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Utilization of 'Urni' in Our Daily Life
International Journal of Research p-ISSN: 2348-6848 e-ISSN: 2348-795X Available at https://edupediapublications.org/journals Volume 03 Issue 12 August 2016 Utilization of ‘Urni’ in Our Daily Life Mr. Ashis Kumar Pradhan1, Dr. Subimalendu Bikas Sinha 2 1Research Scholar, Bhagwant University, Ajmer, Rajasthan, India 2 Emeritus Fellow, U.G.C and Ex Principal, Indian college arts & Draftsmanship, kolkata “Urni‟ is manufactured by few weaving Abstract techniques with different types of clothing. It gained ground as most essential and popular „Urni‟ is made by cotton, silk, lilen, motka, dress material. Starting in the middle of the tasar & jute. It is used by men and women. second millennium BC, Indo-European or „Urni‟ is an unstitched and uncut piece of cloth Aryan tribes migrated keen on North- Western used as dress material. Yet it is not uniformly India in a progression of waves resulting in a similar in everywhere it is used. It differs in fusion of cultures. This is the very juncture variety, form, appearance, utility, etc. It bears when latest dynasties were formed follow-on the identity of a country, region and time. the flourishing of clothing style of which the „Urni‟ was made in different types and forms „Urni‟ type was a rarely main piece. „Urni‟ is a for the use of different person according to quantity of fabric used as dress material in position, rank, purpose, time and space. Along ancient India to cover the upper part of the with its purpose as dress material it bears body. It is used to hang from the neck to drape various religious values, royal status, Social over the arms, and can be used to drape the position, etc. -
Odisha Review
ODISHA REVIEW VOL. LXXIV NO.4 NOVEMBER - 2017 SURENDRA KUMAR, I.A.S. Commissioner-cum-Secretary LAXMIDHAR MOHANTY, O.A.S Director 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 Kishor Kumar Sinha Raju Singh Manoranjan Mohanty Niranjan Baral 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. Rs.5/- Five Rupees / Copy E-mail : [email protected] Visit : http://odisha.gov.in Contact : 9937057528(M) CONTENTS Good Governance ... ... 1 Baliyatra : A Festival of Odisha's Ancient Maritime Trade Dr. Rabindra Nath Dash ... 13 Measuring Fiscal Performance of Indian States with Special Dr. Bibhuti Ranjan Mishra ... 17 Reference to Odisha Prof. Asit Ranjan Mohanty Kalinga and Champa : A Study in Ancient Maritime Relations Dr. Benudhar Patra ... 22 Paika Rebellion of 1817 : The First Independence War of India Akshyaya Kumar Nayak ... 27 Boita Bandana Festival and Water Pollution Dr. Manas Ranjan Senapati ... 32 Odisha Welcomes the World as Tourist But Bids Farewell as Friend Debadutta Rath ... 34 Exploring the Lost River(s) at Konark : Chirashree Srabani Rath, ... 39 A Multi-Disciplinary Approach Rashmi Ranjan Behera, Subhomay Jana, Priyadarshi Patnaik, and William K. -
Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME
Learning Outcome based Curriculum Framework (LOCF) For Undergraduate Programme B.P.A. (Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME Syllabus and Scheme of Examination This shall be applicable for students seeking admission in B.P.A. Odissi Dance Programme in 2020-2021 DEPARTMENT OF PERFORMING ARTS Faculty of Indic Studies Sri Sri University DPA-B.P.A. (O.D.) Page 0 Introduction – The proposed programme shall be conducted and supervised by the Faculty of Indic Studies, Department of Performing Arts, Sri Sri University, Cuttack (Odisha). This programme has been designed on the Learning Outcomes Curriculum Framework (LOCF) under UGC guidelines, offers flexibility within the structure of the programme while ensuring the strong foundation and in-depth knowledge of the discipline. The learning outcome-based curriculum ensures its suitability in the present day needs of the student towards higher education and employment. The Department of Performing Arts at Sri Sri University is now offering bachelor degree program with specialization