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How Modern India Reinvented Classical Dance
ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD. -
Art and Performing Arts Recommended Reading List
Read Around the Subject Art and Performing Arts Recommended Reading List The Poet X by Elizabeth Acevedo – Performing and Poetry A young girl in Harlem discovers slam poetry as a way to understand her mother's religion and her own relationship to the world. Debut novel of renowned slam poet Elizabeth Acevedo. Xiomara Batista feels unheard and unable to hide in her Harlem neighborhood. Ever since her body grew into curves, she has learned to let her fists and her fierceness do the talking. But Xiomara has plenty she wants to say, and she pours all her frustration and passion onto the pages of a leather notebook, reciting the words to herself like prayers, especially after she catches feelings for a boy in her bio class named Aman, who her family can never know about. With Mami's determination to force her daughter to obey the laws of the church, Xiomara understands that her thoughts are best kept to herself. So, when she is invited to join her school' s slam poetry club, she doesn't know how she could ever attend without her mami finding out, much less speak her words out loud. But still, she can't stop thinking about performing her poems. Because in the face of a world that may not want to hear her, Xiomara refuses to be silent Slog's Dad by David Almond - Art Do you believe there's life after death? Slog does. He reckons that the scruffy bloke sitting outside the pork shop is his dad who has come back to visit him for one last time. -
Odisha Review
ODISHA REVIEW VOL. LXXI NO. 2-3 SEPTEMBER-OCTOBER - 2014 MADHUSUDAN PADHI, I.A.S. Commissioner-cum-Secretary BHAGABAN NANDA, O.A.S, ( SAG) Special Secretary DR. LENIN MOHANTY Editor Editorial Assistance Production Assistance Bibhu Chandra Mishra Debasis Pattnaik Bikram Maharana Sadhana Mishra Cover Design & Illustration D.T.P. & Design Manas Ranjan Nayak Hemanta Kumar Sahoo Photo Raju Singh Manoranjan Mohanty The Odisha Review aims at disseminating knowledge and information concerning Odisha’s socio-economic development, art and culture. Views, records, statistics and information published in the Odisha Review are not necessarily those of the Government of Odisha. Published by Information & Public Relations Department, Government of Odisha, Bhubaneswar - 751001 and Printed at Odisha Government Press, Cuttack - 753010. For subscription and trade inquiry, please contact : Manager, Publications, Information & Public Relations Department, Loksampark Bhawan, Bhubaneswar - 751001. Five Rupees / Copy E-mail : [email protected] Visit : http://odisha.gov.in Contact : 9937057528(M) CONTENTS Nabakalebar Bhagaban Mahapatra ... 1 Good Governance ... 5 The Concept of Sakti and Its Appearance in Odisha Sanjaya Kumar Mahapatra ... 8 Siva and Shakti Cult in Parlakhemundi : Some Reflections Dr. N.P. Panigrahi ... 11 Durga Temple at Ambapara : A Study on Art and Architecture Dr. Ratnakar Mohapatra ... 20 Perspective of a Teacher as Nation Builder Dr. Manoranjan Pradhan ... 22 A Macroscopic View of Indian Education System Lopamudra Pradhan ... 27 Abhaya Kumar Panda The Immortal Star of Suando Parikshit Mishra ... 42 Consumer is the King Under the Consumer Protection Law Prof. Hrudaya Ballav Das ... 45 Paradigm of Socio-Economic-Cultural Notion in Colonial Odisha : Contemplation of Gopabandhu Das Snigdha Acharya ... 48 Raghunath Panigrahy : The Genius Bhaskar Parichha .. -
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. -
Negotiating the Self Through Flamenco Dance
