1 00:00:00,780 --> 00:00:06,690 Let us now move on to the last presentation of this session. 2 00:00:06,690 --> 00:00:18,460 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. 3 00:00:18,460 --> 00:00:27,940 Actually, I want to thank you, sir. Thank you for inviting me to this final and. 4 00:00:27,940 --> 00:00:46,310 Those were some great presentations before me. I have to share a presentation, so I'll just share the screen. 5 00:00:46,310 --> 00:00:57,870 Western. OK. 6 00:00:57,870 --> 00:01:02,260 No, we can't see the presentation yet, I you. Yeah. 7 00:01:02,260 --> 00:01:14,960 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. 8 00:01:14,960 --> 00:01:23,240 Anyway, anyway, I just read out of the purpose of OK. 9 00:01:23,240 --> 00:01:25,880 The figurative energy has been invoked, 10 00:01:25,880 --> 00:01:36,450 not fought from the past and submitted in Maharashtra at various occasions by different ideological agents during the 20th and the 21st century. 11 00:01:36,450 --> 00:01:46,980 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, 12 00:01:46,980 --> 00:01:57,720 was repurposed in social political movements of assertion and identity formation from the colonial period by personalities such as fully antilock, 13 00:01:57,720 --> 00:02:03,540 the post-independence Muslims like the Samyukta Mangusta and in the dregs of politicians and 14 00:02:03,540 --> 00:02:11,370 social activists for which the symbol of Shivaji has always represented resistance and resurgence, 15 00:02:11,370 --> 00:02:16,020 either to the Muslim rulers romantic and hegemony or to the colonial rule. 16 00:02:16,020 --> 00:02:23,280 And she concludes by saying, and I quote the narrative of Shivaji thus becomes a site where competing images of 17 00:02:23,280 --> 00:02:28,770 the king as a symbol were being contested from divergent ideological viewpoints, 18 00:02:28,770 --> 00:02:33,900 including the right wing Hindus immobilisation of Shivaji forged by Joshi. 19 00:02:33,900 --> 00:02:43,020 That's why the ANC has occupied the popular imagination in Maharashtra as compared to the one propagated by Fully and Gandhi. 20 00:02:43,020 --> 00:02:52,260 This fable takes a look at one such recycling and circulation of the symbol of Shivaji by an upper caste elite Brahmin Egypt, 21 00:02:52,260 --> 00:03:01,440 the Emperor Andry in a theatre playing cards and job created in the aftermath of the summit of the Maharashtra movement. 22 00:03:01,440 --> 00:03:03,720 During the summit, the Maharashtra movement, 23 00:03:03,720 --> 00:03:13,170 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. 24 00:03:13,170 --> 00:03:21,690 Domingue, the Marathi marlos in Autry's writings as the modern incarnation of historical historically Marathi. 25 00:03:21,690 --> 00:03:27,690 And what brought you these findings suggests that the transition from the identity demarcations of marac 26 00:03:27,690 --> 00:03:35,610 to a unifying Marathi identity in postcolonial Maharashtra was made possible due to the Marathi Smither, 27 00:03:35,610 --> 00:03:40,140 as laid out in Latrice Books. Based on impurities, 28 00:03:40,140 --> 00:03:49,850 priorities raised with Morocco's ATRI outlined the value and the beliefs of fearlessness and leadership embodied historically by the Meraki man, 29 00:03:49,850 --> 00:03:58,610 the character of Shivaji as written, narrated and circulated, but by then also popularly known as was Shaheed Babette's. 30 00:03:58,610 --> 00:04:09,490 The Hippodrome lady portrays these qualities of leadership, bravery and fearlessness, propagating that she at it as a lesson for the masses. 31 00:04:09,490 --> 00:04:20,750 Wurundjeri Shivaji has been in circulation in Maharashtra and Pan India from the 1950s in form of his mother's gazette to local language. 32 00:04:20,750 --> 00:04:26,270 With songs written by dozens of literary publications, exhibitions, 33 00:04:26,270 --> 00:04:34,220 gazette of zine threads and the police's Zandra Just Participatory Performance Styles becomes a significant 34 00:04:34,220 --> 00:04:41,780 site where this parade of identifying oneself as Marathi is circulated to an immersive experience, 35 00:04:41,780 --> 00:04:51,030 using the technology of support for an excellent system, as well as the embodiment of a pre-recorded soundtrack by the participants. 