Podcasts about lakshita malik

The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India (Stanford UP, 2022) offers the first social and intellectual history of Dalit performance of Tamasha—a popular form of public, secular, traveling theater in Maharashtra—and places Dalit Tamasha women who represented the desire and disgust of the patriarchal society at the heart of modernization in twentieth century India. Drawing on ethnographies, films, and untapped archival materials, Shailaja Paik illuminates how Tamasha was produced and shaped through conflicts over caste, gender, sexuality, and culture. Dalit performers, activists, and leaders negotiated the violence and stigma in Tamasha as they struggled to claim manuski (human dignity) and transform themselves from ashlil(vulgar) to assli (authentic) and manus (human beings). Building on and departing from the Ambedkar-centered historiography and movement-focused approach of Dalit studies, Paik examines the ordinary and everydayness in Dalit lives. Ultimately, she demonstrates how the choices that communities make about culture speak to much larger questions about inclusion, inequality, and structures of violence of caste within Indian society, and opens up new approaches for the transformative potential of Dalit politics and the global history of gender, sexuality, and the human. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Niharika Yadav is a PhD candidate in the history department at Princeton University. She is a historian of South Asia whose research interests include the genealogies of literary and political practices; print cultures; and language movements in postcolonial India. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India (Stanford UP, 2022) offers the first social and intellectual history of Dalit performance of Tamasha—a popular form of public, secular, traveling theater in Maharashtra—and places Dalit Tamasha women who represented the desire and disgust of the patriarchal society at the heart of modernization in twentieth century India. Drawing on ethnographies, films, and untapped archival materials, Shailaja Paik illuminates how Tamasha was produced and shaped through conflicts over caste, gender, sexuality, and culture. Dalit performers, activists, and leaders negotiated the violence and stigma in Tamasha as they struggled to claim manuski (human dignity) and transform themselves from ashlil(vulgar) to assli (authentic) and manus (human beings). Building on and departing from the Ambedkar-centered historiography and movement-focused approach of Dalit studies, Paik examines the ordinary and everydayness in Dalit lives. Ultimately, she demonstrates how the choices that communities make about culture speak to much larger questions about inclusion, inequality, and structures of violence of caste within Indian society, and opens up new approaches for the transformative potential of Dalit politics and the global history of gender, sexuality, and the human. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Niharika Yadav is a PhD candidate in the history department at Princeton University. She is a historian of South Asia whose research interests include the genealogies of literary and political practices; print cultures; and language movements in postcolonial India. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India (Stanford UP, 2022) offers the first social and intellectual history of Dalit performance of Tamasha—a popular form of public, secular, traveling theater in Maharashtra—and places Dalit Tamasha women who represented the desire and disgust of the patriarchal society at the heart of modernization in twentieth century India. Drawing on ethnographies, films, and untapped archival materials, Shailaja Paik illuminates how Tamasha was produced and shaped through conflicts over caste, gender, sexuality, and culture. Dalit performers, activists, and leaders negotiated the violence and stigma in Tamasha as they struggled to claim manuski (human dignity) and transform themselves from ashlil(vulgar) to assli (authentic) and manus (human beings). Building on and departing from the Ambedkar-centered historiography and movement-focused approach of Dalit studies, Paik examines the ordinary and everydayness in Dalit lives. Ultimately, she demonstrates how the choices that communities make about culture speak to much larger questions about inclusion, inequality, and structures of violence of caste within Indian society, and opens up new approaches for the transformative potential of Dalit politics and the global history of gender, sexuality, and the human. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Niharika Yadav is a PhD candidate in the history department at Princeton University. She is a historian of South Asia whose research interests include the genealogies of literary and political practices; print cultures; and language movements in postcolonial India. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India (Stanford UP, 2022) offers the first social and intellectual history of Dalit performance of Tamasha—a popular form of public, secular, traveling theater in Maharashtra—and places Dalit Tamasha women who represented the desire and disgust of the patriarchal society at the heart of modernization in twentieth century India. Drawing on ethnographies, films, and untapped archival materials, Shailaja Paik illuminates how Tamasha was produced and shaped through conflicts over caste, gender, sexuality, and culture. Dalit performers, activists, and leaders negotiated the violence and stigma in Tamasha as they struggled to claim manuski (human dignity) and transform themselves from ashlil(vulgar) to assli (authentic) and manus (human beings). Building on and departing from the Ambedkar-centered historiography and movement-focused approach of Dalit studies, Paik examines the ordinary and everydayness in Dalit lives. Ultimately, she demonstrates how the choices that communities make about culture speak to much larger questions about inclusion, inequality, and structures of violence of caste within Indian society, and opens up new approaches for the transformative potential of Dalit politics and the global history of gender, sexuality, and the human. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Niharika Yadav is a PhD candidate in the history department at Princeton University. She is a historian of South Asia whose research interests include the genealogies of literary and political practices; print cultures; and language movements in postcolonial India. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India (Stanford UP, 2022) offers the first social and intellectual history of Dalit performance of Tamasha—a popular form of public, secular, traveling theater in Maharashtra—and places Dalit Tamasha women who represented the desire and disgust of the patriarchal society at the heart of modernization in twentieth century India. Drawing on ethnographies, films, and untapped archival materials, Shailaja Paik illuminates how Tamasha was produced and shaped through conflicts over caste, gender, sexuality, and culture. Dalit performers, activists, and leaders negotiated the violence and stigma in Tamasha as they struggled to claim manuski (human dignity) and transform themselves from ashlil(vulgar) to assli (authentic) and manus (human beings). Building on and departing from the Ambedkar-centered historiography and movement-focused approach of Dalit studies, Paik examines the ordinary and everydayness in Dalit lives. Ultimately, she demonstrates how the choices that communities make about culture speak to much larger questions about inclusion, inequality, and structures of violence of caste within Indian society, and opens up new approaches for the transformative potential of Dalit politics and the global history of gender, sexuality, and the human. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Niharika Yadav is a PhD candidate in the history department at Princeton University. She is a historian of South Asia whose research interests include the genealogies of literary and political practices; print cultures; and language movements in postcolonial India. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India (Stanford UP, 2022) offers the first social and intellectual history of Dalit performance of Tamasha—a popular form of public, secular, traveling theater in Maharashtra—and places Dalit Tamasha women who represented the desire and disgust of the patriarchal society at the heart of modernization in twentieth century India. Drawing on ethnographies, films, and untapped archival materials, Shailaja Paik illuminates how Tamasha was produced and shaped through conflicts over caste, gender, sexuality, and culture. Dalit performers, activists, and leaders negotiated the violence and stigma in Tamasha as they struggled to claim manuski (human dignity) and transform themselves from ashlil(vulgar) to assli (authentic) and manus (human beings). Building on and departing from the Ambedkar-centered historiography and movement-focused approach of Dalit studies, Paik examines the ordinary and everydayness in Dalit lives. Ultimately, she demonstrates how the choices that communities make about culture speak to much larger questions about inclusion, inequality, and structures of violence of caste within Indian society, and opens up new approaches for the transformative potential of Dalit politics and the global history of gender, sexuality, and the human. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Niharika Yadav is a PhD candidate in the history department at Princeton University. She is a historian of South Asia whose research interests include the genealogies of literary and political practices; print cultures; and language movements in postcolonial India. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India (Stanford UP, 2022) offers the first social and intellectual history of Dalit performance of Tamasha—a popular form of public, secular, traveling theater in Maharashtra—and places Dalit Tamasha women who represented the desire and disgust of the patriarchal society at the heart of modernization in twentieth century India. Drawing on ethnographies, films, and untapped archival materials, Shailaja Paik illuminates how Tamasha was produced and shaped through conflicts over caste, gender, sexuality, and culture. Dalit performers, activists, and leaders negotiated the violence and stigma in Tamasha as they struggled to claim manuski (human dignity) and transform themselves from ashlil(vulgar) to assli (authentic) and manus (human beings). Building on and departing from the Ambedkar-centered historiography and movement-focused approach of Dalit studies, Paik examines the ordinary and everydayness in Dalit lives. Ultimately, she demonstrates how the choices that communities make about culture speak to much larger questions about inclusion, inequality, and structures of violence of caste within Indian society, and opens up new approaches for the transformative potential of Dalit politics and the global history of gender, sexuality, and the human. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Niharika Yadav is a PhD candidate in the history department at Princeton University. She is a historian of South Asia whose research interests include the genealogies of literary and political practices; print cultures; and language movements in postcolonial India. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India (Stanford UP, 2022) offers the first social and intellectual history of Dalit performance of Tamasha—a popular form of public, secular, traveling theater in Maharashtra—and places Dalit Tamasha women who represented the desire and disgust of the patriarchal society at the heart of modernization in twentieth century India. Drawing on ethnographies, films, and untapped archival materials, Shailaja Paik illuminates how Tamasha was produced and shaped through conflicts over caste, gender, sexuality, and culture. Dalit performers, activists, and leaders negotiated the violence and stigma in Tamasha as they struggled to claim manuski (human dignity) and transform themselves from ashlil(vulgar) to assli (authentic) and manus (human beings). Building on and departing from the Ambedkar-centered historiography and movement-focused approach of Dalit studies, Paik examines the ordinary and everydayness in Dalit lives. Ultimately, she demonstrates how the choices that communities make about culture speak to much larger questions about inclusion, inequality, and structures of violence of caste within Indian society, and opens up new approaches for the transformative potential of Dalit politics and the global history of gender, sexuality, and the human. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Niharika Yadav is a PhD candidate in the history department at Princeton University. She is a historian of South Asia whose research interests include the genealogies of literary and political practices; print cultures; and language movements in postcolonial India. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Vulgarity of Caste: Dalits, Sexuality, and Humanity in Modern India (Stanford UP, 2022) offers the first social and intellectual history of Dalit performance of Tamasha—a popular form of public, secular, traveling theater in Maharashtra—and places Dalit Tamasha women who represented the desire and disgust of the patriarchal society at the heart of modernization in twentieth century India. Drawing on ethnographies, films, and untapped archival materials, Shailaja Paik illuminates how Tamasha was produced and shaped through conflicts over caste, gender, sexuality, and culture. Dalit performers, activists, and leaders negotiated the violence and stigma in Tamasha as they struggled to claim manuski (human dignity) and transform themselves from ashlil(vulgar) to assli (authentic) and manus (human beings). Building on and departing from the Ambedkar-centered historiography and movement-focused approach of Dalit studies, Paik examines the ordinary and everydayness in Dalit lives. Ultimately, she demonstrates how the choices that communities make about culture speak to much larger questions about inclusion, inequality, and structures of violence of caste within Indian society, and opens up new approaches for the transformative potential of Dalit politics and the global history of gender, sexuality, and the human. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Niharika Yadav is a PhD candidate in the history department at Princeton University. She is a historian of South Asia whose research interests include the genealogies of literary and political practices; print cultures; and language movements in postcolonial India. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Dancer's Voice: Performance and Womanhood in Transnational India (Duke UP, 2022) Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family's heirlooms, photographs, and memories, Putcha reveals how women's citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer's voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation. Sneha Annavarapu is Assistant Professor of Urban Studies at Yale-NUS College. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Dancer's Voice: Performance and Womanhood in Transnational India (Duke UP, 2022) Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family's heirlooms, photographs, and memories, Putcha reveals how women's citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer's voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation. Sneha Annavarapu is Assistant Professor of Urban Studies at Yale-NUS College. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In The Dancer's Voice: Performance and Womanhood in Transnational India (Duke UP, 2022) Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family's heirlooms, photographs, and memories, Putcha reveals how women's citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer's voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation. Sneha Annavarapu is Assistant Professor of Urban Studies at Yale-NUS College. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In The Dancer's Voice: Performance and Womanhood in Transnational India (Duke UP, 2022) Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family's heirlooms, photographs, and memories, Putcha reveals how women's citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer's voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation. Sneha Annavarapu is Assistant Professor of Urban Studies at Yale-NUS College. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In The Dancer's Voice: Performance and Womanhood in Transnational India (Duke UP, 2022) Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family's heirlooms, photographs, and memories, Putcha reveals how women's citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer's voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation. Sneha Annavarapu is Assistant Professor of Urban Studies at Yale-NUS College. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In The Dancer's Voice: Performance and Womanhood in Transnational India (Duke UP, 2022) Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family's heirlooms, photographs, and memories, Putcha reveals how women's citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer's voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation. Sneha Annavarapu is Assistant Professor of Urban Studies at Yale-NUS College. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

