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Destination Rajasthan, Delhi & Agra
© Lonely Planet Publications 15 Destination Rajasthan, Delhi & Agra Here is India at its high-definition, surround-sound best. Prowling tigers, swaying elephants, hot and spicy bazaars, fabulous festivals, stunning saris and twisted turbans; all a pageant of colour and curiosity set against a back- drop of desert sands, secluded jungles, marble palaces and impenetrable stone forts. FAST FACTS This book also celebrates the Golden Triangle – a traveller’s trigonometric Population Rajasthan: survey of emblematic India. Starting at the daunting megametropolis of 56.5 million Delhi with its majestic Mughal heritage, it then angles towards Agra, where Population Delhi: 12.8 the world’s most famous tomb, the Taj Mahal, defines a city, before heading million to Jaipur, the city painted pink with a palace of winds and bustling bazaars, and the gateway to Rajasthan. Population Agra: 1.3 Covering an area 342,236 sq km, about the size of Germany, Rajasthan million represents 10.4% of the Indian landmass, with much of it embracing the Thar Population Growth Rate: Desert, a vast area of heat, dunes and dust. The chronic drought of recent 2.5% times has accelerated migration from the parched agricultural lands to the GDP growth rate: 9% already overburdened cities. In recent years, Rajasthan’s life-giving monsoon has become less and less Inflation: 5.2% predictable, and the desperate scarcity of rain has affected people’s liveli- Unemployment: 5.5% hoods as well as the greater environment. For those who remain on the No of camels: 400,000 land, it has become a battle for survival. -
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. -
Faculty Profile
FACULTY PROFILE * NAME . : DR. PARASHURAM. G. MALAGE MA. Ph.D. SLET. B.Ed. Dip.in Ambedkar studies * DESIGNATION : ASSISTANT PROFESSOR * ADDRESS : H.O.D. of HINDI and ASSISTANT PROFESSOR BESANT WOMEN'S COLLEGE, KODIALBAIL MANGALORE -575003 * CELL.NO : 8277156735 / 9008371806 * EMAIL : [email protected] * EDUCATIONAL QULIFICATION : DEGREE INSTITUTION YEAR UG - BA KarnatakaUniversityDharawad 1998 PG - MA ” 2000 Ph.D ” 2006 SLET Govt.of Karnataka 2000 B.Ed Karnataka University Darawad 2009 * CAREER PROFILE : * Presently working with Department of Hindi, Besant Women's College, and Mangalore. * TEACHING EXPERIENCE : 15 Year's. 12 YEAR'S in UG colleges. 04 YEAR'S in PG (Karnataka university Dharawad and kuvempu university Shivamogga ). * SUBJECT TAUGHT : HINDI * MEMBER OF BORDS : 1.Member of the Board of Examination in MA (Hindi – PG) during 2016 . 2. Member of Advisory Committee, PG Dept.of Hindi Mangalore University. * PUBLICATION PROFILE : Under Publication 1) Study material for MA (Final year) and BA (final year. Opt.Hindi) (DDE - Kuvempu Univ ersity Shankarghatta - Shivamogga). 2) Study material for MA (final year ) - (Karnataka State Open University - Mysor ). 3) Study material for MA ( First year ) (DDE- Mangaluru University, Mangaluru ) *Research Paper : Research paper published in book - Bharatiy bhashaon mein Ramnath(Kannada bhasha) ISBN no -978-93-5229-053-6 , Title -"Ramkath par adharit 'shudra tapasvi' Kavya natak. * AREA OF INTEREST : Hindi Literature and Linguistic. * ACADEMIC ACHIEVEMENT : 1. Participated in National Seminar, Jointly organize by Bharathiy Hindi Prishad, Allahabad and Dept. of Hindi K U Dharawad. 2. Participated in Two days National Seminar Organized by Dakshin Bharath Hindi Prachar Sabha Madras,Dharawad Branch. 3. Participated and Presented the Paper entitle " Mahadevi Varma ke kavya me Vedhana bhav" in One day National Seminar on Literature of Mahadevi varma, organized by Dept. -
Ghashiram Kotwal
FORUM GHASHIRAM KOTWAL K. Hariharan Seit dem ersten Jahr seines Bestehens hat das Forum sich bemüht, Indien 1977 Mani Kaul deutsch untertitelte Kopien der Festivalbeiträge herzustellen. Diese 107 Min. · DCP, 1:1.33 (4:3) · Farbe Praxis zahlt sich nun aus: Viele Filme haben so nur in Berlin überlebt, darunter GHASHIRAM KOTWAL, der nun in neuer, digitaler Fassung zur Regie K. Hariharan, Mani Kaul Wiederaufführung gelangt. Produziert hat ihn die Yukt Filmkooperati- Buch Vijay Tendulkar, nach seinem gleichnamigen Bühnenstück ve unter der Regie von K. Hariharan und Mani Kaul, basierend auf dem Kamera Mitglieder der Yukt Film gleichnamigen Theaterstück des Autors Vijay Tendulkar. Es beruht auf Cooperative der Biografie von Nana Phadnavis (1741–1800), eines einflussreichen Musik Bhaskar Chandavarkar Ministers, und beschreibt Entwicklung und Fall des Peshwa-Regimes in West-Indien vor dem Hintergrund einer Politik von Intrigen und Kor- Darsteller K. Hariharan Geboren 1952 in Chennai. Er ruption, die während der