Facility Usage Application Form
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Jagdish Prasad Sunil Kumar
+91-9811192425 Jagdish Prasad Sunil Kumar https://www.indiamart.com/jpskmusicalstore/ Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Naal Drums and Shruti Box. About Us Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Harmonium Musical Instrument, Dhol Musical Instrument, Dholak Musical Instrument, Swarmandal Musical Instruments, Santur Musical Instruments, Tanpura Musical Instruments, Khanjari Musical Instruments, Electronic Banjos, Pakhawaj Drums, Djembe Drums, Khol Drums, Naal Drums and Shruti Box. Our products are extremely well-liked owing to their top features and nominal prices. These products are made by professional’s team employing the advanced techniques and best quality material, which is bought from trustworthy sellers of market. Professionals manufacture these products as per universal industry parameters. Being a customer’s centric organization, professionals also make these products according our client’s requirements and necessities. Due to huge distribution network, fair business polices and quality-centric approach, we have gained trust of our patrons. Apart from, we work under the leadership of our mentor Ashish Verma. Under his supervision our firm has attained heights of success. We also provide many facilities to the patrons to put their demands forward and get them solve timely and as per their requirements. For more information, please visit https://www.indiamart.com/jpskmusicalstore/profile.html -
Hindu Music in Bangkok: the Om Uma Devi Shiva Band
Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok: The Om Uma Devi Shiva Band Kumkom Pornprasit+ (Thailand) Abstract This research focuses on the Om Uma Devi Shiva, a Hindu band in Bangkok, which was founded by a group of acquainted Hindu Indian musicians living in Thailand. The band of seven musicians earns a living by performing ritual music in Bangkok and other provinces. Ram Kumar acts as the band’s manager, instructor and song composer. The instruments utilized in the band are the dholak drum, tabla drum, harmonium and cymbals. The members of Om Uma Devi Shiva band learned their musical knowledge from their ancestors along with music gurus in India. In order to pass on this knowledge to future generations they have set up music courses for both Indian and Thai youths. The Om Uma Devi Shiva band is an example of how to maintain and present one’s original cultural identity in a new social context. Keywords: Hindu Music, Om Uma Devi Shiva Band, Hindu Indian, Bangkok Music + Kumkom Pornprasit, Professor, Faculty of Fine and Applied Arts, Chulalongkorn University, Thailand. email: [email protected]. Received 6/3/21 – Revised 6/5/21 – Accepted 6/6/21 Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok… | 218 Introduction Bangkok is a metropolitan area in which people of different ethnic groups live together, weaving together their diverse ways of life. Hindu Indians, considered an important ethnic minority in Bangkok, came to settle in Bangkok during the late 18 century A.D. to early 19 century A.D. -
The Journal of the Music Academy Madras Devoted to the Advancement of the Science and Art of Music
The Journal of Music Academy Madras ISSN. 0970-3101 Publication by THE MUSIC ACADEMY MADRAS Sangita Sampradaya Pradarsini of Subbarama Dikshitar (Tamil) Part I, II & III each 150.00 Part – IV 50.00 Part – V 180.00 The Journal Sangita Sampradaya Pradarsini of Subbarama Dikshitar of (English) Volume – I 750.00 Volume – II 900.00 The Music Academy Madras Volume – III 900.00 Devoted to the Advancement of the Science and Art of Music Volume – IV 650.00 Volume – V 750.00 Vol. 89 2018 Appendix (A & B) Veena Seshannavin Uruppadigal (in Tamil) 250.00 ŸÊ„¢U fl‚ÊÁ◊ flÒ∑ȧá∆U Ÿ ÿÊÁªNÔUŒÿ ⁄UflÊÒ– Ragas of Sangita Saramrta – T.V. Subba Rao & ◊jQÊ— ÿòÊ ªÊÿÁãà ÃòÊ ÁÃDÊÁ◊ ŸÊ⁄UŒH Dr. S.R. Janakiraman (in English) 50.00 “I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; Lakshana Gitas – Dr. S.R. Janakiraman 50.00 (but) where my Bhaktas sing, there be I, Narada !” Narada Bhakti Sutra The Chaturdandi Prakasika of Venkatamakhin 50.00 (Sanskrit Text with supplement) E Krishna Iyer Centenary Issue 25.00 Professor Sambamoorthy, the Visionary Musicologist 150.00 By Brahma EDITOR Sriram V. Raga Lakshanangal – Dr. S.R. Janakiraman (in Tamil) Volume – I, II & III each 150.00 VOL. 89 – 2018 VOL. COMPUPRINT • 2811 6768 Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Royapettah, Chennai 600 014 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, 14, Neelakanta Metha Street, T. Nagar, Chennai 600 014. Editor : V. Sriram. THE MUSIC ACADEMY MADRAS ISSN. -
The Wrestler's Body: Identity and Ideology in North India