In The Dancer's Voice: Performance and Womanhood in Transnational India (Duke UP, 2022) Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family's heirlooms, photographs, and memories, Putcha reveals how women's citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer's voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation. Sneha Annavarapu is Assistant Professor of Urban Studies at Yale-NUS College. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Dancer's Voice: Performance and Womanhood in Transnational India (Duke UP, 2022) Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family's heirlooms, photographs, and memories, Putcha reveals how women's citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer's voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation. Sneha Annavarapu is Assistant Professor of Urban Studies at Yale-NUS College. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

This bonus content is a reading from Platypus, the CASTAC Blog. The full post by Lakshita Malik can be read at https://blog.castac.org/2022/09/photoshopping-desire-gender-caste-and-the-authentic-self/. About the post: Lakshita Malik looks at the serious stakes of using “silly” filters on social media.

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour: Conceptualizing the 'Folk Performance' in India (Oxford UP, 2019), Brahma Prakash studies bhuiyan puja (landworship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author's own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of labor, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour: Conceptualizing the 'Folk Performance' in India (Oxford UP, 2019), Brahma Prakash studies bhuiyan puja (landworship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author's own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of labor, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour: Conceptualizing the 'Folk Performance' in India (Oxford UP, 2019), Brahma Prakash studies bhuiyan puja (landworship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author's own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of labor, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour: Conceptualizing the 'Folk Performance' in India (Oxford UP, 2019), Brahma Prakash studies bhuiyan puja (landworship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author's own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of labor, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour: Conceptualizing the 'Folk Performance' in India (Oxford UP, 2019), Brahma Prakash studies bhuiyan puja (landworship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author's own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of labor, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour: Conceptualizing the 'Folk Performance' in India (Oxford UP, 2019), Brahma Prakash studies bhuiyan puja (landworship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author's own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of labor, class, gender, and beauty in South Asia.

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai “rainbow bag,” using Balenciaga's hashtags to circulate memes revealing the source of the bags' design.  In Why We Can't Have Nice Things: Social Media's Influence on Fashion, Ethics, and Property (Duke UP, 2022), Minh-Ha T. Pham examines the way social media users monitor the fashion market for the appearance of knockoff fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media concern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai “rainbow bag,” using Balenciaga's hashtags to circulate memes revealing the source of the bags' design.  In Why We Can't Have Nice Things: Social Media's Influence on Fashion, Ethics, and Property (Duke UP, 2022), Minh-Ha T. Pham examines the way social media users monitor the fashion market for the appearance of knockoff fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media concern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai “rainbow bag,” using Balenciaga's hashtags to circulate memes revealing the source of the bags' design.  In Why We Can't Have Nice Things: Social Media's Influence on Fashion, Ethics, and Property (Duke UP, 2022), Minh-Ha T. Pham examines the way social media users monitor the fashion market for the appearance of knockoff fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media concern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai “rainbow bag,” using Balenciaga's hashtags to circulate memes revealing the source of the bags' design.  In Why We Can't Have Nice Things: Social Media's Influence on Fashion, Ethics, and Property (Duke UP, 2022), Minh-Ha T. Pham examines the way social media users monitor the fashion market for the appearance of knockoff fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media concern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai “rainbow bag,” using Balenciaga's hashtags to circulate memes revealing the source of the bags' design.  In Why We Can't Have Nice Things: Social Media's Influence on Fashion, Ethics, and Property (Duke UP, 2022), Minh-Ha T. Pham examines the way social media users monitor the fashion market for the appearance of knockoff fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media concern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai “rainbow bag,” using Balenciaga's hashtags to circulate memes revealing the source of the bags' design.  In Why We Can't Have Nice Things: Social Media's Influence on Fashion, Ethics, and Property (Duke UP, 2022), Minh-Ha T. Pham examines the way social media users monitor the fashion market for the appearance of knockoff fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media concern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai “rainbow bag,” using Balenciaga's hashtags to circulate memes revealing the source of the bags' design.  In Why We Can't Have Nice Things: Social Media's Influence on Fashion, Ethics, and Property (Duke UP, 2022), Minh-Ha T. Pham examines the way social media users monitor the fashion market for the appearance of knockoff fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media concern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

The Opportunity Trap: High-Skilled Workers, Indian Families, and the Failures of the Dependent Visa Program (NYU Press, 2022) is the first book to look at the impact of the H-4 dependent visa programs on women and men visa holders in Indian families in America. Comparing two distinct groups of Indian immigrant families -families of male high-tech workers and female nurses-Pallavi Banerjee reveals how visa policies that are legally gender and race neutral in fact have gendered and racialized ramifications for visa holders and their spouses. Drawing on interviews with fifty-five Indian couples, Banerjee highlights the experiences of high-skilled immigrants as they struggle to cope with visa laws, which forbid their spouses from working paid jobs. She examines how these unfair restrictions destabilize-if not completely dismantle-families, who often break under this marital, financial, and emotional stress. Banerjee shows us, through the eyes of immigrants themselves, how the visa process strips them of their rights, forcing them to depend on their spouses and the government in fundamentally challenging ways. The Opportunity Trap provides a critical look at our visa system, underscoring how it fails immigrant families. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Opportunity Trap: High-Skilled Workers, Indian Families, and the Failures of the Dependent Visa Program (NYU Press, 2022) is the first book to look at the impact of the H-4 dependent visa programs on women and men visa holders in Indian families in America. Comparing two distinct groups of Indian immigrant families -families of male high-tech workers and female nurses-Pallavi Banerjee reveals how visa policies that are legally gender and race neutral in fact have gendered and racialized ramifications for visa holders and their spouses. Drawing on interviews with fifty-five Indian couples, Banerjee highlights the experiences of high-skilled immigrants as they struggle to cope with visa laws, which forbid their spouses from working paid jobs. She examines how these unfair restrictions destabilize-if not completely dismantle-families, who often break under this marital, financial, and emotional stress. Banerjee shows us, through the eyes of immigrants themselves, how the visa process strips them of their rights, forcing them to depend on their spouses and the government in fundamentally challenging ways. The Opportunity Trap provides a critical look at our visa system, underscoring how it fails immigrant families. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

The Opportunity Trap: High-Skilled Workers, Indian Families, and the Failures of the Dependent Visa Program (NYU Press, 2022) is the first book to look at the impact of the H-4 dependent visa programs on women and men visa holders in Indian families in America. Comparing two distinct groups of Indian immigrant families -families of male high-tech workers and female nurses-Pallavi Banerjee reveals how visa policies that are legally gender and race neutral in fact have gendered and racialized ramifications for visa holders and their spouses. Drawing on interviews with fifty-five Indian couples, Banerjee highlights the experiences of high-skilled immigrants as they struggle to cope with visa laws, which forbid their spouses from working paid jobs. She examines how these unfair restrictions destabilize-if not completely dismantle-families, who often break under this marital, financial, and emotional stress. Banerjee shows us, through the eyes of immigrants themselves, how the visa process strips them of their rights, forcing them to depend on their spouses and the government in fundamentally challenging ways. The Opportunity Trap provides a critical look at our visa system, underscoring how it fails immigrant families. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

The Opportunity Trap: High-Skilled Workers, Indian Families, and the Failures of the Dependent Visa Program (NYU Press, 2022) is the first book to look at the impact of the H-4 dependent visa programs on women and men visa holders in Indian families in America. Comparing two distinct groups of Indian immigrant families -families of male high-tech workers and female nurses-Pallavi Banerjee reveals how visa policies that are legally gender and race neutral in fact have gendered and racialized ramifications for visa holders and their spouses. Drawing on interviews with fifty-five Indian couples, Banerjee highlights the experiences of high-skilled immigrants as they struggle to cope with visa laws, which forbid their spouses from working paid jobs. She examines how these unfair restrictions destabilize-if not completely dismantle-families, who often break under this marital, financial, and emotional stress. Banerjee shows us, through the eyes of immigrants themselves, how the visa process strips them of their rights, forcing them to depend on their spouses and the government in fundamentally challenging ways. The Opportunity Trap provides a critical look at our visa system, underscoring how it fails immigrant families. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The Opportunity Trap: High-Skilled Workers, Indian Families, and the Failures of the Dependent Visa Program (NYU Press, 2022) is the first book to look at the impact of the H-4 dependent visa programs on women and men visa holders in Indian families in America. Comparing two distinct groups of Indian immigrant families -families of male high-tech workers and female nurses-Pallavi Banerjee reveals how visa policies that are legally gender and race neutral in fact have gendered and racialized ramifications for visa holders and their spouses. Drawing on interviews with fifty-five Indian couples, Banerjee highlights the experiences of high-skilled immigrants as they struggle to cope with visa laws, which forbid their spouses from working paid jobs. She examines how these unfair restrictions destabilize-if not completely dismantle-families, who often break under this marital, financial, and emotional stress. Banerjee shows us, through the eyes of immigrants themselves, how the visa process strips them of their rights, forcing them to depend on their spouses and the government in fundamentally challenging ways. The Opportunity Trap provides a critical look at our visa system, underscoring how it fails immigrant families. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

