Students' Council Report 2018-2019
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Indian Classical Dance Is a Relatively New Umbrella Term for Various Codified Art Forms Rooted in Natya, the Sacred Hindu Musica
CLASSICAL AND FOLK DANCES IN INDIAN CULTURE Palkalai Chemmal Dr ANANDA BALAYOGI BHAVANANI Chairman: Yoganjali Natyalayam, Pondicherry. INTRODUCTION: Dance in India comprises the varied styles of dances and as with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country. These dance forms emerged from Indian traditions, epics and mythology. Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past. These are: Bharatanatyam- Tamil Nadu Kathak- Uttar Pradesh Kathakali- Kerala Kuchipudi- Andhra Pradesh Manipuri-Manipur Mohiniyattam-Kerala Odissi-Odisha Sattriya-Assam Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of South East Asia as well. In modern times, the presentation of Indian dance styles in films (Bollywood dancing) has exposed the range of dance in India to a global audience. In ancient India, dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times. -
Magnitude of Folk Performing Arts in the Life of the People of Kanyakumari District – a Case Study
© 2018 JETIR June 2018, Volume 5, Issue 6 www.jetir.org (ISSN-2349-5162) Magnitude of Folk Performing Arts in the Life of the People of Kanyakumari District – A Case Study C. Gomathavalli Assistant Professor, Department of History Government Arts and Science College, Nagercoil, Kanyakumari District, Tamilnadu, India-629504. Abstract This study attempts to analyse the importance of folk performing arts, which are the real modes of entertainment for folks and way of veneration of their deities, in the social life of people of Kanyakumari district. Villuppaatu (82%), kanuyankoothu (11%), Karagaattam 6%) and Kalialattam (1%) are very important in Hindu temples managed by villagers, of which villuppattu is inevitable in the temples of deities such as Mutharaman, Isakiyamman, Vaathai saami, Bathrakali amman, Boothathan sami, Pitchaikalasami and Aaldibothi, Kaniyankoothu is well-liked in Sudalaimadan temples, Karagaattam is a rule in some Mutharamman temples, Kalialaattam is austerely a mode of entertainment in the temple festivals irrespective of the deity. Villuppattu, Kaniyan koothu and Karaga attam seem to be inevitable in Hindu temples while Kaliyal attam has occupied a high place in the festivals of Christians as well as Hindu temples; the other folk performing arts are being executed during the cultural festivals and even temple festivals for entertainment. This paper presents the real situation of folk performing arts among the people of Kanyakumari district, at present, to reveal their social impacts, economic impacts and cultural impacts on different castes of people and the conditions of artisans in the society. Keywords: Folk performing arts, castes, religions, social, cultural, financial. Introduction Kanyakumari district, the southernmost district of Tamilnadu state, lies between 77º 15' and 77º 36' of the eastern longitudes and between 8º 03' and 8º 35' of the northern latitudes. -
All in One Gs 06 फेब्रुअरी 2019
ALL IN ONE GS 06 FEBRUARY 2019 Classical Dance in India: 3. Yajurveda / यजुर्ेद 4. Rigveda / ऋग्र्ेद Ans- 2 भारत मᴂ शास्त्रीय न配ृ य: Q-2 The oldest form of the composition of Hindustani Vocal Music is: Classical Dances are based on Natya Shastra. सहंदुस्तानी गायन संगीत की रचना का सबसे पुराना 셂प है: शास्त्रीय नृ配य नाट्य शास्त्र पर आधाररत होते हℂ। 1. Ghazal / ग़ज़ल 2. Dhrupad / ध्रुपद Classical dances can only be performed by trained dancers and who have 3. Thumri / ठुमरी 4. Qawwali / कव्र्ाली studied their form for many years. Ans- 2 शास्त्रीय नृ配य के वल प्रशशशित नततशकयⴂ द्वारा शकया जा सकता है और शजन्हⴂने कई वर्षⴂ तक Q-3 Which of the following is correct? अपने 셁पⴂ का अध्ययन शकया है। सन륍न में से कौन सा सही है? Classical dances have very particular meanings for each step, known as 1. Hojagiri dance- Tripura / होजासगरी नृ配य- सिपुरा "Mudras". 2. Bhavai dance- Rajasthan / भर्ई नृ配य- राजस्थान शास्त्रीय नृ配यⴂ के प्र配येक चरण के शलए बहुत शवशेर्ष अर्त होते हℂ, शजन्हᴂ "मुद्रा" के 셂प मᴂ 3. Karakattam- Tamil Nadu / करकटम- तसमलनाडु जाना जाता है। 4. All of the above / उपरोक्त सभी Classical dance forms are based on grace and formal gestures, steps, and Ans- 4 poses. Q-4 Which of the musical instruments is of Indo-Islamic origin? शास्त्रीय नृ配य 셂पⴂ अनुग्रह और औपचाररक इशारⴂ, और हाव-भाव पर आधाररत होते हℂ। कौन सा र्ाद्ययंि इडं ो-इस्लासमक मूल का है? 1. -
