Taking South Asia as its focus, this wide-ranging collection probes the general reluctance of the cultural anthropology to engage with contemporary visual art and artists, including painting, sculpture, performance art and installation. Through case studies engaged equally in anthropology and visual studies, contributors examine art and artistic production in India, Sri Lanka, Pakistan, Bangladesh, and Nepal to bring the social and political complexities of artistic practice to the fore. Demonstrating the potential of the visual as a means to understand a society, its values, and its politics, this volume ranges across discourses of anthropology, sociology, biography, memory, art history, and contemporary practices of visual art. Ultimately, Intersections of Contemporary Art, Anthropology and Art History in South Asia simultaneously expands and challenges the disciplinary foci of two fields: it demonstrates to art criticism and art history the necessity of anthropological and sociological methodologies and theories, while at the same time challenging the “iconophobia” of social sciences.

The world is in crisis, bringing activists and protesters onto the streets and into the public eye. More than ever, activism relies on spectacle and visibility in order to be noticed in the era of globalized capitalism and networked media. At the same time, a growing number of artists employ creative strategies to critique the establishment, act in resistance, and demand change. Visual activism of this kind is not new, but it is rapidly evolving. This anthology presents 16 case-studies of visual activism from across the globe, providing an up-to-date picture of the impact of contemporary visual and art activism, and combining a scholarly interrogation of visual activism with an examination of how it works in practice. The case studies address a wide range of issues including human rights abuses; state violence; gender and sexuality; racism; migration; and climate breakdown. They examine a range of approaches from playful carnivalesque parades to extreme practices such as 'lip-sewing', and are drawn from a wide range of international contexts – from Europe and the US, to Iran, India, Pakistan, Tunisia, and China. This diverse scope enables readers to consider examples comparatively – noticing emerging trends and key differences to reveal how geopolitical and cultural factors play an important role in shaping activist practices. This rich and timely collection provides a fresh perspective on the possibilities, limitations and politics of visual activism, as activists, artists, and curators respond to the changing world around them in this most uncertain of times.

This book critically examines the cultural politics of visuals in South Asia. It makes a key contribution to the study of visuals in the social sciences in South Asia by studying the interplay of the seen and unseen, and the visual and nonvisual. The volume explores interrelated themes including the vernacular visual and visuality, ways of seeing in South Asia and the methodology of hermeneutic sensorium, anxiety and politics of the visuals across the region and the trajectory of visual anthropology, significance of visual symbols and representations in contemporary performances and folk art, visual landscapes of loss and recovery and representation of refugees, visual public in South Asia and making of visuals for contemporary consumptions. The chapters unravel the concepts of visual, visibility, visuality while attending to determinant meta-ideas, such as memory and modernity, trajectories of tradition, fluidity and hybridity, and visual performative politics. Based on interdisciplinary resources, the chapters in this volume present a wide array of empirical findings across India, Pakistan, Sri Lanka, Nepal and Bangladesh, along with analytical readings of the visual culture of the subcontinent across borders. The book will be useful to scholars and researchers of visual and cultural studies, social and cultural anthropology, sociology, political studies, media and communications studies, performance studies, art history, television and film studies, photography studies, and South Asian studies. It will also interest practitioners including artists, visual artists, photographers, filmmakers and media critics.

This volume examines urban South Asia through the ideas of neighbourhood and neighbourliness. With a focus on the affective socio-spatial and sensorial experiences of non-metropolitan, small and intermediate cities, the chapters in the volume look at neighbourhoods as a key to exploring the textures of urban life. Bringing together scholars from a variety of disciplines including sociology, anthropology, urban studies, planning, and social history, the book highlights urban heterogeneity and contemporary transformations in South Asia. It discusses the linkages between urban lived spaces and social life; memory, migration, and exile; and the city and its society through practices of everyday life in neighbourhoods. With studies from Sri Lanka, Nepal, Afghanistan, Bangladesh, and India, the volume addresses a wide range of issues pertaining to urban experiences in their regional specificities and in a broader context of the Global South. This book will be useful to scholars and researchers of urban sociology, anthropology, urban studies, planning and development, social history, political studies, cultural studies, geography, and South Asian studies. It will also interest practitioners and policymakers, architects, planners, civil society organisations, and thinktanks.

Asia is changing. Socio-political shifts in the world economy, technological advances of monumental scales, movements of people and ideas, alongside ongoing post-colonization projects across the region have created an emerging Asia – one confident and assertive of its place in the contemporary geopolitical sphere. As political and economic powers reassert Asian sovereignty in opposition to perceived Northern dominance, and dramatic and rapid development in the region shift the relationship between the centre and the periphery, new renderings and imaginations of hierarchies of identity and power come to the fore. This changing environment leads to emerging challenges for anthropologists working in the region: both those who have been working there for years, and new scholars entering the field. This volume considers these changes, and the implications of this on our practice. By focusing on Asia as a site of enquiry, the contributors to this book discuss tensions and opportunities arising in their ethnographic fieldwork in light of a changing Asia. Drawing on personal reflections on Asia’s global positioning in this contemporary moment, the contributors consider how fieldwork is being negotiated within the changing dynamics of anthropology in the region. This book then, is a discussion on the shifting landscape of field sites and the resultant emerging research methodologies, and is aimed at those who are already deeply immersed in fieldwork as well as those who are seeking ways to undertake it.

