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Part 05.Indd
PART MISCELLANEOUS 5 TOPICS Awards and Honours Y NATIONAL AWARDS NATIONAL COMMUNAL Mohd. Hanif Khan Shastri and the HARMONY AWARDS 2009 Center for Human Rights and Social (announced in January 2010) Welfare, Rajasthan MOORTI DEVI AWARD Union law Minister Verrappa Moily KOYA NATIONAL JOURNALISM A G Noorani and NDTV Group AWARD 2009 Editor Barkha Dutt. LAL BAHADUR SHASTRI Sunil Mittal AWARD 2009 KALINGA PRIZE (UNESCO’S) Renowned scientist Yash Pal jointly with Prof Trinh Xuan Thuan of Vietnam RAJIV GANDHI NATIONAL GAIL (India) for the large scale QUALITY AWARD manufacturing industries category OLOF PLAME PRIZE 2009 Carsten Jensen NAYUDAMMA AWARD 2009 V. K. Saraswat MALCOLM ADISESHIAH Dr C.P. Chandrasekhar of Centre AWARD 2009 for Economic Studies and Planning, School of Social Sciences, Jawaharlal Nehru University, New Delhi. INDU SHARMA KATHA SAMMAN Mr Mohan Rana and Mr Bhagwan AWARD 2009 Dass Morwal PHALKE RATAN AWARD 2009 Actor Manoj Kumar SHANTI SWARUP BHATNAGAR Charusita Chakravarti – IIT Delhi, AWARDS 2008-2009 Santosh G. Honavar – L.V. Prasad Eye Institute; S.K. Satheesh –Indian Institute of Science; Amitabh Joshi and Bhaskar Shah – Biological Science; Giridhar Madras and Jayant Ramaswamy Harsita – Eengineering Science; R. Gopakumar and A. Dhar- Physical Science; Narayanswamy Jayraman – Chemical Science, and Verapally Suresh – Mathematical Science. NATIONAL MINORITY RIGHTS MM Tirmizi, advocate – Gujarat AWARD 2009 High Court 55th Filmfare Awards Best Actor (Male) Amitabh Bachchan–Paa; (Female) Vidya Balan–Paa Best Film 3 Idiots; Best Director Rajkumar Hirani–3 Idiots; Best Story Abhijat Joshi, Rajkumar Hirani–3 Idiots Best Actor in a Supporting Role (Male) Boman Irani–3 Idiots; (Female) Kalki Koechlin–Dev D Best Screenplay Rajkumar Hirani, Vidhu Vinod Chopra, Abhijat Joshi–3 Idiots; Best Choreography Bosco-Caesar–Chor Bazaari Love Aaj Kal Best Dialogue Rajkumar Hirani, Vidhu Vinod Chopra–3 idiots Best Cinematography Rajeev Rai–Dev D Life- time Achievement Award Shashi Kapoor–Khayyam R D Burman Music Award Amit Tivedi. -
MYSTIC MUSIC SERIES of SPIC MACAY May 22-23, 2021
Press Release MYSTIC MUSIC SERIES OF SPIC MACAY May 22-23, 2021 On the occasion of World Culture Day Swami Vivekananda Cultural Centre, Embassy of India Seoul in association with SPIC MACAY - Korea and Indian Students and Researchers in Korea organised a MYSTIC MUSIC SERIES for spreading hope and positivity and in remembrance of music maestros Pt. Rajan Mishra and Pt. Debu Choudhuri on May 22-23, 2021. This was also a part of India@75 celebrations commemorating 75 years of India as a nation. On this occasion LIVE performance and artist interaction was conducted with legendary musicians Pandit Vishwa Mohan Bhatt and Ustad Faiyaz Wasifuddin Dagar. Participants were enthralled by the mesmerizing performance by the music maestros. Pt. Vishwa Mohan Bhatt has been acclaimed throughout the world for his electrifying performances on the mohan veena, a slide guitar that he modified in shape and design and on which he assimilated techniques from the sitar, sarod and veena lutes. A top disciple of Pt. Ravi Shankar, he has received many honors including the prestigious Padma Shri, the Sangeet Natak Academy Award, and a Grammy for Best World Music Album for his collaboration with Ry Cooder. Ustaad Faiyaz Wasifuddin Dagar is an Indian classical singer of the Dhrupad tradition going back 500 years. He represents the 20th unbroken generation of dhrupad singers in the Dagar family. As a self-employed musician, apart from performing and touring, he teaches Vocal Dhrupad in the Guru Shishya parampara style at his residence. He was awarded the prestigious Padma Shri Award in 2010 by the Indian Government. -
