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The colonial and national formations of the National College of Arts, Lahore, circa 1870s to 1960s : de-scripting the Archive
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ISBN: 1785277944 1785277936 1785277928 Year: 2022 Publisher: London : Anthem Press,

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Abstract

Lahore's Mayo School of Arts, as the National College of Arts (NCA) was called then, was Pakistan's equivalent of London's South Kensington School of Design (presently Royal College of Art, UK). One of the last of the four colonial art schools established in India, the others being in Calcutta, Bombay and Madras, the Mayo School of Arts was founded in 1875 to perpetuate the memory of the Lord Earl of Mayo, the only Indian Viceroy to be murdered while in office. Established by Rudyard Kipling's father Lockwood Kipling, the school had on its staff some of the most renowned names in the Indian art world, such as Ram Singh, Percy Brown, Lionel Heath, S. N. Gupta, B. C. Sanyal and A. R. Chughtai. The Mayo School gave birth to the most celebrated Indian art historical publication in the world, the Journal of Indian Art and Industry. The pioneers of colonial anthropology in Punjab, the fabled 'men on the spot', such as Richard Temple, Denzil Ibbetson and Baden Powell, were associated with the establishment and administration of the Mayo School of Arts. Through its pedagogy, the Mayo School also framed the emergence of the Indo-Saracenic school of architecture and patronized the traditional styles of paintings in Punjab. In the founding decades of Pakistan, to mark the cultural transition from a colonized to an independent national identity, the 'old' Mayo School was reorganized and raised as the National College of Arts in 1958. To reflect its role in developing national culture and imparting professional visual art education, the NCA was established on the model of Bauhaus with three main departments in fine art, design and architecture.


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Lahore Cinema : Between Realism and Fable
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ISBN: 9780295750804 Year: 2022 Publisher: University of Washington Press

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"The post-Partition cinema produced between 1956 and 1969-the long '60s-in Lahore, Pakistan, drew promiscuously from Hindu mythology, Bengali performance traditions, Islamicate legends, Sufi conceptions of the self, Punjabi and Sindhi oral narratives, Parsi theater, Urdu lyric poetry, historical and social realism, Hollywood musicals, the psychological and sensorial stimulus of modernity, and more. Consideration of this rich field of influence offers insights into not only the decade that led to the overthrow of the Ayub Khan government, followed in 1971 by the loss of Bangladesh, but also into cultural affiliation in the fraught South Asian present, when frameworks of multiplicity and plurality are in jeopardy. Urdu-language films from Lahore made during this period reveal ways that cinematic form and narrative intersect with cultural memory and with the challenges of their time, characterized by trauma in the aftermath of Partition in 1947, a constricted socio-political horizon, and accelerating modernity. In Lahore Cinema Iftikhar Dadi probes the role of language, rhetoric, and lyric in the making of meaning, and the relevance of the Urdu cultural universe to the genesis of Bombay filmmaking. He argues that commercial cinema in South Asia is among the most powerful vectors of social and aesthetic modernization. It has provided affective and imaginative resources for its audiences to navigate an accelerating modernity and a fraught politics by anchoring social change across the terrain of deeper cultural imaginaries. And it has played an influential progressive role during the mid-twentieth century, by constituting publics beyond existing social divides, in forging a shared and expanded experience of modernity that extends beyond regional, ethnic, and sectarian affiliations, and in affectively challenging the selective amnesia of nation-state ideologies"--


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The Punjab borderland : mobility, materiality and militancy, 1947-1987
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ISBN: 1009049186 100908206X 1316517950 Year: 2022 Publisher: Cambridge : Cambridge University Press,

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The Punjab Borderland offers a fascinating insight into how the new international boundary between India and Pakistan was made, subverted, and transformed. Dispelling the established historiographical narratives of an increasingly militarised border that presents as the epitome of animosity and a classic example of inter-state tension, this book offers a corrective to these accounts by bringing out narratives of border crossings and social relations built on mutual benefit and trust. It conceptualises the making of the vast contraband as an analytical tool, not merely as borderland societies' modes for evading the state imposition of a partitioned geography on their local lifeworld, but as a catalyst for enabling social mobility and political empowerment for the population involved and a thriving market for consumption in the urban centres. It reveals a 'bottom-up' history of the Punjab border and the invention of the borderland society, narrating a story with local meanings and transnational dimensions.

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