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Sumangala Damodaran

Biographic Data

ID1380642
NAMESumangala Damodaran
GIVEN NAMESSumangala
FAMILY NAMEDamodaran
SIGNATUREDAMODARAN S
AFFILIATIONSAmbedkar University Delhi
VERIFIEDNo
TOTAL WORKS6
TOTAL CITATIONS9
AUTHOR COUNT6
EDITOR COUNT0
FIRST PUBLICATION YEAR2015
LATEST PUBLICATION YEAR2025
H-INDEX2
  • BR 124/2023 - wl-1893- H-Pop

    Sumangala Damodaran•ARTICLE•Economic and political…•2025

    Purohit, Kunal (2023); H-POP: The Secretive World of Hindutva Pop Stars, Gurugram: HarperCollins Publishers; pp xx + 283, ₹ 499

  • But don’t we all play the same cello? Music as metaphor, music as passion

    Sumangala Damodaran•ARTICLE•Journal of Contemporary African…•2023•References: 1

    Imagine me sitting in my room. Yes, I am in my room holding a cello and a bow, I am producing sounds. As I am fingering my instrument, it is obvious that I would expect all foreign visitors, includ

  • Introduction

    Sumangala Damodaran•ARTICLE•Review of Agrarian Studies•2019

    Community/Rural/Urban Development, International Development

  • Protest and Music

    Sumangala Damodaran•BOOK•Civil Disobedience and…•2016•Cited by: 4

    The relationship between music and politics and specifically that between music and protest has been relatively under-researched in the social sciences in a systematic manner, even if actual experiences of music being used to express protest have been innumerable. Further, the conceptual analysis that has been thrown up from the limited work that is available focuses mostly on Euro-American experiences with protest music. However, in societies wh…

  • The musical journey - re-centring AfroAsia through an arc of musical sorrow

    Sumangala Damodaran, Ari Sitas•ARTICLE•Critical Arts•2016•Cited by: 3•References: 1

    The article weaves together the historical journey of a set of lament-like musical tropes from the seventh century AD to the 15th, to trace the commonalities in composition and performance. It argues that key to this transmission were women in servitude or slavery, and begins to explore the role of Africans in this long-distance transfer of symbolic goods

  • The Chimera of Inclusive Growth

    Open Access•Sumangala Damodaran•ARTICLE•Development and Change•2015•Cited by: 2•References: 3

  • Protest and Music

    Sumangala Damodaran•BOOK•Civil Disobedience and…•2016•Cited by: 4

    The relationship between music and politics and specifically that between music and protest has been relatively under-researched in the social sciences in a systematic manner, even if actual experiences of music being used to express protest have been innumerable. Further, the conceptual analysis that has been thrown up from the limited work that is available focuses mostly on Euro-American experiences with protest music. However, in societies wh…

  • The musical journey - re-centring AfroAsia through an arc of musical sorrow

    Sumangala Damodaran, Ari Sitas•ARTICLE•Critical Arts•2016•Cited by: 3•References: 1

    The article weaves together the historical journey of a set of lament-like musical tropes from the seventh century AD to the 15th, to trace the commonalities in composition and performance. It argues that key to this transmission were women in servitude or slavery, and begins to explore the role of Africans in this long-distance transfer of symbolic goods

  • The Chimera of Inclusive Growth

    Open Access•Sumangala Damodaran•ARTICLE•Development and Change•2015•Cited by: 2•References: 3

  • The Chimera of Inclusive Growth

    Open Access•Sumangala Damodaran•ARTICLE•Development and Change•2015•Cited by: 2•References: 3

  • Protest and Music

    Sumangala Damodaran•BOOK•Civil Disobedience and…•2016•Cited by: 4

    The relationship between music and politics and specifically that between music and protest has been relatively under-researched in the social sciences in a systematic manner, even if actual experiences of music being used to express protest have been innumerable. Further, the conceptual analysis that has been thrown up from the limited work that is available focuses mostly on Euro-American experiences with protest music. However, in societies wh…

  • The musical journey - re-centring AfroAsia through an arc of musical sorrow

    Sumangala Damodaran, Ari Sitas•ARTICLE•Critical Arts•2016•Cited by: 3•References: 1

    The article weaves together the historical journey of a set of lament-like musical tropes from the seventh century AD to the 15th, to trace the commonalities in composition and performance. It argues that key to this transmission were women in servitude or slavery, and begins to explore the role of Africans in this long-distance transfer of symbolic goods

  • Introduction

    Sumangala Damodaran•ARTICLE•Review of Agrarian Studies•2019

    Community/Rural/Urban Development, International Development

  • But don’t we all play the same cello? Music as metaphor, music as passion

    Sumangala Damodaran•ARTICLE•Journal of Contemporary African…•2023•References: 1

    Imagine me sitting in my room. Yes, I am in my room holding a cello and a bow, I am producing sounds. As I am fingering my instrument, it is obvious that I would expect all foreign visitors, includ

  • BR 124/2023 - wl-1893- H-Pop

    Sumangala Damodaran•ARTICLE•Economic and political…•2025

    Purohit, Kunal (2023); H-POP: The Secretive World of Hindutva Pop Stars, Gurugram: HarperCollins Publishers; pp xx + 283, ₹ 499

Art (5 works) · Aesthetics (4 works) · Sociology (4 works) · Music History and Culture (3 works) · Political science (3 works) · Visual arts (3 works) · Diverse Musicological Studies (2 works) · Law (2 works) · Law (2 works) · Philosophy (2 works)

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