Prologue
1. The Moulding of the MUSE
2. The Moulding of the MUSE: I. Bharat Bhavan and the Art vs. Ethnography Discourse
3. The Moulding of the MUSE: II. Jangarh’s ‘Discovery’
4. The Moulding of the MUSE: III. Multiple Mediations and the ‘Secularising’ Processes in Jangarh’s Work
5. The Moulding of the MUSE: IV. Visualising his Gods
6. The Moulding of the MUSE: V. Printmaking
7. The Moulding of the MUSE: VI. Jangarh, Theatre and Music
8. The Moulding of the MUSE: VII. The Vidhan Bhavan Mural Project (1996) and the Consolidation of the Pardhan Idiom of Painting
9. The Moulding of the MUSE: VIII. The Narrative Turn
10. The Moulding of the MUSE: IX. Retrieving the World Left Behind: A Place from Where to Speak
11. The Moulding of the MUSE: X. A Conjuror’s Archive
12. TRAPPED IN CROSSING
13. TRAPPED IN CROSSING: I. Jangarh’s Letter to his Mother
14. TRAPPED IN CROSSING: II. Jangarh’s Letter to his Wife, Nankushiya
15. TRAPPED IN CROSSING: III. The Letter from the Mithila Museum, Japan
AFTERWORD
AFTERWORD: I. Ram Singh Urveti
AFTERWORD: II. Anand Shyam
AFTERWORD: III. Bhajju Shyam
AFTERWORD: IV. Narmada Prasad Tekam
AFTERWORD: V. Mayank Shyam
AFTERWORD: VI. Dileep Shyam
BIBLIOGRAPHY
ACKNOWLEDGEMENTS
