Let us now move on to the last presentation of this session.
I'm sure there are a lot of bigger again about Shirazi in this sense, and we're doing the circulation of an icon the case of Zakariya.
Actually, I want to thank you, sir. Thank you for inviting me to this final and.
Those were some great presentations before me. I have to share a presentation, so I'll just share the screen.
Western. OK.
No, we can't see the presentation yet, I you. Yeah.
I don't know, why can't I just like I can see the content option, but it's not showing me to share the screen.
Anyway, anyway, I just read out of the purpose of OK.
The figurative energy has been invoked,
not fought from the past and submitted in Maharashtra at various occasions by different ideological agents during the 20th and the 21st century.
Malavika covered in her essay, Shivaji Maharaj Growth of a Symbol maps the Mormons in the 19th and the 20th century, when Shivaji, as a symbol,
was repurposed in social political movements of assertion and identity formation from the colonial period by personalities such as fully antilock,
the post-independence Muslims like the Samyukta Mangusta and in the dregs of politicians and
social activists for which the symbol of Shivaji has always represented resistance and resurgence,
either to the Muslim rulers romantic and hegemony or to the colonial rule.
And she concludes by saying, and I quote the narrative of Shivaji thus becomes a site where competing images of
the king as a symbol were being contested from divergent ideological viewpoints,
including the right wing Hindus immobilisation of Shivaji forged by Joshi.
That's why the ANC has occupied the popular imagination in Maharashtra as compared to the one propagated by Fully and Gandhi.
This fable takes a look at one such recycling and circulation of the symbol of Shivaji by an upper caste elite Brahmin Egypt,
the Emperor Andry in a theatre playing cards and job created in the aftermath of the summit of the Maharashtra movement.
During the summit, the Maharashtra movement,
the symbol of Shivaji and as I tried to find it in the Daily Mirror to see which of these came to be a unifying force for the movement.
Domingue, the Marathi marlos in Autry's writings as the modern incarnation of historical historically Marathi.
And what brought you these findings suggests that the transition from the identity demarcations of marac
to a unifying Marathi identity in postcolonial Maharashtra was made possible due to the Marathi Smither,
as laid out in Latrice Books. Based on impurities,
priorities raised with Morocco's ATRI outlined the value and the beliefs of fearlessness and leadership embodied historically by the Meraki man,
the character of Shivaji as written, narrated and circulated, but by then also popularly known as was Shaheed Babette's.
The Hippodrome lady portrays these qualities of leadership, bravery and fearlessness, propagating that she at it as a lesson for the masses.
Wurundjeri Shivaji has been in circulation in Maharashtra and Pan India from the 1950s in form of his mother's gazette to local language.
With songs written by dozens of literary publications, exhibitions,
gazette of zine threads and the police's Zandra Just Participatory Performance Styles becomes a significant
site where this parade of identifying oneself as Marathi is circulated to an immersive experience,
using the technology of support for an excellent system, as well as the embodiment of a pre-recorded soundtrack by the participants.
Mbabazi put under his arm that idea is structured as a sample or a sample di igniter
that is a mass or community theatre in which anyone from the public may participate.
The seeds for the police were sold in 1974, when Maharaja at Tank, just founded in 1967 by Put Under It and Lifted Tripathy,
dodged my thoughts as it loosely organised an exhibition called the She Must Rushdie at Shivaji Park,
Mumbai, displaying weaponry and artefacts from the moral turpitude.
To commemorate the 200th anniversary of Shivaji Coronation,
it was at this exhibition that the twenty two minutes of the coronation ceremony was played in Marathi,
with 100 participants pre-recorded songs and narratives written by Potentate,
directed by the country and music audience by Watson,
said the trust claims that this was the first time an experiment with the use
of pre-recorded sound was successfully attempted in the Marathi fraternity.
Later in that decade, foreign direct links to have attended a community theatre or during his visit to Europe read somewhere that you are.
