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A poetic depiction of ancient India The Warli people, who live in ancient India, work hard throughout the year. They plant seeds in the spring so that the summer monsoons will help the plants grow, and they harvest their crops in the fall and store the food for the long winter ahead. But despite the hardships they face, they also find time to celebrate life's joyous moments. This Trade Winds book highlights the day-to-day life in an agricultural society and offers historical information about one of the world's earliest civilizations.
Warli painting has its own place in adivasi art of India. It takes its name from the Warli tribes of Maharashtra. It seems their roots are in the rock shelters of ancestors found in Bhimbhedka and Raisen in Madhya Pradesh. Warli paintings are pointers - they fulfil a purpose. Their presence in the hut is auspicious and is said to promote fertility, avert disease, propitiate the dead, etc. They show rituals at birth, marriage, a life full of dance and music, livelihood, connectivity with death and life after death. Artists express a kind of fulfilment they experience that is in harmony with nature and their gods and goddesses. Warli art is simple yet rich. The material used for painting is simple, themes contained therein, philosophy of existence and even life beyond death, all are brought forth in a most elementary format. Many specimens of Warli art are contained in this book. The paintings are expressive with profound truths and project all that one needs to know how to live a happy life. Austere brown wall surface of huts displaying tribal designs with typical rock art motifs make Warli art different from other tribal paintings of India. This book is a modest compilation of Warli art that comes through an unbroken tradition of thousands of years. But Warli art traditions are gradually vanishing. Money elsewhere is pulling artists away from their traditional occupation. Something has to be done by society to create conditions for them, to not get weaned away by lure of commercial avenues. This book is a small effort to save this art from falling off from the pathway of time continuum.
There are many holy cities in India, but Mumbai is not usually considered one of them. More popular images of the city capture the world’s collective imagination—as a Bollywood fantasia or a slumland dystopia. Yet for many, if not most, people who live in the city, the neighborhood streets are indeed shared with local gods and guardian spirits. In The Neighborhood of Gods, William Elison examines the link between territory and divinity in India’s most self-consciously modern city. In this densely settled environment, space is scarce, and anxiety about housing is pervasive. Consecrating space—first with impromptu displays and then, eventually, with full-blown temples and official recognition—is one way of staking a claim. But how can a marginalized community make its gods visible, and therefore powerful, in the eyes of others? The Neighborhood of Gods explores this question, bringing an ethnographic lens to a range of visual and spatial practices: from the shrine construction that encroaches on downtown streets, to the “tribal art” practices of an indigenous group facing displacement, to the work of image production at two Bollywood film studios. A pioneering ethnography, this book offers a creative intervention in debates on postcolonial citizenship, urban geography, and visuality in the religions of India.
Next to Africa, India has the largest tribal population (67.7 million) in the world. Indian tribes, spread over the length and breadth of the country, are concentrated in hilly and forest regions. The tribes of India differ considerably from one another in race, language culture and beliefs, and present a spectacle of striking diversity. It is this diversity marked by varied social characteristics and diverse cultural traditions and linguistic traits that lends lustre to the cultural mosaic of India. Encyclopaedia Profile of Indian Tribes, first of its kind, seeks to present a concise by comprehensive account of the socio-cultural profile of all the tribal communities who have been declared as Scheduled Tribes by the Government of India. The tribes are arranged alphabetically in order to facilitate easy reference. Each profile deals with the geographical distribution of the tribal population, the social structure, the means of subsistence and economic organisation, religious beliefs and practice, the political institutions, and modern social changes sweeping the community. At the end of each profile, there is a short bibliography for the more inquisitive reader. Each entry in this four volume set has been contributed by a scholar who has deep personal knowledge and contact with the community. This classic multi-volume set will be extremely useful to scholars studying tribals in India and abroad and to all those interested in a standard reference work on the Indian tribes.
Me 'n' Mine is a term course comprising 15 books for grades 1 to 5, 3 books per grade, spread over 3 terms. The core subjects covered are English, Maths, EVS/Science and Social Studies. The contents are broadly derived from the guidelines provided in NCF 2022 and NEP 2020. The books focus on providing quality education while reducing the extra burden on students. They embed the principles and practices of hands-on, and responsive teaching and learning while focusing on the common goal of improving education. Its myriad innovative, creative and interactive features make teaching and learning participative and interesting.
The Wall Paintings Of The Warli People Of Maharashtra Are Famous Worldwide For Their Simplicity And Their Liveliness. Beginning With The Story Of Little Shirvi Who Wants To Give Her Parents A Happy Surprise, Author Shamim Padamsee Takes A Whimsical Journey Into How The Art May Have Been Born. And Along That Journey, Shirvi Meets The Magical Moon People...
Contents: Socio-Cultural and Demographic Profile of the Warli Tribe, Research Methodology, What About the Warli Painting Tradition?, Wall Paintings of the Saora Tribe of Orissa, Comparison of Rock Paintings with Tribal Paintings, Wall Paintings of the Rathwa Tribe, Threads Together: Some Reflections.