issue are available, previous week under: <http://topnews2.wwdxc.de> e-mail <mail @ wwdxc.de> ALBANIA Der Deutschsprachige Radio Tirana Hoererklub (Leitung: Werner Schubert) ist dabei, seine Web-Praesenz auszubauen. Es werden Informationen zum Hoererklub, aber auch Aktuelles zu Radio Tirana angeboten. Ein Faltblatt mit dem Sendeplan der deutschsprachigen Sendungen von Radio Tirana, den Wochensendungen, allen Adressen etc., kann als pdf-Datei von dort heruntergeladen werden - zur eigenen Verwendung und zum Weitergeben... <http://www.agdx.de/rthk/> (Dr. Anton Kuchelmeister-D, A-DX Jan 1) It may add for information, at least for those with some working knowledge of German, that the German speaking Radio Tirana Listeners Club now also is on web, with a new web site <http://www.agdx.de/rthk/> yet to be expanded over time, with up-to-date information on the German language broadcasts of Radio Tirana.
    [Show full text]
  • A Case Study of Sri Lankan Media
    C olonials, bourgeoisies and media dynasties: A case study of Sri Lankan media. Abstract: Despite enjoying nearly two centuries of news media, Sri Lanka has been slow to adopt western liberalist concepts of free media, and the print medium which has been the dominant format of news has remained largely in the hands of a select few – essentially three major newspaper groups related to each other by blood or marriage. However the arrival of television and the change in electronic media ownership laws have enabled a number of ‘independent’ actors to enter the Sri Lankan media scene. The newcomers have thus been able to challenge the traditional and incestuous bourgeois hold on media control and agenda setting. This paper outlines the development of news media in Sri Lanka, and attempts to trace the changes in the media ownership and audience. It follows the development of media from the establishment of the first state-sanctioned newspaper to the budding FM radio stations that appear to have achieved the seemingly impossible – namely snatching media control from the Wijewardene, Senanayake, Jayawardene, Wickremasinghe, Bandaranaike bourgeoisie family nexus. Linda Brady Central Queensland University ejournalist.au.com©2005 Central Queensland University 1 Introduction: Media as an imprint on the tapestry of Ceylonese political evolution. The former British colony of Ceylon has a long history of media, dating back to the publication of the first Dutch Prayer Book in 1737 - under the patronage of Ceylon’s Dutch governor Gustaaf Willem Baron van Imhoff (1736-39), and the advent of the ‘newspaper’ by the British in 1833. By the 1920’s the island nation was finding strength as a pioneer in Asian radio but subsequently became a relative latecomer to television by the time it was introduced to the island in the late1970’s.
    [Show full text]
  • Playback Singers of Bollywood and Hollywood
    ILLUSION AND REALITY: PLAYBACK SINGERS OF BOLLYWOOD AND HOLLYWOOD By MYRNA JUNE LAYTON Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject MUSICOLOGY at the UNIVERSITY OF SOUTH AFRICA. SUPERVISOR: PROF. M. DUBY JANUARY 2013 Student number: 4202027-1 I declare that ILLUSION AND REALITY: PLAYBACK SINGERS OF BOLLYWOOD AND HOLLYWOOD is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. SIGNATURE DATE (MRS M LAYTON) Preface I would like to thank the two supervisors who worked with me at UNISA, Marie Jorritsma who got me started on my reading and writing, and Marc Duby, who saw me through to the end. Marni Nixon was most helpful to me, willing to talk with me and discuss her experiences recording songs for Hollywood studios. It was much more difficult to locate people who work in the Bollywood film industry, but two people were helpful and willing to talk to me; Craig Pruess and Deepa Nair have been very gracious about corresponding with me via email. Lastly, putting the whole document together, which seemed an overwhelming chore, was made much easier because of the expert formatting and editing of my daughter Nancy Heiss, sometimes assisted by her husband Andrew Heiss. Joe Bonyata, a good friend who also happens to be an editor and publisher, did a final read-through to look for small details I might have missed, and of course, he found plenty. For this I am grateful.
    [Show full text]
  • Jamshed Bhabha Memorial Lecture an Ode to the Arts
    August 2019 ON Stagevolume 9 • issue 1 Jamshed Bhabha Memorial Lecture An ode to the arts NCPA BANDISH A Tribute to Legendary Composers AUTUMN 2019 SEASON Stravinsky and Tchaikovsky Cover Final.indd 1 16/07/19 4:58 PM NCPA Chairman Khushroo N. Suntook Editorial Director Radhakrishnan Nair Editor-in-Chief Oishani Mitra Contents Consulting Editor Vipasha Aloukik Pai Editorial Co-ordinator 18 Hilda Darukhanawalla Art Director Tanvi Shah Associate Art Director Hemali Limbachiya Advertising Anita Maria Pancras ([email protected]; 66223835) Tulsi Bavishi ([email protected]; 9833116584) Senior Digital Manager Jayesh V. Salvi Produced by Editorial Office 4th Floor, Todi Building, Mathuradas Mills Compound, Senapati Bapat Marg, Lower Parel, Mumbai - 400013 Printer Spenta Multimedia, Peninsula Spenta, Mathuradas Mill Compound, N. M. Joshi Marg, Lower Parel, Features Mumbai – 400013 Materials in ON Stage cannot be reproduced in part or whole without the written permission shine the spotlight on the legacies of the publisher. Views and opinions expressed 08 of two trailblazing artistes – Kumar in this magazine are not necessarily those of Reflections Gandharva and Jnan Prakash Ghosh. the publisher. All rights reserved. Statues of Limitations. By Anil Dharker We try to find out how both these NCPA Booking Office men had the impulse, as musicians, to 2282 4567/6654 8135/6622 3724 follow the heart instead of the rules. www.ncpamumbai.com 10 By Reshma O. Pathare A Commemorative Conclave Dr. Jamshed Bhabha’s life was one filled with and dedicated to the arts. Fittingly, the NCPA has decided to have an annual 18 lecture series on his birthday that focusses An orchestra for all seasons on art and culture.
    [Show full text]