The Temple Dancer's Gift


Book Description

Chapter 12: Echoes of Unity Weeks bled into months as the Chola kingdom began the arduous task of rebuilding. Nalini, ever the strategist, oversaw not just the physical reconstruction, but also the delicate process of fostering peace with the defeated Vanga. Drona, stripped of his power and arrogance, remained a prisoner within the Chola palace. Nalini, however, saw an opportunity. She arranged private meetings with the fallen leader, not for gloating, but for dialogue. In these meetings, Nalini spoke not just of war's devastation but also of the potential for prosperity through trade and cooperation. Drona, initially sullen and defiant, began to listen, his eyes flickering with a flicker of something new – not acceptance, not yet, but perhaps a grudging respect for the Queen who had defeated him both on the battlefield and in the war of words. News of these meetings spread like wildfire, causing ripples of unease amongst the Chola court. Whispers of "showing weakness" and "treasonous acts" echoed through the halls. But Nalini remained undeterred. She knew true peace wasn't built on vengeance, but on understanding. Meanwhile, Nalini reached out to other warring kingdoms, inviting their leaders to a grand summit at the Chola capital. The idea was met with skepticism. Years of conflict had bred deep mistrust. Yet, Nalini's reputation as a warrior queen, coupled with the promise of a neutral platform for dialogue, sparked a flicker of hope. One by one, leaders from neighboring kingdoms arrived, their faces etched with a mix of curiosity and caution. The summit hall, once a symbol of Chola might, transformed into a stage for diplomacy. Nalini, adorned not in battle armor but in robes of peace, addressed the gathering. "We gather here," she declared, her voice ringing with quiet power, "not to celebrate victory, but to mourn the cost of war. We gather to seek a future where the dance of steel is replaced by the rhythm of cooperation." She spoke of the devastation she had witnessed, of the mothers who had lost sons, the children orphaned, the lands left barren. Her words, devoid of blame, resonated with the leaders who had all borne the scars of conflict. Days turned into weeks as Nalini facilitated discussions, forging connections between leaders who had previously been sworn enemies. Old grievances were acknowledged, apologies offered, and tentative agreements formed. It wasn't a fairytale ending, a single solution to end all wars. However, a seed was planted – a seed of unity, a fragile hope for a future where differences could be addressed through dialogue, not bloodshed. As the summit concluded, a sense of cautious optimism hung in the air. The leaders, though wary, departed with a newfound respect for the Chola Queen and the power of peaceful discourse. Nalini, exhausted but hopeful, stood on the palace balcony overlooking the city. The echoes of war still lingered, but so did the melody of a new possibility. The warrior queen, who had emerged from the shadows, had not just defended her kingdom; she had taken a bold step towards a future bathed not just in peace, but in the enduring light of unity. The dance might have changed its steps, but Nalini, the Queen who dared to dream, was ready to lead the way.




The Musical Gift


Book Description

The Musical Gift tells Sri Lanka's music history as a story of giving between humans and nonhumans, and between populations defined by difference. Author Jim Sykes argues that in the recent past, the genres we recognize today as Sri Lanka's esteemed traditional musics were not originally about ethnic or religious identity, but were gifts to gods and people intended to foster protection and/or healing. Noting that the currently assumed link between music and identity helped produce the narratives of ethnic difference that drove Sri Lanka's civil war (1983-2009), Sykes argues that the promotion of connected music histories has a role to play in post-war reconciliation. The Musical Gift includes a study of how NGOs used music to promote reconciliation in Sri Lanka, and it contains a theorization of the relations between musical gifts and commodities. Eschewing a binary between the gift and identity, Sykes claims the world's music history is largely a story of entanglement between both paradigms. Drawing on fieldwork conducted widely across Sri Lanka over a span of eleven years--including the first study of Sinhala Buddhist drumming in English and the first ethnography of music-making in the former warzones of the north and east--this book brings anthropology's canonic literature on "the gift" into music studies, while drawing on anthropology's recent "ontological turn" and "the new materialism" in religious studies.




The Temple Dancer


Book Description

In seventeenth-century India, Maya, a high-priced dancer who has been bought for one of the most powerful men in Bijapur, faces dangerous obstacles in her caravan journey across the Mogul Empire to her new master.




Temple Dancer


Book Description

TEMPLE DANCER is a spiritual enigma that, like a double helix, entwines the lives of two women from disparate times and cultures. Wendy, a contemporary American artist turned therapist, and Saraswati, an Indian temple dancer in 1938, mirror each other's shame, loss, passion for their art and ultimate triumphs in love.