Duration of that idea was inspired. The Maharajah part this time travels with Zandra as a touring company with 250 participants and
technicians setting up its shows on a mobile stage in urban as well as rural open-air spaces in India.
Receiving patronage from local politicians, newspapers and NGOs, the play has been attended by thousands of audiences to build.
The first show of nitrogen took place in Poland in 1984 on the grounds of the Lucasville School and was provided with village by the police.
The play the play has been translated and recorded so Marathi in the Hindi to in a speech
to the northern parts of India and is performed with subtitles in U.S. and London.
Delivered in the narrative form of Florida by the shark and its food and interspersed with dialogue,
songs and dances, please circulate the folk song of love, meek of Marley.
I love him, then calling for an Egyptian.
The entire two year duration of the play is recorded in which the participants body and lip sync.
The trust's website describes the execution of the performance as done with an awkward clock like precision in court.
But each and every step, breath, emotion and gesture of the individual performer is measured and marked, according to the song's recording.
The play employs animals like horses, elephants and camels,
which are then mounted and rudimentary by characters like Shivaji, his ministers and the soldiers.
The states comprises of five levels the ground, the actual 90 by 40 states, minarets with balconies,
a tub, another balcony and a peak on the mountain and a peak of the mountain or the fourth.
The minute it's mechanically thrown around 180 degrees to expose the inside and outside of the structure.
Fireworks and fire acrobatics are used in celebratory scenes of coronation and or during the performance of the play.
In this paper, I analyse how such a spectacular community performance becomes a critical medium for the circulation of the item of Shivaji.
But Shivaji stands and does circulate. The morality of such an invocation of Shivaji as an icon in its theological sense,
is nostalgic in its employment of the metaphors of the downtrodden and seems from that,
as well as performative restoring the 17th century in a three hour performance,
explaining the three sided relationship between performance, memory and substitution.
Joseph Root in Cities of the Dead introduces the concept of segregation as a key
mechanism for the reproduction and reinvention of collective memory in a society,
and to analyse how performances work within the function, according to the notion of segregation, can be understood as an export.
The enactment of cultural memory and good by substituting the characters by actors or effigies who then to their performance,
evoke an absence by filling in the vacancy created by the absence of an original.
He argues that segregation operates between different participating cultures.
Citing the instance of Atlantic societies who perform their own pasts in the presence of other countries.
To do so, they perform themselves, establishing their own identity, as well as the identity of the other.
In the case of Maharashtra, in the case of literature, history and Shivaji and distribution's taking place in Maharashtra,
no one can see that the Marathi or the Marathi identity is established in opposition to the other.
In Zandra, the other is represented by the Muslim, English and Portuguese figures, as well as corrupt,
unjust and cowardly figures, as opposed to the values of Marathi estimates that are gifted by the iconic church.
Narrative scenes and downtrodden, unlike those of bad logic, would produce conversation with Shivaji to plead guilty for the release of charging or
the punishment to merging parties on a rape case or automotives lecture to his son,
comparing Shivaji and himself not open to being shamed for being an employee of the outsider victims
or Shivaji prediction of British colonial rule by calling the British colony traders It's a job.
All of these narratives are embodied, so imagine dialogues and performance circulated to the larger historical memory as a nostalgic remembering
from the words of an heir to the bodies of the four cordial beings who constitute the public.
The concept of segregation is then more concerned with the erasure of the origin and the existing remembrances rather than remembering itself.
It is important to situate such a nostalgic remembering and erasure of the ice and bias
and paradox on the landscape of the formation of the state of the state of Maharashtra,
which stressed on the creation of a civic identity of whatever TDP.
The suggestion becomes a process of reinvention,
employing the icon of Shivaji to reinvent the identity of Minato people and in the process, altering the icon and history itself.
The next mass circulation theatre in Canada.
Being a mixed form and a social institution, my practise deodorant performance, keep recycling and circulating ideas, techniques, skills,
object negative practises about justice as well as characters from the past and the present,
emphasising on the circulatory nature of exchanges taking place in the cultural sphere with problems posed by historical contingency.
