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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 -
A Boon for Physically Challenged
© 2019 JETIR May 2019, Volume 6, Issue 5 www.jetir.org (ISSN-2349-5162) Music and Dance: A boon for socially neglected differently able Dr.J.Sankar Ganesh , Assistant Professor ,Department of Performing Arts ,S .V.University Tirupati. 517502. ABSTRACT Socially neglected class of Indian society is physically and Gender challenged people of this country. Poverty eradication among this class is still a challenge for governments. This paper is highlight how the performing art forms music and dance help to the physically challenged and gender challenged people to come out of their difficulties. A fewto build examples are given only to develop self confidence among the socially neglected class Key words: Physically challenged, Gender challenged , Performing arts, Awards, Achievements…etc.. Introduction Music can change the world because it can change people. - Bono An art form which is suitable to perform on the stage in group or in solo, capable to stir a kind of emotion in the mind of the audience is called Performing arts. Performing art forms are the mirror of creativity and inheritance of a society. It has no boundaries and reflects the social and chronological enormity of a country. It is one of the most powerful medium capable to reach the mind of people without any discrimination. Performing art form includes dance, music, drama, mime, martial arts etc… is very much successful in manifesting the cultural and traditional strength of a nation it belongs to. Society and Performing arts are like two hearts with one beat. In the current societal system the physically challenged and visually challenged people are neglected or not given sufficient importance in the pace of advancement. -
Unit Revised Reference List
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT – UNIT REVISED REFERENCE LIST, AS ON 26/09/2012 I N D E X S.NO. CATEGORY PAGE NO 1. DANCE 02 2. FOLK 38 3. THEATRE & PUPPETRY 79 4. CARNATIC MUSIC 105 5. HINDUSTANI MUSIC 131 6. MODERN DANCE & MUSIC 172 1 INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMEMT SECTION REVISED REFERENCE LIST FOR DANCE - AS ON 26/09/2012 S.NO. CATEGORY PAGE NO 1. BHARATANATYAM 3 – 11 2. CHHAU 12 – 13 3. KATHAK 14 – 19 4. KATHAKALI 20 – 21 5. KRISHNANATTAM 22 6. KUCHIPUDI 23 – 25 7. KUDIYATTAM 26 8. MANIPURI 27 – 28 9. MOHINIATTAM 29 – 30 10. ODISSI 31 – 35 11. SATTRIYA 36 12. YAKSHAGANA 37 2 REVISED REFERENCE LIST FOR DANCE AS ON 26/09/2012 BHARATANATYAM OUTSTANDING 1. Ananda Shankar Jayant (Also Kuchipudi) (Up) 2007 2. Bali Vyjayantimala 3. Bhide Sucheta 4. Chandershekar C.V. 03.05.1998 5. Chandran Geeta (NCR) 28.10.1994 (Up) August 2005 6. Devi Rita 7. Dhananjayan V.P. & Shanta 8. Eshwar Jayalakshmi (Up) 28.10.1994 9. Govind (Gopalan) Priyadarshini 03.05.1998 10. Kamala (Migrated) 11. Krishnamurthy Yamini 12. Malini Hema 13. Mansingh Sonal (Also Odissi) 14. Narasimhachari & Vasanthalakshmi 03.05.1998 15. Narayanan Kalanidhi 16. Pratibha Prahlad (Approved by D.G March 2004) Bangaluru 17. Raghupathy Sudharani 18. Samson Leela 19. Sarabhai Mallika (Up) 28.10.1994 20. Sarabhai Mrinalini 21. Saroja M K 22. Sarukkai Malavika 23. Sathyanarayanan Urmila (Chennai) 28.10.94 (Up)3.05.1998 24. Sehgal Kiran (Also Odissi) 25. Srinivasan Kanaka 26. Subramanyam Padma 27. -
National Affairs
