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Great Heritages of Orissa
Orissa Review * December - 2004 Great Heritages of Orissa Dr. Hemanta Kumar Mohapatra Etymologically, 'heritage' is anything that is or Cultural heritages are the creation of human may be inherited. In such case 'heritage' covers beings, who have created it by virtue of their everything that is seen around the human innovative power, creativity, skill and artistic civilization. Heritage is thus natural or created ability. or has evolved in the course of history. It is natural or man-made. Of the man-made Cultural heritages may be tangible or heritages some are already made and existing intangible. Archaeological heritages may be and others are in the process of making. But otherwise called tangible heritages. The everything what we inherit or may be inherited intangible ones may be called living heritages. can not be heritage in the proper use of the But for better comprehension and convenience term. To assume the dimension of heritage such we have discussed the cultural heritages in features must have influenced the socio- entirety under the following sections. economic and cultural life of the people. It must (a) Archaeological heritages (b) Literary have substantially influenced the imagination heritages (c) Religious heritages and life style of the human beings. A society (d) Performing art heritages, (e) Heritage or civilization is known and become unique festivals (f) Art and craft heritages by its own tradition. It gets its identity by its (g) Modern heritages of Orissa. own heritages. The cultural dimension of Orissa is Heritage is something which is specific varied and wide. Every bit of Oriyan culture and typical of a place, area, region or country and tradition is not included in this discussion. -
Odissi Dance
ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing -
Odisha Review Dr
Orissa Review * Index-1948-2013 Index of Orissa Review (April-1948 to May -2013) Sl. Title of the Article Name of the Author Page No. No April - 1948 1. The Country Side : Its Needs, Drawbacks and Opportunities (Extracts from Speeches of H.E. Dr. K.N. Katju ) ... 1 2. Gur from Palm-Juice ... 5 3. Facilities and Amenities ... 6 4. Departmental Tit-Bits ... 8 5. In State Areas ... 12 6. Development Notes ... 13 7. Food News ... 17 8. The Draft Constitution of India ... 20 9. The Honourable Pandit Jawaharlal Nehru's Visit to Orissa ... 22 10. New Capital for Orissa ... 33 11. The Hirakud Project ... 34 12. Fuller Report of Speeches ... 37 May - 1948 1. Opportunities of United Development ... 43 2. Implication of the Union (Speeches of Hon'ble Prime Minister) ... 47 3. The Orissa State's Assembly ... 49 4. Policies and Decisions ... 50 5. Implications of a Secular State ... 52 6. Laws Passed or Proposed ... 54 7. Facilities & Amenities ... 61 8. Our Tourists' Corner ... 61 9. States the Area Budget, January to March, 1948 ... 63 10. Doings in Other Provinces ... 67 1 Orissa Review * Index-1948-2013 11. All India Affairs ... 68 12. Relief & Rehabilitation ... 69 13. Coming Events of Interests ... 70 14. Medical Notes ... 70 15. Gandhi Memorial Fund ... 72 16. Development Schemes in Orissa ... 73 17. Our Distinguished Visitors ... 75 18. Development Notes ... 77 19. Policies and Decisions ... 80 20. Food Notes ... 81 21. Our Tourists Corner ... 83 22. Notice and Announcement ... 91 23. In State Areas ... 91 24. Doings of Other Provinces ... 92 25. Separation of the Judiciary from the Executive .. -
