Paper Title
Transforming Asian Aesthetics with Management Strategy: With Special Reference to Indian and African Esthetics

Considering the vast nature of African and Indian cultures, with its tremendous diversity of topography, people, dialects and traditions, the music of Africa and India is barely known abroad. Indian arts about the aesthetic flavor of any visual, literary or musical work, evokes an emotion or feeling in the reader or audience that cannot be described. Whereas the uninitiated might tend to regard African and Indian music as homogeneous, it is essential that any such notion be rejected. A large portion ofAfrican and Indian music has been transmitted from one generation to another through an oral tradition, the performers and composers of African and Indian music. Gerard Manley Hopkins, a priest-poet of the nineteenth century, is renowned for his technical innovations and originality of style. Gerard Manley Hopkins remained almost unknown as a poet during his lifetime, even many years after his death in 1889. His Aesthetics is different from that of the Victorians as it is a poetic principle that attempts to reconcile the immanent and transcendent aspects of the ultimate being. In the theories of Indian poetics, ancient scholars state that the effectiveness of a literary composition depends both on what is stated and how it is stated (words, grammar, rhythm), that is the suggested meaning and the experience of rasa. Among the most celebrated in Hindu traditions on the theory of poetics and literary works, are 5th-century Bhartrhari and the 9th-century Anandavardhana, but the theoretical tradition on integrating rasa into literary artworks likely goes back to a more ancient period. This is generally discussed under the Indian concepts of Dhvani, Sabdatattva and Sphota. Many non-African musicologists have attempted to notate, classify, analyze, and document African melodies and rhythms, but the methods and procedures employed remains a matter of experimentation and controversy. A study of Indian and African structures must pay direct attention to broad range of components, like instrumental, history, metaphysics...etc. But when we think of value addition for the survival of the artists and promoters of these cultures, considering socio-economic and environmental barriers, it is the need of the hour that one should understand the significance of creating more value and interest for these cultures. This in-depth review examines the proximity of how important is it for the African and Indian Aesthetics to transform and diverse their heritage in creating more value with the help of management strategies in enhancing the value for these Aesthetics in a more professional way. Keywords - India, African, Aesthetics, Traditions, value addition, survival.