2013 1.Worldview of Subaltern People the Department of Folklore And
2012- 2013 1.Worldview of Subaltern People The Department of Folklore and Folklore Resources & Research Centre, St. Xavier’s College (autonomous) have jointly organized six days National workshop on “Worldview of Subaltern People” from August 6 – 11, 2012. In the inaugural ceremony, Prof. Tho Paramasivan, Governing Council member, Tamil University, Tanjore, delivered keynote address while Prof. A Sivasubramanian, eminent Folklorist, delivered special address on the theme, “Research Areas and Subaltern History of Tamilnadu”. Rev. Fr. A Arockiyasamy SJ, Secretary, St. Xavier’s College, gave valedictory address on August 11, 2018. 2. Field Methodology and Ethnography The Department of Folklore and Folklore Resources & Research Centre, St. Xavier’s College (autonomous) have jointly organized five days State level workshop on “Field Methodology and Ethnography” from December 04 – 08, 2012. Dr. A Dhananjeyan, head and associate professor, Department of Folklore, SXC, introduced the workshop theme and keynote address while Rev. Fr. V Britto SJ, Rector, SXC institutions and Rev. Fr. A Arockiyasamy SJ, Secretary, St. Xavier’s College, felicitated the inaugural ceremony on December 4, 2012. 3. Colours: An Art Exhibition The Department of Folklore and Folklore Resources & Research Centre, St. Xavier’s College (autonomous) have jointly organized an art exhibition on the theme “Colours” during December 07 – 08, 2012. The exhibition curated the visual images of a young artist from Kilinochy, Sri Lanka, V Vasantharupan, who was also our student. 4. International Documentary Film Festival In association with Chithiramum Kaippazhakkam, Tirunelveli, the Department of Folklore and Folklore Resources & Research Centre, St. Xavier’s College (autonomous) have jointly organized an International Documentary Film Festival on the theme “People and Traditions” during January 21 – 22, 2013 commemorating Century of Indian Cinema. -
Arts-Integrated Learning
ARTS-INTEGRATED LEARNING THE FUTURE OF CREATIVE AND JOYFUL PEDAGOGY The NCF 2005 states, ”Aesthetic sensibility and experience being the prime sites of the growing child’s creativity, we must bring the arts squarely into the domain of the curricular, infusing them in all areas of learning while giving them an identity of their own at relevant stages. If we are to retain our unique cultural identity in all its diversity and richness, we need to integrate art education in the formal schooling of our students for helping them to apply art-based enquiry, investigation and exploration, critical thinking and creativity for a deeper understanding of the concepts/topics. This integration broadens the mind of the student and enables her / him to see the multi- disciplinary links between subjects/topics/real life. Art Education will continue to be an integral part of the curriculum, as a co-scholastic area and shall be mandatory for Classes I to X. Please find attached the rich cultural heritage of India and its cultural diversity in a tabular form for reading purpose. The young generation need to be aware of this aspect of our country which will enable them to participate in Heritage Quiz under the aegis of CBSE. TRADITIONAL TRADITIONAL DANCES FAIRS & FESTIVALS ART FORMS STATES & UTS DRESS FOOD (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) Kuchipudi, Burrakatha, Tirupati Veerannatyam, Brahmotsavam, Dhoti and kurta Kalamkari painting, Pootha Remus Andhra Butlabommalu, Lumbini Maha Saree, Langa Nirmal Paintings, Gongura Pradesh Dappu, Tappet Gullu, Shivratri, Makar Voni, petticoat, Cherial Pachadi Lambadi, Banalu, Sankranti, Pongal, Lambadies Dhimsa, Kolattam Ugadi Skullcap, which is decorated with Weaving, carpet War dances of laces and fringes. -