Inaugural Function Date: 17 December 2016 Time: 7:00 Pm Venue – Swatantrata Bhawan, BHU
Annexure - 1 RaashtriyaSanskritiMahotsav, Varanasi Inaugural Function Date: 17 December 2016 Time: 7:00 pm Venue – Swatantrata Bhawan, BHU Inauguration by Shri Mahesh Sharma, Honorable Minister of State- Ministry of Tourism & Culture (Independent Charge), Government of India Programme: 1) Indian Folk Music & Dance performances 2) Indian classical vocal by Padmavibhushan Smt. Girija Devi 3) Special attraction – Mallkhamb, Bajigars of Punjab, Martial arts of Kerala, North-East and Punjab, Been Jogi &Nagada from Haryana, KachhiGhodi&Bahrupiya of Rajsthan, Panchvadyam of Kerala. 4) Tat-Tvam-Asi -ArtExhibition on SimhasthKumbh. 5) Display of ‘ShirshPratishirsh’ Exhibition of Masks. 6) Display of Art Book’s Exhibition. 7) Display and Demonstration of Portrait Rangoli of Maharashtra. Annexure - 2 Raashtriya Sanskriti Mahotsav, Varanasi National Theatre Festival Date: 18 – 24 December, 2016 Time: 4:00 pm to 6:00 pm daily Venue: Swatantrata Bhawan, BHU, Varanasi Sl. Date Name of the Play and Direction 1. 18.12.2016 Name of the play: Andhayug Direction: Sumit Srivastava (Varanasi) 2. 19.12.2016 Name of the play: Vivekanand Direction: Shekhar Sen (New Delhi) 3. 20.12.2016 Name of the play: Rashmi Rathi Direction: Shant Srivastava (Gorakhpur) 4. 21.12.2016 Name of the play: Mohe Piya Direction: Waman Kendre (Mumbai) 5. 22.12.2016 Name of the play: Chanakya Direction: Manoj Joshi (Mumbai)Time: 11:30 am (Morning) 6. 23.12.2016 Name of the play: Raju Raja Ram Direction: Sharman Joshi (Mumbai) 7. 24.12.2016 Name of the play: Chakrvyuh Direction: Nitish Bharadwaj (Mumbai) Annexure-3 RASTRIYA SANSKRITI MAHOTSAV , VARANASI National Folk Music & Dance Festival 18.12.2016 – SwatantrataBhavan Sl. -
New and Bestselling Titles Sociology 2016-2017
New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint. -
Hindi Theater Is Not Seen in Any Other Theatre
NATYA SHODH SANSTHAN DISCUSSION ON HINDI THEATRE FROM THE COLLECTIONS OF NATYA SHODH SANSTHAN AUDIO LIBRARY THE PRESENT SCENARIO OF HINDI THEATRE IN CALCUTTA ON th 15 May 1983 AT NATYA SHODH SANSTHAN PARTICIPANTS PRATIBHA AGRAWAL, SAMIK BANDYOPADHYAY, SHIV KUMAR JOSHI, SHYAMANAND JALAN, MANAMOHON THAKORE SHEO KUMAR JHUNJHUNWALA, SWRAN CHOWDHURY, TAPAS SEN, BIMAL LATH, GAYANWATI LATH, SURESH DUTT, PRAMOD SHROFF NATYA SHODH SANSTHAN EE 8, SECTOR 2, SALT LAKE, KOLKATA 91 MAIL : [email protected] Phone (033)23217667 1 NATYA SHODH SANSTHAN Pratibha Agrawal We are recording the discussion on “The present scenario of the Hindi Theatre in Calcutta”. The participants include – Kishen Kumar, Shymanand Jalan, Shiv Kumar Joshi, Shiv Kumar Jhunjhunwala, Manamohan Thakore1, Samik Banerjee, Dharani Ghosh, Usha Ganguly2 and Bimal Lath. We welcome all of you on behalf of Natya Shodh Sansthan. For quite