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 12-2009 Embodied Identities: Negotiating the Self through Flamenco Dance Pamela Ann Caltabiano Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Part of the Anthropology Commons Recommended Citation Caltabiano, Pamela Ann, "Embodied Identities: Negotiating the Self through Flamenco Dance." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/anthro_theses/33 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN CALTABIANO Under the Direction of Emanuela Guano ABSTRACT Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot- ic” passion. INDEX WORDS: Gender, Dance, Flamenco, Identity, Exoticism, Embodiment, Performance EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN -
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. -
Causelistgenerate Report
WEEKLY DAILY THE HIGH COURT OF ORISSA,CUTTACK LIST OF BUSINESS FOR MONDAY THE 6TH SEPTEMBER 2021 CHIEF JUSTICE'S COURT (2ND FLOOR) AT 10:30 AM THE CHIEF JUSTICE AND MR. JUSTICE B. P. ROUTRAY This Bench will function through hybrid arrangement ( virtual/ physical mode). ( Learned counsel desirous to appearing through Virtual Mode shall intimate the name, item number, case details etc. to the Court Master through Mobile No.8763760499 between 8.00 P.M. to 10.00 P.M. on the previous date of the hearing of the case. ) Learned advocates are requested to submit the memos for urgent listing of matters first to the D.R.(Judicial), and only where the D.R.(Judicial) has communicated that the request has been declined or the date given is not convenient for some reasons, should the matters be mentioned orally before the bench of the Chief Justice or such bench assigned for the purpose. For the oral mentioning before the division bench in Chief Justice’s court through virtual mode and physical mode, learned advocates will first obtain from the court master between 9.30 a.m. and 10.15 a.m. on all working days, over phone no.8763760499, a Mentioning Matter (MM) number. In matters other than fresh admission matters, the learned advocates will furnish to the court master on e-mail id- [email protected] proof of intimation of the mentioning to learned counsel for the opposite parties. When the court of the Chief Justice assembles, the mentioning matters for virtual mentioning will be called out serial wise. -
A Confluence of Odissi and Martial Art - Kalarippayattu at 13Th Dhauli-Kalinga Mahotsav Inaugural Function
A CONFLUENCE OF ODISSI AND MARTIAL ART - KALARIPPAYATTU AT 13TH DHAULI-KALINGA MAHOTSAV INAUGURAL FUNCTION Dhauli – 06.02.2017 - The 13th Dhauli-Kalinga Mahotsav jointly organised by Department of Tourism, Government of Odisha and Orissa Dance Akademy got off to a colourful start at the foothills of ancient Dhauli Shanti Stupa with an invocation of peace befitting to the occasion commemorating what King Ashoka had professed in 3rd Century BC. The festival contains cultural multiplicity and a whole range of diverse stream of performing arts, be it classical, folk or martial. The festival is a unique confluence of more than 500 artistes belonging to various art forms of India and it celebrates Unity in Diversity. The structured programme started with Aikatana - a Confluence of Odissi Dance, Aikatana is a harmonious ensemble of expressional brilliances in Odissi. It's a celebration of diversities within the tradition of Odissi. 7 Groups, 7 Gurus and 7 Styles are coming together to celebrate the spirit of oneness in Odissi. In Aikatana Brahma as absolute void and he is the beginning of the beginning. From one Brahma and the union of Jiba and Parama, three representing Trishakti-Mahakali, Ugratara and Dhumabati, four signifies the four ages, five portrays the five senses, six represent the six enemies, seven goes for seven colour eight talks about Ashta Sambhu, nine contains Nava Rasa and ten represents Dasabatara. The artistes from Srjan, Art Vision, Nupur, Gunjan Dance Academy, Suravi, Utkal Sangita Mohavidayalaya and Orissa Dance Academy representing the Odissi Dance Confluence Aikatna. The dance was choreographed by Guru Aruna Mohanty and Guru Ratikanta Mohapatra and the script was prepared by Shri Kedar Mishra. -
