{"id":580,"date":"2019-02-08T17:41:03","date_gmt":"2019-02-08T22:41:03","guid":{"rendered":"http:\/\/www.huronresearch.ca\/courtesansofindia\/?p=580"},"modified":"2021-02-02T12:35:24","modified_gmt":"2021-02-02T17:35:24","slug":"needham-anuradha-dingwaney-performing-women-and-the-gendered-national-imagination-an-exploration-of-shyam-benegals-sardari-begum-south-asian-review-vol-34-no-3-2013","status":"publish","type":"post","link":"https:\/\/www.huronresearch.ca\/courtesansofindia\/?p=580","title":{"rendered":"Needham, Anuradha Dingwaney. “‘Performing Wom[e]n’ and the Gendered National Imagination: An Exploration of Shyam Benegal’s Sardari Begum.” South Asian Review, Vol. 34, No. 3, 2013."},"content":{"rendered":"
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Focusing on the eponymous Shyam Benegal film,\u00a0Sardari Begum<\/i>\u00a0(1996), with intermittent reference as well to his\u00a0<\/span>Bhumika<\/i>\u00a0(The Role; 1976) and\u00a0<\/span>Mandi<\/i>\u00a0(Marketplace; 1983), this essay explores the relationship of performing women to the gendered, modernizing agendas of the Indian nation-state. Reprising the career of women who represented professions, identities, and cultural repertoires that flourished under, and were indelibly associated with a feudal order, these films show women inhabiting subject positions that were delegitimized, marginalized, even excised from the constitutive narratives of the new Indian nation on its way to modernity.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Focusing on the eponymous Shyam Benegal film,\u00a0Sardari Begum\u00a0(1996), with intermittent reference as well to his\u00a0Bhumika\u00a0(The Role; 1976) and\u00a0Mandi\u00a0(Marketplace; 1983), this essay explores the relationship of performing women to the gendered, modernizing agendas of the Indian nation-state. Reprising the career of women who represented professions, identities, and cultural repertoires that flourished under, and were indelibly associated Read More …<\/a><\/p>\n","protected":false},"author":13,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":"","_links_to":"","_links_to_target":""},"categories":[41],"tags":[77,56,71,58,69,107,26],"class_list":["post-580","post","type-post","status-publish","format-standard","hentry","category-films","tag-bollywood","tag-courtesan-films","tag-film-analysis","tag-film-tropes","tag-gender-roles","tag-national-identity","tag-secondary-source"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=\/wp\/v2\/posts\/580","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\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=580"}],"version-history":[{"count":0,"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=\/wp\/v2\/posts\/580\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=580"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=580"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.huronresearch.ca\/courtesansofindia\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=580"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}