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A Synonym to Conservation of Intangible Cultural Heritage: Folkland, International Centre for Folklore and Culture, Heading for Its 30Th Anniversary
A Synonym to Conservation of Intangible Cultural Heritage: Folkland, International Centre for Folklore and Culture, Heading for Its 30th Anniversary V. Jayarajan Folkland, International Centre for Folklore and Culture Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture. Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows: 1. An international center for folklore and culture. 2. A cultural organization with clearly defined objectives and targets for research and the promotion of folk arts. Folkland has branched out and reached far and wide into almost every nook and corner of the world. The center has been credited with organizing many a festival on folk arts or workshop on folklore, culture, linguistics, etc. -
Particulars of Some Temples of Kerala Contents Particulars of Some
Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ........................................................................................................... -
PONNANI PEPPER PROJECT History Ponnani Is Popularly Known As “The Mecca of Kerala”
PONNANI PEPPER PROJECT HISTORY Ponnani is popularly known as “the Mecca of Kerala”. As an ancient harbour city, it was a major trading hub in the Malabar region, the northernmost end of the state. There are many tales that try to explain how the place got its name. According to one, the prominent Brahmin family of Azhvancherry Thambrakkal once held sway over the land. During their heydays, they offered ponnu aana [elephants made of gold] to the temples, and this gave the land the name “Ponnani”. According to another, due to trade, ponnu [gold] from the Arab lands reached India for the first time at this place, and thus caused it to be named “Ponnani”. It is believed that a place that is referred to as “Tyndis” in the Greek book titled Periplus of the Erythraean Sea is Ponnani. However historians have not been able to establish the exact location of Tyndis beyond doubt. Nor has any archaeological evidence been recovered to confirm this belief. Politically too, Ponnani had great importance in the past. The Zamorins (rulers of Calicut) considered Ponnani as their second headquarters. When Tipu Sultan invaded Kerala in 1766, Ponnani was annexed to the Mysore kingdom. Later when the British colonized the land, Ponnani came under the Bombay Province for a brief interval of time. Still later, it was annexed Malabar and was considered part of the Madras Province for one-and-a-half centuries. Until 1861, Ponnani was the headquarters of Koottanad taluk, and with the formation of the state of Kerala in 1956, it became a taluk in Palakkad district. -
1 ; Mahatma Gandhi University B. A. Music Programme(Vocal
1 ; MAHATMA GANDHI UNIVERSITY B. A. MUSIC PROGRAMME(VOCAL) COURSE DETAILS Sem Course Title Hrs/ Cred Exam Hrs. Total Week it Practical 30 mts Credit Theory 3 hrs. Common Course – 1 5 4 3 Common Course – 2 4 3 3 I Common Course – 3 4 4 3 20 Core Course – 1 (Practical) 7 4 30 mts 1st Complementary – 1 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 1 (Theory) 2 2 3 Common Course – 4 5 4 3 Common Course – 5 4 3 3 II Common Course – 6 4 4 3 20 Core Course – 2 (Practical) 7 4 30 mts 1st Complementary – 2 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 2 (Theory) 2 2 3 Common Course – 7 5 4 3 Common Course – 8 5 4 3 III Core Course – 3 (Theory) 3 4 3 19 Core Course – 4 (Practical) 7 3 30 mts 1st Complementary – 3 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 3 (Theory) 2 2 3 Common Course – 9 5 4 3 Common Course – 10 5 4 3 IV Core Course – 5 (Theory) 3 4 3 19 Core Course – 6 (Practical) 7 