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The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ........................................................................................................... -
Classical Dances Have Drawn Sustenance
Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return. -
University of Kerala Ba Music Faculty of Fine Arts Choice
UNIVERSITY OF KERALA COURSE STRUCTURE AND SYLLABUS FOR BACHELOR OF ARTS DEGREE IN MUSIC BA MUSIC UNDER FACULTY OF FINE ARTS CHOICE BASED-CREDIT-SYSTEM (CBCS) Outcome Based Teaching, Learning and Evaluation (2021 Admission onwards) 1 Revised Scheme & Syllabus – 2021 First Degree Programme in Music Scheme of the courses Sem Course No. Course title Inst. Hrs Credit Total Total per week hours credits I EN 1111 Language course I (English I) 5 4 25 17 1111 Language course II (Additional 4 3 Language I) 1121 Foundation course I (English) 4 2 MU 1141 Core course I (Theory I) 6 4 Introduction to Indian Music MU 1131 Complementary I 3 2 (Veena) SK 1131.3 Complementary course II 3 2 II EN 1211 Language course III 5 4 25 20 (English III) EN1212 Language course IV 4 3 (English III) 1211 Language course V 4 3 (Additional Language II) MU1241 Core course II (Practical I) 6 4 Abhyasaganam & Sabhaganam MU1231 Complementary III 3 3 (Veena) SK1231.3 Complementary course IV 3 3 III EN 1311 Language course VI 5 4 25 21 (English IV) 1311 Language course VII 5 4 (Additional language III ) MU1321 Foundation course II 4 3 MU1341 Core course III (Theory II) 2 2 Ragam MU1342 Core course IV (Practical II) 3 2 Varnams and Kritis I MU1331 Complementary course V 3 3 (Veena) SK1331.3 Complementary course VI 3 3 IV EN 1411 Language course VIII 5 4 25 21 (English V) 1411 Language course IX 5 4 (Additional language IV) MU1441 Core course V (Theory III) 5 3 Ragam, Talam and Vaggeyakaras 2 MU1442 Core course VI (Practical III) 4 4 Varnams and Kritis II MU1431 Complementary -
Dear Aspirant with Regard
DEAR ASPIRANT HERE WE ARE PRESENTING YOU A GENRAL AWERNESS MEGA CAPSULE FOR IBPS PO, SBI ASSOT PO , IBPS ASST AND OTHER FORTHCOMING EXAMS WE HAVE UNDERTAKEN ALL THE POSSIBLE CARE TO MAKE IT ERROR FREE SPECIAL THANKS TO THOSE WHO HAS PUT THEIR TIME TO MAKE THIS HAPPEN A IN ON LIMITED RESOURCE 1. NILOFAR 2. SWETA KHARE 3. ANKITA 4. PALLAVI BONIA 5. AMAR DAS 6. SARATH ANNAMETI 7. MAYANK BANSAL WITH REGARD PANKAJ KUMAR ( Glory At Anycost ) WE WISH YOU A BEST OF LUCK CONTENTS 1 CURRENT RATES 1 2 IMPORTANT DAYS 3 CUPS & TROPHIES 4 4 LIST OF WORLD COUNTRIES & THEIR CAPITAL 5 5 IMPORTANT CURRENCIES 9 6 ABBREVIATIONS IN NEWS 7 LISTS OF NEW UNION COUNCIL OF MINISTERS & PORTFOLIOS 13 8 NEW APPOINTMENTS 13 9 BANK PUNCHLINES 15 10 IMPORTANT POINTS OF UNION BUDGET 2012-14 16 11 BANKING TERMS 19 12 AWARDS 35 13 IMPORTANT BANKING ABBREVIATIONS 42 14 IMPORTANT BANKING TERMINOLOGY 50 15 HIGHLIGHTS OF UNION BUDGET 2014 55 16 FDI LLIMITS 56 17 INDIAS GDP FORCASTS 57 18 INDIAN RANKING IN DIFFERENT INDEXS 57 19 ABOUT : NABARD 58 20 IMPORTANT COMMITTEES IN NEWS 58 21 OSCAR AWARD 2014 59 22 STATES, CAPITAL, GOVERNERS & CHIEF MINISTERS 62 23 IMPORTANT COMMITTEES IN NEWS 62 23 LIST OF IMPORTANT ORGANIZATIONS INDIA & THERE HEAD 65 24 LIST OF INTERNATIONAL ORGANIZATIONS AND HEADS 66 25 FACTS ABOUT CENSUS 2011 66 26 DEFENCE & TECHNOLOGY 67 27 BOOKS & AUTHOURS 69 28 LEADER”S VISITED INIDIA 70 29 OBITUARY 71 30 ORGANISATION AND THERE HEADQUARTERS 72 31 REVOLUTIONS IN AGRICULTURE IN INDIA 72 32 IMPORTANT DAMS IN INDIA 73 33 CLASSICAL DANCES IN INDIA 73 34 NUCLEAR POWER -
Arts-Integrated Learning
