Timeless Traditions Contemporary Forms

Crafts express a community’s true cultural identity. Traditional craft works often depict the social and aesthetic character of a society, and have been sustained over time not only because of their rich symbolic content, but also because of their contribution to the socio-economic growth of the region. The rich cultural heritage of Madhya Pradesh is evident from the variety of traditional arts and crafts produced in the state - from textiles to woodwork, jewellery to leather products, and toys to bamboo products and tribal arts, Madhya Pradesh is a cornucopia of artisanal excellence. Its erstwhile royal rulers were enthusiastic patrons of the arts, commissioning exquisite sculptures, paintings, embroidered textiles and jewellery. This book attempts to bring out the strong socio-economic and cultural factors that have been the inspiration for the evolution of the rich tradition of arts and crafts in Madhya Pradesh. Keeping the historical and cultural perspective in mind, Timeless Traditions; Contemporary Forms looks at how these arts and crafts have developed over time, what their status is today and what the future holds for these aesthetic creations.

This full-color resource will help educators teach about current art and integrate its philosophy and methods into the K-12 classroom. The authors provide a framework that looks at art through the lens of nine themes--everyday life, work, power, earth, space and place, self and others, change and time, inheritance, and visual culture--highlighting the conceptual aspects of art and connecting disparate forms of expression. They also provide guidelines and examples for how to use contemporary art to change the dynamics of a classroom, apply inventive non-linear lenses to topics, broaden and update the art "canon," and spur creative and critical thinking. Young people will find the selected artwork accessible and relevant to their lives, diverse and expansive, probing, serious, and funny. Challenging conventional notions of what should be considered art and how it should be created, this book offers a sampling of what is out there to inspire educators and students to explore the limitless world of new art. Book Features: Indicators and lenses that make contemporary art more familiar, accessible, understandable, and useable for teachers. Easy-to-reference descriptions and over 80 color images from a variety of contemporary artists. Strategies for integrating art thinking across the curriculum. Suggestions to help teachers find contemporary art to fit their curriculum and school settings. Examples of art-based projects from both art and general classrooms, including concepts, goals, materials, scaffolding activities, teacher reflections, and more. Guidance for developing curriculum, including how to create guiding questions to spur student thinking. A compilation of resources, including a dedicated website at teachingcontemporaryart.com.

In 1950 the Soviet Union and the People's Republic of China signed a Treaty of Friendship, Alliance, and Mutual Assistance to foster cultural and technological cooperation between the Soviet bloc and the PRC. While this treaty was intended as a break with the colonial past, Austin Jersild argues that the alliance ultimately failed because the enduring problem of Russian imperialism led to Chinese frustration with the Soviets. Jersild zeros in on the ground-level experiences of the socialist bloc advisers in China, who were involved in everything from the development of university curricula, the exploration for oil, and railway construction to piano lessons. Their goal was to reproduce a Chinese administrative elite in their own image that could serve as a valuable ally in the Soviet bloc's struggle against the United States. Interestingly, the USSR's allies in Central Europe were as frustrated by the "great power chauvinism" of the Soviet Union as was China. By exposing this aspect of the story, Jersild shows how the alliance, and finally the split, had a true international dimension.

Considering the influence of the forms and tectonics of the Mediterranean vernacular on modern architectural practice and discourse from the 1920s to the 1960s.

This book sheds light on the status of tribal communities in Central India with respect to governance, human development, gender, health, education, arts, and culture. Written by noted academics, thematic experts, and activists, this first-of-its-kind report by the Bharat Rural Livelihoods Foundation brings together case studies, archival research, and exhaustive data on key facets of the lives of Adivasis, the various programmes meant for their development, and the policy and systems challenges, to build a better understanding of the Adivasi predicament. This volume, Discusses the human development challenges faced by the Adivasis in India, covering the dismal state of health, education, and nutrition in Adivasi regions; Explores key issues related to gender and development in an Adivasi context, the impact of the loss of common lands and forests on their traditional economic roles; Presents the progress made thus far in implementing PESA and FRA; Examines the current state of 'Denotified Tribes' in India, the policy response of the state post-independence, and the abrogation of the act, and discusses the immediate need for recognition of their political rights; Highlights the importance of recognising, developing, and preserving Adivasi arts, music, dance, crafts, language and literature, and knowledge systems. Companion to Tribal Development Report: Livelihoods, this book will be of great interest to scholars and researchers of indigenous studies, development studies, and South Asian studies.

A monthly published in Hindi and English. The journal is devoted to all aspects of rural reconstruction and village democracy. The journal carries educative and informative articles on rural development and is useful for scholars, academicians and students preparing for civil services and other competitive examinations.

While W. B. Yeats’s influential account of the ‘Tragic Generation’ claims that most fin-de-siècle poets died, or at least stopped writing, shortly after 1900, this book explodes this narrative by attending to the twentieth-century poetry produced by women poets Alice Meynell, Michael Field (Katharine Bradley and Edith Cooper), Dollie Radford, and Katharine Tynan. While primarily associated with the late nineteenth century, these poets were active in the twentieth century, but their later writing is overlooked in modernist-dominated studies, partly due to this poetry’s adherence to traditional form. This book reveals that these poets, far from being irrelevant to modernity, used these established forms to address contemporary concerns, including suffrage, sexuality, motherhood, and the First World War. The chapters focus on Meynell’s manipulations of metre to contemplate temporality and literary tradition; Michael Field’s use of blank verse to portray the conflicted modern woman; Radford’s adaptation of the aesthetic song-like lyric to tackle the experience of the city, urban crime, and suffrage; and Tynan’s employment of the ballad to soothe bereaved mothers during the First World War. This book ultimately shows that traditional forms played a vital role in shaping mature women poets’ responses to modernity, illuminating debates about form, tradition, and gender in twentieth-century poetry.

This book examines how a historic and so-called 'traditional' city quietly evolved into one that was modern in its own terms; in form, use and meaning. Through a focused study of Delhi, the author challenges prevalent assumptions in architecture and urbanism to identify an interpretation of modernism that goes beyond conventional understanding. Part one reflects on transformations and discontinuities in built form and spatial culture and questions accepted notions of the static nature of what is normally referred to as traditional and non-Western architecture. Part two is a critical discussion of Delhi in the nineteenth and early twentieth centuries, redefining modernism in a way that separates the city's architecture and society from the objectified realm of the exotic whilst acknowledging non-Western ideas of modernity. In the final part the author considers 'indigenous modernities': the irregular, the uneven and the unexpected in what uncritical observers might call a coherent 'traditional' society and built environment.