The Opportunity Trap: High-Skilled Workers, Indian Families, and the Failures of the Dependent Visa Program (NYU Press, 2022) is the first book to look at the impact of the H-4 dependent visa programs on women and men visa holders in Indian families in America. Comparing two distinct groups of Indian immigrant families -families of male high-tech workers and female nurses-Pallavi Banerjee reveals how visa policies that are legally gender and race neutral in fact have gendered and racialized ramifications for visa holders and their spouses. Drawing on interviews with fifty-five Indian couples, Banerjee highlights the experiences of high-skilled immigrants as they struggle to cope with visa laws, which forbid their spouses from working paid jobs. She examines how these unfair restrictions destabilize-if not completely dismantle-families, who often break under this marital, financial, and emotional stress. Banerjee shows us, through the eyes of immigrants themselves, how the visa process strips them of their rights, forcing them to depend on their spouses and the government in fundamentally challenging ways. The Opportunity Trap provides a critical look at our visa system, underscoring how it fails immigrant families. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

What if we could imagine hierarchy not as a social ill, but as a source of social hope? Taking us into a "caste of thieves" in northern India, Anastasia Piliavsky's book Nobody's People: Hierarchy as Hope in a Society of Thieves (Stanford UP, 2020) depicts hierarchy as a normative idiom through which people imagine better lives and pursue social ambitions. Failing to find a place inside hierarchic relations, the book's heroes are "nobody's people": perceived as worthless, disposable and so open to being murdered with no regret or remorse. Following their journey between death and hope, we learn to perceive vertical, non-equal relations as a social good, not only in rural Rajasthan, but also in much of the world—including settings stridently committed to equality. Challenging egalo-normative commitments, Anastasia Piliavsky asks scholars across the disciplines to recognize hierarchy as a major intellectual resource. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What if we could imagine hierarchy not as a social ill, but as a source of social hope? Taking us into a "caste of thieves" in northern India, Anastasia Piliavsky's book Nobody's People: Hierarchy as Hope in a Society of Thieves (Stanford UP, 2020) depicts hierarchy as a normative idiom through which people imagine better lives and pursue social ambitions. Failing to find a place inside hierarchic relations, the book's heroes are "nobody's people": perceived as worthless, disposable and so open to being murdered with no regret or remorse. Following their journey between death and hope, we learn to perceive vertical, non-equal relations as a social good, not only in rural Rajasthan, but also in much of the world—including settings stridently committed to equality. Challenging egalo-normative commitments, Anastasia Piliavsky asks scholars across the disciplines to recognize hierarchy as a major intellectual resource. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

What if we could imagine hierarchy not as a social ill, but as a source of social hope? Taking us into a "caste of thieves" in northern India, Anastasia Piliavsky's book Nobody's People: Hierarchy as Hope in a Society of Thieves (Stanford UP, 2020) depicts hierarchy as a normative idiom through which people imagine better lives and pursue social ambitions. Failing to find a place inside hierarchic relations, the book's heroes are "nobody's people": perceived as worthless, disposable and so open to being murdered with no regret or remorse. Following their journey between death and hope, we learn to perceive vertical, non-equal relations as a social good, not only in rural Rajasthan, but also in much of the world—including settings stridently committed to equality. Challenging egalo-normative commitments, Anastasia Piliavsky asks scholars across the disciplines to recognize hierarchy as a major intellectual resource. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

What if we could imagine hierarchy not as a social ill, but as a source of social hope? Taking us into a "caste of thieves" in northern India, Anastasia Piliavsky's book Nobody's People: Hierarchy as Hope in a Society of Thieves (Stanford UP, 2020) depicts hierarchy as a normative idiom through which people imagine better lives and pursue social ambitions. Failing to find a place inside hierarchic relations, the book's heroes are "nobody's people": perceived as worthless, disposable and so open to being murdered with no regret or remorse. Following their journey between death and hope, we learn to perceive vertical, non-equal relations as a social good, not only in rural Rajasthan, but also in much of the world—including settings stridently committed to equality. Challenging egalo-normative commitments, Anastasia Piliavsky asks scholars across the disciplines to recognize hierarchy as a major intellectual resource. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In The Cow in the Elevator: An Anthropology of Wonder (Duke UP, 2018), Tulasi Srinivas explores a wonderful world where deities jump fences and priests ride in helicopters to present a joyful, imaginative, yet critical reading of modern religious life. Drawing on nearly two decades of fieldwork with priests, residents, and devotees, and her own experience of living in the high-tech city of Bangalore, Srinivas finds moments where ritual enmeshes with global modernity to create wonder—a feeling of amazement at being overcome by the unexpected and sublime. Offering a nuanced account of how the ruptures of modernity can be made normal, enrapturing, and even comical in a city swept up in globalization's tumult, Srinivas brings the visceral richness of wonder—apparent in creative ritual in and around Hindu temples—into the anthropological gaze. Broaching provocative philosophical themes like desire, complicity, loss, time, money, technology, and the imagination, Srinivas pursues an interrogation of wonder and the adventure of writing true to its experience. The Cow in the Elevator rethinks the study of ritual while reshaping our appreciation of wonder's transformative potential for scholarship and for life. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Cow in the Elevator: An Anthropology of Wonder (Duke UP, 2018), Tulasi Srinivas explores a wonderful world where deities jump fences and priests ride in helicopters to present a joyful, imaginative, yet critical reading of modern religious life. Drawing on nearly two decades of fieldwork with priests, residents, and devotees, and her own experience of living in the high-tech city of Bangalore, Srinivas finds moments where ritual enmeshes with global modernity to create wonder—a feeling of amazement at being overcome by the unexpected and sublime. Offering a nuanced account of how the ruptures of modernity can be made normal, enrapturing, and even comical in a city swept up in globalization's tumult, Srinivas brings the visceral richness of wonder—apparent in creative ritual in and around Hindu temples—into the anthropological gaze. Broaching provocative philosophical themes like desire, complicity, loss, time, money, technology, and the imagination, Srinivas pursues an interrogation of wonder and the adventure of writing true to its experience. The Cow in the Elevator rethinks the study of ritual while reshaping our appreciation of wonder's transformative potential for scholarship and for life. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Cow in the Elevator: An Anthropology of Wonder (Duke UP, 2018), Tulasi Srinivas explores a wonderful world where deities jump fences and priests ride in helicopters to present a joyful, imaginative, yet critical reading of modern religious life. Drawing on nearly two decades of fieldwork with priests, residents, and devotees, and her own experience of living in the high-tech city of Bangalore, Srinivas finds moments where ritual enmeshes with global modernity to create wonder—a feeling of amazement at being overcome by the unexpected and sublime. Offering a nuanced account of how the ruptures of modernity can be made normal, enrapturing, and even comical in a city swept up in globalization's tumult, Srinivas brings the visceral richness of wonder—apparent in creative ritual in and around Hindu temples—into the anthropological gaze. Broaching provocative philosophical themes like desire, complicity, loss, time, money, technology, and the imagination, Srinivas pursues an interrogation of wonder and the adventure of writing true to its experience. The Cow in the Elevator rethinks the study of ritual while reshaping our appreciation of wonder's transformative potential for scholarship and for life. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

In The Cow in the Elevator: An Anthropology of Wonder (Duke UP, 2018), Tulasi Srinivas explores a wonderful world where deities jump fences and priests ride in helicopters to present a joyful, imaginative, yet critical reading of modern religious life. Drawing on nearly two decades of fieldwork with priests, residents, and devotees, and her own experience of living in the high-tech city of Bangalore, Srinivas finds moments where ritual enmeshes with global modernity to create wonder—a feeling of amazement at being overcome by the unexpected and sublime. Offering a nuanced account of how the ruptures of modernity can be made normal, enrapturing, and even comical in a city swept up in globalization's tumult, Srinivas brings the visceral richness of wonder—apparent in creative ritual in and around Hindu temples—into the anthropological gaze. Broaching provocative philosophical themes like desire, complicity, loss, time, money, technology, and the imagination, Srinivas pursues an interrogation of wonder and the adventure of writing true to its experience. The Cow in the Elevator rethinks the study of ritual while reshaping our appreciation of wonder's transformative potential for scholarship and for life. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Cow in the Elevator: An Anthropology of Wonder (Duke UP, 2018), Tulasi Srinivas explores a wonderful world where deities jump fences and priests ride in helicopters to present a joyful, imaginative, yet critical reading of modern religious life. Drawing on nearly two decades of fieldwork with priests, residents, and devotees, and her own experience of living in the high-tech city of Bangalore, Srinivas finds moments where ritual enmeshes with global modernity to create wonder—a feeling of amazement at being overcome by the unexpected and sublime. Offering a nuanced account of how the ruptures of modernity can be made normal, enrapturing, and even comical in a city swept up in globalization's tumult, Srinivas brings the visceral richness of wonder—apparent in creative ritual in and around Hindu temples—into the anthropological gaze. Broaching provocative philosophical themes like desire, complicity, loss, time, money, technology, and the imagination, Srinivas pursues an interrogation of wonder and the adventure of writing true to its experience. The Cow in the Elevator rethinks the study of ritual while reshaping our appreciation of wonder's transformative potential for scholarship and for life. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