We do more obvious that food cultures get on junk.
They have to negotiate changes and act on processes of discarding the usage and repurposing circulation.
Bengalis for conceptualisation of historic historical development, formation and deformation.
And as a social institution, theatre and performance, Marx argues, have multiple relationships with objects and cultural materiality.
He claims that theatre and performance serve as a place and means to map,
as well as cultural, social and cultural understanding of objects and materiality.
Being an experiential form, theatre and performance provide a framework to experience the sedimentation caused by circulation of elements.
Building on Marx's formulation of the ways in which various elements get people pursuing theatre and performance,
I will now analyse the elements that urinary recycled Suzanne in its project of substituting the values of Shivaji in the world.
With lyrical writing and meditation under it, throughout the place circulates and reuses the concept of ramrod germ,
arrested that animal and by metaphorically comparing Shivaji with Rama Shiva Jesus by
20 and other such mythological allegories reinvent the icon of Shivaji as a demigod.
For instance, the episode before the Lord of the By Kennedy is narrated as being peaceful and
abandoned and abandoned using the comparison of the contemporary conception of rum,
Roger and Iota is juxtaposed on the 13th century historical bust the shaheed announced as the king from the 13th century,
singing the body of Ramachandra of the other dynasty of the.
He sings. And I've translated it in English. What glory of the sting should I tell you?
The glory of Marathi lands? The glory of Adam Raja?
Dave Giddey is as beautiful as you would be like, since even the heavenly Indra and guards are envious of its beauty.
The Sun and the Moon shine brightly at its stars. The reduced just corruption St.Louis of Rama supposedly is repurposed to demonstrate the role
of the 13th century King Rama again evil in comparison to the barbaric rule of the Muslims.
When Shivaji establishes this, what the circulation of future editions represented by body in the Raja is whitewashed of any
references to the Antichrist and so many of bodies that have been written instead of it.
Just the chunka.
Abengoa is appointed in the 1970s to write in Umbrella in the Nobody's Name, which only narrates the devotion of Xenoblade Towards Lord.
I certainly can't win this argument in his book, Dedicating dedicated to dissecting his and history narrative.
He argues that his writings employ the book these themes,
and that amongst those to sort his ideological merit of escaping the perspectives of the politics,
the book seems faulty by reconfiguring the social and the cultural understanding of the concept of struggle.
By comparing it to what Andre makes an attempt to bring Rama and Shivaji on same
simply doubling Shivaji as a godly figure with the values of fearlessness,
bravery and viciousness such as Thank you,
such a gradual negotiation with elements in circulation highlights the ways in which theatre is a social institution,
as Marx writes, have multiple relationships with objects and cultural material is it draws our attention to the
situated function and purpose of future performance to perform the condition and impact of time,
passing by either acting out the changes or unsuccessfully restoring electron stick elements as a remedy.
The warning of a bust. The next section is performing nostalgia and embodying sound,
Zandra just circulates such a nostalgia for yearning of the past by circulating the folk forms,
but their gestures and dialects of Marathi ideas like rejection letters and
citations of Brahma and others put on the characters to a fixed recorded chat.
Now, Prendra argues that it's impossible for audiences to sustain three hours of lively performance, and thus we've recorded the audio.
However, the audio guided performance of the Central Challenge is the motion associated with the Theatre
of the Cure of the novel and destabilises the normative boundaries of time and time and place,
so its additional narrative only started with bust.
Well, that would be the coldest and designer of the soundtrack of Karajan claim that to create the soundscape of the 17th century,
which may produce a mental imagery for the listener. They used instruments and form forms of music of the 17th century to create the sonic illusion.
Barring a few songs in the coronation ceremony of the end of the performance, which you saw in them pretty instruments like harmonium,
most of their music and songs in that I don't make use of some of the dumb ones that are said to him, I will give you some them.
It's a job to create the soundscape of the 17th century. It is such a restrictive vision that John Rajo was recorded.
