Planning Communication – Extension Support for Rural Development
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												Folk Songs CLASS-II
Folk Songs CLASS-II 6 Notes FOLK SONGS A folk song is a song that is traditionally sung by the common people of a region and forms part of their culture. Indian folk music is diverse because of India's vast cultural diversity. It has many forms. The term folk music was originated in the 19th century, but is often applied to music older than that. The glimpse of rural world can be seen in the folk music of the villages. They are not only the medium of entertainment among the rural masses but also a reflection of the rural society. In this lesson we shall learn about the characteristics of folk songs and music and also about the various folk songs of India. OBJECTIVES After studying this lesson, you will be able to: • define folk songs; • list the characteristics of folk songs and folk music; • list some famous forms of folk song of our country; and • describe the importance of folk song in our culture. OBE-Bharatiya Jnana Parampara 65 Folk Songs CLASS-II 6.1 MEANING OF FOLK SONGS AND MUSIC Music has always been an important aspect in the lives of Indian Notes people. India's rich cultural diversity has greatly contributed to various forms of folk music. Almost every region in India has its own folk music, which reflects local cultures and way of life. Folk songs are important to music because they give a short history of the people involved in the music. Folk songs often pass important information from generation to generation as well. - 
												
												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. - 
												
												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 . - 
												
												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. - 
												
												Conference Schedule
Undercurrents: Unearthing Hidden Social and Discursive Practices IACS Conference 2015 (Surabaya, 7-9 August 2015) CONFERENCE SCHEDULE Day 1 (Friday, 7 August 2015) 08.00 – 08.30 : Registration 08.30 – 10.00 : Parallel Session 1 10.00 – 11.30 : Parallel Session 2 11.30 – 13.30 : Lunch + Friday prayer 13.30 – 14.00 : Ngremo (Opening Ceremony and Cultural Performance) 14.00 – 14.30 : Opening Remarks 14.30 – 15.00 : Coffee Break 15.00 – 16.00 : Keynote Speaker (Abidin Kusno) 16.00 - 17.30 : Plenary 1 1. Hilmar Farid (Institute of Indonesian Social History, Indonesia) 2. Chua Beng Huat (NUS, Singapore) 3. Prigi Arisandi (Universitas Ciputra, Indonesia) Day 2 (Saturday, 8 August 2015) 08.30 – 10.00 : Parallel Session 3 10.00 – 10.30 : Coffee Break *Book Series Launch, Asian Cultural Studies: Transnational and Dialogic Approaches (at Room 14 (snacks/beverages are provided) 10.30 - 12.00 : Parallel Session 4 12.00 – 13.30 : Lunch 13.30 – 15.00 : Parallel Session 5 15.00 – 15.30 : Coffee Break 15.30 – 17.00 : Parallel Session 6 17.00 – 18.30 : Plenary 2 1. Diah Arimbi (Universitas Airlangga, Indonesia) 2. Firdous Azim (BRAC University, Bangladesh) 3. Goh Beng Lan (SEAS Dept. NUS, Singapore) 1 Undercurrents: Unearthing Hidden Social and Discursive Practices IACS Conference 2015 (Surabaya, 7-9 August 2015) CONFERENCE SCHEDULE Day 3 (Sunday, 9 August 2015) 08.30 – 10.00 : Parallel Session 7 10.00 – 10.30 : Coffee Break 10.30 – 12.00 : Parallel Session 8 12.00 – 13.30 : Lunch 13.30 – 15.00 : Parallel Session 9 15.00 – 16.00 : IACSS Assembly Meeting 16.00 – 16.30 : Coffee Break 16.30 – 17.00 : IACS (Reader) Book Launch 17.00 – 18.30 : Plenary 3 1. - 
												
												Evolution and Assessment of South Asian Folk Music: a Study of Social and Religious Perspective
British Journal of Arts and Humanities, 2(3), 60-72, 2020 Publisher homepage: www.universepg.com, ISSN: 2663-7782 (Online) & 2663-7774 (Print) https://doi.org/10.34104/bjah.020060072 British Journal of Arts and Humanities Journal homepage: www.universepg.com/journal/bjah Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective Ruksana Karim* Department of Music, Faculty of Arts, Jagannath University, Dhaka, Bangladesh. *Correspondence: [email protected] (Ruksana Karim, Lecturer, Department of Music, Jagannath University, Dhaka, Bangladesh) ABSTRACT This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia. - 
												