36 00:04:51,030 --> 00:04:56,720 Mbabazi put under his arm that idea is structured as a sample or a sample di igniter 37 00:04:56,720 --> 00:05:02,960 that is a mass or community theatre in which anyone from the public may participate. 38 00:05:02,960 --> 00:05:13,340 The seeds for the police were sold in 1974, when Maharaja at Tank, just founded in 1967 by Put Under It and Lifted Tripathy, 39 00:05:13,340 --> 00:05:20,060 dodged my thoughts as it loosely organised an exhibition called the She Must Rushdie at Shivaji Park, 40 00:05:20,060 --> 00:05:24,650 Mumbai, displaying weaponry and artefacts from the moral turpitude. 41 00:05:24,650 --> 00:05:29,690 To commemorate the 200th anniversary of Shivaji Coronation, 42 00:05:29,690 --> 00:05:36,290 it was at this exhibition that the twenty two minutes of the coronation ceremony was played in Marathi, 43 00:05:36,290 --> 00:05:41,690 with 100 participants pre-recorded songs and narratives written by Potentate, 44 00:05:41,690 --> 00:05:45,290 directed by the country and music audience by Watson, 45 00:05:45,290 --> 00:05:51,020 said the trust claims that this was the first time an experiment with the use 46 00:05:51,020 --> 00:05:56,930 of pre-recorded sound was successfully attempted in the Marathi fraternity. 47 00:05:56,930 --> 00:06:05,090 Later in that decade, foreign direct links to have attended a community theatre or during his visit to Europe read somewhere that you are. 48 00:06:05,090 --> 00:06:14,870 Duration of that idea was inspired. The Maharajah part this time travels with Zandra as a touring company with 250 participants and 49 00:06:14,870 --> 00:06:22,160 technicians setting up its shows on a mobile stage in urban as well as rural open-air spaces in India. 50 00:06:22,160 --> 00:06:32,300 Receiving patronage from local politicians, newspapers and NGOs, the play has been attended by thousands of audiences to build. 51 00:06:32,300 --> 00:06:43,280 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. 52 00:06:43,280 --> 00:06:49,910 The play the play has been translated and recorded so Marathi in the Hindi to in a speech 53 00:06:49,910 --> 00:06:55,980 to the northern parts of India and is performed with subtitles in U.S. and London. 54 00:06:55,980 --> 00:07:01,930 Delivered in the narrative form of Florida by the shark and its food and interspersed with dialogue, 55 00:07:01,930 --> 00:07:07,290 songs and dances, please circulate the folk song of love, meek of Marley. 56 00:07:07,290 --> 00:07:13,170 I love him, then calling for an Egyptian. 57 00:07:13,170 --> 00:07:20,340 The entire two year duration of the play is recorded in which the participants body and lip sync. 58 00:07:20,340 --> 00:07:28,770 The trust's website describes the execution of the performance as done with an awkward clock like precision in court. 59 00:07:28,770 --> 00:07:39,510 But each and every step, breath, emotion and gesture of the individual performer is measured and marked, according to the song's recording. 60 00:07:39,510 --> 00:07:43,230 The play employs animals like horses, elephants and camels, 61 00:07:43,230 --> 00:07:50,040 which are then mounted and rudimentary by characters like Shivaji, his ministers and the soldiers. 62 00:07:50,040 --> 00:07:57,030 The states comprises of five levels the ground, the actual 90 by 40 states, minarets with balconies, 63 00:07:57,030 --> 00:08:04,530 a tub, another balcony and a peak on the mountain and a peak of the mountain or the fourth. 64 00:08:04,530 --> 00:08:11,730 The minute it's mechanically thrown around 180 degrees to expose the inside and outside of the structure. 65 00:08:11,730 --> 00:08:20,100 Fireworks and fire acrobatics are used in celebratory scenes of coronation and or during the performance of the play. 66 00:08:20,100 --> 00:08:29,130 In this paper, I analyse how such a spectacular community performance becomes a critical medium for the circulation of the item of Shivaji. 67 00:08:29,130 --> 00:08:38,910 But Shivaji stands and does circulate. The morality of such an invocation of Shivaji as an icon in its theological sense, 68 00:08:38,910 --> 00:08:45,390 is nostalgic in its employment of the metaphors of the downtrodden and seems from that, 69 00:08:45,390 --> 00:08:51,180 as well as performative restoring the 17th century in a three hour performance, 70 00:08:51,180 --> 00:08:56,340 explaining the three sided relationship between performance, memory and substitution. 