It aspired to offer an immersive experience of the kinds of she wanted to its audiences, as well as to its participants.
The first advertisement of the Entrada even marketed the play as being the first one in India use a surround sound system.
Thus, the audience area is surrounded by speakers from all sides, creating a sonic envelope.
Immerse the audience in the soundscape.
The song creates an excess of stimulation and acid for the audience, which is supplemented by the visual display.
For instance, in a fight in a fight scene when jaws accelerated rhythms of the sound of horses flutes clinking on one another,
elephants trumpeting at a distance cries of hundreds of soldiers. More cries like the leaders.
However, visually, the spectacles the spectators sees rapid flickering of light and 20 30 soldiers enacting some fighting.
Since the excess sound is the audience, as well as the performer in building a mental imagery of the scale of the fight.
To embody sound, then, is to make visible to the act of performance that which is abstract and elusive.
The use of video of the recorded song bound in the three hour duration of the performance is embodied by the participant performers of
songs that just explaining the nature of reenactments of Civil War and the film forwards re-enactors participate in the experience.
Rebecca Schneider in Performing Remains, argues,
and I quote the field the affective engagement is the key to touch something that being the authentic,
real and actual experience, something about fighting and falling on the field.
That would be other than what they could glean from the textual accounts,
photographic images or watching film actors react or watching film actors re-enacting on screen.
And it is with such an affective engagement the field,
the historical characters and indulging that experience of a partial but the temporal
response that the participants in doing that provide their bodies as surrogates for them.
That is because the process of embodiment, of the process, of embodiment of the characters and starts with the donning,
the adorning of specially made costumes,
replicas of 17th century artefacts and transforming themselves with makeup and roots into historical characters.
Interviews with participants highlight that the embodiment of modern history through such a recorded sound bite them that
adds to their historical acumen and their participation contributes to the work and flows of a renowned personality.
Only then can it be argued that this piece of theatre becomes an escape for these untrained performers performers to indulge in a nostalgic
restoration away from the fragmented nature of the modern world in circulating such Emirati identity based on a nostalgic remembering and,
of course, wing ideologies. How does one stranger as a community to reorganise the public's field?
Does the other thing of certain communities and religion in the play have an effect on the participants understanding of the contemporary world?
When the 250 artists that Dr Roger employs, I'm not fixed.
Participants keep changing and the circulation keeps getting wider.
In the last few years, to reduce the production cost and to involve more participants is good.
I'm just in the last round of the production now, invite volunteer participants from the city or town or village that they visit,
these volunteer participants panic onlookers, I thought dances and mop entries by assistant directors.
15 to 30 days beforehand.
Such an involvement in play by local residents serves to recreate a collective memory imbibed in the corporeal bodies by playing
different characters and thus furthering the agenda of the propagation of values interpreted by psychology as an experiment.
Lives with the normative categories of sound and visuals,
creating a unique style of pageantry and fulfilling its leaders aim of propagating the deeds of Shivaji.
Such a fixed and participatory devising for historical play, which by attempting to create and specialised lost time,
cultivates a collective nostalgia one that can be interpreted as restrictive nostalgia as given by Svetlana Bwin,
upholding the recreation as authentic and the historical narrative as unchangeable
insight that the ideal of Shivaji embodies the cause of Marathi bizmeter,
which in itself is under attack from multiple interpretations and Hindu mythological referencing participating in Zandra and
embodying the various historical styles leads to the circulation of the icon of Shivaji as the champion of Hindu religion.
Such an embodied circulation of the icon of Shivaji through the bodies of participants in the community deeply reorganises the
public sphere making Turandot is state sanctioned nostalgia version of Shivaji popular not just in the ideological sense,
but also as a cultural experience. This bodily experience and the social energy that flows through such a historical circulation also satisfies
the bowl of nostalgic remembering to create a sense of belongingness and rootedness within a community.
However, it is important to further interrogate the basis on which such identities is alcohol.
Thank you.