wachsenden kolonialen Bedrohung das Land Mohan Agashe (Nana) studierte am Film and TV Institute of India. verwüstete. Um seine Macht abzusichern, ernennt Nana Ghashiram Om Puri (Ghashiram Kotwal) Unter seiner Regie sind acht Spielfilme Mohan Gokhale sowie über 350 Dokumentar- und Kurzfilme zum Polizei- und Spionagechef des Staates. Nachdem er einst Unrecht erfahren und Rache geschworen hat, beginnt Ghashiram, willkürlich Rajni Chauhan entstanden. Darüber hinaus veranstaltete er Mitglieder der Theaterakademie Pune von 1995 bis 2004 Seminare zum indischen Macht gegen die brahmanische Bevölkerung auszuüben, bis diese seine Hinrichtung verlangt. Der Film entwickelt seine experimentelle Kino an der University of Pennsylvania. Zurzeit Produktion leitet er die LV Prasad Film & TV Academy in Ästhetik aus der Beschäftigung mit fiktionaler und dokumentarischer Yukt Film Cooperative Society Chennai, die 2004 gegründet wurde. -
4Th Mahadevi Verma Memorial Lecture Series
SECTION I ON MAHADEVI VERMA MAHADEVI VERMA ON EDUCATION SHANKAR SHARAN1 Today's graduate has to think ... those who have all the worldly facilities want our life values. Why should those who already have such values consider themselves poor? (Mahadevi Verma) Mahadevi believed that a person is always a student in the realm of thought and of feelings. If not, then somewhere he must have closed the door of his heart and mind. She was renowned as a poetess, but in fact, she devoted a lot of time during her life to education and teaching. She had established the Prayag Mahila Vidyapeeth, which she served for as long as she could. Few people know that her devotion to education was a conscious choice as she believed that educational institutions built the nation and some of her great contemporaries have noted that. Sachchidanand Vatsyayan 'Agyeya' drew attention to the fact that according to Mahadevi, her poetry was the reflection of her moments of leisure and 'she would devote the rest of her life to the field of education, where it was required.'2 There are many definitions of 'Vidya' (knowledge/ education) in Indian literature. What Mahadevi liked the most was 'Sa Vidya Ya Vimuktye' – which means 'education is that which liberates'. She noted that in the past, Indian scholars had a very special regard for education and that is why it was always kept under state control. 1. Dr Shankar Sharan is a Lecturer in the Department of Educational Research and Policy Perspective at NCERT, New Delhi. 2. Agyeya, "Adhunik Kavi: Mahadevi Varma" in Trishanku (Surya Prakashan Mandir; 1973), p. -
Language and Literature
1 Indian Languages and Literature Introduction Thousands of years ago, the people of the Harappan civilisation knew how to write. Unfortunately, their script has not yet been deciphered. Despite this setback, it is safe to state that the literary traditions of India go back to over 3,000 years ago. India is a huge land with a continuous history spanning several millennia. There is a staggering degree of variety and diversity in the languages and dialects spoken by Indians. This diversity is a result of the influx of languages and ideas from all over the continent, mostly through migration from Central, Eastern and Western Asia. There are differences and variations in the languages and dialects as a result of several factors – ethnicity, history, geography and others. There is a broad social integration among all the speakers of a certain language. In the beginning languages and dialects developed in the different regions of the country in relative isolation. In India, languages are often a mark of identity of a person and define regional boundaries. Cultural mixing among various races and communities led to the mixing of languages and dialects to a great extent, although they still maintain regional identity. In free India, the broad geographical distribution pattern of major language groups was used as one of the decisive factors for the formation of states. This gave a new political meaning to the geographical pattern of the linguistic distribution in the country. According to the 1961 census figures, the most comprehensive data on languages collected in India, there were 187 languages spoken by different sections of our society. -
Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali -
A Portrayal of People Essays on Visual Anthropology
