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Nirvana Ias Academy Current Affairs 1St to 15Th
NIRVANA IAS ACADEMY CURRENT AFFAIRS 1ST TO 15TH FEBRUARY 2019 CONTENT 1. FDI POLICY ON COMMERCE…………………………………………….2 53. SCHEME FOR PENSION & MEDICAL AID TO 2. NATIONAL VIRTUAL LIBRARY…………………………………………..2 ARTISTES…………………………………………………………………..29 3. SHEKATKAR COMMITTEE…………………………………………….....3 54. CHYLP……………………………………………………………………….30 4. NTA STUDENT APP………………………………………………………….3 55. LIGHT HOUSE PROJECT CHALLENGE……………………..…..30 5. DIGITALISATION OF SCHOOLS……………………………………......3 56. MAITHILI LANGUAGE……………………………….………………..31 6. MAHILA COIR YOJAN……………………………………………………….5 57. SCHEDULED TRIBES………………………………….………………..31 7. AGRICULTURE EXPORT POLICY………………………………………..5 58. SPACE TECHNOLOGY IN AGRICULTURE…….………………..32 8. PRE-DEPARTURE ORIENTATION TRAINING 59. ROOF TOP SOLAR POWER SYSTEM…………….………………33 PROGRAMME………………………………………………………………….5 60. 5TH INTERNATIONAL DAM SAFETY CONFERENCE 9. CLEANING PROGRAMME FOR RIVER GANGA…………………..6 2019…………………………………………………………….……………33 10. TOKYO OYLMPICS 2020…………………………………………………..7 61. SEQI……………………………………………………………..……………34 11. 20TH BHARAT RANG MAHOTSAV……………………………………..7 62. SAATH-E…………………………………………………………..……….34 12. KNOW MY INDIA PROGRAMME………………………………………8 63. CLCS-TUS…………………………………………………………………..35 13. EXPORT PROMOTION CAPITAL GOODS SCHEME……………..8 64. E-AUSHADHI PORTAL…………………………………………..…..36 14. ADKL TRANSMISSION SYSTEM…………………………………………9 65. ATOMIC ENERGY BASED POWER……….……………………..36 15. CONSERVATION & PROMOTION OF MEDICINAL 66. BONDED LABOUR………………………………….………………….36 PLANTS………………………………………………………………………….10 67. BHARAT-22 ETF…………………………….….……………….………37 -
Universidade Estadual De Campinas Instituto De Artes
UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES IRANI DA CRUZ CIPPICIANI THERU-K-KOOTHU: UM OLHAR SOBRE AS CULTURAS TEATRAIS POPULARES DO SUL DA ÍNDIA THERU-K-KOOTHU: A LOOK AT THE FOLK THEATRE CULTURES OF SOUTH INDIA CAMPINAS 2020 2 IRANI DA CRUZ CIPPICIANI THERU-K-KOOTHU: UM OLHAR SOBRE AS CULTURAS TEATRAIS POPULARES DO SUL DA ÍNDIA THERU-K-KOOTHU: A LOOK AT THE FOLK THEATRE CULTURES OF SOUTH INDIA Tese apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutora em Artes da Cena, na área de Teatro, Dança e Performance. Thesis presented to the Institute of Arts of the University of Campinas in partial fulfillment of the requeriments for the degree of Doctor in Scene Artes: Theatre, Dance and Performance. ORIENTADOR: Prof. Dr. Cassiano Sydow Quilici Este trabalho corresponde à versão final da tese defendida pela aluna Irani da Cruz Cippiciani, e orientada pelo Prof. Dr. Cassiano Sydow Quilici. CAMPINAS 2020 3 FAPESP e CAPES, processo nº 2016/10719-0, Fundação de Amparo à Pesquisa do Estado de São Paulo. 5 COMISSÃO EXAMINADORA DA DEFESA DE DOUTORADO IRANI DA CRUZ CIPPICIANI ORIENTADOR: PROF. DR. CASSIANO SYDOW QUILICI MEMBROS: 1. PROF. DR. CASSIANO SYDOW QUILICI 2. PROF(A). DR(A). MARÍLIA VIEIRA SOARES 3. PROF(A). DR(A). MARIANA BARUCO MACHADO ANDRAUS 4. PROF(A). DR(A). JOANA PINTO WILDHAGEN 5. PROF(A). DR(A). ANA PAULA IBAÑEZ Programa de Pós-Graduação em Artes da Cena do Instituto de Artes da Universidade Estadual de Campinas. -
The Shifting Boundaries of a Popular South Indian Theatre
8/20/2016 Regions IIAS Newsletter Online IIAS | IIAS Newsletter Online | No. 17 | Regions |[betreffende regio] Tradition and Innovation The Shifting Boundaries of a Popular South Indian Theatre This report describes a unique theatrical event produced by the members of the Tamil Nadu Kattaikkuttu Kalai Valarcci Munnerra Sangam and performed in three rural towns of Tamil Nadu in March 1998. It appeared earlier in a slightly different version as a newspaper article in The Hindu of 31 May 1998. By Mina Swaminathan The Tamil Nadu Kattaikkuttu Kalai Valarcci Munnerra Sangam is a grassroots association, which promotes the interests of professional Kattaikkuttu actors and musicians in Tamil Nadu in South India. It was established in Kanchipuram in 1990 by a group of seventeen