In Dance. Bollywood, Dance Was the Only Medium Through Which This Diversity Could Be by Chanel Samson Preserved and Expressed
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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. -
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. -
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 -
Folk Instruments of Punjab
Folk Instruments of Punjab By Inderpreet Kaur Folk Instruments of Punjab Algoza Gharha Bugchu Kato Chimta Sapp Dilruba Gagar Dhadd Ektara Dhol Tumbi Khartal Sarangi Alghoza is a pair of woodwind instruments adopted by Punjabi, Sindhi, Kutchi, Rajasthani and Baloch folk musicians. It is also called Mattiyan ,Jōrhi, Pāwā Jōrhī, Do Nālī, Donāl, Girāw, Satārā or Nagōze. Bugchu (Punjabi: ਬੁਘਚੂ) is a traditional musical instrument native to the Punjab region. It is used in various cultural activities like folk music and folk dances such as bhangra, Malwai Giddha etc. It is a simple but unique instrument made of wood. Its shape is much similar to damru, an Indian musical instrument. Chimta (Punjabi: ਚਚਮਟਾ This instrument is often used in popular Punjabi folk songs, Bhangra music and the Sikh religious music known as Gurbani Kirtan. Dilruba (Punjabi: ਚਿਲਰੱਬਾ; It is a relatively young instrument, being only about 300 years old. The Dilruba (translated as robber of the heart) is found in North India, primarily Punjab, where it is used in Gurmat Sangeet and Hindustani classical music and in West Bengal. Dhadd (Punjabi: ਢੱਡ), also spelled as Dhad or Dhadh is an hourglass-shaped traditional musical instrument native to Punjab that is mainly used by the Dhadi singers. It is also used by other folk singers of the region Dhol (Hindi: ढोल, Punjabi: ਢੋਲ, can refer to any one of a number of similar types of double-headed drum widely used, with regional variations, throughout the Indian subcontinent. Its range of distribution in India, Bangladesh and Pakistan primarily includes northern areas such as the Punjab, Haryana, Delhi, Kashmir, Sindh, Assam Valley Gagar (Punjabi: ਗਾਗਰ, pronounced: gāger), a metal pitcher used to store water in earlier days, is also used as a musical instrument in number of Punjabi folk songs and dances. -
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. -
Alankar: First Year Coursepack
LEVEL ONE WORKSHEETS The activities of the worksheet must be completed by the students. They may refer to class notes and online resources. Completed worksheets should be submitted as part of the online theory exam in the last week of February. Unfinished worksheets may be submitted with the theory exam of the following year. 1. Concepts Mangalacharan: This is the very first item a student of Odissi learns. This is an invocatory item in which one pays tribute to Mother Earth, Lord Jagannath and other Gods, also with stanzas to welcome the audience and to thank one's Gurus. "Mangala" means goodness, and "charan" mean wishing. Mangalacharan's rhythmic sequence of steps forming the Bhumi Pranam (salutation to Mother Earth) and Trikhandi Pranam (three-fold salutation to God, the Guru, and the audience) will be completed. Bhumi Pranam: The lesson starts with an brief and respectful apology to the Earth, for we are about to spend the next hour stamping on her. Tribhanga: The dancer's body is divided into three bhangas along which deflections of the head, torso and hips can take place. The technique is built on the principle of an unequal division of weight and the shift of weight from one foot to the other. The movement of the head, the torso, the hips and the knees, are important. Hip deflection is the characteristic feature of this dance style. The tribhanga is one of the most typical poses of Odissi dancing. Chowka: In this stance, weight is equally distributed and altogether four right angles create a perfect geometrical motif. -
Breaking Boundaries: Bhangra As a Mechanism for Identity
