This book examines folk theatres of North India as a unique performative structure, a counter stream to the postulations of Sanskrit and Western realistic theatre. In focusing on their historical, social and cultural imprints, it explores how these theatres challenge the linearity of cultural history and subvert cultural hegemony. The book looks at diverse forms of theatre such as svangs, nautanki, tamasha, all with conventions like open performative space, free mingling of spectators and actors, flexibility in roles and genres, etc. It discusses the genesis, history and the independent trajectory of folk theatres; folk theatre and Sanskrit dramaturgy; cinematic legacy; and theatrical space as performance besides investigating causes, inter-relations within socio-cultural factors, and the performance principles underlying them. It shows how these theatres effectively contest delimitation of human creative impulses (as revealed in classical Sanskrit theatre) from structuring as also of normative impulses of religion and culture, while amalgamating influences from Western theatre, newly-rising religious reform movements of 19th century India, tantra and Bhakti. It further highlights their ability to adapt and reinvent themselves in accordance with spatial and temporal transformations to constitute an important anthropological layer of Indian society. Comprehensive and empirically rich, this book will be an essential read for scholars and researchers of cultural studies, theatre, film and performance studies, sociology, political studies, popular culture, and South Asian studies.

The book attempts to trace ecological insights embedded in two major folk epics of Rajasthan – Epic of Pabuji and Epic of Devnarayan. The first chapter explores man’s relation with nature in past and attempts to locate the genesis of our attitudes towards nature in ancient myths as well as its portrayal in literature. It tries to define ecology and summarises the ideas about ecological literary criticism given by various critics. It highlights the tradition and types of oral epics in Rajasthan. The second chapter named “Cultural Ecology” focuses on the mutuality and interdependence of nature and culture. It reflects upon what effects human culture has on nature and vice versa in context of the epics of Pabuji and Devnarayan. The chapter focuses on literary ecology which explores the ecological dimensions of literary texts and also puts forth the artistic capability of the text as an agency of ecological awareness. The third chapter named “History, Aesthetics and Phad” explores how painters make phad and to what purpose these phads are made, what purposes of bhopas and commercial consumers it fulfils and in what ways bhopas inspire the process. It also discusses the history of visual narratives and locates the place of phad in it. It delves deep into the history of phad tradition of painting as well as its aesthetics. The discussion of aesthetics of phad foregrounds how phad helps bhopa in devising as well as improvising the narrative. The fourth chapter named “Performance and Ecology” focuses on how performances of folk epics of Pabuji and Devnarayan further an ecological vision in which natural surroundings play a contributory role in formation of meanings. An interconnection between the ecology of the region and the performance of phad has been evaluated which contributes in comprehending the full ecological implications of phad. An analysis of both the epics from an ecological literary perspective substantiates the excellence and contribution of the epics in enriching the literary genre with different aspects of ecological connections between man and other natural elements on earth. The book establishes that the literary ecology of phad is as diverse as an ecosystem. The ecology of phad thrives on cultural diversity, including people from all fields, such as phad painters, phad performers, and the audience/followers of the deities. This correlation is based not only on their economic relations or transactions, but they also depend upon each other for their exclusive identity.

Ram Lila is the animated katha of Sri Ram as told by Sant Tulsidas in Ramcharitmanas and performed in LILA style and dramatic/theatrical style. It is a narrative that was seeded in North India but that sprouted huge trees across India and the diaspora, especially the indentured Indian diaspora countries like Trinidad, Guyana, Suriname, and Fiji. The Ramcharitmanas is sacred to millions and serves as a moral and ethical guide in personal, family, and national life, as well as political leadership. Ram Lila is a unique identity marker for communities that nurture and practice this tradition; it brings people together, across cultural and socio-economic differences. While providing community entertainment, the performative style of Ram Lila is a powerful tool for teaching and learning, agent of darshan, and opportunity for personal spiritual transformation.

Based on twelve years of research, this book provides detailed descriptions of the culture of folk theatre and outlines its importance for practitioners, audiences and the worldwide theatre industry, presenting a unique angle on selected performances.

Tom Ault has written a theatre ethnography that brings Rajasthans folk tradition of khyal to readers in both descriptions and translations of the plays, based on his many periods of research and hanging out with khyal players and affecionados. A performance genre probably stemming from the soliloquies in poetic Pingal and Dingal of Rajasthans bards, known as Charans, these khyals offer folk renditions of rule and misrule, contemporary issues and past heroics, and the romance of Rajput desert kingdoms. Ault has been engaged with these shows there, and as an American theatre professor he knows his subject well. Everyone will find something to enjoy in Aults compendium of khyal, and will probably be tempted to search out a performance of this disappearing folk art at a Rajasthani cattle fair or on a moonlight night in a desert village with stars overhead.

