Covering nearly 225 years, this volume tries to capture a broad spectrum of the situation of women performers from Gerasim Lebedeff's time (1795), who are considered to be the first performers in modern Bengali theatre, to today's time. The moot question is whether the role of women as performers evolved down the centuries. Whether this question will lead us to their subjugation to their male counterparts, producers, and directors has been explored here to give readers an understanding of when, where, by whom the politics began, and, by tracing the footprints, we have tried to understand if the politics has changed, or remains unchanged, or metamorphosed with regard to the woman's question in the performance discourse. We have explored, in this regard, how her body, mind, and sexuality interacted with and negotiated the phallocentric hierarchy. The essays included are on (i) Baiji/Tawaif culture in eastern and western Bengal; (ii) prostitute/'fallen' women/ patita, beshya performers; (iii) IPTA and the Naxalbari movement; (iv) group and commercial/professional theatre of Kolkata; (v) women's position in the theatre of Bangladesh; (vi) Cabaret (with an interview with Miss Shefali) (vii) Jatra; (viii) Baul tradition. (ix) Besides, there are chapters on English, Anglo-Indian, Jew, Nachni performers and the illustrious dancer Amala Shankar, and film-music-dance in general.

The Routledge Handbook of Women’s Work in Music presents a unique collection of core research by academics and music practitioners from around the world, engaging with an extraordinarily wide range of topics on women’s contributions to Western and Eastern art music, popular music, world music, music education, ethnomusicology as well as in the music industries. The handbook falls into six parts. Part I serves as an introduction to the rich variety of subject matter the reader can expect to encounter in the handbook as a whole. Part II focuses on what might be termed the more traditional strand of feminist musicology – research which highlights the work of historical and/or neglected composers. Part III explores topics concerned with feminist aesthetics and music creation and Part IV focuses on questions addressing the performance and reception of music and musicians. The narrative of the handbook shifts in Part V to focus on opportunities and leadership in the music professions from a Western perspective. The final section of the handbook (Part VI) provides new frames of context for women’s positions as workers, educators, patrons, activists and promoters of music. This is a key reference work for advanced undergraduates, postgraduates and researchers in music and gender.

This book explores the ‘folk’ performance genre of Kobigaan, a dialogic song-theatre form in which performers verse-duel, in contemporary West Bengal in India and Bangladesh. Thought to be a nearly extinct form, the book shows how the genre is still prevalent in the region. The author shows how like many other ‘folk’ practices in South and South-East Asia, the content and format of this genre has undergone vital changes thus raising questions of authenticity, patronage and cultural politics. She captures live performances of Kobigaan through ethnographies spread across borders — from village rituals to urban festivals, and from Bengali cinema to television and new media. While understanding Kobigaan from the practitioners’ points-of-view, this book also explores the crucial issues of gender, marginalization and representation that is true of any performance genre. Drawing on case studies, it underlines the issues of artistic agency, empowerment, cultural labour and heritage, ritual, authenticity, creative industries, media, gender, and identity politics. Part of the ‘South Asian History and Culture’ series, this book is a major intervention in South Asian folklore and performance studies. It also expands into the larger disciplines of literature, social and cultural movements in South Asia, ethnomusicology and the politics of performance.

Insightful field research into the complexity of women's roles in a subset of Islamic culture. Women Mystics and Sufi Shrines in India combines historical data with years of ethnographic fieldwork to investigate women's participation in the culture of Sufi shrines in India and the manner in which this participation both complicates and sustains traditional conceptions of Islamic womanhood. Kelly Pemberton grounds her firsthand research into India's Sufi shrines and saints by setting her observations against the historical backdrop of colonial-era discourses by British civil servants, Orientalist scholars, and Muslim reformists and the assumptive portrayals of women's activities in the milieu of Sufi orders and shrines inherent in these accounts. These early narratives, Pemberton holds, are driven by social, economic, intellectual, and political undercurrents of self-interest that shaped Western understanding of Indian Muslims and, in particular, of women's participation in the institutions of Sufism. Pemberton's research offers a corrective by assessing the contemporary circumstances under which a woman may be recognized as a spiritual authority or guide—despite official denial of such status—and by examining the discrepancies between the commonly held belief that women cannot perform in the public setting of shrines and her own observations of women doing precisely that. She demonstrates that the existence of multiple models of master and disciple relationships have opened avenues for women to be recognized as spiritual authorities in their own right. Specifically Pemberton explores the work of performance, recitation, and ritual mediation carried out by women connected with Sufi orders through kinship and spiritual ties, and she maps shifting ideas about women's involvement in public ritual events in a variety of contexts, circumstances, and genres of performance. She also highlights the private petitioning of saints, the Prophet, and God performed by poor women of low social standing in Bihar Sharif. These women are often perceived as being exceptionally close to God yet are compelled to operate outside the public sphere of major shrines. Throughout this groundbreaking study, Pemberton sets observed practices of lived religious experiences against the boundaries established by prescriptive behavioral models of Islam to illustrate how the varied reasons given for why women cannot become spiritual masters conflict with the need in Sufi circles for them to do exactly that. Thus this work also invites further inquiry into the ambiguities to be found in Islam's foundational framework for belief and practice.

This book is a guide to identifying female creators and artistic movements from all parts of Asia, offering a broad spectrum of media and presentation representing a wide variety of milieus, regions, peoples and genres. Arranged chronologically by artist birth date, entries date as far back as Leizu's Chinese sericulture in 2700 BCE and continue all the way to the March 2021 mural exhibition by Malaysian painter Caryn Koh. Entries feature biographical information, cultural context and a survey of notable works. Covering creators known for prophecy, dance, epic and oratory, the compendium includes obscure artists and more familiar names, like biblical war poet Deborah, Judaean dancer Salome, Byzantine Empress Theodora and Myanmar freedom fighter Aung San Suu Kyi. In an effort to relieve unfamiliarity with parts of the world poorly represented in art history, this book focuses on Asian women often passed over in global art surveys.

This book foregrounds the subjectivity of ‘acting women’ amidst violent debates on femininity and education, livelihood and labour, sexuality and marriage. It looks at the emergence of the stage actress as an artist and an ideological construct at critical phases of performance practice in British India. The focus here is on Calcutta, considered the ‘second city of the Empire’ and a nodal point in global trade circuits. Each chapter offers new ways of conceptualising the actress as a professional, a colonial subject, simultaneously the other and the model of the ‘new woman’. An underlying motif is the playing out of the idea of spiritual salvation, redemption and modernity. Analysing the dynamics behind stagecraft and spectacle, the study highlights the politics of demarcation and exclusion of social roles. It presents rich archival work from diverse sources, many translated for the first time. This book makes a distinctive contribution in intertwining performance studies with literary history and art practices within a cross-cultural framework. Interdisciplinary and innovative, it will appeal to scholars and researchers in South Asian theatre and performance studies, history and gender studies.

Arts and cultural activity in Asia is increasingly seen as important internationally, and Asia’s growing prosperity is enabling the full range of artistic activities to be better encouraged, supported and managed. At the same time, cultural frameworks and contexts vary hugely across Asia, and it is not appropriate to apply Westerns theories and models of leadership and management. This book presents a range of case studies of arts and cultural leadership across a large number of Asian countries. Besides examining different cultural frameworks and contexts, the book considers different cultural approaches to leadership, discusses external challenges and entrepreneurialism, and explores how politics can have a profound impact. Throughout the book covers different art forms, and different sorts of arts and cultural organisations.