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	<title>MLA Commons | Swati Arora | Activity</title>
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				<title>Swati Arora&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1898064/</link>
				<pubDate>Fri, 06 Sep 2024 15:24:33 -0400</pubDate>

				
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				<title>Swati Arora deposited A manifesto to decentre theatre and performance studies in the group Postcolonial Studies</title>
				<link>https://hcommons.org/activity/p/1856303/</link>
				<pubDate>Thu, 24 Aug 2023 01:13:25 -0400</pubDate>

									<content:encoded><![CDATA[<p>With the climate of Brexit, xenophobia and white supremacy on the rise, health and safety of Black and Global Majority people under threat during the spread of Covid in the UK and elsewhere, a discussion of colonialism, migration, borders, and equality – in the classrooms and outside – is more pertinent than ever. Situating the ongoing Dec&hellip;<span class="activity-read-more" id="activity-read-more-1856303"><a href="https://hcommons.org/activity/p/1856303/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited A manifesto to decentre theatre and performance studies in the group Performance Studies</title>
				<link>https://hcommons.org/activity/p/1856302/</link>
				<pubDate>Thu, 24 Aug 2023 01:13:23 -0400</pubDate>

									<content:encoded><![CDATA[<p>With the climate of Brexit, xenophobia and white supremacy on the rise, health and safety of Black and Global Majority people under threat during the spread of Covid in the UK and elsewhere, a discussion of colonialism, migration, borders, and equality – in the classrooms and outside – is more pertinent than ever. Situating the ongoing Dec&hellip;<span class="activity-read-more" id="activity-read-more-1856302"><a href="https://hcommons.org/activity/p/1856302/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited A manifesto to decentre theatre and performance studies in the group GeoHumanities</title>
				<link>https://hcommons.org/activity/p/1856301/</link>
				<pubDate>Thu, 24 Aug 2023 01:13:22 -0400</pubDate>

									<content:encoded><![CDATA[<p>With the climate of Brexit, xenophobia and white supremacy on the rise, health and safety of Black and Global Majority people under threat during the spread of Covid in the UK and elsewhere, a discussion of colonialism, migration, borders, and equality – in the classrooms and outside – is more pertinent than ever. Situating the ongoing Dec&hellip;<span class="activity-read-more" id="activity-read-more-1856301"><a href="https://hcommons.org/activity/p/1856301/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited A manifesto to decentre theatre and performance studies in the group Feminist Humanities</title>
				<link>https://hcommons.org/activity/p/1856300/</link>
				<pubDate>Thu, 24 Aug 2023 01:13:13 -0400</pubDate>

									<content:encoded><![CDATA[<p>With the climate of Brexit, xenophobia and white supremacy on the rise, health and safety of Black and Global Majority people under threat during the spread of Covid in the UK and elsewhere, a discussion of colonialism, migration, borders, and equality – in the classrooms and outside – is more pertinent than ever. Situating the ongoing Dec&hellip;<span class="activity-read-more" id="activity-read-more-1856300"><a href="https://hcommons.org/activity/p/1856300/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1856144/</link>
				<pubDate>Wed, 23 Aug 2023 10:38:41 -0400</pubDate>

				
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				<title>Swati Arora deposited A manifesto to decentre theatre and performance studies</title>
				<link>https://hcommons.org/activity/p/1856143/</link>
				<pubDate>Wed, 23 Aug 2023 10:36:41 -0400</pubDate>

									<content:encoded><![CDATA[<p>With the climate of Brexit, xenophobia and white supremacy on the rise, health and safety of Black and Global Majority people under threat during the spread of Covid in the UK and elsewhere, a discussion of colonialism, migration, borders, and equality – in the classrooms and outside – is more pertinent than ever. Situating the ongoing Dec&hellip;<span class="activity-read-more" id="activity-read-more-1856143"><a href="https://hcommons.org/activity/p/1856143/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1840921/</link>
				<pubDate>Wed, 12 Apr 2023 11:04:01 -0400</pubDate>