71 00:08:56,340 --> 00:09:01,830 Joseph Root in Cities of the Dead introduces the concept of segregation as a key 72 00:09:01,830 --> 00:09:07,290 mechanism for the reproduction and reinvention of collective memory in a society, 73 00:09:07,290 --> 00:09:16,650 and to analyse how performances work within the function, according to the notion of segregation, can be understood as an export. 74 00:09:16,650 --> 00:09:25,560 The enactment of cultural memory and good by substituting the characters by actors or effigies who then to their performance, 75 00:09:25,560 --> 00:09:32,910 evoke an absence by filling in the vacancy created by the absence of an original. 76 00:09:32,910 --> 00:09:37,680 He argues that segregation operates between different participating cultures. 77 00:09:37,680 --> 00:09:44,670 Citing the instance of Atlantic societies who perform their own pasts in the presence of other countries. 78 00:09:44,670 --> 00:09:52,080 To do so, they perform themselves, establishing their own identity, as well as the identity of the other. 79 00:09:52,080 --> 00:09:58,950 In the case of Maharashtra, in the case of literature, history and Shivaji and distribution's taking place in Maharashtra, 80 00:09:58,950 --> 00:10:06,780 no one can see that the Marathi or the Marathi identity is established in opposition to the other. 81 00:10:06,780 --> 00:10:13,590 In Zandra, the other is represented by the Muslim, English and Portuguese figures, as well as corrupt, 82 00:10:13,590 --> 00:10:21,690 unjust and cowardly figures, as opposed to the values of Marathi estimates that are gifted by the iconic church. 83 00:10:21,690 --> 00:10:30,480 Narrative scenes and downtrodden, unlike those of bad logic, would produce conversation with Shivaji to plead guilty for the release of charging or 84 00:10:30,480 --> 00:10:35,680 the punishment to merging parties on a rape case or automotives lecture to his son, 85 00:10:35,680 --> 00:10:43,680 comparing Shivaji and himself not open to being shamed for being an employee of the outsider victims 86 00:10:43,680 --> 00:10:50,700 or Shivaji prediction of British colonial rule by calling the British colony traders It's a job. 87 00:10:50,700 --> 00:11:00,270 All of these narratives are embodied, so imagine dialogues and performance circulated to the larger historical memory as a nostalgic remembering 88 00:11:00,270 --> 00:11:06,310 from the words of an heir to the bodies of the four cordial beings who constitute the public. 89 00:11:06,310 --> 00:11:15,800 The concept of segregation is then more concerned with the erasure of the origin and the existing remembrances rather than remembering itself. 90 00:11:15,800 --> 00:11:20,990 It is important to situate such a nostalgic remembering and erasure of the ice and bias 91 00:11:20,990 --> 00:11:26,360 and paradox on the landscape of the formation of the state of the state of Maharashtra, 92 00:11:26,360 --> 00:11:32,360 which stressed on the creation of a civic identity of whatever TDP. 93 00:11:32,360 --> 00:11:36,440 The suggestion becomes a process of reinvention, 94 00:11:36,440 --> 00:11:46,010 employing the icon of Shivaji to reinvent the identity of Minato people and in the process, altering the icon and history itself. 95 00:11:46,010 --> 00:11:50,390 The next mass circulation theatre in Canada. 96 00:11:50,390 --> 00:12:00,260 Being a mixed form and a social institution, my practise deodorant performance, keep recycling and circulating ideas, techniques, skills, 97 00:12:00,260 --> 00:12:07,280 object negative practises about justice as well as characters from the past and the present, 98 00:12:07,280 --> 00:12:16,400 emphasising on the circulatory nature of exchanges taking place in the cultural sphere with problems posed by historical contingency. 99 00:12:16,400 --> 00:12:21,080 We do more obvious that food cultures get on junk. 100 00:12:21,080 --> 00:12:28,970 They have to negotiate changes and act on processes of discarding the usage and repurposing circulation. 