Field: Asian Cultures and Languages
Project Title: Asceticism, Gender, and the State: Saints of the Kashmiri Sultanate
Affiliated Institution: University of Texas at Austin
Fellowship Type: Pre-Doctoral
Abstract
Field: Anthropology
Project Title: Pastoral Landscapes of the Indus Civilization: Research and Training in Pakistan Archaeology
Affiliated Institution: Albion College
Fellowship Type: Post-Doctorate
Abstract
Field: Anthropology
Project Title: Esoteric Islamic Practices, Affective Space, and Money Management in Cotemporary Pakistan
Affiliated Institution: University of Texas at Austin
Fellowship Type: Pre-Doctorate
Abstract
Field: Anthropology
Project Title: Voicing the Indus Delta in Colonial History
Affiliated Institution: University of Texas at Austin
Fellowship Type: Pre-Doctorate
Abstract
Project Title: Networks of Decolonization: Britain’s Withdrawal from South Asia and Palestine
Affiliated Institution: University of Colorado
Abstract
Project Title:
Affiliated Institution: University of Texas at Austin
Abstract
Project Title: The Secular Modern at a Traditional Islamic Seminary – Ethnographic case-study of the Bhera madrasa
Affiliated Institution: Harvard University
Abstract
Project Title: Thal Development Authority and the Contentious Promise of National Development
Affiliated Institution: University of Texas at Austin
Abstract
Project Title: (Re) Constructing Lahore: Eduacation, Industry, and the Photographic Eye
Affiliated Institution: Sarah Lawrence College
Abstract
Project Title: From the Classroom to the Nation and Beyond: The Rise of Islamism Among Students and Youth in Pakistan, 1971—1989
Affiliated Institution: Columbia University
Abstract
Project Title: Conflicted Isamisms: Shariah, Decision-Making, and Anti-State Agitation Among Pakistani Islamist Parties
Affiliated Institution: John Hopkins University
Abstract
In this book, Iftikhar Dadi traces the development of modernism in 20th century South Asian art through a series of case studies of Muslim artists, including Abdur Rahman Chughtai, Sadequain, and a number of other important Pakistani artists. Modernism in art, as Dadi acknowledges, is a world-wide phenomenon, and yet, as he shows with careful research and analysis, the particularities of the development and evolution of modernist art in Pakistan have been closely tied to its particular historical context. Pakistan’s art, he argues, cannot be understood except in relationship to the broader social, political and intellectual frameworks in which it developed. Dadi’s exposition of the tensions between self and society, between the traditional and the cosmopolitan, and between the past and the present provides a dense backdrop for confronting and interpreting Pakistan’s modern art and the artists who produced it. His book is critically important for bringing Pakistan’s art squarely into the framework of wider international discussions about modernist art. Perhaps more important, this book brings the study of art into larger debates about Pakistan’s history and culture.