												Sculpting a Play Sudhanva Deshpande Mala Hashmi As Dadi
Sculpting a Play Sudhanva Deshpande Mala Hashmi as Dadi ( grandmother) It happens inevitably. Whenever I mention that a play has been improvised, people tend to imagine that it is improvised in performance and they cannot believe that, because what they have seen seems like the performance of a fully-finished text. Even after I explain that 'improvisation' is only the technique one has used to evolve the play, a feeling of slight disbelief persists. It may have to do with the fact that the word 'improvisation', along with its near cousin `impromptu', carries connotations of something unplanned, unstructured, unorganized. Improvisations are, of course, all that, also pretty often chaotic, but it is possible to use this chaos to evolve texts. Through the maze of confusion, through the pulls and pressures every actor and director exerts on nebulous, barely-visible ideas, through false starts, speed-breakers, and dead 1 ends, through all this it is yet possible to create texts that are complex, multi-layered, sophisticated, and dramatic. I say this on the evidence of two plays that Jana Natya Manch (Janam) evolved in 1995, Artanaad ('A Cry of Anguish', a play on child sexual abuse) and Andhera Aftaab Mangega ('Darkness Will Beget the Dawn', in rough translation; a play on the lives of the working class in Delhi). I describe below the process we used to evolve Andhera. (I do realize, of course, that 'improvisation' has become something of a catchword in theatre, nearly a fashion, especially since the 1960s: everybody seems to be improvising. But that doesn't mean that the technique has lost all relevance, and in any case the uniqueness of an experience is not the only I lit, 'new' worker Shakeel as Badal becomes a 'soft' one when dealing with capital and a 'hard' one when dealing with labour. - 
												
												Study Materials for Six Months Special Training Programme On
Six month Special Training Progaramme on Elementary Education for Primary School Teachers having B.Ed/B.Ed Special Edn/D.Ed (Special Edn.) (ODL Mode) Art Education, Work Education, Health & Physical Education West Bengal Board of Primary Education, Acharya Prafulla Chandra Bhaban D.K. - 7/1, Sector - 2 Bidhannagar, Kolkata - 700091 i West Bengal Board of Primary Education First edition : March, 2015 Neither this book nor any keys, hints, comments, notes, meanings, connotations, annotations, answers and solutions by way of questions and answers or otherwise should be printed, published or sold without the prior approval in writing of the President, West Bengal Board of Primary Education. Publish by Prof. (Dr) Manik Bhattacharyya, President West Bengal Board of Primary Education Acharyya Prafulla Chandra Bhavan, D. K. - 7/1, Sector - 2 Bidhannagar, Kolkata - 700091 ii Forewords It gives me immense pleasure in presenting the materials of Art, Health, Physical Education & Work Education for Six Month Special Training Programme in Elementary Education for the elementary school teachers in West Bengal, having B. Ed. / B. Ed. (Special Education)/ D. Ed. (Special Education). The materials being presented have been developed on the basis of the guidelines and syllabus of the NCTE. Care has been taken to make the presentation flawless and in perfect conformity with the guidelines of the NCTE. Lesson-units and activities given here are not exhaustive. Trainee-teachers are at liberty to plan & develop their own knowledge and skills through self learning under the guidance of the counselors and use of their previously acquired knowledge and skill of teaching. This humble effort will be prized, if the materials, developed here in this Course-book, are used by the teachers in the real classroom situations for the development of the four skills – Listening, Speaking, Reading and Writing of the elementary school children . - 
												
												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 - 
												
												Iasbaba 60 Day Plan 2020 – Day 40 History
IASbaba 60 Day plan 2020 – Day 40 History Q.1) Consider the following pairs: Regional Music Region or State 1. Chhakri Kashmir 2. Laman Uttarakhand 3. Pandavani Chhattisgarh Which of the pairs given above are correctly matched? a) 1 and 2 only b) 3 only c) 1 and 3 only d) 1, 2 and 3 Q.1) Solution (c) Pair 1 Pair 2 Pair 3 Correct Incorrect Correct Chhakri, Kashmir: Chhakri Laman, Himachal Pradesh: Pandavani, Chhattisgarh: In is a group song which is the In Laman a group of girls Pandavani, tales from Mahabharata most popular form of sing a stanza and a group are sung as a ballad and one or two Kashmir’s folk music. It is of boys give reply in the episodes are chosen for the night’s sung to the song. This continues for performance. The main singer accompaniment of hours. Interesting is that continuously sits throughout the the noot (earthen pot) the girls singing on one of performance and with powerful rababs, sarangi and the peaks of the hill singing and symbolic gestures he tumbaknari (an earthen pot seldom see the faces of assumes all the characters of the with high neck). the boys singing on episode one after another. another peak. In between is the hill which echoes their love song. Most of these songs are sung especially in Kullu Valley. IASbaba 60 Day plan 2020 – Day 40 History Q.2) Consider the following: 1. Javali 2. Tappa 3. Dhamar 4. Kirtanam 5. Tillana Which of these are musical forms of Carnatic Music? a) 1, 2 and 3 only b) 1, 4 and 5 only c) 2, 3 and 4 only d) 3, 4 and 5 only Q.2) Solution (b) Musical forms of Carnatic Music: Gitam: It is the simplest type of composition with an easy and melodious flow of raga. - 
											
