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												  Page 1 of 14 AHIMSA TIMESAHIMSA TIMES - JANUARY 2009 ISSUE - www.jainsamaj.org Page 1 of 14 Vol. No. 103 Print "Ahimsa Times " January, 2009 www.jainsamaj.org Board of Trustees Circulation + 80000 Copies( Jains Only ) Email: Ahimsa Foundation [email protected] New Matrimonial New Members Business Directory NEW YEAR'S MESSAGE FROM ACHARYA MAHAPRAGYA We Welcome New Year, People visit their places of worship, pray for blessings and desire for success. Next day one forgets it all. The year hands over its legacy, knowledge to the subsequent year. Few of the experiences and knowledge learnt are enormous while others may not be. It is definitely a matter of satisfaction that the general awareness of environmental issues has increased. At the same time, we cannot ignore the fact that lot more is to be done to protect our eco system from pollution. It is heartening to see people becoming more vigilant against increased menace of violence and terror. Huge time is being spent on deliberation in resolving these issues, which requires fast and prompt action. On the auspicious occasion of the New Year, I am happy to share with you that we are transforming "Ahimsa Yatra" (Journey of Non - violence) program into "Ahimsa Samavaay" (Joint efforts for Non - violence), which is based on seven cardinal principles - a) Development of balanced personality through Ahimsa. b) Solving the family dilemma through Ahimsa. c) Solving the caste and communal problems through Ahimsa. d) To undertake efforts for making the concept of "Economics of Ahimsa" more wide spread & extensive. e) Extension of Ahimsa in the international world through "Ahimsa Universal".
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												  Kirtan Leelaarth AmrutdhaaraKIRTAN LEELAARTH AMRUTDHAARA INSPIRERS Param Pujya Dharma Dhurandhar 1008 Acharya Shree Koshalendraprasadji Maharaj Ahmedabad Diocese Aksharnivasi Param Pujya Mahant Sadguru Purani Swami Hariswaroopdasji Shree Swaminarayan Mandir Bhuj (Kutch) Param Pujya Mahant Sadguru Purani Swami Dharmanandandasji Shree Swaminarayan Mandir Bhuj (Kutch) PUBLISHER Shree Kutch Satsang Swaminarayan Temple (Kenton-Harrow) (Affiliated to Shree Swaminarayan Mandir Bhuj – Kutch) PUBLISHED 4th May 2008 (Chaitra Vad 14, Samvat 2064) Produced by: Shree Kutch Satsang Swaminarayan Temple - Kenton Harrow All rights reserved. No part of this book may be used or reproduced in any form or by any means without written permission from the publisher. © Copyright 2008 Artwork designed by: SKSS Temple I.T. Centre © Copyright 2008 Shree Kutch Satsang Swaminarayan Temple - Kenton, Harrow Shree Kutch Satsang Swaminarayan Temple Westfield Lane, Kenton, Harrow Middlesex, HA3 9EA, UK Tel: 020 8909 9899 Fax: 020 8909 9897 www.sksst.org [email protected] Registered Charity Number: 271034 i ii Forword Jay Shree Swaminarayan, The Swaminarayan Sampraday (faith) is supported by its four pillars; Mandir (Temple), Shastra (Holy Books), Acharya (Guru) and Santos (Holy Saints & Devotees). The growth, strength and inter- supportiveness of these four pillars are key to spreading of the Swaminarayan Faith. Lord Shree Swaminarayan has acknowledged these pillars and laid down the key responsibilities for each of the pillars. He instructed his Nand-Santos to write Shastras which helped the devotees to perform devotion (Bhakti), acquire true knowledge (Gnan), practice righteous living (Dharma) and develop non- attachment to every thing material except Supreme God, Lord Shree Swaminarayan (Vairagya). There are nine types of bhakti, of which, Lord Shree Swaminarayan has singled out Kirtan Bhakti as one of the most important and fundamental in our devotion to God.