Running head: BREAKING BOUNDARIES 1 Breaking Boundaries: Bhangra as a Mechanism for Identity Formation and Sociopolitical Refuge Among South Asian American Youths A Thesis Presented By Quisqueya G. Witbeck In the field of Global Studies & International Relations Northeastern University June 2018 BREAKING BOUNDARIES 2 Table of Contents Abstract……………………………………………………………………………………...3 Introduction………………………………………………………………………………….4 Literature Review…………………………………………………………………………....4 Cultural Expression & Identity Formation………………………………………….6 Challenges to Plurality………………………………………………………………7 Expanding Scope & Audience………………………………………………………9 Implications of Cultural Fusion…………………………………………………….10 Summary...………………………………………………………………………….12 Methodology……………………………………....………………………………………...12 Topics……………………………………………………………………………….12 Subjects……………………………………………………………………………..14 Analysis……………………………………………………………………………..16 Data………………………………………………………………………………………......17 Kirapa ate Sakati Bhangra…………………………………………………………..18 The Comparison Group……………………………………………………………..18 The Individuals……………………………………………………………………...19 Discussion…………………………………………………………………………………....27 Background………………………………………………………………………….27 Team Dynamics Structure & Authenticity ………………………………………….28 Originality: Crafting a Style………………………………………………………....31 Defining Desi: Negotiating Identity and Expectations in a Shared Medium………..32 Opinions & ideals.…………………………………………...……………...32 Credibility, expectations & exposure…………………...…………………..33 Refuge……………………………………………………………………………….36 Conclusions………………………………………………………………………………......39 -
Y8 South Asian Dance Bhangra: Lesson 3
09/07/2020 Y8 South Asian Dance Bhangra: Lesson 3 Y8 South Asian Dance Bhangra: Lesson 3 Read through the following information in regard to South Asian Dance and in particular for this week Kathak Dance. Once you have read the information please complete the quiz. All the answers to the questions are within the information below. *Required 1. Name and Class https://docs.google.com/forms/d/1mQCE2DiUnfhcw2v0hwMhMOxH4QaNrt2qFplFWBxW3O0/edit 1/7 09/07/2020 Y8 South Asian Dance Bhangra: Lesson 3 What is South Asian Dance? South Asian dance encompasses dance forms originating from the Indian subcontinent (India, Pakistan, Bangladesh and Sri Lanka) and varies between classical and non-classical dance. The classical dance forms often described as Indian Classical Dance include Bharatanatyam, Kathak, Odissi, Kuchipudi, Kathakali, Manipuri, Mohiniyattam and Sattriya. Other dance forms include Kalaripayattu or Kalari and Chhau which are influenced by martial art. The non-classical dance are Bollywood dance and folk dances such as Bhangra, Garba, Kalbelia and Bihu dance. (https://akademi.co.uk/) We are going to take a closer look at 3 of these Dance forms: Bollywood, Kathak and Bhangra. In Lesson 3 we will be looking at Bhangra Dance in more depth. Bhangra refers to several types of dance originating from the Punjab region of the Indian subcontinent and it is a celebratory folk dance which welcomes the coming of spring, or Vaisakhi, as it is known. Bhangra dance is based on music from a dhol, folk singing, and the chimta (tongs with bells). The accompanying songs are small couplets written in the Punjabi language called bolis. -
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. -
Music & Dance Examinations
MUSIC & DANCE EXAMINATIONS I. THE AIMS AND OBJECTIVES OF THE FACULTY ARE 1. To encourage the study of Performing Arts as a vocation 2. To institute degree and Junior Diploma Courses in Performing Arts 3 To produce artists of high order and to train and prepare teachers well versed in theory, practice and history of Performing Arts; 4 To conduct research and to carry on auxiliary activities such as collection and publication of manuscripts; 5. To develop a high standard of education and knowledge of the Theory of Music and aesthetics, both ancient and modern, through the study of old and new literature in Sanskrit and other languages and give training in performing arts as a vocation 6. To make special arrangements by way of extension course for those who are not otherwise qualified to be admitted to the Faculty. 7. The Faculty while serving as a repository of all forms of Music including different schools of Music and regional styles, seeks to preserve the traditional methods of teaching and in doing so makes use of all modern techniques e.g. notation and Science of voice culture. In furthering the objectives laid down above, the Faculty arranges for lectures, concerts, demonstrations and excursion tours to important centers of Music in India. II. ADMISSION TO COLLEGES/FACULTIES OF THE UNIVERSITY 1. The last date for admission to all the constituent Colleges / Faculties of the University shall be fixed each year by the Academic Council. 2. Each College/ Faculty maintained by the University shall have a separate form of application which will be serially numbered and issued by the Principal/Dean of the College /Faculty concerned, on payment of the prescribed amount of application fee or by any other officer deputed by University. -
