Maria Angelillo University of Milan Italy RETHINKING RESOURCES
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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. -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
Reg. No Name in Full Residential Address Gender Contact No. Email Id Remarks 9421864344 022 25401313 / 9869262391 Bhaveshwarikar
Reg. No Name in Full Residential Address Gender Contact No. Email id Remarks 10001 SALPHALE VITTHAL AT POST UMARI (MOTHI) TAL.DIST- Male DEFAULTER SHANKARRAO AKOLA NAME REMOVED 444302 AKOLA MAHARASHTRA 10002 JAGGI RAMANJIT KAUR J.S.JAGGI, GOVIND NAGAR, Male DEFAULTER JASWANT SINGH RAJAPETH, NAME REMOVED AMRAVATI MAHARASHTRA 10003 BAVISKAR DILIP VITHALRAO PLOT NO.2-B, SHIVNAGAR, Male DEFAULTER NR.SHARDA CHOWK, BVS STOP, NAME REMOVED SANGAM TALKIES, NAGPUR MAHARASHTRA 10004 SOMANI VINODKUMAR MAIN ROAD, MANWATH Male 9421864344 RENEWAL UP TO 2018 GOPIKISHAN 431505 PARBHANI Maharashtra 10005 KARMALKAR BHAVESHVARI 11, BHARAT SADAN, 2 ND FLOOR, Female 022 25401313 / bhaveshwarikarmalka@gma NOT RENEW RAVINDRA S.V.ROAD, NAUPADA, THANE 9869262391 il.com (WEST) 400602 THANE Maharashtra 10006 NIRMALKAR DEVENDRA AT- MAREGAON, PO / TA- Male 9423652964 RENEWAL UP TO 2018 VIRUPAKSH MAREGAON, 445303 YAVATMAL Maharashtra 10007 PATIL PREMCHANDRA PATIPURA, WARD NO.18, Male DEFAULTER BHALCHANDRA NAME REMOVED 445001 YAVATMAL MAHARASHTRA 10008 KHAN ALIMKHAN SUJATKHAN AT-PO- LADKHED TA- DARWHA Male 9763175228 NOT RENEW 445208 YAVATMAL Maharashtra 10009 DHANGAWHAL PLINTH HOUSE, 4/A, DHARTI Male 9422288171 RENEWAL UP TO 05/06/2018 SUBHASHKUMAR KHANDU COLONY, NR.G.T.P.STOP, DEOPUR AGRA RD. 424005 DHULE Maharashtra 10010 PATIL SURENDRANATH A/P - PALE KHO. TAL - KALWAN Male 02592 248013 / NOT RENEW DHARMARAJ 9423481207 NASIK Maharashtra 10011 DHANGE PARVEZ ABBAS GREEN ACE RESIDENCY, FLT NO Male 9890207717 RENEWAL UP TO 05/06/2018 402, PLOT NO 73/3, 74/3 SEC- 27, SEAWOODS, -
Camscanner 07-06-2020 17.45.18
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Ethnological and Legal Study of Jogis
Academic Research Publishing Group The Journal of Social Sciences Research ISSN(e): 2411-9458, ISSN(p): 2413-6670 Vol. 2, No. 3, pp: 48-53, 2016 URL: http://arpgweb.com/?ic=journal&journal=7&info=aims Ethnological and Legal Study of Jogis Vaibhav Jain BBA-LLB (Hons.) Scholar, The Institute of Chartered Financial Analysts of India (ICFAI) University Dehradun – 248197, India Abstract: This paper deals with a community of Jogis which is fighting for its survival in all phases and in each place (country). They are found in major religions but undeveloped and considered to be of low social status in all subcontinents and are victim of society. This community did that type of work for their livelihood which no other community does but they do it for their survival and livelihood. In this paper I throw the light upon the present living conditions and origin of Jogis in Afghanistan and their connections with Jogis of Jain origin these both communities are very petite in number now and the Jogis of Jain origin are may be now fully extinct. Keywords: Jogis; Jainism; Gorakhnath; Afghanistan; Tazkira(citizenship proof); Punjab; Rawal. 1. Introduction The Jogis as a community cannot be said to have any history; there are many branches into which they are split ranging from all Indian subcontinent (including Afghanistan) and pursuing various religions and different way of life. In many reports of UN there are disambiguate that Jogis came from Central Asia (Zahir, 2012) or of Jat origin (Samuel Hall Consulting, 2011),they are of a bigger ethnic group of Jogis which are of indegenious origin, they have a great past and culture they are basically followers of Gorakhnath or of his disciple, so they still live and uses customary beliefs and follow native culture. -