RAVENSHAW UNIVERSITY CUTTACK – 753 003 Accredited with NAAC’S “A” Grade
ADMISSION PROSPECTUS 2019-20 Ravenshaw : Celebrating 150 Impacting “Life Worlds” and interrogating inherited norms since 1868 RAVENSHAW UNIVERSITY CUTTACK – 753 003 Accredited with NAAC’s “A” Grade CONTENTS Sl Particulars Page No 1. Ravenshaw University: A Journey of Ideas 5 2. Schools and Departments 7 3. Academic Programmes 16 i. Admission Prospectus for Undergraduate Courses 21 ii Admission Prospectus for Post-Graduate Courses 37 iii Prospectus for Admission into M.Phil Programme 51 iv. Prospectus for Admission into Ph.D Programme 59 4. Annexure - I : 69 Syllabi for Post Graduate Entrance Test 5. Annexure - II : 73 Facilities 6. Annexure - III : 78 Activities : Co-curricular and Extracurricular 7. Annexure - IV : 80 Rules & Regulations for Hostel Residents 8. Annexure - V : 90 Hostel Application Form RAVENSHAW UNIVERSITY : A JOURNEY OF IDEAS John Axtell, one of the leading authorities, tracing “genealogy” of the modern research University of the Globe, perhaps underscores a seminal observation when he reminds that “Great universities are made, not born. Invariably their infancies and youth are pinched, puzzling, and unpropitious and their adolescence, even when finally promising is bumptious and conflicted…”It is in this context, chronicling the institutional history of Ravenshaw, steeped with an intimate “colonial past”, with its heterogeneous moments of engagements over a period of two centuries defies any simplistic and linear imagination. “Monument which represents Orissa to the outside World”, “Temple of learning”, “stately in proportions which compares not unfavorably with the only other temple – The temple of Jagannath” and “source of justice and pride to every Oriya” were the qualifiers invoked to depict Ravenshaw in the high noon of a colonial order. -
Registration-2017 Admission Batch
SHRI JAGANNATH SANSKRIT VISHVAVIDYALAYA, PURI REGISTER FOR REGISTRATION-SLIP Page 1 of 335 COURSE : UPASHASTRI ADMISSION BATCH : 2017 Dept./COLLEGE CODE/NAME : ( 01AN ) JADUNATH SANSKRIT COLLEGE,ANGUL SlNo. NAME OF THE CANDIDATE NAME OF THE FATHER REGISTRATION No. PHOTO SL 001 ABHIJIT NAIK BIDYADHAR NAIK U01AN001/17 002 AJAYA KUMAR GOCHHAYAT ANIRUDDHA GOCHHAYAT U01AN002/17 003 ANAMIKA SAHU PABITRA SAHU U01AN003/17 004 ANITA PRADHAN SARAT PRADHAN U01AN004/17 005 ARCHANA BHUTIA GOUTAM BHUTIA U01AN005/17 006 ARPITA BHOI ANANDA BHOI U01AN006/17 007 ASHOK KUMAR DEHURY KHAGESWAR DEHURY U01AN007/17 008 BADAL SAHU KUMUD CHANDRA SAHU U01AN008/17 009 BAISHNAB BISWAL SUBASH CHANDRA BISWAL U01AN009/17 010 BALARAM BEHERA BHAGABAN BEHERA U01AN010/17 011 BASANTI NAIK TIRTHA NAIK U01AN011/17 012 BHANUMATI MAHALIK PRAMOD MAHALIK U01AN012/17 013 BIJAY KUMAR MOHANTA TARAKANTA MOHANTA U01AN013/17 014 BINOD PRADHAN BIJAN PRADHAN U01AN014/17 015 BISWAJITA SAHU BRAJABANDHU SAHU U01AN015/17 016 CHINMAYEE SAHU CHANDRA SHEKHAR SAHU U01AN016/17 017 CHITTARANJAN MOHANTA BHAGIRATHI MOHANTA U01AN017/17 018 DIPAK GHADEI BIJAY GHADEI U01AN018/17 019 DIPAK NAIK TRINATH NAIK U01AN019/17 020 DIPUN GHADEI BHARAT GHADEI U01AN020/17 021 JANMEJAY MOHANTA BHAGIRATHI MOHANTA U01AN021/17 022 JAYANT PRADHAN JITEN PRADHAN U01AN022/17 023 JYOTSNA SAHU RAMESH CHANDRA SAHU U01AN023/17 024 KANHEI BEHERA RANJAN BEHERA U01AN024/17 025 KANHU MURMU DEMAKA MURMU U01AN025/17 026 LAILARANI DAS NABAGHANA DAS U01AN026/17 027 LAMBODHAR MOHANTA AKSHAY MOHANTA U01AN027/17 028 LOPAMUDRA NAYAK GOLEKH -
