List of BPL Families of Barhi Block Page 1 Of

Total Page:16

File Type:pdf, Size:1020Kb

List of BPL Families of Barhi Block Page 1 Of List of BPL Families of Barhi Block BPL_No. PANCHAYAT Village Family_id House No. Name of Head Name of Father/Husband Score 00001 BARHI (E & W) BARHI 00001 754 MOST. RAM DULARI DEVI MAHAVIR SAW 3 00002 BARHI (E & W) BARHI 00002 61 MAINA DEVI BABAN SAW 4 00003 BARHI (E & W) BARHI 00003 51 RAM CHARAN MAHTO FAGU MAHTO 4 00004 BARHI (E & W) BARHI 00004 257 MD. MADMOOD MIYA ABDUL HAJI 5 00005 BARHI (E & W) BARHI 00005 106 RAMESHWAR RAVIDS BALDEO RAM 5 00006 BARHI (E & W) BARHI 00006 135 GOKHUL RAVIDS BHAWANI RAVIDS 6 00007 BARHI (E & W) BARHI 00007 952 FULWA MOSOMAT DIPAN BHUIYA 6 00008 BARHI (E & W) BARHI 00008 28 UGAR SAW KHIRODHAR SAW 6 00009 BARHI (E & W) BARHI 00009 184 KALWA MOSOMAT LALA RAVIDAS 6 00010 BARHI (E & W) BARHI 00010 98 MOST. FULO SHNICHAR MALLAH 6 00011 BARHI (E & W) BARHI 00011 630 PURAN PRAJAPATI BANDHU PRAJAPATI 7 00012 BARHI (E & W) BARHI 00012 96 KHELO MALLAH BANSHI MALLHA 7 00013 BARHI (E & W) BARHI 00013 81 RADHIYA MOSOMAT BHARAT RAVIDAS 7 00014 BARHI (E & W) BARHI 00014 837 TEJO SAW CHUMAN SAW 7 00015 BARHI (E & W) BARHI 00015 207 UMESH KUMAR SAW DEONATH SAW 7 00016 BARHI (E & W) BARHI 00016 63 LAXMAN BHUIYA GENDU BHUIYA 7 00017 BARHI (E & W) BARHI 00017 156 DWARIKA PRASAD KESHRI] GOPAL SAW 7 00018 BARHI (E & W) BARHI 00018 163 VINDESHWARI PRASAD HIR SAW 7 00019 BARHI (E & W) BARHI 00019 98 TIRWIN RAVIDS JAGESHWAR RAVIDS 7 00020 BARHI (E & W) BARHI 00020 916 FAGU BHUIYA JAIRAM BHUIYA 7 00021 BARHI (E & W) BARHI 00021 833 ANUJ SAW JIVLAL SAW 7 00022 BARHI (E & W) BARHI 00022 563 MOST. MAINI KHUSHI SAW 7 00023 BARHI (E & W) BARHI 00023 69 MOST. ISWARI LATE BHAJAN PRASAD KESHRI 7 00024 BARHI (E & W) BARHI 00024 333 MD. SHAKUR LATE MAHESH RAVIDAS 7 00025 BARHI (E & W) BARHI 00025 560 WAJIR SAW LATE UGAR SAW 7 00026 BARHI (E & W) BARHI 00026 114 SARSASWATI MOSOMAT MUNESHWAR RAVIDS 7 00027 BARHI (E & W) BARHI 00027 862 TULO SW PURAN SAW 7 00028 BARHI (E & W) BARHI 00028 55 KOLHA BHUIYA RAMDAS BHUIYA 7 00029 BARHI (E & W) BARHI 00029 56 BHIM BHUIYA SHYAMLAL BHUIYA 7 00030 BARHI (E & W) BARHI 00030 844 JAMUNI MOSOMAT SUKHDEO BADAI 7 Page 1 of 469 List of BPL Families of Barhi Block BPL_No. PANCHAYAT Village Family_id House No. Name of Head Name of Father/Husband Score 00031 BARHI (E & W) BARHI 00031 637 SHANTI MOSOMAT VIJAY THAKUR 7 00032 BARHI (E & W) BARHI 00032 92 RAJU RANA JAGDISH RANA 8 00033 BARHI (E & W) BARHI 00033 314 SURESH RAVIDAS LAKHAN RAVIDAS 8 00034 BARHI (E & W) BARHI 00034 238 MD. SHAMSUDDIN LATE BAKO MIYA 8 00035 BARHI (E & W) BARHI 00035 922 MOST. PARVATI LATE BHUNESHWAR RANA 8 00036 BARHI (E & W) BARHI 00036 129 BHOLA RAVIDAS LATE BHUNESHWAR RAVIDAS 8 00037 BARHI (E & W) BARHI 00037 880 BADRI RAJAK LATE CHAMAN RAJAK 8 00038 BARHI (E & W) BARHI 00038 555 MAHRU RANA LATE GOPAL MISTRY 8 00039 BARHI (E & W) BARHI 00039 704 MOST. RAMANI LATE LAKHPATI SAW 8 00040 BARHI (E & W) BARHI 00040 108 RUPAL RAVIDAS LATE MAHAVIR RAM 8 00041 BARHI (E & W) BARHI 00041 358 BHUNESHWAR RANA LATE RAM SAHAY RANA 8 00042 BARHI (E & W) BARHI 00042 354 MOST. DARSHANI LATE SUKHDEO RAVIDAS 8 00043 BARHI (E & W) BARHI 00043 446 REWAL MEHTA LATE TILAK MEHTA 8 00044 BARHI (E & W) BARHI 00044 92 JAGDISH RAM LAXMAN RAM 8 00045 BARHI (E & W) BARHI 00045 96 GANESH RAVIDAS MAHADEO RAVIDS 8 00046 BARHI (E & W) BARHI 00046 469 AMARNATH SAH MAHENDRA SAH 8 00047 BARHI (E & W) BARHI 00047 832 MUNWA DEVI MAHESH BHUIYA 8 00048 BARHI (E & W) BARHI 00048 69 SAHADEO PRASAD KESHRI MUNNU SAW 8 00049 BARHI (E & W) BARHI 00049 404 MUNIYA DEVI RAMLAL RAM 8 00050 BARHI (E & W) BARHI 00050 556 KUNJAL SAW VISHUN MAHTO 8 00051 BARHI (E & W) BARHI 00051 226 PAPPU PRASAD GUPTA BANGALI SAW 9 00052 BARHI (E & W) BARHI 00052 577 KRISHNA PRASAD KESHRI BANSHI RAM KESHRI 9 00053 BARHI (E & W) BARHI 00053 836 RAMLAKHAN SAW CHUMAN SAW 9 00054 BARHI (E & W) BARHI 00054 79 MAHADEO LAL BIHARI JAGANNATH LAL BIHARI 9 00055 BARHI (E & W) BARHI 00055 84 JAGESHWAR PRASAD KESHRI JAGESHWAR PRASAD KESHRI 9 00056 BARHI (E & W) BARHI 00056 876 MANI DEVI JAGESHWAR SAW 9 00057 BARHI (E & W) BARHI 00057 115 RAJESH KUMAR RAVIDAS JANKI RAVIDAS 9 00058 BARHI (E & W) BARHI 00058 220 KARU SAW LALIT SAW 9 00059 BARHI (E & W) BARHI 00059 576 RAMCHANDRA PRASAD KESHRI LATE BANSHI PRASAD KESHRI 9 00060 BARHI (E & W) BARHI 00060 636 RAMCHANDRA RAJAK LATE CHAMAN RAJAK 9 Page 2 of 469 List of BPL Families of Barhi Block BPL_No. PANCHAYAT Village Family_id House No. Name of Head Name of Father/Husband Score 00061 BARHI (E & W) BARHI 00061 752 CHHATU NISHAD LATE DHANO NISHAD 9 00062 BARHI (E & W) BARHI 00062 213 JWALA DEVI LATE GOWARDHAN SAW KESHRI 9 00063 BARHI (E & W) BARHI 00063 929 NAGESHWAR GOSAI LATE GURU DAYAL GOSAI 9 00064 BARHI (E & W) BARHI 00064 558 DASRATH SAW LATE KESHU SAW 9 00065 BARHI (E & W) BARHI 00065 117 ASHOK RAVIDAS LATE LATAN RAVIDAS 9 00066 BARHI (E & W) BARHI 00066 737 SITARAM PRAJAPATI LATE MOHAN KUMHAR 9 00067 BARHI (E & W) BARHI 00067 949 PARMESHWAR SAW LATE NANDLAL SAW 9 00068 BARHI (E & W) BARHI 00068 454 RENU MASOMAT LATE PRADIP KUMAR GUPTA 9 00069 BARHI (E & W) BARHI 00069 702 PRAYAG KESHRI LATE PRASADI SAW KESHRI 9 00070 BARHI (E & W) BARHI 00070 363 CHHOTELAL SWARNKAR LATE