NATIONAL AFFAIRS Prithvi II Missile Successfully Testifi ed India on November 19, 2006 successfully test-fi red the nuclear-capsule airforce version of the surface-to- surface Prithvi II missile from a defence base in Orissa. It is designed for battlefi eld use agaisnt troops or armoured formations. India-China Relations China’s President Hu Jintao arrived in India on November 20, 2006 on a fourday visit that was aimed at consolidating trade and bilateral cooperation as well as ending years of mistrust between the two Asian giants. Hu, the fi rst Chinese head of state to visit India in more than a decade, was received at the airport in New Delhi by India’s Foreign Minister Pranab Mukherjee and Science and Technology Minister Kapil Sibal. The Chinese leader held talks with Indian Prime Minister Manmohan Singh in Delhi on a range of bilateral issues, including commercial and economic cooperation. The two also reviewed progress in resolving the protracted border dispute between the two countries. After the summit, India and China signed various pacts in areas such as trade, economics, health and education and added “more substance” to their strategic partnership in the context of the evolving global order. India and China signed as many as 13 bilateral agreements in the presence of visiting Chinese President Hu Jintao and Prime Minister Manmohan Singh. The fi rst three were signed by External Affairs Minister Pranab Mukherjee and Chinese Foreign Minister Li Zhaoxing. They are: (1) Protocol on the establishment of Consulates-General at Guangzhou and Kolkata. It provides for an Indian Consulate- General in Guangzhou with its consular district covering seven Chinese provinces of Guangdong, Fujian, Hunan, Hainan, Yunnan, Sichuan and Guangxi Zhuang autonomous region. -
AR Rahman and the Global Routes of Indian Popular Music
BEYOND KITSCH: A. R. RAHMAN AND THE GLOBAL ROUTES OF INDIAN POPULAR MUSIC Stephanie Lou Jackson A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: David Harnish, Advisor Esther Clinton Jeremy Wallach © 2010 Stephanie Jackson All Rights Reserved iii ABSTRACT David Harnish, Advisor At the 2009 Academy Awards, A. R. Rahman became the first Indian composer to win Best Score and Best Song (“Jai Ho”) for his music in the film, Slumdog Millionaire (2008). This event not only granted Rahman another prestigious accolade for his accomplishments as a popular film music composer (i.e., he has been awarded many times over in India for his music), but it gave Rahman new star-status recognition among a Western audience. Although enormously famous in India and well-known among the South Asian diaspora located throughout many parts of the world, Rahman remained, up until that time, virtually unknown among mainstream U.S. audiences. U.S. audiences today are perhaps more likely than a decade ago to recognize the sounds and images of Indian cinema known as Bollywood, a cultural artifact, once considered “kitsch,” that increasingly traverses international popular cultures. Consequently, the appeal of Rahman’s Bollywood music among a wider global audience (as presented in Slumdog Millionaire) coincides with the global circulation and consumption of Bollywood films and music in recent years. I suggest that the appeal for Rahman’s music outside of India cannot be explained by the Western fascination with the exotic “Other," but instead involves a cultural affinity for a type of style and sound set forth in Rahman’s music. -
KALA MANJARI Fifty Years of Indian Classical Music and Dance in Singapore
KALA MANJARI Fifty Years of Indian Classical Music and Dance in Singapore Edited by Dr. Seshan Ramaswami Sarita Alurkar-Sriram Singapore Indian Fine Arts Society DEdicaTION Published by Sun Media Pte Ltd for the Singapore Indian Fine Arts Society Designed by Sun Media Pte Ltd Edited by Dr. Seshan Ramaswami and Sarita Alurkar-Sriram Kala Manjari Committee: Dr. Seshan Ramaswami, Sarita Alurkar-Sriram, Shankar Rajan, A. Sachithananthan and P.S. Somasekharan Printed in Singapore by Stamford Press Pte Ltd © Copyright 2015 by Singapore Indian Fine Arts Society. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior written permission of the Singapore Indian Fine Arts Society. ISBN 978-981-09-4443-8 The views of the Writers and Contributors do not reflect the views of the Singapore Memory Project (SMP), which is a national initiative of the Ministry of Communications and Information (MCI) and is managed by the National Library Board, Singapore (NLB). No part of this publication may be reproduced in any form or by any means without prior written permission from the relevant Copyright Owner(s), if any, and the NLB. Whilst reasonable care has been undertaken to ensure the accuracy of the information in this publication, the We dedicate this book to the pioneers of Indian classical music and dance in Singapore, Publisher, MCI and the NLB accept no legal liabilities whatsoever for the contents of this publication. the artistes, teachers and administrators, whose passion and untiring efforts have left us this legacy of a thriving Indian arts scene today, fifty years after Singapore’s independence. -
Unit Revised Reference List, As on 26/09/2012 I
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT – UNIT REVISED REFERENCE LIST, AS ON 26/09/2012 I N D E X S.NO. CATEGORY PAGE NO 1. DANCE 02 2. FOLK 38 3. THEATRE & PUPPETRY 79 4. CARNATIC MUSIC 105 5. HINDUSTANI MUSIC 131 6. MODERN DANCE & MUSIC 172 1 INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMEMT SECTION REVISED REFERENCE LIST FOR DANCE - AS ON 26/09/2012 S.NO. CATEGORY PAGE NO 1. BHARATANATYAM 3 – 11 2. CHHAU 12 – 13 3. KATHAK 14 – 19 4. KATHAKALI 20 – 21 5. KRISHNANATTAM 22 6. KUCHIPUDI 23 – 25 7. KUDIYATTAM 26 8. MANIPURI 27 – 28 9. MOHINIATTAM 29 – 30 10. ODISSI 31 – 35 11. SATTRIYA 36 12. YAKSHAGANA 37 2 REVISED REFERENCE LIST FOR DANCE AS ON 26/09/2012 BHARATANATYAM OUTSTANDING 1. Ananda Shankar Jayant (Also Kuchipudi) (Up) 2007 2. Bali Vyjayantimala 3. Bhide Sucheta 4. Chandershekar C.V. 03.05.1998 5. Chandran Geeta (NCR) 28.10.1994 (Up) August 2005 6. Devi Rita 7. Dhananjayan V.P. & Shanta 8. Eshwar Jayalakshmi (Up) 28.10.1994 9. Govind (Gopalan) Priyadarshini 03.05.1998 10. Kamala (Migrated) 11. Krishnamurthy Yamini 12. Malini Hema 13. Mansingh Sonal (Also Odissi) 14. Narasimhachari & Vasanthalakshmi 03.05.1998 15. Narayanan Kalanidhi 16. Pratibha Prahlad (Approved by D.G March 2004) Bangaluru 17. Raghupathy Sudharani 18. Samson Leela 19. Sarabhai Mallika (Up) 28.10.1994 20. Sarabhai Mrinalini 21. Saroja M K 22. Sarukkai Malavika 23. Sathyanarayanan Urmila (Chennai) 28.10.94 (Up)3.05.1998 24. Sehgal Kiran (Also Odissi) 25. Srinivasan Kanaka 26. Subramanyam Padma 27. -
Carnatic Instrumental - 200 Songs 21
CARNATIC INSTRUMENTAL - 200 SONGS 21. Himagiri Thanaye Artiste: Kunnakudi Vaidyanathan 01. Vathapi Ganapatim 22. Parvathi Nayaka Artiste: Thiruvengadu Artistes: U. Srinivas, U. Rajesh P. Subramania Pillai 23. Seethama Mayamma 02. Sri Ganapathi Artiste: M.S. Gopalakrishnan Artiste: Chitti Babu 24. Sree Kantimathim 03. Sri Maha Ganapathi Artiste: B.N. Suresh Artistes: N. Ramani, 25. Sri Subramanyaya Namaste R. Thyagarajan, R. Atul Kumar Artistes: Ganesh, Kumaresh 04. Sri Vatapi Ganapathiye 26. Valli Kanavan Artistes: N Ramani, Artistes: Sheik Chinna Moulana, R Thyagarajan, R. Atul Kumar S Kasim 05. Vallabha Nayakasya 27. Rama Ninne Nammi Artiste: U. Srinivas Artistes: S. Balachander, 06. Vathapi Ganapatim Gayathri Narayanan Artiste: Kunnakudi Vaidyanathan 28. Mamavathu Sri Saraswathi 07. A Hymn From Veda Artiste: Karukurichi P. Arunachalam Artiste: Chitti Babu 29. Aananda Nadamadum 08. Vedam Artiste: A.K.C. Natarajan Artiste: Kunnakudi Vaidyanathan 30. Aanandamruthakarshini 09. Thiruppugazh Artiste: Lalgudi Jayaraman Artistes: Kunnakudi Vaidyanathan, 31. Akhilandeswari Valayapatti A.R. Subramaniam Artiste: Lalgudi Jayaraman 10. Tirupathi Venkata Ramana 32. Nadaloludai Artiste: N. Ramani Artiste: Chitti Babu 11. Garuda Gamana 33. Bhagyada Lakshmi Baarama Artiste: N. Ramani Artiste: N. Ramani 12. Venkatachala Nilayam 34. Deva Deva Artiste: Atul Kumar Artiste: T.N. Krishnan 13. Sri Varalakshmi 35. Ekambreswara Artistes: Ganesh, Kumaresh Artiste: U. Srinivas 14. Muruga Muruga 36. Enna Thavam Artiste: N. Ravikiran Artiste: E. Gayathri 15. Amba Paradevate 37. Eppadi Padinaro Artiste: E. Gayathri Artiste: Kunnakudi Vaidyanathan 16. Maha Ganapathi Stuthi 38. Jesina Della Artiste: Sheik Chinna Moulana Artiste: Namagiripettai Krishnan 17. Annapoorne 39. Kaatrinile Varum Geetham Artistes: U. Srinivas, U. Rajesh Artiste: A.K.C. Natarajan 18. Kavadi Chindu 40. -
Indian Council for Cultural Relations Empanelment of Artistes
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT OF ARTISTES REVISED REFERENCE LIST AS ON 26/09/2012 I N D E X S.NO. CATEGORY PAGE NO 1. DANCE 02 2. FOLK 38 3. THEATRE & PUPPETRY 79 4. CARNATIC MUSIC 105 5. HINDUSTANI MUSIC 131 6. MODERN DANCE & MUSIC 172 1 INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMEMT SECTION REVISED REFERENCE LIST FOR DANCE - AS ON 26/09/2012 S.NO. CATEGORY PAGE NO 1. BHARATANATYAM 3 – 11 2. CHHAU 12 – 13 3. KATHAK 14 – 19 4. KATHAKALI 20 – 21 5. KRISHNANATTAM 22 6. KUCHIPUDI 23 – 25 7. KUDIYATTAM 26 8. MANIPURI 27 – 28 9. MOHINIATTAM 29 – 30 10. ODISSI 31 – 35 11. SATTRIYA 36 12. YAKSHAGANA 37 2 REVISED REFERENCE LIST FOR DANCE AS ON 26/09/2012 BHARATANATYAM OUTSTANDING 1. Ananda Shankar Jayant (Also Kuchipudi) 2. Bali Vyjayantimala 3. Bhide Sucheta 4. Chandershekar C.V. 5. Chandran Geeta (NCR) 6. Devi Rita 7. Dhananjayan V.P. & Shanta 8. Eshwar Jayalakshmi 9. Govind (Gopalan) Priyadarshini 10. Kamala (Migrated) 11. Krishnamurthy Yamini 12. Malini Hema 13. Mansingh Sonal (Also Odissi) 14. Narasimhachari & Vasanthalakshmi 15. Narayanan Kalanidhi 16. Pratibha Prahlad (Approved by D.G March 2004) Bangaluru 17. Raghupathy Sudharani 18. Samson Leela 19. Sarabhai Mallika 20. Sarabhai Mrinalini 21. Saroja M K 22. Sarukkai Malavika 23. Sathyanarayanan Urmila (Chennai) 24. Sehgal Kiran (Also Odissi) 25. Srinivasan Kanaka 26. Subramanyam Padma 27. Vaidyanathan Rama (NCR) 28. Valli Alarmel (Spe.) 29. Viswanathan Lakshmi 30. Visweswaran Chitra 3 BHARATANATYAM ESTABLISHED 1. Anjana Anand (Chennai) 2. Ashok Purnima (Bangaluru) 3. Arekar Vaibhav S. (Mumbai) 4. Balasubramaniam Ramesh Uma (Chennai) 5. -
Carnatic Ragas in Ilayarajas Films
Carnatic Music in Tamil Film Songs Carnatic Music in Tamil Film Songs by: Lakshminarayanan Srirangam Ramakrishnan, Internal Medicine Department, Brackenridge Hospital, Austin, Tx 78701. Classical Illayaraja - 1 Recently, I watched the movie 'Chembaruthi' on video. One of those unethical, "kuppai" screen printed video cassette, you know, that gives you a vision like that of a "soda-butti" watching TV without his spectacles! Illayaraja has done a fantastic job in that movie. Though I had heared all those songs many times while I was in India, watching that movie created a reminiscent train of thoughts in my mind, about Illayaraja, his music, the dramatic change he brought about in Thamizh cinema. I thought that it would be worthwhile to discuss his music, particularly the CLASSICAL aspect! I am aware that it is not possible to write about all his carnatic oriented songs, about how he has handled those ragas, how he has deviated from the classical style etc. But it would definitely be interesting to pour out our ideas once in a while in a random order of the ragas covered by him. In "Chembaruthi" there are six songs, out of which 4 are carnatic based. All the songs were "sooper hits". To a guy who knows carnatic music, the ragas are explicit, and to a non-classical rasika, they are just great tunes! This was one of his specialities, to give the raga in almost good shape and also make a good cinema tune out of it. And ofcourse, the rhythm should give scope for good dance movements so that the hero and heroine could share their love by dancing! Maybe, many of his tunes have to be branded as semi-classical or light music (even though the raga form might be pure) only because of this rhythm factor. -
