Omprakash Valmiki describes his life as an untouchable, or Dalit, in the newly independent India of the 1950s. "Joothan" refers to scraps of food left on a plate, destined for the garbage or animals. India's untouchables have been forced to accept and eat joothan for centuries, and the word encapsulates the pain, humiliation, and poverty of a community forced to live at the bottom of India's social pyramid. Although untouchability was abolished in 1949, Dalits continued to face discrimination, economic deprivation, violence, and ridicule. Valmiki shares his heroic struggle to survive a preordained life of perpetual physical and mental persecution and his transformation into a speaking subject under the influence of the great Dalit political leader, B. R. Ambedkar. A document of the long-silenced and long-denied sufferings of the Dalits, Joothan is a major contribution to the archives of Dalit history and a manifesto for the revolutionary transformation of society and human consciousness.
The book will be an everlasting and invaluable reference for, academia, industry and planners specialized in georesouce and for those who need updated information and current research in the field. The book will also be equally useful for advance level students and research scholars throughout the world.
World Literature and the Question of Genre in Colonial India describes the way Marathi literary culture, entrenched in performative modes of production and reception, saw the germination of a robust, script-centric dramatic culture owing to colonial networks of literary exchange and the newfound, wide availability of print technology. The author demonstrates the upheaval that literary culture underwent as a new class of literati emerged: anthologists, critics, theatre makers, publishers and translators. These people participated in global conversations that left their mark on theory in the early twentieth century. Reading through archives and ephemera, Kedar Arun Kulkarni illustrates how literary cultures in colonised locales converged with and participated fully in key defining moments of world literature, but also diverged from them to create, simultaneously, a unique literary modernity.
Omprakash Valmiki describes his life as an untouchable, or Dalit, in the newly independent India of the 1950s. "Joothan" refers to scraps of food left on a plate, destined for the garbage or animals. India's untouchables have been forced to accept and eat joothan for centuries, and the word encapsulates the pain, humiliation, and poverty of a community forced to live at the bottom of India's social pyramid. Although untouchability was abolished in 1949, Dalits continued to face discrimination, economic deprivation, violence, and ridicule. Valmiki shares his heroic struggle to survive a preordained life of perpetual physical and mental persecution and his transformation into a speaking subject under the influence of the great Dalit political leader, B. R. Ambedkar. A document of the long-silenced and long-denied sufferings of the Dalits, Joothan is a major contribution to the archives of Dalit history and a manifesto for the revolutionary transformation of society and human consciousness.
Arun Mukherjee s Mareech Sambad and Jagannath are highly popular plays in the theatre world of West Bengal. There are probably very few theatre goers in Calcutta, and in the district towns, who have not seen these plays, which have been performed through hundreds of well-attended nights. They have also been presented with success in Canada and the United States. Described as complex and intelligent theatre, these plays are political in the best sense of the word. As Himani Banerji says in her introduction, Never more than now did we need the stories of class and class struggle but told in a way that is worthy of the social and formative complexity, the elusiveness, the many-facedness of the concept of class. And it is here that Arun Mukherjee comes in with his two plays, which speak of class intelligently, with humour. Mareech Sambad, in particular, could be called a cult hit in the group theatre world of Bengal. It is a cleverly structured, intelligent, humorous look at the changing forms of exploitation through space and time, starting with the story of Mareech the demon from the Ramayana, taking in USA s Vietnam intervention, and coming down to the contemporary period. Jagannath, adapted from Lu Xun s Chinese tale The Story of Ah Q , ostensibly tells the tale of a simple peasant, but in the process examines and exposes the subtle ways in which centuries of hierarchical oppression mould the psyche of the oppressed. Arun Mukherjee is a playwright, director and actor who, with his group Chetana, has been an integral part of the group theatre scene in Calcutta for decades. Himani Banerjee, who has translated Jagannath and written the introductory essay, teaches in the Sociology Department at York University, Toronto. Her published works include collections of essays on Bengali theatre, feminism, Marxism and anti-racisim. Utkal Mohanty, the translator of Mareech Sambad, has other translations to his credit; he has also written lyrics and co-scripted a feature film. He is a founder-member of the Bangalore theatre group forum Three.
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