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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 ........................................................................................................... -
SRUTI-India Carnatic Music,India Dance & Music Magazine
SRUTI-India Carnatic Music,india dance & music magazine Internet Edition February & March 2001 India's premier music and dance magazine Home Editor's Note News & Notes (Continued) Spotlight Reproduced from Sruti 197 (February 2001). Brief Notes HOMAGE TO MAX MUELLER IN CHENNAI Main Feature PRESENTATIONS OF MUSIC, DANCE & DRAMA Back o' & Feedback Form Max Mueller Bhavan (German Cultural Institute) in Chennai organised a clutch of Sruti - Issue 197 cultural programmes and a seminar during 28-30 November 2000 to mark the death February 2001 centenary of Max Mueller, a great Indologist. Born in 1823, Mueller died when he was 77. Mueller is remembered for stimulating widespread interest in Indology, mythology, philosophy, comparative religion, linguistics and social criticism. The special cultural relations between India and Germany are largely attributed to his works. Mueller never visited India. But, had he come to India, he would likely have sought the company of musicians and scholars in the field of the performing arts, considering that he wanted to become a musician and belonged to a family that considered music and poetry a way of life. His first love was indeed music which he would have taken up as a profession but for the unfavourable climate for such a pursuit in his days. The famous Indologist is best known all over the world for the publication of the Sacred Books of the East (51 volumes), amongst several other works. He was an ardent promoter of Indian independence and cultural self-assertion. Max Mueller Bhavan, Chennai, entrusted Ludwig Pesch, a German who has spent years learning and studying Carnatic music, with the task of planning a befitting programme of tribute in Chennai in the wider context of a major German festival under way in India. -
(Dr) Utpal K Banerjee
About the Book IGNCA is a treasure-trove of cultural artifacts including a rich repository of Video documentaries (published) and Audio and Video DVDs (unpublished). This book – based on the author’s two-year project -- envisions an on-line A-V cultural archive KALASAMPADA that consists of A-V materials stored at IGNCA for the categories of: Interviews; Ritual Documentation; Archaeological Sites and Walk-through; Events; Festivals; Performances (music-dance-theatre-puppetry-mime); Lectures; Seminars; and Workshops. In order to make such a wide variety of materials available on-line – initially on the Intranet, subsequently on a potential Extranet, and eventually (although very selectively) on the Internet – the following digitisation road-map is observed in the project: Conversion of primary A-V materials from analogue to digital format; Creation of data sheets for metadata tagging, following the international standard of Dublin Core Metadata Element Set (DCMES); Integration of metadata with primary A-V material in IGNCA’s Intranet; Access and retrieval by “simple search” with keywords for casual browsers and “advanced search” for users, researchers and scholars with reference to groups of keywords from the intranet. The objectives of the project of on-line A-V cultural archive are: to bring it into public domain; to make it inter-active for scholars; and to make it internationally compatible. Basic advantages of such a project are really five-fold. First, a digital A-V archive assures the near permanent durability of the A-V material. Secondly, it allows need-based quality enhancement. Thirdly, an archive of this kind makes room for highly economic storage of vulnerable Audio and Video files. -
List of Universities/Institutes in India Where ICCR Students Are Studying S.No
List of Universities/Institutes in India where ICCR students are studying S.No. Name of Universities / Institutes 1 Aamad Kathak Center 2 Abhinav Dance Institute 3 Acharya N.G. Ranga Agriculture University 4 Aligarh Muslim University 5 Allahabad University 6 Anand Agriculture University 7 Andhra University 8 Anna University 9 Annamalai University 10 Assam Agricultural University 11 Assam University 12 Ayurvedic College 13 Ayurved Vidyalya, Nashik 14 Baba Sahib Ambedkar Marathwada University, Aurangabad 15 Banaras Hindu University, Varanasi 16 Bangalore University 17 Bengal Engineering & Science University 18 BhartiyaVidya Bhavan, Mumbai 19 Bhatkande Music Institute, Lucknow 20 Bidhan Chandra Krishi Vishwa vidyalaya 21 Calicut University, Kerala 22 CCS, Haryana Agriculture University, Hisar 23 Central Agriculture University 24 Central Institute of Fishery Mumbai 25 Central University of Gujarat 26 Central University of Kerala 27 Central University of Rajasthan 28 Central University of Science & Technology, Kerala 29 Dance & Music (Kadamb Institute) 30 Delhi Technological University 31 Delhi University 32 Dibrugarh University, Assam 33 Dr. M.G.R. Medical University 34 Dr. Y.S. Parmar University, Ludhiana 35 English & Foreign Language University 36 G.B. Pant Agriculture University, Uttarakhand 37 Gandharva Mahavidyalaya, Delhi 38 Goa University 39 Govt. Ayurvedic College, Gwalior 40 Gujarat Ayurved University 41 Gujarat Technological University 42 Gujarat University 43 Guru AngadVetinary Science. University 44 Guru Nanak Dev University, -
