Not everything has an explanation in terms of science, which needs evidence and tangible experience. Many things are happening around us that lack explanation, and intelligent people often strike them off as conspiracies. The forests and the less trodden trails hold lots and lots of secrets, which probably could not be deciphered by present knowledge. A thought conceived in my mind took the shape of a story that I made into a book. I wish you an enchanting stroll through the book.

From the opening Sanskrit mantra to the final act of voting in South Africa's first democratic elections, this lyrical memoir provides a unique perspective on South Africa's modern history. The account shows how a young Hindu woman of Indian ancestry, living in South Africa in the 1940s, defied convention, married a Muslim man, and became an activist at time when Muslim women were seldom seen in such a role. As a teacher, she spoke up during the political strife of that highly segregated era, which included the relocation of Indians and angry student boycotts, and here shares her philosophies and insights into education. Filled with characters from both a personal and national context, the memoir captures the nuances of an important time and place.

This Is A Compendious Study Of India, In The 19Th Century Tradition But With A Modern Technique, Based On University Of Madras` Collection Of English Language Materials And The Author`S Own Personal Experience Of Great Civilization To Evoke Ancient, Medieval, Colonial And Present Day India.

The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 december, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it was published by All India Radio,New Delhi.In 1950,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" in January 5, 1958. It was made a fortnightly again on July 1,1983. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes,who writes them,take part in them and produce them along with photographs of performing artistS. It also contains the information of major changes in the policy and service of the organisation. NAME OF THE JOURNAL: The Indian Listener LANGUAGE OF THE JOURNAL: English DATE,MONTH & YEAR OF PUBLICATION: 07-07-1938 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 92 VOLUME NUMBER: Vol. III, No. 14. BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 945-1020 ARTICLE: 1. Modern Tendencies In Indian Music 2. Sound Advice 3. The Village Club 4. Trouble Shooting And Maintenance AUTHOR: 1. John Foulds 2. Airvoice 3. Unknown 4. Trouble Shooter KEYWORDS: 1. Indian Musical Literature, Music Student, Ibn-I-Hasan Kaiser, Indian Orchestra 2. Apollo Reclamation, Morse Signals, Harmonic Frequencies, Ghost Stations, Short-Wave Bands 3. Rural Programmes, Indian Villager, Rural Radio, Village Club, Nau Tanki, Gulabo-Sitabo, Indar Sabha 4. Series Filament Circuits, Paraller Filaments, Easily Corrected Faults, Radio Engineer, Series Filament, Wavelengths Document ID: INL -1936-37 (D-D) Vol -I (14)

This book argues that the inscription found in the now extinct Babri masjid should be named as Visnu-hare instead of Visnu-hari since this title does not refer to any god but to the three Gahadavala rajas who had it made. It also challenges that the Sanskrit phrase janma bhumi which sparked the Ram debate around the inscription means birth place suggesting that in this language jan means folk rather, referring to Ayodhya as land of folk. The Gahadavala temple there had been renovated from an earlier Chola temple at the spot. It was dedicated to goddess Sri Sundara Amman, the Telugu Jaina goddess of beauty & art and devadasi cult. Further it proposes that the Gahadavala kings during the time of the inscription circa lOth century CE had become intermarried for three generations into the Ghaznavid and Suri-Shahi families who ruled Samarkhand and the Sindh provinces and formed an international elite. The Babri masjid dedicated to sambo shankara and a whole series of masjid- temple complexes at Kashi, Mathura, Prabhasa and elsewhere were the outcome of these interfaith marriages. During the time of the Gahadavala heir Vallabha, who took the title Prithviraj Chauhan Karpura and who had married none other than Padmavati the princess of Sri Lanka, the temples must have become extinct due to Bhakti ages' sectarian politics on the Hindu side, as all these temples had been dedicated to devadasi practice.

Dance, Music and Cultures of Decolonisation in the Indian Diaspora provides fascinating examples of dance and music projects across the Indian Diaspora to highlight that decolonisation is a creative process, as well as a historical and political one. The book analyses creative processes in decolonising projects, illustrating how dance and music across the Indian Diaspora articulate socio-political aspirations in the wake of thinkers such as Gandhi and Ambedkar. It presents a wide range of examples: post-apartheid practices and experiences in a South African dance company, contestations over national identity politics in Trinidadian music competitions, essentialist and assimilationist strategies in a British dance competition, the new musical creativity of second-generation British-Tamil performers, Indian classical dance projects of reform and British multiculturalism, feminist intercultural performances in Australia, and performance re-enactments of museum exhibits that critically examine the past. Key topics under discussion include postcolonial contestations, decolonising scholarship, dialogic pedagogies and intellectual responsibility. The book critically reflects on decolonising aims around respect, equality and the colonial past’s redress as expressed through performing arts projects. Presenting richly detailed case studies that underline the need to examine creative processes in the cultures of decolonisation, Dance, Music and Cultures of Decolonisation in the Indian Diaspora will be of great interest to scholars of South Asian Studies, Diaspora Studies, Performing Arts Studies and Anthropology. The chapters were originally published as a special issue of South Asian Diaspora.