101 00:12:28,970 --> 00:12:35,510 Bengalis for conceptualisation of historic historical development, formation and deformation. 102 00:12:35,510 --> 00:12:45,710 And as a social institution, theatre and performance, Marx argues, have multiple relationships with objects and cultural materiality. 103 00:12:45,710 --> 00:12:50,390 He claims that theatre and performance serve as a place and means to map, 104 00:12:50,390 --> 00:12:56,360 as well as cultural, social and cultural understanding of objects and materiality. 105 00:12:56,360 --> 00:13:06,020 Being an experiential form, theatre and performance provide a framework to experience the sedimentation caused by circulation of elements. 106 00:13:06,020 --> 00:13:12,200 Building on Marx's formulation of the ways in which various elements get people pursuing theatre and performance, 107 00:13:12,200 --> 00:13:21,800 I will now analyse the elements that urinary recycled Suzanne in its project of substituting the values of Shivaji in the world. 108 00:13:21,800 --> 00:13:29,090 With lyrical writing and meditation under it, throughout the place circulates and reuses the concept of ramrod germ, 109 00:13:29,090 --> 00:13:35,180 arrested that animal and by metaphorically comparing Shivaji with Rama Shiva Jesus by 110 00:13:35,180 --> 00:13:42,280 20 and other such mythological allegories reinvent the icon of Shivaji as a demigod. 111 00:13:42,280 --> 00:13:48,880 For instance, the episode before the Lord of the By Kennedy is narrated as being peaceful and 112 00:13:48,880 --> 00:13:55,360 abandoned and abandoned using the comparison of the contemporary conception of rum, 113 00:13:55,360 --> 00:14:04,690 Roger and Iota is juxtaposed on the 13th century historical bust the shaheed announced as the king from the 13th century, 114 00:14:04,690 --> 00:14:10,230 singing the body of Ramachandra of the other dynasty of the. 115 00:14:10,230 --> 00:14:16,510 He sings. And I've translated it in English. What glory of the sting should I tell you? 116 00:14:16,510 --> 00:14:20,950 The glory of Marathi lands? The glory of Adam Raja? 117 00:14:20,950 --> 00:14:29,500 Dave Giddey is as beautiful as you would be like, since even the heavenly Indra and guards are envious of its beauty. 118 00:14:29,500 --> 00:14:42,400 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 119 00:14:42,400 --> 00:14:49,960 of the 13th century King Rama again evil in comparison to the barbaric rule of the Muslims. 120 00:14:49,960 --> 00:14:58,810 When Shivaji establishes this, what the circulation of future editions represented by body in the Raja is whitewashed of any 121 00:14:58,810 --> 00:15:06,340 references to the Antichrist and so many of bodies that have been written instead of it. 122 00:15:06,340 --> 00:15:08,270 Just the chunka. 123 00:15:08,270 --> 00:15:19,520 Abengoa is appointed in the 1970s to write in Umbrella in the Nobody's Name, which only narrates the devotion of Xenoblade Towards Lord. 124 00:15:19,520 --> 00:15:28,610 I certainly can't win this argument in his book, Dedicating dedicated to dissecting his and history narrative. 125 00:15:28,610 --> 00:15:32,450 He argues that his writings employ the book these themes, 126 00:15:32,450 --> 00:15:38,630 and that amongst those to sort his ideological merit of escaping the perspectives of the politics, 127 00:15:38,630 --> 00:15:46,100 the book seems faulty by reconfiguring the social and the cultural understanding of the concept of struggle. 128 00:15:46,100 --> 00:15:51,610 By comparing it to what Andre makes an attempt to bring Rama and Shivaji on same 129 00:15:51,610 --> 00:15:56,270 simply doubling Shivaji as a godly figure with the values of fearlessness, 130 00:15:56,270 --> 00:16:01,310 bravery and viciousness such as Thank you, 131 00:16:01,310 --> 00:16:08,840 such a gradual negotiation with elements in circulation highlights the ways in which theatre is a social institution, 132 00:16:08,840 --> 00:16:16,220 as Marx writes, have multiple relationships with objects and cultural material is it draws our attention to the 133 00:16:16,220 --> 00:16:23,030 situated function and purpose of future performance to perform the condition and impact of time, 134 00:16:23,030 --> 00:16:30,980 passing by either acting out the changes or unsuccessfully restoring electron stick elements as a remedy. 