The Wrestler’s Body Identity and Ideology in North India Joseph S. Alter UNIVERSITY OF CALIFORNIA PRESS Berkeley · Los Angeles · Oxford © 1992 The Regents of the University of California For my parents Robert Copley Alter Mary Ellen Stewart Alter Preferred Citation: Alter, Joseph S. The Wrestler's Body: Identity and Ideology in North India. Berkeley: University of California Press, c1992 1992. http://ark.cdlib.org/ark:/13030/ft6n39p104/ 2 Contents • Note on Translation • Preface • 1. Search and Research • 2. The Akhara: Where Earth Is Turned Into Gold • 3. Gurus and Chelas: The Alchemy of Discipleship • 4. The Patron and the Wrestler • 5. The Discipline of the Wrestler’s Body • 6. Nag Panchami: Snakes, Sex, and Semen • 7. Wrestling Tournaments and the Body’s Recreation • 8. Hanuman: Shakti, Bhakti, and Brahmacharya • 9. The Sannyasi and the Wrestler • 10. Utopian Somatics and Nationalist Discourse • 11. The Individual Re-Formed • Plates • The Nature of Wrestling Nationalism • Glossary 3 Note on Translation I have made every effort to ensure that the translation of material from Hindi to English is as accurate as possible. All translations are my own. In citing classical Sanskrit texts I have referenced the chapter and verse of the original source and have also cited the secondary source of the translated material. All other citations are quoted verbatim even when the English usage is idiosyncratic and not consistent with the prose style or spelling conventions employed in the main text. A translation of single words or short phrases appears in the first instance of use and sometimes again if the same word or phrase is used subsequently much later in the text. -
Beyond Créolité and Coolitude, the Indian on the Plantation: Recreolization in the Transoceanic Frame
Middle Atlantic Review of Latin American Studies, 2020 Vol. 4, No. 2, 174-193 Beyond Créolité and Coolitude, the Indian on the Plantation: Recreolization in the Transoceanic Frame Ananya Jahanara Kabir Kings College London [email protected] This essay explores the ways in which Caribbean artists of Indian heritage memorialize the transformation of Caribbean history, demography, and lifeways through the arrival of their ancestors, and their transformation, in turn, by this new space. Identifying for this purpose an iconic figure that I term “the Indian on the Plantation,” I demonstrate how the influential theories of Caribbean identity-formation that serve as useful starting points for explicating the play of memory and identity that shapes Indo-Caribbean artistic praxis—coolitude (as coined by Mauritian author Khal Torabully) and créolité (as most influentially articulated by the Martinican trio of Jean Barnabé, Patrick Chamoiseau, and Raphaël Confiant)—are nevertheless constrained by certain discursive limitations. Unpacking these limitations, I offer instead evidence from curatorial and quotidian realms in Guadeloupe as a lens through which to assess an emergent artistic practice that cuts across Francophone and Anglophone constituencies to occupy the Caribbean Plantation while privileging signifiers of an Indic heritage. Reading these attempts as examples of decreolization that actually suggest an ongoing and unpredictable recreolization of culture, I situate this apparent paradox within a transoceanic heuristic frame that brings -
Cultural Programmes Held in Jails During the Year 2018
Additional Table – 64 Cultural Programmes held in jails during the year 2018 Andhra Pradesh On 26-01-2018 i.e. Republic Day all the prisons of the state celebrated the day in which sports and essay writing competition were conducted and distributed prizes to the participants. Conducted different cultural activities with the female prison inmates in Women Jails. Conducted Dance and Singing Competitions on the occasion of International Women’s Day on 08-03-2018 in which eminent members of the Community were invited. On 2nd October all the prisons of the state conducted different cultural programmes like dance programmes, singing competition, debates on different topics and conducted rangoli competitions and also skits programmes by the inmates was conducted. On 15-08-2018 i.e. Independence Day celebration conducted in all the prisons. Arunachal Pradesh Inspirational Songs/musical programme were conducted in the prisons of the state. Assam Bihu Holi, Durga Puja, Kali Puja, Eid, Bhagabat path, Kirton Path, Nam Kirton, X-mas, Bhaona, Evening prayer, Republic day, Independence Day, Assamese songs etc. were celebrated in all the prisons of the state. Bihar Cultural programme on the occasion of Independence Day & Republic day were organized in year 2018. Spiritual and Meditational programme were conducted by James institution and during cultural programme blankets were distributed among prisoners. Music Competition, Singing & Dancing programme by prisoners were organized on eve of Independence Day, Republic day, Holi and Dussehra. Bhajan, kirtan, dance and drama were held at the occasion of national festivals and other festive time. One music hall containing one keyboard, one Electronic pad with sound system, one ZOZ set, one Guitar, one Banjo, one Harmonium, one Table with Duggi, one Naal, Two Big Dholak, one Duffle, Ten Pairs of Jhall, one mouth organ, six jhika, one pair tabla etc. -
