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Odissi Dance
ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing -
Odisha Review Dr
Orissa Review * Index-1948-2013 Index of Orissa Review (April-1948 to May -2013) Sl. Title of the Article Name of the Author Page No. No April - 1948 1. The Country Side : Its Needs, Drawbacks and Opportunities (Extracts from Speeches of H.E. Dr. K.N. Katju ) ... 1 2. Gur from Palm-Juice ... 5 3. Facilities and Amenities ... 6 4. Departmental Tit-Bits ... 8 5. In State Areas ... 12 6. Development Notes ... 13 7. Food News ... 17 8. The Draft Constitution of India ... 20 9. The Honourable Pandit Jawaharlal Nehru's Visit to Orissa ... 22 10. New Capital for Orissa ... 33 11. The Hirakud Project ... 34 12. Fuller Report of Speeches ... 37 May - 1948 1. Opportunities of United Development ... 43 2. Implication of the Union (Speeches of Hon'ble Prime Minister) ... 47 3. The Orissa State's Assembly ... 49 4. Policies and Decisions ... 50 5. Implications of a Secular State ... 52 6. Laws Passed or Proposed ... 54 7. Facilities & Amenities ... 61 8. Our Tourists' Corner ... 61 9. States the Area Budget, January to March, 1948 ... 63 10. Doings in Other Provinces ... 67 1 Orissa Review * Index-1948-2013 11. All India Affairs ... 68 12. Relief & Rehabilitation ... 69 13. Coming Events of Interests ... 70 14. Medical Notes ... 70 15. Gandhi Memorial Fund ... 72 16. Development Schemes in Orissa ... 73 17. Our Distinguished Visitors ... 75 18. Development Notes ... 77 19. Policies and Decisions ... 80 20. Food Notes ... 81 21. Our Tourists Corner ... 83 22. Notice and Announcement ... 91 23. In State Areas ... 91 24. Doings of Other Provinces ... 92 25. Separation of the Judiciary from the Executive .. -
List of Members (Ex-Employee) Enrolled in Base Policy As on 11.05.2020 for Fy 2020-21
LIST OF MEMBERS (EX-EMPLOYEE) ENROLLED IN BASE POLICY AS ON 11.05.2020 FOR FY 2020-21 Sr. EMP No. LOCATION CODE Insured name Relation PolicyNo Card_Number 1 CO 00016G MS. REENA JHINGAN WIFE 130200/130132028120000030 0611070000000103 2 CO 00016G MR. K K JHINGAN EMPLOYEE 130200/130132028120000030 0611070000000126 3 DELHI 00030B MS. PRITPAL KAUR VIJ WIFE 130200/130132028120000030 0611070000000203 4 DELHI 00030B MR. ANOOP SINGH VIJ EMPLOYEE 130200/130132028120000030 0611070000000226 5 DELHI 00037K MS. ASHA RANI PURI WIFE 130200/130132028120000030 0611070000000303 6 DELHI 00037K MR. D D PURI EMPLOYEE 130200/130132028120000030 0611070000000326 7 DELHI 00041H MS. VIDYAWATI RANGRA WIFE 130200/130132028120000030 0611070000000403 8 DELHI 00041H MR. BIDHU RAM RANGRA EMPLOYEE 130200/130132028120000030 0611070000000426 9 AHMEDABAD 00042A MS. CHANDER TANEJA WIFE 130200/130132028120000030 0611070000000503 10 AHMEDABAD 00042A MR. VAS DEV TANEJA EMPLOYEE 130200/130132028120000030 0611070000000526 11 CO 00043D MS. LALTHANZAUVI WIFE 130200/130132028120000030 0611070000000603 12 CO 00043D MR. SAJEEVAN LAL EMPLOYEE 130200/130132028120000030 0611070000000626 13 DELHI 00045L MR. SRI KRISHAN GANDHI EMPLOYEE 130200/130132028120000030 0611070000000726 14 CO 00050G MS. KANAK CHAUHAN WIFE 130200/130132028120000030 0611070000000803 15 CO 00050G MR. K S CHAUHAN EMPLOYEE 130200/130132028120000030 0611070000000826 16 DELHI 00051E MR. K K SACHDEVA EMPLOYEE 130200/130132028120000030 0611070000000926 17 DELHI 00055H MS. SAROJ BALA NAGPAL WIFE 130200/130132028120000030 0611070000001003 18 DELHI 00055H MR. VINOD KUMAR NAGPAL EMPLOYEE 130200/130132028120000030 0611070000001026 19 CHANDIGARH 00064G MS. VEENA PURI WIFE 130200/130132028120000030 0611070000001103 20 CHANDIGARH 00064G MR. V K PURI EMPLOYEE 130200/130132028120000030 0611070000001126 21 CO 00065E MS. KAMLESH SHARMA WIFE 130200/130132028120000030 0611070000001203 22 CO 00065E MR. BADRI NATH SHARMA EMPLOYEE 130200/130132028120000030 0611070000001226 23 DELHI 00069H MS. -
