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Sundar (S.Sundar Rajan) is an Indian Revenue Service officer, hailing from one of the southernmost districts of our country, Tiruneveli, Tamil Nadu. Before joining the civil services in year 2007, Sunder had a brief stint with Tata Chemicals Ltd. An engineering graduate from BITS, Pilani, and the author completed his MBA from SIBM, Pune (2004). A person with no specific interest, Sundar is fond of many things in life like – movies, writing, a bit of reading, traveling, photography, some cricket, music etc. Married to one of his IRS batch-mates, Jayanthi, the author is currently serving as an Assistant Commissioner of Income Tax in Goa. This is the author’s first work of fiction. Earlier he had co-authored along with his elder brother, S.Nagaranjan IAS, a preparation guide for the civil service exam – “Topper’s Tips”.
Kathak, the Indian classical dance form prevalent in the North, has a long past. Nurtured in the holy precincts of the Hindu temples, Kathak dance has over the centuries, attained refinement and enriched itself with various hues and embellishments. The art of story-telling which found expression in various forms like the Akhyana by the Manabhattas of Gujarat, the Pandavani by the artistes telling stories in Madhya Pradesh, the Harikathas and Kalakshepams of the South, the Kirtanas of the West, the art of Wari-liba, story-telling of the North-East, specially of Manipur, reflects the rich heritage Kathak has inherited over the years. In forms such as Baithakachi Lavani and the bhava to the Ghazals the range is both varied and vast. Though essentially seen in its solo form, Kathak in its Natya aspects shares a large corpus of the Rasalilas of Brindavan. Its journey from the Hindu temples to the courts of the Mughals is quite fascinating and the various elements it has imbibed over the different periods in history have given Kathak an equisite character. The Persian influence, the patronage of the Muslim kings, the flowering of the two main gharanas (schools), the Jaipur and the Lucknow, and the contribution of the Maharaj Brothers, the famous descendants of Kalka-Bindadin, viz.; Acchan Maharaj, Shambhu Maharaj, Lacchu Maharaj and Birju Maharaj, the great gurus of Jaipur like Jailalji and Sunder Prasadji portray Kathak as it has developed in recent times. Whereas the Choreographic attempts by Madame Menaka and later on by Birju Maharaj and Kumudini Lakhia provide a perspective for viewing Kathak in its many-faceted forms. The footwork, the nritta pieces like tode, tukde, parans, the improvisational aspects and the simple graceful gats and gat-nikas, the illusion of miniature paintings coming to life and many other aspects are vividly captured in this most comprehensive and thoroughl;y researched book on Kathak. It has an attractive section on the contemporary practitioners ranging from Birju Maharaj, Sitara Devi, Damayanti Joshi, Kumudini Lakhia, Rohini Bhate, Roshan Kumari, Gopi Krishna, Durgalal to the young exponents who carry forward the tradition in the present times. Lavishly illustrated with colour and black and white photographs and designed by Dolly Sahiar the many-splendoured beauty of Kathak is captured in this volume, which should appeal to the cognoscenti and lay readers alike.
Conquering the maharajas demonstrates that the political and military clashes between the Indian and Pakistani governments and the princely states, a legacy of the layered sovereignty of British indirect rule in India, was a product of the competing ideas of state sovereignty leading up to and following the transfer of power in 1947.
Telling a riveting true story of the emergence and development of an American icon, this book traces swing dancing from its origins to its status as a modern-day art form. From its unlikely origins in the African slave trade, one of the saddest chapters of American history, swing dance emerged as a celebration of the soul. Swing is now recognized around the globe as a joyous partnered dance, uniquely Afro-American in origin and an American treasure. This book examines how the original swing style of the 1920s, the Lindy Hop, branched out and evolved with the changing dynamics of popular culture, paralleling the development of the nation. Swing Dancing covers the dance through the years of minstrelsy, the jazz age, the big band era, bebop, and the decline of partnered dancing in the 1960s. Swing experts and instructors Tamara and Erin Stevens have combined a compelling historic examination of swing dance with an assortment of riveting personal interviews and photographic documentation to create a comprehensive reference book on this important art form.
