ShodhKosh: Journal of Visual and Performing Arts最新文献

{"title":"FEMINISM IN THE MUSICAL LANDSCAPE OF NORTH- EAST INDIA: AN IN-DEPTH ANALYSIS","authors":"Samidha Vedabala","doi":"10.29121/shodhkosh.v5.i1.2024.869","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.869","url":null,"abstract":"This research explores the intricate interplay between feminism and the musical landscape of North-east India, focusing on the state of Assam, Sikkim, and Meghalaya, delving into both traditional and contemporary expressions. In the region known for its diverse cultures, the study aims to elucidate the place of women in traditional music, analyze the representation of women in contemporary genres, and the feminist that are prevalent in the North-east Indian music tradition and industry. Through ethnographic fieldwork, interviews, and a comparative analysis of gender dynamics in the industry, the research seeks to uncover the ways in which music acts as a conduit for challenging and reshaping societal perceptions of gender roles. The findings aim to contribute to the global discourse on feminism in music while providing nuanced insights into the unique cultural context of North-east India. This research not only adds to academic knowledge but also holds practical implications for fostering gender equality and empowerment within the regional music scene.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"895 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140446102","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"STUDY ON SCULPTURAL ART OF TEN JAINA IMAGES FROM THE ODISHA STATE MUSEUM OF BHUBANESWAR","authors":"Ratnakar Mohapatra","doi":"10.29121/shodhkosh.v5.i1.2024.856","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.856","url":null,"abstract":"The aim of present article is to focus on the sculptural features as well as religious significance of the ten Jaina images of the Odisha State Museum, Bhubaneswar. Iconography of ten Jaina Tirthankara images of the Odisha State Museum is a major aspect of the Odishan sculptural art in India. Jainism is one of the oldest religions in the state of Odisha. The earliest Jaina sculptures in Odisha date back to the period before Mauryan/Asokan. From the 6th century B.C. Jainism remained one of the major religions of Kalinga (ancient Odisha) until the first century B.C., when the Kharavela was ruling in the state. It is believed that Jainism continued to be a major religion in the state even after the war of Kalinga (261 B.C.). Jainism co-existed with other religions in the state of Odisha. In fact, Jaina Tirthankara images were made all over Odisha during the early medieval era. Some Jain images are noticed at different places of Odisha. After Kharavela, the artists of Odisha continued to create Jain images until the 11th century C.E. Out of the extant Jaina Tirthankara images of Odisha, some of the Jaina sculptures are found to be kept in Odisha State Museum, Bhubaneswar. Among these preserved Jaina Tirthankara images, ten Jaina Tirthankara images are discussed in this piece of work. The names and discovered sites of the ten Jaina images of the State Museum, Bhubaneswar are viz; 1. Risabhanath of Keonjhar, 2. Risabhanatha of Khajuriapada, 3. Mahavir image of Charampa, 4. Parsvanatha of Sisupalgarh, 5. Shantinatha of Charampa, 6. Risabhanath of Charampa, 7. Risabhanatha of Podasingidi, 8. Ajitanatha of Charampa, 9. Risabhanath of Bhubaneswar and 10. Parsvanatha of Baidyakhia. Sculptural features of the above Jaina Tirthankara images of the Odisha State Museum suggest that these images were made during the time period from the 8th century to 11th century C.E. The presence of these Jaina Tirthankara images gives an idea that Jainism was prevalent in eastern and northern Odisha during the medieval period. Artistic point of view, these Tirthankara images are very important and interesting for study. Hence, the present author has made a modest attempt to highlight the sculptural art as well as religious connotation of the ten Jaina images of the Odisha State Museum, Bhubaneswar. Methodologically, the author has written this article by using both primary and secondary sources.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"43 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140448804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MEDIA’S CONTRIBUTION TO SOCIETY’S RESISTANCE AND EMPOWERMENT: A STUDY OF THE GOD OF SMALL THINGS","authors":"Roshee Vaid","doi":"10.29121/shodhkosh.v5.i1.2024.744","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.744","url":null,"abstract":"This paper explores the subjects of resistance and empowerment in Arundhati Roy's novel, The God of Small Things. The study examines how characters in the book challenge oppressive systems, defy societal norms, and navigate power structures. It analyzes instances where characters find strength and agency, breaking free from the constraints imposed by society. It also emphasizes the interconnectedness of the book and the role of media. It illustrates how media contributes to characters' empowerment and how empowerment fuels further resistance. The study highlights the complex relationship between these themes, demonstrating their individual and collective dimensions. Overall, the paper provides a comprehensive overview of the study's focus on resistance and empowerment in the selected novel shedding light on characters' efforts to navigate and transcend societal boundaries while seeking personal agency and empowerment.