Sarvani Gooptu is Professor of Asian Literary and Cultural Studies at Netaji Institute for Asian Studies, Kolkata, India. Her main areas of research are nationalism and culture in Asia. Among her publications are three books: The Actress in the Public Theatres of Calcutta (2015), The Music of Nationhood: Dwijendralal Roy of Bengal (2018), which received the Hiralal Award for Best Woman Historian at Indian History Congress 2019, and Knowing Asia, Being Asian, Cosmopolitanism and Nationalism in Bengali Periodicals 1860–1940 (2021) as well as two co-edited volumes. She is passionate about music and regularly performs in music programmes.Mimasha Pandit is Assistant Professor in the Department of History at Mankar College, Purba Bardhaman, West Bengal, India. Her main areas of research are the history of ideas and their performance in the wider public sphere in colonial Bengal. Her PhD dissertation was published in 2019, titled Performing Nationhood:The Emotional Roots of Swadeshi Nationhood in Bengal, 1905–1912. Recently, she has contributed to Itihaaser Bitarka, Bitarker Itihaas (published in 2022) as well as to Transcultural Humanities in South Asia (2022), edited by Waseem Anwar and Nousheen Yousuf.

• Notes on ContributorsAcknowledgementsIntroduction: Performing Nation, Nationalising PerformanceI: Framing Parameters of Narrative/National/Lived ExperienceA: South AsiaFraming Martyrdom as Cultural Performance in Bengali Revolutionary NationalismShukla SanyalThe Making of the Audience in Colonial Bengal TheatreSunetra MitraIndian Nationalism Embodied Through DanceAmita DuttShifting Hues in a City’s Culture Traced through the 88 keys of a PianoSubha Das MollickB: Rhizomatic Pattern: East & Southeast AsiaThe Politics of Cultural Intimacies in Asia: Writing about Dramatic Performancesin East and South East Asia in Twentieth Century Bengali Literary JournalsSarvani GooptuII: Small Voices of AlterityA: South AsiaRemembering and Encountering Death Collectively: Practice and Performance in the ‘Khawhar Hla’ (Songs for the Dead) among the Zo Christians in North Eastern India.Anup Shekhar ChakrabortyIdentity through Substraction: K-Pop Fans from North East India Create a New Identity of their OwnSabik Pandit8. The Formula of the Film and the Performance into ModernitySusmita DasguptaB: Rhizomatic Pattern: Central Asia9. Pains and Pangs of Post-Soviet Nationhood: Experiences of Tajikistan through the Pastiches of Celluloid RepresentationNandini BhattacharyaIII: Spectacularity, Mythification& Ritualistic Understanding/Countering of National IdentityA: South Asia10. The Work of Art, The Mirror of Time: Theatre, Actress and the Audience in the Nineteenth CenturyMausumi Mukhopadhyay11. Ram Ke Naam: Sloganeering/Othering Identity in Ramjanmabhoomi MovementMimasha Pandit12. The Sword Unsheathed: 19th Century Bengal and A Postmodern Reading of Utpal Dutt’s Tiner Tolowar (The Tin Sword).Purna ChowdhuryB: Rhizomatic Pattern: Southeast Asia13. Identity through Reiteration: Myth, Memory, Magic in Tess Uriza Holthe’s When the Elephants Dance Dipanjan Chatterjee Index

Sarvani Gooptu is Professor of Asian Literary and Cultural Studies at Netaji Institute for Asian Studies, Kolkata, India. Her main areas of research are nationalism and culture in Asia. Among her publications are three books: The Actress in the Public Theatres of Calcutta (2015), The Music of Nationhood: Dwijendralal Roy of Bengal (2018), which received the Hiralal Award for Best Woman Historian at Indian History Congress 2019, and Knowing Asia, Being Asian, Cosmopolitanism and Nationalism in Bengali Periodicals 1860–1940 (2021) as well as two co-edited volumes. She is passionate about music and regularly performs in music programmes.Mimasha Pandit is Assistant Professor in the Department of History at Mankar College, Purba Bardhaman, West Bengal, India. Her main areas of research are the history of ideas and their performance in the wider public sphere in colonial Bengal. Her PhD dissertation was published in 2019, titled Performing Nationhood:The Emotional Roots of Swadeshi Nationhood in Bengal, 1905–1912. Recently, she has contributed to Itihaaser Bitarka, Bitarker Itihaas (published in 2022) as well as to Transcultural Humanities in South Asia (2022), edited by Waseem Anwar and Nousheen Yousuf.

