TitleContentsPreface and AcknowledgmentsIntroductionPart I: Politicizing Creative Economy1. When Victims Become Entrepreneurs: From Sentimental Nationalism to Sentimental Capitalism2. Ordinary Violence and Creative EconomyPart II: Janam's Ideology for Life3. An Ideology for Life?4. Virtually Speechless5. Laughing at the EnemyPart III: Budhan Theatre's Creative Economy6. A Hunger Called Theater7. The Good Women of Chharanagar8. Another Creative Economy?ConclusionNotesWorks CitedIndex
Dia Da Costa is an associate professor of educational policy studies at the University of Alberta and the author of Development Dramas: Reimagining Rural Political Action in Eastern India .
Fills a gap in terms of uncovering the history of contemporary
groups and locating their political work in the contexts of
intersecting issues of class, caste, gender, and political power
play. Importantly, it also carefully exposes the political
conditions under which groups such as Janam and Budhan operate and
the limitations and possibilities of their operations. Situating
the work of the above-mentioned groups in the context of
developmental discourses and within global networks of power
(especially the role of UN organizations in defining 'creativity'
and its implications for local contexts within India) adds an
extremely important dimension to the work.--Nandi Bhatia, author of
Performing Women/Performing Womanhood: Theatre, Politics, and
Dissent in North India
"An ambitious book. . . . offering both a critical analysis of the
sentiment of optimism that so frequently surrounds the creative
economy and a sympathetic critique of the compromised opportunities
that this discourse allows for marginal and oppositional cultural
groups in postcolonial India."--Geraldine Pratt, author of Families
Apart: Migrant Mothers and the Conflicts of Labor and Love
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