PRAYAG SWARNKAR 9 00071 BARHI (E & W) BARHI 00071 484 BHUNESHWAR SINGH LATE PRITAM SINGH 9 00072 BARHI (E & W) BARHI 00072 879 MAHRU SAW LATE RAM SAHAY SAW 9 00073 BARHI (E & W) BARHI 00073 501 KAUSAH AHMED LATE SHAMIM AHMED 9 00074 BARHI (E & W) BARHI 00074 502 RAHAT ALI LATE SHAMIM ALAM 9 00075 BARHI (E & W) BARHI 00075 347 MOST. GOURWA LATE SURENDRA RAVIDAS 9 00076 BARHI (E & W) BARHI 00076 112 MOST. TEJMANI LATE SURESH PRASAD KESHRI 9 00077 BARHI (E & W) BARHI 00077 700 BAIJNATH SAW LATE UGAR SAW 9 00078 BARHI (E & W) BARHI 00078 198 FAGU RAVIDAS LOKNATH RAVIDAS 9 00079 BARHI (E & W) BARHI 00079 683 MANOJ THAKUR MANGAL THAKUR 9 00080 BARHI (E & W) BARHI 00080 155 SHIV PRASAD KESHRI NANDO PRASAD KESHRI 9 00081 BARHI (E & W) BARHI 00081 211 ROHAN SAW NANDO SAW 9 00082 BARHI (E & W) BARHI 00082 955 KRISHNA PRAJAPATI PURAN PRAJAPATI 9 00083 BARHI (E & W) BARHI 00083 795 VINAY SINGH RAJDEO SINGH 9 00084 BARHI (E & W) BARHI 00084 142 AJAY KUMAR RAVIDAS RAM KISHUN RAVIDAS 9 00085 BARHI (E & W) BARHI 00085 159 DOMAN PRASAD KESHRI RAMCHANDRA SAW 9 00086 BARHI (E & W) BARHI 00086 818 JANKI BHUIYA RAMCHARAN BHUIYA 9 00087 BARHI (E & W) BARHI 00087 866 KAILASH PASWAN RAMESHWAR PASWAN 9 00088 BARHI (E & W) BARHI 00088 621 HORIL PRAJAPATI ROHAN PRAJAPATI 9 00089 BARHI (E & W) BARHI 00089 627 KAMAL PRAJAPATI ROHAN PRAJAPATI 9 00090 BARHI (E & W) BARHI 00090 334 CHOLO RAM RUPLAL RAM 9 Page 3 of 469 List of BPL Families of Barhi Block BPL_No. PANCHAYAT Village Family_id House No. Name of Head Name of Father/Husband Score 00091 BARHI (E & W) BARHI 00091 63 FAGU MALLAH SANANDO MALLAH 9 00092 BARHI (E & W) BARHI 00092 667 JAGESHWAR PRASAD KESHRI SHANKAR PRASAD KESHRI 9 00093 BARHI (E & W) BARHI 00093 83 PRABHU DAYAL KESHRI SITA RAM KESHRI 9 00094 BARHI (E & W) BARHI 00094 122 SHANI DEVI SURENDRA RAVIDAS 9 00095 BARHI (E & W) BARHI 00095 767 ASHOK KUMAR SINGH VINDESHWAR SINGH 9 00096 BARHI (E & W) BARHI 00096 805 UDAY RAJAK BADRI RAJAK 10 00097 BARHI (E & W) BARHI 00097 639 MEGHNI MOSOMAT BALDEO PRAJAPATI 10 00098 BARHI (E & W) BARHI 00098 78 BIRENDRA PRASAD BALESHWAR SAW 10 00099 BARHI (E & W) BARHI 00099 103 VINOD KUMAR RAVIDAS BANSHI RAVIDAS 10 00100 BARHI (E & W) BARHI 00100 863 DAMODAR SAW BHATU SAW 10 00101 BARHI (E & W) BARHI 00101 711 DINESH SAW BHUNESHWAR SAW 10 00102 BARHI (E & W) BARHI 00102 561 JUGAL SAW BUDHAN SAW 10 00103 BARHI (E & W) BARHI 00103 453 DINESH SAW CHAMAN SAW 10 00104 BARHI (E & W) BARHI 00104 315 MANOJ RAVIDS CHANDO RAVIDAS 10 00105 BARHI (E & W) BARHI 00105 486 NATHO THAKUR CHATURI THAKUR 10 00106 BARHI (E & W) BARHI 00106 228 UGA SAW DHANU SAW 10 00107 BARHI (E & W) BARHI 00107 