The present age is the age of competition. One has to face challenges in every walk of life. Students of the present era are expected to possess sufficient information relating to various fields of knowledge. Children who lack general knowledge are sure to lag behind even if they are, otherwise, competent. CURRENT GENERAL KNOWLEDGE, a series of books has been prepared keeping this fact in view. The books are prepared in such a way which is sure to teach the learners what they ought to know at each level of their schooling. The materials for various units of these books are judicially chosen from encyclopedia, year books and textbooks on a variety of subjects. We are sure that the books will surely encourage the learners to know more about the outside world and impart useful knowledge and information necessary for their bright career. ANSWERS OF THE EXERCISES IN THE BOOK IS ALSO GIVEN...

The nautanki performances of northern India entertain their audiences with often ribald and profane stories. Rooted in the peasant society of pre-modern India, this theater vibrates with lively dancing, pulsating drumbeats, and full-throated singing. In Grounds for Play, Kathryn Hansen draws on field research to describe the different elements of nautanki performance: music, dance, poetry, popular story lines, and written texts. She traces the social history of the form and explores the play of meanings within nautanki narratives, focusing on the ways important social issues such as political authority, community identity, and gender differences are represented in these narratives. Unlike other styles of Indian theater, the nautanki does not draw on the pan-Indian religious epics such as the Ramayana or the Mahabharata for its subjects. Indeed, their storylines tend to center on the vicissitudes of stranded heroines in the throes of melodramatic romance. Whereas nautanki performers were once much in demand, live performances now are rare and nautanki increasingly reaches its audiences through electronic media—records, cassettes, films, television. In spite of this change, the theater form still functions as an effective conduit in the cultural flow that connects urban centers and the hinterland in an ongoing process of exchange.

The competitive examinations have become a routine procedure of recruitment and admissions for higher position and education. Now-a-days a large number of short/objective type questions appear in the examination. These questions call for quick answering for success within a specified short period of time. A sincere effort has been made by the authors to present them in most easy, short and understandable language for the benefit, students, farmers and those who are interested in agriculture and agricultural extension. “Indira’s Objective Agricultural Extension” for competitive exams in agricultural extension discipline contain 15 chapters covering all related discipline. The chapters included such as: Introduction, historical perspective in relation to agriculture and extension, extension principles, approaches and programming, extension education, teaching and methods, extension learning and evaluation, communication and communication technology, audio - visual aids, innovation, evaluation and adoption, participatory rural appraisal, rural development and panchayati raj, economic principle, sociology and social work, training manual, agricultural statistics and appendix. This book has given due importance and whole syllabus was covered as per UGC, ICAR and SAU’s programmes in relation to agriculture extension. Each chapters contains multiple choice questions and total about 9000 objective questions with multiple choice have been framed and arranged sequentially for the easy understanding of the students. Recent information and development in the field of agriculture extension have been incorporated in the text. This book is primarily intended to serve as a appearing in competitive examinations of undergraduate, post graduate and doctorate programmes in agricultural extension of various universities. Thus this book is based on the syllabus of student of agriculture stream, it may be useful not only to students but also teachers, researchers as well as extension workers. The chapters are chosen in view to cover the course contents of competitive examinations like IAS, IFS, ARS, PCS, Banking, SAU’s, UGC and to get admissions in various degree programmes of SAU’s and other universities. This book will fulfill the requirement of students of agriculture and agricultural extension stream for appearing in different competitive examinations.

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This book addresses the political and aesthetic concerns of modern Indian theatre, tracing its genealogies, and looking in particular at its appropriation of 'folk' theatre. Starting with the plays of Bharatendu Harishchandra in 1870s Banaras, the book moves forward to Jayshankar Prasad and Mohan Rakesh, landmark figures in the history of modern Indian drama. Dalmia then focuses on the intense urban interaction with folk theatre forms, their politicization in the 1940s and later again in the 1970s. Finally the book maps some of the routes taken by avant-garde women directors since the last decades of the twentieth century. Theatre students, critics, cultural historians, scholars of South Asian theatre, as well as general readers will find the book inspiring.