Yakshagana Plays Based on Mahabharata
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Dāsa Sāhitya: Some Notes on Early Publications, Commentaries and Concerns1 Abstract: Dāsa Sāhitya Is a Literary Genre In
Dāsa Sāhitya: Some Notes on Early Publications, Commentaries and Concerns1 Abstract: Dāsa Sāhitya is a literary genre in Kannada, beginning to be seen from the late- fifteenth century. Making its mark both in literature and in Indian classical music, Dāsa Sāhitya attracted the attention of missionaries and other colonial functionaries and was one of the first genres to be edited and published in Kannada in the mid-nineteenth century. Very soon, the native editors and publishers started working on the genre. Usually classified under Bhakti literature as part of modern Kannada literature, Dāsa Sāhitya got published by individuals of varying interests. This essay makes a survey of some of the early publications of the genre and attempts to segregate varying concerns and interests within what may be broadly and sometimes, urgently termed as either ‘colonial’ or ‘nationalist’, even as it makes certain interesting observations on the changing phase of the literary culture: from manuscript to print. Key Words: Dāsa Sāhitya, Dāsa, Pada, Kannada, literature, print Dāsa Sāhitya in Kannada seems to be a post late-fifteenth century phenomenon. It is largely perceived as Vaiṣṇava and Mādhva literature, eulogizing Puraṇic gods in the Vaiṣṇava pantheon and is considered part of Bhakti literature in Kannada. Travelling singers of medieval India who had a presence from Rajasthan in the north to north Karnataka in the south; Iyal and Isai traditions of Tamil and the Vārakarī tradition of Maharashtra seem to have had the foundational impacts on the Dāsa Sāhitya tradition apart from its own indigenous Kannada roots. Purandaradāsa, Kanakadāsa, Vijayadāsa, and Jagannathadāsa have been 1 I remain thankful for the comments and feedback during the presentation of this paper at the Conference, “Translating Oral/folk texts from Indian Languages into English” held in EFLU, Hyderabad, in March 2014. -
2. a Superhit Goddess
Ganesh, lord of auspicious beginnings and father of goddess Santoshi Ma. A Superhit Goddess Jai Santoshi Maa and Caste Hierarchy in Indian Films Part One Philip Lutgendorf “Audiences were showering coins, perennials of its vast output, yet they quarter of national cinematic output) flower petals and rice at the screen constitute one of the least-studied enjoys the largest audience in appreciation of the film. They aspects of this comparatively under- throughout the Indian subcontinent entered the cinema barefoot and set studied cinema. Indeed, I will venture and beyond. Sholay (“Flames”) and up a small temple outside…. In that for scholars and critics, Deewar (“The Wall”), were both Bandra, where mythological films mythologicals have generally been heavily-promoted “multi-starrers” aren’t shown, it ran for fifty weeks. It “hard to see.” Yet DeMille’s words belonging to the then-dominant genre was a miracle”. —Anita Guha, also belie the fact that most sometimes referred to as the masala (actress who played goddess mythologicals—like most commercial (“spicy”) film: a multi-course cinematic Santoshi Ma; cited in Kabir films of any genre—flop at the box banquet incorporating suspenseful office. The comparatively few that drama, romance, comedy, violent 2001:115). have enjoyed remarkable and action sequences, and song and Genre, Film & Phenomenon sustained acclaim hence merit study dance. Both were expensive and Cecil B. DeMille’s famously both as religious expressions and as slickly made by the standards of the cynical adage, “God is box office,” successful examples of popular art and industry, and both featured Amitabh may be applied to Indian popular entertainment. -