744 LOKNATH GOSAI HORIL GOSAI 10 00108 BARHI (E & W) BARHI 00108 743 MAHAVIR GOSAI HORIL GOSAI 10 00109 BARHI (E & W) BARHI 00109 746 NANDLAL GOSAI HORIL GOSAI 10 00110 BARHI (E & W) BARHI 00110 75 MOHAN BHUIYAN JHARI BHUIYA 10 00111 BARHI (E & W) BARHI 00111 927 NARESH PASWAN JOGHAN PASWAN 10 00112 BARHI (E & W) BARHI 00112 313 KRISHNA RAVIDAS LAKHAN RAVIDAS 10 00113 BARHI (E & W) BARHI 00113 659 JAMUNA MOSOMAT LALA THAKUR 10 00114 BARHI (E & W) BARHI 00114 908 MAHESH PASWAN LALDHARI PASWAS 10 00115 BARHI (E & W) BARHI 00115 459 PRAYAG SAW LATE AMIR SAW 10 00116 BARHI (E & W) BARHI 00116 912 ARJUN GOSAI LATE BANDHO GOSAI 10 00117 BARHI (E & W) BARHI 00117 116 SANTOSH PRASAD KESHRI LATE BHIKHAN SAW 10 00118 BARHI (E & W) BARHI 00118 882 DASHRATH RAJAK LATE CHAMAK RAJAK 10 00119 BARHI (E & W) BARHI 00119 200 MOST. DEVKI DEVI LATE DEONATH SAW 10 00120 BARHI (E & W) BARHI 00120 13 HEMRAJ SAW LATE DHANU SAW 10 Page 4 of 469 List of BPL Families of Barhi Block BPL_No.
Recommended publications
  • Anchal Maps, Chotanagpur Division, Bihar
    For official use only Ventral '.fo..timt", tlOD L'tll, OffICE Of TH'E REGISTRAQ G£NERAL I.J Ministry of H'll1w PI ffairil, r West Ulork 1 Wll!ig n 1ilD4 FIOln, !.{ K PurGc, t2ew D KLIfL2S, CENSUS 1961 BIHA R ANCHAI, MAPS CHOTANAGPLTR DIVISION S. D. PRASAD OF THE INDIAN ADMINISTRATIVE SERVICE BuPeri»tendent of OenSUB Operations, Bihar CONTENTS PAGE PAGE PREFACE 8. Anchal maps of Hazaribagh District_. 1. Map of Bihar showing Districts, Sub- iii divisions and Anchals ANCHALS- 2. Map of Palam au showing Administra- v tive Divisions Barhi 3 Barkatha 3. Map ofHazaribagh s~owing Adminis- vii 5 trative Divisions Bag<?dar 7 4. Map of Ranchi showing Administra- ix Bishungarh 9 tive Divisions Hazaribagh II 5, Map of Dhanbad showing Adminis- Xl Katkamsandi 13 trative Divisions Ichak 15 xiii 6. Map ofSinghbhum showing Adminis- Barkagaon 17 trative Divisions Kere,dari 19 7. Anchal maps of Palamau District- Tandwa 21 Mandu 23 ANCHALS- Nagri (Churchll) 25 Daltonganj 3 Ramgarh 27 Chainpur 5 Jainagar 29 Leslieganj 7 Gola 31 Panki 9 Gumia 33 Chhatarpur 11 Peterbar 35 Hariharganj 13 Kasmar 37 Patan 15 Jaridih 39 Bishrampur 17 Kodarma 41 Manatu 19 Markacho 43 Hussainabad 21 Patratu 45 Meral 23 Chauparan 47 Garhwa 25 Itkhori 49 Untari 27 Hunterganj 51 Dhurki 29 Pratap Pur 53 Ranka 31 Chatra 55 Bhandaria 33 Simaria 56 Majhiaon 35 Gawan 59 Bhawanathpur 37 Tisri 61 Balumath 39 Satgawan 63 Chandwa 41 Jamu-a 65 Lateha.r 43 Deori 67 Manika 45 Dhanwar 69 Barwadih 47 Birni 71 Mahtradanr 49 Giridih 73 Garu' 51 Bengabad 75 11 p;\'GE PA.GE , Gaude 77 Kurdeg 75 Dumri 79 Bolba 77 81 Nawadih 10.