Dancing Into the Chthulucene: Sensuous Ecological Activism In
Dancing into the Chthulucene: Sensuous Ecological Activism in the 21st Century Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kelly Perl Klein Graduate Program in Dance Studies The Ohio State University 2019 Dissertation Dr. Harmony Bench, Advisor Dr. Ann Cooper Albright Dr. Hannah Kosstrin Dr. Mytheli Sreenivas Copyrighted by Kelly Perl Klein 2019 2 Abstract This dissertation centers sensuous movement-based performance and practice as particularly powerful modes of activism toward sustainability and multi-species justice in the early decades of the 21st century. Proposing a model of “sensuous ecological activism,” the author elucidates the sensual components of feminist philosopher and biologist Donna Haraway’s (2016) concept of the Chthulucene, articulating how sensuous movement performance and practice interpellate Chthonic subjectivities. The dissertation explores the possibilities and limits of performances of vulnerability, experiences of interconnection, practices of sensitization, and embodied practices of radical inclusion as forms of activism in the context of contemporary neoliberal capitalism and competitive individualism. Two theatrical dance works and two communities of practice from India and the US are considered in relationship to neoliberal shifts in global economic policy that began in the late 1970s. The author analyzes the dance work The Dammed (2013) by the Darpana Academy for Performing Arts in Ahmedabad, -
PROFILE Designation : Assistant Professor, Holy Cross College, Trichy- 2
PROFILE Name : Dr. G. ARUL SELVI Designation : Assistant Professor, Holy cross college, Trichy- 2 Gender : Female DOB : 18.06.1979 Address : 4/219 Mundaikkavilai Alancode Kanjampuram Post Kanniyakumari District Tamil Nadu Pincode : 629 154 Mobile : 9488957045 E.mail : [email protected] Educational Qualification : B. A., Diploma in RDM, M.A., Ph.D. S. Degree / Subject Name of the College / No. Diploma University 1. B.A Economics Arignar Anna College, Aralvaimozhy 2. M.A Mass MS University, Thirunelveli Communication 3 Ph.D Communication Tamil University, Tanjavore LANGUAGES KNOWN Singing Tamil Teaching English Photography Malayalam Videography AREAS OF INTEREST Reporting Dancing Research Play Back Theatre Oppressed Theatre KNOWN THEATRE ART FORMS: Children’s Theatre Mask and Mime Street Theatre Puppetry Modern Theatre KNOWN ART FORMS (Above 35 Forms) Folk Dances of Tamil Nadu Kummyattam Sila Attam Kolattam Mattu Kombattam Oyilattam Kaisilambattam Kuravan kurathiyattam Kurumbarattam Nellai Kaliyalattam Irular Attam Thoothukudi Kaliyalattam Kambathattam Uvari Kaliyalattam Paraiattam Kumari Kaliyalattam Nedunkuchiyattam Karagattam Sevaiyattam Sakkaiyattam Badugar Attam Saattai Kuchiyattam Folk Dances of Other States : Kerala Maaruni Dance Onakkali Dance Thiruvathirai Dance Vayanadu Tribal Dance Karnataka Kolattam Kamsaalay Maharashtra Dhandiya Lezim Rajasthan Garba Dance Chirmi Dance Orissa Saathiri (Chotta Nagpuri Dance) Daalhai (Sambalpuri Dance) Punjab Bangara Dance Assam Bihu Dance Nepalam Jyaurae Dance Trainer in Folk Art Forms Street Play Tribal Dances Folk & Awareness Songs FILM FESTIVAL ATTENDED ‘Soorya Film Festival’ – Conducted in Kerala (2004 and 2017) DOCUMENTARY FILM ‘Kochaipaduthapatta Sumaigal,’ (2004) – A social awareness short film. ‘Periya Melam,’ (2005) – A social awareness documentary. ‘Tsunamikku pirahum,’ (2005) – A social awareness short film. EDITOR ‘Tamira Bharani’, (2005), a Journal for Students in Manonmaniam Sundaranar University, Tirunelveli. -
HOMEWORK Page 19 Identify the Union Territories of India on the Map )