some time we, the actors, directors, critics and the members of the audience have been appreciating and at the same time complaining about the plays that are being staged in Calcutta in the languages that are being practiced in Calcutta, be it in Hindi, English, Bangla or any other language. We felt that if we, the practitioners should sit down and talk about the various issues that are bothering us, we may be able to solve some of the problems and several issues may be resolved. Often it so happens that the artists take one side and the critics-audience occupies the other. There is a clear division – one group which creates and the other who criticizes. Many a time this proves to be useful and necessary as well. -
List of Indian Folk Dances - State Wise
STUDENT'S SENA New resolution for banking aspirants List of Indian Folk Dances - State Wise List of Folk dances, important for general awareness section of bank exams. Jharkhand Chhanu, Sarahul, Jat-Jatin, Karma, Danga, Bidesia, Sohrai. Uttarakhand Garhwali, Pandav Nritya, Kumaoni, Kajari, Chancheri, Jhora, Raslila, Chhapeli. Andhra Kuchipudi (Classical), Ghanta mardala, Vilasini Pradesh Natyam, Andhra Natyam, Burrakatha, Veeranatyam, Butta bommalu, Tholu Bommalata, Dappu. Chhattisgarh Goudi, Karma, Jhumar, Dagla, Pali, Tapali, Navrani, Diwari, Mundari. Arunachal Mask dance (Mukhauta Nritya), War dance. Pradesh Himachal Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Pradesh Nati, Dangi, Chamba, Thali, Jhainta, Daf, Stick dance etc. Goa Mandi, Jhagor, Khol, Dakni etc. Assam Bihu, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai etc. West Bengal Kathi, Gambhira, Dhali, Jatra, Baul, Marasia, Mahal, Keertan etc. Kerala Kathakali (Classical), Ottamthullal, Mohiniyattam, Kaikottikali, Tappeti Kali, Kali Attam. Meghalaya Laho, Baala etc. Manipur Manipuri (Classical), Rakhal, Nat Rash, Maha Rash, Raukhat etc. 1 STUDENT'S SENA New resolution for banking aspirants Nagaland Chong, Lim, Nuralim etc. Orissa Odissi (Classical), Savari, Ghumara, Painka, Munari, Chhau, Chadya Dandanata etc. Maharashtra Lavani, Nakata, Koli, Lezim, Gafa, Dahikala Dashavatar or Bohada, Tamasha, Mouni, Powara, Gauricha etc. Karnataka Yakshagana, huttar, Suggi, Kunitha, Karga, Lambi Gujarat Garba, Dandiya Raas, Tippani Juriun, Bhavai. Punjab Bhangra, Giddha, Daff, Dhaman etc. Rajasthan Ghumar, Chakri, Ganagor, Jhulan Leela, Jhuma, Suisini, Ghapal, Panihari, Ginad etc. Mizoram Khanatm, Pakhupila, Cherokan etc. Jammu Rauf, Hikat, Mandjas, kud Dandi nach, Damali. & Kashmir Tamil Nadu Bharatanatyam, Kummi, Kolattam, Kavadi. Uttar Pradesh Nautanki, Raslila, Kajri, Jhora, Chappeli, Jaita. Bihar Jata-Jatin,Bakho-Bakhain, Panwariya, Sama-Chakwa, Bidesia, Jatra etc. -
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 -
Criterion an International Journal in English ISSN 0976-8165