The Gift of Rain


Book Description

In the tradition of celebrated wartime storytellers Somerset Maugham and Graham Greene, Tan Twan Eng's debut novel casts a powerful spell. The recipient of extraordinary acclaim from critics and the bookselling community, Tan Twan Eng's debut novel casts a powerful spell and has garnered comparisons to celebrated wartime storytellers Somerset Maugham and Graham Greene. Set during the tumult of World War II, on the lush Malayan island of Penang, The Gift of Rain tells a riveting and poignant tale about a young man caught in the tangle of wartime loyalties and deceits. In 1939, sixteen-year-old Philip Hutton-the half-Chinese, half-English youngest child of the head of one of Penang's great trading families-feels alienated from both the Chinese and British communities. He at last discovers a sense of belonging in his unexpected friendship with Hayato Endo, a Japanese diplomat. Philip proudly shows his new friend around his adored island, and in return Endo teaches him about Japanese language and culture and trains him in the art and discipline of aikido. But such knowledge comes at a terrible price. When the Japanese savagely invade Malaya, Philip realizes that his mentor and sensei-to whom he owes absolute loyalty-is a Japanese spy. Young Philip has been an unwitting traitor, and must now work in secret to save as many lives as possible, even as his own family is brought to its knees.




My Body Is The Temple


Book Description




The Multivalence of an Epic


Book Description

This volume examines The Rāmāyaṇa traditions of South India and Southeast Asia. Bringing together 19 well-known scholars in Rāmāyaṇa studies from Cambodia, Canada, France, India, Indonesia, Malaysia, Singapore, Thailand, UK, and USA, this thought-provoking and elegantly illustrated volume engages with the inherent plurality, diversity, and adaptability of the Rāmāyaṇa in changing socio-political, religious, and cultural contexts. The journey and localization of the Rāmāyaṇa is explored in its manifold expressions – from classical to folk, from temples and palaces to theatres and by-lanes in cities and villages, and from ancient to modern times. Regional Rāmāyaṇas from different parts of South India and Southeast Asia are placed in deliberate juxtaposition to enable a historically informed discussion of their connected pasts across land and seas. The three parts of this volume, organized as visual, literary, and performance cultures, discuss the sculpted, painted, inscribed, written, recited, and performed Rāmāyaṇas. A related emphasis is on the way boundaries of medium and genre have been crossed in the visual, literary, and performed representations of the Rāmāyaṇa. Print edition not for sale in South Asia (India, Sri Lanka, Nepal, Bangladesh, Pakistan and Bhutan)




Dance!


Book Description

Journey with Ann Stevenson as she leads you step by step through the mysteries of the divine beauty of dance as choreographed by the Creator Himself. Where does dance fit into worship, warfare, and wholeness? Learn the foundational biblical truths vital to the fullness of God's created purpose for dance. A dancer since the age of three, Ann now directs one of the nation's largest Christian dance ministries and wants to teach you how to release yourself into the worship that God has called for you. Learn how to reclaim and restore dance to its rightful place in the Kingdom of God. Oppose the enemy's efforts to keep dance in his worldly kingdom, and let discernment, wisdom, and maturity win the day against our ancient foe. Corporate worship in the church will never complete or accomplish its original purpose to the satisfaction of God's heart without the divine element of dance functioning in its proper place.Dance! sets a high standard for the education and restoration of dance according the Word of God.




Western Texts on Indian Dance


Book Description

This unique work is an annotated collection and collation of Western writing on Indian dance from the period of Marco Polo’s travels to India to the formulation of the anti-devadasi bill in 1930, and a little beyond. The book reproduces more than 250 extracts from important texts, which provide examples of how dance in India was perceived as an art, as well its position in the broader cultural, religious, social, and ethical environment. Though some excerpts from these texts are cited in other writings on Indian dance history, there is no other available work that reproduces such a large number of historical writings on Indian dance and places them in a fluid historical context.




Valuing Dance


Book Description

Because dance materializes through and for people, because we learn to dance from others and often present dance to others, the moment of its transmission is one of dance's central and defining features. Valuing Dance looks at the occasion when dancing passes from one person to another as an act of exchange, one that is redolent with symbolic meanings, including those associated with its history and all the labor that has gone into its making. It examines two ways that dance can be exchanged, as commodity and as gift, reflecting on how each establishes dance's relative worth and merit differently. When and why do we give dance? Where and to whom do we sell it? How are such acts of exchange rationalized and justified? Valuing Dance poses these questions in order to contribute to a conversation around what dance is, what it does, and why it matters.