Music, as an art form, has always reflected the cultural, social, and political landscape of its time. In the case of Punjabi music, this reflection is particularly vivid, as it encapsulates the vibrant spirit and diverse heritage of the people of Punjab. However, within this rich tapestry of sounds and rhythms lies a complex narrative that demands critical examination. In recent years, Punjabi music has gained immense popularity not only within the Punjabi community but also on a global scale, due to the widespread reach of digital platforms and the diasporic connections of Punjabi communities across the globe. This newfound visibility has undoubtedly brought attention to the talent and innovation within the Punjabi music industry. However, it has also raised questions about the partial representation of a woman, her objectification, and the perpetuation of gender stereotypes. So, this present book explores these and other pressing issues, examining the gender construction in Punjabi songs, identity of women and their status in the context of contemporary Punjabi music. It delves into the presence of toxic masculinity and patriarchy which suffocates the existence of a female as an independent and free creature of nature.
Through the medium of the compiled papers, the book analyses the complex phenomenon of Punjabi songs which have delineated the representation of a female merely as an object for pleasure and amusement. The question about the bias construction of gender-based narrative in Punjabi songs has been raised because this deteriorating portrayal seems menacing for the existence of an equally created human figure by the Almighty. By amplifying this prejudiced perspective, this book seeks to pose a question on the dominant narratives and fosters a more inclusive understanding of Punjabi music.
Dr. Sangeeta's journey in the academic field is indeed inspiring. She completed her M.A.(Gold Medalist), M. Phil (Gold Medalist) and Ph. D in Music instrumental. She started her career as an Assistant Professor in Music instrumental in Dev Samaj College for Women Ferozepur Punjab. Her accelerating expertise in music,passion for research and dedication for the institution, paved her way for a wonderful journey in the college as the head of the department of Music. For her exceptional insights and approach, she has been chosen Secretary, Faculty of Design and Fine Arts, Panjab University Chandigarh. She is also a member of the Board of Studies, Panjab University Chandigarh. From her academic achievements to her endeavors in exploring new territories like learning French Language, she exemplifies dedication and innovation in her field. She has significantly contributed to the research oriented conferences of national and international repute by presenting her research papers. She has also been consistently contributing to the field of research by publishing a profusion of research papers in renowned national and international journals. Her recognition for broadcasting on AIR reflects her exceptional talent in tone and voice modulation, showcasing her versatile skills. At present, she is rendering her services as an Officiating Principal of Dev Samaj College for Women Ferozepur and the college is touching the zenith of success incessantly.
Music, as an art form, has always reflected the cultural, social, and political landscape of its time. In the case of Punjabi music, this reflection is particularly vivid, as it encapsulates the vibrant spirit and diverse heritage of the people of Punjab. However, within this rich tapestry of sounds and rhythms lies a complex narrative that demands critical examination.
In recent years, Punjabi music has gained immense popularity not only within the Punjabi community but also on a global scale, due to the widespread reach of digital platforms and the diasporic connections of Punjabi communities across the globe. This newfound visibility has undoubtedly brought attention to the talent and innovation within the Punjabi music industry. However, it has also raised questions about the partial representation of a woman, her objectification, and the perpetuation of gender stereotypes.
So, this present book explores these and other pressing issues, examining the gender construction in Punjabi songs, identity of women and their status in the context of contemporary Punjabi music. It delves into the presence of toxic masculinity and patriarchy which suffocates the existence of a female as an independent and free creature of nature.
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