in Performing Arts (Odissi Dance and Hindustani Vocal Music) Vision – The Department of Performing Arts aims to impart holistic education to equip future artistes to achieve the highest levels of professional ability, in a learning atmosphere that fosters universal human values through the Performing Arts. To preserve, perpetuate and monumentalize through the Guru-Sishya Parampara (teacher-disciple tradition) the classical performing arts in their essence of beauty, harmony and spiritual evolution, giving scope for innovation and continuity with change to suit modern ethos. Mission : To be a center of excellence in performing arts by harnessing puritan skills from Vedic days to modern times and creating artistic expressions through learned human ingenuity of emerging times for furtherance of societal interest in the visual & performing arts. -
Classicism in Indian Dance Styles: Natya, Nṛtta and Nṛtya
GAP PARAMPARA A GLOBAL JOURNAL OF ART, AESTHETICS AND CULTURE CLASSICISM IN INDIAN DANCE STYLES: NATYA, NṚTTA AND NṚTYA Manasi Raghunandan Abstract BharataNa̅ tyam , Kathak, Kathakali, Mohini Attam, Manipuri, Kuchipudi, Odissi, Sattriya are considered as the Indian classical dance forms. It has a long established timeline of its origin, history and development. And there are several factors affecting the structure of the current format of these classical dance forms, however, each dance form which falls under the classical genre, does have a great source of base from the Natya Shastra and later, influence from Abhinaya Darpana and the latter books on dance. Classicism in Indian classical dance is non-obsolete as in India people follow the traditions, mythology and cultural aspects closely. Indian dance of the classical genre is not confined any more to the boundaries of being strictly religious in nature however, one cannot identify Indian classical dance without the Indian philosophical ideologies and has socio-spiritual substance CLASSICISM IN INDIAN DANCE STYLES: NATYA, NṚTTA AND NṚTYA. India, the land of diverse cultures, traditions and ancient practices, is the most celebrated place of pioneering complex, intricate and technical genres of music, dance alongside spirituality. Indian dances cannot be considered to be in its full identity, if the classical forms are not spoken about. Classical practice is an integral part of the Indian society and has been a key source to put India strong up ahead, on the world cultural map. Indian classical dance is complete in its technique and form when it is mapped with classical music, literature, its history along with the geographical and regional interdependences as well as socio-cultural impressions, visible in it. -
Mardal, Odissi, a O Solely in with Integral D Tradition Recognition Call V Also the Sculpture, Accompanied a Vibrant on Rich Growth
PARIPEX - INDIAN JOURNAL OF RESEARCH Volume-8 | Issue-3 | March-2019 | PRINT ISSN No - 2250-1991 ORIGINAL RESEARCH PAPER Social Science CULTURAL TRADITION OF ODISHA AND MARDAL: KEY WORDS: Mardal, Odissi, A CRITICAL ANALYSIS Culture, Music Dibakar Parida Faculty Of Odissi Vocal, Utkal University Of Culture, Bhubaneswar Odisha is considered as the land of arts and the music of this land shall remain forever. this a land where, the sweet chirping sounds of birds amid the dense green forests here, the rhythmic sound beats produced by the waterfalls and rivers, the roaring sounds of sea waves exist only on this land and all these nature's gift's are reflected in the art, literature, music and dance of this land which is not found in other art forms. There is uniqueness in the development of Aryan, Dravid and austik. Odissi style of classical music has some similarity with Hindustani 'Dhrupad' style. 'Gamak' is common to both, though Odissi also adopts the ABSTRACT 'Tom Nom' sounds. The percussion instrument played with Odissi music is the 'Mardal', which is similar to 'Pakhawaj'. The sculpture of Kalinga is unique in itself varies from the sculpture melodious sounds vibrating from this 'Maadal' or 'Mardal' of north India and south India. Accordingly the Odissi style of music instrument used to create an amazing and magical feeling among has its own uniqueness and it is quite different from north Indian the audience. Earlier these 'Sabar' tribals used to call this 'Maadal' and south Indian music. Temple sculptures in Odisha abound in instrument as 'Mattal' (meaning intoxicating). -
