Modernizing Composition: Sinhala Song, Poetry, and Politics in Twentieth-Century Sri Lanka

Field, Garrett

doi:10.1525/luminos.27

Cited by 4 publications

(3 citation statements)

References 2 publications

(11 reference statements)

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Section: History the Past And Authenticitymentioning

confidence: 99%

Politics and Poetics of Authenticity

Rambukwella¹

2018

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xi Contents 1. Authentic problems 2. The protean life of authenticity: history, nation, Buddhism and identity 3. Anagarika Dharmapala: the nation and its place in the world 4. S. W. R. D. Bandaranaike: the paradox of authenticity 5. Gunadasa Amarasekara: the life and death of authentic things 6. Conclusion: the postcolonial afterlife of authenticity References Index newgenprepdf 1 Authentic problems 2 The protean life of authenticity: history, nation, Buddhism and identity

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Section: History the Past And Authenticitymentioning

confidence: 99%

Politics and Poetics of Authenticity

Rambukwella¹

2018

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“…Other discourses of authenticity which drew on a similar historical imaginary were spreading in different domains of cultural and social activity. The vibrant Sinhala drama associated with the Tower Hall theatre in the early 1900s was one highly popular arena in which authentic notions of modern Sinhala identity were fashioned (Field 2017 Most of de Silva's plays were based on the Buddhist jataka story tradition and were didactic, featuring chaste women and themes about temperance, a major middle-class cause at the time. Despite its Buddhist themes de Silva's theatre was patronised and funded by many Sinhala Christians (de Mel 2001, 65) -a fact suggestive of the relative flexibility in the early twentieth century between Sinhala and Buddhist as distinct categories, with these becoming more rigid in the mid twentieth century.…”

Section: History the Past And Authenticitymentioning

confidence: 99%

The Politics and Poetics of Authenticity

2018

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“…This article, however, concerns only Radio Ceylon’s commercial branch and, more specifically, the Hindi-language commercial service. For more information on Radio Ceylon’s national network and other commercial services in English, Tamil and Sinhala, see Karunanayak (1990) and Field (2016).…”

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Songs by Ballot: Binaca Geetmala and the Making of a Hindi Film-Song Radio Audience, 1952–1994

Alonso¹

2022

BioScope: South Asian Screen Studies

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Binaca Geetmala was a weekly countdown or hit parade radio programme that ranked Hindi film songs by order of popularity, first based on listeners’ requests and later on record sales. The programme aired from 1952 until 1994 and is arguably one of the longest lasting and most influential radio programmes in the world. Drawing on a variety of sources, including listeners’ diaries, correspondence from listener radio clubs and interviews with broadcasters and devoted listeners, I trace Geetmala’s four-decade ‘melodious journey’, charting the programme’s central role in making Hindi film songs – the leading popular music in the Indian subcontinent. I make two interrelated arguments. First, I argue that through its popularity charts, Geetmala cultivated an understanding of Hindi film songs as ‘the music of the common people’ and made partaking in film song’s so-called ‘commonness’ the very attraction of the programme. Here, I consider how this fascination with ‘commonness’, with measuring popularity, and with individuals’ participation in the process, relates to the larger political culture of independent India’s first decades, including the experience of universal suffrage. Second, I argue that by encouraging alertness to ever-changing popularity lists and by developing specific terminology, Geetmala effectively transformed ordinary radio listeners into discerning Hindi film-song experts.

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Modernizing Composition: Sinhala Song, Poetry, and Politics in Twentieth-Century Sri Lanka

Cited by 4 publications

References 2 publications

Politics and Poetics of Authenticity

Politics and Poetics of Authenticity

The Politics and Poetics of Authenticity

Songs by Ballot: Binaca Geetmala and the Making of a Hindi Film-Song Radio Audience, 1952–1994

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