Shruti Ghosh - Academia.edu (original) (raw)
Papers by Shruti Ghosh
EMAMI ART BLOG, 2024
All the love that I have for beloved Lucknow should now be poured into Calcutta) Nawab Wajid Ali ... more All the love that I have for beloved Lucknow should now be poured into Calcutta) Nawab Wajid Ali Shah, the last king of Lucknow/Awadh, spent his exile in Metiabruz in Calcutta (1856-1887) following the annexation of his beloved kingdom by the British. Matiyaburj (matiya means mud and burj means fort) an area on the banks of Hooghly River in the southernmost fringes of Calcutta was a part of the Sundarbans, inhabited by the Bangla speaking low caste Hindu community-mostly farmers, fisherman, tailors-who had settled there and converted to Islam around late 18 th century. With the advent of the nawab and migration of a huge population from Lucknow consisting of members of royal family as well as musicians, dancers, tailors, cooks, artisans among others, Metiabruz was given a new identity-Chhota Lucknow, where nawabi culture (tehzeeb/etiquette of Lucknow) made its presence felt in architecture, cuisine, language, music, literature and dress of the area. Most of the nawabi properties were destroyed by the British after the nawab's death in 1887. The contemporary Metiabruz, which is often derogatively described as a Muslim ghetto, is home to Bangla and Urdu speaking Muslim population, Bangla and Hindi speaking Hindu families and a large working-class population most of whom have migrated from Orissa and Bihar to work in the shipbuilding company and Khidderpore docks. In contemporary Metiabruz, what remains of the nawabi culture is a complex question. This write up focuses on the few 'nawabi' architectures that are left in contemporary Metiabruz.
IEC 61439-1 e IEC 61439-2, el cual incluye todos los elementos de maniobra y protección necesario... more IEC 61439-1 e IEC 61439-2, el cual incluye todos los elementos de maniobra y protección necesarios para un proceso de control.
Rupkatha Journal on Interdisciplinary Studies in Humanities, 2013
Aparjan patrika, 2021
This is the first article in the series, I shall be writing, on my experience of staying teaching... more This is the first article in the series, I shall be writing, on my experience of staying teaching dance and traveling in Kazakhstan, during my tenure as Dance teacher/performer at the Embassy of India, Kazakhstan, between March 2018 and July 2020.
Bengaluru Review, August Issue, 2019
Like many others, I too have been mesmerized and enthralled by Chhaya Ganguly's unforgettable ren... more Like many others, I too have been mesmerized and enthralled by Chhaya Ganguly's unforgettable rendition of Makhdoom Mohiuddin's famous ghazal, 'aap ki yaad ati rahi raat bhar' (Your memories kept haunting me all night), put to tune by Jaidev in Muzaffar Ali's film Gaman. In the course of watching/hearing the song repeatedly over some years now, the music and picturisation has drawn my attention towards the 'cinematic' quality the sequence holds in it which in turn facilitates a deeper reading of this song sequence.
Rupkatha Journal on Interdisciplinary Studies in Humanities, Vol 5, No3, Dec 2013
Kathak, the North Indian classical dance form is mainly characterized by its art of storytelling.... more Kathak, the North Indian classical dance form is mainly characterized by its art of storytelling. Using codified gestures (mudras) and particular facial expressions (rasa) a Kathak dancer narrates stories and episodes borrowed from Indian mythologies and epics. In spite of being stylized these gestures/expressions are somewhat rooted within everyday actions and rituals. Hence functioning as a partially shared code they appear comprehensible within the larger Indian community. Moreover the audiences are familiar with the content (story) which is being depicted. What happens to the dance when it crosses national borders? This paper looks at how the performer translates the coded gestures and the narrative content to make it comprehensible for the wider audience not familiar with the content and the form.
Dance House Diary, Issue 5, Jul 2013
How does a person learn a dance form? When does s/he know that s/he has learnt it? The expertise ... more How does a person learn a dance form? When does s/he know that s/he has learnt it? The expertise of the (dance) form comes by acquiring its techniques and principles through rigorous training that builds up an understanding of it. So an adherence to a canon authenticates his/her learning (knowledge), place and thereby an identity within a particular tradition, subsequently investing him/her with the authority to represent the dance form. But when the process of canonization itself is challenged by the massive social, political, economic and cultural changes then how can one articulate the notion of a particular/definite 'form'? How does one deal with the (false) notions of a sustained tradition and cultural identity that is jeopardized by such changes? Macquarie University,
The paper looks at the role a performer's 'memory' plays in defining/shaping a performance.