Odisha Sahitya Academy Awarded Books and Writers
ODISHA REFERENCE ANNUAL - 2011 ODISHA SAHITYA ACADEMY AWARDED BOOKS AND WRITERS Sl. Name of the Book Category Name of Writers No. 1957-1958 1. Dilip Lyric Poem Sri Upendra Mohanty 2. Swarna Yugara Sandhana Play Sri Gyaneendra Burma 3. Agnee Parikshya Play Shri Bhanjakishore Patnaik 4. Vyasakabi Fakir Mohan Criticism Shri Natabar Samantaray 5. Veda Manushya Kruta Ki ? Criticism Shri Priyabrata Das 6. Godan Translation Golakha Bihari Dhal 7. Ajara Pound Kabita Translation Shri Gyaneendra Burma 8. Sabujapatra O Dhusara Golap Story Shri Surendra Mohanty 9. Chora Chaitali Story Smt. Rajeswari Dalbehera 10. Kanta O Phula Poetry Shri Godabarish Mohapatra 11. Sanchayan Poetry Smt. Bidyutprabha Devi 12. Bhagaban Sankaracharya Biography Shri Durga Charan Mohanty 13. Jateeya Jeebanara Atmabikash Biography Shri Gobinda Chandra Mishra 14. Odishi Chitra Science Literature Shri Binod Routray 15. Puspa Chasha Science Literature Shri Biswanath Sahoo 16. Kalinga Kahani Child Literature Smt. Kanaka Manjari Mohapatra 17. Pilanka Katha Lahari Child Literature Shri Chandra Sekhar Mohapatra 18. Europere Mo Anubhuti Travel Story Sriram Chandra Das 1959-1961 19. Aranyak Story Shri Manoj Das 20. Ootha Kankal Poetry Late Godabarish Mohapatra 21. Pashchima Diganta Travel Story Shri Shriharsha Mishra 22. E Jugara Shrestha Abiskar Science Literature Shri Gokulananda Mohapatra 23. Jeeban Bidyalaya Essay Shri Chittaranjan Das 24. Juga Prabarttak Radhanath Criticism Shri Natabar Samantaray 25. Kabi Samrat Upendra Bhanja Criticism Shri Ananta Padmanav Patnaik 26. Charam Patra Poetry Shri Rabindra Nath Singh 27. Nar Kinnar Novel Shri Shantanu Ku.Acharya 1962-1964 28. Adi Manabara Itibrutta Story Shri Kamal Lochan Baral 29. Satyabhama Lyric Poem Shri Golak Chandra Pradhan 30. -
List of Top Performing Teachers in Phase I
List of Top performing teachers in Phase I Sr NO District Name School Name Teacher Name 1 Bargarh CEMENTNAGAR HIGH SCHOOL TARANISEN BUDHIA 2 Bargarh CEMENTNAGAR HIGH SCHOOL KAPILESWAR BAG 3 Bargarh CEMENTNAGAR HIGH SCHOOL JUDHISTHIR DASH 4 Bargarh CEMENTNAGAR HIGH SCHOOL DEBJIBAN KAR 5 Bargarh CEMENTNAGAR HIGH SCHOOL PRAKASH NANDA BHOI 6 Bargarh CEMENTNAGAR HIGH SCHOOL RAMAKANTA MEHER 7 Rayagada GOVT. GIRLS HIGH SCHOOL GEETANJALI SAHOO 8 Rayagada GOVT. GIRLS HIGH SCHOOL UDAYA SABAR 9 Rayagada GOVT. GIRLS HIGH SCHOOL USHA RANI PANDA 10 Rayagada GOVT. GIRLS HIGH SCHOOL SANGHAMITRA MISHRA 11 Rayagada GOVT. GIRLS HIGH SCHOOL SUNIL KUMAR INDUPALLI 12 Rayagada GOVT. GIRLS HIGH SCHOOL PATNANA MANIMALA 13 Rayagada GOVT. GIRLS HIGH SCHOOL NALINI SUNASETTY SUHAGA NALINI MAMATA 14 Rayagada GOVT. GIRLS HIGH SCHOOL MOYEE MOHANTY 15 Rayagada GOVT. GIRLS HIGH SCHOOL DIPTIMAYEE TRIPATHY 16 Balasore JUDHISTHIR HIGH SCHOOL JENAL SINGH 17 Balasore JUDHISTHIR HIGH SCHOOL SUMI MARANDI 18 