3 30 mts 1st Complementary – 4 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 4 (Theory) 2 2 3 Core Course – 7 (Theory) 4 4 3 Core Course – 8 (Practical) 6 4 30 mts V Core Course – 9 (Practical) 5 4 30 mts 21 Core Course – 10 (Practical) 5 4 30 mts Open Course – 1 (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 1 2 1 Core Course – 11 (Theory) 4 4 3 Core Course – 12 (Practical) 6 4 30 mts VI Core Course – 13 (Practical) 5 4 30 mts 21 Core Course – 14 (Practical) 5 4 30 mts Elective (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 2 2 1 Total 150 120 120 Core & Complementary 104 hrs 82 credits Common Course 46 hrs 38 credits Practical examination will be conducted at the end of each semester 2 MAHATMA GANDHI UNIVERSITY B. -
Incredible Results in IAS 2013 5 Ranks 62 Ranks in Top 50 Ranks in the Final List
RESULTS Incredible results in IAS 2013 5 Ranks 62 Ranks in Top 50 Ranks in the final list Rank 9 Rank 12 Rank 23 Rank 40 Rank 46 Divyanshu Jha Neha Jain Prabhav joshi Gaurang Rathi Udita Singh We broke our past record in IAS 2014 6 Ranks 12 Ranks 83 Ranks in Top 50 in Top 100 Overall Selections Rank 4 Rank 5 Rank 16 Rank 23 Rank 28 Rank 39 Vandana Rao Suharsha Bhagat Ananya Das Anil Dhameliya Kushaal Yadav Vivekanand T.S We did it again in IAS 2015 5 Ranks 14 Ranks 162 Ranks in Top 50 in Top 100 In The Final List Rank 20 Rank 24 Rank 25 Rank 27 Rank 47 Vipin Garg Khumanthem Chandra Pulkit Garg Anshul Diana Devi Mohan Garg Agarwal And we’ve done it yet again in IAS 2016 8 Ranks 18 Ranks 215 Ranks in Top 50 in Top 100 In The Final List Rank 2 Rank 5 Rank 12 Rank 30 Rank 32 Anmol Sher Abhilash Tejaswi Prabhash Avdhesh Singh Bedi Mishra Rana Kumar Meena And we’ve done it yet again in IAS 2017 5 Ranks 34 Ranks 236 Ranks in Top 10 in Top 100 In The Final List Rank 3 Rank 6 Rank 8 Rank 9 Rank 10 Sachin Koya sree Anubhav Saumya Abhishek Gupta Harsha Singh Sharma Surana Ashima Abhijeet Varjeet Keerthi Utsav Gaurav Abhilash Vikramaditya Vishal Mittal Sinha Walia Vasan V Gautam Kumar Baranwal Singh Malik Mishra Rank-12 Rank-19 Rank-21 Rank-29 Rank-33 Rank-34 Rank-44 Rank-48 Rank-49 Sambit Bodke Akshat Jagdish Hirani Swapneel Jyoti Pushp Amol Mishra Digvijay Govind Kaushal Chelani Adityavikram Paul Sharma Lata Srivastava Rank-51 Rank-54 Rank-55 Rank-57 Rank-60 Rank-64 Rank-75 Rank-80 Rank-83 Prateek Amilineni Sangh Rahul Kathawate Vaibhava Videh Plash -
Theatrical Performativity of Ritualistic Music: an Embellishment of Rhythmic Ensemble Kellikottu
International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 10 Issue 4 Ser. II || April 2021 || PP 08-11 Theatrical Performativity of Ritualistic Music: An Embellishment of Rhythmic Ensemble Kellikottu Thomas Joe Research Scholar, Department of Theatre, Sree Sankaracharya Universiy of Sanskrit, Kalady --------------------------------------------------------------------------------------------------------------------------------------- Date of Submission: 20-03-2021 Date of Acceptance: 04-04-2021 --------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION Can we imagine that there will be people who are not interested in percussion tones. Rhythm is a law of the universe. If we examine the movements of our universe, we know that they all have a rhythmic movement. We can understand that musical instruments and arts are originated in the ancient period. If we look for the origin of these, we come to the time of primitive man. The creatures and birds always express their joy and happiness in dance. The peacock is always conscious of his beauty. Rhythm is the central point of every item, poetry, music, or dance and the human gets it by nature. A special raga is played for charming the snakes. Art is a performance that is closely related to sow a foundation of a culture. PERFORMANCE IN RITUAL Anything can be a performance, the way you use it the way you treat it. Believing yourself as an actor, performer, or laborer anything else makes you the same during the work. Religious belief is a reality in our society. The ritual performance of a community, the festivals, and celebrations happening in the spiritual space are all cultural beliefs and are certain reasons for the development of society. -