The gyms of urban ‘new India’ are intriguing spaces. While they cater largely to well-off clients, these shiny, modern institutions are also vehicles of upward mobility for the trainers and specialists who work there. As they learn English, ‘upgrade’ their dressing style and try to develop a deeper understanding of the lives of their upmarket customers., they break with an older kind of masculinity represented by the pehlwans in their akharas. Equally, the gym aspires to be a safe space for women—a break from the toxic masculinity they must deal with outside its walls. Yet, the more things change, the more they remain the same. Class barriers are less permeable than they appear. The use of bodily capital to breach them is more fraught with danger than one might anticipate. And the profession is riddled with pitfalls and contradictions. Michiel Baas has spent a decade studying gyms, trainers and bodybuilders, and finds in them a new way to investigate India. He walks us through the homes and workspaces of these men—yes, they are almost all men—to bodybuilding competitions and also into their most intimate worlds of ambitions, desires and struggles. In Muscular India: Masculinity, Mobility & the New Middle Class (Context, 2020), Baas unveils a fascinating world, hidden in plain sight. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

The gyms of urban ‘new India’ are intriguing spaces. While they cater largely to well-off clients, these shiny, modern institutions are also vehicles of upward mobility for the trainers and specialists who work there. As they learn English, ‘upgrade’ their dressing style and try to develop a deeper understanding of the lives of their upmarket customers., they break with an older kind of masculinity represented by the pehlwans in their akharas. Equally, the gym aspires to be a safe space for women—a break from the toxic masculinity they must deal with outside its walls. Yet, the more things change, the more they remain the same. Class barriers are less permeable than they appear. The use of bodily capital to breach them is more fraught with danger than one might anticipate. And the profession is riddled with pitfalls and contradictions. Michiel Baas has spent a decade studying gyms, trainers and bodybuilders, and finds in them a new way to investigate India. He walks us through the homes and workspaces of these men—yes, they are almost all men—to bodybuilding competitions and also into their most intimate worlds of ambitions, desires and struggles. In Muscular India: Masculinity, Mobility & the New Middle Class (Context, 2020), Baas unveils a fascinating world, hidden in plain sight. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

The gyms of urban ‘new India’ are intriguing spaces. While they cater largely to well-off clients, these shiny, modern institutions are also vehicles of upward mobility for the trainers and specialists who work there. As they learn English, ‘upgrade’ their dressing style and try to develop a deeper understanding of the lives of their upmarket customers., they break with an older kind of masculinity represented by the pehlwans in their akharas. Equally, the gym aspires to be a safe space for women—a break from the toxic masculinity they must deal with outside its walls. Yet, the more things change, the more they remain the same. Class barriers are less permeable than they appear. The use of bodily capital to breach them is more fraught with danger than one might anticipate. And the profession is riddled with pitfalls and contradictions. Michiel Baas has spent a decade studying gyms, trainers and bodybuilders, and finds in them a new way to investigate India. He walks us through the homes and workspaces of these men—yes, they are almost all men—to bodybuilding competitions and also into their most intimate worlds of ambitions, desires and struggles. In Muscular India: Masculinity, Mobility & the New Middle Class (Context, 2020), Baas unveils a fascinating world, hidden in plain sight. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

The gyms of urban ‘new India’ are intriguing spaces. While they cater largely to well-off clients, these shiny, modern institutions are also vehicles of upward mobility for the trainers and specialists who work there. As they learn English, ‘upgrade’ their dressing style and try to develop a deeper understanding of the lives of their upmarket customers., they break with an older kind of masculinity represented by the pehlwans in their akharas. Equally, the gym aspires to be a safe space for women—a break from the toxic masculinity they must deal with outside its walls. Yet, the more things change, the more they remain the same. Class barriers are less permeable than they appear. The use of bodily capital to breach them is more fraught with danger than one might anticipate. And the profession is riddled with pitfalls and contradictions. Michiel Baas has spent a decade studying gyms, trainers and bodybuilders, and finds in them a new way to investigate India. He walks us through the homes and workspaces of these men—yes, they are almost all men—to bodybuilding competitions and also into their most intimate worlds of ambitions, desires and struggles. In Muscular India: Masculinity, Mobility & the New Middle Class (Context, 2020), Baas unveils a fascinating world, hidden in plain sight. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

