This book is the first inter-disciplinary engagement with the work of Maqbool Fida Husain, arguably India's most iconic contemporary artist today, whose life and work are intimately entangled with the career of independent India as a democratic, secular and multi-ethnic nation. For more than half a century, and across thousands of canvases, Husain has painted individuals and objects, events and incidents that offer an astonishing visual chronicle of India through the ages. The 13 articles in this volume - written by distinguished artists, curators, anthropologists, historians, art historians and critics, sociologists and scholars of post-colonial literature and religion - critically examine the artistic statement that Husain has presented on the self, community and nation through his oeuvre. It engages with the controversies that have erupted around and about Husain's work, and situates them in debates around the freedom of the artist versus the sentiments of the community, between 'virtue' and 'obscenity', between an 'elite' of intellectuals and the 'common man', and between a 'work of art' and a 'religious icon'. Correspondingly it considers how India has responded to Husain: with affection, admiration and adulation on the one hand, and hostility and rejection on the other. This book is more relevant than ever before in light of the debates that have arisen over Husain's self-imposed exile for the last few years following a spate of violent attacks on his home and exhibitions in India, and his recent decision to forfeit his Indian citizenship. It will be of interest to those studying art history, sociology, anthropology, cultural studies, and politics, as well as to a wide spectrum of readers interested in contemporary issues of identity and nationhood.

Follow a bustling family through their busy day! Each scene is teeming with people, places and things, and you’ll meet people of all races, cultures, lifestyles and abilities as you go.

How could something we have for free—our bare feet—be better for running than $150 shoes? The truth is that running in shoes is high-impact, unstable, and inflexible. Shoes promote a heel-centric ground strike, which weakens your feet, knees, and hips, and leads to common running injuries. In contrast, barefoot running is low-impact, forefoot-centric, stable, and beneficial to your body. It encourages proper form and strengthens your feet in miraculous ways. When you run in shoes, you not only risk developing poor form, but you also hinder the natural relationship with the ground that running facilitates. Barefoot running restores the delightful sensory and spiritual connections to the earth that you were meant to experience. Barefoot Running offers the only step-by-step direction runners need at any age to overcome injuries, run faster than ever, and rediscover the pure joy of running. Once you tear off your shoes and learn to dance with nature, you’ll tread lightly and freely, hearing only the earth’s symphony and feeling only the dirt beneath your feet. Hit the ground running with revolutionary techniques for starting out slowly, choosing minimalist footwear, navigating rough weather and rugged terrain, and building your feet into living shoes.

Since the end of the 1980s in India, self-styled representatives of a variety of ascriptive groups—religious, caste, regional, and linguistic—have been routinely damaging artworks, disrupting their exhibition, and threatening and assaulting artists and their supporters. Often, these acts are claimed to be a protest against allegedly ‘hurtful’ or ‘offensive’ artworks, wherein its regularity and brazenness has led to an intensifying sense of fear, frustration, and anger within the art world. Art Attacks tells the story of this phenomenon and maps the concrete political transformations that have informed the dynamic unfolding of violent attacks on artists. Based on extensive interactions with offence-takers, assailants, and artists, the author argues that these attacks are not simply ‘anti-democratic’ but are dependent in perverse ways on the very logics of democracy’s functioning in India. At the same time, they have been contained, at least until now, by this very democratic system, which has prevented the spiralling of attacks into an outright condition of art plunder.

A collection of stories drawn from the North Queensland Oral History Collection, to illustrate the life of children in North Queensland in the Federation era, 1890-1914.

For all of India’s myths, stories and moral epics, Indian history remains a curiously unpeopled place. In Incarnations, Sunil Khilnani fills that space, recapturing the human dimension of how the world’s largest democracy came to be. His trenchant portraits of emperors, warriors, philosophers, film stars and corporate titans—some famous, some unjustly forgotten—bring feeling, wry humour and uncommon insight to dilemmas that extend from ancient times to our own.