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In The Dancer’s Voice Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family’s heirlooms, photographs, and memories, Putcha reveals how women’s citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer’s voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation.
A picture book biography about M.S. Subbulakshmi, a powerful Indian singer who advocated for justice and peace through song. Before M.S. Subbulakshmi was a famous Carnatic singer and the first Indian woman to perform at the United Nations, she was a young girl with a prodigious voice. But Subbulakshmi was not free to sing everywhere. In early 1900s India, girls were not allowed to perform for the public. So Subbulakshmi busted barriers to sing at small festivals. Eventually, she broke tradition to record her first album. She did not stop here. At Gandhi's request, Subbulakshmi sang for India’s freedom. Her fascinating odyssey stretched across borders, and soon she was no longer just a young prodigy. She was a woman who changed the world.
On the establishment of a free press in India.
This book with 27 articles is the first organised literary effort on the part of the gay community to assert itself in a world which still sees same-sex love as queer . The contributors to the anthology come from within the gay community, and hail from distant corners of the country.
Ways of Voice explores techniques of voice production in North India, from Bollywood to raga music to ghazal to devotional hymns and Sufi song. The voices in play here are not merely given, but achieved. Singers consciously train themselves to cultivate characteristic vocal gaits, sonorities, and poetic attunements; they adopt postures of the vocal apparatus; they build habits of listening, temporality, and social relations. The action in Ways of Voice revolves around several dozen North Indian popular, devotional, classical, and folk singers engaged in projects of vocal striving. Like most singers, they are strategically working on changing, refining, and making their own voices. The book thus highlights the ways in which singers not only "have" voice, but actively acquire, cultivate and contest particular vocal dispositions for particular kinds of listeners. In framing a "Hindustani vocal ecumene" that encompasses a diverse range of classical, popular, and spiritual-devotional musical styles and practices, it offers an expansive look at ways of voice that extend far beyond commonsense boundaries of genre and place. A rich archive of audio and video examples are provided on the online companion site, which can be found at https://www.weslpress.org/readers-companions/.
UPDATED FOR THE 75TH ANNIVERSARY OF PARTITION 'Puri does profound and elegant work bringing forgotten narratives back to life. It's hard to convey just how important this book is' Sathnam Sanghera 'The most humane account of partition I've read ... We need a candid conversation about our past and this is an essential starting point' Nikesh Shukla, Observer 'Thanks to Ms. Puri and others, [that] silence is giving way to inquisitive-and assertive-voices. In Britain, at least, the partitioned have learned to speak frankly of the past-and to search for ways to reckon with it' Wall Street Journal ________________________ Newly revised for the seventy-fifth anniversary of partition, Kavita Puri conducts a vital reappraisal of empire, revisiting the stories of those collected in the 2017 edition and reflecting on recent developments in the lives of those affected by partition. The division of the Indian subcontinent in 1947 into India and Pakistan saw millions uprooted and resulted in unspeakable violence. It happened far away, but it would shape modern Britain. Dotted across homes in Britain are people who were witnesses to one of the most tumultuous events of the twentieth century. But their memory of partition has been shrouded in silence. In her eye-opening and timely work, Kavita Puri uncovers remarkable testimonies from former subjects of the Raj who are now British citizens – including her own father. Weaving a tapestry of human experience over seven decades, Puri reveals a secret history of ruptured families and friendships, extraordinary journeys and daring rescue missions that reverberates with compassion and loss. It is a work that breaks the silence and confronts the difficult truths at the heart of Britain's shared past with South Asia.
Is the mainstream international media broadcasting fake news about India? Are they deliberately doing a smear campaign for their own political agenda? Why would they deceitfully hide the real India? Author and world traveler Renee Lynn takes a close look at the fake news phenomenon and how the six media giants are controlling 90% of everything we read and hear. The media is dominating and maintaining their monopolies and through mass manipulation is dictating our perceptions. Voicing and scrutinizing this phenomenon from her own experiences and research, she urgently wants to get the truth out about India. The lies and distortions told by the mainstream media will leave you agitated. So come and discovery the real India and the deception of bogus news media.
A free open access ebook is available upon publication. Learn more at www.luminosoa.org. To produce the song sequences that are central to Indian popular cinema, singers' voices are first recorded in the studio and then played back on the set to be lip-synced and danced to by actors and actresses as the visuals are filmed. Since the 1950s, playback singers have become revered celebrities in their own right. Brought to Life by the Voice explores the distinctive aesthetics and affective power generated by this division of labor between onscreen body and offscreen voice in South Indian Tamil cinema. In Amanda Weidman's historical and ethnographic account, playback is not just a cinematic technique, but a powerful and ubiquitous element of aural public culture that has shaped the complex dynamics of postcolonial gendered subjectivity, politicized ethnolinguistic identity, and neoliberal transformation in South India.
Compilation of presidential addresses of the first to twenty third Indian Geography Congress.