Création Musicale Et Politique Culturelle. Christine Guillebaud
Création musicale et politique culturelle. Christine Guillebaud To cite this version: Christine Guillebaud. Création musicale et politique culturelle. : Ethnographie de festivals au Kerala (Inde du Sud). M. Solomos et J. Bouet. Musique et globalisation. Musicologie-Ethnomusicologie, L’Harmattan, pp.157-172, 2011, Musique-Philosophie. halshs-01053939 HAL Id: halshs-01053939 https://halshs.archives-ouvertes.fr/halshs-01053939 Submitted on 4 Aug 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Musique et globalisation : musicologie - ethnomusicologie hal-00770185, version 1 - 8 Jan 2013 COLLECTION MUSIQUE-PHILOSOPHIE dirigée par Makis Solomos, Antonia Soulez, Horacio Vaggione Des philosophes le reconnaissent maintenant : la musique est plus qu’un objet à penser, elle suscite l’analyse, offre à la pensée constructive un terrain d’investigation où le geste compositionnel mobilise la pensée conceptuelle, où les notions musicales configurent des possibilités de relations. Paradigme à questionner, la musique s’impose à l’oreille philo- sophique. De leur côté, les musiciens n’ont rien à craindre de la force du concept. Penser la musique selon ses catégories propres réclame dès lors une approche philosophico-musicale. -
CBSE NET Performing-Art December-2013 Solved Paper III Download All the Papers to Prepare for NET 2021
9/17/2021 CBSE NET Performing-Art December 2013 Solved Paper III Download All the Papers to Prepare for NET 2021- Examrace Examrace Paper 3 has been removed from NET from 2018 (Notification)- now paper 2 and 3 syllabus is included in paper 2. Practice both paper 2 and 3 from past papers. CBSE NET Performing-Art December-2013 Solved Paper III Download All the Papers to Prepare for NET 2021 Online Paper 1 complete video course with Dr. Manishika Jain. Lifetime subscription. Includes tests and expected questions. Join now! 1. Select the correct sequence from the following as per Natyashastra (A) Rasa, Tandava Lakshmana, Nandi, Nayaka Bheda (B) Tandava Lakshmana, Rasa, Nandi, Nayaka Bheda (C) Nandi, Tandava Lakshmana, Rasa, Nayaka Bheda (D) Nandi, Rasa, Nayaka Bheda, Tandava Lakshmana Answer: C 2. The “Nandi” of Natyashastra can be called (A) “Avanu” of Bhavai (B) Preliminary of a Play (C) Purvaranga of Dance (D) All of above Answer: D 3. Assertion (A) : The nature and degree of transformation from martial trait to stylised and aesthetic has great range. Reason (R) : Indian theatrical styles favour martial arts. Codes: (A) Both (A) and (R) true. (B) Both (A) and (R) false. (C) (A) true (R) false. (D) (A) false (R) true. Answer: C 4. Pick the odd one out: 1 of 9/17/2021 CBSE NET Performing-Art December 2013 Solved Paper III Download All the Papers to Prepare for NET 2021- Examrace (A) Gangavataran (B) Talapushpaputa (C) Udhvahita (D) Bhujangatrasit Answer: C 5. Match the following: List – I List – II List I a. -
Music in South India – Kerala a Smithsonian Folkways Lesson Designed By: Lum Chee Hoo University of Washington