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"51 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140483221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"EVALUATING THE EFFECTIVENESS OF UNIVERSAL DESIGN PRINCIPLES IN ARCHITECTURE DESIGN STUDIO","authors":"Mohammad Noman Mansoori, Gulnaz, Mohammad Amir Khan","doi":"10.29121/shodhkosh.v4.i2ecvpamiap.2023.705","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2ecvpamiap.2023.705","url":null,"abstract":"Universal design, also known as inclusive design, accessible design, and barrier-free design, is a worldwide concept aimed at making everyone feel comfortable in their surroundings. Making advantage of this notion would aid in the removal of current social and environmental barriers that some individuals face, such as disabled people, women, children, the elderly, and the sick. The study highlights accessible layout, visible information or guidance, suitable size and space to accommodate all users within a safe and hazard-free setting as major characteristics of an inclusive built environment. This research talks about to implement Universal design principles (UDPs) in architecture education. This research aims to develop the design studio framework for B.Arch. 3rd year to include the universal design principles. A comparative analysis study has been carried out with the undergraduate students of a third-year design studio in Jamia Millia Islamia between the pre and post-design exercise about universal design principles to analyze the difference if universal design principles are implemented in the course curriculum.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"38 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140481483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"WOMEN BEHIND WHEELS EXPLORING THE CLAY POTTERY FROM THIRUCHIGADI, NILGIRIS, TAMIL NĀDU","authors":"Anthima Ram, Vishakha Rao","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.835","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.835","url":null,"abstract":"Black pottery made by the women of Kota tribe of Nilgiri Hills holds a unique identity of their craft and craftmanship. A group of these women potters are names as “Kov” by the natives.This research study on Black pottery focuses on the traditional art of clay pottery in Thiruchigadi, a small town in Tamil Nadu's gorgeous Nilgiris region. This study strives to reveal the historical significance, cultural context, and modern relevance of the age-old trade by focusing on the often-overlooked role of women potters. The extraordinary artistry, its evolution over ages and relevance of preserving the art and craft for the modern age. Adding lights on the sophisticated, unique, environmentally sustainable processes, designs, motifs, and the ritualistic essence that passed down through generations of female craftspeople through ethnographic observations, interviews, news articles, archival data, and research.The research shows these women's strong sense of individuality, strong spirit, added contribution to the cultural skillset and a contribution towards retaining a thriving craft legacy by examining the socioeconomic dynamics and obstacles they encounter.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"2 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139592752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"INDIAN CRAFTS AND SUSTAINABLE NATURAL DYES","authors":"Venkata Murali Kesaboina, Peeyush Kumar Gupta, Srutinwita Roy","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.596","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.596","url":null,"abstract":"Indian crafts reflect the most commonly from different parts of the country practice several art forms and crafts, and their identities are associated with where they carry a significant part of their culture and tradition. Most of these art forms are practised for ages and passed from generation to generation. Most of these are folk and traditional, and regional art forms have local religious themes, community values, cultural practices, and various traditional beliefs. Our country has several distinct folk and traditional arts in different regions of India. Among these most popular are Madhubani from the Mithila region of Bihar, Kalamkari Paintings, Kondapalli Toys, Etikoppaka Toys, Nirmal Toys from Andhra Pradeshand Telangana. Colours carry an important cultural significance in India. Here the researcher wants to focus mainly on the natural dyes used for these art forms, the influence of cultural diversity, and sustainability factors. Natural colors are extracted from plants and other natural sources for most of these art forms. Some of these started adopting artificial synthetic colour practices due to various reasons. Since the dawn of civilization, colour has influenced the human psyche from ancient times and played a significant role in the formation of different cultures of human beings worldwide. With the increasing demand in recent times for the use of natural and sustainable colours many industries started looking for natural bio-resource colours without any harmful effects on the environment and aquatic ecosystem. Current studies also spotlight a historical overview of natural colourants.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"14 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139603895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"SATTRIYA DANCE: AN AESTHETICAL OUTLOOK","authors":"Dimple Saikia","doi":"10.29121/shodhkosh.v5.i1.2024.639","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.639","url":null,"abstract":"Aesthetic is the pursuits of one’s individual mind. The theory or sense of beauty is always in connotation with art appreciation or criticism and is cultivated in the responsive spectators. The aesthetic experience evolve among the sahridaya and varies from person to person depending upon the perception of beauty. Indian Classical Dances are sacred art forms associated with the union of individual soul with the Absolute. They imbibe the spiritual values. Sattriya dance, one of the classical dance form from Assam, created by the great saint Sankaradeva in the 15th -16th century was a product of neo-vaishnavite movement. This form carrying the legacy of living tradition till today is performed in the Sattra precinct as a ritual service to appease the almighty while simultaneously seen performing on stage to appease the audience. This research paper is an attempt to assess the aesthetic qualities of Sattriya dance and to evaluate the aesthetic experience that arise out of the dance form in the minds of the spectators. The paper will be based on secondary sources comprising magazines, books, journals and internet content.