• Notes on ContributorsAcknowledgementsIntroduction: Performing Nation, Nationalising PerformanceI: Framing Parameters of Narrative/National/Lived ExperienceA: South AsiaFraming Martyrdom as Cultural Performance in Bengali Revolutionary NationalismShukla SanyalThe Making of the Audience in Colonial Bengal TheatreSunetra MitraIndian Nationalism Embodied Through DanceAmita DuttShifting Hues in a City’s Culture Traced through the 88 keys of a PianoSubha Das MollickB: Rhizomatic Pattern: East & Southeast AsiaThe Politics of Cultural Intimacies in Asia: Writing about Dramatic Performancesin East and South East Asia in Twentieth Century Bengali Literary JournalsSarvani GooptuII: Small Voices of AlterityA: South AsiaRemembering and Encountering Death Collectively: Practice and Performance in the ‘Khawhar Hla’ (Songs for the Dead) among the Zo Christians in North Eastern India.Anup Shekhar ChakrabortyIdentity through Substraction: K-Pop Fans from North East India Create a New Identity of their OwnSabik Pandit8. The Formula of the Film and the Performance into ModernitySusmita DasguptaB: Rhizomatic Pattern: Central Asia9. Pains and Pangs of Post-Soviet Nationhood: Experiences of Tajikistan through the Pastiches of Celluloid RepresentationNandini BhattacharyaIII: Spectacularity, Mythification& Ritualistic Understanding/Countering of National IdentityA: South Asia10. The Work of Art, The Mirror of Time: Theatre, Actress and the Audience in the Nineteenth CenturyMausumi Mukhopadhyay11. Ram Ke Naam: Sloganeering/Othering Identity in Ramjanmabhoomi MovementMimasha Pandit12. The Sword Unsheathed: 19th Century Bengal and A Postmodern Reading of Utpal Dutt’s Tiner Tolowar (The Tin Sword).Purna ChowdhuryB: Rhizomatic Pattern: Southeast Asia13. Identity through Reiteration: Myth, Memory, Magic in Tess Uriza Holthe’s When the Elephants Dance Dipanjan Chatterjee Index

Sarvani Gooptu is Professor of Asian Literary and Cultural Studies at Netaji Institute for Asian Studies, Kolkata, India. Her main areas of research are nationalism and culture in Asia. Among her publications are three books: The Actress in the Public Theatres of Calcutta (2015), The Music of Nationhood: Dwijendralal Roy of Bengal (2018), which received the Hiralal Award for Best Woman Historian at Indian History Congress 2019, and Knowing Asia, Being Asian, Cosmopolitanism and Nationalism in Bengali Periodicals 1860–1940 (2021) as well as two co-edited volumes. She is passionate about music and regularly performs in music programmes.Mimasha Pandit is Assistant Professor in the Department of History at Mankar College, Purba Bardhaman, West Bengal, India. Her main areas of research are the history of ideas and their performance in the wider public sphere in colonial Bengal. Her PhD dissertation was published in 2019, titled Performing Nationhood:The Emotional Roots of Swadeshi Nationhood in Bengal, 1905–1912. Recently, she has contributed to Itihaaser Bitarka, Bitarker Itihaas (published in 2022) as well as to Transcultural Humanities in South Asia (2022), edited by Waseem Anwar and Nousheen Yousuf.

• Notes on ContributorsAcknowledgementsIntroduction: Performing Nation, Nationalising PerformanceI: Framing Parameters of Narrative/National/Lived ExperienceA: South AsiaFraming Martyrdom as Cultural Performance in Bengali Revolutionary NationalismShukla SanyalThe Making of the Audience in Colonial Bengal TheatreSunetra MitraIndian Nationalism Embodied Through DanceAmita DuttShifting Hues in a City’s Culture Traced through the 88 keys of a PianoSubha Das MollickB: Rhizomatic Pattern: East & Southeast AsiaThe Politics of Cultural Intimacies in Asia: Writing about Dramatic Performancesin East and South East Asia in Twentieth Century Bengali Literary JournalsSarvani GooptuII: Small Voices of AlterityA: South AsiaRemembering and Encountering Death Collectively: Practice and Performance in the ‘Khawhar Hla’ (Songs for the Dead) among the Zo Christians in North Eastern India.Anup Shekhar ChakrabortyIdentity through Substraction: K-Pop Fans from North East India Create a New Identity of their OwnSabik Pandit8. The Formula of the Film and the Performance into ModernitySusmita DasguptaB: Rhizomatic Pattern: Central Asia9. Pains and Pangs of Post-Soviet Nationhood: Experiences of Tajikistan through the Pastiches of Celluloid RepresentationNandini BhattacharyaIII: Spectacularity, Mythification& Ritualistic Understanding/Countering of National IdentityA: South Asia10. The Work of Art, The Mirror of Time: Theatre, Actress and the Audience in the Nineteenth CenturyMausumi Mukhopadhyay11. Ram Ke Naam: Sloganeering/Othering Identity in Ramjanmabhoomi MovementMimasha Pandit12. The Sword Unsheathed: 19th Century Bengal and A Postmodern Reading of Utpal Dutt’s Tiner Tolowar (The Tin Sword).Purna ChowdhuryB: Rhizomatic Pattern: Southeast Asia13. Identity through Reiteration: Myth, Memory, Magic in Tess Uriza Holthe’s When the Elephants Dance Dipanjan Chatterjee Index