{"id":1205,"date":"2022-01-10T19:15:33","date_gmt":"2022-01-11T00:15:33","guid":{"rendered":"https:\/\/www.huronresearch.ca\/courtesansofindia\/?p=1205"},"modified":"2022-01-24T12:51:06","modified_gmt":"2022-01-24T17:51:06","slug":"putcha-rumya-gender-caste-and-feminist-praxis-in-transnational-south-india-south-asian-popular-culture-vol-17-issue-1-2019-61-79","status":"publish","type":"post","link":"https:\/\/www.huronresearch.ca\/courtesansofindia\/?p=1205","title":{"rendered":"Putcha, Rumya. \u201cGender, Caste, and Feminist Praxis in Transnational South India.\u201d South Asian Popular Culture, Vol. 17, Issue 1, 2019. 61-79."},"content":{"rendered":"\n[et_pb_section][et_pb_row][et_pb_column type=&#8221;4_4&#8243;][et_pb_text]<!-- divi:paragraph -->\n<p>From the abstract: \u201cIn the past 70 years, certain kinds of Indian dance have been read as classical or aspirational, especially when performed by or associated with Hindu\/high-caste people and in cosmopolitan spaces like Chennai or San Francisco. Inversely, certain dancers and dance techniques associated with those who stand apart from caste or religious status are dismissed as poor in quality, and not worthy of emulation. In this article, I examine how such logic operates through South Indian (Telugu) cinema, tourism, and transnational capitalist flows, and how it relies upon reductive and exclusionary notions of gender, caste, identity, and affect. In doing so, I consider how the same media, which validates and fetishizes certain gendered notions of the body, simultaneously offers new possibilities for challenging casteist and misogynistic hegemonies. Relying on queer and critical transnational feminist theory, in this article I explore how the fetishization of the low-caste courtesan dancer \u2013a symbol for generations of South Indian expressive culture \u2013 has ultimately produced a site of resistance.\u201d<\/p>\n<!-- \/divi:paragraph -->[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"<p>From the abstract: \u201cIn the past 70 years, certain&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":"","_links_to":"","_links_to_target":""},"categories":[83],"tags":[72,24,69,26],"class_list":["post-1205","post","type-post","status-publish","format-standard","hentry","category-history","tag-caste","tag-dance","tag-gender-roles","tag-secondary-source"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=\/wp\/v2\/posts\/1205","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1205"}],"version-history":[{"count":0,"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=\/wp\/v2\/posts\/1205\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1205"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1205"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1205"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}