The Criterion www.the-criterion.com An International Journal in English ISSN 0976-8165 Revitalizing the Tradition: Mahesh Dattani’s Contribution to Indian English Drama Farah Deeba Shafiq M.Phil Scholar Department of English University of Kashmir Indian drama has had a rich and ancient tradition: the natyashastra being the oldest of the texts on the theory of drama. The dramatic form in India has worked through different traditions-the epic, the folk, the mythical, the realistic etc. The experience of colonization, however, may be responsible for the discontinuation of an indigenous native Indian dramatic form.During the immediate years following independence, dramatists like Mohan Rakesh, Badal Sircar, Girish Karnad, Vijay Tendulkar, Dharamvir Bharati et al laid the foundations of an autonomous “Indian” aesthetic-a body of plays that helped shape a new “National” dramatic tradition. It goes to their credit to inaugurate an Indian dramatic tradition that interrogated the socio-political complexities of the nascent Indian nation. However, it’s pertinent to point out that these playwrights often wrote in their own regional languages like Marathi, Kannada, Bengali and Hindi and only later translated their plays into English. Indian English drama per se finds its first practitioners in Shri Aurobindo, Harindarnath Chattopadhyaya, and A.S.P Ayyar. In the post- independence era, Asif Curriumbhoy (b.1928) is a pioneer of Indian English drama with almost thirty plays in his repertoire. However, owing to the spectacular success of the Indian English novel, Drama in English remained a minor genre and did not find its true voice until the arrival of Mahesh Dattani. -
Jamshedpur Rebuffs Status Change Can Yes Bank Walk the Talk?
Dr DEVI SHETTY : IT TAKES A HEART TO SPREAD JOY PAGE 21 www.civilsocietyonline.com VOL. 3 NO. 5 February 2006 rs 50 GOOD JamsHedpUr rebUffs statUs cHanGe LIVING Page 4 Pages 30-31 can yes bank walk tHe talk? drinks for Page 15 diabetics redUcinG infant mortality in india & assam Page 25 recipes arUn maira on workinG toGetHer Page 19 vIEWS PEOPLE CAMPAIGNS NGO s SLOGANS CONTROvERSIES IDEAS vOLuNTEERS TRAINING BOOKS FILMS INTERvIEWS RESEARCH Jubliant AD contents CIVIL SOCIETY February 2006 3 COvER STORY Cancer and all of us n keeping with our mission of profiling change leaders pitted against complex problems, we have devoted this month's cover story to IHarmala Gupta and her nGO, CanSupport. The importance of palliative care, as yet largely ignored in our country, cannot be stressed enough. Cancer has become a huge problem and if we look around us it is difficult to find a family which has not been touched by the disease in one way or the other. Harmala is herself a survivor. Her decision to go out and help others is the result of her own experience in which she went from denial and disbelief to acceptance. It was her good fortune that she happened to be in HEALING TOuCH FOR CANCER Canada at that time and therefore could avail of more evolved medical At CanSupport, Harmala Gupta shows that talking about responses than she would have found in India. During her treatment she cancer helps patients come to terms with the disease. discovered palliative care. And palliative care takes away some of the pain. -
Brechtian Reading of Usha Ganguli's Play the Journey Within