				
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				<title>Swati Arora deposited Fugitive aesthetics: performing refusal in four acts in the group Urban Studies</title>
				<link>https://hcommons.org/activity/p/1793288/</link>
				<pubDate>Thu, 08 Sep 2022 02:23:55 -0400</pubDate>

									<content:encoded><![CDATA[<p>This chapter discusses the aesthetic of refusal as it is articulated in contemporary performances in India and South Africa while debates around the #MeToo movement continue to agitate and exhaust womxn around the globe. In the aftermath of the Indian Supreme Court acquitting the Chief Justice of India of all sexual harassment charges in May 2019,&hellip;<span class="activity-read-more" id="activity-read-more-1793288"><a href="https://hcommons.org/activity/p/1793288/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Fugitive aesthetics: performing refusal in four acts in the group Postcolonial Studies</title>
				<link>https://hcommons.org/activity/p/1793287/</link>
				<pubDate>Thu, 08 Sep 2022 02:23:50 -0400</pubDate>

									<content:encoded><![CDATA[<p>This chapter discusses the aesthetic of refusal as it is articulated in contemporary performances in India and South Africa while debates around the #MeToo movement continue to agitate and exhaust womxn around the globe. In the aftermath of the Indian Supreme Court acquitting the Chief Justice of India of all sexual harassment charges in May 2019,&hellip;<span class="activity-read-more" id="activity-read-more-1793287"><a href="https://hcommons.org/activity/p/1793287/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Fugitive aesthetics: performing refusal in four acts in the group Performance Studies</title>
				<link>https://hcommons.org/activity/p/1793286/</link>
				<pubDate>Thu, 08 Sep 2022 02:23:49 -0400</pubDate>

									<content:encoded><![CDATA[<p>This chapter discusses the aesthetic of refusal as it is articulated in contemporary performances in India and South Africa while debates around the #MeToo movement continue to agitate and exhaust womxn around the globe. In the aftermath of the Indian Supreme Court acquitting the Chief Justice of India of all sexual harassment charges in May 2019,&hellip;<span class="activity-read-more" id="activity-read-more-1793286"><a href="https://hcommons.org/activity/p/1793286/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Fugitive aesthetics: performing refusal in four acts in the group GeoHumanities</title>
				<link>https://hcommons.org/activity/p/1793285/</link>
				<pubDate>Thu, 08 Sep 2022 02:23:48 -0400</pubDate>

									<content:encoded><![CDATA[<p>This chapter discusses the aesthetic of refusal as it is articulated in contemporary performances in India and South Africa while debates around the #MeToo movement continue to agitate and exhaust womxn around the globe. In the aftermath of the Indian Supreme Court acquitting the Chief Justice of India of all sexual harassment charges in May 2019,&hellip;<span class="activity-read-more" id="activity-read-more-1793285"><a href="https://hcommons.org/activity/p/1793285/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Fugitive aesthetics: performing refusal in four acts in the group Feminist Humanities</title>
				<link>https://hcommons.org/activity/p/1793284/</link>
				<pubDate>Thu, 08 Sep 2022 02:23:39 -0400</pubDate>

									<content:encoded><![CDATA[<p>This chapter discusses the aesthetic of refusal as it is articulated in contemporary performances in India and South Africa while debates around the #MeToo movement continue to agitate and exhaust womxn around the globe. In the aftermath of the Indian Supreme Court acquitting the Chief Justice of India of all sexual harassment charges in May 2019,&hellip;<span class="activity-read-more" id="activity-read-more-1793284"><a href="https://hcommons.org/activity/p/1793284/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Fugitive aesthetics: performing refusal in four acts</title>
				<link>https://hcommons.org/activity/p/1793135/</link>
				<pubDate>Wed, 07 Sep 2022 16:28:24 -0400</pubDate>