The High Court of Orissa,Cuttack List of Business for Friday the 19Th February 2021 Chief Justice's Court (2Nd Floor)
SUPPLEMENTARY LIST THE HIGH COURT OF ORISSA,CUTTACK LIST OF BUSINESS FOR FRIDAY THE 19TH FEBRUARY 2021 CHIEF JUSTICE'S COURT (2ND FLOOR) AT 10:30 AM THE HON'BLE THE CHIEF JUSTICE AND THE HON'BLE MR. JUSTICE B. P. ROUTRAY CRIMINAL APPLICATINOS & MOTIONS. THIS BENCH WILL FUNCTION THROUGH HYBRID ARRANGEMENT (VIRTUAL/PHYSICAL MODE. Learned Counsel desirous to appearing through Virtual Mode shall intimate the name, item number, case details etc. to the Court Master through Mobile no. 8763760499 between 8.00 P.M. to 10.00 P.M. on the previous date of the hearing of the case. LEARNED ADVOCATES ARE REQUESTED TO SUBMIT THE MEMOS FOR URGENT LISTING OF MATTERS FIRST TO THE D.R.(JUDICIAL), AND ONLY WHERE THE D.R.(JUDICIAL) HAS COMMUNICATED THAT THE REQUEST HAS BEEN DECLINED OR THE DATE GIVEN IS NOT CONVENIENT FOR SOME REASONS, SHOULD THE MATTERS BE MENTIONED ORALLY BEFORE THE BENCH OF THE CHIEF JUSTICE OR SUCH BENCH ASSIGNED FOR THE PURPOSE. FOR THE ORAL MENTIONING BEFORE THE DIVISION BENCH IN CHIEF JUSTICE’S COURT, LEARNED ADVOCATES WILL FIRST OBTAIN FROM THE COURT MASTER BETWEEN 9.30 A.M. AND 10.15 A.M. ON ALL WORKING DAYS, OVER PHONE NO.8763760499, A MENTIONING MATTER (MM) NUMBER. IN MATTERS OTHER THAN FRESH ADMISSION MATTERS, THE LEARNED ADVOCATES WILL FURNISH TO THE COURT MASTER ON e-mail ID- [email protected] PROOF OF INTIMATION OF THE MENTIONING TO LEARNED COUNSEL FOR THE OPPOSITE PARTIES. WHEN THE COURT OF THE CHIEF JUSTICE ASSEMBLES, THE MENTIONING MATTERS WILL BE CALLED OUT SERIAL WISE.) (SUPPLEMENTARY LIST WILL BE TAKEN UP FIRST.) (THIS BENCH WILL RISE AT 12.50 P.M.AND MAY FUNCTION AGAIN AFTER LUNCH.) NUMBER OF SLOTS AND RESPECTIVE V.C. -
Final Senior Fellowship Report
FINAL SENIOR FELLOWSHIP REPORT NAME OF THE FIELD: DANCE AND DANCE MUSIC SUB FIELD: MANIPURI FILE NO : CCRT/SF – 3/106/2015 A COMPARATIVE STUDY OF TWO VAISHNAVISM INFLUENCED CLASSICAL DANCE FORM, SATRIYA AND MANIPURI, FROM THE NORTH EAST INDIA NAME : REKHA TALUKDAR KALITA VILL – SARPARA. PO – SARPARA. PS- PALASBARI (MIRZA) DIST – KAMRUP (ASSAM) PIN NO _ 781122 MOBILE NO – 9854491051 0 HISTORY OF SATRIYA AND MANIPURI DANCE Satrya Dance: To know the history of Satriya dance firstly we have to mention that it is a unique and completely self creation of the great Guru Mahapurusha Shri Shankardeva. Shri Shankardeva was a polymath, a saint, scholar, great poet, play Wright, social-religious reformer and a figure of importance in cultural and religious history of Assam and India. In the 15th and 16th century, the founder of Nava Vaishnavism Mahapurusha Shri Shankardeva created the beautiful dance form which is used in the act called the Ankiya Bhaona. 1 Today it is recognised as a prime Indian classical dance like the Bharatnatyam, Odishi, and Kathak etc. According to the Natya Shastra, and Abhinaya Darpan it is found that before Shankardeva's time i.e. in the 2nd century BC. Some traditional dances were performed in ancient Assam. Again in the Kalika Purana, which was written in the 11th century, we found that in that time also there were uses of songs, musical instruments and dance along with Mudras of 108 types. Those Mudras are used in the Ojha Pali dance and Satriya dance later as the “Nritya“ and “Nritya hasta”. Besides, we found proof that in the temples of ancient Assam, there were use of “Nati” and “Devadashi Nritya” to please God. -
IRDAI Cracks Down on Reliance Health
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