Bhakta Prahalada Padepokan Wayang Orang Bharata Abhimanyu
10 February 2011, Thursday 11 February 2011, Friday 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road Nalacharitam (Kathakali) Bhakta Prahalada Sri Venkateswara Natya Mandali Padmashri Kalamandalam Gopi, Kerala (Surabhi Theatre), Andhra Pradesh Dir. : R. Nageswara Rao 12 February 2011, Saturday 13 February 2011, Sunday 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road Duryodhan Urubhanga (Chhau Seraikella) Maya Bazaar Bhisma Pitamah (Chhau Mayurbhanj) Sri Venkateswara Natya Mandali (Surabhi Theatre), Andhra Pradesh Abhimanyu Vadh (Chhau/ Chho Purulia) Dir. : R. Nageswara Rao Govt Chhau Dance Center, (Chhau Akademy ), Seraikella 14 February 2011, Monday 15 February 2011, Tuesday 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road Bhishma Vijayam Chakravyuh Vidya Dhars, SRICALA & Chindu Yakshaganam Centre for Folk Performing Arts & Culture, Garhwal Gaddam Troupe, Andhra Pradesh Dir. : D.R. Purohit 16 February 2011, Wednesday 17 February 2011, Thursday 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road Gangaputra Bhishma (Jatrapala) Prahlada Natak Sangbit ,West Bengal Guru Krushna Chandra Shaoo, Orissa Dir.: Animesh Banerjee Dir.: Pradip Kumar Mishra 18 February 2011, Friday 19 February 2011, Saturday 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road 6.30 pm to 8 pm, 3, Dr. Rajendra Prasad Road Bheemaparvam Padmagatha (a theatrical adaptation of M.T Vasudevan Nair's novel, Randamoozham) (Based on the story of Shankuntala) Wings Cultural Socity,Kerala Dolls Theatre, Kolkata Dir.: Samkutty Pattomkary Dir.: Sudip Gupta 20 February 2011, Sunday 21 February 2011, Monday 6.30 pm to 8 pm, 3, Dr. - 
												
												Unit 13 Folk Media
UNIT 13 FOLK MEDIA Structure 13.1 Introduction 13.2 The Concept of Folklore 13.3 What are Folk Media? 13.4 Role of FoIk Media in Rural and Tribal Settings 13.5 Types of Folk Media 13.5.1 Folk Dance 13.5.2 Folk Theatre 13.5.3 Folk Songs 13.5.4 Puppetry 13.5.5 Folk Art and Handicraft 13.5.6 Oral Narrative Tradition 13.6 Effectiveness of Folk Media 13.7 Use of Folk Media in Training 13.8 Case Study 13.9 Let Us Sum Up 13.10 Glossary 13.11 Answers to Check Your Progress Exercises 13.1 INTRODUCTION Folk media bring to our mind the images of folk dances and ballads, folk songs, puppetry, craft and oral tradition. These are the various media of the folk, the indigenous channels of communication. Folk media have not disappeared, as many of us feared they would, in the presence of the overpowering electronic media. Rather they have been functioning effectively along with one another, reinforcing each other in the process. Before telling you about “folk media”, this Unit introduces you to the concept of “folklore”. In order to understand “folk media”, one has to first understand the concept of folklore. This is because it is folklore that provides sustenance to the folk media. This Unit introduces you to folk media, the role of folk media in rural and tribal settings, their effectiveness and use in training. 13.2 THE CONCEPT OF FOLKLORE You would be surprised to know that the word “folklore” is quite new as compared to the subject matter it encompasses.