    [Show full text]
  • E-Register: October, 2019
    E-Register: October, 2019 S. No. Diary No. RoC No. Date Title of Work Category Applicant 1 12442/2019-CO/A A-131132/2019 01/10/2019 SUPER ACTION DEVICE Artistic BAHADUR SINGH PRO. M/S. ATTAR SINGH LABEL LOGO AND SONS 2 12451/2019-CO/A A-131133/2019 01/10/2019 SAI SUMAN SPECIAL RUSK Artistic SAJAM KHAN PRO. M/S. SAI SUMAN BAKERY 3 12441/2019-CO/A A-131134/2019 01/10/2019 HITEL LABEL LOGO Artistic SAJID ALI PRO. M/S. UNITED LOCK WORKS 4 12685/2019-CO/A A-131135/2019 01/10/2019 Nobel Movies - Colouring Artistic M.C.Kalaimamani Your Dreams 5 12732/2019-CO/A A-131136/2019 01/10/2019 DRONALAYA Artistic Dronalaya Educare Solutions Private Limited 6 12771/2019-CO/A A-131137/2019 01/10/2019 OLITIA THE OLIVE TEA Artistic OLITIA FOODS PRIVATE LIMITED 7 12431/2019-CO/L L-85764/2019 01/10/2019 Book Love Emotions and Literary/ Biswajit Das The Lady by Biswajit Das Dramatic 8 12603/2019-CO/L L-85765/2019 01/10/2019 Shaikshnik Vikalp Literary/ Ram Prakash Prajapati Dramatic 9 12891/2019-CO/L L-85766/2019 01/10/2019 RASHTRACHINTAN Literary/ Vinay kumar Pandey Dramatic 10 12609/2019-CO/L L-85767/2019 01/10/2019 Design and development of Literary/ NILESH CHARANLAL KANOJIYA defect detection machine Dramatic with the help of ARDUINO UNO and I.R Sensors 11 12543/2019-CO/A A-131138/2019 01/10/2019 GREEN PLANET (SAVE THE Artistic GREEN PLANET BIO PRODUCTS MOTHER EARTH) 12 12400/2019-CO/A A-131139/2019 01/10/2019 NICE LABEL Artistic DHARMENDRABHAI VIRJIBHAI VAHDADIYA, ,NILESHBHAI VIRJIBHAI VASDADIYA 13 12723/2019-CO/L L-85768/2019 01/10/2019 The Godevils Literary/ Sushil Shinde Dramatic 14 12535/2019-CO/A A-131140/2019 01/10/2019 URBANCOP Artistic SUDHARMA KNITS PVT.
    [Show full text]
  • PPT 1 Land of Gods
    TURE EN TO V UR D S A www.freedomriderss.com LAND OF GODS Best Time : March - April September to November RIDE.EXPLORE.ADVENTURE Explore the most beautiful rides in India, with Royal Enfield, which is just not a motorcycle it’s a history. Experience a motorcycle TRIP through the Mystic Himalayas with majestic Views and Breathtaking Scenery. Everything from adventure experience, to relaxing motorcycle holidays. Day 1 - Jim Corbett Riders will depart from Delhi in an AC Coach on a 4-6 hour drive to Jim Corbett National Park, One of the oldest Safari Parks in World, Residing on the Foothills of Himalayas This Park has some great Forest Views and superb Wildlife Around including Wild Elephants, Tigers, Rhinos and many other Himlayan Birds. After lunch we'll gather to inspect our Royal Enfield motorcycles, and head out on a casual ride through the surroundings of the National Park and Get Use to the Bikes. Day 2 - Jim Corbett to Kasar Devi 216 Kms - Riding Time 6 to 7 hours Ride through breath-taking landscapes of the Himalayan Region. Kasar Devi is Small Ancient Temple village located in Himalayas. It offers great views of snow capped peaks and Himalayan Forests. Spend a night in magnificent Retreat in the lap of Himalayas. Day 3 - Kasar Devi To Munsiyari 189 Kms - Riding Time 6 to 7 hours Ride to Munsiyari, a beautiful little village in the lap of Himalayas offering the great views of panchkula Ranges in Himalayas. This is practically the Last Village on the Indian Borders. Enjoy the Local traditons of Kumaon Ranges and Visit the Himalayan Hot Springs This is going to be the Highest Village We will visit on our Ride, Its located at height of 2300 metres in Himalayan Region.