Rajasthan Tour Itinerary V. 5
Exclusive Tour of the Music, Dance and Spiritual Worlds of Rajasthan, India 2016 With Yuval Ron & Sajida Ben-Tzur Take a journey full of rare musical encounters, exquisite dancing, sacred Sufi shrines, stunning landscapes, temples, desert tribal parties and the festive celebrations of Rajasthan 14 glorious days - February 14-27, 2016 The sights of India’s impressive landscapes are the glorious backdrop for a special excursion that enables an intimate, unique introduction to India through its tribal musical culture and the special inhabitants of the Rajasthan desert. Rajasthan (Raj – royal, sthan – land/state) is one of the most colorful states in India. It is a desert region abounding in classical and ancient traditions, where palaces, temples, fortresses and royalty exist alongside villages and tribes. Music in India, and especially in Rajasthan, is a principal part of religious rituals setting the tone for holidays and wedding ceremonies. This music, played for kings when they went off to battle, accompanies the Sufi festivities and provides entertainment for the high society. Bringing the various religions and classes together, the music of Rajasthan opens a door to the fascinating cultural worlds that are the focus and inspiration for this special journey. Sajida Ben-Tzur, our tour guide, is a dancer of Kathak classical Indian and the Rajasthani folk dance traditions, an Indian Chef and the daughter of a Sufi Sheikh from Rajasthan. Sajida (pronounced SAJ-DA) has met and worked with many of the most exceptional musicians in this region. This tour facilitates a personal connection with Rajasthan’s landscapes and people through the ears, the eyes and especially the heart! Feb 14-15, 2016 - Day 1-2: Flight to India Depart on a flight of your choice to Delhi, India. -
Kalbeliya Dance
Kalbeliya Dance drishtiias.com/printpdf/kalbeliya-dance Why in News Recently, due to Covid-19-Pandemic an app called chendavia is gaining popularity among the students of kalbeliya dance. Key Points 1/3 About: Kalbeliya dances are an expression of the Kalbelia community’s traditional way of life. It is associated with a Rajasthani tribe of the same name. It was included in the United Nations Educational, Scientific and Cultural Organizations (UNESCO) list of Intangible Cultural Heritage (ICH) in 2010. UNESCO’s List of Intangible Cultural Heritage is made up of those intangible heritage elements that help demonstrate diversity of cultural heritage and raise awareness about its importance. It was established in 2008 when the Convention for Safeguarding of the Intangible Cultural Heritage came into effect. The dance form consists of swirling; graceful movements that make this dance a treat to behold. The movements associated with the Kalbelia also make it one of the most sensuous forms of folk dance in India. It is generally performed for any joyous celebration and is considered to be an integral part of the Kalbeliya culture. Another unique aspect of the Kalbelia dance is that it is only performed by women while the men play the instruments and provide the music. Instruments & Dress: Women in flowing black skirts dance and swirl, replicating the movements of a serpent, while men accompany them on the “khanjari” instrument and the "poongi", a woodwind instrument traditionally played to capture snakes. The dancers wear traditional tattoo designs, jewellery and garments richly embroidered with small mirrors and silver thread. Kalbeliya Songs: They disseminate mythological knowledge through stories. -
Dances Inscribed in the UNESCO Intangible Cultural Heritage of Humanity a List Compiled by Alkis Raftis