									<content:encoded><![CDATA[<p>This chapter discusses the aesthetic of refusal as it is articulated in contemporary performances in India and South Africa while debates around the #MeToo movement continue to agitate and exhaust womxn around the globe. In the aftermath of the Indian Supreme Court acquitting the Chief Justice of India of all sexual harassment charges in May 2019,&hellip;<span class="activity-read-more" id="activity-read-more-1793135"><a href="https://hcommons.org/activity/p/1793135/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1792146/</link>
				<pubDate>Wed, 31 Aug 2022 12:20:27 -0400</pubDate>

				
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				<title>Swati Arora&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1774184/</link>
				<pubDate>Tue, 08 Mar 2022 18:37:43 -0500</pubDate>

				
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				<title>Swati Arora deposited Walk in India and South Africa: notes towards a decolonial and transnational feminist politics in the group Urban Studies</title>
				<link>https://hcommons.org/activity/p/1773804/</link>
				<pubDate>Fri, 04 Mar 2022 02:24:44 -0500</pubDate>

									<content:encoded><![CDATA[<p>The essay discusses Maya Rao&#8217;s Walk and The Mothertongue Project&#8217;s Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The two performances are instances of artistic responses to sexualized violence in India and South Africa as they engage with the politics of walking in the&hellip;<span class="activity-read-more" id="activity-read-more-1773804"><a href="https://hcommons.org/activity/p/1773804/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Walk in India and South Africa: notes towards a decolonial and transnational feminist politics in the group Postcolonial Studies</title>
				<link>https://hcommons.org/activity/p/1773803/</link>
				<pubDate>Fri, 04 Mar 2022 02:24:38 -0500</pubDate>

									<content:encoded><![CDATA[<p>The essay discusses Maya Rao&#8217;s Walk and The Mothertongue Project&#8217;s Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The two performances are instances of artistic responses to sexualized violence in India and South Africa as they engage with the politics of walking in the&hellip;<span class="activity-read-more" id="activity-read-more-1773803"><a href="https://hcommons.org/activity/p/1773803/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Walk in India and South Africa: notes towards a decolonial and transnational feminist politics in the group Performance Studies</title>
				<link>https://hcommons.org/activity/p/1773802/</link>
				<pubDate>Fri, 04 Mar 2022 02:24:38 -0500</pubDate>

									<content:encoded><![CDATA[<p>The essay discusses Maya Rao&#8217;s Walk and The Mothertongue Project&#8217;s Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The two performances are instances of artistic responses to sexualized violence in India and South Africa as they engage with the politics of walking in the&hellip;<span class="activity-read-more" id="activity-read-more-1773802"><a href="https://hcommons.org/activity/p/1773802/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Walk in India and South Africa: notes towards a decolonial and transnational feminist politics in the group GeoHumanities</title>
				<link>https://hcommons.org/activity/p/1773801/</link>
				<pubDate>Fri, 04 Mar 2022 02:24:37 -0500</pubDate>

									<content:encoded><![CDATA[<p>The essay discusses Maya Rao&#8217;s Walk and The Mothertongue Project&#8217;s Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The two performances are instances of artistic responses to sexualized violence in India and South Africa as they engage with the politics of walking in the&hellip;<span class="activity-read-more" id="activity-read-more-1773801"><a href="https://hcommons.org/activity/p/1773801/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Walk in India and South Africa: notes towards a decolonial and transnational feminist politics in the group Feminist Humanities</title>
				<link>https://hcommons.org/activity/p/1773800/</link>
				<pubDate>Fri, 04 Mar 2022 02:24:27 -0500</pubDate>

									<content:encoded><![CDATA[<p>The essay discusses Maya Rao&#8217;s Walk and The Mothertongue Project&#8217;s Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The two performances are instances of artistic responses to sexualized violence in India and South Africa as they engage with the politics of walking in the&hellip;<span class="activity-read-more" id="activity-read-more-1773800"><a href="https://hcommons.org/activity/p/1773800/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Walking at Midnight: Women and Danger on Delhi’s Streets in the group Urban Studies</title>
				<link>https://hcommons.org/activity/p/1773799/</link>
				<pubDate>Fri, 04 Mar 2022 02:24:23 -0500</pubDate>