Balasore JUDHISTHIR HIGH SCHOOL DILLIP KUMAR DASMOHAPATRA 19 Balasore JUDHISTHIR HIGH SCHOOL JAYKRUSHNA DEY 20 Balasore JUDHISTHIR HIGH SCHOOL MADHABANANDA BEHERA 21 Balasore JUDHISTHIR HIGH SCHOOL SANJITA JENA 22 Balasore JAMKUNDA HIGH SCHOOL BHARATI JENA Sr NO District Name School Name Teacher Name 23 Balasore JAMKUNDA HIGH SCHOOL SANJAY KUMAR BHUYAN 24 Balasore JAMKUNDA HIGH SCHOOL MINATI ROUT 25 Balasore JAMKUNDA HIGH SCHOOL KAMALAKANTA SETHI 26 Balasore JAMKUNDA HIGH SCHOOL SUPRAVA GIRI 27 Bargarh GOVT. GIRLS HIGH SCHOOL BARGARH SHIBIRANJAN PADHAN 28 Bargarh GOVT. GIRLS HIGH SCHOOL BARGARH KAMALA DASH 29 Balasore HARA PRASAD HIGH SCHOOL AJAY KUMAR MOHANTY 30 Bargarh GOVT. GIRLS HIGH SCHOOL BARGARH BIJAYALAXMI HOTA 31 Balasore HARA PRASAD HIGH SCHOOL BRUNDABAN PADHIARY 32 Bargarh GOVT. -
Bestguru.Comcarnatic Music ‐ Vocal 1978 Maharajapuram V
Name of the Artist Name of the Art / Field Awarded in Amba Sanyal (Costume Designing) Allied Theatre Arts 2008 Anant Gopal Shinde (Make‐up) Allied Theatre Arts 2003 Ashok Sagar Bhagat (Lighting) Allied Theatre Arts 2002 Ashok Srivastava (Make‐up) Allied Theatre Arts 1981 D. G. Godse (Scenic Design) Allied Theatre Arts 1988 Dolly Ahluwalia (Costume Design) Allied Theatre Arts 2001 G.N. Dasgupta (Lighting) Allied Theatre Arts 1989 Gautam Bhattacharya (Lighting) Allied Theatre Arts 2006 Goverdhan Panchal (Scenic Design) Allied Theatre Arts 1985 H. V. Sharma (Stagecraft) Allied Theatre Arts 2005 Kajal Ghosh (Theatre Music) ‐ Allied Theatre Arts 2000 Kamal Arora (Make‐up) Allied Theatre Arts 2009 Kamal Jain (Lighting) Allied Theatre Arts 2011 Kamal Tewari (Theatre Music) ‐ Allied Theatre Arts 2000 Kanishka Sen (Lighting) Allied Theatre Arts 1994 Khaled Choudhury (Scenic Design) Allied Theatre Arts 1986 Kuldeep Singh (Music for Theatre) Allied Theatre Arts 2009 M. S. Sathyu (Stagecraft) Allied Theatre Arts 1993 Mahendra Kumar (Scenic Design) Allied Theatre Arts 2007 Mansukh Joshi (Scenic & Light Design) Allied Theatre Arts 1997 N. Krishnamoorthy (Stagecraft) Allied Theatre Arts 1995 Nissar Allana (Stagecraft) Allied Theatre Arts 2002 R. K. Dhingra (Lighting) ‐ Allied Theatre Arts 2000 R. Paramashivan (Theatre Music) Allied Theatre Arts 2005 Robin Das (Scenic Design) ‐ Allied Theatre Arts 2000 Roshen Alkazi (Costume Design) Allied Theatre Arts 1990 Shakti Sen (Make‐up) ‐ Allied Theatre Arts 2000 Sreenivas G. Kappanna (Lighting & Stage Design) Allied Theatre Arts 2003 Suresh Bhardwaj (Lighting) Allied Theatre Arts 2005 Tapas Sen (Lighting) Allied Theatre Arts 1974 V. Ramamurthy (Lighting) Allied Theatre Arts 1977 Alathur S. Srinivasa Iyer Carnatic Music ‐ Vocal 1968 Ariyakudi Ramanuja Iyengar Carnatic Music ‐ Vocal 1952 B. -
Sankeet Natak Akademy Awards from 1952 to 2016
All Sankeet Natak Akademy Awards from 1952 to 2016 Yea Sub Artist Name Field Category r Category Prabhakar Karekar - 201 Music Hindustani Vocal Akademi 6 Awardee Padma Talwalkar - 201 Music Hindustani Vocal Akademi 6 Awardee Koushik Aithal - 201 Music Hindustani Vocal Yuva Puraskar 6 Yashasvi 201 Sirpotkar - Yuva Music Hindustani Vocal 6 Puraskar Arvind Mulgaonkar - 201 Music Hindustani Tabla Akademi 6 Awardee Yashwant 201 Vaishnav - Yuva Music Hindustani Tabla 6 Puraskar Arvind Parikh - 201 Music Hindustani Sitar Akademi