ARTS-INTEGRATED LEARNING THE FUTURE OF CREATIVE AND JOYFUL PEDAGOGY The NCF 2005 states, ”Aesthetic sensibility and experience being the prime sites of the growing child’s creativity, we must bring the arts squarely into the domain of the curricular, infusing them in all areas of learning while giving them an identity of their own at relevant stages. If we are to retain our unique cultural identity in all its diversity and richness, we need to integrate art education in the formal schooling of our students for helping them to apply art-based enquiry, investigation and exploration, critical thinking and creativity for a deeper understanding of the concepts/topics. This integration broadens the mind of the student and enables her / him to see the multi- disciplinary links between subjects/topics/real life. Art Education will continue to be an integral part of the curriculum, as a co-scholastic area and shall be mandatory for Classes I to X. Please find attached the rich cultural heritage of India and its cultural diversity in a tabular form for reading purpose. The young generation need to be aware of this aspect of our country which will enable them to participate in Heritage Quiz under the aegis of CBSE. TRADITIONAL TRADITIONAL DANCES FAIRS & FESTIVALS ART FORMS STATES & UTS DRESS FOOD (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) Kuchipudi, Burrakatha, Tirupati Veerannatyam, Brahmotsavam, Dhoti and kurta Kalamkari painting, Pootha Remus Andhra Butlabommalu, Lumbini Maha Saree, Langa Nirmal Paintings, Gongura Pradesh Dappu, Tappet Gullu, Shivratri, Makar Voni, petticoat, Cherial Pachadi Lambadi, Banalu, Sankranti, Pongal, Lambadies Dhimsa, Kolattam Ugadi Skullcap, which is decorated with Weaving, carpet War dances of laces and fringes. -
Rtisalmar13.Pdf
March 2013 +‐‐‐‐‐‐‐‐‐‐‐‐‐+‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐+‐‐‐‐‐‐‐‐‐‐‐+ |empcode |empname |gross | +‐‐‐‐‐‐‐‐‐‐‐‐‐+‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐+‐‐‐‐‐‐‐‐‐‐‐+ | 15017|S.N. SINGH | 141384.000| | 15018|SUHAIL AHMED | 153065.000| | 15027|V.S. BISARIA | 141384.000| | 15028|G.P. AGARWAL | 142184.000| | 15031|SAROJ MISHRA | 141384.000| | 15032|P.K. ROYCHOUDHURY | 125491.000| | 15033|SUNIL NATH | 131150.000| | 15034|ASHOK KUMAR SRIVASTAVA | 131150.000| | 15038|SUDHIR CHANDRA | 138804.000| | 15039|RAJENDAR BAHL | 141384.000| | 15040|B.S. PANWAR | 137445.000| | 15041|SHIBAN KISHEN KOUL | 142384.000| | 15045|SUNEET TULI | 125698.000| | 15051|OM PRAKASH SHARMA | 138804.000| | 15053|U.C. MOHANTY | 156384.000| | 15055|MAITHILI SHARAN | 156384.000| | 15057|PRAMILA GOEL | 134246.000| | 15059|R.C. RAGHAVA | 120866.000| | 15060|H.C. UPADHYAYA | 113502.000| | 15061|A.D. RAO | 141384.000| | 15062|POORNIMA AGARWAL | 120866.000| | 15064|NIVEDITA KARMAKAR GOHIL | 116186.000| | 15065|MANJU MOHAN | 134246.000| | 15076|SUSHIL KUMAR DASH | 141384.000| | 15080|SNEH ANAND | 141384.000| | 15081|ALOK RANJAN RAY | 141384.000| | 15083|HARPAL SINGH | 138477.000| | 15084|S.M.K. RAHMAN | 104533.000| | 15090|M.N. GUPTA | 141384.000| | 15091|A.K. SINGH | 165084.000| | 15095|P.S. PANDEY | 125594.000| | 15103|H.M. CHAWLA | 141384.000| | 15104|RAM NATH RAM | 129155.000| | 15105|T.S.BHATTI | 134246.000| | 15107|SRIRAM HEGDE | 116186.000| | 15127|SURINDRA PRASAD | 156384.000| | 15136|VINOD CHANDRA | 141384.000| | 15139|BASABI BHAUMIK | 141384.000| | 15142|G.S. VISWESWARAN | 141384.000| | 15144|UMESH KUMAR | 120866.000| | 15145|P.R. BIJWE | 141384.000| | 15146|V.K. JAIN | 142284.000| | 15148|DEVI CHADHA | 141384.000| | 15152|S.D. JOSHI | 141384.000| | 15153|GEETAM TEWARI | 137672.000| | 15154|BHIM SINGH | 141384.000| | 15167|V. -