==================================================================== Language in India www.languageinindia.comISSN 1930-2940 Vol. 19:6 June 2019 ==================================================================== Brechtian Reading of Usha Ganguli’s Play The Journey Within Dr. Rahul Kamble Assistant Professor Department of Indian and World Literatures The English and Foreign Languages University, Hyderabad 500007 [email protected] =================================================================== Abstract Usha Ganguli’s play The Journey Within (2000) is a solo performance in which she narrates experiences of her own life in an “autobiographical introspection” mode (Mukherjee 32). The play lays threadbare the journey of her mind and soul since her childhood. The narrative throws light on her own personality, her involvement in theatre, the recurrent themes in the plays directed or performed by her, and her interest in characters and living persons. It also partially reveals Indian ‘theatre-women’s journey’ and women’s theatre in India since early 1970s. However, at no point does the playwright use restrictive personalized narrative nor does she intend the spectators to identify with her emotions, feelings, or anger. Instead she throws, through her reminiscences and character speeches, situational questions at the audience regarding gender inequality, oppression of women, denial of rights, and adverse living conditions. The questions make the spectators examine their own behaviour in similar circumstances, provoke them to resolve, -
The Role of Indian Dances on Indian Culture
www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts. -
Static GK: Dances in India
For More Study Material Static GK: Dances in India Classical Dance: Classical Dance State Mohiniyattam Kerala Bharatanatyam Tamil Nadu Kathak Uttar Pradesh Kathakali Kerala Kuchipudi Andhra Pradesh Manipuri Manipur Odissi Orissa Chhau West bengal Sattriya Assam Folk Dance: State Folk Dance Andhra Pradesh Kolattam, Gobbi Dance, Dhimsa, Dhamal Dance Assam Bihu, Jhumur Naach, Ali Ai Ligang, Bagurumba Arunachal Pradesh Bardo Chham, Lion and Peacock dance Chhattisgarh Raut Nacha, Gaur Maria Dance, Panthi Join Telegram Channel For More Study Material Gujarat Garba, Dandiya ras, Tippani Dance, Kinnauri Nati, Namgen Goa Tarangamel, Dekhni, Dhalo, Dhangar, Fugdi Haryana Jhumar Dance, Gugga dance, Saang, Teej, Loor dance, Dhamal Dance, Phag dance Himachal Pradesh Luddi dance, Munzra, Kanayala, Giddha Parhaun, Hikat Karnataka Yakshagana, Bayalata, Dollu Kunitha, Veeragaase dance Kerala Theyyam or Kaliyattam, Thullal, Thirayattam, Oppana, Mar- gamkali, Thitambu Nritham, Chakyar Koothu, Chavittu Na- dakam Madhya pradesh Tertali, Charkula, Matki dance, Phulpati dance, Grida dance, Maanch Maharashtra Pavri Nach, Lavani Manipur Thang Ta, Dhol Cholom Mizoram Cheraw dance or Bamboo dance Nagaland Chang Lo or Sua Lua Odisha Ghumura dance, Goti Pua, Nacni, Baagh Naach or Tiger dance, Dalkhai dhap, Karma Naach, Keisabadi Punjab Bhangra, Giddha, Malwai Giddha, Jhumar, Karthi, Kikli Puducherry Garadi Sikkim Singhi Chham Rajasthan Ghoomar, Kalbelia, Bhavai, Kachchhi Ghodi Tamil Nadu Kamandi, Kummi, Kolattam, Karagattam or Karagam, Oyi- lattam, Puliyattam, Mayil Attam or Peacock dance, Pampu Attam or snake dance West Bengal Jatra, Chau, Kathi Join Telegram Channel For More Study Material Lakshadweep Lava Uttar Pradesh Nautanki, Raslila, Jhora, Chhapeli, Jaita Jammu Kashmir Rouf, Chakri Jharkhand Karma Telengana Perini Thandavam, Dappu, Lambadi Tripura Hojagiri, Goria, Lebang Boomani Uttrakhand Chholiya, Jagars, Thali-Jadda, Jhainta, Barada Nat Bihar Kajari, Jaat- Jaatin, Jhijhian, Jhumeri, Souhar- Khilouna Uttrakhand Barada Nati, Bhotiya, Chancheri, Chhapeil Join Telegram Channel .