Annual Report 2020
Imen¡ -äv kÀ-Æ-I-emime UNIVERSITY OF CALICUT Accredited by NAAC with ‘A’ Grade UNIVERSITY OF CALICUT Calicut University.P.O Malappuram, Kerala 673 635 Phone: +91 494 2407104 http://www.uoc.ac.in ANNU 2020 AL REPORT 2020 ANNUAL REPORT ANNUAL REPORT 2020 UNIVERSITY OF CALICUT University of Calicut - Annual Report 2020 Editorial Committee: The Vice-Chancellor (Chairman). The Pro-Vice-Chancellor. The Registrar. The Controller of Examinations. The Finance Officer. Dr. Manoharan M. (Member, Syndicate). Sri. K.K. Haneefa (Member, Syndicate). Adv. Tom K. Thomas (Member, Syndicate). The Publication Officer. The Director of Research. Dr. Denoj Sebastian, Director, DoA. Dr. B.S. Harikumaran Thampi, Director, CDC. Dr. Sivadasan P., Director, IQAC. Dr. V.K. Subramanian, Director, SDE. Dr. R.V.M. Divakaran, Head, Dep’t. of Malayalam & Kerala Studies. Dr. K.M. Sherrif, Associate Professor, Dep’t. of English. Dr. Abraham Joseph, Professor, Dep’t. of Chemistry. The Deputy Registrar, Administration. The Deputy Registrar, Pl.D. Branch (Convenor). CUP 2115/21/125 2 University of Calicut - Annual Report 2020 Foreword This Annual Report arrays the achievements of the University during the year 2020. The report presents a brief of the academic activities, events, and achievements of this University’s teaching and research departments and the affiliated colleges. The year 2020 has delivered tough times to the entire academic activities of the University. Despite the spread of the epidemic, the University has made remarkable achievements in various fields. Calicut University has achieved these significant successes in 2020 based on the bedrock evolved by the development work done over the last few years. -
THE DIVISION of CONTINUING EDUCATION and COMMUNITY SERVICE the STATE FOUNDATION on CULTURE and the ARTS and the UNIVERSITY THEATRE Present
THE DIVISION OF CONTINUING EDUCATION AND COMMUNITY SERVICE THE STATE FOUNDATION ON CULTURE AND THE ARTS AND THE UNIVERSITY THEATRE present by special arrangements with the American Society for Eastern Arts San Francisco, California John F. Kennedy Theatre University of Hawaii September 24, 25, 1970 /(ala mania/am /(aiAahali Company The Kerala Kalamandalam (the Kerala State Academy of the Arts) was founded in 1930 by ~lahaka vi Vallathol, poet laureate of Kerala, to ensure the continuance of the best tradi tions in Kathakali. The institution is nO\\ supported by both State and Central Governments and trains most of the present-day Kathakali actors, musicians and make-up artists. The Kerala Kalamandalam Kathakali company i::; the finest in India. Such is the demand for its performances that there is seldom a "night off" during the performing season . Most of the principal actors are asatts (teachers) at the in::;titution. In 1967 the com pany first toured Europe, appearing at most of the summer festi vals, including Jean-Louis Barrault's Theatre des Nations and 15 performances at London's Saville Theatre, as well as at Expo '67 in Montreal. The next year, they we re featured at the Shiraz-Persepolis International Festival of the Arts in I ran. This August the Kerala Kalamandalam company performed at Expo '70 in Osaka and subsequently toured Indonesia, Australia and Fiji. This. their first visit to the Cnited States, is presented by the American Society for Eastern Arts. ACCOMPANISTS FOR BOTH PROGRAMS Singers: Neelakantan Nambissan S. Cangadharan -
M.A. Indian Culture (Semester)
Placed at the meeting of Academic Council held on 26.03.2018 APPENDIX - AU MADURAI KAMARAJ UNIVERSITY (University with Potential for Excellence) M.A. Indian Culture (Semester) CHOICE BASED CREDIT SYSTEM REVISED SYLLABUS (With effect from the Academic Year 2018-2019) STRUCTURE OF THE SYLLABUS 1. Introduction Unity in diversity is the basic principle of Indian Culture. The uniqueness of Indian Culture is its spiritual foundation. Satya, Dharma, Shanthi, Prema and Ahimsa are the cultural traditions of ours, through which Moral and Spiritual upliftment of humanity is achieved. The Post Graduate Course in Indian Culture will be focusing on the Cultural Traditions and will be shaping the younger generation with Human Values. 