This study explores the leadership styles inherent in the tribal indigenous knowledge systems of women’s tribes in Purulia, India. Focusing on their roles in community development, resource management, cultural preservation, and social governance, the research examines how these women embody unique leadership principles rooted in their traditions. By adopting a multidisciplinary approach, the study investigates the interconnectedness of cultural values, decision-making processes, and collective responsibility within these tribes. The findings highlight how these leadership styles contribute to sustainable development, gender equity, and resilience against external pressures, offering valuable insights for modern governance systems. This study underscores the importance of integrating indigenous perspectives into broader discussions on leadership and development.

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Any literature read and enjoyed by children falls under the category of children’s literature. Fairy tale happens to be one such genre which is read and enjoyed by children. Therefore, it falls under the category of children’s literature. However, Children’s literature, apart from being the source of entertainment and enjoyment for children, may also work indirectly to form and influence children’s thought process and their attitudes towards life. As a result, certain notions could be passed on from one generation to another through such fairy tales. The fixed or over-generalised ideas which passed from one generation to another in society may be termed stereotypes. How these stereotypes are presented and how they are reinforced again and again in such fairy tales has been explored through the comparison of various Cinderella versions, which include Charles Perrault’s Cinderilla, or The Little Glass Slipper, Jacob and Wilhelm Grimm’s Aschenputtel/ Cinderella and Gail Carson Levine’s Ella Enchanted. This paper will explore whether stereotypes are presented and reinforced through the comparative reading of Brother Grimm’s Cinderella, Perrault’s Cinderilla and Gail Carson Levine’s Ella in terms of the physical attributes of some of the positive and negative female characters. This paper is an attempt to examine whether the conventional characteristics in terms of the appearance of the female characters are followed in all of these versions or not. Moreover, when Levine’s Ella may be put under the category of a modern Cinderella tale by some critics, it would be interesting to examine whether the female characters of this modern tale are presented conventionally in terms of their looks or differ from the appearance of female characters presented in ancient versions of the Cinderella tale.  

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A computer-generated composition, software programs, site-specific elevation and climatic data from Ag. Ioannis, Prodromos, Farsala, Panagia, and Kastro locations in the province of Thessaly were vital in constructing the various compositions between 2013 – 2024. Grains from musique concrète and electronic sounds created a powerful way to experience complex micro-sound phenomena. Electronic waveforms are sinusoids at specified frequencies. Sampled acoustic waveforms are read from locations with or without frequency alterations. Together, they create sound diagrams of macro-environmental communication paths. The process derives its sound complexity from the amount of control data it receives. The sourcing, classification and categorisation of data from natural environments lead to inherent errors with data limitations. Extra care is needed to accurately represent data in analysing ecological dynamics, to engage and minimise discrepancies within systems.

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 As Richard Schechner suggests in Performance Studies, gender is essentially a performance.  In daily life, gender is a performance based on one’s life experience and gender roles assigned by accepted social norms. The concept of gender first makes sense when being performed. Similarly, performance on stage, including dances, is a demonstration of gender and sexuality. As Judith Butler suggests in Gender Trouble, ‘gender is the repeated stylization of the body, a set of repeated acts within a highly rigid regulatory frame’ (p.33). Furthermore, the stylization of gender performance in dance also reflects the consistency or transformation in people’s perspective on gender norms. This essay will analyze the gender representations in different dances with specific examples of choreographers or choreographies. Some of them are conforming while some are subversive to the prevailing gender norms characteristic of patriarchy and heterosexuality, but all of them speak about the stylization of body and repeated acts in dance that give birth to gender performativity and conceptualize ‘gender’. 

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