    [Show full text]
  • Sun Worship in Himalaya Region: with Special Reference to Katarmal and Martand
    Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 Vol. IV., 2013 Sun Worship in Himalaya Region: with Special Reference to Katarmal and Martand Dr. Virendra Bangroo Assistant Professor IGNCA, New Delhi. & Dr. Richan Kamboj Assistant Professor & HOD, Department of Drawing & Painting M.K.P.(P.G.) College Dehra Dun. The Sun, the source of light and solar energy, is the sources of all life and finds mention in all the sacred texts like the Rig Veda, the Vishnu Purana, the Mahabharta, the Bhavisya Purana, the Chandogya Upanishad, the Markandaya Purana, the Taittiriya Upansihad, the Nilarudra Upanishad and the Varaha purana. The Sun or Surya is also known by other names, each name highlights the grandeur, brilliance, quality and power of the Sun,viz:- 1. Aditya- Son of the primordial vastness ss 2. Aja-ekapad – one legged goat 3. Pavaka – Purifier 4. Jivana- the source of life 5. Jayanta-Victorious 6. Ravi - Divider 7. Martanda- born from life less egg 8. Savitr -Nourisher 9. Aharpati-Lord of the day 10. Jagat chaksu-Eye of the world 11 - Karma Sanskasin -Witness of deeds 12. Graha Rajan-King of Planets 13. Sahasra-Kirana-Having Thousand beams 14. Saptashwa-Having seven horses 15. Dyumani-Gem of the sky 1 Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 Vol. IV., 2013 16. Graha pati-Lord of the Planets 17. Heli-Pervader 18. Khaga-Wanderer of space 19. Padma-bandhu-Friend of the lotus 20. Padma Pani-Lotus in hand 21. Himarati- Enemy of snow 22.
    [Show full text]
  • Adopt a Heritage Project - List of Adarsh Monuments
    Adopt a Heritage Project - List of Adarsh Monuments Monument Mitras are invited under the Adopt a Heritage project for selecting/opting monuments from the below list of Adarsh Monuments under the protection of Archaeological Survey of India. As provided under the Adopta Heritage guidelines, a prospective Monument Mitra needs to opt for monuments under a package. i.e Green monument has to be accompanied with a monument from the Blue or Orange Category. For further details please refer to project guidelines at https://www.adoptaheritage.in/pdf/adopt-a-Heritage-Project-Guidelines.pdf Please put forth your EoI (Expression of Interest) for selected sites, as prescribed in the format available for download on the Adopt a Heritage website: https://adoptaheritage.in/ Sl.No Name of Monument Image Historical Information Category The Veerabhadra temple is in Lepakshi in the Anantapur district of the Indian state of Andhra Virabhadra Temple, Pradesh. Built in the 16th century, the architectural Lepakshi Dist. features of the temple are in the Vijayanagara style 1 Orange Anantpur, Andhra with profusion of carvings and paintings at almost Pradesh every exposed surface of the temple. It is one of the centrally protected monumemts of national importance. 1 | Page Nagarjunakonda is a historical town, now an island located near Nagarjuna Sagar in Guntur district of Nagarjunakonda, 2 the Indian state of Andhra Pradesh, near the state Orange Andhra Pradesh border with Telangana. It is 160 km west of another important historic site Amaravati Stupa. Salihundam, a historically important Buddhist Bhuddist Remains, monument and a major tourist attraction is a village 3 Salihundum, Andhra lying on top of the hill on the south bank of the Orange Pradesh Vamsadhara River.
    [Show full text]
  • 1481186712P4M12TEXT.Pdf
    PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 12 Pioneers Of Kathak 1930-1950 Pioneers are those who show the path not attempted before. They lead us to light to the new ways of doing something. These are people with vision to fulfill a mission and they are given divine support by history and circumstances to do so. Thus, pioneers are people, ordinary in appearance but with special abilities and mind backed by hard work. Once a form that was long forgotten and got known and established as Kathak, many stars of other forms, most notably Bharatanatyam and Kathakali did much to learn and promote Kathak and help it reach national acclaim. In this, Bharatanatyam trained Ram Gopal, Kathakali trained Uday Shankar and pioneers in films like Menaka and Sadhona Bose took this form further and can be called pioneers, in addition to the generation that followed their example. It would not be wrong to call Uday Shankar a cult figure of the early part of the 20th century. He was a showman, a creator of magical spectacles and a dancer par excellence. He was not a trained dancer, so his movements flowed from the heart. He 1 created the Indian ballet scene because nothing like it existed before. Originally a painter, on his museum visits to delve into books, Uday got fascinated with pictures of sculptures of Hindu gods and goddesses in varied poses. He began imitating the poses. Although unfamiliar with dance techniques, the images provided inspiration to translate into dance movement.