performers. At present it has over two hundred members. Its main activities include (1) training in the Kattaikkuttu theatre of (working) children and young people in the rural parts of northern Tamil Nadu, (2) the organization of an annual Kattaikkuttu Festival, and (3) the production of innovative plays on themes which are relevant to the local society. Kattaikkuttu (also known as Kuttu and Terukkuttu) is a theatre traditionally performed by professional male actors and musicians in the northern parts of Tamil Nadu. It is characterized by an epic story repertoire, featuring especially the Mahabharata, and a heroic style of acting. The special performance of the Mahabharata by a group of Kattaikkuttu performers on the occasion of the Eighth Annual Kattaikkuttu Festival was memorable for the number of firsts the number of barriers broken and the chance to observe a living tradition in the process of growing by innovation. -
Lime Lighting on the Folk Theatre As Ritual
International Journal of New Innovations in Engineering and Technology Lime Lighting On The Folk Theatre As Ritual G. Suganya Research scholar, School of Social Sciences and Languages VIT Chennai Dr. V.Vijayalakshmi Assistant Professor, School of Social Sciences and Languages VIT Chennai LIME LIGHTING ON THE FOLK THEATRE AS RITUAL India is a nation which is bound with numerous rituals and traditions. This diversity is formed by the states and their unique culture and traditions. Tamil literature is considered be the classical literature which has great epic poems, novels, mixed with music, songs, dance and drama. Tamil culture is also blended with numerous forms of arts in music, dance and martial arts. It has a separate place in the history which exhibits the strength and wealth of the ruling king. There are many poets who have written different forms of poems and dramas to communicate with the common people. They have used these folk theatres as a medium to educate and take things to the people. This has served as a major entertainment for the people in the village. Among them the major form of theatre is Therukoothu, Kuravangi Attam and Sevaiattam. This traditional form of storytelling has started with the epic tales of Ramayana, Mahabharata and Puranas. They are a cluster of stories and incidents but still only major tales are enacted like Sita kalyanam, Draupadi Sabatham. They have made a point of registering the major characters of the tale like Rama, Sita, Laksmana, Ravana, Dasaratha, Kausalya, kaikeyi, Bharata, Sumithra, Hanuman, Sugriva in Ramayana and Krishna, the Pandavas – Yudhishthira, Bheema, Arjuna, Nakula, Sahadeva, Draupadi, Kauravas, Duryodhana, Bhishma, Karna, Dronacharya, Shakuni, Dhritrashtra, Gandhari, Kunti in Mahabarath. -
Under the Giant's Tank
UNDER THE GIANT’S TANK VILLAGE, CASTE, AND CATHOLICISM IN POSTWAR SRI LANKA Dominic Esler A thesis submitted to the Department of Anthropology, University College London, for the degree of Doctor of Philosophy. December 2019. 2 I, Dominic Esler, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 4 ABSTRACT This thesis is an investigation of the relationship between the village, caste, and Catholicism in northern Sri Lanka. Drawing on almost two years of ethnographic fieldwork in Mannar District, as well as subsequent archival research, it provides a detailed analysis not only of the postwar context but also of prewar history, with a particular focus on the nineteenth century. In this thesis, I analyse three overlapping topics. First, I problematise ‘village’ through an examination of ‘cultural’ and ‘state’ village concepts, before arguing that within the complex social diversity of the village of Marudankandal there is a numerically dominant Tamil caste group, the Kadaiyars, whose prominence is reflected both rhetorically and through the control of institutions such as the Catholic village church. From this, I turn to two central dimensions of local caste praxis. First, I offer a historical explanation for the regional prevalence of village churches controlled by single castes, which remains a key characteristic of local Catholicism today. Second, I argue that despite the lessening of certain kinds of hierarchical caste relationships in recent decades, caste identities continue to be mobilised and expressed through regional communities, some of which maintain caste associations. -
