Y8 South Asian Dance Bhangra: Lesson 3
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RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer
RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer PREPARING YOUR SCHOOL FOR THE ENSEMBLE’S VISIT Program Description: The Rhythmunity Ensemble is a group of percussionists hailing from all over the world who present a musical world tour of traditional percussion music. Committed to education in the belief that knowledge of other cultures can break down barriers between cultures, the ensemble has performed for thousands of public school students, college students, teachers, and business people. The program interweaves music, folklore, history, and geography in a very entertaining, educational and accessible presentation. Some of the cultures represented in the program include Cuban, West African, Arab, Indian, and Brazilian. The ensemble members are all highly accomplished musicians who have lived, studied, and performed all over the globe. Terms • Percussion • Balaphone • Guinea • Malinke • India • Conga • Bata Toque • Middle East • Samba • Djembe Musical excerpts to be selected from the following: 1) Traditional rhythms of the Malinke people of Guinea, West Africa, including Zawouli, Kuku, Tiriba and Menjani. 2) Traditional Balaphone from West Africa 3) Traditional rhythms from North Africa and the Middle East. 4) Traditional tabla music from Northern India, and folkloric dhol drum. 5) Cuban rumba and Bata music. 6) The music of Capoeira from northern Brazil 7) Traditional samba batucata from Rio de Janeiro, Brazil. GUIDELINE QUESTIONS FOR FOLLOW-UP DISCUSSION: Q: What instruments were used in today’s program? A: Bells, shekere, djembe, djun-djun, balaphone, tar, Egyptian tabla, riq, tabla,dhol, dholak, bata, congas, clave, berimbau, pandiero, repinique, caxia, surdo, agogo bells Q: What makes a traditional samba band? A: About 400 drummers. -
Music Initiative Jka Peer - Reviewed Journal of Music
VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc. -
Indian Classical Dance Is a Relatively New Umbrella Term for Various Codified Art Forms Rooted in Natya, the Sacred Hindu Musica
CLASSICAL AND FOLK DANCES IN INDIAN CULTURE Palkalai Chemmal Dr ANANDA BALAYOGI BHAVANANI Chairman: Yoganjali Natyalayam, Pondicherry. INTRODUCTION: Dance in India comprises the varied styles of dances and as with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country. These dance forms emerged from Indian traditions, epics and mythology. Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past. These are: Bharatanatyam- Tamil Nadu Kathak- Uttar Pradesh Kathakali- Kerala Kuchipudi- Andhra Pradesh Manipuri-Manipur Mohiniyattam-Kerala Odissi-Odisha Sattriya-Assam Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of South East Asia as well. In modern times, the presentation of Indian dance styles in films (Bollywood dancing) has exposed the range of dance in India to a global audience. In ancient India, dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times. -
Rabindra Sangeet
UNIVERSITY GRANTS COMMISSION NET BUREAU Subject: MUSIC Code No.: 16 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music www.careerindia.com -1- Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. www.careerindia.com -2- Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics. -
Durham Research Online
Durham Research Online Deposited in DRO: 05 August 2016 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Leante, Laura (2009) 'Urban Myth : bhangra and the dhol craze in the UK.', in Music in motion : diversity and dialogue in Europe. Bielefeld: Transcript Verlag, pp. 191-207. Further information on publisher's website: http://www.transcript-verlag.de/978-3-8376-1074-1/ Publisher's copyright statement: This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk (revised version – November 2008) 1 “Urban myth”: bhangra and the dhol craze in the UK Bhangra is believed to have originated in western Punjab (in today’s Pakistan) as a rural male dance performed to the rhythm of the dhol, a large double-headed barrel drum, to celebrate the spring harvest. -
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 -
Assamese Film Siraj and Ajala Kakai Portraying Bihu Dance and Songs As Popular Culture
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 7, Ser. 6 (July. 2019) 30-34 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Assamese Film Siraj and Ajala Kakai Portraying Bihu Dance and Songs as Popular Culture Dr. Debasis Bezbaruah Guest FacultyGauhati University Institute of North East India Studies Corresponding Author: Dr. Debasis Bezbaruah ----------------------------------------------------------------------------------------------------------------------------- --------- Date of Submission: 10-07-2019 Date of acceptance: 25-07-2019 --------------------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION Bihu dance and songs are folk media forms of Assam. Folk media forms of Bihu are vibrant among people of Assam. However Bihu as represented by Assamese cinema creates popular culture forms which are distinctly deviates from folk forms.Assamese cinema has a glorious history since the first ever film Joymoti by Jyotiprasad Agarwala in 1935. Cinema forms the popular culture. At the same time cinema itself is popular culture. In the twentieth and in the twenty first century cinema is the most powerful mass media which can overcome all barriers of boundaries and forms a universal platform for human race. Cinema is inseparable from the living process of modern human society. The voice of a society is represented by cinema. The people, life and living process, thoughts and beliefs, cultural ethos are represented by cinema. Cinema can carry the culture of the society where the cinema is made. The story, theme, characters, settings, costumes, music, dance etc. of a cinema showcase the cultural forms of the representative society. Assamese cinema therefore represents the cultural forms of Assamese society in the broad sense. “Although the word culture is part of everyday vocabulary, it’s difficult to define. -
