Tritha Sinha Is a New Delhi and Paris Based Vocalist and Bandleader. She Began Playing Indian Classical Music at the Age of Five

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Tritha Sinha is a New Delhi and Paris based vocalist and bandleader. She began playing Indian classical music at the age of five and continues to study under world-renowned guru Pandit Santanu Bandhyopadyay from the Bishnupur gharana. After an onstage career in Bollywood music, Tritha founded the psychedelic Indian rock band Tritha Electric which adventurously fuses her classical Indian vocal technique with rock, electronica and other disparate genres. Her recordings and music video poetically address violence against women and other pressing social issues in contemporary Indian culture, and have been highlighted internationally by the BBC and other major outlets across Europe like Arte & Canal Plus and by the Magnum Photo Agency for their exhibition “Women Changing India”. In India, she has been a speaker at the TEDx Delhi, and featured in Marie Claire India and Tehelka. Her debut album was released on Sony Music in June, 2014, “PaGLI” – a story of the metamorphosis of the Indian woman from traditions to modernity. In 2009 she founded SPACE, an artist collective focussed on on women empowerment in India and works regularly with NGO’s bringing about awareness through her music. In addition to her impressive touring and recording activity, she has performed with the global feminist project One Billion Rising and worked with Eve Ensler of the Vagina Monologues and dancer/social activist Mallika Sarabhai on several productions. Tritha also teaches Indian classical music in Europe and India combining it with Sound Healing and Music Meditation workshops. She represented India at the Onebeat 2016 social incubatorship program invited by the US State department last October among 25 international socially engaged music artists from all over the world last October. .

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Music and Society in Late Colonial India: a Study of Esraj in Gaya LSE Research Online URL for This Paper: Version: Accepted Version
Music and society in late colonial India: a study of Esraj in Gaya LSE Research Online URL for this paper: http://eprints.lse.ac.uk/101477/ Version: Accepted Version Article: Roy, Tirthankar (2019) Music and society in late colonial India: a study of Esraj in Gaya. Journal of Asian Studies, 79 (1). pp. 25-49. ISSN 0021-9118 https://doi.org/10.1017/S0021911819000123 Reuse Items deposited in LSE Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the LSE Research Online record for the item. [email protected] https://eprints.lse.ac.uk/ Music and Society in Late Colonial India: A Study of Esraj in Gaya TIRTHANKAR ROY In the late nineteenth and early twentieth centuries, Indian classical music was in transition. Most readings of the transition stress the choices of the professional musicians, as these musicians and the institutions in which they functioned were caught up in political and economic movements such as nationalism and commercialization. This article studies a different type of transition: when a small-town professional group with a strong associational culture became musicians. This second process, standing in contrast to the received narratives, suggests novel lessons in the history of urban cultures during a time of change. Keywords: colonial India, esraj, Gaya, Gayawals, gharanas, harmonium, Indian classical music, nationalism, urban culture Tirthankar Roy ([email protected]) is Professor of Economic History at the London School of Economics and Political Science.
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