Music Therapy— Loose Ends Galore? 5
REAR WINDOW Music Therapy— Loose Ends Galore? With the cost of allopathic medical treatment sky- to cure illnesses. Tansen is supposed to have set things rocketing and the much-publicised side effects around him on fire by singing Deepak raga and his lady of1. many so-called miracle drugs, there is a boom in the friend quenched it by singing Megh which brought rain. citizens’ and practitioners’ interest in alternative systems Dikshitar’s Amritavarshini bringing rain to a parched of medicine, particularly those which are non-invasive and land, Punnagavarali attracting snakes, teaching Varali side-effect free. This is welcome and should normally spur alienating the disciple from the guru, and singing Ahiri systematic research into such systems and produce a viable, making the singer go hungry are some other examples of affordable system of medicines. But what is happening the belief in the extraordinary effects of music. Lalgudi is for hospitals to climb on to the new bandwagon and once narrated his experience when he visited the place prematurely start half-baked (or even unbaked) therapies where Stradivarius violins were made. The wood for and claim magical, painless cures for various diseases. The making the violins was stored in a room where music was latest entrant into this field appears to be music therapy. being constantly played in the belief that the wood would absorb the music and become more musical in quality. In M. Balamuralikrishna and Kunnakudi Vaidyanathan are the West, one Dr. Tomatis claimed to have discovered reported to have been doing research on music therapy for the Mozart Effect— that listening to Mozart resulted in some years though, as far as I know, they have not formally increased brain development in children below three years published their findings. -
Brought to Life by the Voice Explores the Distinctive Aesthetics and in South India
ASIAN STUDIES | ANTHROPOLOGY | ETHNOMUSICOLOGY WEIDMAN Playback Singing To produce the song sequences that are central to Indian popular cinema, sing- ers’ voices are first recorded in the studio and then played back on the set to and Cultural Politics be lip-synced and danced to by actors and actresses as the visuals are filmed. Since the 1950s, playback singers have become revered celebrities in their | own right. Brought to Life by the Voice explores the distinctive aesthetics and in South India affective power generated by this division of labor between onscreen body and VOICE THE BY LIFE TO BROUGHT offscreen voice in South Indian Tamil cinema. In Amanda Weidman’s historical and ethnographic account, playback is not just a cinematic technique, but a powerful and ubiquitous element of aural public culture that has shaped the complex dynamics of postcolonial gendered subjectivity, politicized ethnolin- guistic identity, and neoliberal transformation in South India. BROUGHT TO LIFE “This book is a major contribution to South Asian Studies, sound and music studies, anthropology, and film and media studies, offering original research and BY THE new theoretical insights to each of these disciplines. There is no other scholarly work that approaches voice and technology in a way that is both as theoretically VOICE wide-ranging and as locally specific.” NEEPA MAJUMDAR, author of Wanted Cultured Ladies Only! Female Stardom and Cinema in India, 1930s–1950s “Brought to Life by the Voice provides a detailed and highly convincing explo- ration of the varying links between the singing voice and the body in the Tamil film industry since the mid-twentieth century.