Indian Cultural Dance Logos Free Download Indian Cultural Dance Logos Non Watermarked Dance
indian cultural dance logos free download indian cultural dance logos non watermarked Dance. Information on North Central Zonal Cultural Centre (NCZCC) under the Ministry of Culture is given. Users can get details of various art forms of various states such as Uttar Pradesh, Bihar, Madhya Pradesh, Rajasthan, Haryana, Uttaranchal and Delhi. Get detailed information about the objectives, schemes, events of the centre. Links of other zonal cultural centers are also available. Website of Eastern Zonal Cultural Centre. The Eastern Zonal Cultural Center (EZCC) is one of the seven such Zonal Cultural Centers set up by the Ministry of Culture with a vision to integrate the states and union territories culturally. Users can get information about the objectives, infrastructure, events, revival projects, etc. Details about the member states and their activities to enhance the cultural integrity are also available. Website of Indira Gandhi National Centre for the Arts. The Indira Gandhi National Centre for the Arts (IGNCA) under the Ministry of Culture is functioning as a centre for research, academic pursuit and dissemination in the field of the arts. Information about IGNCA, its organizational setup, functions, functional units, regional centres, etc. is given. Details related to archeological sites, exhibitions, manuscripts catalogue, seminars, lectures. Website of Jaipur Kathak Kendra. Jaipur Kathak Kendra is a premier Institution working for Training, Promotion & Research of North Indian Classical Dance Kathak. It was established in the year 1978 by the Government of Rajasthan and formally started working from 19th May 1979. Website of North East Zone Cultural Centre. North East Zone Cultural Centre (NEZCC) under Ministry of Culture aims to preserve, innovate and promote the projection and dissemination of arts of the Zone under the broad discipline of Sangeet Natak, Lalit Kala and Sahitya. -
Recreational Facilities Provided in Jails During the Year 2018
Additional Table – 63 Recreational facilities provided in jails during the year 2018 1. Andhra Pradesh Facilities like TV, Newspapers and Indoor games like Chess, Carrom, Shuttle, Tennikoit, etc., are provided in all the prisons in the State and telephone facility is provided to the prisoners confined in Central Prisons, District Prisons and Special Sub Jails. Yoga, Meditation, Legal Aid, Art of Living and Moral Lectures by NGOs. In addition to the above, Libraries are also available in larger prisons. Sports and Games Competitions, Literary Competitions, Cultural Activities, etc. are organized on National Holidays like Republic Day, Independence Day and Mahatma Gandhi Jayanti. 2. Arunachal Pradesh TV, Carrom Board, Chess, Ludo, Volley Ball, Badminton, etc. 3. Assam Indoor Games (Carrom, Chess, Ludo, Badminton, Playing Cards), Outdoor Games (Volley Ball, Cricket), T.V., Harmonium, Tabla, Dhole, Radio, Newspaper reading, Library, etc. 4. Bihar Television, Carrom Board, Ludo, Chess, Badminton, Kushti (Wrestling), Kabaddi, Khokho, Cricket, Football, Volleyball, Gym (Fitness Centre), Gymnasium, Yoga and Meditation. 2 Telephone booths are installed in the jails. Newspaper (Hindi, English, Urdu, Hindustan, Dainik Jagran, Prabhat Khabar, Times of India), Magazines and Library facility. Computer and Electronic type writer are provided in jail. Musical instruments like Electronic Tambura, Sitar, Banjo, Mouth Organ, Flute, Harmonium, Drum Set, Flute, Guitar, Tabla, Casio, Dholak, Jhal, Kartal, Yamaha Key Pad,Triput Set, etc. Musical programme on every Sunday. In order to upgrade recreational facilities, large size HD LED TV, Movie Projector and Projection Screen were installed in the Prisoners’ Community Hall. RSETI Rural Self Employment Training Institute Elementary Education and Adult Education In order to enrich prison library, large number of books concerning various topics such as comic stories, pictorial short stories with moral values, motivational books, stories and good books on other subjects were bought during the period. -
THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice
Paper 11: Special Interest Tourism Module 34: Performing Arts of India: Classical Dances, Folk Dance & HistoricalFolk Culture Development of Tourism and Hospitality in the World THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice Chancellor, Indira Gandhi University, Rewari Co-Principal Investigator Dr. Prashant K. Gautam Director, UIHTM, Panjab University, Chandigarh Paper Coordinator Prof. Deepak Raj Gupta School of Hospitality & Tourism Management (SHTM), Jammu University Content Writer Dr. Arunesh parashar, Chief Coordinator Department Of Tourism Management, Dev Sanskriti University Content Reviewer Prof. Pariskhit Manhas Director , school of hospitality & tourism management Jammu university, Jammu ITEMS DESCRIPTION OF MODULE Subject Name Tourism and Hotel Management Paper Name Special Interest Tourism Module Title Performing Arts of India: Classical Dances, Folk Dances and Folk Culture Module Id 34 Pre- Requisites Basic knowledge about Performing Arts Objectives To develop a basic insight about the performing arts in India Keywords Classical, folks lore, folk dances and folk cultures QUADRANT-I Performing arts are divided into two dimensions of performance: Dance Music Classical dance Bharatnatyam Bharatnatyam originates in Tamil Nadu which is likewise alluded to as artistic yoga and Natya yoga. The name Bharatnatyam is gotten from the word "Bharata’s" and subsequently connected with the Natyashashtra. Though the style of Bharatnatyam is over two thousand years old, the freshness and lavishness of its embodiment has been held even today. The strategy of human development which Bharatnatyam takes after can be followed back to the fifth Century A.D. from sculptural proof. This established move has an entrancing impact as it inspires the artist and the spectator to a larger amount of profound cognizance. -
Drum Kit List
DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing -
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.