Dances inscribed in the UNESCO Intangible Cultural Heritage of Humanity A list compiled by Alkis Raftis www.CID-world.org/Cultural-Heritage/ The International Dance Council CID, being the official organization for dance, presents a list of dances recognized by UNESCO as part of the Cultural Heritage of Humanity. Dances are part of many customs or rituals included either in the Representative List or the Urgent Safeguarding List. I have listed below only cultural manifestations where dance is the central part. For information visit www.CID-world.org/Cultural-Heritage/ Send comments to the CID Secretariat or CID Sections in the respective countries. Representative List & Urgent Safeguarding List 2018 Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan - Azerbaijan Khon, masked dance drama in Thailand - Thailand Mooba dance of the Lenje ethnic group of Central Province of Zambia - Zambia Mwinoghe, joyous dance - Malawi 2017 Zaouli, popular music and dance of the Guro communities in Côte d’Ivoire - Côte d'Ivoire Kushtdepdi rite of singing and dancing - Turkmenistan Kolo, traditional folk dance - Serbia Kochari, traditional group dance - Armenia Rebetiko – Greece Taskiwin, martial dance of the western High Atlas - Morocco 2016 Almezmar, drumming and dancing with sticks - Saudi Arabia Momoeria, New Year's celebration in eight villages of Kozani area, West Macedonia, Greece - Greece Music and dance of the merengue in the Dominican Republic - Dominican Republic Rumba in Cuba, a festive combination of music and dances and all -
Government of India Ministry of Culture Lok Sabha Unstarred Question No
GOVERNMENT OF INDIA MINISTRY OF CULTURE LOK SABHA UNSTARRED QUESTION NO. 1273 TO BE ANSWERED ON 25TH NOVEMBER, 2019 PRESERVATION OF ANCIENT INDIAN FOLK CULTURE †1273. SHRI AJAY NISHAD: SHRIMATI RANJEETA KOLI: Will the Minister of CULTURE be pleased to state: (a) whether most of the ancient Indian traditional Folk Cultures are disappearing; (b) if so, the details thereof and the names of the ancient folk cultures of the country which is being preserved including the State of Rajasthan; (c) whether the Government proposes to formulate concrete policies to revive and preserve the Indian Folk Arts and Culture and if so, the details of work being executed to preserve these folk cultures along with the name of the Schemes under which the said works are being carried out and the name of the places which are related to the said folk culture; (d) the steps taken by the Government to promote the artists and the details of the promotional schemes implemented for folk artistes; and (e) the details of the funds sanctioned/released for preserving the said folk culture during the last three years? ANSWER MINISTER OF STATE (I/C) FOR CULTURE AND TOURISM (SHRI PRAHLAD SINGH PATEL) (a) to (d) No such formal study in this regard has been conducted so far by the Government. However, for preservation of the ancient folk cultures of the country including Rajasthan, the Government has set up seven Zonal Cultural Centres (ZCCs) with headquarter at Patiala, Nagpur, Udaipur, Prayagraj, Kolkata, Dimapur and Thanjavur. The main objectives of these ZCCs are to protect, promote and preserve various traditional, folk arts and culture of all States/Union Territories. -
1 CENTRAL LIST of Obcs for the STATE of HARYANA Entry No Caste
CENTRAL LIST OF OBCs FOR THE STATE OF HARYANA Entry No Caste/ Community Resolution No. & Date Aheria 12011/68/93-BCC(C) dt. 10/09/1993 Aheri 12015/2/2007-BCC dt. 18/08/2010 Hari 1. Heri Naik Theri or Turi or Thori 2. Barra 12011/68/93-BCC(C) dt. 10/09/1993 Beta 12011/68/93-BCC(C) dt. 10/09/1993 3. Hensi or Hesi 4. Bagria or Bagaria 12011/68/93-BCC(C) dt. 10/09/1993 5. Barwar 12011/68/93-BCC(C) dt. 10/09/1993 Barai 12011/68/93-BCC(C) dt. 10/09/1993 6. Tamboli Baragi 12011/68/93-BCC(C) dt. 10/09/1993 7. Bairagi 8. Battera 12011/68/93-BCC(C) dt. 10/09/1993 Bharbhunja 12011/68/93-BCC(C) dt. 10/09/1993 9. Bharbhuja Bhat 12011/68/93-BCC(C) dt. 10/09/1993 Bhatra 10. Darpi Ramiya 11. Bhuhalia Lohar 12011/68/93-BCC(C) dt. 10/09/1993 12. Changar 12011/68/93-BCC(C) dt. 10/09/1993 13. Chirimar 12011/68/93-BCC(C) dt. 10/09/1993 14. Chang 12011/68/93-BCC(C) dt. 10/09/1993 Chimba or Chhimba, 12011/68/93-BCC(C) dt. 10/09/1993 Chhipi, 12011/44/99-BCCdt. 21/09/2000 15. Chimpa, Darzi, Rohilla 16. Daiya 12011/68/93-BCC(C) dt. 10/09/1993 17. Dhobi 12011/68/93-BCC(C) dt. 10/09/1993 18. Dakaut 12011/68/93-BCC(C) dt. 10/09/1993 Dhimar, 12011/68/93-BCC(C) dt. -