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												  List of Empanelled ArtistINDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
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												  Top 10 Male Indian SingersTop 10 Male Indian Singers 001asd Don't agree with the list? Vote for an existing item you think should be ranked higher or if you are a logged in,add a new item for others to vote on or create your own version of this list. Share on facebookShare on twitterShare on emailShare on printShare on gmailShare on stumbleupon4 The Top Ten TheTopTens List Your List 1Sonu Nigam +40Son should be at number 1 +30I feels that I have goten all types of happiness when I listen the songs of sonu nigam. He is my idol and sometimes I think that he is second rafi thumbs upthumbs down +13Die-heart fan... He's the best! Love you Sonu, your an idol. thumbs upthumbs down More comments about Sonu Nigam 2Mohamed Rafi +30Rafi the greatest singer in the whole wide world without doubt. People in the west have seen many T.V. adverts with M. Rafi songs and that is incediable and mind blowing. +21He is the greatest singer ever born in the world. He had a unique voice quality, If God once again tries to create voice like Rafi he wont be able to recreate it because God creates unique things only once and that is Rafi sahab's voice. thumbs upthumbs down +17Rafi is the best, legend of legends can sing any type of song with east, he can surf from high to low with ease. Equally melodious voice, well balanced with right base and high range. His diction is fantastic, you may feel every word. Incomparable. More comments about Mohamed Rafi 3Kumar Sanu +14He holds a Guinness World Record for recording 28 songs in a single day Awards *.
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												  Central University of KarnatakaCENTRAL UNIVERSITY OF KARNATAKA Kadaganchi, Kalaburagi-585367 PROVISIONAL FIRST LIST OF CANDIDATES CALLED FOR THE OPEN COUNSELLING ON 14.07.2017 PROGRAMME: INTEGRATED B.Sc. & M.Sc. (NO. OF REMAINING VACANT SEATS 25 = GEN – 10, OBC – 08, SC –05, ST-02) SUPERNUMERARY SEATS: HKR – 3, NCC/NSS/SPORTS -1, WDP -1, PH – 01, KM - 01) CANDIDATE Q.E CUCET SL. NO. NAME OF THE CANDIDATE CATEGORY REMARKS ID MARKS % MARKS 1 124057 APARNA C OBC 96 76.25 2 110812 SOUGANDH K M GM 96.00 73.75 3 199762 SREELAKSHMI OBC 94.40 73.5 4 111795 AHMED SHANIB GM 92.00 73.25 5 187165 ABHIRAMI R K OBC 99.50 70.75 6 173724 PREET RANJAN OBC 69.75 7 102511 ABHIRAMI J J GM 94 69 8 154663 N SHRAVAN KUMAR SHETTY GM 69 9 177333 SNEHA RAJESH GM 94 68.75 10 100043 SHAURYA UPADHYAYA GM 68.5 11 104300 ADITYA RAJ GM 67.75 12 105061 KARTHIKA NAIR GM 87.60 67 13 193133 NASEEF KAMAL T OBC 96.25 67 14 186110 SAMBIT KUMAR BAL GM 77.00 66.5 15 170650 ATHIRA R GM 95.2 66.25 16 130025 JENITH RAJ GM 88.80 65.75 17 200235 SOURAV KARMAKAR OBC 65 18 137982 DEBASHIS ROUT GM 80.16 63.75 19 215090 MANIRATHINAM R OBC 93.8 63.75 20 118860 ARYA KRISHNA T OBC 86.20 63.75 21 143088 LAKSHYA SHARMA GM 75.8 63.5 22 134640 MUHAMMAD MURSHID P P OBC 90.25 63.5 23 101741 ROHIT P LAL GM 63.25 24 105774 MANAS DAS GM 94.80 63 25 213060 VENI KRISHNA A K GM 94 63 26 166667 SYED ALI RIZVI GM 57.8 62.75 27 144528 RISHIKESH P GM 62 28 134559 ASHMIL MUHAMMED ALI GM 93.4 61.5 29 160452 RAJNISH KAUR GM 96 61.5 30 184511 SHUBHAM RANKAWAT OBC 88.80 61.5 31 177542 ADITYA GYANASAGAR GM 89.2 61.25 32 156450 ARDHRA DAS
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												  (2015) Shivaji University, KolhapurShivaji University, Kolhapur Register of Registered Graduate (2015) Faculty of ENGINEERING & TECHNOLOGY Registration No. 89801 Registration No. 89809 1 Shri. ABHYANKAR GANGADHAR LAXMAN 9 Shri. ADHYAPAK ANIL AMRIT SHIVAJI NAGAR 108 KRISHNA NIVAS A/P - KUNDGOL 4TH LANE HINDU COLONY DADAR T.T. MUMBAI - 14 DD Dist. DHARWAR Dist. MUMBAI Registration No. 89802 Registration No. 89810 2 Shri. ABHYANKAR GANGADHAR SHANKAR 10 Shri. ADKAR ARUN RAMACHANDRA 40 PRERANA TILAK NAGAR 382 KASBA BARSI V.P.ROAD MUMBAI - 4 Dist. SOLAPUR Dist. MUMBAI Registration No. 89803 Registration No. 89811 3 Shri. ABHYANKAR HEMANT KESHAV 11 Shri. ADKAR SHASHIKANT GOVIND 977 A SATTIKAR LANE 231 NAVI PETH GAON-BHAG JALGAON SANGLI Dist. SANGLI Dist. JALGAON Registration No. 89804 Registration No. 89812 4 Shri. ABHYANKAR PURUSHOTTAM SITARAM 12 Shri. ADMUTHE SUNIL SHANTINATH PATWARDHAN BLOCKS DEPARTMENT OF INSTRUMENTION NEAR WALCHAND COLLEGE OF ENGINEERING P V P INSTITUTE OF TECHNOLOGY VISHRAM BAUG SANGLI BUDHGAON Dist. SANGLI Dist. SANGLI Registration No. 89805 Registration No. 89813 5 Shri. ABHYANKAR SURESH SHRIDHAR 13 Shri. ADNAIK PRAKASH MOHANRAO C/O - S.W.ABHYANKAR 1877/B FLAT NO 2 AMRAPALI KHAPARDE GARDEN APT RAJARAMPURI 8TH LANE AMARAVATI (VIDARBH) KOLHAPUR Dist. AMARAVATI Dist. KOLHAPUR 416008 Registration No. 89806 Registration No. 89814 6 Shri. ADADANDE AKSHAYKUMAR BALASAHEB 14 Shri. ADSUL AKSHAY RAMCHANDRA KARVEER NAGAR HOUSING SOCIETY, PLOT NO 27 B, 1014/29 SAI COLONY AIRPORT ROAD, UJALAIWADI KOLHAPUR APTE NAGAR, KOLHAPUR 416004 Dist. KOLHAPUR Dist. KOLHAPUR Registration No. 89807 Registration No. 89815 7 Shri. ADANI KRISHNAKUMAR DHARAMSHI 15 Shri. ADURE GAUTAM SURESH R.NO. 96 PL NO 45 B/1 LAYOUT NO 1 GITA GRAHA 4 PICKET ROAD BABA JARAG NAGAR MUMBAI - 2 KOLHAPUR - 416007 Dist.
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												  DIRECTORATE of HEALTH SERVICES MUMBAI RESULT of WRITTEN EXAM of GROUP C DISTRICT : Deputy Director of Health Service Nagpur POST : LABORATORY TECHNICIAN (70%)DIRECTORATE OF HEALTH SERVICES MUMBAI RESULT OF WRITTEN EXAM OF GROUP C DISTRICT : Deputy Director of health service Nagpur POST : LABORATORY TECHNICIAN (70%) SL_NO HallTicketNo Name Gender TOTAL 1 320300002 SANAP ASHVINI MADHAO F 72 2 320300004 SALAVE SHITAL ARUN F 102 3 320300005 VARMA SUDHA RAMSHANKAR F 88 4 320300007 BANSOD HARSHU NARENDRA F 124 5 320300008 SONWANE PALLAVI RAMBHAU F 98 6 320300009 KAWALE MONALI GAJLAL F 100 7 320300011 SHINDE MAHIMA SANJAY F 76 8 320300012 ITANKAR SMITA JANRAO F 122 9 320300013 BEDARKAR ARCHANA SUDHIRCHAND F 96 10 320300016 SONKUSARE NUTAN DIGAMBER F 96 11 320300017 MANDAL PRANTIKA SANJIT F 106 12 320300018 BANAIT DEEPA NAMDEORAO F 88 13 320300020 BAGWE POONAM ASHOKRAO F 86 14 320300021 GAVHALE SONALI NAMDEORAO F 128 15 320300022 BARDE SHREYA PRADIP F 104 16 320300024 DRAVYAKAR KALYANI PURUSHOTTAM F 84 17 320300026 BHAJIPALE PRITI MAHADEORAO F 108 18 320300027 KHOBRAGADE SUSHMA SURESH F 106 19 320300029 GAIKWAD NIKKI NARENDRA F 72 20 320300033 BHANDKKAR PRIYA PURUSHOTTAM F 94 21 320300034 THUSE ARCHANA WARLUJI F 76 22 320300035 DULLARWAR MONALI GOVINDRAO F 74 23 320300036 KAMDI LALITA PURUSHOTTAMRAO F 92 24 320300037 TATHE SWATI SAHEBRAO F 80 25 320300039 HARANE SHRUTI SHYAMSUNDAR F 74 26 320300040 NIMJE BHAVANA DEORAO F 96 27 320300042 HUSE JAYDEEP DNYANDEO F 64 28 320300043 RATHI BARKHA NARESHCHANDRA F 86 29 320300045 CHUTE RAKHI KRISHNARAO F 98 30 320300046 KHANNADE RASHMI WASUDEO F 82 31 320300048 NIWAL DARSHANA NAMDEO F 78 32 320300049 GOMASE ANITA CHINDHUJI F 86 33 320300050 JANBANDHU PALLAVI
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												  Jain Worship?} }? ?} }? ? ? ? ? ? Veer Gyanodaya Granthmala Serial No. 301 ? ? ? ? ? ? VEER GYANODAYA GRANTHMALA ? ? ? ? ? ? ? ? This granthmala is an ambitious project of D.J.I.C.R. in ? ? ? ? which we are publishing the original and translated ? ? JAIN WORSHIP ? ? works of Digambar Jain sect written in Hindi, ? ? ? ? ? English, Sanskrit, Prakrit, Apabhramsh, ? ? ? ? ? -:Written by :- ? ? Kannad, Gujrati, Marathi Etc. We are ? ? Pragyashramni ? ? also publishing short story type ? ? ? ? books, booklets etc. in the ? ? Aryika Shri Chandnamati Mataji ? ? interest of beginners ? ? ? ? ? ? ? ? and children. ? ? Published in Peace Year-2009, started with the inauguration of ? ? ? ? 'World Peace Ahimsa Conference' by the Hon'ble President of India ? ? -Founder & Inspiration- ? ? ? ? Smt. Pratibha Devisingh Patil at Jambudweep-Hastinapur on 21st Dec. 2008. ? GANINI PRAMUKH ARYIKA SHIROMANI ? ? ? ? ? ? ? SHRI GYANMATI MATAJI ? ? ? ? ? ? ? ? -Guidance- ? ? ? ? ? ? ? ? Pragya Shramni Aryika Shri Chandnamati ? ? ? ? Mataji ? ? ? ? ? ? ? ? -Direction- ? ? ? ? ? ? ? ? Peethadhish Kshullakratna Shri Moti Sagar Ji ? ? -: Published By :- ? ? ? ? Digambar Jain Trilok Shodh Sansthan ? ? -Granthmala Editor- ? ? ? ? Jambudweep-Hastinapur-250404, Distt.-Meerut (U.P.) ? ? ? ? Karmayogi Br. Shri Ravindra Kumar Jain ? Ph-(01233) 280184, 280236 ? ? ? All Rights Reserved for the Publisher ? ? E-mail : [email protected] ? ? ? ? Website : www.jambudweep.org ? ? ? ? ? ? Composing : Gyanmati Network, ? ? Chaitra Krishna Ekam ? ? ? First Edition Price Jambudweep-Hastinapur
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												  Exploitation, Victimhood, and Gendered Performance in Rituparno Ghosh’S BariwaliEXPLOITATION, VICTIMHOOD, AND GENDERED PERFORMANCE IN RITUPARNO GHOSH’S BARIWALI Rohit K. Dasgupta and Tanmayee Banerjee Rituparno Ghosh (1961—2013) was a filmmaker, lyricist, and writer who first emerged on the cultural scene in Bengal as a copywriter at Response, a Kolkata-based advertising firm in the eighties. He made a mark for himself in the world of commercials, winning several awards for his company be- fore directing two documentaries for Doordarshan (India’s national public television). He moved into narrative film- making with the critically acclaimed Hirer Angti (Diamond Ring, 1992) and the National Award–winning Unishe April (19th April, 1995). He is credited with changing the experi- ence of cinema for the middle-class Bengali bhadrolok and 1 thus opening a new chapter in the history of Indian cinema. Ghosh arrived at a time when Bengali cinema was going Rituparno Ghosh. ©SangeetaDatta,2013 through a dark phase. Satyajit Ray had passed away in 1992 , leaving a vacuum. Although filmmakers such as Mrinal Ghosh, clearly influenced by Ray and Sen, addressed the Sen, Goutam Ghose, Aparna Sen, and Buddhadeb Dasgupta Bengali middle-class nostalgia for the past and made films “ ” contributed significantly to his genre of intellectual cinema, that were distinctly “Bengali” yet transcended its parochialism. they did not have much command over the commercial mar- Ghosh’s films were widely appreciated for their challenging “ ” ket. The contrived plots, melodrama, and obligatory fight narratives. His stories explored such transgressive social codes sequences of the action-packed Hindi cinema, so appealing to as incest in Utsab (Festival, 1999), marital rape in Dahan the masses, had barely anything intelligible to offer to those in (Crossfire, 1997), polyamory in Shubho Muharat (First Shot, search of a higher quality cinema.
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												  Lingayatism :- a Historical Study DrInternational Journal of Research e-ISSN: 2348-6848 p-ISSN: 2348-795X Available at https://edupediapublications.org/journals Volume 05 Issue-01 January 2018 Lingayatism :- A Historical Study Dr. Rakesh Kumar Department of History Abstract: Lingayatism was an important Maritontadarya [16th Century] moment in 12th century. It was started by (Sanskrit language) Basava in Karnataka. It was socio religious Poet Harihara (Hampe) 1195 A.D. in nature. It was against caste system. (Kannada Poet) Basava rejected caste system.He also GubbiyaMallanaraya-GururajCharite opposed child marriage, alcoholism and (1650 A.D., Kannada language) other evils.Vachans and other sources play Chamarasa-PrabhulingaLeela (1400 an important role to reconstruct the history Kannada language) of lingayatism. As far as the life of Basava is Keywords:-Lingayatism, Basawa, Caste, concerned, he was a native of Bagevadi in Child Marriage, History. present Karnataka. he was the son of Introduction: Lingayatism emerged as a Madiraja. His mother was Madalamba. He great force in the sphere of religion in belong to Brahmin caste by birth. Bladeva Karnataka in 12th century. There are many his maternal uncle was a minister in the historical evidence which clarify Lingayath court of king Bijjala. Basava was also religion was founded by Guru Basareshwara. appointed as a minister in the court of Bijjala. They are as following given below:- But there are multiple views about his job. In PalkurikeSomnath (1200 A.D., in the one view, when his uncle fell sick and was Telgu language) bedridden, his responsibilities were Mayidevaaprabhu (Magge) [1400, transferred to Basava. Kannada Poet] In another view, Basava successfully ChaturmukhaBommarasa [1500 A.D., deciphered an inscription that disclosed the Kannada Poet] location of treasure.
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												  Kashmir Shaivism PdfKashmir shaivism pdf Continue Trident (trishalabija mashalam), symbol and Yantra Parama Shiva, representing the triadic energies of the supreme goddess Para, Para-apara and Apara Sakti. Part of a series onShaivism DeitiesParamashiva(Supreme being) Shiva Sadasiva Bhairava Rudra Virabhadra Shakti Durga Kali Parvati Sati Ganesha Murugan Sastha Shiva forms Others Scriptures and texts Vedas Upanishads (Svetasvatara) Agamas and Tantras Shivasutras Tirumurai Vachanas Philosophy Three Components Pati Pashu Pasam Three bondages Anava Karma Maya 36 Tattvas Yoga Satkaryavada Abhasavada Svatantrya Aham Practices Vibhuti Rudraksha Panchakshara Bilva Maha Shivaratri Yamas-Niyamas Guru-Linga-Jangam Schools Adi Margam Pashupata Kalamukha Kapalika Mantra Margam Saiddhantika Siddhantism Non - Saiddhantika Kashmir Shaivism Pratyabhijna Vama Dakshina Kaula: Trika-Yamala- Kubjika-Netra Others Nath Inchegeri Veerashaiva/Lingayatism Siddharism Sroutaism Aghori Indonesian Scholars Lakulisha Abhinavagupta Vasugupta Utpaladeva Nayanars Meykandar Nirartha Basava Sharana Srikantha Appayya Navnath Related Nandi Tantrism Bhakti Jyotirlinga Shiva Temples vte Part of a series onShaktism Deities Adi Parashakti (Supreme) Shiva-Shakti Parvati Durga Mahavidya Kali Lalita Matrikas Lakshmi Saraswati Gandheswari Scriptures and texts Tantras Vedas Shakta Upanishads Devi Sita Tripura Devi Bhagavatam Devi Mahatmyam Lalita Sahasranama Kalika Purana Saundarya Lahari Abhirami Anthadhi Schools Vidya margam Vamachara Dakshinachara Kula margam Srikulam Kalikulam Trika Kubjikamata Scientists Bhaskararaya Krishnananda Agamawagisha Ramprasad Sen Ramakrishna Abhirami Bhattar practices yoga Yoni Kundalini Panchamakara Tantra Yantra Festivals and temples Navaratri Durga Puja Lakshmi Puja Puja Saraswati Puj more precisely, Trika Shaivism refers to the non-dual tradition of the ziva-Sakta Tantra, which originated sometime after 850 AD. The defining features of The Trika tradition are its idealistic and monistic philosophical system Pratyabhija (Recognition), founded by Utpaladeva (c.
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												  Chapter 1 Uday Shankar and Locating ModernityCHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.