									<content:encoded><![CDATA[<p>I discuss the walking practice of Delhi-based artist Mallika Taneja in the context of its engagement with, and intervention in, the contemporary conversations on sexualised violence, gender, space and mobility in India. Taneja’s work is part of a variety of feminist activism to take place in India since the horrific gang rape of Jyoti Singh in D&hellip;<span class="activity-read-more" id="activity-read-more-1773799"><a href="https://hcommons.org/activity/p/1773799/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">2d10f2fc39e2e010c680a39193403c6c</guid>
				<title>Swati Arora deposited Walking at Midnight: Women and Danger on Delhi’s Streets in the group Postcolonial Studies</title>
				<link>https://hcommons.org/activity/p/1773798/</link>
				<pubDate>Fri, 04 Mar 2022 02:24:11 -0500</pubDate>

									<content:encoded><![CDATA[<p>I discuss the walking practice of Delhi-based artist Mallika Taneja in the context of its engagement with, and intervention in, the contemporary conversations on sexualised violence, gender, space and mobility in India. Taneja’s work is part of a variety of feminist activism to take place in India since the horrific gang rape of Jyoti Singh in D&hellip;<span class="activity-read-more" id="activity-read-more-1773798"><a href="https://hcommons.org/activity/p/1773798/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Walking at Midnight: Women and Danger on Delhi’s Streets in the group Performance Studies</title>
				<link>https://hcommons.org/activity/p/1773797/</link>
				<pubDate>Fri, 04 Mar 2022 02:24:08 -0500</pubDate>

									<content:encoded><![CDATA[<p>I discuss the walking practice of Delhi-based artist Mallika Taneja in the context of its engagement with, and intervention in, the contemporary conversations on sexualised violence, gender, space and mobility in India. Taneja’s work is part of a variety of feminist activism to take place in India since the horrific gang rape of Jyoti Singh in D&hellip;<span class="activity-read-more" id="activity-read-more-1773797"><a href="https://hcommons.org/activity/p/1773797/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">11e1bf58e222f6ba1c012d413c50131a</guid>
				<title>Swati Arora deposited Walking at Midnight: Women and Danger on Delhi’s Streets in the group GeoHumanities</title>
				<link>https://hcommons.org/activity/p/1773796/</link>
				<pubDate>Fri, 04 Mar 2022 02:24:06 -0500</pubDate>

									<content:encoded><![CDATA[<p>I discuss the walking practice of Delhi-based artist Mallika Taneja in the context of its engagement with, and intervention in, the contemporary conversations on sexualised violence, gender, space and mobility in India. Taneja’s work is part of a variety of feminist activism to take place in India since the horrific gang rape of Jyoti Singh in D&hellip;<span class="activity-read-more" id="activity-read-more-1773796"><a href="https://hcommons.org/activity/p/1773796/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Walking at Midnight: Women and Danger on Delhi’s Streets in the group Feminist Humanities</title>
				<link>https://hcommons.org/activity/p/1773795/</link>
				<pubDate>Fri, 04 Mar 2022 02:23:38 -0500</pubDate>

									<content:encoded><![CDATA[<p>I discuss the walking practice of Delhi-based artist Mallika Taneja in the context of its engagement with, and intervention in, the contemporary conversations on sexualised violence, gender, space and mobility in India. Taneja’s work is part of a variety of feminist activism to take place in India since the horrific gang rape of Jyoti Singh in D&hellip;<span class="activity-read-more" id="activity-read-more-1773795"><a href="https://hcommons.org/activity/p/1773795/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Walking at Midnight: Women and Danger on Delhi’s Streets</title>
				<link>https://hcommons.org/activity/p/1773739/</link>
				<pubDate>Thu, 03 Mar 2022 16:50:28 -0500</pubDate>

									<content:encoded><![CDATA[<p>I discuss the walking practice of Delhi-based artist Mallika Taneja in the context of its engagement with, and intervention in, the contemporary conversations on sexualised violence, gender, space and mobility in India. Taneja’s work is part of a variety of feminist activism to take place in India since the horrific gang rape of Jyoti Singh in D&hellip;<span class="activity-read-more" id="activity-read-more-1773739"><a href="https://hcommons.org/activity/p/1773739/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora deposited Walk in India and South Africa: notes towards a decolonial and transnational feminist politics</title>
				<link>https://hcommons.org/activity/p/1773735/</link>
				<pubDate>Thu, 03 Mar 2022 16:39:04 -0500</pubDate>