    [Show full text]
  • The Sixth String of Vilayat Khan
    Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration.
    [Show full text]
  • UPSC Notes [GS-I] Topic: Temple Architecture in India
    UPSC Civil Services Examination UPSC Notes [GS-I] Topic: Temple Architecture in India- Part II [Art and Culture Notes for UPSC] Nagara Style in Various Regions: – (Contd.) East India North-East, Odisha and Bengal. Each region produced a distinct type of architecture. Terracotta was the main medium in Bengal and north-east until the 7th century. Assam There is evidence of Gupta influence from a sculpted door frame dating to the 6th century CE from DaParvatia near Tezpur; and sculptures from Rangagora Tea Estate near Tinsukia. The Gupta influence is seen till the 10th century. By 12th to 14th centuries, a distinct Ahom style developed in the region around Guwahati. This style evolved from the mixing of the style brought to the area by the Tais of Upper Burma with the Pala style of Bengal. Example: Kamakhya Temple – a Shakti Peeth dedicated to Goddess Kamakhya built in 17th century. Bengal Regions: West Bengal, Bangladesh, Bihar Style between 9th and 11th centuries – Pala Style. The Palas were patrons of Buddhist monastic styles. The temples in this region showcased the local Vanga style. Style of temple architecture from the middle of the 11th century to middle of the 13th centuries – Sena style. Siddheswara Mahadeva temple in Barakar in Burdwan District – 9th century; tall curving Shikhara crowned by a large amalaka – early Pala style. Many temples were located at Telkupi in Purulia District – 9th to 12th century but were submerged due to dam construction. These temples showed all the Nagara sub-styles prevalent in the north. Some temples survive. Made of black to grey basalt.
    [Show full text]
  • Annexure-V State/Circle Wise List of Post Offices Modernised/Upgraded
    State/Circle wise list of Post Offices modernised/upgraded for Automatic Teller Machine (ATM) Annexure-V Sl No. State/UT Circle Office Regional Office Divisional Office Name of Operational Post Office ATMs Pin 1 Andhra Pradesh ANDHRA PRADESH VIJAYAWADA PRAKASAM Addanki SO 523201 2 Andhra Pradesh ANDHRA PRADESH KURNOOL KURNOOL Adoni H.O 518301 3 Andhra Pradesh ANDHRA PRADESH VISAKHAPATNAM AMALAPURAM Amalapuram H.O 533201 4 Andhra Pradesh ANDHRA PRADESH KURNOOL ANANTAPUR Anantapur H.O 515001 5 Andhra Pradesh ANDHRA PRADESH Vijayawada Machilipatnam Avanigadda H.O 521121 6 Andhra Pradesh ANDHRA PRADESH VIJAYAWADA TENALI Bapatla H.O 522101 7 Andhra Pradesh ANDHRA PRADESH Vijayawada Bhimavaram Bhimavaram H.O 534201 8 Andhra Pradesh ANDHRA PRADESH VIJAYAWADA VIJAYAWADA Buckinghampet H.O 520002 9 Andhra Pradesh ANDHRA PRADESH KURNOOL TIRUPATI Chandragiri H.O 517101 10 Andhra Pradesh ANDHRA PRADESH Vijayawada Prakasam Chirala H.O 523155 11 Andhra Pradesh ANDHRA PRADESH KURNOOL CHITTOOR Chittoor H.O 517001 12 Andhra Pradesh ANDHRA PRADESH KURNOOL CUDDAPAH Cuddapah H.O 516001 13 Andhra Pradesh ANDHRA PRADESH VISAKHAPATNAM VISAKHAPATNAM Dabagardens S.O 530020 14 Andhra Pradesh ANDHRA PRADESH KURNOOL HINDUPUR Dharmavaram H.O 515671 15 Andhra Pradesh ANDHRA PRADESH VIJAYAWADA ELURU Eluru H.O 534001 16 Andhra Pradesh ANDHRA PRADESH Vijayawada Gudivada Gudivada H.O 521301 17 Andhra Pradesh ANDHRA PRADESH Vijayawada Gudur Gudur H.O 524101 18 Andhra Pradesh ANDHRA PRADESH KURNOOL ANANTAPUR Guntakal H.O 515801 19 Andhra Pradesh ANDHRA PRADESH VIJAYAWADA
    [Show full text]
  • Kashi and Cosmos: Spatial Manifestation and the Five Pilgrimage Journeys of Banaras
    International Journal of Religious Tourism and Pilgrimage Volume 4 Issue 6 Pilgrimages in India: Celebrating Article 5 journeys of plurality and sacredness 2016 Kashi and Cosmos: Spatial manifestation and the five pilgrimage journeys of Banaras Rana P.B. Singh Banaras Hindu University; Society of Pilgrimage Studies, [email protected] Pravin S. Rana Banaras Hindu University, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/ijrtp Part of the Tourism and Travel Commons Recommended Citation Singh, Rana P.B. and Rana, Pravin S. (2016) "Kashi and Cosmos: Spatial manifestation and the five pilgrimage journeys of Banaras," International Journal of Religious Tourism and Pilgrimage: Vol. 4: Iss. 6, Article 5. doi:https://doi.org/10.21427/D75Q7N Available at: https://arrow.tudublin.ie/ijrtp/vol4/iss6/5 Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. © International