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This collection of Sashi Kumar's contributions to various journals
and magazines for over three decades is informed by his exposure
to, quest and passion for, practice in, and contemplation on the
media as a broad category of culture and the ecology, and including
film, print, television, radio and the net. It is informed too by
the author's brief engagement, in between, with advertising across
different media, and an entrepreneurial phase of establishing and
running a satellite and cable television enterprise at the cusp of
the transition from the analogue to the digital. This is broadly a
reflective collection of essays on the media, mediated culture and
film/cinema that is Indian and international in its scope. It is
not, or about, daily retail journalism. It provides perspective to
the agency of the media; aspects of freedom of expression and
creativity; coercive and persuasive forces at work in the media and
in culture; filmic genres and the oeuvre of distinctive filmmakers;
the art, craft and aura of cinema; the emerging media ecology;
cognitive shifts triggered by technology; the push and pull of
convergence and digitization; the rampantly unequal media order and
the rise of digital capitalism; and the new mutuality of the
writerly, readerly, aural and oral.
Panchavadyam is a work on temple arts of Kerala. It is an
introduction to the most popular temple arts of Kerala. Among the
Talavadyas (percussion ensembles) of Kerala Panchavadyam is the
most popular among the temple arts of Kerala. Pancha means five and
vadyam refers to the musical instruments. Even though five
instruments are listed above, justifying the name panchavadyam, a
sixth instruments namely, Shanku (conch) also forms an integral
part of the panchavadyam performance. Chapter I, concerns its
origin, its historical reference, its old and new forms and other
instruments that come under the name panct6havadyam. Chapter II,
deals with the construction of musical instruments like Timila,
Maddalam, Idakka, Kombu, and Elattalam. Chapter III, describes the
training of these musical instruments and the institutions
imparting the training. Chapter IV, is mainly based on the
performance of panchavadyam, its notations, number of musicians
present in the concert. The final chapter is concerned with famous
musicians of this art form.
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