2. Eligibility for Admission: Any graduate of Madurai Kamaraj University or of any university duly recognized by the Association of Indian Universities. Order of Preference: 1) A Graduate of Indian Culture 2) An Arts Graduate 3) A Science Graduate 2.1 Duration of the Programme : 2 Years 2.2. Medium of Instructions : English 3. Objectives of the Programme : Infuse the younger generation - To known about the richer Tradition and Culture of India. To inculcating ethical Spirit and Human values. To understand Character is the most precious gift ofEducation. To realize Unity in Diversity nature of India To create Secularist mind To create awareness about the Cultural monuments. To prepare for the Competitive Examinations and preferably for the Executive Officers in the H.R. and C.E. (Admn) Department. 4. Outcome of the programme Students know the Past Glory of our nation ,which in return make them confident in the world. -
Reconnecting Through Cultural Translations of Time and Motion
The perception of time has shifted for many people due to COVID-19 pandemic. The concept seems paradoxical where time eludes or stagnates even though it is not a material object that we can physically grasp, and yet, we commonly say Finding Rhythm Amidst Disruption: that ‘time is slipping past our fingers.’ Additionally, this pandemic has brought challenges with an unexpected translation of time: how soon or late our town Reconnecting through Cultural is infected, how many days we haven’t seen a friend, or how many minutes we have “zoom”ed throughout the day. While the context and consequences are Translations of Time and Motion radically different, we refer to this analogy to discuss the diverse translations and cultural shifts of time. Living in the United States as bicultural individuals —Indian, Iranian, Thai— Ladan Bahmani we perceive time in conjunction with an additional calendrical system and time Illinois State University, United States difference. Archana Shekara is a first-generation Indian American who has been in the United States for three decades and considers it her second home. Archana Shekara Ladan Bahmani is a first-generation Iranian American. She immigrated to Illinois State University, United States United States from Iran and has lived in the country for over a decade. Annie Sungkajun is a second-generation American, whose parents immigrated to the Annie Sungkajun United States from Thailand. When she began her college education, her family Illinois State University, United States moved back to Thailand. We have become conscious of time and its shift as we constantly compare and move between different calendrical systems. -
Story of King Vikramadhithya Contents
Story of king Vikramadhithya There are two versions to this great story. The north Indian version was called “Simhasan Bhatheesi(throne with 32 steps) and the south Indian version was called “Periya ezhuthu Vikramadhithan kadhai(The story of Vikramadhithya in big letters).I have followed the south Indian version, I have summarized the stories in to a very short form as the original stories are very lengthy , with very many descriptions. This is possibly the greatest gift to the Indian lads and lasses that I can give Contents Story of king Vikramadhithya ................................................................... 1 1. Bhoja Raja gets Vikramadithya’s throne .................................. 3 2. Who was Vikramadithya? ........................................................ 5 3. Vikramadhithya and Vetala –I ................................................ 12 4. Vikramadhithya and Vetala –IRetold by ................................ 14 5. Vikramadhithya and Vetala Stories 2-6 ................................. 17 6. Vikramadhithya and Vetala Stories 7-10 ............................... 24 7. Vikramadhithya and Vetala Stories 11-16 ............................. 33 8. Vikramadhithya and Vetala stories 17-24 and story of Vetala ............................................................................................... 42 9. The story of Elalaramba told by the third doll -Komalavalli .. 56 10. The story of Chamapakavalli as told by fourth doll Mangala Kalyana Valli. ......................................................................... -
Expression December 2020
