DEEWAANA (the mad one) : the lover of music

Tejaswini NIRANJANA*

*Corresponding author for this work

Research output: Journal PublicationsJournal Article (refereed)Researchpeer-review

Abstract

The notion of deewaanapan or madness (as in being crazy about something) is deployed in this essay to make sense of musicophiliac behaviour in twentieth century Mumbai. I argue that new insights into the formation of ‘publics’ in the non-western metropolis can be gained through a focus on phenomena that embody ‘social subjectivity’. A major phenomenon of this kind is the devotion to Hindustani or North Indian classical music which spread through Mumbai starting from the late nineteenth century. The affective response of musicophiliacs is forged not in solitude but in a space of sociality. This idea also encompasses the actual performance of the khayal genre which became prominent in the twentieth century. The khayal represented a sense of intimacy and interiority which also needs to be understood as ‘social’ and ‘public’.

Original languageEnglish
Pages (from-to)749-777
Number of pages29
JournalCultural Studies
Volume33
Issue number5
Early online date19 Aug 2018
DOIs
Publication statusPublished - Jul 2019

Fingerprint

twentieth century
music
solitude
sociality
metropolis
intimacy
subjectivity
genre
nineteenth century
performance
Music
Lovers
Affective Response
Solitude
Classical music
Subjectivity
Madness
Devotion
Sociality
Metropolis

Keywords

  • Hindustani music
  • interiority
  • Mumbai
  • Musicophilia
  • sociality
  • subjectivity

Cite this

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DEEWAANA (the mad one) : the lover of music. / NIRANJANA, Tejaswini.

In: Cultural Studies, Vol. 33, No. 5, 07.2019, p. 749-777.

Research output: Journal PublicationsJournal Article (refereed)Researchpeer-review

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