Fellow 6 Abir hussain - 201 Music Hindustani Sarod Yuva Puraskar 6 Kala Ramnath - 201 Akademi Music Hindustani Violin 6 Awardee R. Vedavalli - 201 Music Carnatic Vocal Akademi Fellow 6 K. Omanakutty - 201 Akademi Music Carnatic Vocal 6 Awardee Neela Ramgopal - 201 Akademi Music Carnatic Vocal 6 Awardee Srikrishna Mohan & Ram Mohan 201 (Joint Award) Music Carnatic Vocal 6 (Trichur Brothers) - Yuva Puraskar Ashwin Anand - 201 Music Carnatic Veena Yuva Puraskar 6 Mysore M Manjunath - 201 Music Carnatic Violin Akademi 6 Awardee J. Vaidyanathan - 201 Akademi Music Carnatic Mridangam 6 Awardee Sai Giridhar - 201 Akademi Music Carnatic Mridangam 6 Awardee B Shree Sundar 201 Kumar - Yuva Music Carnatic Kanjeera 6 Puraskar Ningthoujam Nata Shyamchand 201 Other Major Music Sankirtana Singh - Akademi 6 Traditions of Music of Manipur Awardee Ahmed Hussain & Mohd. Hussain (Joint Award) 201 Other Major Sugam (Hussain Music 6 Traditions of Music Sangeet Brothers) - Akademi Awardee Ratnamala Prakash - 201 Other Major Sugam Music Akademi -
Alphabetical List of Persons for Whom Recommendations Were Received for Padma Awards - 2015
Alphabetical List of Persons for whom recommendations were received for Padma Awards - 2015 Sl. No. Name 1. Shri Aashish 2. Shri P. Abraham 3. Ms. Sonali Acharjee 4. Ms. Triveni Acharya 5. Guru Shashadhar Acharya 6. Shri Gautam Navnitlal Adhikari 7. Dr. Sunkara Venkata Adinarayana Rao 8. Shri Pankaj Advani 9. Shri Lal Krishna Advani 10. Dr. Devendra Kumar Agarwal 11. Shri Madan Mohan Agarwal 12. Dr. Nand Kishore Agarwal 13. Dr. Vinay Kumar Agarwal 14. Dr. Shekhar Agarwal 15. Dr. Sanjay Agarwala 16. Smt. Raj Kumari Aggarwal 17. Ms. Preety Aggarwal 18. Dr. S.P. Aggarwal 19. Dr. (Miss) Usha Aggarwal 20. Shri Vinod Aggarwal 21. Shri Jaikishan Aggarwal 22. Dr. Pratap Narayan Agrawal 23. Shri Badriprasad Agrawal 24. Dr. Sudhir Agrawal 25. Shri Vishnu Kumar Agrawal 26. Prof. (Dr.) Sujan Agrawal 27. Dr. Piyush C. Agrawal 28. Shri Subhash Chandra Agrawal 29. Dr. Sarojini Agrawal 30. Shri Sushiel Kumar Agrawal 31. Shri Anand Behari Agrawal 32. Dr. Varsha Agrawal 33. Dr. Ram Autar Agrawal 34. Shri Gopal Prahladrai Agrawal 35. Shri Anant Agrawal 36. Prof. Afroz Ahmad 37. Prof. Afzal Ahmad 38. Shri Habib Ahmed 39. Dr. Siddeek Ahmed Haji Panamtharayil 40. Dr. Ranjan Kumar Akhaury 41. Ms. Uzma Akhtar 42. Shri Eshan Akhtar 43. Shri Vishnu Akulwar 44. Shri Bruce Alberts 45. Captain Abbas Ali 46. Dr. Mohammed Ali 47. Dr. Govardhan Aliseri 48. Dr. Umar Alisha 49. Dr. M. Mohan Alva 50. Shri Mohammed Amar 51. Shri Gangai Amaren 52. Smt. Sindhutai Ramchandra Ambike 53. Mata Amritanandamayi 54. Dr. Manjula Anagani 55. Shri Anil Kumar Anand 56. -
The Changing Contours of Women and Dance in India (A Historical Twilight on Tradition and Transition)
2012 2nd International Conference on Social Science and Humanity IPEDR vol.31 (2012) © (2012) IACSIT Press, Singapore The Changing Contours of Women and Dance in India (A Historical Twilight on Tradition and Transition) ∗ Prabhu Kumari Vanama PG Dept of Historical Studies, Bharathi Women’s College, Chennai, India Abstract. A sweeping look at the magnificence of the Indian women through the forms, characteristics, challenges and changes occurred and are still occurring in traditional dance, forms the theoretical and pictorial substance of this study. At one level, it is a historical compendium of classical dance, an exploration of its’ moods and majesty, an ode to its sublime aesthetics and at another level, it is a stunning scholarly portrayal of a pluralistic society teeming with feminine cultural vitality. Keywords: Women, Bharathanatyam,, Kathak, Kuchipudi, Manipuri, Mohiniattam, Odissi. 