Simon Sing Horo Scholarship for the Year 2020-21.Xlsx
List of Beneficiaries selected for Simon Sing Horo (Special Post-Matric) Scholarship for the year 2020-21 Sl. Application ID Applicant's Name Guardian's Name Sub Division Tea Garden Address Account Number IFSC Bank Name Amount (Rs.) No. 1 7876931821 PRIYANKA CHICK BARAIK JAIPAL CHICK BARAIK BARPETA FATEMABAD TEA P.S- GOBARDHANA 73012310002345 SYNB0007301 SYNDICATE BANK 10000.00 ESTATE 2 2895265604 RAHUL TIGGA JOSHEP TIGGA BARPETA FATEMABAD TEA P.S- GOBARDHANA 73012250097156 SYNB0007301 SYNDICATE BANK 10000.00 ESTATE 3 6257891946 SONAMONI SWANSI DILIP SWANSI BARPETA FATEMABAD TEA P.S- GOBARDHANA 36209201376 SBIN0002013 STATE BANK OF INDIA 10000.00 ESTATE 4 3602754679 NIYAR SOYMURUM DAUD SOYMURUM BARPETA FATEMABAD TEA P.S- GOBARDHANA 38194761052 SBIN0015078 STATE BANK OF INDIA 10000.00 ESTATE 5 9625478265 FLOWRENCE SWANSI MARIUS SWANSI BARPETA FATEMABAD TEA P.S-GOBARDHANA 7105026007555 UTB10RRBAGB ASSAM GRAMIN VIKASH 10000.00 ESTATE BANK 6 3819005190 AJAY TIGGA BHUBAN TIGGA BARPETA FATEMABAD TEA VILL-MAYANGPARA P.O- 38016561515 SBIN0018805 STATE BANK OF INDIA 10000.00 ESTATE BARENGABARI P.S-GOBARDHANA DIST-BARPETA ASSAM 7 4429396329 HUBERT SANDIPURTI MARTIN SANDIPURTY BARPETA FATEMABAD TEA FATEMABAD TEA ESTATE 39288239598 SBIN0018557 STATE BANK OF INDIA 10000.00 ESTATE 8 4306365387 KARAN URANG LODRO URANG BARPETA FATEMABAD TEA P.S- GOBARDHANA 73012250109872 SYNB0007301 SYNDICATE BANK 10000.00 ESTATE 9 2781740292 CRESENCIA KUJUR LAWRENCE KUJUR BARPETA FATEMABAD TEA P.S- GOBARDHANA 7105026005350 UTBI0RRBAGB ASSAM GRAMIN VIKASH 10000.00 ESTATE -
INSTA February 2021 Static Quiz Compilation
INSTA STATIC QUIZ FEBRUARY 2021 WWW.INSIGHTSONINDIA.COM INSIGHTSIAS INSTA STATIC QUIZ Table of Contents 1. POLITY ............................................................................................................................................. 2 2. ART AND CULTURE ......................................................................................................................... 21 3. HISTORY ......................................................................................................................................... 45 www.insightsonindia.com 1 InsightsIAS INSTA STATIC QUIZ 1. Polity 1) Consider the following statements regarding Regulating Act, 1773 1. It prohibited the servants of the company from engaging in any private trade. 2. It made the governors of Bombay, Madras and Bengal presidencies independent of one another. 3. It introduced, for the first time, local representation in the Indian (Central) Legislative Council. Which of the above statements is/are correct? a) 1, 2 b) 1, 3 c) 1 only d) 2, 3 Solution: c) Regulating Act of 1773 was the first step taken by the British Government to control and regulate the affairs of the East India Company in India. Features of the Act 1. It designated the Governor of Bengal as the ‘Governor-General of Bengal’ and created an Executive Council of four members to assist him. The first such Governor-General was Lord Warren Hastings. 2. It made the governors of Bombay and Madras presidencies subordinate to the governor general of Bengal, unlike earlier, when the three presidencies were independent of one another. 3. It provided for the establishment of a Supreme Court at Calcutta (1774) comprising one chief justice and three other judges. 4. It prohibited the servants of the Company from engaging in any private trade or accepting presents or bribes from the ‘natives’. 5. It strengthened the control of the British Government over the Company by requiring the Court of Directors (governing body of the Company) to report on its revenue, civil, and military affairs in India.