A PORTRAYAL OF PEOPLE Digitized by the Internet Archive in 2018 with funding from Public.Resource.Org https://archive.org/details/portrayalofpeoplOOunse A PORTRAYAL OF PEOPLE Essays on Visual Anthropology in India Co-published by ANTHROPOLOGICAL SURVEY OF INDIA INDIAN NATIONAL TRUST FOR ART AND CULTURAL HERITAGE INTACH 71, Lodhi Estate New Delhi-110 003 ANTHROPOLOGICAL SURVEY OF INDIA West Block 2, Wing 6, First Floor R.K. Puram New Delhi 110 066. ©ASI, INTACH, 1987. © For individual contributions with authors. Printed at Indraprastha Press (CBT) 4 Bahadur Shah Zafar Marg, New Delhi 110002. CONTENTS Foreword v Introduction ix An Examination of the 1 Need and Potential for Visual Anthropology in India Rakhi Roy and Jayasinhji Jhala Anthropological Survey of 20 India and Visual Anthropology K.S. Singh History of Visual Anthropology 49 in India K.N. Sahay Perceptions of the Self and Other 75 in Visual Anthropology Rakhi Roy and Jayasinhji Jhala My Experiences as a Cameraman 99 in the Anthropological Survey Susanta K. Chattopadhyay The Vital Interface 114 Ashish Rajadhyaksha The Realistic Fictional Film: 127 How far from Visual Anthropology? Chidananda Das Gupta Phaniyamma and the Triumph 139 of Asceticism T.G. Vaidyanathan Images of Islam and Muslims 147 on Doordarshan Iqbal Masud Man in My Films 161 Mrinal Sen/Someshwar Bhowmick The Individual and Society 169 Adoor Gopalakrishnan/Madhavan Kutty Notes on Contributors 174 FOREWORD It has often been said that India lives in many centuries at the same time. The complex network of diversity that stretches across time and space has made India a paradise for anthropologists. -
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 Strange and Wonderful Journey V
COVER STORY BOMBAY JAYASHRI A strange and wonderful journey V. Ramnarayan ot perhaps since the days of Veena S. Balachandar has a leading Carnatic musician traversed a path as unusual. Bombay Jayashri was all of 28 Nwhen she began a truly full-fledged performing career in Carnatic music. Though introduced in early childhood to Carnatic music, thanks to both her parents being music teachers, she grew up in cosmopolitan Bombay, revelling in the singing of bhajan-s and film music at functions small and large all over Maharashtra and Gujarat, learning Hindustani classical music, ‘geet’, film songs, and a variety of ‘light music’ genres. Through childhood and college, she almost kept her training in Carnatic music a secret. She had a ball singing jingles in several languages extolling the wonderful attributes of Bournvita, Mealmaker and Rexona, solo or in duets. Throughout this period, she was also learning Carnatic music from the rigorous school of T.R. Balamani, a renowned teacher of Bombay, who also taught the likes of Shankar Mahadevan. She loved the film songs of Rafi, Lata and Asha, and continues unabashedly to do so, despite stardom in Carnatic music. Mehdi Hasan and Farida Khanum are equally her favourites. She attributes her pitch perfect voice to her training in Hindustani music and her soulful articulation to her eclectic musical background. Her assimilation of such a varied range of musical ideas has ensured the success of her theme-based albums like Vaatsalyam featuring lullabies, or Agni showcasing Subramania Bharati’s fiery lyrics. She Young Jayashri sees no conflict between her concert career and the film songs she has sung over the years. -
Routledge Handbook of Indian Cinemas the Indian New Wave
This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium. -
Decisions Adopted by the World Heritage Committee at Its 37Th Session (Phnom Penh, 2013)
World Heritage 37 COM WHC-13/37.COM/20 Paris, 5 July 2013 Original: English / French UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE World Heritage Committee Thirty-seventh session Phnom Penh, Cambodia 16 - 27 June 2013 DECISIONS ADOPTED BY THE WORLD HERITAGE COMMITTEE AT ITS 37TH SESSION (PHNOM PENH, 2013) Table of content 2. Requests for Observer status ................................................................................ 3 3A. Provisional Agenda of the 37th session of the World Heritage Committee (Phnom Penh, 2013) ......................................................................................................... 3 3B. Provisional Timetable of the 37th session of the World Heritage Committee (Phnom Penh, 2013) ......................................................................................................... 3 5A. Report of the World Heritage Centre on its activities and the implementation of the World Heritage Committee’s Decisions ................................................................... 4 5B. Reports of the Advisory Bodies ................................................................................. 5 5C. Summary and Follow-up of the Director General’s meeting on “The World Heritage Convention: Thinking Ahead” (UNESCO HQs, 2-3 October 2012) ............................. 5 5D. Revised PACT Initiative Strategy............................................................................ 6 5E. Report on