Gk page 16 to 21 ( HOMEWORK page 19 identify the union territories of india on the map ) Page 16 The Largest and Highest in India( PAGE 16 ) India is a country with many mountains, rivers, lakes, waterfalls, forests, deserts and snow.capped mountain peaks. As a result India has many dams, bridges,, tunnels, and other man-made and natural features, Fill in the blank spaces around the circle with the names of each of the largest of these features in India. 1.Desert Thar 2.Delta Sunderbans 3.Cave Amarnath 4.Port Mumbai 5.Cave Temple Ellora 6.Mosque Jama Masjid 7.lake Wular 8.Brigde Howrah Fun Time Fill in the missing letters to find the highest in India.( PAGE 17 ) 1.Highest Peak Kanchenjunga 2.Highest Airport Leh 3.Highest Dam Tehri 4.Highest Lake Cholamu 5.Highest Waterfall Kunchikal 6.State with Highest Rainfall Meghalaya 7.Highest Civilian Award Bharat Ratna 8.State with the Highest Population Uttar Pradesh Union Territories of India(PAGE 18-19) India has a total of 29 states. In addition, there are seven territories that are ruled directly by the central government, also called the Union government. The President of India appoints Lieutenant Governor to govern each of these union territories Name the union territories using the given claes. 1.Thus union territory is a group of islands located in the Bay of Bengal. A.Andaman & Nicobar Islands 2.It is the capital of India and now called the National Capital Territory A.Delhi 3.It is a former French colony located in South India. -
Art and Culture 2021
ART AND CULTURE 2021 Table Of Content Titles Page No Classical Dance Of India ................................................................................................................... 1 Bharatanatyam- Tamil Nadu ............................................................................................................ 1 Kuchipudi ............................................................................................................................................ 1 Kathakali ............................................................................................................................................. 2 Kathak ................................................................................................................................................. 2 Odissi ......................................................................................................................................... 3 Sattriya ..................................................................................................................................... 4 Manipuri .................................................................................................................................... 4 Mohiniyattam ............................................................................................................................5 Kalbella _ Rajasthan ...................................................................................................................... 10 Music In India ................................................................................................................................. -
India Presentation
WTC Mumbai Presents India’s Diversity A Unique Business Opportunity CONTENTS Pg. No Preface - India's Diversity - A Unique Business Opportunity 3 Maharashtra - An Overview 4-9 The Known and Unknown of India 10-11 India - A Brief Overview 12-15 North Eastern States - Cultural Overview 16-17 Eastern India - Cultural Overview 18-19 South India - Cultural Overview 20-23 Central India - Cultural Overview 24-25 Western India - Cultural Overview 26-27 North India - Cultural Overview 28-33 State-wise Contribution to Indian Economy 34-35 Indian Economy At a Glance 36-37 Major Export Destinations 38-39 Major Sources of Import 40-41 Major Source of FDI 42-43 MSMEs Sector: Engine of Economic Growth 44-45 State-wise Distribution of MSME Clusters 46-47 State-wise Mega Food Parks in India 48-49 Women in Business / Women Entrepreneurship 50-51 Major Industrial Belts of India 52-53 Other Industrial Centres in India 54-55 Major