135 00:16:30,980 --> 00:16:37,840 The warning of a bust. The next section is performing nostalgia and embodying sound, 136 00:16:37,840 --> 00:16:44,290 Zandra just circulates such a nostalgia for yearning of the past by circulating the folk forms, 137 00:16:44,290 --> 00:16:49,710 but their gestures and dialects of Marathi ideas like rejection letters and 138 00:16:49,710 --> 00:16:55,360 citations of Brahma and others put on the characters to a fixed recorded chat. 139 00:16:55,360 --> 00:17:04,240 Now, Prendra argues that it's impossible for audiences to sustain three hours of lively performance, and thus we've recorded the audio. 140 00:17:04,240 --> 00:17:10,330 However, the audio guided performance of the Central Challenge is the motion associated with the Theatre 141 00:17:10,330 --> 00:17:16,720 of the Cure of the novel and destabilises the normative boundaries of time and time and place, 142 00:17:16,720 --> 00:17:20,710 so its additional narrative only started with bust. 143 00:17:20,710 --> 00:17:30,100 Well, that would be the coldest and designer of the soundtrack of Karajan claim that to create the soundscape of the 17th century, 144 00:17:30,100 --> 00:17:40,860 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. 145 00:17:40,860 --> 00:17:48,060 Barring a few songs in the coronation ceremony of the end of the performance, which you saw in them pretty instruments like harmonium, 146 00:17:48,060 --> 00:17:57,750 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. 147 00:17:57,750 --> 00:18:06,620 It's a job to create the soundscape of the 17th century. It is such a restrictive vision that John Rajo was recorded. 148 00:18:06,620 --> 00:18:14,640 It aspired to offer an immersive experience of the kinds of she wanted to its audiences, as well as to its participants. 149 00:18:14,640 --> 00:18:23,430 The first advertisement of the Entrada even marketed the play as being the first one in India use a surround sound system. 150 00:18:23,430 --> 00:18:29,670 Thus, the audience area is surrounded by speakers from all sides, creating a sonic envelope. 151 00:18:29,670 --> 00:18:33,330 Immerse the audience in the soundscape. 152 00:18:33,330 --> 00:18:40,890 The song creates an excess of stimulation and acid for the audience, which is supplemented by the visual display. 153 00:18:40,890 --> 00:18:49,290 For instance, in a fight in a fight scene when jaws accelerated rhythms of the sound of horses flutes clinking on one another, 154 00:18:49,290 --> 00:18:54,820 elephants trumpeting at a distance cries of hundreds of soldiers. More cries like the leaders. 155 00:18:54,820 --> 00:19:03,270 However, visually, the spectacles the spectators sees rapid flickering of light and 20 30 soldiers enacting some fighting. 156 00:19:03,270 --> 00:19:11,880 Since the excess sound is the audience, as well as the performer in building a mental imagery of the scale of the fight. 157 00:19:11,880 --> 00:19:19,680 To embody sound, then, is to make visible to the act of performance that which is abstract and elusive. 158 00:19:19,680 --> 00:19:27,240 The use of video of the recorded song bound in the three hour duration of the performance is embodied by the participant performers of 159 00:19:27,240 --> 00:19:35,730 songs that just explaining the nature of reenactments of Civil War and the film forwards re-enactors participate in the experience. 160 00:19:35,730 --> 00:19:38,580 Rebecca Schneider in Performing Remains, argues, 161 00:19:38,580 --> 00:19:45,300 and I quote the field the affective engagement is the key to touch something that being the authentic, 162 00:19:45,300 --> 00:19:50,700 real and actual experience, something about fighting and falling on the field. 163 00:19:50,700 --> 00:19:54,750 That would be other than what they could glean from the textual accounts, 164 00:19:54,750 --> 00:20:01,980 photographic images or watching film actors react or watching film actors re-enacting on screen. 