July 2012 Edition
leb efJeÐeeled ogëKemeb³eesieefJe³eesieb ³eesiemebef%eleced Vol.XXVIII No.7 July, 2012 SUBSCRIPTION CONTENTS RATES 8 ` 500/- $ 50/- Editorial 2 Annual (New) 8 ` 1400/- Three Division of Yoga-Spirituality Brahmasutram 3 Year Decennial Celebrations of S-VYASA 4 8 ` 4000/- $ 500/- Bhajan Sandhya by Padmashree Anup Jalota 6 Life (10 years) Srimad Bhagawata Saptaham by Pujya Prema Pandurang Ji 8 Ganarchana – Prof. Paradesi Rao 12 Subscription in favour Division of Yoga & Life Sciences of ‘Yoga Sudha’, Dimensions of Yoga practices in HIV Bangalore by MO/ – Dr. Hemant Bhargav 13 DD only MIRT 17 Impact of 1 week of IAYT on diabetes: GDV measure 21 ADVERTISEMENT Division of Yoga & Physical Sciences TARIFF: Complete Color Research on Jyotish Astology & associated Astrological Front Inner - ` 1,20,000/- Influences... - Prof. Alex Hankey & Ramesh Rao 22 Back Outer - ` 1,50,000/- Hi am ‘FAST’ing, how can I help you? Back Inner - ` 1,20,000/- – Dr. B. Raghavendraswamy 23 Where is God - Manjeet Singh 24 Front First Inner Page - ` 1,20,000/- Division of Yoga and Management Studies Back Last Inner Page - Reader’s Forum 25 ` 1,20,000/- Yoga for Children – Dr. Tikhe Sham Ganapat 26 Full Page - ` 60,000/- YIC & ONCG SMET group 27 Half Page - ` 30,000/- Page Sponsor - ` 1,000/- Division of Yoga and Humanities Feel Free – Prof. K. Subrahmanyam 29 Dance Karanas: Perfection of Bharatha Natya Printed at: through Yoga – Mrs. Karuna Nagarajan 30 Sharadh Enterprises, Car Street, Halasuru, News Room Bangalore - 560 008 Pratishtapana of Sri Munishwara @ Giddenahalli -
Bhagavad Geeta – 13
|| ´ÉÏqɰaÉuɪÏiÉÉ || BHAGAVAD GEETA – 13 Yoga of the Field & Its Knower “THE SANDEEPANY EXPERIENCE” Reflections by TEXT SWAMI GURUBHAKTANANDA 28.13 Sandeepany’s Vedanta Course List of All the Course Texts in Chronological Sequence: Text TITLE OF TEXT Text TITLE OF TEXT No. No. 1 Sadhana Panchakam 24 Hanuman Chalisa 2 Tattwa Bodha 25 Vakya Vritti 3 Atma Bodha 26 Advaita Makaranda 4 Bhaja Govindam 27 Kaivalya Upanishad 5 Manisha Panchakam 28.13 Bhagavad Geeta (Discourse 13 ) 6 Forgive Me 29 Mundaka Upanishad 7 Upadesha Sara 30 Amritabindu Upanishad 8 Prashna Upanishad 31 Mukunda Mala (Bhakti Text) 9 Dhanyashtakam 32 Tapovan Shatkam 10 Bodha Sara 33 The Mahavakyas, Panchadasi 5 11 Viveka Choodamani 34 Aitareya Upanishad 12 Jnana Sara 35 Narada Bhakti Sutras 13 Drig-Drishya Viveka 36 Taittiriya Upanishad 14 “Tat Twam Asi” – Chand Up 6 37 Jivan Sutrani (Tips for Happy Living) 15 Dhyana Swaroopam 38 Kena Upanishad 16 “Bhoomaiva Sukham” Chand Up 7 39 Aparoksha Anubhuti (Meditation) 17 Manah Shodhanam 40 108 Names of Pujya Gurudev 18 “Nataka Deepa” – Panchadasi 10 41 Mandukya Upanishad 19 Isavasya Upanishad 42 Dakshinamurty Ashtakam 20 Katha Upanishad 43 Shad Darshanaah 21 “Sara Sangrah” – Yoga Vasishtha 44 Brahma Sootras 22 Vedanta Sara 45 Jivanmuktananda Lahari 23 Mahabharata + Geeta Dhyanam 46 Chinmaya Pledge A NOTE ABOUT SANDEEPANY Sandeepany Sadhanalaya is an institution run by the Chinmaya Mission in Powai, Mumbai, teaching a 2-year Vedanta Course. It has a very balanced daily programme of basic Samskrit, Vedic chanting, Vedanta study, Bhagavatam, Ramacharitmanas, Bhajans, meditation, sports and fitness exercises, team-building outings, games and drama, celebration of all Hindu festivals, weekly Gayatri Havan and Guru Paduka Pooja, and Karma Yoga activities. -
Learning the Heart Way! Samyuktha