									<content:encoded><![CDATA[<p>The essay discusses Maya Rao&#8217;s Walk and The Mothertongue Project&#8217;s Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The two performances are instances of artistic responses to sexualized violence in India and South Africa as they engage with the politics of walking in the&hellip;<span class="activity-read-more" id="activity-read-more-1773735"><a href="https://hcommons.org/activity/p/1773735/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1773728/</link>
				<pubDate>Thu, 03 Mar 2022 16:17:09 -0500</pubDate>

				
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				<title>Swati Arora&#039;s profile was updated</title>
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				<title>Swati Arora&#039;s profile was updated</title>
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				<title>Swati Arora&#039;s profile was updated</title>
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				<title>Swati Arora&#039;s profile was updated</title>
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				<title>Swati Arora&#039;s profile was updated</title>
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				<title>Swati Arora&#039;s profile was updated</title>
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				<pubDate>Tue, 23 Jul 2019 16:27:10 -0400</pubDate>

									<content:encoded><![CDATA[<p>The essay analyzes a contemporary Indian feminist performance, Thoda Dhyaan Se (A Little Carefully, 2013), by framing it in the spatial ecosystem of the city of Delhi and explores its engagement with the feminist movement and the national imaginary of India. It examines the workings of the cultural economy of the city to discuss the effect of its&hellip;<span class="activity-read-more" id="activity-read-more-1658414"><a href="https://hcommons.org/activity/p/1658414/" rel="nofollow ugc">[Read more]</a></span></p>
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									<content:encoded><![CDATA[<p>The essay analyzes a contemporary Indian feminist performance, Thoda Dhyaan Se (A Little Carefully, 2013), by framing it in the spatial ecosystem of the city of Delhi and explores its engagement with the feminist movement and the national imaginary of India. It examines the workings of the cultural economy of the city to discuss the effect of its&hellip;<span class="activity-read-more" id="activity-read-more-1658413"><a href="https://hcommons.org/activity/p/1658413/" rel="nofollow ugc">[Read more]</a></span></p>
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									<content:encoded><![CDATA[<p>The essay analyzes a contemporary Indian feminist performance, Thoda Dhyaan Se (A Little Carefully, 2013), by framing it in the spatial ecosystem of the city of Delhi and explores its engagement with the feminist movement and the national imaginary of India. It examines the workings of the cultural economy of the city to discuss the effect of its&hellip;<span class="activity-read-more" id="activity-read-more-1658412"><a href="https://hcommons.org/activity/p/1658412/" rel="nofollow ugc">[Read more]</a></span></p>
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									<content:encoded><![CDATA[<p>The essay analyzes a contemporary Indian feminist performance, Thoda Dhyaan Se (A Little Carefully, 2013), by framing it in the spatial ecosystem of the city of Delhi and explores its engagement with the feminist movement and the national imaginary of India. It examines the workings of the cultural economy of the city to discuss the effect of its&hellip;<span class="activity-read-more" id="activity-read-more-1658411"><a href="https://hcommons.org/activity/p/1658411/" rel="nofollow ugc">[Read more]</a></span></p>
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									<content:encoded><![CDATA[<p>The essay analyzes a contemporary Indian feminist performance, Thoda Dhyaan Se (A Little Carefully, 2013), by framing it in the spatial ecosystem of the city of Delhi and exploring its engagement with the feminist movement as well as the national imaginary of India. It highlights the workings of the cultural economy of the city, which is defined&hellip;<span class="activity-read-more" id="activity-read-more-1657584"><a href="https://hcommons.org/activity/p/1657584/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Swati Arora&#039;s profile was updated</title>
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				<title>Swati Arora&#039;s profile was updated</title>
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