Journal of Religious Tourism and Pilgrimage ISSN : 2009-7379 Available at: http://arrow.dit.ie/ijrtp/ Volume 4(vi) 2016 Kashi and Cosmos: Spatial manifestation and the five pilgrimage journeys of Banaras Rana PB Singh and Pravin S Rana Banaras Hindu University, India. [email protected], [email protected] Historically, Hindu rituals, sacred journeys, festivities, deities and their symmetrical links, have come together to form sacred spatial systems that are still observed by both pilgrims and devotees. These pilgrimage traditions are deeply rooted in local space / place, as well as in the cultural inheritance and mentality of their adherents. This structure is reflected symbolically in the spatial frame of Hinduism in which both complexity and temporal stability meet, mediating between people and the cosmos, i.e., in a mesocosm.
    [Show full text]
  • RTI Handbook
    PREFACE The Right to Information Act 2005 is a historic legislation in the annals of democracy in India. One of the major objective of this Act is to promote transparency and accountability in the working of every public authority by enabling citizens to access information held by or under the control of public authorities. In pursuance of this Act, the RTI Cell of National Archives of India had brought out the first version of the Handbook in 2006 with a view to provide information about the National Archives of India on the basis of the guidelines issued by DOPT. The revised version of the handbook comprehensively explains the legal provisions and functioning of National Archives of India. I feel happy to present before you the revised and updated version of the handbook as done very meticulously by the RTI Cell. I am thankful to Dr.Meena Gautam, Deputy Director of Archives & Central Public Information Officer and S/Shri Ashok Kaushik, Archivist and Shri Uday Shankar, Assistant Archivist of RTI Cell for assisting in updating the present edition. I trust this updated publication will familiarize the public with the mandate, structure and functioning of the NAI. LOV VERMA JOINT SECRETARY & DGA Dated: 2008 Place: New Delhi Table of Contents S.No. Particulars Page No. ============================================================= 1 . Introduction 1-3 2. Particulars of Organization, Functions & Duties 4-11 3. Powers and Duties of Officers and Employees 12-21 4. Rules, Regulations, Instructions, 22-27 Manual and Records for discharging Functions 5. Particulars of any arrangement that exist for 28-29 consultation with or representation by the members of the Public in relation to the formulation of its policy or implementation thereof 6.
    [Show full text]
  • Tradition and the Individual Dancer
    1: Tradition and the Individual Dancer History and Innovation in a Classical Form Critical accounts and promotional materials frequently refer to bharata natyam as “ancient.” The dance form’s status as traditional and classical seems to render it fixed, even timeless. A connection to the past appears to be a given for this dance practice. Even on closer examination, a relationship to the past seems integral to the dance form’s identity, its content, and its structure. Present-day bharata natyam choreography draws from the dance practices of earlier decades and centuries. Its movement vocabulary derives from sadir, the solo dance per- formed by temple and court dancers in precolonial and colonial South India. The margam—the concert order that determines when in a program each dance piece appears—was standardized in the nineteenth century by the renowned musician- composers of the Thanjavur Quartet. The roots of bharata natyam extend still further back. For example, the mudras, or hand gestures, used today accord in both shape and meaning with those described in the Natyasastra, a Sanskrit dra- maturgical text, dating from the beginning of the Christian era. Similarly, an arangetram, or initial performance, described in the fifth-century Tamil epic Silappadikaram correlates with that of devadasi practitioners of the nineteenth century, which then established the protocol for twentieth-century debuts. Bharata natyam’s repertoire consists largely of songs written between the sev- enteenth and twentieth centuries. The poems of love and religious devotion that form the basis of the bharata natyam canon emerged from the musical and lit- erary traditions of previous centuries.
    [Show full text]