Unit 2 Radio, Television and Cinema
UNIT 2 RADIO, TELEVISION AND CINEMA 2.0 Objectives 2.1 Introduction 2.2 Origin and Development of Radio in India 2.2.1 The Indian Broadcasting Company 2.2.2 All India Radio 2.2.3 First Three Plans 2.2.4 Chanda Committee 2.25 Code for Broadcasteis 2.2.6 Verghese Committee 2.2.7 The Present Status 1 2.2.8 Audiena Research I 2.2.9 Radio's Effectiveness 23 Origin and Deveiopment of Television in India Ii I 2.3.1 TV Comes to India 2.3.2 SITE 2.3.3 Commercial Servia I 2.3.4 National Broadcest Trust I 23.5 Development in the Eighties 2.3.6 Joshi Committee ! 2.3.7 Video Boom 2.3.8 Cable TV 2.3.9 Effectiveness of Doordarshan 2.4 Origin and Development of Films in India 2.4.1 The Beginning 2.4.2 Film mesto India 2.4.3 The Silent Era 2.4.4 The Talkie 2.4.5 Government Oiganizations 2.4.6 Need for Good Films 2.5 Let Us Sum Up 2.6 Glossary 2.7 Further Reading 2.8 Check Your Pmgms : Model Answers 2.0' OBJECTIVES After going through this unit, you should be able to : trace the development of radio, TV and film over the yeam ae a media of maw cbmrnunication; describe the reach and effectiveness of mdio, TV and film as media of mass communication; compare the development of radio, TV and film in India. 2.1 INTRODUCTION In unit 1 we traced the origin and development of the Indian press. -
Dr.RN SREELATHA
Dr.R.N. SREELATHA Designation Associate Professor of Vocal Music E Mail I D [email protected] Phone Number Office:0821-2419586, Mob.No.9945124825 Experience 31 Years Area of Specialisation Vocal music and Musicology. Extra Curricular experience “A” Grade artist of AIR and Doordarshan, Performing Artist of Vocal Music since 45 years. Member Audion Board,AIR. No. of Ph.D Candidates : Successfully completed – 2 Currently Working – 6 Publications Sl.no Title of the Book Publisher Year 1 Karnataka Sangithadalli Manodharma Sangithada Mysore University Prasaaranga 1982 Prakaragalu 2 Karnataka Shastriya Sangitha Vol-I TanuManu Prakashana, Mysore 2005 3 ---do---- II Edition ---do--- 2006 4 Karnataka Shastriya Sangitha Vol-II ---do---- 2006 5 ---do--- II Edition --do-- 2008 6 Sadasiva Brahmendrara Kirtanegalu DVK Murthy, Mysore 2006 7 --do-- II Edition --do-- 2011 8 Karnataka Sangithadalli Manodharma Sangithada DVK Murthy, Mysore 2006 and Prakaragalu- II and III Edition 2011 9 Das Sankirtane TanuManu Prakashana, Mysore 2007 10 Muthaiyya Bhagavatara Chamundamba Ashtottara -----do----- 2009 Shata Kritigalu 11 Swati Tirunalara Kritigalu DVK Murthy, Mysore 2011 12 Karnataka Shastriya Sangitha Vol-III TanuManu Prakashana, Mysore 2011 Articles - To name a few Sl.No Title Name of the Journal/Souvenirs Year 1 Sangithadalli Manodharma ‘Inchara”( Pt.Basavaraja Rajaguru 1983 Commemoration Volume,Hospet 2 Karnataka Sangitha and Haridasa Sahitya Kannada Kosha,Hampi University 1992 3 T.R.Mahalingam and Mysore T,Choudiayya Kannada Vishvakosha, Mysore University, -
Module 29 Indian Classical Dance in France and Italy
PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 29 INDIAN CLASSICAL DANCE IN FRANCE AND ITALY In this module we are looking at the state of Indian classical dance in Continental Europe. While Europe is a conglomeration of many countries, this module does not claim to cover all. However it covers several countries where Indian dance has gained root. These are stories of the success of cultural diplomacy- sometimes driven by state initiatives but more often than not by driven individuals. FRANCE We begin with France. Several Indians have settled down there and quite a number of schools and private tuitions can be found. Since the 70's, the interest is more, especially after the French revolution in 1968. There was a flourish in the culture and more Indians moved in. The French know a lot and they expect quality and new presentations. They will be disappointed to see only a Bharatanatyam recital. The presentation and quality is very much in demand. Here Theatre de Ville Paris and the Muse Guimet have long been centers that have showcased Indian classical dance. The Festival of India in France gave a flip to interest in Indian arts including dance. 