Curriculum Vitae P
Curriculum Vitae P. Thilagavathi P. Thilagavathi Born on 13th September 1990 First woman co-founder of a Kattaikkuttu Theatre company Sri Krishna Kattaikkuttu Company Thilaga is a founder-member of one of the highest paid Kattaikkuttu companies, with highly acclaimed performances and a fan base across Tamilnadu. P. Thilagavathy Kattaikkuttu Actress “Kattaikkuttu as an art form has been D.O.B 13.09.1990, the ex clusive property of men for Fathers Name: P. Palani centuries; that history has been rewritten by Thilagavathi” V.Neelakandan, Kunkumam magazine, 1 Feb 2016 Wind Dancers Thilaga is a part of the NGO, Wind Dancers Trust; an NGO which works using the arts for social transformation. She designs projects using Kattaikkuttu in the domain of education, empowerment and gender equality. BACKGROUND Kattaikkuttu is a traditional form of Indian theatre, which has been the exclusive domain of male performers only. Thilagavathi, born in 1990, trained under Thiru Perungattur Rajagopalan at the Kattaikkuttu Gurukulam, a unique theatre school founded by him and his wife Thirumathi Hanne M. De Bruin in Kanchipuram District. In 2010, Thilagavathi graduated from the Kattaikkuttu Gurukulam as the first-ever Pictures from top to bottom: female Kattiakkuttu performer, therefore breaking the stereotype that Arjuna (Abhimanyu), this theatre-form is in the domain of men only. She worked as an Make-up, Gypsy Woman Assistant teacher at the Kattaikkuttu Gurukulam till 2013. She then joined (Kuravanchi), Surpanakai (RamaRavana), and Duryodhana [Subhadra Kalyanam]_ Curriculum Vitae P. Thilagavathi the NGO Pudiyador in April, 2013 as a Kattaikkuttu teacher and office staff. In 2014 she founded Sri Krishna Kattaikkuttu Company along with 5 co-artists. -
Moorthy Palani
Curriculum Vitae Moorthy Palani Moorthy Palani Born on 20th May, 1993 Co-founder of Sri Krishna Kattaikkuttu Theatre company Sri Krishna Kattaikkuttu Company Founder-member of one of the highest paid Kattaikkuttu companies, Moorthy is a highly acclaimed performer for both comedic and heroic roles, with a huge fan base. Moorthy is one of the youngest recipients of the Ramachandra Kavirayar award for upcoming Kattaikuttu artists, 2016, given by Kalai Elakkiya Valarchi Arakkattalai association, Chennai Katradi Moorthy is a part of the Katradi initiative of the NGO, Wind Dancers Trust. He facilitates projects for underprivileged youth using Kattaikkuttu in the domain of education, empowerment and social transformation. BACKGROUND Kattaikkuttu is a traditional form of Tamil dance-theatre performed all night long with stories from the great Indian epics Ramayana, Mahabharata and more. Moorthy born in 1993, trained under Thiru Perungattur Rajagopalan at the Kattaikkuttu Gurukulam, a unique theatre school founded by him and his wife Thirumathi Hanne M. De Bruin in Kanchipuram District. In 2010, Moorthy graduated from the Kattaikkuttu Pictures from top to bottom: Gurukulam as the first Kattaikkuttu performer. He worked as an assistant Sakuni (Pakatai tukil), teacher at the Kattaikkuttu Gurukulam until 2014. Kattiyakaran (Kuravanchi), Duryodhanan (Pakatai Tukil), Dharman (Rajasuyagan), Kattiyakaran [Narrator-Clown) Curriculum Vitae Moorthy Palani In 2014 he founded Sri Krishna Kattaikkuttu Company along with five co-artists. In 2015, he joined the NGO Katradi as a design team member and facilitator to use Kattaikkuttu for empathy based social transformation. He has facilitated many workshops on gender, sex abuse, substance abuse and worked on Tamil literacy all using Kattaikkuttu. -
DISCOVER INDIA PROGRAM 2018 Table of Contents
