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ARTIKEL KARYA SENI NANDINI
No full textNandini adalah suatu garapan komposisi karawitan yang berpijak dari Lembu Putih yang berujung dengan kebahagiaan. Lembu Nandini dikenal mempunyai sifat tak kenal takut dan juga melambangkan sebagai lembu kekayaan, milik Bagawan Wasista, konon terlahir dari Surabhi, sang lembu kemakmuran yang muncul ketika samudra diaduk pada proses penciptaan alam semesta atau dengan kata lain Surabhi adalah Ibu dari semua Lembu. Dalam karya komposisi karawitan ini penggarap akan menggunakan pengolahan melodi yang bernuansa baru, berbau kekinian, memainkan warna-warna suara/timbre dalam media ungkap dan mampu memverbalisasikan serta mentransfer kelembutan Lembu Putih dan kesuciannya sehingga bisa menghasilkan sebuah karya komposisi karawitan yang khas. Garapan Nandini menggunakan medium dasar instrumen karawitan Bali yaitu beberapa tungguh instrumen Semar Pegulingan serta Suling Gambuh dipadukan dengan instrumen non karawitan yaitu, Hulusi (suling China), Udu dan menambahkan Genta/Bajra. Keutuhan karya seni ini merupakan sebuah jawaban dari berbagai tantangan selama menjalani proses kreatif, mulai dari penjajagan pencarian ide, berpikir, berimajinasi, dan terus berusaha mencari inspirasi untuk melahirkan ide hingga pada pengendapan ide. Melakukan percobaan perenungan konsep musikal, dan pembentukan sebagai proses terakhir sampai pada penuangan materi pada pendukung. Sehingga terwujud menjadi sebuah karya komposisi karawitan yang sarat akan nilai artistik tersendiri sehingga karya ini layak untuk dipresentasikan. Komposisi karawitan Nandini ini merupakan sebuah garapan dengan wujud yang dapat dinikmati oleh indera mata dan telinga. Dibalik itu, komposisi karawitan ini juga mengandung tema yang terbungkus oleh pengolahan unsur musik seperti nada, melodi, irama, tempo, harmoni, dinamika, dan menambahkan unsur vokal (Windha dalam Atmaja, 2012:22). Konsep penggarapannya berpedoman pada konsep karawitan instrumental dan konsep garap sederhana yang merupakan sebuah gambaran dari Lembu Putih yang dituangkan ke dalam bentuk musikal, diolah dan dikembangkan sesuai dengan keinginan dan kemampuan penggarap.
Kata Kunci: Konsep Nandini, Komposisi Musik
Introduction | Moving the Spatial Fulcrums of the Gendered Mobilisations of Our Times: Beyond #MeToo and LoSHA
No full textThe volume attempts to provide commentaries and theorisations of the fact that in the recent years we have witnessed in India the emergence of a new feminist subjectivity, that is felt, experienced and represented in multiple ways. As might be expected, such a phenomenon is also accompanied by the growth of a new female subject, within which the fulcrum of this new feminist subjectivity primarily rests. Predominantly urban, predominantly over-educated, Hindu, upper-caste and upper-middle-class, this new female (and feminist) subjectivity, I contend, demands rigorous theorisation. Yet, as the chapters in this volume demonstrate, intersectionality (between class, caste, gender, religion, region and sexuality) plays an important role within the modalities of such new feminist subjectivities. Thus, the contributors show, through analyses of specific cultural texts and social sites, gendered mobilisation is experienced very differently, for instance, in the universities in Delhi and Kolkata, the industrial belts in Haryana, private transportations in Bangalore, the retail shop floors in Hyderabad and villages in militarised Mizoram. They also show that even as we comment on the emergence of a new feminism, which demands a re-theorisation and re-contextualisation of ‘older’ feminist debates, categories such as ‘labour’ and ‘political participation’ remain important sites through which to understand the working class, Dalit and other marginalised women’s mobilisations and political expression
Nandini. (Intervista a Nandini Sundar)
No full textThis is an interview to Nandini Sundar, human rights activist and Indian professor of sociology at the Delhi School of Economics whose research interests include political sociology, law, and inequality