and Non Major Ports in India 56-57 India Road Infrastructure 58-59 Key Infrastructure Projects 60-61 Proposed Industrial Corridors 62-63 Government of India’s Ambitious Programmes 64-65 Key Policy Steps Taken in Last 2 Years 66-67 Promising Sectors for Investors 68-69 Goods and Services Tax 70-71 India Economic Outlook 72-74 Preface - India's Diversity – A Unique Business Opportunity ndia's diversity in geography, ethnicity, culture, language and religion has remained the bedrock of its dynamic and resilient economy. IDiversity in geographical regions has supported occupations as diverse as agriculture, forestry, weaving, jewellery, travel and tourism, healthcare and so on. -
State Dance (S) Andra Pradesh Kuchipudi, Kolattam, Ghantamardala, (Ottam Thedal, Mohiniattam, Kummi, Siddhi, Madhuri, Chhadi
BHARAT SCHOOL OF BANKING STATIC GK Indian Cultural/Classical Dances - Folk Dances in India State Dance (S) Andra Pradesh Kuchipudi, Kolattam, Ghantamardala, (Ottam Thedal, Mohiniattam, Kummi, Siddhi, Madhuri, Chhadi. Arunachal Pradesh Bardo Chham Assam Bihu, Ali Ai Ligang, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai etc. Bihar Chhau,Jata-Jatin, Bakho-Bakhain, Panwariya, Sama-Chakwa, Bidesia, Jatra etc. Chhattisgarh Panthi, Raut Nacha, Gaur Maria, Goudi, Karma, Jhumar, Dagla, Pali, Tapali, Navrani, Diwari, Mundari. Goa Tarangamel, Dashavatara, Dekhni, Dhalo, Dhangar, Fugdi, Ghodemodni, Goff, Jagar, Kunbi, Mando, Musal Khel, Perni Jagar, Ranamale, Romta Mel, Divlyan Nach (Lamp dance), Veerabhadra, Morulo, Tonayamel , Mandi, Jhagor, Khol, Dakni, , Koli Gujarat Garba, Dandiya Ras, Tippani Juriun, Bhavai. Haryana Saang, Chhathi, Khoria, Ras Leela, Dhamal, Jhumar, Loor, Gugga, Teej Dance, Phag, Daph, Gagor Himachal Pradesh Kinnauri, Mangen, Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Nati, Dangi, Chamba, Thali, Jhainta, Daf, Stick dance Jammu & Kashmir Kud, Dumhal, Rauf, Hikat, Mandjas, Damali Jharkhand Chhanu, Sarahul, Jat-Jatin, Karma , Munda, Danga, Bidesia, Sohrai. Karnataka Yakshagan, Bayalatta, Dollu Kunitha, Veeragasse, Huttar, Suggi, Kunitha, Karga, Lambi Kerala Mohiniyattam, Kathakali, Thirayattam, Theyyam, Thullal, Koodiyattam, Duffmuttu / Aravanmuttu, Oppana, Kaikottikali, Thiruvathirakali, Margamkali, Thitambu Nritham, Chakyar Koothu, Chavittu Nadakam, Padayani -
MA-Bharatanatyam-2017.Pdf
M.A.Bharatanatyam Curriculum and Syllabus Effective from the Academic Year 2017-2018 School of Music and Fine Arts PROGRAM EDUCATIONAL OBJECTIVES(PEO) PEO1: To acquire an in-depth knowledge in the repertoire of Bharatanatyam. PEO2: Understand the theoretical concepts through a study of treatises in Sanskrit and Tamil from ancient to modern times. PEO3: Apply the theory of dance learnt into performance and develop the ability to codify practice. PEO4: Publish research findings and innovations in various forums and publication of research articles in peer reviewed and indexed conferences and journals. PROGRAM OUTCOME (PO) PO1: Understanding Performing Art in depth:Understand and go into the depths of the practice of performing arts by revisiting basics and progressively delving into advanced forms as well. PO2: Understanding Art from a Historical perspective: Study and analysis of Art forms in Music and dance from treatises, manuscripts and oral tradition. PO3: Bridging Theory and Practice of Art:Continuing the legacy and tradition of our Indian heritage by recording practice and performance as theoretical concepts for future generations by initiating the student into research studies. PROGRAM SPECIFIC OUTCOME (PSO) PSO1: Be well versed in the various theoretical concepts with an outline study of treatises in Sanskrit and Tamil from ancient to modern times. PSO2: Acquire in-depth knowledge in the various elements of Bharatanatyam and be able toperformwith a good repertoire of compositions. 2 BOARD OF STUDIES S. No NAME AFFILIATION ROLE 1. Dr.Premeela Gurumurthy Dean, School Of Music And Fine Arts Chairperson Asst. Prof and Head i/c, Dept. of Indian 2.