Just Dance / जट डाॊस, Boogie Woogie / फूगी वूगी
PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 15 KATHAK AS VOCATION For long has dance been a vocation in India. Both men and women have been ritual dance specialists associated with temples and monasteries. The story of the Devadasis, Maibis and Maharis / भहायी is well known. There are monk dancers in Assam called bhakats who are examples of males who dedicate their lives to the performance of dance as an offering and a ritual in a temple. There were also public platforms, where for entertainment purposes men and women danced. Chhau / छाऊ, Raibenshe / यैफᴂशे, Yakshagana / मऺगान, Kuchipudi / कु चिऩुड़ी, etc are examples of how and when traditionally males’ danced. Some of the women belonging to specific communities were associated with dancing for entertainment. For instance the Kalbelia / कारफेलरमा, Rai / याइ and Bedia / फेडडमा women were for centuries known to dance for entertainment. It is believed that the Bedia women danced for the laborers from different parts of the word who had collected at Taj Ganj at the time of the building of the Taj Mahal. Later they were among the communities and tribes that entertained the British troupes. Today many Bedia girls are among the Bar dancers of Mumbai. Apart from these girls there was also a group of traditional performers called by various names- Tawaif / तवामप, baijis / फाईजी, 1 etc. They were a whole range of professional dancing girls, some so talented that they had access to the highest centres of power, like the palace and the courtly setting, and were well integrated with the royals and the aristocracy. -
Mughal Paintings (16Th – 19Th Century)
UNIT - III PERFORMING ARTS • Performing arts refers to forms of art in which artists use their voices, bodies or inanimate objects to convey artistic expression. It is different from visual arts, which is when artists use paint, canvas or various materials to create physical or static art objects. • Performing arts include a range of disciplines which are performed in front of a live audience, inducing theatre, music, and dance INDIAN MUSIC • Owing to India's vastness and diversity, Indian Music encompass numerous genres, multiple varieties and forms which include classical music, folk music, filmi, rock, and pop. It has a history spanning several millennia and developed over several geo- locations spanning the sub-continent. • Hindustani Classical Music: Indian classical music found throughout North India. The style is sometimes called North Indian classical music or Shāstriya Sangīt. It is a tradition that originated in Vedic ritual chants and has been evolving since the 12th century CE, in North India and to some extent in Nepal and Afghanistan. • Carnatic music (Karnataka Sangita): A system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu. • It is one of two main sub-genres of Indian classical music that evolved from ancient Hindu traditions; the other sub-genre being Hindustani music, which emerged as a distinct form because of Persian and Islamic influences in North India. FOLK MUSIC IN INDIA Introduction The music of common people, farmers, village occupational, masses adorned with beautiful simple lyrics and rhythms, interesting poetry depicting nature and human mind.