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Singing a Hindu Nation is a study of ranullnullriya kirtan, a western Indian performance medium that combines song, Hindu philosophical discourse, and nationalist storytelling. Beginning during the anti-colonial movement of the late nineteenth-century, performers of ranullnullriya kirtan led masses of Marathi-speaking people in temples and streets, and they have continued to preach and sing nationalism as devotion in the post-colonial era, and into the twenty-first century. In this book, author Anna Schultz demonstrates how, through this particular form of musical performance, the political becomes devotional, and explores why it motivates people to action and violence. Through both historical and ethnographic studies, Schultz shows that ranullnullriya kirtan has been especially successful in combining these two realms because kirtankars perform as representatives of the divine sage Narad, thereby infusing their nationalist messages with ritual weight. By speaking and singing in regional idioms with rich associations for Maharashtrian congregations, they use music to combine political and religious signs in ways that seem natural and desirable, promoting embodied experiences of nationalist devotion. As the first monograph on music and Hindu-nationalism, Singing a Hindu Nation presents a rare glimpse into the lives and performance worlds of nationalists on the margins of all-India political parties and cultural organizations, and is an essential resource for ethnomusicologists, as well as scholars of South Asian studies, religion, and political theory.
Singing a Hindu Nation explores how the political becomes devotional through musical performance. At the heart of author Anna Schultz's study is rashtriya kirtan, a western Indian performance medium that combines song, Hindu philosophical discourse, and nationalist storytelling. Performers of rashtriya kirtan have impacted the political environment throughout the last century, inspiring Marathi-speaking people to resist colonial domination both violently and non-violently in the early twentieth century, supporting state health and national integration projects in the early post-colonial era, a.
Music and Dance as Everyday South Asia offers an inclusive lens through which to study the music, dance, and allied arts of South Asia, its diasporas, and the people who produce and use these cultural expressions. The authors in this collection--ethnomusicologists, dance scholars, anthropologists, and practitioners--understand music and dance as everyday lived experience. "The everyday" comprises practices of South Asians in multiple countries, whose identities include numerous castes, classes, tribes, genders, sexualities, religions, nationalities, more than twenty languages, and other affiliations. With the goal to de-emphasize an approach that fetishizes analysis of classical form and its technical virtuosity, this book instead contextualizes the understanding of aesthetic meaning within six themes: place and community; style, genre, and function; intersectional identities of caste, class, and tribe; gender and sexuality; technology, media, and transmission; and diaspora and globalization. The thirty chapters in this collection demonstrate how the arts are meaningful expressions of human identities and relationships for ordinary people as well as virtuosic performers. Each author ties their thesis to hands-on, participatory exercises that provide multiple entryways to understand and engage with cultural meaning. In so doing, they empower classroom dialogue that treats embodied experience as a vital mode of enquiry, supplementing critical textual analysis to cultivate attentive, responsive, and ethical dispositions toward the music and dance practices of other humans and their life experiences.
Mirabai, an iconic sixteenth-century Indian poet-saint, is renowned for her unwavering love of God, her disregard for social hierarchies and gendered notions of honor and shame, and her challenge to familial, feudal, and religious authorities. Defying attempts to constrain and even kill her, she could not be silenced. Though verifiable facts regarding her life are few, her fame spread across social, linguistic, and religious boundaries, and stories about her multiplied across the subcontinent and the centuries. In Mirabai, Nancy M. Martin traces the story of this immensely popular Indian saint from the earliest manuscript references to her through colonial and nationalist developments to scholarly and popular portrayals in the decades leading up to Indian independence. This book examines Mirabai's place as both insider and outsider to the developing strands of devotional Hinduism and her role in contested terrain of debates around the education and independence of women and the crafting of Indian and Hindu identities. Mirabai offers a comprehensive and multi-layered portrait of this remarkable and still controversial woman, who continues to be a source of inspiration and catalyst for self-actualization for spiritual seekers, artists, activists, and so many others in India and around the world today.
This open access book argues that contrary to dominant approaches that view nationalism as unaffected by globalization or globalization undermining the nation-state, the contemporary world is actually marked by globalization of the nation form. Based on fieldwork in Africa, Asia, Europe and the Middle East and drawing, among others, on Peter van der Veer’s comparative work on religion and nation, it discuss practices of nationalism vis-a-vis migration, rituals of sacrifice and prayer, music, media, e-commerce, Islamophobia, bare life, secularism, literature and atheism. The volume offers new understandings of nationalism in a broader perspective. The text will appeal to students and researchers interested in nationalism outside of the West, especially those working in anthropology, sociology and history.