The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History Paromita Kar a Dissertation S
THE DEBAPRASAD DAS TRADITION: RECONSIDERING THE NARRATIVE OF CLASSICAL INDIAN ODISSI DANCE HISTORY PAROMITA KAR A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN DANCE STUDIES YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2013 @PAROMITA KAR, 2013 ii Abstract This dissertation is dedicated to theorizing the Debaprasad Das stylistic lineage of Indian classical Odissi dance. Odissi is one of the seven classical Indian dance forms recognized by the Indian government. Each of these dance forms underwent a twentieth century “revival” whereby it was codified and recontextualized from pre-existing ritualistic and popular movement practices to a performance art form suitable for the proscenium stage. The 1950s revival of Odissi dance in India ultimately led to four stylistic lineage branches of Odissi, each named after the corresponding founding pioneer of the tradition. I argue that the theorization of a dance lineage should be inclusive of the history of the lineage, its stylistic vestiges and philosophies as embodied through its aesthetic characteristics, as well as its interpretation, and transmission by present-day practitioners. In my theorization of the Debaprasad Das lineage of Odissi, I draw upon Pierre Bourdieu's theory of the habitus, and argue that Guru Debaprasad Das's vision of Odissi dance was informed by the socio-political backdrop of Oriya nationalism, in the context of which he choreographed, but also resisted the heavy emphasis on coastal Oriya culture of the Oriya nationalist movement. My methodology for the project has been ethnographic, supported by original archival research. -
Classical2.Pdf
Contents Chapter-I 19 Introduction Odia & Odisha 1.1 Udra to Odisha 1.2 Literary and Epigraphical Sources 1.3 Visitors’ Accounts Chapter-II 29 Odia Language and Script 2.1 Odia Language 2.2 Odia Script CONTENTS a. Odia Script in the Inscription b. Odia Script in Palm leaf manuscripts Chapter-III 41 Pre-History of Odisha 3.1 Stone Age Culture 3.2 Copper – Bronze Age 3.3. Iron / Megalithic Age 3.4 Pre-historic sites Chapter-IV History of Odisha 4.1 Kalinga Janapada 4.2 Nanda Rule 4.3 Kalinga War and Mauryan Empire 4.4 Mahameghavana Emperor 4.5 Satavahana & Murundas 4.6 Naga dynasties 4.7 The Guptas 4.8 The Matharas 4.9 The Eastern Gangas 4.10 The Sailodbhavas 4.11 The Sailodbhavas & Srivijaya kingdom 4.12 The Bhaumakaras 4.13 The Somavamsis 4.14 The Imperial Gangas 4.15 The Suryavamsi 4.16 Afghan rule .................................................................................................................................... 4.17 Mughal Rule 4.18 Maratha Rule 4.19 British Rule 4.20 Freedom movement 4.21 Lessons of History Chapter-V Maritime history of Odisha 5.1 Crafts and Trade 5.2 Boita 5.3 Bali Jatra 5.4 Ancient Ports of Odisha a. Tamralipti b. Palur/ Dantapura c. Che-li-ta-lo d. Golbai Sasan e. Manikpatna and Khalakatapatna f. Dosareene g. Pithunda od Pihunda 5.5 Literary Sources 5.6 Inscriptional and Epigraphic records 5.7 Archaeological Evidence CONTENTS 5.8 Numismatic Evidence 5.9 Art and Sculptural Evidence 5.10 Overseas Routes 5.11 Overseas contacts & Colonization a. Burma b. Java c. -
LOCF) for Undergraduate Programme BPA (Odissi Dance
