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Join this channel to get access to perks: https://www.youtube.com/channel/UCbwwhiVCC-I14hNr_G3__gg/join To Support Karwaan: The Heritage Exploration Initiative - https://www.buymeacoffee.com/karwaanheritage Do follow us on our Youtube Channel: https://bit.ly/3EkY51p Stay updated with our stories through our social media channels: Website: www.karwaanheritage.in Twitter: https://twitter.com/karwaanheritage Facebook: https://facebook.com/karwaaninitiative Instagram: https://instagram.com/karwaanheritage WhatsApp Group: https://chat.whatsapp.com/HE2FAQ1M8h7AAHr6p9ivNI About Karwaan: One of India's leading Independent student-led history initiatives. It is a collective of students trying to revolutionize the way we approach history. It was started in 2019 and hosted heritage walks in and around Delhi. Since April 2020, we have been organizing online lectures with authors/scholars/historians on our platform and giving students a chance to interact with scholars, and trying to start a dialogue on our past through our posts on Instagram and YouTube. #History #IndianHistory #Lectures #Heritage

Join this channel to get access to perks: https://www.youtube.com/channel/UCbwwhiVCC-I14hNr_G3__gg/join To Support Karwaan: The Heritage Exploration Initiative - https://www.buymeacoffee.com/karwaanheritage Do follow us on our Youtube Channel: https://bit.ly/3EkY51p Stay updated with our stories through our social media channels: Website: www.karwaanheritage.in Twitter: https://twitter.com/karwaanheritage Facebook: https://facebook.com/karwaaninitiative Instagram: https://instagram.com/karwaanheritage WhatsApp Group: https://chat.whatsapp.com/HE2FAQ1M8h7AAHr6p9ivNI About Karwaan: One of India's leading Independent student-led history initiatives. It is a collective of students trying to revolutionize the way we approach history. It was started in 2019 and hosted heritage walks in and around Delhi. Since April 2020, we have been organizing online lectures with authors/scholars/historians on our platform and giving students a chance to interact with scholars, and trying to start a dialogue on our past through our posts on Instagram and YouTube. #History #IndianHistory #Lectures #Heritage

This presentation explores the evolving landscape of Bollywood dance and choreography from the 1990s to the present, a period marked by economic liberalization, globalization, and rapid technological transformations. It examines how Bollywood dance—once confined to cinematic sequences—has expanded into global popular culture, fitness regimes, stage performances, and participatory social media content. Central to this shift are the dancing bodies, gestures, emotions, and gendered expressions that both reflect and shape changing social imaginaries. By analysing the poetics and industrial dynamics of cinematic dance, the study highlights the role of dance as a site of creative labour, cultural negotiation, and commercial enterprise. It underscores the transformation of Bollywood choreography into a transnational phenomenon, shaped by media convergence, economic shifts, and new performance economies.

Dr Savita Kumari currently heads the Department of History of Art at the Indian Institute of Heritage (formerly the National Museum Institute), Noida, Uttar Pradesh. She has been actively involved in research and teaching since 2006 and specializes in Indian art and architecture. She has authored several publications and received national and international fellowships. Her most recent project was documenting the temples of the Kashi Vishwanath Temple Corridor. Dr Kumari worked for the UNESCO Dossiers on Intangible Cultural Heritage prepared by the National Museum Institute in 2009. Some of her notable publications are The Cham Sculptures of Vietnam, Tombs of Delhi: Sultanate Period and Heritage of Haider Ali and Tipu Sultan: Art and Architecture.

Soumik Nandy Majumdar, a faculty member in the Department of History of Art at Kala Bhavana, Santiniketan, has been teaching the history of Indian and East Asian art for the last 25 years. He has graduated from Santiniketan and completed his Masters from Baroda. He has done his Doctoral research on visual literacy of children and continues to conduct workshops on the subject. Majumdar has published several essays in national and international journals, written exhibition catalogues for prominent artists, including Ganesh Haloi, Jogen Chowdhury, Rafiqun Nabi (Bangladesh), Goutam Chowdhury, Jayashree Chakravarty and Debnath Basu. Besides English, he writes regularly in Bangla as well. Significant shows curated by him include 8 Bengal Masters: Miracles Of Existence, on behalf of Akar Prakar at Musee des Arts Asiatiques de Nice, Nice, France, May 2015; Compelling Presence – Jogen Choudhury Retrospective Show at NGMA, Bengaluru; and Jogen Chowdhury Show at Kalakriti, Hyderabad in 2016. He is visiting faculty at reputed institutes including NID (Ahmedabad, Gandhinagar and Vijayawada), IIT - Kanpur, FTII - Pune, SRFTI - Kolkata, and lectures at various other art and design institutions and schools.