1. Introduction According to Natyashastra or the treatise of Classical Dance “The Body should catch up to the tune, the hands must explain the meaning, the eyes must speak the emotion, and the feet must beat the time-measure” [1]. Bharatha’s Natyashastra which is popularly styled as Panchama Veda [2] speaks about 108 dance postures which constitute the basic structure of any classical dance and women whose mind as well as physic that is best suitable for this dance divine, naturally inclined towards dance from the inception of this universe. Women of India succeeded in developing an individual style which is a blend of the typical features of many Paramparas with the distinct stamp of their individuality. Basically, there are two types of dancing – Theatrical Dancing and then Social Dancing. -
Answered On:09.08.2000 Increase in Indian Cultural Centres P.D
GOVERNMENT OF INDIA EXTERNAL AFFAIRS LOK SABHA UNSTARRED QUESTION NO:2685 ANSWERED ON:09.08.2000 INCREASE IN INDIAN CULTURAL CENTRES P.D. ELANGOVAN Will the Minister of EXTERNAL AFFAIRS be pleased to state: (a) whether the Government have any plan to increase the cultural Centres abroad from the present 14; (b) if so, the details thereof; (c) the details of their role in the promotion of India`s cultural Heritage; (d) the details of the programmes conducted last year by the ICCR within and outside India and the scholars/artists who visited abroad during the last three years till dated; and (e) the details of the future events on anvil and the tentative itinerary of such events that will promote and propagate Indian Heritage abroad? Answer MINISTER OF STATE FOR EXTERNAL AFFAIRS (SHRI AJIT KUMAR PANJA) (a) Yes Sir, (b) The Government has decided to open a Cultural Centre in Washington (USA). There are in addition several other proposals from various Indian Missions abroad which are currently under examination. (c) The activities of the 14 Indian Cultural Centres currently in existence reflects the needs of the local population. Their activities include the organisation of talks, lectures, exhibitions of visual arts, essay competitions, performances of dance & music, staging of plays, screening of Indian films, publication of news bulletins etc. Additionally, in most of the Cultural Centres classes in various aspects of Indian culture such as music, dance, Hindi language and yoga are being conducted. The Centres also maintain libraries, reading rooms and audio-video facilities for visitors. Apart from organising their own activities, the Indian Cultural Centres provide support to the respective Indian Missions for coordinating various cultural activities.T hese Centres develop and maintain contacts with local citizens particularly students, teachers, academicians, opinion makers and cultural personalities to project a holistic picture of India`s rich and diverse cultural heritage.