KATTAIKKUTTU: An Art thr ough Time DISCOVER INDIA PROGRAM 2018 Table of Contents Sr. Particulars Page No Number 1 Acknowledgements 2 Abstract 3 List of Images, List of Boxes 4 Chapter 1: Introduction 1.1 Social and Historical Context 1.2 History and Mission of the Sangam 1.3 Research Question 1.4 Methodology 5 Chapter 2: Literature Review 2.1 Ritual and Performance 2.2 Gender and Performance 2.3 Aspect of Kattaikkuttu 2.4 Kattaikkuttu and Caste 2.5 The Kattaikkuttu Sangam 2.6 Naming of the Art Form 2.7 Transitions in the Tradition 2.8 Gaps in the Literature 6 Chapter 3: Kattaikkuttu Sangam (Gurukulam) as a Case-Study for the Art Form 3.1 Why the Kattaikkuttu Sangam as our field of research? 3.2 History of the institution 3.3 Theatre education: What it is and why it’s beneficial? 3.4 Parents and the Sangam 3.5 How the Sangam initiates Social Change i 3.6 Financing the Institution 3.7 Sangam as a troupe and difference from other troupes 7 Chapter 4: Socio-Cultural Transitions and Transformations 4.1 Caste and Kattaikkuttu 4.2 Gender and Kattaikkuttu 4.3 Performance 8 Chapter 5: Oral Histories • Tamilarasi • Selva • Adhinarayan Bharati 9 Chapter 6: Conclusion 10 References 11 Glossary ii CERTIFICATE This is to certify that the work incorporated in this report entitled “Kattaikkuttu: An Art through Time” submitted by the undersigned Research Team was carried out under my mentorship. Such material as has been obtained from other sources has been duly acknowledged. Sr. -
LCSH Section K
K., Rupert (Fictitious character) Homology theory Ka nō (Burmese people) USE Rupert (Fictitious character : Laporte) NT Whitehead groups USE Tha noʹ (Burmese people) K-4 PRR 1361 (Steam locomotive) K. Tzetnik Award in Holocaust Literature Ka Rang (Southeast Asian people) USE 1361 K4 (Steam locomotive) UF Ka-Tzetnik Award USE Sedang (Southeast Asian people) K-9 (Fictitious character) (Not Subd Geog) Peras Ḳ. Tseṭniḳ Ka-taw UF K-Nine (Fictitious character) Peras Ḳatseṭniḳ USE Takraw K9 (Fictitious character) BT Literary prizes—Israel Ka Tawng Luang (Southeast Asian people) K 37 (Military aircraft) K2 (Pakistan : Mountain) USE Phi Tong Luang (Southeast Asian people) USE Junkers K 37 (Military aircraft) UF Dapsang (Pakistan) Kā Tiritiri o te Moana (N.Z.) K 98 k (Rifle) Godwin Austen, Mount (Pakistan) USE Southern Alps/Kā Tiritiri o te Moana (N.Z.) USE Mauser K98k rifle Gogir Feng (Pakistan) Ka-Tu K.A.L. Flight 007 Incident, 1983 Mount Godwin Austen (Pakistan) USE Kha Tahoi USE Korean Air Lines Incident, 1983 BT Mountains—Pakistan Ka tūʺ (Burmese people) K.A. Lind Honorary Award Karakoram Range USE Ka nanʻʺ (Burmese people) USE Moderna museets vänners skulpturpris K2 (Drug) Ka-Tzetnik Award K.A. Linds hederspris USE Synthetic marijuana USE K. Tzetnik Award in Holocaust Literature USE Moderna museets vänners skulpturpris K3 (Pakistan and China : Mountain) Kaa dialect K-ABC (Intelligence test) USE Broad Peak (Pakistan and China) USE Mkaaʾ dialect USE Kaufman Assessment Battery for Children K4 (Pakistan and China : Mountain) Kaa-Iya del Gran Chaco e Izozog, Parque Nacional K-B Bridge (Palau) USE Gasherbrum II (Pakistan and China) (Bolivia) USE Koro-Babeldaod Bridge (Palau) K4 Locomotive #1361 (Steam locomotive) USE Parque Nacional Kaa-Iya del Gran Chaco e K-BIT (Intelligence test) USE 1361 K4 (Steam locomotive) Izozog (Bolivia) USE Kaufman Brief Intelligence Test K5 (Pakistan and China : Mountain) Kaa-Iya del Gran Chaco National Park and Integrated K. -
Krishna : a Sourcebook / Edited by Edwin F
Krishna This page intentionally left blank Krishna A Sourcebook Edited by edwin f. bryant 1 2007 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright Ó 2007 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Krishna : a sourcebook / edited by Edwin F. Bryant. p. cm. Includes bibliographical references. ISBN 978-0-19-514891-6; 978-0-19-514892-3 (pbk.) 1. Krishna (Hindu deity)—Literary collections. 2. Devotional literature, Indic. I. Bryant, Edwin. BL1220.K733 2007 294.5'2113—dc22 2006019101 987654321 Printed in the United States of America on acid-free paper Contents Contributors, ix Introduction, 3 PART I Classical Source Material 1. Krishna in the Mahabharata: The Death of Karna, 23 Alf Hiltebeitel 2. Krishna in the Bhagavad Gita,77 Robert N. Minor 3. The Harivamsa: The Dynasty of Krishna, 95 Ekkehard Lorenz 4. -
