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India is changing at a rapid pace as it continues to move from its colonial past to its globalised future. This Companion offers a framework for understanding that change, and how modern cultural forms have emerged out of very different histories and traditions. The book provides accounts of literature, theatre, film, modern and popular art, music, television and food; it also explores in detail social divisions, customs, communications and daily life. In a series of engaging, erudite and occasionally moving essays the contributors, drawn from a variety of disciplines, examine not merely what constitutes modern Indian culture, but just how wide-ranging are the cultures that persist in the regions of India. This volume will help the reader understand the continuities and fissures within Indian culture and some of the conflicts arising from them. Throughout, what comes to the fore is the extraordinary richness and diversity of modern Indian culture.
- Sales Rank: #3464539 in Books
- Published on: 2012-05-07
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .55" w x 5.98" l, 1.15 pounds
- Binding: Paperback
- 326 pages
Review
'The Cambridge Companion to Modern Indian Culture would be an excellent addition to a college or university library that supports India studies, cultural studies, anthropology or history departments and a good textbook for a class on Indian culture.' Sue Phelps, Reference Reviews
About the Author
Vasudha Dalmia is Professor of Religious Studies at Yale University. Rashmi Sadana is Assistant Professor of Anthropology and Global Studies at George Mason University.
Most helpful customer reviews
2 of 3 people found the following review helpful.
An interesting read if you accept its limitations
By Joost Strickx
This book consists of a collection of articles (called `chapters') written by different authors and this organized according to two themes `cultural contexts', in which background information is provided and `cultural forms'. .
One could presume that the articles in the first part give some economic, social and political explanations for the different modern art forms on which the articles in the second part focus on. This is not really the case, as these 5 articles have a relatively narrow scope. It is obvious that in this book not an all-encompassing theory is developed for explaining the modern Indian art forms, but some aspects are highlighted with as recurring theme: the quite drastic transformation of Indian society in the last few decades. The subjects of these articles: how rural people stand against modern technology and the changes it brings to their traditional society, the formation of tribal identities and this based on a study of a specific tribe in Arunachal Pradesh, the changing food practices in post-Independence India, urban forms of religious practice based on research of the Tamil-speaking Tigala caste in Bangalore and finally the politics of caste identities.
The voids are obvious, to mention a few: nothing is written about the important impact of the Muslim culture, no attention is paid to the difference between North Indian culture and the Dravidian culture of the South.
It is obvious by this restricted number of articles that a grand theory cannot be constructed. The advantage of this collection of short articles written by specialists on the different subjects is that in (most of) these short essays different phenomena are described very succinctly. The subject matter of these essays is very different and there is no overlap. However the writing style and the wording of the writers is quite diverse (this is true for both parts of the book): and unfortunately here we have the whole spectrum: Whereas some authors describe their subject with all clarity (it is for instance a pleasure to read Christophe Jaffrelot's short essay on caste identities and become familiar with such important terminology as `Sanskritization', `the ethnicization of cast', Ambedkar's term of `graded inequality', terms one will encounter frequently in books on Indian society), however some others tend to the outright incomprehensible. Perhaps you can explain me what the author wanted to say with: `At one level, this form of spectatorial subjectivity can deny the atomizing modernity associated with the construction of individuation and a privatized sphere for the couple', a tip, it has something to do with popular cinema.
In the second part the essays are on different cultural forms. As can be expected, traditional forms such as literature, music, theatre and cinema are described, however there are also some articles which have less evident subjects such as the `art of the bazaar' and `voyeurism and the family on television', which I did find quite worthwhile.
One could level also on the second part of the book the same criticism as for the first part: it is difficult to give an all-encompassing view of modern Indian culture in a mere 280 pages. The 3 essays on literature focus on the Bengali novel, Indian English literature and Dalit life stories and as such can hardly claim that this gives a complete overview of what modern Indian literature is about. Nothing about literature by women, Muslim literature, Urdu poetics, Dravidian literature...and the same can be said of the other articles on the other art forms.
Indian culture, especially if one takes a wide view including different cultural forms and art forms cannot be grasped in one book. One should not buy this book for that, it is rather a book destined for a public which is already familiar with Indian culture and wants to learn more on some specific subjects. This collection of quite diverse short articles of uneven quality, (mostly) written by knowledgeable people can be interesting. The short biographies of the different articles at the end of the book can be helpful if you want to study some subject more.
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