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"57 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139604390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"REFLECTION OF BANARAS IN THE PAINTINGS OF JAYASRI BURMAN","authors":"Neha Saha","doi":"10.29121/shodhkosh.v5.i1.2024.695","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.695","url":null,"abstract":"Banaras is a holy and spiritual city that attracts people from all over the country even writers and artists. Many artists captured the beauty of Banaras in their art. Jayasi Burman is one of those artists whose paintings offer a glimpse into the soul of Banaras. Her art captures the essence of the city’s rich traditions, its vibrant colors, and its spiritual fervor. She is known for her Indian mythological paintings. But when the author met her for research work, realized that she has a very close attachment to Banaras. Banaras always attracts her. The spirituality of the city and the faith of the people inspire her. Banaras, Vishwanath Goli, Kashi ghat, Jalyatra, etc. are the examples of Jayasri Burman’s paintings where we can see the impact of Banaras, its culture, and mythology. This paper will explore the works of Jayasri Burman and delve deep into the world of Banaras. We will go through the cultural legacy of the city and experience its mysterious charm through the eyes of this renowned artist, from the ghats of the river Ganges to the alleys of the old city.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"103 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139605836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ENACTING THE GODS: THE PERFORMANCE OF HAOBA NURABI EPISODE IN THE LAI HARAOBA OF MANIPUR","authors":"Kshetrimayum Premchandra","doi":"10.29121/shodhkosh.v5.i1.2024.725","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.725","url":null,"abstract":"This paper examines the performance of the Haoba Nurabi episode in the Meitei Lai Haraoba of Manipur. It attempts to delve into the intricate rituals of Lai Haraoba, a celebration that combines elements such as dance, music, sports, and sacred ceremonies to honour the presiding deities. The paper also provides insights into the performance space known as the laipung, shedding light on the staging and realisation of this traditional performance style. Throughout this paper, the terms drama, theatre, and performance are used interchangeably with due emphasis on spectator experience rather than the technicalities of the terms and methodological challenges. The episode under consideration reenacts the interactions between the divine lovers Haoba and Nurabi, who initially fail to recognise each other, which offers moments of humour and clever dialogues while performing activities like tilling, sowing, and harvesting. With multiple constituent elements making this propitiatory festival an entity unto itself, Lai Haraoba holds significance within India's broader landscape of performance traditions. And Haoba Nurabi sets itself apart within the ritual-rich ambience of the Lai Haraoba festival by exhibiting structural and presentational similarities to contemporary drama.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139604274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"DEMONIZING MOTHERHOOD: MIRRORING THE MONSTROUS FEMININE IN THE BOLLYWOOD HORROR MOVIE CHHORII (2021)","authors":"Virginia Kashyap, Rashmita Devi, Prachand Narayan Piraji","doi":"10.29121/shodhkosh.v5.i1.2024.692","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.692","url":null,"abstract":"Motherhood is a profound and multifaceted experience transcending biological, emotional, and societal dimensions, traditionally idealised for love and compassion, and is venerated as the supreme soul of caregivers. For society to thrive, families play a key role, and mothers are one of the most important players in this process. This paper, on the contrary, investigates the abject terror a mother may undergo because of patriarchal structures. As the horror genre reflects societal anxieties and fears the archetype of motherhood is used by horror writers to unearth the fears associated with it as well as challenge the perceptions society has of motherhood. The prime purpose of this study is to deconstruct the archetypal image of a mother with the subversion of traditional motherhood that is culturally imposed on a woman. This research article is devoted to analysing the Bollywood horror film Chhorii (2021) through the lens of Barbara Creed’s theory of ‘Mostrous-Feminine’ that challenges Motherhood through a subversion of traditional conceptions of the role. With the help of the film, the researchers aim to manifest the disruption of socio-cultural expectations imposed on a mother and thereby explore her transgression of gender roles associated with motherhood by being monstrous in the narrative.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"4 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139525464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}