Learning Outcome based Curriculum Framework (LOCF) For Undergraduate Programme B.P.A. (Odissi Dance) 2019 THREE YEAR FULL TIME PROGRAMME Syllabus and Scheme of Examination This shall be applicable for students seeking admission in B.P.A. Odissi Dance Programme in 2019-2020 DEPARTMENT OF PERFORMING ARTS Faculty of Indic Studies Sri Sri University DPA-B.P.A. (O.D.) Page 0 Introduction – The proposed programme shall be conducted and supervised by the Faculty of Indic Studies, Department of Performing Arts, Sri Sri University, Cuttack (Odisha). This programme has been designed on the Learning Outcomes Curriculum Framework (LOCF) under UGC guidelines, offers flexibility within the structure of the programme while ensuring the strong foundation and in-depth knowledge of the discipline. The learning outcome-based curriculum ensures its suitability in the present day needs of the student towards higher education and employment. The Department of Performing Arts at Sri Sri University is now offering bachelor degree program with specialization in Performing Arts (Odissi Dance and Hindustani Vocal Music) Vision – The Department of Performing Arts aims to impart holistic education to equip future artistes to achieve the highest levels of professional ability, in a learning atmosphere that fosters universal human values through the Performing Arts. To preserve, perpetuate and monumentalize through the Guru-Sishya Parampara (teacher-disciple tradition) the classical performing arts in their essence of beauty, harmony and spiritual evolution, giving scope for innovation and continuity with change to suit modern ethos. Mission : To be a center of excellence in performing arts by harnessing puritan skills from Vedic days to modern times and creating artistic expressions through learned human ingenuity of emerging times for furtherance of societal interest in the visual & performing arts. -
INSIDE Aekalavya Awardees Lasyakala & Artists Guru Deba Prasad Nrutyadhara & Artists a Vista of Indian Art, Culture
1st Edition of A Vista of Indian Art, Culture and Dance INSIDE Aekalavya Awardees Lasyakala & Artists Guru Deba Prasad Nrutyadhara & Artists Channel Partners Transactions Per Month Employees Developer Clients Happy Customers Monthly Website Visitors Worth of Property Sold India Presence : Ahmedabad | Bengaluru | Chennai | Gurugram| Hyderabad | Jaipur Kolkata | Lucknow | Mumbai | Navi Mumbai | New Delhi | Noida | Pune | Thane | Vishakhapatnam | Vijayawada Global Presence : Abu Dhabi | Bahrain| Doha | Dubai | Hong Kong | Kuwait | Muscat | Melbourne | Sharjah Singapore | Sydney | Toronto WWW.SQUAREYARDS.COM SY Solutions PTE Limited, 1 Raffles Place, Level 19-61, One Raffles Place, Tower 2, Singapore - 048616 Message J P Jaiswal, Chairman & Managing Director, Peakmore International Pte Ltd Past Director, Singapore Indian Chamber of Commerce & Industry (2014-2018) Dear Friends, It gives me immense pleasure to congratulate Guru Deba Prasad Nrutyadhara, Singapore and the organizers for bringing the popular production Aekalavya Season 11. Congratulations to the esteemed team of Lasyakala for co-producing this beautiful act in classical dance form. It’s also a matter of joy that Padmabibhushan Shilpiguru Mr Raghunath Mohapatra shall grace the program as Chief Guest. I also congratulate to all Aekalavya Season-11 Awardees and extend my best wishes to all the performers. My heartfelt best wishes for a successful performance and wish a joyful evening to all audience. Finally, once again, I thank the organizers for all the effort -
The Story and History of Odissi Dance and Sri Geeta Govinda
Orissa Review # May - 2008 The Story and History of Odissi Dance and Sri Geeta Govinda Dr. Jasobanta Narayan Dhar The tradition of Odissi dance is almost 2000 It was said that one older temple existed at years old. It is gleaned from the past records that the same place reffered to as neelachala or Blue the first clear picture of Odissi dance was available mountain, and Chodagangadeva constructed a in Manchapuri Gumpha of Udayagiri, which was temple at that place by renovating or moving the carved at the time of King Maha Megha Vahana debris of dialapiated temple. The legends of Aira Kharvela. Flanked by two queens, Indradyumna and Galamadhava gave ample (Simhapatha Rani and Bajira Ghara Rani) King testimonies to this probability. However, existence Kharavela himself was