Part memoir, part oral testimony, part eyewitness account, Binodini’s The Maharaja’s Household provides a unique and engrossingly intimate view of life in the erstwhile royal household of Manipur in northeast India. It brings to life stories of kingdoms long vanished, and is an important addition to the untold histories of the British Raj. Maharaj Kumari Binodini Devi, or Binodini as she preferred to be known, published The Maharaja’s Household as a series of essays between 2002 and 2007 for an avid newspaper-reading public in Manipur. Already celebrated in Manipur for her award-winning novel, short stories and film scripts that had brought her to the attention of international followers of world cinema, Binodini entranced her readers anew with her stories of royal life, told from a woman’s point of view and informed by a deep empathy for the common people in her father’s gilded circle. Elephant hunts, polo matches and Hindu temple performances form the backdrop for palace intrigues, colonial rule and White Rajahs. With gentle humour, piquant observations and heartfelt nostalgia, Binodini evokes a lifestyle and an era that is now lost. Her book paints a portrait of the household of a king that only a princess – his daughter – could have written. Published by Zubaan.
Hitherto, the academic study of Indian cinema has focused primarily on Bollywood, despite the fact that the Tamil film industry, based in southern India, has overtaken Bollywood in terms of annual output. This book examines critically the cultural and cinematic representations in Tamil cinema. It outlines its history and distinctive characteristics, and proceeds to consider a number of important themes such as gender, religion, class, caste, fandom, cinematic genre, the politics of identity and diaspora. Throughout, the book cogently links the analysis to wider social, political and cultural phenomena in Tamil and Indian society. Overall, it is an exciting and original contribution to an under-studied field, also facilitating a fresh consideration of the existing body of scholarship on Indian cinema.
Tradition and Transformation in Mohiniyattam Dance: An Ethnographic History demonstrates how Mohiniyattam, a form previously stigmatized, was reinvented as a sign of traditional Keralite womanhood. The book traces how the emergence of Mohiniyattam as a traditional form of dance based on a feminine aesthetic was synchronistic with the outlawing of polyandrous marriage practices and devadasi practices, as well as changes in matrilineal inheritance and the outlawing of and reforms in women’s dress customs in Kerala, India. These layers of history and cultural meaning permitted Mohiniyattam’s renaissance as a sign of female grace and tradition. Throughout, Lemos argues that practicing and learning movement is a gateway to understanding a system of semiosis. Danced movement itself can be a locust, a bellwether, and even an agent of social change.
This book is a dramatic presentation in three Acts about one of the most significant episodes of the Shrimad Bhagavatam the birth of Lord Krishna. It is a story about the atrocities committed by King Kamsa and his subsequent fall and death by Krishna.ACT ONE deals with the tragic fate of Devaki and Vasudeva, Krishna`s parents, and their incarceration into prison.ACT TWO is a joyous account of Krishna`s early childhood, his divine relationship with the Gopis and Radha.ACT THREE sees the culmination of the divine prophecy, and the death of Kamsa.
Beatrice, Lady Somerfield, is too busy acting as chaperone for her headstrong niece to take her friends' advice to find a lover. Maybe next year, she thinks. Until one night at a masquerade ball when a dark stranger makes her realize what she's been missing.& ;& ;When she finally discovers his identity as the Marquess of Thayne, the very man she has practically been pushing into her niece's arms as the Catch of the Season, Beatrice is horrified. But Thayne is thoroughly captivated by Beatrice, and finds himself increasingly drawn to the beautiful, sensual, more mature and sophisticated Lady Somerfield, and soon discovers he wants more than a love affair. Beatrice, however, has vowed never to marry again. But when their private fling leads to public scandal, more than one life is turned upside down.& ;& ;
This book investigates theories and practices shaped by a performance’s relationship to the archive. The contributions in the volume examine how the changing nature of performance practices has made it imperative to understand how the archive and archival practices could add to the performance work. They explore a variety of themes, including artistic engagement with the archive in both conceptual and material terms; physical, virtual and digital forms; publicly and privately collected; oral, written and digital ways; or organized and unorganized collections. Finally, the volume examines how archives are modelled on existing structure and the ways in which they can be brought into discourses and practices of performance making through engagement and contestation. A novel approach to performance theory, this volume will be of great interest to scholars and researchers of performance studies, media and culture studies, studies of technology and art as also literature and literary criticism.