Volume 15 | No.8 | December 2020 The Albertian News Letter Estd. 1946 ST. ALBERT'S COLLEGE (AUTONOMOUS) Established and Administered by Archdiocese of Verapoly Accredited with 'A' Grade by NAAC | ISO 9001:2015 certified by TUV Rheinland Banerji Road, Ernakulam, Kochi - 682 018, Kerala, India www.alberts.edu.in |[email protected] Ph. 0484-2391245 E D National Service Scheme (NSS) I n a w o r l d I T growing louder O R Christmas Celebration 2020 I by the day, the A The NSS Unit of St. Albert's College L hardest process Devika V (Autonomous), Ernakulam conducted a is filtering voice from this virtual Christmas Celebration on overflow of noise. And of all 23 December, 2020, with a Christmas Day the different threads of special speech and Christmas Carol. NSS listening we embark on, the Programme Officer Mr. Sebastian A V addressed the gathering and gave the most important and often Christmas Day message. NSS Programme Officer Ms. Sumisha E S and times the least replenished is Secretaries Yadu Krishna and Jisna Johnson were also present in the listening to the self. This meeting. phrase is cliché for all the Digital Greeting Card Making Competition wrong reasons. An incredibly As a part of the Christmas Celebration, National Service Scheme, Unit significant part of any human No: 32 in collaboration with the Albertian Centre For Culture and being's growth journey is Heritage organised a Digital Greeting Card Making Competition. The making time for oneself – the competition was exclusively for Albertian students. The contest was physical, emotional and conducted on 23 and 24 December, 2020. -
Department of Sanskrit
DEPARTMENT OF SANSKRIT Dr. K. I. Treesa Asst. Professor In Sanskrit PERFORMING ARTS • KOODIYATTAM • CHAKYAR KOOTHU • NANGIAR KOOTHU • KRISHNANATTAM KOODIYATTAM Koodiyattam, also transliterated as Kutiyattam, is a traditional performing artform in the state of Kerala, India. It is a combination of ancient Sanskrit theatre with elements of Koothu, a Malayalam performing art which is as old as Sangam era. It is officially recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. Koodiyattam (Kutiyattam), meaning "combined acting" in Malayalam, combines Sanskrit theatre performance with elements of traditional Koothu. It is traditionally performed in temple theatres known as Koothambalams. It is the only surviving art form that uses drama from ancient Sanskrit theatre. It has a documented history of a thousand years in Kerala, but its origins are unknown. Koodiyattam and Chakyar Koothu were among the dramatized dance worship services in the temples of ancient India, particularly Kerala. Both Koodiyattam and Chakyar Koothu originated from ancient south Indian artform Koothu which is mentioned several times in ancient Sangam literature, and the epigraphs of the subsequent Pallava, Pandiyan, Chera, and Chola periods. Inscriptions related to Koothu can be seen in temples at Tanjore, Tiruvidaimaruthur, Vedaranyam, Tiruvarur, and Omampuliyur. They were treated as an integral part of worship services, alongside the singing of Tevaram and Prabandam hymns. MIZHAVU Traditionally, the main musical instru ments used in Koodi yattam are mizhavu, kuzhitalam, edakka, k urumkuzhal, and sankhu. Mizhavu, the most prominent of these is a percussion instrument that is played by a person of the Ambalavas Nambiar caste, accom panied by Nangyaramma playing the kuzhithalam (a type of cymbal). -
1. Kalamandalam Rama Chakyar As the Vidushaka in a Performance of Bhagavadajjukiyam at the Kerala Kalamandalam, 31 July 2002
MTDR190_11311_ch08 4/26/06 3:30 PM Page 136 1. Kalamandalam Rama Chakyar as the Vidushaka in a performance of Bhagavadajjukiyam at the Kerala Kalamandalam, 31 July 2002. (Photo by Mundoli Narayanan) 136 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram.2006.50.2.136 by guest on 02 October 2021 MTDR190_11311_ch08 4/26/06 3:30 PM Page 137 It is a moot point that the early work on the connections between ritual and performance, led by the groundbreaking work of Victor Turner, Arnold Van Gennep, and others, explored a very compelling area of study. By investigating such phenomena and features as “liminality,” “communitas,” and the passage from one state to the other, they not only uncovered the links between the two but were also able to throw light on such aspects of performance as theatrical framing, actor transformation, audience participation, actor-audience interaction, and so on. However, the unfortunate fact is that among the later adherents to ritual/performance studies, there has developed a tendency when it comes to studies of non-Western theatres—especially tradi- tional Asian theatres—to overemphasize the importance of ritual in performance. Sometimes this is done even to the exclusion of other aspects that are equally or more vital to the understanding of performance. This inclination has also led some to explain away many features of performance by interpreting them as rituals, while obviously ignoring their value as techniques or conventions of theatre. While the manifestations of this tendency toward over-ritualization can be seen in studies of a variety of Asian forms such as nohgaku, bunraku, and kagura of Japan, kathakali of India, Balinese dances, and others, the focus here is only on the studies of kutiyattam, from Kerala in southwestern India.