watching a dance recital of Lord Jagannath along with brother Balabhadra where a damsel was performing dance in front of and sister Subhadra was there as we have with the court; there were several accompanists us the famous hymn composed by Adishankar including female instrumentalists. Thus, the Odissi who visited this place in 9th/10th century and dance can be traced back to its origin as a secular established his monastery at this place. In his dance, which was latter on very much attached famous hymn "Jagannathastaka", he has to the temples. associated Lord Jagannath with Srikrishna and Starting with the rituals of Sri Jagannath his first stanza was devoted to Srikrishna. temple of Puri, Odissi dance was regularly "Kadachit Kalindi tata bipina performed in Shaivite, Vaishnavite and Sakta Sangitakabarau temples of Orissa. -
Gotipua Dance : a Tradition of Odisha
Odisha Review ISSN 0970-8669 y the time of Natyasastra was written, Odisha none for Pancha Mahadev, though Lord Siva is Bmight have experienced two types of dance the cosmic actor and dancer. He brought it to the style, one ‘Daibiki’ [earmarked only for Debata notice of the then Maharaja and thus was born or God], the other is ‘Manusi‘ or of general mass. Gotipua tradition, a form that was performing Bharat Muni, therefore has said in his theatrics in before Lord Siva and Radha Krushna. 26th stanza of 6’ canto- In Odia Bhagabata, Atibadi Jagannath ‘Daibiki Manusi Chaiva Sidhisyed Das has mentioned that Lord Jagannath is very Dwibidheiba Cha’. In Abhinaya Chandrika it is much pleased if dance is performed and offered mentioned in Udra country the performance of to him. The tradition of boys dressed as girl dance has always reached the zenith. dancing on religious festivals goes back to the 16th century. Around that time the wave of Vakti cult, During passage of time the emperors of the path of devotion swept over Odisha, and Saints Odisha have made this dance as a part of rituals and seers, like Chaitanya influenced the masses of Lord Jagannath. The Gotipua tradition, at least as well as received Royal Support. Ramananda Gotipua Dance : A Tradition of Odisha Bimal Ghosh Roy, the minister of Gajapati was a follower of more than 500 years old, is known from historical Chaitanya. It is believed that during their first records that the Udra dance was first introduced meeting Chaitanya described to him ‘Madhura in the holy shrine of Lord Jagannath in the 5th Rasa Upasana’, the mode of devotion to Lord century A.D. -
Unit 3 Performative Art Forms (Music, Dance, Theatre And
Impact of Technology in UNIT 3 PERFORMATIVE ART FORMS Transforming Folk Art to (MUSIC, DANCE, THEATRE AND Commodity MOURNING) Structure 3.0 Objectives 3.1 Introduction 3.2 History of Indian music 3.2.1 Classical music 3.2.2 Tribal music 3.2.3 Folk/Regional music 3.2.4 Devotional music 3.2.5 Popular music 3.3 Dances of India 3.3.1 Classical dance 3.4 Theatre in India 3.5 Folk/traditional performing arts of India 3.5.1 East India 3.5.2 West India 3.5.3 North India 3.5.4 South India 3.5.5 Central India 3.5.6 Puppetry 3.6 Mourning performances 3.7 Let us sum up 3.8 Suggested Readings 3.9 Check Your Progress: possible answers 3.0 OBJECTIVES 111 Market and Cultural drama. However, there is no clear division between Indian music, dance and Property theatre in the field of performing art. They are very much interlinked with each other. In this Unit we will discuss some of the classical and traditional performing arts forms of India and also explain morning songs . 3.2 HISTORY OF INDIAN MUSIC The origin of Indian music can be traced from the Vedic period, where the recitation of chants was an essential element of the Vedic ritual. Several references of origin and development of Indian classical music is found in ancient literature, scriptures and including great oral epics such as Ramayana and Mahabharata. Indian music has gone through many changes from the ancient time to present day tradition as a result of the interaction with different cultures and musical traditions.