Learning the Heart Way! Samyuktha Samyuktha’s live-wire book, Learning the Heart Way , may dramatically alter the way young people think about college or university education in future. Most youngsters would like to be free of the drudgery and boredom associated with college lectures, mouldy professors, sterile guides and endless examinations. Coming from an ordinary middle-class environment in Andhra, Samyuktha decided to opt out of the ‘rat race of learning’: the endless tests and scores; the straitjacket imposed by college disciplines which actually narrowed down the world of learning to mugging badly written texts of history, political science, economics, psychology, and yes, sociology; the endless chase after MBA degrees. Instead, she created her own ‘higher education’ curriculum, one that suited both her heart and mind. The result is a marvellous book on learning’ as if the heart mattered’. Other India Press and Multiversity are delighted to be associated with a publication that will be a source of inspiration and direction to many young people (and their parents) in these days of heartless learning and soulless education. About the Author Samyuktha was born in August 1978 in New Delhi and went to school at Kalakshetra, Chennai. She trained as a handloom weaver by working with weavers in Tamil Nadu and Andhra Pradesh, and subsequently learnt textile design at the National Institute of Fashion Technology. She is presently working with an enterprise of handloom weavers in Pochampalli cluster in Andhra Pradesh. She volunteers with social organizations and dreams of a world that is just and sustainable. Preface Samyuktha’s live-wire book, Learning the Heart Way, may dramatically alter the way young people think about college or university education in future. -
Ghoomar,Leading Scholar of Indian Classical Dance
The Dance of the Hyperbole Students showcase the penultimate piece, “Hyperbole,” in the Washington University Dance Theatre* Living for the last two years masked behind a sanitized cloth; with a social distancing even from our loved ones, yet in the same home; sleeping alone in our rooms with our soft pillows as our only bedside companions; not being able to share our tea with our gossiping greying cacophonous neighbour; or even not being able to lend our inner stories to our restless dreams; we are constantly today, creating an artificial world. In this excessive superficiality will we forget we are alive? Do we have voices? Do we have real living pain and words that can be penned? My answer is NO. We as humans are never created with a loss of memory and total negligence to ourselves. We are created instead of choosing to forget, choosing to see our lives as three eased dots… I see these moments of the easing gentle pauses, the “life moments of truth”. For we as artists, as creators, those little dots are seconds of life, where we can shape and spawn, grow words into lines, lines into paragraphs – of stories, love songs, and poetry of yearnings and being alive in protests. These small breaths, to many, are simply just hyperboles of grammar, however, to the artist, these are intensely alive, strong, emphatic forceful portions of feelings, of coming to belong to what he only knows is the only truth…his art form. Let us not even once, then, discount these as mere undecorated flecks, but as gigantic astronomical atoms, that pinpoint to the immense creativity and churning in the human mind. -
PMAY (Urban) Beneficary List
