Pop Culture India! by Asha Kasbekar: A Review
by Asha Kasbekar
2006
Oxford: ABC CLIO
The book provides a very brief but lucid introduction to the development of Pop Culture in India. It covers all the major fields of popular culture.
The book is divided into 10 chapters and a conclusion. First chapter provides general introduction highlighting the role of English, political and economic development, the Indian underworld and makes the focus of the book clear, which is women, minorities, Dalits, and gay culture.
Chapter two deals with music where author talks about various folk forms of music and advent of Indie Pop. The chapter also briefs about the music in India, cassette revolution, and piracy related with music industry. Separate discussion sections are devoted to Filmy music and non-filmy music that elaborates on various forms such as Bhangra, Ghazals, Devotional Songs, and International music.
Third chapter provides historical account and the influences of them on modern theatres of India. Author begins with Sanskrit theatre and then explores various traditional theatres such as Ram Lila, Ras Lila, Chavittu Natakam, Jatra, Tamasha, and Nautanki. While explaining their forms and themes, author also sheds light on socio-political scenario and the function of these forms of theatres. Special attention is provided to the Colonial British Theatre, Parsi Theatre, Marathi Theatre, Bengali Theatre, and Hindi and English Theatres. At last, issues such as unavailability of good plays, plagiarism, and competence for audience are discussed as a challenge for the theatre to survive as a popular medium.
Fourth chapter deals with Indian literature in English which starts from early, pre-independent days of Indian English writing. The advent and popularity of pulp-fiction in 80s is discussed at length. The decade of 90s comes with the evolution of Indian comics and Amar Chitra Katha which were first started in English and later translated into other Indian languages.
Fifth chapter is devoted to Print media in India, specifically the newspapers and magazines. Author identifies three important phases of the development of newspaper in India: first, freedom struggle; second, independent India; and third, emergency imposed by Mrs. Gandhi. Second section of the chapter deals with the issues such as freedom of press, harassment of the press, violence against the media, and legislative privileges.
Sixth chapter is on radio. It begins with historical account of development of radio and how it comes under the government authority post-independence. The chapter discusses on various channels, (mis)management by government and the beginning of FM channels.
Chapter seven provides the information on Television. The first section here provides the historical account of the development of television in India. The advent of soap operas and mythological series and their impact on the middle class of the country. The role of Durdarshan and Cablewallah is also explained in detail. Second section informs about various types of programs that come on Indian Television, such as News, Series, Sports, Cartoons, and Religious programs. Now, all these different types of programs have their specialized channels.
Cinema is discussed in chapter eight. The chapter is divided into two main sections: Popular Hindi cinema and Films from South. In first section, the stereotypical identity of the Popular Hindi cinema is discussed under the sub-headings of plot, emotions, songs and dance, and genre. It also gives historical recap on the Popular Hindi cinema. Second section is divided into subsections on Tamil films, Telugu cinema, Kannada cinema, and the cinema of Kerala. Author also attempts to explain the interrelationship of cinema with the politics.
Chapter nine is on Cricket, the only chapter on any sports. Here, in historical account of cricket, author talks about the pre-independent cricket series in which teams were created on religious basis. These series were huge success. Casteism is also discussed with reference to the cricket teams in India. The relationship between modern cricket and nationalism is also explained. At the same time, gradual but brutal commercialization of the cricket and blot like match-fixing are also discussed at length. The chapter ends with a question, "Why do Indians love cricket?"
The last, and tenth chapter, deals with the idea of Consumer Culture. It primarily highlights the new middle-class that is ready to spend. The emergence of shopping malls, café culture, pubs, restaurants, high fashion, and e-commerce are discussed. The new age also has a new spirituality which is visible in new-age gurus and spiritual leaders. The biggest issues we can notice is the uneven distribution of wealth.
For me, the most interesting parts were the chapters on Cricket, Cinema and Theatre. It gives very interesting historical background to comprehend the present day popularity and scenario.
Another important aspect is, each chapter, including the conclusion, provides a short glossary and bibliography for further reading.
Mast bro ⚡⚡
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