The gyms of urban ‘new India’ are intriguing spaces. While they cater largely to well-off clients, these shiny, modern institutions are also vehicles of upward mobility for the trainers and specialists who work there. As they learn English, ‘upgrade’ their dressing style and try to develop a deeper understanding of the lives of their upmarket customers., they break with an older kind of masculinity represented by the pehlwans in their akharas. Equally, the gym aspires to be a safe space for women—a break from the toxic masculinity they must deal with outside its walls. Yet, the more things change, the more they remain the same. Class barriers are less permeable than they appear. The use of bodily capital to breach them is more fraught with danger than one might anticipate. And the profession is riddled with pitfalls and contradictions. Michiel Baas has spent a decade studying gyms, trainers and bodybuilders, and finds in them a new way to investigate India. He walks us through the homes and workspaces of these men—yes, they are almost all men—to bodybuilding competitions and also into their most intimate worlds of ambitions, desires and struggles. In Muscular India: Masculinity, Mobility & the New Middle Class (Context, 2020), Baas unveils a fascinating world, hidden in plain sight. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Even as beauty pageants have been critiqued as misogynistic and dated cultural vestiges of the past in the US and elsewhere, the pageant industry is growing in popularity across the Global South, and Nigeria is one of the countries at the forefront of this trend. In a country with over 1,000 reported pageants, these events are more than superficial forms of entertainment.  Beauty Diplomacy: Embodying an Emerging Nation (Stanford UP, 2020) takes us inside the world of Nigerian beauty contests to see how they are transformed into contested vehicles for promoting complex ideas about gender and power, ethnicity and belonging, and a rapidly changing articulation of Nigerian nationhood. Drawing on four case studies of beauty pageants, this book examines how Nigeria's changing position in the global political economy and existing cultural tensions inform varied forms of embodied nationalism, where contestants are expected to integrate recognizable elements of Nigerian cultural identity while also conveying a narrative of a newly-emerging, globally-relevant Nigeria. Oluwakemi M. Balogun critically examines Nigerian pageants in the context of major transitions within the nation-state, using these events as a lens through which to understand Nigerian national identity and international relations. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Even as beauty pageants have been critiqued as misogynistic and dated cultural vestiges of the past in the US and elsewhere, the pageant industry is growing in popularity across the Global South, and Nigeria is one of the countries at the forefront of this trend. In a country with over 1,000 reported pageants, these events are more than superficial forms of entertainment.  Beauty Diplomacy: Embodying an Emerging Nation (Stanford UP, 2020) takes us inside the world of Nigerian beauty contests to see how they are transformed into contested vehicles for promoting complex ideas about gender and power, ethnicity and belonging, and a rapidly changing articulation of Nigerian nationhood. Drawing on four case studies of beauty pageants, this book examines how Nigeria's changing position in the global political economy and existing cultural tensions inform varied forms of embodied nationalism, where contestants are expected to integrate recognizable elements of Nigerian cultural identity while also conveying a narrative of a newly-emerging, globally-relevant Nigeria. Oluwakemi M. Balogun critically examines Nigerian pageants in the context of major transitions within the nation-state, using these events as a lens through which to understand Nigerian national identity and international relations. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Even as beauty pageants have been critiqued as misogynistic and dated cultural vestiges of the past in the US and elsewhere, the pageant industry is growing in popularity across the Global South, and Nigeria is one of the countries at the forefront of this trend. In a country with over 1,000 reported pageants, these events are more than superficial forms of entertainment.  Beauty Diplomacy: Embodying an Emerging Nation (Stanford UP, 2020) takes us inside the world of Nigerian beauty contests to see how they are transformed into contested vehicles for promoting complex ideas about gender and power, ethnicity and belonging, and a rapidly changing articulation of Nigerian nationhood. Drawing on four case studies of beauty pageants, this book examines how Nigeria's changing position in the global political economy and existing cultural tensions inform varied forms of embodied nationalism, where contestants are expected to integrate recognizable elements of Nigerian cultural identity while also conveying a narrative of a newly-emerging, globally-relevant Nigeria. Oluwakemi M. Balogun critically examines Nigerian pageants in the context of major transitions within the nation-state, using these events as a lens through which to understand Nigerian national identity and international relations. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Even as beauty pageants have been critiqued as misogynistic and dated cultural vestiges of the past in the US and elsewhere, the pageant industry is growing in popularity across the Global South, and Nigeria is one of the countries at the forefront of this trend. In a country with over 1,000 reported pageants, these events are more than superficial forms of entertainment.  Beauty Diplomacy: Embodying an Emerging Nation (Stanford UP, 2020) takes us inside the world of Nigerian beauty contests to see how they are transformed into contested vehicles for promoting complex ideas about gender and power, ethnicity and belonging, and a rapidly changing articulation of Nigerian nationhood. Drawing on four case studies of beauty pageants, this book examines how Nigeria's changing position in the global political economy and existing cultural tensions inform varied forms of embodied nationalism, where contestants are expected to integrate recognizable elements of Nigerian cultural identity while also conveying a narrative of a newly-emerging, globally-relevant Nigeria. Oluwakemi M. Balogun critically examines Nigerian pageants in the context of major transitions within the nation-state, using these events as a lens through which to understand Nigerian national identity and international relations. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Even as beauty pageants have been critiqued as misogynistic and dated cultural vestiges of the past in the US and elsewhere, the pageant industry is growing in popularity across the Global South, and Nigeria is one of the countries at the forefront of this trend. In a country with over 1,000 reported pageants, these events are more than superficial forms of entertainment.  Beauty Diplomacy: Embodying an Emerging Nation (Stanford UP, 2020) takes us inside the world of Nigerian beauty contests to see how they are transformed into contested vehicles for promoting complex ideas about gender and power, ethnicity and belonging, and a rapidly changing articulation of Nigerian nationhood. Drawing on four case studies of beauty pageants, this book examines how Nigeria's changing position in the global political economy and existing cultural tensions inform varied forms of embodied nationalism, where contestants are expected to integrate recognizable elements of Nigerian cultural identity while also conveying a narrative of a newly-emerging, globally-relevant Nigeria. Oluwakemi M. Balogun critically examines Nigerian pageants in the context of major transitions within the nation-state, using these events as a lens through which to understand Nigerian national identity and international relations. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Even as beauty pageants have been critiqued as misogynistic and dated cultural vestiges of the past in the US and elsewhere, the pageant industry is growing in popularity across the Global South, and Nigeria is one of the countries at the forefront of this trend. In a country with over 1,000 reported pageants, these events are more than superficial forms of entertainment.  Beauty Diplomacy: Embodying an Emerging Nation (Stanford UP, 2020) takes us inside the world of Nigerian beauty contests to see how they are transformed into contested vehicles for promoting complex ideas about gender and power, ethnicity and belonging, and a rapidly changing articulation of Nigerian nationhood. Drawing on four case studies of beauty pageants, this book examines how Nigeria's changing position in the global political economy and existing cultural tensions inform varied forms of embodied nationalism, where contestants are expected to integrate recognizable elements of Nigerian cultural identity while also conveying a narrative of a newly-emerging, globally-relevant Nigeria. Oluwakemi M. Balogun critically examines Nigerian pageants in the context of major transitions within the nation-state, using these events as a lens through which to understand Nigerian national identity and international relations. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Even as beauty pageants have been critiqued as misogynistic and dated cultural vestiges of the past in the US and elsewhere, the pageant industry is growing in popularity across the Global South, and Nigeria is one of the countries at the forefront of this trend. In a country with over 1,000 reported pageants, these events are more than superficial forms of entertainment.  Beauty Diplomacy: Embodying an Emerging Nation (Stanford UP, 2020) takes us inside the world of Nigerian beauty contests to see how they are transformed into contested vehicles for promoting complex ideas about gender and power, ethnicity and belonging, and a rapidly changing articulation of Nigerian nationhood. Drawing on four case studies of beauty pageants, this book examines how Nigeria's changing position in the global political economy and existing cultural tensions inform varied forms of embodied nationalism, where contestants are expected to integrate recognizable elements of Nigerian cultural identity while also conveying a narrative of a newly-emerging, globally-relevant Nigeria. Oluwakemi M. Balogun critically examines Nigerian pageants in the context of major transitions within the nation-state, using these events as a lens through which to understand Nigerian national identity and international relations. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the colonial period in India, European scholars, British officials, and elite Indian intellectuals—philologists, administrators, doctors, ethnologists, sociologists, and social critics—deployed ideas about sexuality to understand modern Indian society. In Indian Sex Life: Sexuality and the Colonial Origins of Modern Social Thought (Princeton UP, 2020), Durba Mitra shows how deviant female sexuality, particularly the concept of the prostitute, became foundational to this knowledge project and became the primary way to think and write about Indian society. Bringing together vast archival materials from diverse disciplines, Mitra reveals that deviant female sexuality was critical to debates about social progress and exclusion, caste domination, marriage, widowhood and inheritance, women’s performance, the trafficking of girls, abortion and infanticide, industrial and domestic labor, indentured servitude, and ideologies about the dangers of Muslim sexuality. British authorities and Indian intellectuals used the concept of the prostitute to argue for the dramatic reorganization of modern Indian society around Hindu monogamy. Mitra demonstrates how the intellectual history of modern social thought is based in a dangerous civilizational logic built on the control and erasure of women’s sexuality. This logic continues to hold sway in present-day South Asia and the postcolonial world. Reframing the prostitute as a concept, Indian Sex Life overturns long-established notions of how to write the history of modern social thought in colonial India, and opens up new approaches for the global history of sexuality. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the colonial period in India, European scholars, British officials, and elite Indian intellectuals—philologists, administrators, doctors, ethnologists, sociologists, and social critics—deployed ideas about sexuality to understand modern Indian society. In Indian Sex Life: Sexuality and the Colonial Origins of Modern Social Thought (Princeton UP, 2020), Durba Mitra shows how deviant female sexuality, particularly the concept of the prostitute, became foundational to this knowledge project and became the primary way to think and write about Indian society. Bringing together vast archival materials from diverse disciplines, Mitra reveals that deviant female sexuality was critical to debates about social progress and exclusion, caste domination, marriage, widowhood and inheritance, women’s performance, the trafficking of girls, abortion and infanticide, industrial and domestic labor, indentured servitude, and ideologies about the dangers of Muslim sexuality. British authorities and Indian intellectuals used the concept of the prostitute to argue for the dramatic reorganization of modern Indian society around Hindu monogamy. Mitra demonstrates how the intellectual history of modern social thought is based in a dangerous civilizational logic built on the control and erasure of women’s sexuality. This logic continues to hold sway in present-day South Asia and the postcolonial world. Reframing the prostitute as a concept, Indian Sex Life overturns long-established notions of how to write the history of modern social thought in colonial India, and opens up new approaches for the global history of sexuality. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the colonial period in India, European scholars, British officials, and elite Indian intellectuals—philologists, administrators, doctors, ethnologists, sociologists, and social critics—deployed ideas about sexuality to understand modern Indian society. In Indian Sex Life: Sexuality and the Colonial Origins of Modern Social Thought (Princeton UP, 2020), Durba Mitra shows how deviant female sexuality, particularly the concept of the prostitute, became foundational to this knowledge project and became the primary way to think and write about Indian society. Bringing together vast archival materials from diverse disciplines, Mitra reveals that deviant female sexuality was critical to debates about social progress and exclusion, caste domination, marriage, widowhood and inheritance, women’s performance, the trafficking of girls, abortion and infanticide, industrial and domestic labor, indentured servitude, and ideologies about the dangers of Muslim sexuality. British authorities and Indian intellectuals used the concept of the prostitute to argue for the dramatic reorganization of modern Indian society around Hindu monogamy. Mitra demonstrates how the intellectual history of modern social thought is based in a dangerous civilizational logic built on the control and erasure of women’s sexuality. This logic continues to hold sway in present-day South Asia and the postcolonial world. Reframing the prostitute as a concept, Indian Sex Life overturns long-established notions of how to write the history of modern social thought in colonial India, and opens up new approaches for the global history of sexuality. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the colonial period in India, European scholars, British officials, and elite Indian intellectuals—philologists, administrators, doctors, ethnologists, sociologists, and social critics—deployed ideas about sexuality to understand modern Indian society. In Indian Sex Life: Sexuality and the Colonial Origins of Modern Social Thought (Princeton UP, 2020), Durba Mitra shows how deviant female sexuality, particularly the concept of the prostitute, became foundational to this knowledge project and became the primary way to think and write about Indian society. Bringing together vast archival materials from diverse disciplines, Mitra reveals that deviant female sexuality was critical to debates about social progress and exclusion, caste domination, marriage, widowhood and inheritance, women’s performance, the trafficking of girls, abortion and infanticide, industrial and domestic labor, indentured servitude, and ideologies about the dangers of Muslim sexuality. British authorities and Indian intellectuals used the concept of the prostitute to argue for the dramatic reorganization of modern Indian society around Hindu monogamy. Mitra demonstrates how the intellectual history of modern social thought is based in a dangerous civilizational logic built on the control and erasure of women’s sexuality. This logic continues to hold sway in present-day South Asia and the postcolonial world. Reframing the prostitute as a concept, Indian Sex Life overturns long-established notions of how to write the history of modern social thought in colonial India, and opens up new approaches for the global history of sexuality. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the colonial period in India, European scholars, British officials, and elite Indian intellectuals—philologists, administrators, doctors, ethnologists, sociologists, and social critics—deployed ideas about sexuality to understand modern Indian society. In Indian Sex Life: Sexuality and the Colonial Origins of Modern Social Thought (Princeton UP, 2020), Durba Mitra shows how deviant female sexuality, particularly the concept of the prostitute, became foundational to this knowledge project and became the primary way to think and write about Indian society. Bringing together vast archival materials from diverse disciplines, Mitra reveals that deviant female sexuality was critical to debates about social progress and exclusion, caste domination, marriage, widowhood and inheritance, women’s performance, the trafficking of girls, abortion and infanticide, industrial and domestic labor, indentured servitude, and ideologies about the dangers of Muslim sexuality. British authorities and Indian intellectuals used the concept of the prostitute to argue for the dramatic reorganization of modern Indian society around Hindu monogamy. Mitra demonstrates how the intellectual history of modern social thought is based in a dangerous civilizational logic built on the control and erasure of women’s sexuality. This logic continues to hold sway in present-day South Asia and the postcolonial world. Reframing the prostitute as a concept, Indian Sex Life overturns long-established notions of how to write the history of modern social thought in colonial India, and opens up new approaches for the global history of sexuality. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the colonial period in India, European scholars, British officials, and elite Indian intellectuals—philologists, administrators, doctors, ethnologists, sociologists, and social critics—deployed ideas about sexuality to understand modern Indian society. In Indian Sex Life: Sexuality and the Colonial Origins of Modern Social Thought (Princeton UP, 2020), Durba Mitra shows how deviant female sexuality, particularly the concept of the prostitute, became foundational to this knowledge project and became the primary way to think and write about Indian society. Bringing together vast archival materials from diverse disciplines, Mitra reveals that deviant female sexuality was critical to debates about social progress and exclusion, caste domination, marriage, widowhood and inheritance, women’s performance, the trafficking of girls, abortion and infanticide, industrial and domestic labor, indentured servitude, and ideologies about the dangers of Muslim sexuality. British authorities and Indian intellectuals used the concept of the prostitute to argue for the dramatic reorganization of modern Indian society around Hindu monogamy. Mitra demonstrates how the intellectual history of modern social thought is based in a dangerous civilizational logic built on the control and erasure of women’s sexuality. This logic continues to hold sway in present-day South Asia and the postcolonial world. Reframing the prostitute as a concept, Indian Sex Life overturns long-established notions of how to write the history of modern social thought in colonial India, and opens up new approaches for the global history of sexuality. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the colonial period in India, European scholars, British officials, and elite Indian intellectuals—philologists, administrators, doctors, ethnologists, sociologists, and social critics—deployed ideas about sexuality to understand modern Indian society. In Indian Sex Life: Sexuality and the Colonial Origins of Modern Social Thought (Princeton UP, 2020), Durba Mitra shows how deviant female sexuality, particularly the concept of the prostitute, became foundational to this knowledge project and became the primary way to think and write about Indian society. Bringing together vast archival materials from diverse disciplines, Mitra reveals that deviant female sexuality was critical to debates about social progress and exclusion, caste domination, marriage, widowhood and inheritance, women's performance, the trafficking of girls, abortion and infanticide, industrial and domestic labor, indentured servitude, and ideologies about the dangers of Muslim sexuality. British authorities and Indian intellectuals used the concept of the prostitute to argue for the dramatic reorganization of modern Indian society around Hindu monogamy. Mitra demonstrates how the intellectual history of modern social thought is based in a dangerous civilizational logic built on the control and erasure of women's sexuality. This logic continues to hold sway in present-day South Asia and the postcolonial world. Reframing the prostitute as a concept, Indian Sex Life overturns long-established notions of how to write the history of modern social thought in colonial India, and opens up new approaches for the global history of sexuality. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia.