Music in South India – Kerala A Smithsonian Folkways Lesson Designed by: Lum Chee Hoo University of Washington Summary: Talk about the geography, language, and culture of Kerala in South India using story songs, dance dramas, and rhythms. Introduce students to specific artists and instruments important to Kerala's musical traditions. Suggested Grade Levels: 9-12 Country: India Region: Asia Culture Group: Kerala Genre: Indian Instruments: Voice Language: Malayalam Co-Curricular Areas: Social Studies National Standards: 6, 9 Prerequisites: None Objectives: Learn about culture of Kerala group, including music, dance, and language Materials: “Idakka” from Music from South India- Kerala (FW04365) http://www.folkways.si.edu/tr-ankaran-nambudiri-and-pm-narayana- mara/idakka/world/music/track/smithsonian “Nala Charitam,” Music from South India- Kerala (FW04365) http://www.folkways.si.edu/mep-pillai-and-gopinathan-nayar-k-damodaran- pannikar-and-vasudeva-poduwal-mankulam-vishnu-nambudiri-and-kudama-ur- karunakaran-nayar/kathakai-nala-charitam/world/music/track/smithsonian “Panchawadyam” from Music from South India- Kerala (FW04365) http://www.folkways.si.edu/instrumental/panchawadyam/world/music/track/s mithsonian http://www.folkways.si.edu/narayana-mara-and- party/panchawadyam/world/music/track/smithsonian Liner notes from Music from South India- Kerala (FW04365) http://media.smithsonianfolkways.org/liner_notes/folkways/FW04365.pdf The JVC video anthology of world music and dance: South Asia I, India, Track 11- 2 (Kathakali-dance-drama: Dryodana vadham from the Mohabharata DVD - Vanaprastham: The last dance (1999). Director: Shaji N. Karun. Vanguard Cinema. ASIN: B000066C7A Map of South India Pictures of instruments: from liner notes and Music in South India: Experiencing music, expressing culture Lesson Segments: 1. -
Coastal Tourism in Kerala: Its Impact on Economy and Environment
COASTAL TOURISM IN KERALA: ITS IMPACT ON ECONOMY AND ENVIRONMENT THESIS SUBMITTED TO THE COCHIN UNIVERSITY OF SCIENCE AND TECHNOLOGY IN PARTIAL F ULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY IN ECONOMICS A UNDER THE FACULTY OF SOCIAL SCIENCES by K. RAJESH UNDER THE SUPERVISION OF DR. RAMAKRISHNAN KORAKANDY -; j *0'§l'¢»|l: iflifilfli/‘ X0‘)-be ~¢-04MB -"' 30 %uiqmgq MG >»6a.>nrA-r.d- I SCHOOL OF INDUSTRIAL FISHERIES COCHIN UNIVERSITY OF SCIENCE AND TECHNOLOGY COCHIN-16 DECEMBER 2009 DECLARATION I hereby declare that the thesis entitled COASTAL TOURISM IN KERALA: ITS IMPACT ON ECONOMY AND ENVIRONMENT is an authentic record of research work carried out by me under the supervision and guidance of Dr. Ramakrishnan Korakandy, Professor and former Director, School of Industrial Fisheries, Cochin University of Science and Technology, Cochin-16, in partial fulfilment of the requirements for the award of the degree of Doctor _of Philosophy of Cochin University of Science & Technology, and that no part of this work has been presented for the award of any degree in any other University. I Emakulam14.12.2009 (Reg. No. 2452)sh School of Industrial Fisheries Cochin University of Science and Technology Cochin —6820l6 CERTIFICATE This is to certify that this thesis entitled COASTAL TOURISM IN KERALA: ITS IMPACT ON ECONOMY AND ENVIRONMENT is an authentic record of the research work carried out by Mr. K. Rajesh (Reg. No. 2452), under my supervision and guidance, at the School of Industrial Fisheries, Cochin University of Science and Technology, Cochin-16, in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of Cochin University of Science and Technology under the Faculty of Social Sciences and no part of this work has been presented for the award of any degree in any other University. -
Static GK: Dances in India