Classification of Indian Musical Instruments with the General
Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals). -
Calcutta Music House, Jalandhar
+91-9953357458 Calcutta Music House www.indiamart.com/calcutta-music-house We are the foremost Manufacturer, Retailer, Importer, Exporter and Supplier of finest quality Indian Musical Instruments. These have massive demand in the market due to their classy appearance, optimum wooden carvings and portable designs. A Member of A b o u t U s Incorporated in the year 1961, at Jalandhar, (Punjab, India), we, “Calcutta Music House”, are occupied in manufacturing, retailing, importing, exporting and supplying an excellent quality assortment of Indian Musical Instruments. These products are highly treasured and demanded in both domestic and international markets owing to their high quality sound, classy & attractive designs, traditional tunes, portability and modern looks. Our wide range of products comprises Musical Harmoniums, Tabla Spares, Strings Instruments, Dholak / Mridangam, Percussion Instruments, Wind Instruments, Musical Dhols, Bhangra Items and Electronic Musical Instruments. We also provide Maintenance & Repair Services of the same. Our professionals design the Indian Musical Instruments according to the global quality standards. These professionals are capable in professionally managing the installed machinery for manufacturing flawless product assortment. They also make sure that best quality material like stainless steel, brass, teak wood and pine wood are used in the fabrication procedure that are procured from the trustworthy vendors of the market. The entire product range is stringently tested on various parameters before their final dispatch. Under the supervision of our Proprietor & Mentor, “Mr. Tejwinder Singh ”, we have achieved the epitome of success. His comprehensive knowledge and sharp business acumen has helped us provide a supreme quality range of Indian Musical Instruments. A Member of s t MUSICAL HARMONIUMS c u We are one of the leading manufacturers, retailers, importers, exporters d and suppliers of Harmonium like Harmonium double bellow standard o model, Harmonium octave 7 stops bass male etc. -
Tree Based Classification of Tabla Strokes
Tree based classification of tabla strokes Subodh Deolekar1,*, Siby Abraham2 1Department of Computer Science, University of Mumbai, Mumbai 98, India. [email protected] 2Department of Maths & Stats, G. N. Khalsa College, University of Mumbai, India. [email protected] Corresponding author and address: Subodh Deolekar Department of Computer Science, University of Mumbai, Mumbai 98, India. Email id: [email protected] ABSTRACT The paper attempts to validate the effectiveness of tree classifiers to classify tabla strokes especially the ones which are overlapping in nature. It uses decision tree, ID3 and random forest as classifiers. A custom made data sets of 650 samples of 13 different tabla strokes were used for experimental purpose. 31 different features with their mean and variances were extracted for classification. Three data sets consisting of 21361, 18802 and 19543 instances respectively were used for the purpose. Validation has been done using measures like ROC curve and accuracy. The experimental results showed that all the classifiers showing excellent results with random forest outperforming the other two. The effectiveness of random forest in classifying strokes which are overlapping in nature is done by comparing the known results of that with multi-layer perceptron. Keywords: Tree classifiers, Decision tree, Random forest, Tabla strokes, Classification I. INTRODUCTION Classification is the process which assigns a specific item to one of the categories or classes specified based on its features or properties. In machine learning, classification is considered to be a task to predict the value of one or more outcomes. The real task in classification is to find a relationship between features and its associated classes. -
Wind Instruments of India