In Insurgent Aesthetics: Security and the Queer Life of the Forever War (Duke University Press), Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war. Ronak K. Kapadia is an interdisciplinary scholar and cultural theorist of race, security, and empire in the late 20th and early 21st century United States. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insurgent Aesthetics: Security and the Queer Life of the Forever War (Duke University Press), Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war. Ronak K. Kapadia is an interdisciplinary scholar and cultural theorist of race, security, and empire in the late 20th and early 21st century United States. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insurgent Aesthetics: Security and the Queer Life of the Forever War (Duke University Press), Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war. Ronak K. Kapadia is an interdisciplinary scholar and cultural theorist of race, security, and empire in the late 20th and early 21st century United States. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insurgent Aesthetics: Security and the Queer Life of the Forever War (Duke University Press), Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war. Ronak K. Kapadia is an interdisciplinary scholar and cultural theorist of race, security, and empire in the late 20th and early 21st century United States. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insurgent Aesthetics: Security and the Queer Life of the Forever War (Duke University Press), Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war. Ronak K. Kapadia is an interdisciplinary scholar and cultural theorist of race, security, and empire in the late 20th and early 21st century United States. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insurgent Aesthetics: Security and the Queer Life of the Forever War (Duke University Press), Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war. Ronak K. Kapadia is an interdisciplinary scholar and cultural theorist of race, security, and empire in the late 20th and early 21st century United States. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the haute couture runways of Paris and New York and editorial photo shoots for glossy fashion magazines to reality television, models have been a ubiquitous staple of twentieth- and twenty-first-century American consumer culture. In Work! A Queer History of Modelling (Duke University Press, 2019), Elspeth H. Brown traces the history of modeling from the advent of photographic modeling in the early twentieth century to the rise of the supermodel in the 1980s. Brown outlines how the modeling industry sanitized and commercialized models' sex appeal in order to elicit and channel desire into buying goods. She shows how this new form of sexuality—whether exhibited in the Ziegfeld Follies girls' performance of Anglo-Saxon femininity or in African American models' portrayal of black glamour in the 1960s—became a central element in consumer capitalism and a practice that has always been shaped by queer sensibilities. By outlining the paradox that queerness lies at the center of capitalist heteronormativity and telling the largely unknown story of queer models and photographers, Brown offers an out of the ordinary history of twentieth-century American culture and capitalism. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the haute couture runways of Paris and New York and editorial photo shoots for glossy fashion magazines to reality television, models have been a ubiquitous staple of twentieth- and twenty-first-century American consumer culture. In Work! A Queer History of Modelling (Duke University Press, 2019), Elspeth H. Brown traces the history of modeling from the advent of photographic modeling in the early twentieth century to the rise of the supermodel in the 1980s. Brown outlines how the modeling industry sanitized and commercialized models' sex appeal in order to elicit and channel desire into buying goods. She shows how this new form of sexuality—whether exhibited in the Ziegfeld Follies girls' performance of Anglo-Saxon femininity or in African American models' portrayal of black glamour in the 1960s—became a central element in consumer capitalism and a practice that has always been shaped by queer sensibilities. By outlining the paradox that queerness lies at the center of capitalist heteronormativity and telling the largely unknown story of queer models and photographers, Brown offers an out of the ordinary history of twentieth-century American culture and capitalism. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the haute couture runways of Paris and New York and editorial photo shoots for glossy fashion magazines to reality television, models have been a ubiquitous staple of twentieth- and twenty-first-century American consumer culture. In Work! A Queer History of Modelling (Duke University Press, 2019), Elspeth H. Brown traces the history of modeling from the advent of photographic modeling in the early twentieth century to the rise of the supermodel in the 1980s. Brown outlines how the modeling industry sanitized and commercialized models' sex appeal in order to elicit and channel desire into buying goods. She shows how this new form of sexuality—whether exhibited in the Ziegfeld Follies girls' performance of Anglo-Saxon femininity or in African American models' portrayal of black glamour in the 1960s—became a central element in consumer capitalism and a practice that has always been shaped by queer sensibilities. By outlining the paradox that queerness lies at the center of capitalist heteronormativity and telling the largely unknown story of queer models and photographers, Brown offers an out of the ordinary history of twentieth-century American culture and capitalism. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the haute couture runways of Paris and New York and editorial photo shoots for glossy fashion magazines to reality television, models have been a ubiquitous staple of twentieth- and twenty-first-century American consumer culture. In Work! A Queer History of Modelling (Duke University Press, 2019), Elspeth H. Brown traces the history of modeling from the advent of photographic modeling in the early twentieth century to the rise of the supermodel in the 1980s. Brown outlines how the modeling industry sanitized and commercialized models' sex appeal in order to elicit and channel desire into buying goods. She shows how this new form of sexuality—whether exhibited in the Ziegfeld Follies girls' performance of Anglo-Saxon femininity or in African American models' portrayal of black glamour in the 1960s—became a central element in consumer capitalism and a practice that has always been shaped by queer sensibilities. By outlining the paradox that queerness lies at the center of capitalist heteronormativity and telling the largely unknown story of queer models and photographers, Brown offers an out of the ordinary history of twentieth-century American culture and capitalism. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the haute couture runways of Paris and New York and editorial photo shoots for glossy fashion magazines to reality television, models have been a ubiquitous staple of twentieth- and twenty-first-century American consumer culture. In Work! A Queer History of Modelling (Duke University Press, 2019), Elspeth H. Brown traces the history of modeling from the advent of photographic modeling in the early twentieth century to the rise of the supermodel in the 1980s. Brown outlines how the modeling industry sanitized and commercialized models' sex appeal in order to elicit and channel desire into buying goods. She shows how this new form of sexuality—whether exhibited in the Ziegfeld Follies girls' performance of Anglo-Saxon femininity or in African American models' portrayal of black glamour in the 1960s—became a central element in consumer capitalism and a practice that has always been shaped by queer sensibilities. By outlining the paradox that queerness lies at the center of capitalist heteronormativity and telling the largely unknown story of queer models and photographers, Brown offers an out of the ordinary history of twentieth-century American culture and capitalism. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

