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Telangana Today 23 March 2020
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The article discusses various societal reactions to the Janata Curfew in India, aimed at curbing the spread of COVID-19. It criticizes the public's misunderstanding of the curfew's purpose and highlights the contrast between the responsible behavior of tribal communities and urban citizens regarding social events. Additionally, it reflects on broader implications, including responses to the pandemic from political leaders, and the moral and material strain society faces during this crisis.
2021
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Journal of the Social Sciences, 2020
The functions of music are manifold in the forms of ritualistic, symbolic, and performance. Music, as a cultural expression, has embedded in groups or community creative activities. The present study aimed to look into why individuals have chosen forms of music as a significant preoccupation during the COVID-19 lockdown period, particularly in the Sikkim Himalayas. The study was conducted in urban Gangtok in the state of Sikkim. The implications of the research study inform us that music and musical forms are effective ways of preoccupation, particularly during the COVID-19 lockdown period in the everyday lives of people in urban Gangtok. The research study results indicate that different genres of music show different consumption patterns in different modes. The study has twomajor objectives.Why people resorted to listening to music during this pandemic lockdown? and What forms of music did they consume?. The study adopted ethnography as the main strategy in encapsulating the data by combining qualitative and quantitative interpretations. Keywords: 1.Music, 2.COVID-19 lockdown, 3.Sikkim Himalayas, 4.Listening, 5.Gangtok
Journal of Popular Music Studies, 1999
W hat makes country music country music? And why does that matter? Both of these questions are posed persistently and tenaciously in the critical and fan literature of country music. Recently, for example, both Tony Scherman (1994: pp. 54-57) and Johnny Cash (Cash and Carr, 1997) suggested that contemporary country has lost its distinctive style-and perhaps its identity-in a process of musical and lyrical distancing from its origins in the poor white rural matrix of class experience and musical style. The catalyst for these anxieties, as Dan Daley pointed out in Nashville's Unwritten Rules, is country's "absorption of new idiomatic influences," which "has always raised flags about country's musical integrity over the years" (1998: p. 335). For Daley, such appropriation raises no problems, since "the bulk of country records [are] made in Nashville by the same handful of producers, writers, publishers, and musicians" (1998: p. 336). Daley's institutional, but not geographical, position was seconded by Bill Ivey: "[A] country record is any record a radio station that calls itself 'country' will play and any record that a consumer who considers himself a 'country fan' will buy. .. no fiddles, steel guitars, high lonesome harmonies, or rhinestone suits required" (1994, p. 281).
Asian Journal of Multidimensional Research, 2017
Community radio denotes a two-way communication process. It involves the exchange of ideas and outlook from a range of sources and is a media meant for use by communities. India, being a developing nation can utilize community radio as a significant third tier in broadcasting, which is quite dissimilar from public service and commercial radio. It offers a platform to local voices to air their opinions on issues concerning their existence. Moreover, it gains further significance when it comes to certain very remote and backwards areas in the country, particularly the Northeastern part of the country comprising of eight states namely
Public Culture, 2019
During his decade-long (1952–62) tenure as minister of Information and Broadcasting, B. V. Keskar spearheaded ambitious reforms to the national radio network, All India Radio. Keskar filled broadcasting hours with classical music programming, inviting musicians trained at renowned academies to perform and record. This essay argues that in the wake of independence, Keskar and his supporters sought to orchestrate a soundscape for the Indian nation through the medium of radio. In their attempts to train the ears of radio audiences and forge citizen-listeners, they also refined the meaning of citizenship in auditory terms. Administrators and broadcasters at AIR, however, assumed that citizen-listeners would be docile. Radio listeners proved the opposite. They protested against AIR’s music broadcasts by writing to magazine and newspaper editorials and by tuning their dials to foreign radio stations, whose broadcasts better suited their musical tastes.
xiv b acknowledgments and Urmila Maurya of Chachakpur invariably surpassed all of my musical expectations. The villagers of Sauraiyan, especially Usha, Sushila, Kamala, and Ishraji Devi, adopted me and treated me to their songs and stories on numerous occasions. In Sadiapur, Allahabad, my thanks go to Sitara Devi and her companions not only for their songs but also for their wonderful spirit. In Misraulia, I thank Meena Devi for generously sharing her extensive repertoire with me. The team of extraordinary Dalit singers in Misraulia showed me just how much is conveyed through music. In Benaras, I was privileged to learn about musical traditions from the biraha maestros Hira Lal Yadav and Laxmi Narayan Yadav. I am indebted to them as well as to singers near Ramnagar, particularly Badrunissa, Shama, Aarti, and Savita Devi. I thank them all for generously sharing their heritage with me and for enabling me to claim it, too. Several sections of this book were first presented at conferences and seminars, and the feedback I received at these events has proved invaluable. The arguments I make in chapter 2 were first presented at the Special Anthropology Talk series on
Economic and Political Weekly, 2003
"In designing digital literacy content for marginalized demographics, we need to garner local resources to structure engaging and meaningful media experiences. This paper examines the socio-cognitive implications of a novel edutainment product in rural India on learning, stemming from an e development initiative funded by Hewlett-Packard. This product encapsulates a multiplicity of media forms: text, audio and visual, with social-awareness folk themes endemic to the locality. It uses the karaoke ‘same language subtitling’ feature that won the World Bank Development Marketplace Award in 2002 due to its simple yet innovative application that has proven to have an impact on reading skills. The product strives to combine cultural regeneration, value-based education, incidental literacy and language practice through entertainment. The paper investigates how this product addresses engagement and empowerment simultaneously, based on elements such as emotional appeal, multimodal stimulation, interactivity, contextual content and local representation. This is useful for practitioners and scholars interested in the design of novel edutainment content for international, underrepresented demographics."
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