Newsletter Archives www.dollsofindia.com Veena and Other Ancient Musical Instruments of India Copyright © 2016, DollsofIndia In our previous issue, we had brought you a detailed feature on the Veena and other ancient stringed musical instruments of India. As promised earlier, we now bring you the second part of the article, focusing on the ancient wind and percussive instruments of India. We are pleased by your positive response and feedback for the previous article and hope you enjoy this one as well. Wind Instruments of India We start our journey by exploring the most ancient wind instruments of India. Pungi/Been The Pungi, also commonly referred to as the Been, is one of the oldest wind instruments. It is predominantly played by snake charmers in India and Pakistan. Originally emerging as accompaniment to Indian folk music, it enjoys an important place in Indian art, culture and religion even in the present day. This instrument includes a mouth-blown air reservoir, which is made from dried bottle gourd. The neck is curved and at the other end, two reed or bamboo pipes are connected to one another. One of the pipes has seven holes – the player uses this to play the melody. The sound lasts as long as the player does not take pauses. The pungi, which is still a major part of Indian folk music and street shows, is also considered to be one of the ways by which one can communicate with the divine. Flute/Venu/Bansuri Flute The flute falls into the woodwind category. This is a reedless wind instrument, which produces sound from the flow of air via a small aperture. -
Mandir Vani of NWA : Volume 1 Issue 1 May 2012 Send Suggestions/ Contributions To: [email protected]
Temple Address: 2500 SW Regional Airport Blvd. Bentonville, AR 72712 Mookam Karoti Vachalam,, Pangum Langhayate Girim. Temple Hours: Saturdays from 5 PM to 8 PM Sundays from 10 AM to 1 PM Yat Krupa Tamaham Vande, Paramanand Madhavam. Vishnu Sahasranamam: Every Saturday at 6 PM Email: [email protected] Web: http://www.nwahindutemple.org Salutations to the ultimate bliss Madhava, by whose grace, a dumb man becomes the most talkative and a physically disabled man crosses the highest mountain. Driving Directions to the new Temple from Exit 85 Rogers/Bentonville 1. Take I-540, EXIT 85, towards AIRPORT/ROGERS/BENTONVILLE. 0.3 mi 2. Turn West onto US-71 BR/AR-12/W WALNUT ST/SE WALTON BLVD. Continue to follow vakratunda mahaakaaya suryakoti samaprabhaa. US-71 BR/AR-12/SE WALTON BLVD. 1.5 mi nirvighnam kurumedeva sarvakaaryeshu sarvadaa.. 3. Turn LEFT onto SW REGIONAL AIRPORT BLVD/AR-12. 1.7 mi 4. 2500 SW REGIONAL AIRPORT BLVD is on the RIGHT opposite to World's Gym. Temple News Isn't it exciting to see our New Temple sprout up so fast? Isn’t it Lord’s grace that made us see the fruition? Let us keep praying for strength, patience, power of wealth and devotion to see our successful Grand opening of the new Temple. We know each of you is so excited to see our dream in reality and HANWA is so glad to fulfill your desire to have the New Temple Sneak Preview. HANWA is conducting sneak preview sessions and please keep an eye for your turn to receive the invitation. -
Dholak Making - Ahmedabad Folk Instrument in India by Prof
D’source 1 Digital Learning Environment for Design - www.dsource.in Design Resource Dholak Making - Ahmedabad Folk Instrument in India by Prof. Bibhudutta Baral, Divyadarshan C. S., Shivangi Sharma and Vijay G. NID Campus, Bengaluru Source: http://www.dsource.in/resource/dholak-making-ah- medabad 1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Video 6. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Resource Introduction Dholak Making - Ahmedabad Folk Instrument in India Ahmedabad is a district and judicial capital of Gujarat state. The place is well known for its rich culture and by traditions practiced form ancient times. Handicrafts are also famous in Ahmedabad with their traditional and Prof. Bibhudutta Baral, Divyadarshan C. S., contemporary styles. Handmade crafts are the essential part of the people in Ahmedabad for their daily life. The Shivangi Sharma and Vijay G. traditional crafts like Bandhani, Hand embroidery, Kite making, leather work, pottery, wood work, metal work and NID Campus, Bengaluru Dholak making are popular crafts practiced in Ahmedabad. Dholak is one of the instruments popularly known as folk instruments in India. It is majorly played in marriages, festivals and other special occasions and is accompanied by many other special instruments while playing. The membranophone instrument is made using natural skin of buffalo which is durable for many years. The specific instrument is most famous in the state of Punjab. The instruments are made in different sizes and manner. Source: http://www.dsource.in/resource/dholak-making-ah- medabad/introduction 1. Introduction 2. Tools and Raw Materials 3.