165 00:20:01,980 --> 00:20:06,330 And it is with such an affective engagement the field, 166 00:20:06,330 --> 00:20:11,390 the historical characters and indulging that experience of a partial but the temporal 167 00:20:11,390 --> 00:20:17,250 response that the participants in doing that provide their bodies as surrogates for them. 168 00:20:17,250 --> 00:20:26,430 That is because the process of embodiment, of the process, of embodiment of the characters and starts with the donning, 169 00:20:26,430 --> 00:20:29,400 the adorning of specially made costumes, 170 00:20:29,400 --> 00:20:37,230 replicas of 17th century artefacts and transforming themselves with makeup and roots into historical characters. 171 00:20:37,230 --> 00:20:45,510 Interviews with participants highlight that the embodiment of modern history through such a recorded sound bite them that 172 00:20:45,510 --> 00:20:53,080 adds to their historical acumen and their participation contributes to the work and flows of a renowned personality. 173 00:20:53,080 --> 00:21:03,270 Only then can it be argued that this piece of theatre becomes an escape for these untrained performers performers to indulge in a nostalgic 174 00:21:03,270 --> 00:21:13,320 restoration away from the fragmented nature of the modern world in circulating such Emirati identity based on a nostalgic remembering and, 175 00:21:13,320 --> 00:21:20,880 of course, wing ideologies. How does one stranger as a community to reorganise the public's field? 176 00:21:20,880 --> 00:21:30,050 Does the other thing of certain communities and religion in the play have an effect on the participants understanding of the contemporary world? 177 00:21:30,050 --> 00:21:34,550 When the 250 artists that Dr Roger employs, I'm not fixed. 178 00:21:34,550 --> 00:21:39,080 Participants keep changing and the circulation keeps getting wider. 179 00:21:39,080 --> 00:21:46,500 In the last few years, to reduce the production cost and to involve more participants is good. 180 00:21:46,500 --> 00:21:58,350 I'm just in the last round of the production now, invite volunteer participants from the city or town or village that they visit, 181 00:21:58,350 --> 00:22:05,070 these volunteer participants panic onlookers, I thought dances and mop entries by assistant directors. 182 00:22:05,070 --> 00:22:07,380 15 to 30 days beforehand. 183 00:22:07,380 --> 00:22:16,410 Such an involvement in play by local residents serves to recreate a collective memory imbibed in the corporeal bodies by playing 184 00:22:16,410 --> 00:22:25,200 different characters and thus furthering the agenda of the propagation of values interpreted by psychology as an experiment. 185 00:22:25,200 --> 00:22:28,470 Lives with the normative categories of sound and visuals, 186 00:22:28,470 --> 00:22:35,790 creating a unique style of pageantry and fulfilling its leaders aim of propagating the deeds of Shivaji. 187 00:22:35,790 --> 00:22:43,590 Such a fixed and participatory devising for historical play, which by attempting to create and specialised lost time, 188 00:22:43,590 --> 00:22:52,410 cultivates a collective nostalgia one that can be interpreted as restrictive nostalgia as given by Svetlana Bwin, 189 00:22:52,410 --> 00:22:58,290 upholding the recreation as authentic and the historical narrative as unchangeable 190 00:22:58,290 --> 00:23:03,120 insight that the ideal of Shivaji embodies the cause of Marathi bizmeter, 191 00:23:03,120 --> 00:23:12,030 which in itself is under attack from multiple interpretations and Hindu mythological referencing participating in Zandra and 192 00:23:12,030 --> 00:23:20,730 embodying the various historical styles leads to the circulation of the icon of Shivaji as the champion of Hindu religion. 193 00:23:20,730 --> 00:23:27,540 Such an embodied circulation of the icon of Shivaji through the bodies of participants in the community deeply reorganises the 194 00:23:27,540 --> 00:23:35,880 public sphere making Turandot is state sanctioned nostalgia version of Shivaji popular not just in the ideological sense, 195 00:23:35,880 --> 00:23:45,450 but also as a cultural experience. This bodily experience and the social energy that flows through such a historical circulation also satisfies 196 00:23:45,450 --> 00:23:53,040 the bowl of nostalgic remembering to create a sense of belongingness and rootedness within a community. 197 00:23:53,040 --> 00:24:02,610 However, it is important to further interrogate the basis on which such identities is alcohol. 198 00:24:02,610 --> 00:24:04,096 Thank you.