LIST of MEMBERS (EX-EMPLOYEES) ENROLLED in BASE POLICY AS on 20.04.2020 for FY 2020-21 S.NO EMPCODE Name Relation LOCATION Policyno Card Number 1 PRMB22 MR
LIST OF MEMBERS (EX-EMPLOYEES) ENROLLED IN BASE POLICY AS ON 20.04.2020 FOR FY 2020-21 S.NO EMPCODE Name Relation LOCATION PolicyNo Card_Number 1 PRMB22 MR. SWAPAN KUMAR ROY EMPLOYEE KOLKATA :130200/130132028120000030 :0611070000283626 2 PRMB22 MS. DIPALI ROY WIFE KOLKATA :130200/130132028120000030 :0611070000283603 3 PRMB19 MR. M AKBARSHA EMPLOYEE BANGALORE :130200/130132028120000030 :0611070000283526 4 PRMB19 MS. A HAMIDA BANU WIFE BANGALORE :130200/130132028120000030 :0611070000283503 5 PRMB09 MR. T S VIJAYAKUMAR EMPLOYEE CHENNAI :130200/130132028120000030 :0611070000283426 6 PRMB09 MS. V KALAIVANI WIFE CHENNAI :130200/130132028120000030 :0611070000283403 7 14819J MR. P N PATRI EMPLOYEE BHUBANESHWAR :130200/130132028120000030 :0611070000283326 8 14819J MS. GEETANJALI PATRI WIFE BHUBANESHWAR :130200/130132028120000030 :0611070000283303 9 14027J MR. JATINDERJIT SINGH EMPLOYEE CHANDIGARH :130200/130132028120000030 :0611070000283226 10 14027J MS. JASWANT KAUR WIFE CHANDIGARH :130200/130132028120000030 :0611070000283203 11 13346J MS. D RAMADEVI EMPLOYEE HYDERABAD :130200/130132028120000030 :0611070000283126 12 13314L MS. P SABIRUNNISA EMPLOYEE HYDERABAD :130200/130132028120000030 :0611070000283026 13 12435D MR. H C RAJPUT EMPLOYEE MUMBAI :130200/130132028120000030 :0611070000282926 14 12435D MS. MANJU RAJPUT WIFE MUMBAI :130200/130132028120000030 :0611070000282903 15 12363C MR. N R DAS EMPLOYEE MUMBAI :130200/130132028120000030 :0611070000282826 16 12358G MR. BHIM CHANDRA HALDER EMPLOYEE KOLKATA :130200/130132028120000030 :0611070000282726 -
A Musical Fair
- J 2 . T was no different from other music MUSIC FESTIVAL people realised the benefits of punc festivals that Bombay is treated to tuality.” It was decided that those who during the peak music season, except I came first would get the better seats in that it was organised by Protima Bedi, A their block. “I wanted to train the and her Odissi Dance Centre students. audience to be on time,” explains Pro And since Protima is a commercial Musical tima. Unfortunately, the earliest arriv- password when it comes to all things ers took to the first few rows, which cultural, the festival drew to its had been reserved for VIPs—like V.P. charmed circle, big names. As a result, Fair Sathe, Minister of Information & contrary to a few thousand rupees that Broadcasting, Frank Simoes, who in a more modest organisation would cidentally took a load off the organis collect on such an occasion, Protima’s ers’ shoulders by collecting all the rough estimate stood at Rs 2 lakh. “We advertisements for the brochure and had aimed at about Rs 5 lakh. Let’s surprisingly enough, Kabir Bedi. Bedi, see—maybe some more contributions who sat in the third row, was easily one will come in,” says a disappointed head taller than the rest of the audience Protima. forcing the luckless spectators behind The proceeds are to go towards the him to crane their necks. At the end Odissi Dance Centre, initiated two everyone had been seated to his years ago to “celebrate, preserve and satisfaction and the session was 45 perpetuate” Odissi, which as a dance minutes behind schedule. -
TEA-STO-30..TEA-STO-30.1 .. Page1
