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Kannada Rajyothsava
Holiday
Wing-Kwong Wong
Work-in-Progress
Course 1004: De-disciplining Music
Course Instructor: Tejaswini Niranjana/ Session 6
Naraka Chaturdashi
Holiday
Course 1001: The Knowledge Society: Limits and Possibilities
Course Instructors: CSCS faculty, anchored by Dr. Sitharamam Kakarala/ Session 12
Presentation by CCS-CSCS Library Fellow
Dr. Khangembam Romesh, who is presently a CCS-CSCS Library Fellow, will present his work titled "On concern of Environmental Ethics from the Margins".
Hsing-Wen Chang
Work-in-Progress
Course 1004: De-disciplining Music
Course Instructor: Tejaswini Niranjana/ Session 7
Music Workshop
Coordinator: Tejaswini Niranjana
Music Workshop
Coordinator: Tejaswini Niranjana
National Workshop on 'Gender and Science'
Coordinators: Gita Chadha, Chayanika Shah and Asha Achutan
Course 1004: De-disciplining Music
Course Instructor: Tejaswini Niranjana/ Session 8
Kanakadasa Jayanti
Optional Holiday
Visiting Fellows
CSCS provides affiliation to Indian and international researchers for varying periods of time. In addition CSCS also invites academics to interact with faculty and students and to present their work at the Centre.
Fellowships at CSCS
The CSCS Fellowships Programme began in 2002 to make its substantial library and faculty resources available to a range of researchers outside the institution.
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Current State: Published
Mobilizing India: Women, Music, and Migration between India and Trinidad
by Tejaswini Niranjana. Durham: Duke University Press, 2006.
Descendants of indentured laborers brought from India to the Caribbean between 1845 and 1917 comprise more than forty percent of Trinidad’s population today. While many Indo-Trinidadians identify themselves as Indian, what “Indian” signifies—about nationalism, gender, culture, caste, race, and religion—in the Caribbean is different from what it means on the subcontinent. Yet the ways that “Indianness” is conceived of and performed in India and in Trinidad have historically been, and remain, intimately related. Offering an innovative analysis of how ideas of Indian identity negotiated within the Indian diaspora in Trinidad affect cultural identities “back home,” Tejaswini Niranjana models a necessary project: comparative research across the global South, scholarship that decenters the “first world” West as the referent against which postcolonial subjects understand themselves and are understood by others.
Niranjana draws on nineteenth-century travel narratives, anthropological and historical studies of Trinidad, Hindi film music, and the lyrics, performance, and reception of chutney-soca and calypso songs to argue that perceptions of Indian female sexuality in Trinidad have long been central to the formation and disruption of dominant narratives of nationhood, modernity, and normative sexuality in India. She illuminates debates in India about “the woman question” as they played out in the early-twentieth-century campaign against indentured servitude in the tropics. In so doing, she reveals India’s disavowal of the indentured woman—viewed as morally depraved by her forced labor in Trinidad—as central to its own anticolonial struggle. Turning to the present, Niranjana looks to Trinidad’s most dynamic site of cultural negotiation: popular music. She describes how contested ideas of Indian femininity are staged by contemporary Trinidadian musicians—male and female, of both Indian and African descent—in genres ranging from new hybrids like chutney-soca to the older but still vibrant music of Afro-Caribbean calypso.
http://mobilizing-india.cscsarchive.org/
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