'A splendid work of art, In Defence of the Ordinary returns drama, pleasure and awakening to everyday life ... in the tradition of cultural critics like Ashis Nandy and Umberto Eco... The book is one of a kind.' -Prathama Banerjee is a noted historian of the global south and Professor at Centre for the Study of Developing Societies (CSDS), New Delhi. '[A] flâneur of our everyday spheres of life, [the author] excavates the multiple layers of social, political and artistic thinking and experimentation ... with an unparalleled lightness of prose worthy of a Balthasar Gracián and Georg Lichtenberg.' -Ramin Jahanbegloo is a philosopher and Vice Dean and Director at Mahatma Gandhi Centre for Peace Studies, O.P. Jindal Global University, India. '[The] book builds an engaging web of thoughts about things which are ordinary but in their very ordinariness hide deep social truths... Dev Nath Pathak brings a lightness to his critical eye while reminding us of how much of the ordinary has been forgotten in academic pursuits.' -Sundar Sarukkai is a renowned philosopher and thinker in contemporary India. In Defence of the Ordinary is laced with light humour, soaked in serious sarcasm and powered with poetic polemics. Informed by sources such as psychoanalysis, philosophy, yoga, anthropology, popular cinema, folk songs and everything that is part of an ordinary living, it is a sociologist's sincere ruminations on the layered ordinariness. The book invites us to rethink the ways of seeing, understanding, enacting, emoting and relating with provocative ideas like why we don't value ordinariness and how our pursuit of extraordinary is misleading us into mishaps. The key objective of the human existence is that of the book too, namely, awakening the dormant potentials of emancipation every day rather than waiting for an occasional charisma induced by a holy book or a secular gimmick or an orchestrated leadership.

The book responds to the challenge of the global turn in the humanities from the perspective of art history. A global art history, it argues, need not follow the logic of economic globalization nor seek to bring the entire world into its fold. Instead, it draws on a theory of transculturation to explore key moments of an art history that can no longer be approached through a facile globalism. How can art historical analysis theorize relationships of connectivity that have characterized cultures and regions across distances? How can it meaningfully handle issues of commensurability or its absence among cultures? By shifting the focus of enquiry to South Asia, the five meditations that make up this book seek to translate intellectual insights of experiences beyond Euro–America into globally intelligible analyses.

'Arts in the Margins of World Encounters' presents original contributions that deal with artworks of differently marginalized people—such as ethnic minorities, refugees, immigrants, disabled people, and descendants of slaves—, a wide variety of art forms—like clay figures, textile, paintings, poems, museum exhibits and theatre performances—, and original data based on committed, long-term fieldwork and/or archival research in Brazil, Martinique, Rwanda, India, Indonesia, Japan, Australia, and New Zealand. The volume develops theoretical approaches inspired by innovative theorists and is based on currently debated analytical categories including the ethnographic turn in contemporary art, polycentric aesthetics, and aesthetic cannibalization, among others. This collection also incorporates fascinating and intriguing contemporary cases, but with solid theoretical arguments and grounds. 'Arts in the Margins of World Encounters' will appeal to students at all levels, scholars, and practitioners in arts, aesthetics, anthropology, social inequality, and discrimination, as well as researchers in other fields, including post-colonialism and cultural organizations.

This book critically examines the role and politics of humour and the performance of power in South Asia. What does humour do and how does it manifest when lived political circumstances experience ruptures or instability? Can humour that emerges in such circumstances be viewed as a specific narrative on the nature of democracy in the region? Drawing upon essays from India, Sri Lanka and Bangladesh, this volume discusses many crucial historical and contemporary themes, including dance-drama performances in northern India; caste and stand-up comedy in India; cartoon narratives of citizens’ anxieties; civic participation through social media memes in Sri Lanka; media, politics and humorous public in Bangladesh; the politics of performance in India; and the influence of humour and satire as political commentaries. The volume explores the impact of humour in South Asian folklore, ritual performances, media and journalism, and online technologies. This topical and interdisciplinary book will be essential for scholars and researchers of cultural studies, political science, sociology and social anthropology, media and communication studies, theatre and performance studies, and South Asian studies.

Against the Nation invites readers to explore South Asia as a place and as an idea with a sense of reflection and nuance rather than submitting to conventional understanding of the region merely in geopolitical terms. The authors take the readers across a vast terrain of prospects like visual culture, music, film, knowledge systems and classrooms, myth and history as well as forms of politics that offer possibilities for reading South Asia as a collective enterprise that has historical precedents as well as untapped ideological potential for the future.