Ashish Mohan Khokar INDIAN DANCE TODAY. AN HISTORICAL OVER-VIEW [Ashish Mohan Khokar è probabilmente il più importante critico e studioso di danza in India. Ha studiato danza, ha lavorato in diverse accademie di danza, è critico del principale quotidiano indiano, «The Times of India», collabora con diversi altri quotidiani, è il direttore dell’unico Annale di danza in India, «Attendance». Ha scritto molti li- bri sulla danza. E` figlio di Mohan Khokar, senz’altro il più grande stu- dioso di danza indiano dell’ultima generazione. Sta creando il primo Archivio di Danza in India, partendo dall’immensa collezione del pa- dre. Per maggiori dettagli si possono vedere: www.attendance- india.com e www.dancearchivesofindia.com.] Indian classical dance traditions have been borne out of a sense of propitiation of the divinity. A certain spiritual content has always been its mainstay. It has also been essentially the art of a soloist, ex- cept in dance-theatre forms. Over two thousand unbroken years, it has grown to become the longest continuous dance culture, afford- ing an interesting insight into man and his relationship to stage in general and dance art, in particular. Its classical nature comes through by a set of code of grammar, content and concept. Thus, if in one form, the knees are to be bent while performing and a half-sitting position maintained all through, then it cannot be altered. The position of hands, the use of eyes, neck, torso and feet, all go towards making dance units, which be- come strings of movements, through which individual characteristics and a grammar is set which makes each form distinct and thus, with age and tradition, classical. -
Module 1 Dance in India Today an Overview
PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 1 DANCE IN INDIA TODAY AN OVERVIEW Indian classical dance traditions have been borne out of a sense of propitiation of the divinity. A certain spiritual content has always been its mainstay. It has also been essentially the art of a soloist, except in dance-theatre forms. Over two thousand unbroken years, it has grown to become the longest continuous dance culture, affording an interesting insight into man and his relationship to stage in general and dance art, in particular. Its classical nature comes through by a set of code of grammar, content and concept. Thus, if in one form, the knees are to be bent while performing and a half-sitting position maintained all through, then it cannot be altered. The position of hands, the use of eyes, neck, torso and feet, all go towards making dance units, which become strings of movements, through which individual characteristics and a grammar is set which makes each form distinct and thus, with age and tradition, classical. The content is mostly mythological. These forms evolved over centuries, and it is believed, these were created to please gods and their representatives on earth. The myth goes that the gods were bored and asked the wisest amongst them – Brahma, the creator, - to create some form of entertainment that would involve and engage all. Brahma enlisted the help of sages, of whom Bharata, was given the specific task of writing a new Veda, (the holy treatises of which four existed already - Rig, Saama / साम, Yajur / यजुर and Atharva / अथ셍व) the fifth Veda called the Natyashastra, and through this work, the details of modern dramaturgy in India were born. -
A. Aristotle B. Euclid C. Pythagoras D. Kepler Answer: Option B Explanation
