Locating the Tawa'if Courtesan-Dancer: Cinematic Constructions of Religion and Nation.
The development of the Hindi/Urdu cinema is intimately connected to the history of artistic performance in India in two important ways. Not only did hereditary music and dance practitioners play key roles in building this cinema, representations of these performers and their practices have been, and...
| Publicado en: | Journal of Religion & Popular Culture Vol. 33; no. 3; pp. 138 - 154 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
University of California Press
Fall2021
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=153481902&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 153481902 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 1703289X FYK jtl: Journal of Religion & Popular Culture issn: 1703289X maglogo: N pubinfo: dt: Fall2021 vid: 33 iid: 3 pid: 414 pub: University of California Press artinfo: ui: 153481902 10.3138/jrpc.2020-0014 ppf: 138 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 210KB tig: atl: Locating the Tawa'if Courtesan-Dancer: Cinematic Constructions of Religion and Nation. aug: au: Thobani, Sitara affil: Michigan State University — Residential College in the Arts and Humanities, Michigan, United States su: Narration in motion pictures Indian films Muslim identity Religions Dance in motion pictures, television, etc. Mosques India sug: subj: India Narration in motion pictures Indian films Muslim identity Religions Dance in motion pictures, television, etc. Mosques keyword: Hindi/Urdu cinema nautch religious nationalism tawa'if ab: The development of the Hindi/Urdu cinema is intimately connected to the history of artistic performance in India in two important ways. Not only did hereditary music and dance practitioners play key roles in building this cinema, representations of these performers and their practices have been, and continue to be, the subject of Indian film narratives, genres, and tropes. I begin with this history in order to explore the Muslim religio-cultural and artistic inheritance that informs Hindi/Urdu cinema, as well as examine how this heritage has been incorporated into the cinematic narratives that help construct distinct gendered, religious, and national identities. My specific focus is on the figure of the tawa'if dancer, often equated with North Indian culture and nautch dance performance. Analyzing the ways in which traces of the tawa'if appear in two recent films, Dedh Ishqiya and Begum Jaan, I show how this figure is placed in a larger representational regime that sustains nationalist formations of contemporary Indian identity. As I demonstrate, even in the most blatant attempts to define the Indian nation as "Hindu," the "Muslimness" of the tawa'if—and by extension the cinema she informed in ways both real and representational—is far from relinquished. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Religion & Popular Culture is the property of University of California Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Religion & Popular Culture holder: University of California Press dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
|---|