The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world's musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology's fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture. Key features include: Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition
Traditions of asceticism, yoga, and devotion (bhakti), including dance and music, developed in Hinduism over long periods of time. Some of these practices, notably those denoted by the term yoga, are orientated towards salvation from the cycle of reincarnation and go back several thousand years. These practices, borne witness to in ancient texts called Upaniṣads, as well as in other traditions, notably early Buddhism and Jainism, are the subject of this volume in the Oxford History of Hinduism. Practices of meditation are also linked to asceticism (tapas) and its institutional articulation in renunciation (saṃnyăsa). There is a range of practices or disciplines from ascetic fasting to taking a vow (vrata) for a deity in return for a favour. There are also devotional practices that might involve ritual, making an offering to a deity and receiving a blessing, dancing, or visualization of the master (guru). The overall theme—the history of religious practices—might even be seen as being within a broader intellectual trajectory of cultural history. In the substantial introduction by the editor this broad history is sketched, paying particular attention to what we might call the medieval period (post-Gupta) through to modernity when traditions had significantly developed in relation to each other. The chapters in the book chart the history of Hindu practice, paying particular attention to indigenous terms and recognizing indigenous distinctions such as between the ritual life of the householder and the renouncer seeking liberation, between 'inner' practices of and 'external' practices of ritual, and between those desirous of liberation (mumukṣu) and those desirous of pleasure and worldly success (bubhukṣu). This whole range of meditative and devotional practices that have developed in the history of Hinduism are represented in this book.
Punjab Sounds nuances our understanding of the region's imbrications with sound. It argues that rather than being territorially bounded, the region only emerges in ‘regioning’, i.e., in words, gestures, objects, and techniques that do the region. Regioning sound reveals the relationship between sound and the region in three interlinked ways: in doing, knowing, and feeling the region through sound. The volume covers several musical genres of the Punjab region, including within its geographical remit the Punjabi diaspora and east and west Punjab. It also provides new understandings of the role that ephemeral cultural expressions, especially music and sound, play in the formulation of Punjabi identity. Featuring contributions from scholars across North America, South Asia, Europe, and the UK, it brings together diverse perspectives. The chapters use a range of different methods, ranging from computational analysis and ethnography to close textual analysis, demonstrating some of the ways in which research on music and sound can be carried out. The chapters will be relevant for anyone working on Punjab’s music, including the Punjabi diaspora, music, and sound in the Global South. Moreover, it will be useful for undergraduate and postgraduate students in the following areas: ethnomusicology, cultural studies, film studies, music studies, South Asian studies, Punjab studies, history, and sound studies, among others.
In Sound Alignments, a transnational group of scholars explores the myriad forms of popular music that circulated across Asia during the Cold War. Challenging the conventional alignments and periodizations of Western cultural histories of the Cold War, they trace the routes of popular music, examining how it took on new meanings and significance as it traveled across Asia, from India to Indonesia, Hong Kong to South Korea, China to Japan. From studies of how popular musical styles from the Americas and Europe were adapted to meet local exigencies to how socialist-bloc and nonaligned Cold War organizations facilitated the circulation of popular music throughout the region, the contributors outline how music forged and challenged alliances, revolutions, and countercultures. They also show how the Cold War's legacy shapes contemporary culture, particularly in the ways 1990s and 2000s J-pop and K-pop are rooted in American attempts to foster economic exchange in East Asia in the 1960s.Throughout, Sound Alignments demonstrates that the experiences of the Cold War in Asia were as diverse and dynamic as the music heard and performed in it. Contributors. Marié Abe, Michael K. Bourdaghs, Paola Iovene, Nisha Kommattam, Jennifer Lindsay, Kaley Mason, Anna Schultz, Hyunjoon Shin, C. J. W.-L. Wee, Hon-Lun (Helan) Yang, Christine R. Yano, Qian Zhang
Bhakti, a term ubiquitous in the religious life of South Asia, has meanings that shift dramatically according to context and sentiment. Sometimes translated as “personal devotion,” bhakti nonetheless implies and fosters public interaction. It is often associated with the marginalized voices of women and lower castes, yet it has also played a role in perpetuating injustice. Barriers have been torn down in the name of bhakti, while others have been built simultaneously. Bhakti and Power provides an accessible entry into key debates around issues such as these, presenting voices and vignettes from the sixth century to the present and from many parts of India’s cultural landscape. Written by a wide range of engaged scholars, this volume showcases one of the most influential concepts in Indian history—still a major force in the present day.