EMAMI ART BLOG, 2024
All the love that I have for beloved Lucknow should now be poured into Calcutta) Nawab Wajid Ali ... more All the love that I have for beloved Lucknow should now be poured into Calcutta) Nawab Wajid Ali Shah, the last king of Lucknow/Awadh, spent his exile in Metiabruz in Calcutta (1856-1887) following the annexation of his beloved kingdom by the British. Matiyaburj (matiya means mud and burj means fort) an area on the banks of Hooghly River in the southernmost fringes of Calcutta was a part of the Sundarbans, inhabited by the Bangla speaking low caste Hindu community-mostly farmers, fisherman, tailors-who had settled there and converted to Islam around late 18 th century. With the advent of the nawab and migration of a huge population from Lucknow consisting of members of royal family as well as musicians, dancers, tailors, cooks, artisans among others, Metiabruz was given a new identity-Chhota Lucknow, where nawabi culture (tehzeeb/etiquette of Lucknow) made its presence felt in architecture, cuisine, language, music, literature and dress of the area. Most of the nawabi properties were destroyed by the British after the nawab's death in 1887. The contemporary Metiabruz, which is often derogatively described as a Muslim ghetto, is home to Bangla and Urdu speaking Muslim population, Bangla and Hindi speaking Hindu families and a large working-class population most of whom have migrated from Orissa and Bihar to work in the shipbuilding company and Khidderpore docks. In contemporary Metiabruz, what remains of the nawabi culture is a complex question. This write up focuses on the few 'nawabi' architectures that are left in contemporary Metiabruz.
IEC 61439-1 e IEC 61439-2, el cual incluye todos los elementos de maniobra y protección necesario... more IEC 61439-1 e IEC 61439-2, el cual incluye todos los elementos de maniobra y protección necesarios para un proceso de control.
Rupkatha Journal on Interdisciplinary Studies in Humanities, 2013
Aparjan patrika, 2021
This is the first article in the series, I shall be writing, on my experience of staying teaching... more This is the first article in the series, I shall be writing, on my experience of staying teaching dance and traveling in Kazakhstan, during my tenure as Dance teacher/performer at the Embassy of India, Kazakhstan, between March 2018 and July 2020.
Bengaluru Review, August Issue, 2019
Like many others, I too have been mesmerized and enthralled by Chhaya Ganguly's unforgettable ren... more Like many others, I too have been mesmerized and enthralled by Chhaya Ganguly's unforgettable rendition of Makhdoom Mohiuddin's famous ghazal, 'aap ki yaad ati rahi raat bhar' (Your memories kept haunting me all night), put to tune by Jaidev in Muzaffar Ali's film Gaman. In the course of watching/hearing the song repeatedly over some years now, the music and picturisation has drawn my attention towards the 'cinematic' quality the sequence holds in it which in turn facilitates a deeper reading of this song sequence.
Rupkatha Journal on Interdisciplinary Studies in Humanities, Vol 5, No3, Dec 2013
Kathak, the North Indian classical dance form is mainly characterized by its art of storytelling.... more Kathak, the North Indian classical dance form is mainly characterized by its art of storytelling. Using codified gestures (mudras) and particular facial expressions (rasa) a Kathak dancer narrates stories and episodes borrowed from Indian mythologies and epics. In spite of being stylized these gestures/expressions are somewhat rooted within everyday actions and rituals. Hence functioning as a partially shared code they appear comprehensible within the larger Indian community. Moreover the audiences are familiar with the content (story) which is being depicted. What happens to the dance when it crosses national borders? This paper looks at how the performer translates the coded gestures and the narrative content to make it comprehensible for the wider audience not familiar with the content and the form.
Dance House Diary, Issue 5, Jul 2013
How does a person learn a dance form? When does s/he know that s/he has learnt it? The expertise ... more How does a person learn a dance form? When does s/he know that s/he has learnt it? The expertise of the (dance) form comes by acquiring its techniques and principles through rigorous training that builds up an understanding of it. So an adherence to a canon authenticates his/her learning (knowledge), place and thereby an identity within a particular tradition, subsequently investing him/her with the authority to represent the dance form. But when the process of canonization itself is challenged by the massive social, political, economic and cultural changes then how can one articulate the notion of a particular/definite 'form'? How does one deal with the (false) notions of a sustained tradition and cultural identity that is jeopardized by such changes? Macquarie University,
The paper looks at the role a performer's 'memory' plays in defining/shaping a performance.