1. Who is the father of Geometry? A. Aristotle B. Euclid C. Pythagoras D. Kepler Answer & Explanation Answer: Option B Explanation: No answer description available for this question. Let us discuss. View Answer Workspace Report Discuss in Forum 2. What is common between Kutty, Shankar, Laxman and Sudhir Dar? A. Film Direction B. Drawing Cartoons C. Instrumental Music D. Classical Dance Answer & Explanation Answer: Option B Explanation: No answer description available for this question. Let us discuss. View Answer Workspace Report Discuss in Forum 3. Who was known as Iron man of India? A. Govind Ballabh Pant B. Jawaharlal Nehru C. Subhas Chandra Bose D. Sardar Vallabhbhai Patel Answer & Explanation Answer: Option D Explanation: No answer description available for this question. Let us discuss. View Answer Workspace Report Discuss in Forum 4. The Indian to beat the computers in mathematical wizardry is A. Ramanujam B. Rina Panigrahi C. Raja Ramanna D. Shakunthala Devi Answer & Explanation Answer: Option D Explanation: No answer description available for this question. Let us discuss. View Answer Workspace Report Discuss in Forum 5. Jude Felix is a famous Indian player in which of the fields? A. Volleyball B. Tennis C. Football D. Hockey Answer & Explanation Answer: Option D 6. Who among the following was an eminent painter? A. Sarada Ukil B. Uday Shanker C. V. Shantaram D. Meherally Answer & Explanation Answer: Option A Explanation: No answer description available for this question. Let us discuss. View Answer Workspace Report Discuss in Forum 7. Professor Amartya Sen is famous in which of the fields? A. Biochemistry B. Electronics C. -
In the High Court of Orissa: Cuttack
LOK-ADALAT LIST IN THE HIGH COURT OF ORISSA: CUTTACK 10/07/2021 AT 11.00 A.M. THE HON’BLE MR.JUSTICE S.K.MISHRA (THIS BENCH WILL FUNCTION THROUGH VIDEO CONFERENCING. LEARNED COUNSEL ARE REQUESTED TO APPEAR ONLY FROM REMOTE LOCATIONS LIKE RESIDENCE/OFFICES ETC.) NUMBER OF SLOTS AND RESPECTIVE V.C. LINKS FOR THIS BENCH HAVE BEEN PROVIDED IN THE NOTICE. LEARNED COUNSEL ARE REQUESTED TO ASCERTAIN THEIR SLOTS FROM THE NOTICE AND APPEAR BEFORE THIS BENCH BY CLICKING THE LINK(S) PROVIDED FOR THEIR RESPECTIVE SLOTS. ORIENTAL INSURANCE CO. CASES ---------------------------- 1. MACA 23/2005 O.I.CO.LTD M/S.A.K.PANDA V/S MR.SUBRAT SATAPATHY SARASWATI NAIK MR.A.K.NAYAK WITH MACA 9/2005 O.I.CO.LTD M/S.AKSHAYA KU.RATH V/S A.K.RATH JANAKI NAYAK 2. MACA 830/2010 O.I.CO.LTD M/S.P.K.PANDA V/S P.K.PADHI,S.K.BAL BHIKARI PATRA M/S.J.R.DASH B.MISHRA,S.K.RATH,S.MISHRA,S.C .SAMAL,M/S B.P.SATAPATHY,B.K.NAYAK,MR.R.R .PATTNAIK(A.S.C) 3. MACA 182/2011 SAROJINI SAHU M/S.PARTHA SARATHI NAYAK V/S P.K.NAYAK,SK.ZAFARULLA SOMANATH SAHOO M/S.S.SATAPATHY J.PRAHARAJ 4. MACA 363/2011 BHAGYADHAR SETHI M/S.SANJIB SWAIN V/S B.R.RATH,D.RAY,S.C.PANDA PARTHAPRATIMA PAIKRA 5. MACA 389/2013 O.I.CO.LTD. M/S.PAMI RATH V/S J.MOHANTY,J.P.BEHERA SANJUKTA PRADHAN M/S.J.R.DASH B.N.MISHRA,K.L.DASH,S.K.RATH 6. -
Congratulations!
CONGRATULATIONS! JUNE 2021 - NEW WORLD TEAM • A NOORDEEN , PATHANAPURAM • A RAGHAVENDRA & NETHRAVATHI R, DAVANGERE • A V REMYA , BANGALORE • AAKULA MOUNIKA & LAKKAM SRINIVASULU, MEDAK • ABDUL SHARIF SHAIK , MACHERLA • ACHARY SANTHOSH BABU & DEEPA SOMAN, ALAPPUZHA WEST • ACHARYA AJAY VISHVAS , BHILWARA • AGARWAL SHAILI , HANUMANGARH • AGRAWAL NEHA , KOLKATA • AHMED RAZIYA & ANSAR AHMED, DHARWAD • AJITH KUMAR KV , THIRUVANANTHAPURAM • ALAMELU B & BALAN, TIRUVALLUR • ALEKHYA VUNYALE , KVRANGAREDDY • ALI ILYAS , HYDERABAD • ALI MAHAMMAD , DAKSHINA KANNADA • AMANDEEP , KURUKSHETRA • AMBIKA N C & SRINIVAS, KRISHNAGIRI • AMIDYALA MEENUGA SWETHA VAHANA & SIROMANI AMIDYALA MEENUGA, ANANTHAPUR • AMMAJAN S & S NAZEER SAB, CHITTOOR • AMRUTHA H P & VASANTHA KRISHNA V, BANGALORE • ANAND SHEETAL & AMIT VERMA, JAMMU • ANANT JOSHI SADICHCHHA , THANE • ANIL KUMAR J & SHRI VATSALA, HOSPET • ANITHA EMURU & EMURU NAGABHUSHANAM, RAMACHANDRAPURAM CHITTOOR • ANJUMAN SHAIK & MOHAMMAD SHAFI, DHARWAD • ANURADHA RAMISETTY & YEDDU GOPI, GUNTUR • ANUSHA CHINNAPAREDDY , NARASARAOPET • AQUEEL AHMED SHAIK & RAHEEM UNNISA, HYDERABAD • ARATHI N & K P SHANMUKHA, MALUR • ARIRAMAKRISHNAN VINAYAGAMOORTHI , TUTICORIN • ARORA ANU , NEW DELHI • ARPITHA MJ , BANGALORE • ARUNA TANNERU , MEDAK • ASHWINI C & N BALAKRISHNA, BANGALORE • AUJLA AMRINDER SINGH , FATEHGARH SAHIB • AWAD ZEESHA & MOHAMMED ABDUL JALEEL SIDDIQUE, KVRANGAREDDY • AYESHA SIDDIQA P K & IRFAN ULLA AKBAR PR, CHITTOOR • AZEEM MOHAMMED , NIZAMABAD • BADGE NUPUR NAHUSH & NAHUSH AVINASH BADGE, NAGPUR • BADIGER LAXMI -