NANDINI GHUMBHANGANIA/ নন্দিনী : ঘুমভাঙানিয়া
No full textRaktakarabi is the drama that Rabindranath rewrote many times. Along with that, the name of the drama have been changed into the name of the heroine several times. Nandini is the lifeblood of this drama. Kishor, Bishu, Raja and Ranjan are all in love with her. The chemistry of her relationship with the professor is also mysterious. It is good to say that she has impressed the entire Yakshapuri. Of course, leader and chief are different. There is a lot of doubt in everyone’s mind about why Nandini was brought to Yokeshapuri. She adoms herself in the guise of Raktakarabi. She just shows off her beauty around all the time and waits for Ranjan. She is not at all afraid of Makar Raja of Yakshapuri. Rather indulges. Nandini has absolutely no fear. She believes in Ranjan’s hymn. In Yokshapuri, she has brought about a completely different atmosphere. But not only does she indulge the king, but the king also indulges her. Is it because the king feels helpless to go against his system? Can’t look at the image of wanting to leave reign of terror created so far? The truth is mysterious why Nandini was brought by the king. When Ranjan died, Nandini ran with the king to break the prison. She was followed by Nandini’s followers at Yakshapuri. Nandini was able to being in a new era by breaking the mechanical discipline in Yakshapuri
Land, Trust and Design: A Conversation between Nandini Bagchee and Mariana Mogilevich
No full textIntroduction The architect and educator Nandini Bagchee met with Mariana Mogilevich, historian of architecture and urbanism, to discuss the Community Land Trust model and its recent use in community-led initiatives in the New York City boroughs of Queens and the Bronx. The Community Land Trust (CLT) model is a legal structure that separates the ownership of land from the ownership of properties on that land, potentially freeing community development from the dictates of the private real estat..
Nandini Sahu’s Sita: A Poem
No full textNandini Sahu’s Sita: A Poem (2014). Gurgaon (Haryana): The Poetry Society of India. pp.129, Rs. 220/- ISBN: 978-93-83888– 19 – 1 (paperback)
Shedding the Metaphors by Nandini Sahu
No full textShedding the Metaphors by Nandini Sahu, Black Eagle Publications, USA, 2023, ISBN: 978-1-64560-348-1, Pp: 260
Shedding the Metaphors by Nandini Sahu
No full textShedding the Metaphors by Nandini Sahu, Publisher: Black Eagle Books, ISBN: 978-1-64560-348-1, Pages: 258
Love, Detachment & Hope in the poems of Nandini Sahu
No full textA Song, Half & Half by Nandini Sahu is a collection of her love poems, published in the year 2022. The collection consists of more than sixty poems, each encapsulating an essential flavour of life. The book embodies a heart in solitude, that is accidentally shaken up by the sweet and sour turbulences of memory. A thoughtful poet is always indebted to its memory, one who cherishes nostalgia and uses imagination to weave the thread of past events with a needle of creativity to produce art. Nandini Sahu is one such poet, she is emotional and passionate in her poems, and honest towards her readers. Her love poems are a collage of chronicles that speaks volumes about her journey, full of success, struggles and epiphanies that shaped her personality and character. She is a chronicler who delves into the ocean of life, full of varied experiences and offers a scintillating bricolage to her readers. This paper sheds light on those poems by Nandini Sahu, that explore the themes of detachment, existentialism and absence of feeling. It also examines the idea of belief in fate and the importance of speaking the truth, when surrounded by hardships of life. This dichotomy of hope and despair fuels the poetry of Nandini Sahu, and encourages its readers to live life in the face of defeat
The Creative World of Nandini Sahu by Vipan Kumar
No full textBook Review "The Creative World of Nandini Sahu by Vipan Kumar, New Delhi: Authorspress, 2024, Pages:282
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