Dance and Music in South Asian Drama: Report of Asian Traditional Performing Arts 1981

1984 ◽  
Vol 16 ◽  
pp. 130
Author(s):  
Stephen Slawek ◽  
Richard Emmert ◽  
Hasumoto Izumi ◽  
Matsushita Hitoshi ◽  
Okada Maki
Keyword(s):  
South Asian ◽  
Performing Arts

Dance and Music in South Asian Drama. Chhau, Mahākālī Pyākhan and Yakshagāna. Report of Asian Traditional Performing Arts 1981

1984 ◽  
Vol 43 (2) ◽  
pp. 329
Author(s):  
Peter J. Claus ◽  
Richard Emmert ◽  
Hasumoto Izumi ◽  
Katsushita Hitoshi ◽  
Okada Maki
Keyword(s):  
South Asian ◽  
Performing Arts

Voices for Reform in South Asian Theatre

2001 ◽  
Vol 17 (1) ◽  
pp. 45-53
Author(s):  
John Russell Brown
Keyword(s):  
New Zealand ◽  
South Asian ◽  
Performing Arts ◽  
Building Blocks ◽  
Theatre Arts ◽  
National Theatre ◽  
Southern Asia ◽  
The Usa ◽  
The University ◽  
Associate Director

The classical theatres of southern Asia are variously treated with the reverence thought due to sacrosanct and immutable forms – or as rich sources for plunder by western theatre-makers in search of intra-cultural building-blocks. The rights and wrongs of this latter approach have been much debated, not least in the pages of NTQ; less so the intrinsic desirability of leaving well alone. At the symposium on Classical Sanskrit Theatre, hosted in Dhaka by the Centre for Asian Theatre in December 1999, an unexpected consensus sought ways in which classical theatre forms might best meet contemporary needs, not only by drawing upon their unique qualities – but also by respecting the injunction in the Natyasastra that the actor must combine discipline with a readiness for improvisation. John Russell Brown here supports the conclusions of the symposium that the qualities of Asian theatre which differentiate it from western forms – of a quest for transformation rather than representation, a concern with emotional truth rather than ideological ‘meaning’ – can best be pursued by such an approach, restoring to the theatre ‘its enabling and necessary role in society’. John Russell Brown was the first professor of Drama and Theatre Arts at the University of Birmingham, and subsequently Associate Director at the National Theatre in London. More recently he has taught and directed in the USA, New Zealand, and Asia, and is now Visiting Professor of Performing Arts at Middlesex University. The most recent of his numerous books is New Sites for Shakespeare: Theatre, the Audience and Asia (Routledge, 1999).

scholarly journals A Soundtrack for Reimagining Pakistan? Coke Studio, Memory and the Music Video

2019 ◽  
Vol 10 (2) ◽  
pp. 111-128
Author(s):  
Richard David Williams ◽  
Rafay Mahmood
Keyword(s):  
South Asian ◽  
Performing Arts ◽  
Music Videos ◽  
Creative Arts ◽  
National Narratives ◽  
Self Reflection ◽  
South Asian History ◽  
Classical Poetry ◽  
Musical Traditions ◽  
Asian History

Since 2007, Coke Studio has rapidly become one of the most influential platforms in televisual, digital and musical media, and has assumed a significant role in generating new narratives about Pakistani modernity. The musical pieces in Coke Studio’s videos re-work a range of genres and performing arts, encompassing popular and familiar songs, as well as resuscitating classical poetry and the musical traditions of marginalised communities. This re-working of the creative arts of South Asia represents an innovative approach to sound, language, and form, but also poses larger questions about how cultural memory and national narratives can be reimagined through musical media, and then further reworked by media consumers and digital audiences. This article considers how Coke Studio’s music videos have been both celebrated and criticised, and explores the online conversations that compared new covers to the originals, be they much loved or long forgotten. The ways in which the videos are viewed, shared, and dissected online sheds light on new modes of media consumption and self-reflection. Following specific examples, we examine the larger implications of the hybrid text–video–audio object in the digital age, and how the consumers of Coke Studio actively participate in developing new narratives about South Asian history and Pakistani modernity.

South Asian Stories: Firsthand Client Perspectives on Barriers to Accessing Speech-Language Pathology Services

2012 ◽  
Vol 19 (1) ◽  
pp. 29-36 ◽  
Author(s):  
Nidhi Mahendra
Keyword(s):  
South Asian ◽  
Empirical Support ◽  
Communication Disorders ◽  
Speech Language Pathology ◽  
Client Experiences ◽  
Individual Interviews ◽  
Timely Access ◽  
Phenomenological Perspective ◽  
Case Vignettes ◽  
Language Pathology

This article details the experience of two South Asian individuals with family members who had communication disorders. I provide information on intrinsic and extrinsic barriers reported by these clients in responses to a survey and during individual ethnographic interviews. These data are part of a larger study and provide empirical support of cultural and linguistic barriers that may impede timely access to and utilization of speech-language pathology (SLP) services. The purpose of this article is to shed light on barriers and facilitators that influence South Asian clients' access to SLP services. I provide and briefly analyze two case vignettes to provide readers a phenomenological perspective on client experiences. Data about barriers limiting access to SLP services were obtained via client surveys and individual interviews. These two clients' data were extracted from a larger study (Mahendra, Scullion, Hamerschlag, Cooper, & La, 2011) in which 52 racially/ethnically diverse clients participated. Survey items and interview questions were designed to elicit information about client experiences when accessing SLP services. Results reveal specific intrinsic and extrinsic barriers that affected two South Asian clients' access to SLP services and have important implications for all providers.

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