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In this article, I bring the multidimensional sensory medium of music into the anthropological conversation on meaning and embodiment Based on a study of the sarangi that is frankly experiential as well as broadly referenced (India, Pakistan, North America), I explore how an instrument can become an icon of intense affect and performance contexts privileged sites for enacting and contesting cultural memories in the face of hegemonic resign ification across India's political transformation from feudal‐colonial to urban‐bourgeois dominance. [meaning, embodiment, affect, memory, performance, ethnography, ethnomusicology, India, Pakistan, sarangi, music, instrument, nautch]
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Regula Qureshi (2000) studied this question.
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