The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History Paromita Kar a Dissertation S
THE DEBAPRASAD DAS TRADITION: RECONSIDERING THE NARRATIVE OF CLASSICAL INDIAN ODISSI DANCE HISTORY PAROMITA KAR A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN DANCE STUDIES YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2013 @PAROMITA KAR, 2013 ii Abstract This dissertation is dedicated to theorizing the Debaprasad Das stylistic lineage of Indian classical Odissi dance. Odissi is one of the seven classical Indian dance forms recognized by the Indian government. Each of these dance forms underwent a twentieth century “revival” whereby it was codified and recontextualized from pre-existing ritualistic and popular movement practices to a performance art form suitable for the proscenium stage. The 1950s revival of Odissi dance in India ultimately led to four stylistic lineage branches of Odissi, each named after the corresponding founding pioneer of the tradition. I argue that the theorization of a dance lineage should be inclusive of the history of the lineage, its stylistic vestiges and philosophies as embodied through its aesthetic characteristics, as well as its interpretation, and transmission by present-day practitioners. In my theorization of the Debaprasad Das lineage of Odissi, I draw upon Pierre Bourdieu's theory of the habitus, and argue that Guru Debaprasad Das's vision of Odissi dance was informed by the socio-political backdrop of Oriya nationalism, in the context of which he choreographed, but also resisted the heavy emphasis on coastal Oriya culture of the Oriya nationalist movement. My methodology for the project has been ethnographic, supported by original archival research. -
How Rural Is Hindi Cinema? 14 Shoma A
MORPARIA’S PAGE E-mail: [email protected] Contents AUGUST 2016 VOL.20/1 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ THEME: Morparia’s page 2 Rural India The ‘country’ calls… 5 Nivedita Louis An irreparable loss 6 Managing Editor Bharat Dogra Mrs. Sucharita R. Hegde The urban farmers 8 Hiren Kumar Bose Editor A project called Mandya 2020 11 Anuradha Dhareshwar E. Vijayalakshmi Rajan How rural is Hindi cinema? 14 Shoma A. Chatterji Assistant Editor Decentralise now! 16 E.Vijayalakshmi Rajan 6 Prof. G. Palanithurai Not charged! 19 Design Samarth Bansal H. V. Shiv Shankar Subsidies that hurt 21 Bharat Dogra Marketing Know India Better Mahesh Kanojia Haridwar: 23 The holy time warp Gustasp & Jeroo Irani OIOP Clubs Co-ordinator Face to Face 35 Vaibhav Palkar Jaya Jaitly : Anuradha Dhareshwar Features Subscription In-Charge Renewable, but is it sustainable? 39 Nagesh Bangera G. Venkatesh Our bulwark 41 23 Lt. Gen. Vijay Oberoi Advisory Board Through the bars of hope 44 Sucharita Hegde Sujit Bhar Justice S. Radhakrishnan Smile...it enhances your face value! 46 Venkat R. Chary A. Radhakrishnan An unseemly battle 48 Prof. Avinash Kolhe Printed & Published by The lips that bragged, the feet that danced 50 Mrs. Sucharita R. Hegde for A. Radhakrishnan One India One People Foundation, Column 52 Mahalaxmi Chambers, 4th floor, Nature watch : Bittu Sahgal 22, Bhulabhai Desai Road, Infocus : C.V. Aravind Mumbai - 400 026 Jaya Jaitly Young India 54 Tel: 022-2353 4400 35 Great Indians 56 Fax: 022-2351 7544 e-mail: [email protected] [email protected] Printed at: Graphtone (India) Pvt. Ltd. A1 /319, Shah & Nahar Industrial Estate.