Post-Field Positionings Guest Editor: Susan Seizer
1 Indian AFolklife QUARTERLY NEWSLETTER FROM NATIONAL FOLKLORE SUPPORT CENTRE Serial No.23 August 2006 Post-field Positionings Guest Editor: Susan Seizer INDIAN FOLKLIFE SERIAL NO.23 AUGUST 2006 2 BOARD OF TRUSTEES CHAIRMAN Jyotindra Jain Professor and Dean, School of Arts and Aesthetics, NATIONAL FOLKLORE SUPPORT CENTRE Jawaharlal Nehru University, New Delhi National Folklore Support Centre (NFSC) is a non- TRUSTEES governmental, non-profit organisation, registered in Chennai Ajay S. Mehta Executive Director, National Foundation for India, India Habitat Centre, dedicated to the promotion of Indian folklore research, education, Zone 4-A, UG Floor, Lodhi Road, New Delhi training, networking and publications. The aim of the centre is Ashoke Chatterjee to integrate scholarship with activism, aesthetic appreciation with B-1002, Rushin Tower, Behind Someshwar 2, Satellite Road, community development, comparative folklore studies with Ahmedabad cultural diversities and identities, dissemination of information N. Bhakthavathsala Reddy with multi-disciplinary dialogues, folklore fieldwork with Dean, School of Folk and Tribal Lore, Warangal developmental issues and folklore advocacy with public Dadi D. Pudumjee Managing Trustee, The Ishara Puppet Theatre Trust, programming events. Folklore is a tradition based on any expressive B2/2211 Vasant Kunj, New Delhi behaviour that brings a group together, creates a convention and Deborah Thiagarajan commits it to cultural memory. NFSC aims to achieve its goals President, Madras Craft Foundation, Chennai through cooperative and experimental activities at various levels. Molly Kaushal NFSC is supported by a grant from the Ford Foundation. Associate Professor, Indira Gandhi National Centre for the Arts, C.V. Mess, Janpath, New Delhi CONTENTS Munira Sen Executive Director, Madhyam, Bangalore Post-field Positionings ................................... -
The Ramayana Narrative Tradition As a Resource for Performance
1 The Ramayana Narrative Tradition as a Resource for Performance Paula Richman Where does the Ramayana narrative begin and end? The question sounds straightforward, yet no single answer applies to every textual rendition. Most pre- colonial Hindu narratives which retell Rama’s story begin with his birth on earth, but Chandravati’s 16th- century Bengali telling of the story opens with Sita’s birth.1 Some retellings of the story end triumphantly with Rama’s coronation and the inauguration of his dharmic rule. Others, such as a set of women’s songs, take the story onward to narrate Sita’s trials as a “single” parent, raising her sons at Valmiki’s ashram. The Indian Ramayana tradition encompasses many retellings in hundreds of literary works of dif- ferent lengths and narrative arcs. Consider, for example, how differently the story unfolds in these two examples. A brief one in Telugu consists of just three words: kaṭṭe, koṭṭe, tecche, “built [the bridge to Lanka], beat [Ravana], brought [back Sita].”2 The12th- century Irāmāvatāram [The Descent of Rama] in Tamil appears near the opposite side of the spectrum in length; even without counting its extensive interpolations, it runs to more than 10,000 verses.3 Selectivity shapes where and how a retelling starts and ends, as well as which episodes receive emphasis. Selectivity plays an even greater role in how events from the Ramayana tradition are represented in performance. The long and complex Ramayana narrative contains so many episodes and characters that it is rarely performed today in its entirety.4 Most enactments 1 For an English translation of this unique text, see Bose and Bose (2013).