Professor Penny is a renowned historian whose work reimagines German history through a global, polycentric lens—challenging conventional narratives and integrating themes of migration, transcultural belonging, and ethnology. His scholarship spans the globe and centuries, offering powerful insights into how German identity has been constructed, contested, and transformed across time and space. Glenn Penny studies histories of belonging, knowledge, and migration, focusing on German speakers and communities worldwide. His work with ethnological museums and deep exploration of German interactions with non-European cultures have earned him numerous accolades, including a Guggenheim Fellowship and fellowships in Berlin and Munich. German History Unbound by H. Glenn Penny presents a bold reimagining of modern German history, covering the period from the 1750s to the present. Rejecting the traditional nation-state-centered approach, Penny draws on insights from historians like James J. Sheehan to propose a polycentric vision of German history—one that embraces the experiences of Germans far beyond Central Europe. The book contends that German history must account for global connections, mobilities, and the lives of German communities in diverse locales such as Austria, Chile, and Russia. It argues that "Germanness" has often been hybrid and fluid, shaped by migration, plural identities, and transcultural interactions. By decentering the nation-state, German History Unbound challenges dominant historical narratives and insists on the intellectual and political necessity of recognizing Germany’s complex past. Rather than seeking a new master narrative, it advocates for multiple, overlapping stories as analytical tools to better understand human motivations and historical realities. In doing so, the book undermines exclusionary forms of nationalism and highlights the rich diversity that has always existed within German identities.

Appealing to history, rather than God, to provide an ultimate judgment about human actions can have a justificatory or consolatory function. The former grants proleptic absolution for acts that may be morally dubious because of their benign consequences, while the latter allows victims in the present to gain a measure of relief by imagining they will be honored by posterity. In both cases, problematic assumptions about “history” and “judgment” call into question their faith that future generations will vindicate their struggles today. The first of these assumptions is that “history” conveys worth by what might be called “victors’ justice,” in which success proves that the winner was morally superior. The second is that “history” is an impersonal process, which can be recounted in a single meta-narrative, rather than an ongoing series of different narratives, which are themselves variable depending on who is doing the narrating. When “history” means the community of historians who recount and analyze the past, there is rarely, if ever a grand consensus agreed upon by all. Finally, whereas the judgment of God is assumed to be qualitative and individual, perfect for each case, human judgment depends either on deontological rules, which may not be universal, or by analogies that are only roughly equivalent. In either case, the judgment can never transcend the fallibilities of those doing the judging and approach the perfection of a divine Last Judgment. Perhaps the most plausible version of “history will judge” is the realization that we are judged in the present by the still admirable aspirations of the past, which have yet to be realized. About the Speaker: Professor Martin Evan Jay is one of the most eminent intellectual historians of our time. A celebrated scholar of the Frankfurt School, critical theory, and historiography, he is Sidney Hellman Ehrman Professor of History Emeritus at the University of California, Berkeley, and a Member of the American Philosophical Society. With seminal works such as The Dialectical Imagination, Downcast Eyes, Refractions of Violence, and most recently, Immanent Critiques: The Frankfurt School Under Pressure (2023), Professor Jay has shaped generations of thought across disciplines. His ongoing research delves into the intersections of nominalism and photography, while his writing continues to appear in renowned journals like Salmagundi.

Karwaan Indian Art Appreciation Workshop 2025 - Guest Lecture by Dr. Ursula Weekes Ursula Weekes is a Visiting Lecturer at the Courtauld Institute of Art, teaching on Mughal Painting. She is currently writing a book on the “The Great Mughals and the Art of Europe.” Previously she taught at the Jawaharlal Nehru University in Delhi and held a Commonwealth Post-doctoral Fellowship at Indira Gandhi National Centre for Arts in Delhi. She read History at St John’s College Cambridge. Her PhD at the Courtauld Institute was in fifteenth-century century European prints, published as Early Engravers and their Public (Harvey Miller 2004). She has also worked as Supervisor of the Print Room at the Ashmolean Museum in Oxford where she published Techniques of Drawing from the Fifteenth to Nineteenth Centuries (1999).