From the haute couture runways of Paris and New York and editorial photo shoots for glossy fashion magazines to reality television, models have been a ubiquitous staple of twentieth- and twenty-first-century American consumer culture. In Work! A Queer History of Modelling (Duke University Press, 2019), Elspeth H. Brown traces the history of modeling from the advent of photographic modeling in the early twentieth century to the rise of the supermodel in the 1980s. Brown outlines how the modeling industry sanitized and commercialized models' sex appeal in order to elicit and channel desire into buying goods. She shows how this new form of sexuality—whether exhibited in the Ziegfeld Follies girls' performance of Anglo-Saxon femininity or in African American models' portrayal of black glamour in the 1960s—became a central element in consumer capitalism and a practice that has always been shaped by queer sensibilities. By outlining the paradox that queerness lies at the center of capitalist heteronormativity and telling the largely unknown story of queer models and photographers, Brown offers an out of the ordinary history of twentieth-century American culture and capitalism. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his book The Globally Familiar: Digital Hip-Hop, Masculinity, and Urban Space in Delhi (Duke University Press, 2020), Gabriel Dattatreyan departs from the existing literature on masculinity in India, which focuses on largely middle-class, upper-caste embodiments of the same. His focus is on non-elite, urban, lower caste/class embodiments of masculinity, in the context of globally familiar soundscpaes, images and aesthetics. There is an interesting way in which the author provides a nuanced understanding of the “other”, which takes into account the heterogeneity of those who are usually lumped together in the category of that “other”. The book provides not just caste, and regional contexts for these “working class” men but also lays out the generational shifts in the “aspirations” and future imagination of these young men. This futurization of urban participation then is highlighted in conversation with the official, policy and bureaucratized imaginations of the urban and urban Delhi in particular. In doing so, the “other” emerges as not just the passive recipient of the imaginations imposed on them by people in power but as being capable of refashioning and materially reimagining urban spaces as well. The internet and social media in particular emerge as critical sites of global engagement for the young men, who are Dattatreyan's interlocutors and collaborators. Social media is not simply a site for getting familiar with and consuming that which is global but also the site for producing this familiarity in creative ways. It is through the labor of these young men taking immense pain to aesthetically re-produce the globally familiar that these circulations take on meaning. These re-creations and embodied re-productions also become sites of traversing newer and older forms of inequalities as well as creating political disruptions through the use hip-hop aesthetics. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his book The Globally Familiar: Digital Hip-Hop, Masculinity, and Urban Space in Delhi (Duke University Press, 2020), Gabriel Dattatreyan departs from the existing literature on masculinity in India, which focuses on largely middle-class, upper-caste embodiments of the same. His focus is on non-elite, urban, lower caste/class embodiments of masculinity, in the context of globally familiar soundscpaes, images and aesthetics. There is an interesting way in which the author provides a nuanced understanding of the “other”, which takes into account the heterogeneity of those who are usually lumped together in the category of that “other”. The book provides not just caste, and regional contexts for these “working class” men but also lays out the generational shifts in the “aspirations” and future imagination of these young men. This futurization of urban participation then is highlighted in conversation with the official, policy and bureaucratized imaginations of the urban and urban Delhi in particular. In doing so, the “other” emerges as not just the passive recipient of the imaginations imposed on them by people in power but as being capable of refashioning and materially reimagining urban spaces as well. The internet and social media in particular emerge as critical sites of global engagement for the young men, who are Dattatreyan’s interlocutors and collaborators. Social media is not simply a site for getting familiar with and consuming that which is global but also the site for producing this familiarity in creative ways. It is through the labor of these young men taking immense pain to aesthetically re-produce the globally familiar that these circulations take on meaning. These re-creations and embodied re-productions also become sites of traversing newer and older forms of inequalities as well as creating political disruptions through the use hip-hop aesthetics. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his book The Globally Familiar: Digital Hip-Hop, Masculinity, and Urban Space in Delhi (Duke University Press, 2020), Gabriel Dattatreyan departs from the existing literature on masculinity in India, which focuses on largely middle-class, upper-caste embodiments of the same. His focus is on non-elite, urban, lower caste/class embodiments of masculinity, in the context of globally familiar soundscpaes, images and aesthetics. There is an interesting way in which the author provides a nuanced understanding of the “other”, which takes into account the heterogeneity of those who are usually lumped together in the category of that “other”. The book provides not just caste, and regional contexts for these “working class” men but also lays out the generational shifts in the “aspirations” and future imagination of these young men. This futurization of urban participation then is highlighted in conversation with the official, policy and bureaucratized imaginations of the urban and urban Delhi in particular. In doing so, the “other” emerges as not just the passive recipient of the imaginations imposed on them by people in power but as being capable of refashioning and materially reimagining urban spaces as well. The internet and social media in particular emerge as critical sites of global engagement for the young men, who are Dattatreyan’s interlocutors and collaborators. Social media is not simply a site for getting familiar with and consuming that which is global but also the site for producing this familiarity in creative ways. It is through the labor of these young men taking immense pain to aesthetically re-produce the globally familiar that these circulations take on meaning. These re-creations and embodied re-productions also become sites of traversing newer and older forms of inequalities as well as creating political disruptions through the use hip-hop aesthetics. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his book The Globally Familiar: Digital Hip-Hop, Masculinity, and Urban Space in Delhi (Duke University Press, 2020), Gabriel Dattatreyan departs from the existing literature on masculinity in India, which focuses on largely middle-class, upper-caste embodiments of the same. His focus is on non-elite, urban, lower caste/class embodiments of masculinity, in the context of globally familiar soundscpaes, images and aesthetics. There is an interesting way in which the author provides a nuanced understanding of the “other”, which takes into account the heterogeneity of those who are usually lumped together in the category of that “other”. The book provides not just caste, and regional contexts for these “working class” men but also lays out the generational shifts in the “aspirations” and future imagination of these young men. This futurization of urban participation then is highlighted in conversation with the official, policy and bureaucratized imaginations of the urban and urban Delhi in particular. In doing so, the “other” emerges as not just the passive recipient of the imaginations imposed on them by people in power but as being capable of refashioning and materially reimagining urban spaces as well. The internet and social media in particular emerge as critical sites of global engagement for the young men, who are Dattatreyan’s interlocutors and collaborators. Social media is not simply a site for getting familiar with and consuming that which is global but also the site for producing this familiarity in creative ways. It is through the labor of these young men taking immense pain to aesthetically re-produce the globally familiar that these circulations take on meaning. These re-creations and embodied re-productions also become sites of traversing newer and older forms of inequalities as well as creating political disruptions through the use hip-hop aesthetics. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his book The Globally Familiar: Digital Hip-Hop, Masculinity, and Urban Space in Delhi (Duke University Press, 2020), Gabriel Dattatreyan departs from the existing literature on masculinity in India, which focuses on largely middle-class, upper-caste embodiments of the same. His focus is on non-elite, urban, lower caste/class embodiments of masculinity, in the context of globally familiar soundscpaes, images and aesthetics. There is an interesting way in which the author provides a nuanced understanding of the “other”, which takes into account the heterogeneity of those who are usually lumped together in the category of that “other”. The book provides not just caste, and regional contexts for these “working class” men but also lays out the generational shifts in the “aspirations” and future imagination of these young men. This futurization of urban participation then is highlighted in conversation with the official, policy and bureaucratized imaginations of the urban and urban Delhi in particular. In doing so, the “other” emerges as not just the passive recipient of the imaginations imposed on them by people in power but as being capable of refashioning and materially reimagining urban spaces as well. The internet and social media in particular emerge as critical sites of global engagement for the young men, who are Dattatreyan’s interlocutors and collaborators. Social media is not simply a site for getting familiar with and consuming that which is global but also the site for producing this familiarity in creative ways. It is through the labor of these young men taking immense pain to aesthetically re-produce the globally familiar that these circulations take on meaning. These re-creations and embodied re-productions also become sites of traversing newer and older forms of inequalities as well as creating political disruptions through the use hip-hop aesthetics. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his book The Globally Familiar: Digital Hip-Hop, Masculinity, and Urban Space in Delhi (Duke University Press, 2020), Gabriel Dattatreyan departs from the existing literature on masculinity in India, which focuses on largely middle-class, upper-caste embodiments of the same. His focus is on non-elite, urban, lower caste/class embodiments of masculinity, in the context of globally familiar soundscpaes, images and aesthetics. There is an interesting way in which the author provides a nuanced understanding of the “other”, which takes into account the heterogeneity of those who are usually lumped together in the category of that “other”. The book provides not just caste, and regional contexts for these “working class” men but also lays out the generational shifts in the “aspirations” and future imagination of these young men. This futurization of urban participation then is highlighted in conversation with the official, policy and bureaucratized imaginations of the urban and urban Delhi in particular. In doing so, the “other” emerges as not just the passive recipient of the imaginations imposed on them by people in power but as being capable of refashioning and materially reimagining urban spaces as well. The internet and social media in particular emerge as critical sites of global engagement for the young men, who are Dattatreyan’s interlocutors and collaborators. Social media is not simply a site for getting familiar with and consuming that which is global but also the site for producing this familiarity in creative ways. It is through the labor of these young men taking immense pain to aesthetically re-produce the globally familiar that these circulations take on meaning. These re-creations and embodied re-productions also become sites of traversing newer and older forms of inequalities as well as creating political disruptions through the use hip-hop aesthetics. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his book The Globally Familiar: Digital Hip-Hop, Masculinity, and Urban Space in Delhi (Duke University Press, 2020), Gabriel Dattatreyan departs from the existing literature on masculinity in India, which focuses on largely middle-class, upper-caste embodiments of the same. His focus is on non-elite, urban, lower caste/class embodiments of masculinity, in the context of globally familiar soundscpaes, images and aesthetics. There is an interesting way in which the author provides a nuanced understanding of the “other”, which takes into account the heterogeneity of those who are usually lumped together in the category of that “other”. The book provides not just caste, and regional contexts for these “working class” men but also lays out the generational shifts in the “aspirations” and future imagination of these young men. This futurization of urban participation then is highlighted in conversation with the official, policy and bureaucratized imaginations of the urban and urban Delhi in particular. In doing so, the “other” emerges as not just the passive recipient of the imaginations imposed on them by people in power but as being capable of refashioning and materially reimagining urban spaces as well. The internet and social media in particular emerge as critical sites of global engagement for the young men, who are Dattatreyan’s interlocutors and collaborators. Social media is not simply a site for getting familiar with and consuming that which is global but also the site for producing this familiarity in creative ways. It is through the labor of these young men taking immense pain to aesthetically re-produce the globally familiar that these circulations take on meaning. These re-creations and embodied re-productions also become sites of traversing newer and older forms of inequalities as well as creating political disruptions through the use hip-hop aesthetics. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his book The Globally Familiar: Digital Hip-Hop, Masculinity, and Urban Space in Delhi (Duke University Press, 2020), Gabriel Dattatreyan departs from the existing literature on masculinity in India, which focuses on largely middle-class, upper-caste embodiments of the same. His focus is on non-elite, urban, lower caste/class embodiments of masculinity, in the context of globally familiar soundscpaes, images and aesthetics. There is an interesting way in which the author provides a nuanced understanding of the “other”, which takes into account the heterogeneity of those who are usually lumped together in the category of that “other”. The book provides not just caste, and regional contexts for these “working class” men but also lays out the generational shifts in the “aspirations” and future imagination of these young men. This futurization of urban participation then is highlighted in conversation with the official, policy and bureaucratized imaginations of the urban and urban Delhi in particular. In doing so, the “other” emerges as not just the passive recipient of the imaginations imposed on them by people in power but as being capable of refashioning and materially reimagining urban spaces as well. The internet and social media in particular emerge as critical sites of global engagement for the young men, who are Dattatreyan’s interlocutors and collaborators. Social media is not simply a site for getting familiar with and consuming that which is global but also the site for producing this familiarity in creative ways. It is through the labor of these young men taking immense pain to aesthetically re-produce the globally familiar that these circulations take on meaning. These re-creations and embodied re-productions also become sites of traversing newer and older forms of inequalities as well as creating political disruptions through the use hip-hop aesthetics. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Vanita Reddy, in her book Fashioning Diaspora: Beauty, Femininity and South Asian American Culture (Duke University Press, 2016), locates diasporic transnationality, affiliations and intimacies through the analytic of beauty. Through her analysis of Asian American literary fiction and performance artwork and installations, Reddy lingers on moments, objects and subjective positions that reveal the potentiality of beauty. Not just a site for neoliberal complicity, beauty, in its presence as well as absence, also emerges as something subversive.  The re-articulation of the bindi and the saree, objects that are otherwise imbued with upper-caste, Hindu hetero-reproductive symbolisms, in the works of performance artists, offer queer queer subversion of power structures. Beauty also becomes the site of not just physical but also social (im)mobility as Reddy presents the complicated ways in which beauty relates to aspiration. Central to her project is upending the male-centric understanding of the relationship between the diaspora and the “nation”. Focussing not only on female narratives of movement and mobility but also interrogating the vulnerability and queer-ness of male subject positions, Reddy provides a nuanced interrogation of how “frivolous” beauty becomes the site of transformative transnational journeys.  In the first three chapters, she looks at the literary fiction that either centrally or marginally deploys beauty as the site of narrating stories about the diaspora. Chapter 4 and 5 look at feminist performances and cyber representations of objects like the bindi and saree that deliberately challenge the essentialization of these objects and destabilizes them not just to narrate stories of movement but emphasize potential for mobilization through seemingly non-serious, beautiful artifacts. Vanita Reddy is an Assistant Professor of English at Texas A&M University.                      Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Vanita Reddy, in her book Fashioning Diaspora: Beauty, Femininity and South Asian American Culture (Duke University Press, 2016), locates diasporic transnationality, affiliations and intimacies through the analytic of beauty. Through her analysis of Asian American literary fiction and performance artwork and installations, Reddy lingers on moments, objects and subjective positions that reveal the potentiality of beauty. Not just a site for neoliberal complicity, beauty, in its presence as well as absence, also emerges as something subversive.  The re-articulation of the bindi and the saree, objects that are otherwise imbued with upper-caste, Hindu hetero-reproductive symbolisms, in the works of performance artists, offer queer queer subversion of power structures. Beauty also becomes the site of not just physical but also social (im)mobility as Reddy presents the complicated ways in which beauty relates to aspiration. Central to her project is upending the male-centric understanding of the relationship between the diaspora and the “nation”. Focussing not only on female narratives of movement and mobility but also interrogating the vulnerability and queer-ness of male subject positions, Reddy provides a nuanced interrogation of how “frivolous” beauty becomes the site of transformative transnational journeys.  In the first three chapters, she looks at the literary fiction that either centrally or marginally deploys beauty as the site of narrating stories about the diaspora. Chapter 4 and 5 look at feminist performances and cyber representations of objects like the bindi and saree that deliberately challenge the essentialization of these objects and destabilizes them not just to narrate stories of movement but emphasize potential for mobilization through seemingly non-serious, beautiful artifacts. Vanita Reddy is an Assistant Professor of English at Texas A&M University.                      Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