For More Study Material Static GK: Dances in India Classical Dance: Classical Dance State Mohiniyattam Kerala Bharatanatyam Tamil Nadu Kathak Uttar Pradesh Kathakali Kerala Kuchipudi Andhra Pradesh Manipuri Manipur Odissi Orissa Chhau West bengal Sattriya Assam Folk Dance: State Folk Dance Andhra Pradesh Kolattam, Gobbi Dance, Dhimsa, Dhamal Dance Assam Bihu, Jhumur Naach, Ali Ai Ligang, Bagurumba Arunachal Pradesh Bardo Chham, Lion and Peacock dance Chhattisgarh Raut Nacha, Gaur Maria Dance, Panthi Join Telegram Channel For More Study Material Gujarat Garba, Dandiya ras, Tippani Dance, Kinnauri Nati, Namgen Goa Tarangamel, Dekhni, Dhalo, Dhangar, Fugdi Haryana Jhumar Dance, Gugga dance, Saang, Teej, Loor dance, Dhamal Dance, Phag dance Himachal Pradesh Luddi dance, Munzra, Kanayala, Giddha Parhaun, Hikat Karnataka Yakshagana, Bayalata, Dollu Kunitha, Veeragaase dance Kerala Theyyam or Kaliyattam, Thullal, Thirayattam, Oppana, Mar- gamkali, Thitambu Nritham, Chakyar Koothu, Chavittu Na- dakam Madhya pradesh Tertali, Charkula, Matki dance, Phulpati dance, Grida dance, Maanch Maharashtra Pavri Nach, Lavani Manipur Thang Ta, Dhol Cholom Mizoram Cheraw dance or Bamboo dance Nagaland Chang Lo or Sua Lua Odisha Ghumura dance, Goti Pua, Nacni, Baagh Naach or Tiger dance, Dalkhai dhap, Karma Naach, Keisabadi Punjab Bhangra, Giddha, Malwai Giddha, Jhumar, Karthi, Kikli Puducherry Garadi Sikkim Singhi Chham Rajasthan Ghoomar, Kalbelia, Bhavai, Kachchhi Ghodi Tamil Nadu Kamandi, Kummi, Kolattam, Karagattam or Karagam, Oyi- lattam, Puliyattam, Mayil Attam or Peacock dance, Pampu Attam or snake dance West Bengal Jatra, Chau, Kathi Join Telegram Channel For More Study Material Lakshadweep Lava Uttar Pradesh Nautanki, Raslila, Jhora, Chhapeli, Jaita Jammu Kashmir Rouf, Chakri Jharkhand Karma Telengana Perini Thandavam, Dappu, Lambadi Tripura Hojagiri, Goria, Lebang Boomani Uttrakhand Chholiya, Jagars, Thali-Jadda, Jhainta, Barada Nat Bihar Kajari, Jaat- Jaatin, Jhijhian, Jhumeri, Souhar- Khilouna Uttrakhand Barada Nati, Bhotiya, Chancheri, Chhapeil Join Telegram Channel . -
Szcc Annual Report 2016-2017
ANNUAL ACTIVITY REPORT 2016-2017 The South Zone Cultural Centre at Thanjavur, Tamil Nadu was established as a Society under the Ministry of Culture, Government of India, came into existence on 31st January 1986 with the objective to integrate people of India through Culture, art and heritage. The Centre has jurisdiction over the states of Andhra Pradesh, Telangana, Karnataka, Kerala, Tamil Nadu and Union Territories of Andaman and Nicobar Islands, Lakshadweep and Puducherry. During the year 2016-17 SZCC, in association with the Member States, has arranged around 169 programmes. More than 10,414 artistes from various parts of the country have been paid for their participation in various programmes conducted during the year. These programmes could be conducted successfully with the active participation and support of each Member State. Some of the programmes organised are highlighted below: ANNUAL ACTIVITY REPORT AND REVIEW OF THE PROGRAMMES CONDUCTED DURING THE YEAR 2016-2017 During the Year 2016-17 the South Zone Cultural Centre, Thanjavur has conducted 169 Cultural Programmes in which 10414 artistes have participated. The following is a comparative statement of programmes conducted in various States/Union Territories during the last 7 years. Sl. 2010- 2011- 2012- 2013- 2014- 2015- 2016- State/UT No 11 12 13 14 15 2016 2017 01 Andaman &Nicobar Islands 1 1 1 5 2 01 01 02 Andhra Pradesh 1 3 3 7 4 07 07 03 Karnataka 1 4 4 9 20 09 17 04 Kerala 5 3 6 27 25 14 11 05 Lakshadweep 1 1 0 0 1 0 0 06 Puducherry 5 2 7 18 10 21 22 07 Tamil Nadu 26 51 71 70 86 110 92 08 Telangana 0 0 0 0 1 04 05 09 Other Zones 4 0 3 9 10 11 14 10 Programmes Abroad 0 0 0 5 1 0 0 Total 44 65 95 150 160 177 169 Further, the number of artistes from the Member States and also from other States performed in various programmes organised by SZCC during the past 7 years is shown below 175 Artistes from Member States performed during the years from 2010-2011 to 2016-2017 2015-2016 2016-2017 Sl.