PMAY (Urban) Beneficary List S.no Town Name Father_Name Mobile_No Pres_Address_StreetName 1 Jalesar BABY YASH PAL SINGH 7451085904 MOHALLA AKBARPUR HAVELI, JALESAR ETHA, UTTAR PREDESH 2 Jalesar MOHAR SHRI DEVI HAKIM SINGH 8006820002 BHAAMPURI, JALESAR, ETHA, UTTAR PREDESH 3 Jalesar VIPIL KUMAR CHANDARPAL 7534009766 MOHALLA AKABRPUR HAWELI V.P.O JALESAR ETHA, UTTAR PREDESH 4 Jalesar GUDDO BEGUM LAL KHAN 9568203120 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 5 Jalesar CHANDRVATI VIJAY SINGH AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 6 Jalesar POONAM BHARATI MIHALLA AKABARPUR 8869865536 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 7 Jalesar SAROJ KUMARI KUWARPAL SINGH 9690823309 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 8 Jalesar MOHAMMAD FAHIM MOHAMMAD SAHID 8272897234 MOHHALA KILA , JALESAR, ETHA, UTTAR PREDESH 9 Jalesar SHAJIYA BEGAM BABLU 9758125174 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 10 Jalesar AMIT KUMAR DAU DAYAL BRAMANPURI, JALESAR ETHA UTTAR PREDESH 11 Jalesar KARAN SINGH LEELADHAR BRAMANPURI, JALESAR ETHA UTTAR PREDESH 12 Jalesar GUDDI NAHAR SINGH 9756578025 BRAMANPURI, JALESAR ETHA UTTAR PREDESH 13 Jalesar MADAN MOHAN PURAN SINGH AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 14 Jalesar KANTI MUKESH KUMAR 9027022124 MOHALLA BARHAMAN PURI JALESAR ETHA 15 Jalesar SOMATI DEVI BACHCHO SINGH 7906607313 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 16 Jalesar ANITA DEVI SATYA PRAKESH AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 17 Jalesar VIRENDRA SINGH AMAR SINGH 7500511574 AKBARPURI HAWELI, JALESAR, ETHA, -
In Dance. Bollywood, Dance Was the Only Medium Through Which This Diversity Could Be by Chanel Samson Preserved and Expressed
Dances of One can map out India India’s complex ndia is a land of diversity. Each region has its own culture, where cultural geography spirituality, tradition and geography one step at a time — intersect. Before the silver screens of in dance. Bollywood, dance was the only medium through which this diversity could be by Chanel Samson preserved and expressed. Each region’s dance reflected the culture and ethos of the people. Take the controlled nature of Iclassical dances harkening back to early forms of worship and storytelling, and compare this with the liveliness of folk dances celebrating the simple joys of one’s livelihood and community. Passed on through generations or rooted in ancient texts, these dances map out the history of a nation that is young, but steeped in thousands of years of tradition. Seabourn 20 SEABOURN CRUISE LINE SEABOURN CLUB HERALD 21 The spiraling movements of the ghoomar Today, kathak is often performed as a dance of love. Both male and female dancers must dance with nazakat, a level of delicacy that makes kathak-style dance numbers popular in Bollywood films. Where to watch: Madhuri Dixit, both an actress and a classically trained kathak dancer, is renowned for her graceful dance sequences in films such asDevdas and Aaja Nachle. GHOOMAR Kathak dancer Origin: Rajasthan For young Rajasthani girls, performing the ghoomar is more than a dance — it announces their entrance into BHANGRA kameez) and style their hair in a long braid KATHAK womanhood. The mesmerizing folk dance Origin: Punjab ornamented with a tassel (paranda). Today, Origin: Jaipur, Banaras, Lucknow of Rajasthan was indigenous to the early In the farming villages of Punjab, the bhangra has moved from the fields of Punjab The graceful dance of India’s northern tribes of India’s northern state but was harvest season is welcomed by the pulse of to become a fixture at weddings, birthdays region is kathak, which literally translates to adopted in the courts of the royal Rajput a drum and the vivacious movements of the and local fairs.