L. L. Wynn’s book Love, Sex, and Desire in Modern Egypt: Navigating the Margins of Respectability (University of Texas Press, 2018) is an interrogation of urban life and gendered mobilities in Cairo, Egypt. She discusses categories of kinship, tourism, friendship, love, and sex through the lens of “respectability”; and in the process illustrates how “respectability” itself is an unstable category. Not only does it mean different things to different people, it is also something that people (men and women) don’t inherently possess and with which they must continuously grapple. Methodologically the book delineates the political stakes of writing about these categories in a space like Egypt, especially since the discourses of orientalism that frame these categories have had violent political implications. Wynn also critically positions herself within the text and constantly analyzes her own presence in the “field”. She visibly struggles with the category of “respectability” as it, inconsistently, applies to her. The book’s narrative style and care with which key characters and interlocutors are developed throughout, reiterate Wynn’s dedication to the political stakes of her text. From the antique store owners, workers and tour guides (called tourist hustlers) to belly dancers and university students the ethnography spans a variety of social groups and classes where themes of love, sex, and desire intertwine with the economy such that intimacy and circulation and exchange of money becomes closely tied. These affective and intimate economies become sites of speculating about “respectability” and judging people’s commitment to love. Money is exchanged and circulates just as words do in the form of gossip or the way people “talk” and the urbality of Cairo becomes unimaginable without thinking about love, sex, desire and violence, that co-exist in complex ways. L. L. Wynn is an associate professor and head of the Anthropology Department at Macquarie University. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia.   Learn more about your ad choices. Visit megaphone.fm/adchoices

L. L. Wynn’s book Love, Sex, and Desire in Modern Egypt: Navigating the Margins of Respectability (University of Texas Press, 2018) is an interrogation of urban life and gendered mobilities in Cairo, Egypt. She discusses categories of kinship, tourism, friendship, love, and sex through the lens of “respectability”; and in the process illustrates how “respectability” itself is an unstable category. Not only does it mean different things to different people, it is also something that people (men and women) don’t inherently possess and with which they must continuously grapple. Methodologically the book delineates the political stakes of writing about these categories in a space like Egypt, especially since the discourses of orientalism that frame these categories have had violent political implications. Wynn also critically positions herself within the text and constantly analyzes her own presence in the “field”. She visibly struggles with the category of “respectability” as it, inconsistently, applies to her. The book’s narrative style and care with which key characters and interlocutors are developed throughout, reiterate Wynn’s dedication to the political stakes of her text. From the antique store owners, workers and tour guides (called tourist hustlers) to belly dancers and university students the ethnography spans a variety of social groups and classes where themes of love, sex, and desire intertwine with the economy such that intimacy and circulation and exchange of money becomes closely tied. These affective and intimate economies become sites of speculating about “respectability” and judging people’s commitment to love. Money is exchanged and circulates just as words do in the form of gossip or the way people “talk” and the urbality of Cairo becomes unimaginable without thinking about love, sex, desire and violence, that co-exist in complex ways. L. L. Wynn is an associate professor and head of the Anthropology Department at Macquarie University. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia.   Learn more about your ad choices. Visit megaphone.fm/adchoices

L. L. Wynn’s book Love, Sex, and Desire in Modern Egypt: Navigating the Margins of Respectability (University of Texas Press, 2018) is an interrogation of urban life and gendered mobilities in Cairo, Egypt. She discusses categories of kinship, tourism, friendship, love, and sex through the lens of “respectability”; and in the process illustrates how “respectability” itself is an unstable category. Not only does it mean different things to different people, it is also something that people (men and women) don’t inherently possess and with which they must continuously grapple. Methodologically the book delineates the political stakes of writing about these categories in a space like Egypt, especially since the discourses of orientalism that frame these categories have had violent political implications. Wynn also critically positions herself within the text and constantly analyzes her own presence in the “field”. She visibly struggles with the category of “respectability” as it, inconsistently, applies to her. The book’s narrative style and care with which key characters and interlocutors are developed throughout, reiterate Wynn’s dedication to the political stakes of her text. From the antique store owners, workers and tour guides (called tourist hustlers) to belly dancers and university students the ethnography spans a variety of social groups and classes where themes of love, sex, and desire intertwine with the economy such that intimacy and circulation and exchange of money becomes closely tied. These affective and intimate economies become sites of speculating about “respectability” and judging people’s commitment to love. Money is exchanged and circulates just as words do in the form of gossip or the way people “talk” and the urbality of Cairo becomes unimaginable without thinking about love, sex, desire and violence, that co-exist in complex ways. L. L. Wynn is an associate professor and head of the Anthropology Department at Macquarie University. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia.   Learn more about your ad choices. Visit megaphone.fm/adchoices

L. L. Wynn’s book Love, Sex, and Desire in Modern Egypt: Navigating the Margins of Respectability (University of Texas Press, 2018) is an interrogation of urban life and gendered mobilities in Cairo, Egypt. She discusses categories of kinship, tourism, friendship, love, and sex through the lens of “respectability”; and in the process illustrates how “respectability” itself is an unstable category. Not only does it mean different things to different people, it is also something that people (men and women) don’t inherently possess and with which they must continuously grapple. Methodologically the book delineates the political stakes of writing about these categories in a space like Egypt, especially since the discourses of orientalism that frame these categories have had violent political implications. Wynn also critically positions herself within the text and constantly analyzes her own presence in the “field”. She visibly struggles with the category of “respectability” as it, inconsistently, applies to her. The book’s narrative style and care with which key characters and interlocutors are developed throughout, reiterate Wynn’s dedication to the political stakes of her text. From the antique store owners, workers and tour guides (called tourist hustlers) to belly dancers and university students the ethnography spans a variety of social groups and classes where themes of love, sex, and desire intertwine with the economy such that intimacy and circulation and exchange of money becomes closely tied. These affective and intimate economies become sites of speculating about “respectability” and judging people’s commitment to love. Money is exchanged and circulates just as words do in the form of gossip or the way people “talk” and the urbality of Cairo becomes unimaginable without thinking about love, sex, desire and violence, that co-exist in complex ways. L. L. Wynn is an associate professor and head of the Anthropology Department at Macquarie University. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia.   Learn more about your ad choices. Visit megaphone.fm/adchoices

L. L. Wynn’s book Love, Sex, and Desire in Modern Egypt: Navigating the Margins of Respectability (University of Texas Press, 2018) is an interrogation of urban life and gendered mobilities in Cairo, Egypt. She discusses categories of kinship, tourism, friendship, love, and sex through the lens of “respectability”; and in the process illustrates how “respectability” itself is an unstable category. Not only does it mean different things to different people, it is also something that people (men and women) don’t inherently possess and with which they must continuously grapple. Methodologically the book delineates the political stakes of writing about these categories in a space like Egypt, especially since the discourses of orientalism that frame these categories have had violent political implications. Wynn also critically positions herself within the text and constantly analyzes her own presence in the “field”. She visibly struggles with the category of “respectability” as it, inconsistently, applies to her. The book’s narrative style and care with which key characters and interlocutors are developed throughout, reiterate Wynn’s dedication to the political stakes of her text. From the antique store owners, workers and tour guides (called tourist hustlers) to belly dancers and university students the ethnography spans a variety of social groups and classes where themes of love, sex, and desire intertwine with the economy such that intimacy and circulation and exchange of money becomes closely tied. These affective and intimate economies become sites of speculating about “respectability” and judging people’s commitment to love. Money is exchanged and circulates just as words do in the form of gossip or the way people “talk” and the urbality of Cairo becomes unimaginable without thinking about love, sex, desire and violence, that co-exist in complex ways. L. L. Wynn is an associate professor and head of the Anthropology Department at Macquarie University. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia.   Learn more about your ad choices. Visit megaphone.fm/adchoices

L. L. Wynn's book Love, Sex, and Desire in Modern Egypt: Navigating the Margins of Respectability (University of Texas Press, 2018) is an interrogation of urban life and gendered mobilities in Cairo, Egypt. She discusses categories of kinship, tourism, friendship, love, and sex through the lens of “respectability”; and in the process illustrates how “respectability” itself is an unstable category. Not only does it mean different things to different people, it is also something that people (men and women) don't inherently possess and with which they must continuously grapple. Methodologically the book delineates the political stakes of writing about these categories in a space like Egypt, especially since the discourses of orientalism that frame these categories have had violent political implications. Wynn also critically positions herself within the text and constantly analyzes her own presence in the “field”. She visibly struggles with the category of “respectability” as it, inconsistently, applies to her. The book's narrative style and care with which key characters and interlocutors are developed throughout, reiterate Wynn's dedication to the political stakes of her text. From the antique store owners, workers and tour guides (called tourist hustlers) to belly dancers and university students the ethnography spans a variety of social groups and classes where themes of love, sex, and desire intertwine with the economy such that intimacy and circulation and exchange of money becomes closely tied. These affective and intimate economies become sites of speculating about “respectability” and judging people's commitment to love. Money is exchanged and circulates just as words do in the form of gossip or the way people “talk” and the urbality of Cairo becomes unimaginable without thinking about love, sex, desire and violence, that co-exist in complex ways. L. L. Wynn is an associate professor and head of the Anthropology Department at Macquarie University. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia.