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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. -
Dances & States
DANCES & STATES 1. Odisha Odissi Bhaka Wata Dandante 2. Kerala Chakiarkoothu Kathakali Mohiniattam Ottam Thullal Chavittu Natakam Kaikotti Kalai Koodiyattam Krishnavattam Mudiyettu Tappatri Kai Theyyam 3. Tamil nadu Bharatnatyam Kummi Kolattam Devarattam Poikkal Kuthirai Attam Therukkoothu Karakattam Mayilattam Kavadiattam Silambattam Thappattam Kaliattam Puliyattam cracktiss.wordpress.com 4. Andhera pradesh Kuchipudi Veethi-Bhagavatham Kottam 5. Karnataka Yakshagana Bayalata Simha Nutrya Dollu Kunitha Veeragase 6. Assam Bihu Ojapali Ankia Nat 7. Bihar Jat Jatin Faguna or Fag Purbi Bidesia Jhijhian Kajari Sohar-Khilouna Holi Dance Jhumeri Harvesting Dance 8. Gujrat Dandya Ras cracktiss.wordpress.com Garba Lasya Nritya Bhavai Garba Rasila Trippani 9. Haryana Swang Khoria Gugga dance Loor Sang Dhamal 10. Himachal pradesh Luddi Dance Munzra Kanayala Giddha Parhaun 11. Jammu and Kashmir Hikat Rouf Chakri 12. Maharashtra Tamasha Dahi Kala Lavani Lezim cracktiss.wordpress.com 13. Madhya Pradesh Lota Pandvani 14. Meghalaya Wangala Laho Shad Nongkrem Shad Sukmysiem 15. Manipur Manipuri Maha Rasa Lai Haroba 16. Mizoram Chiraw (Bamboo Dance) 17. Punjab Bhangra Gidda 18. Rajasthan Khayal Chamar Gindad Gangore Jhulan Leela Jhumar (Ghumar) Kayanga Bajayanga cracktiss.wordpress.com 19. Uttar Pradesh Kathak Nautanki Chappeli Kajri Karan Kumaon 20. West bengal Jatra Chau Kathi 21. Goa Fugdi Dekhnni Tarangamel Dhalo. 22. Arunachal Pradesh Bardo Chham Aji Lamu Hiirii Khaniing Pasi Kongki Lion and Peacock dance Chalo Popir Ponung Rekham Pada 23. Chhattisgarh cracktiss.wordpress.com Karma Panthi Pandavani Rawat Nacha Soowa Nacha or Suwa Tribal dance 24. Jharkhand Paika Chhou Santhal 25. Nagaland Zeliang Nruirolians (Cock dance) Temangnetin (Fly dance) 26. Sikkim Singhi Chham Yak Chaam Maruni Rechungma 27. Telangana Perini Thandavam Dappu Lambadi Tappeta Gullu 28. -
Chapter- Iv Analysis and Interpretation
CHAPTER- IV ANALYSIS AND INTERPRETATION 1. Foreign Exchange Earnings for the year 2014 is Rupees 6398.93 crores. During 2014, the domestic tourist arrival was 116, 95,411 (an increase of 7.71%) whereas Foreign Tourist Arrival was 9, 23, 366 (an increase of 7.60%) over the previous year’s figure. 2. Kerala, the Malayalam speaking region, has made valuable contributions to the world culture and one of them, is the institution of Kalari. Tacholi Othenan, the undisputed exponent and all time great of Kalarippayattu, was born in 1584. After his death at the age of thirty-two, the people of Malabar made a cult hero of him and eventually deified and worshipped him as a demi-god. 3. Irrespective of caste, community, sex, religion and social status, the people of Kerala learnt the art of payattu. 4. Nearly half of foreign tourists visit Kalari for Rejuvenation therapy. 28.57 per cent domestic tourists visit Kalari for Martial Arts and 31.97 per cent for Rejuvenation Therapy. Rejuvenation therapy helps for longevity, memory, intellect, positive health, youth, excellent complexion and strength of sensory organs. Main aim of this therapy is to maintain the youth of the individual along with the maintaining of his long life. It is a costly affair but the enjoyment derived is maximum. It is expected by the Tourism Department that in 2021, 30 Lakhs foreign tourists and 180 Lakhs domestic tourists visit Kerala. According to Kerala Tourism statistics, Foreign tourist arrivals to Kerala in 2014 showed an increase of 7.60% compared to the previous year. -
Folk Theatre in Goa: a Critical Study of Select Forms Thesis
FOLK THEATRE IN GOA: A CRITICAL STUDY OF SELECT FORMS THESIS Submitted to GOA UNIVERSITY For the Award of the degree of Doctor of Philosophy in English by Ms. Tanvi Shridhar Kamat Bambolkar Under the Guidance of Dr. (Mrs.) K. J. Budkuley Professor of English (Retd.), Goa University. January 2018 CERTIFICATE As required under the University Ordinance, OA-19.8 (viii), I hereby certify that the thesis entitled, Folk Theatre in Goa: A Critical Study of Select Forms, submitted by Ms. Tanvi Shridhar Kamat Bambolkar for the Award of the Degree of Doctor of Philosophy in English has been completed under my guidance. The thesis is the record of the research work conducted by the candidate during the period of her study and has not previously formed the basis for the award of any Degree, Diploma, Associateship, Fellowship or other similar titles to her by this or any other University. Dr. (Mrs.) K.J.Budkuley Professor of English (Retd.), Goa University. Date: i DECLARATION As required under the University Ordinance OA-19.8 (v), I hereby declare that the thesis entitled, Folk Theatre in Goa: A Critical Study of Select Forms, is the outcome of my own research undertaken under the guidance of Dr. (Mrs.) K.J.Budkuley, Professor of English (Retd.),Goa University. All the sources used in the course of this work have been duly acknowledged in the thesis. This work has not previously formed the basis of any award of Degree, Diploma, Associateship, Fellowship or other similar titles to me, by this or any other University. Ms. -
UPSC Daily Current Affairs | Prelim Bits 25-08-2020
UPSC Daily Current Affairs | Prelim Bits 25-08-2020 National Strategy for Financial Education (NSFE) RBI has released the National Strategy for Financial Education (NSFE): 2020-2025 document for creating a financially aware and empowered India. It is the second NSFE, the first one being released in 2013. It aims to strengthen the ecosystem for various modes of digital financial services in all Tier-II to Tier VI centers to create the necessary infrastructure to move towards a less-cash society by March 2022. NSFE has been prepared by the National Centre for Financial Education (NCFE), under the aegis of the Technical Group on Financial Inclusion and Financial Literacy (TGFIFL). NCFE is a Section 8 (Not for Profit) Company under the Companies Act, 2013 promoted by RBI, SEBI, IRDAI and PFRDA. It has recommended a ‘5 C’ approach for dissemination of financial education in the country: 1. Content - Financial Literacy content for various sections of population. 2. Capacity - Develop the capacity and ‘Code of Conduct’ for financial education providers. 3. Community - Evolve community led approaches for disseminating financial literacy in a sustainable manner. 4. Communication - Use technology, media and innovative ways of communication for dissemination of financial education messages. 5. Collaboration - Streamline efforts of other stakeholders for financial literacy. TGFIFL Technical Group on Financial Inclusion and Financial Literacy (TGFIFL) was set up in November 2011 by the FSDC. It is responsible for periodic monitoring and implementation of NSFE under the oversight of Financial Stability and Development Council (FSDC). Nuakhai Juhar Nuakhai Juhar is an agricultural festival, also called Nuakhai Parab or Nuakahi Bhetghat. -
Mask: a Creative Representation of Functional Art
[Pandey *, Vol.7 (Iss.4): April 2019] ISSN- 2350-0530(O), ISSN- 2394-3629(P) DOI: https://doi.org/10.29121/granthaalayah.v7.i4.2019.878 Arts MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART Dr. Anjali Pandey *1 *1 Associate Prof & H.O.D., Department Drawing &Painting, Govt. M.L.B. Girls P. G. Autonomous College Bhopal, India Abstract Masks are used all over the world for their expressive power. It is an important part of theatre and rituals. It is generally used to conceal the identity or to transform the character. In India the festival mask are used to represent the deities and mythological character in dance and drama performance as well as in many ceremonial functions, religious and social rituals and in entertainment since ancient time. The evidences of mask could also be seen since prehistoric age. Many tribes of India mask are used in rituals and performances. The masks of different region are distinct and peculiar in size, shape, form, design and material used. In early era the masks were made in simplified form, now some innovative decorations have changed their aesthetic value. Keywords: Living Culture; Prehistoric Era; Ceremonial Functions; Costumes; Entertainment; Transform; Regional; Paper Machie; Wood; Zari Painting; Designs. Cite This Article: Dr. Anjali Pandey (2019). “MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART.” International Journal of Research - Granthaalayah, 7(4), 90-96. https://doi.org/10.29121/granthaalayah.v7.i4.2019.878. 1. Introduction Http://www.granthaalayah.com ©International Journal of Research - GRANTHAALAYAH [90] [Pandey *, Vol.7 (Iss.4): April 2019] ISSN- 2350-0530(O), ISSN- 2394-3629(P) DOI: 10.5281/zenodo.2653124 “The word ‘mask’ has a foreign origin. -
List of Indian Folk Dances - State Wise
STUDENT'S SENA New resolution for banking aspirants List of Indian Folk Dances - State Wise List of Folk dances, important for general awareness section of bank exams. Jharkhand Chhanu, Sarahul, Jat-Jatin, Karma, Danga, Bidesia, Sohrai. Uttarakhand Garhwali, Pandav Nritya, Kumaoni, Kajari, Chancheri, Jhora, Raslila, Chhapeli. Andhra Kuchipudi (Classical), Ghanta mardala, Vilasini Pradesh Natyam, Andhra Natyam, Burrakatha, Veeranatyam, Butta bommalu, Tholu Bommalata, Dappu. Chhattisgarh Goudi, Karma, Jhumar, Dagla, Pali, Tapali, Navrani, Diwari, Mundari. Arunachal Mask dance (Mukhauta Nritya), War dance. Pradesh Himachal Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Pradesh Nati, Dangi, Chamba, Thali, Jhainta, Daf, Stick dance etc. Goa Mandi, Jhagor, Khol, Dakni etc. Assam Bihu, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai etc. West Bengal Kathi, Gambhira, Dhali, Jatra, Baul, Marasia, Mahal, Keertan etc. Kerala Kathakali (Classical), Ottamthullal, Mohiniyattam, Kaikottikali, Tappeti Kali, Kali Attam. Meghalaya Laho, Baala etc. Manipur Manipuri (Classical), Rakhal, Nat Rash, Maha Rash, Raukhat etc. 1 STUDENT'S SENA New resolution for banking aspirants Nagaland Chong, Lim, Nuralim etc. Orissa Odissi (Classical), Savari, Ghumara, Painka, Munari, Chhau, Chadya Dandanata etc. Maharashtra Lavani, Nakata, Koli, Lezim, Gafa, Dahikala Dashavatar or Bohada, Tamasha, Mouni, Powara, Gauricha etc. Karnataka Yakshagana, huttar, Suggi, Kunitha, Karga, Lambi Gujarat Garba, Dandiya Raas, Tippani Juriun, Bhavai. Punjab Bhangra, Giddha, Daff, Dhaman etc. Rajasthan Ghumar, Chakri, Ganagor, Jhulan Leela, Jhuma, Suisini, Ghapal, Panihari, Ginad etc. Mizoram Khanatm, Pakhupila, Cherokan etc. Jammu Rauf, Hikat, Mandjas, kud Dandi nach, Damali. & Kashmir Tamil Nadu Bharatanatyam, Kummi, Kolattam, Kavadi. Uttar Pradesh Nautanki, Raslila, Kajri, Jhora, Chappeli, Jaita. Bihar Jata-Jatin,Bakho-Bakhain, Panwariya, Sama-Chakwa, Bidesia, Jatra etc. -
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. -
List of Empanelled Artist
INDIAN 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 -
Kalanidhi Kalakosa Janapada Sampada Kaladarsana
ANNUAL REPORT April 1, 2014-March 31, 2015 Contents Page No, Introduction 3 Organisation 4 Formation of the Trust 5 Highlights 5 KALANIDHI 7 Programme : Reference Library 8 : Reprography Unit 9 : Slide Unit 9 : Cultural Archives 9 Conservation Unit 12 Media Centre 13 Cultural Informatics Lab 14 KALAKOSA 17 Programme A : Kalatattvakosa 17 Programme B : Kalamulasastra 18 Programme C : Kalasamalocana 19 Area Studies 20 JANAPADA SAMPADA 25 Programme A : Ethnographic Collection 26 Programme B : Adi Drishya 27 Programme C : Lifestyle Studies 29 North East Study Programme 34 KALADARSANA 37 Exhibitions 38 Seminars/Conferences/Workshops 39 Public Lectures 42 Performances 43 Other Events 46 REGIONAL CENTRES 50 Eastern Regional Centre, Varanasi 50 Southern Regional Centre, Bengaluru 52 SUTRADHARA 57 ANNEXURES I: The Indira Gandhi National Centre for the Arts Board of Trustees 58 (as on March 31, 2015) II: The Indira Gandhi National Centre for the Arts Members of the 59 Executive Committee (as on March 31, 2015) III: List of Exhibitions held in IGNCA from April 1, 2014 to March 31, 2015 60 IV: List of Lectures and other programmes held in IGNCA 62 from April 1, 2014 to March 31, 2015 V: List of IGNCA Publications from April 1, 2014 to March 31, 2015 76 VI: List of officers of IGNCA, including Senior /Junior Research 77 Fellows/Consultants in the IGNCA (as on March 31, 2015) INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS Annual Report 2014-15 INTRODUCTION The Indira Gandhi National Centre for the Arts (IGNCA), established in the memory of Smt. Indira Gandhi in 1987, is visualised as an autonomous national institution encompassing the study and experience of all the arts - each form with its own integrity, yet within a dimension of mutual inter- dependence and inter-relatedness with nature, the social structure and cosmology. -
THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice
Paper 11: Special Interest Tourism Module 34: Performing Arts of India: Classical Dances, Folk Dance & HistoricalFolk Culture Development of Tourism and Hospitality in the World THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice Chancellor, Indira Gandhi University, Rewari Co-Principal Investigator Dr. Prashant K. Gautam Director, UIHTM, Panjab University, Chandigarh Paper Coordinator Prof. Deepak Raj Gupta School of Hospitality & Tourism Management (SHTM), Jammu University Content Writer Dr. Arunesh parashar, Chief Coordinator Department Of Tourism Management, Dev Sanskriti University Content Reviewer Prof. Pariskhit Manhas Director , school of hospitality & tourism management Jammu university, Jammu ITEMS DESCRIPTION OF MODULE Subject Name Tourism and Hotel Management Paper Name Special Interest Tourism Module Title Performing Arts of India: Classical Dances, Folk Dances and Folk Culture Module Id 34 Pre- Requisites Basic knowledge about Performing Arts Objectives To develop a basic insight about the performing arts in India Keywords Classical, folks lore, folk dances and folk cultures QUADRANT-I Performing arts are divided into two dimensions of performance: Dance Music Classical dance Bharatnatyam Bharatnatyam originates in Tamil Nadu which is likewise alluded to as artistic yoga and Natya yoga. The name Bharatnatyam is gotten from the word "Bharata’s" and subsequently connected with the Natyashashtra. Though the style of Bharatnatyam is over two thousand years old, the freshness and lavishness of its embodiment has been held even today. The strategy of human development which Bharatnatyam takes after can be followed back to the fifth Century A.D. from sculptural proof. This established move has an entrancing impact as it inspires the artist and the spectator to a larger amount of profound cognizance. -
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.