1 Though many French dancers have come to India to learn, the only French dancer to have been awarded a Padmashri is Devayani, born Annick Chaymotty. She was awarded a Padmashri in the year 2009, but she lives in India. Chaymotty trained in Bharatanatyam with Kancheepuram Ellapa Mudaliar and Kalaimamani V.S. -
MA History (CBCS) Course Structure (2020-21Onwards)
Davangere • University Department of History Shivagangotri, Davangere-07. MA History (CBCS) Course Structure (2020-21onwards) I Marks Title of the Paper HC l.l RESEARCH METHODOLOGY-I 4 70 30 100 4 3 i i HC 1.2 WORLD HISTORY -I 4 ! 70 30 100 1 4 3 ! I ill HC 1.3 ~RINCIPLES AND METHODS OF 4 I 70 30 100 I 4 3 l i ~RCHAELOGY I! I ! ! HC 1.4 !INDIAN HISTORY-I I 4 70 30 100! 4 I 3 I f-i _-+11' -::-::-:=-=--=-----Ei("",F,:.:::ro=m:.:::-:::ea-,:;-rc:.:-lie=:=s::,-tt=:=0~1:...::::2::-,:0-=:-6_:__:A=.D=._.)'=-::-:-._--iic___-:-_-i:----==-=--+---=-=---+---:-:--=---fl____,,---j'_::---i Ii : HC 1.5 HISTORY OF KARNATAKA ! 4 1 70 30 100 I 4 i 3 ! I I(From earliest to 1200 A.D) ! I I I I I Choose anyone of the following 4 70 I SC !.2 I HISTORY OF VIJA YANAGARA 4 70 i i DYNASTY (1336-1646 A.D) i SC~.3 ! ART AND ARCHITECTURE OF 4 70 30 100, 4 I : INDIA I I (from 6th century B.C.E to 6th century +I~C~.E?)~~~·~~_------~-----,-~~+-~-+~~---r~ SC.4 ! STATE IN INDIA 4 4 i 3 I MANDATORY CREDITS: 2 1,1 2 COMMUNICA TION SKILLS . Total Credit for the course 38 630 270 i 900 38 , - . .' .r: Date·· 12.01.2021 ":CCS~~~~-~e:-'ot~ ~r(\ .. ~~=. J ~C:1Qttt.~'" . The R4;'gistnu', ~~lf~-S?;OO.,. '" 1 6 JAN 202J Di...f,avangere\. ...,j,l.. ... ..._ l...-In.l.1"""'.1.versuv...7-'''., ~-f)u'1 \i~'~•.~-,c;o ere....- - -:-';r:rl".r,oa:b Respected SIr -. -
Online Story, Authorship Unclear. The-Prostitute
Tabs Compassion, Making Mistakes, Forgiveness, Faith in God, Love, Kindness, Serving Others, Holy Name, Meditation, Saints, Guru, Biography, Devotional Service (Bhakti) Title Haridasa Thakura Tricks the Lady Written by Vandna Synghal Reference Online story, authorship unclear. http://krishna.org/haridasa-thakura-and- the-prostitute/ Once there was a very special devotee called Haridasa Thakura. He was amazing because he would chant the Hare Krishna Maha Mantra 300,000 times a day! His tongue couldn’t stop chanting – he simply loved it! One day a mean person called Ramachandra Khan was so jealous of Haridasa he decided to play a trick. “I will make Haridasa miss some of his daily chanting. This will make him really upset and everyone else will stop liking him, ha-ha-ha”. Ramachandra Khan called a beautiful lady and made a plan with her: “You go to Haridasa’s house and pretend to fall in love with him,” he whispered. “Then you insist on spending time with him and he will have to stop chanting!” The lady agreed and went to Haridasa in the evening. “Greetings Haridasa!” she called out when she reached the cottage. “You are so handsome. I want to marry you! We have to be together or I will die!” Haridasa came out of his cottage and looked at the lady kindly. “Okay. Could you wait until I finish chanting Hare Krishna?” he said. “I won’t be long. You can sit here and listen while you wait.” The lady sat under a tree. She could hear Haridasa chanting from inside the cottage. -
Manu V. Devadevan a Prehistory of Hinduism
Manu V. Devadevan A Prehistory of Hinduism Manu V. Devadevan A Prehistory of Hinduism Managing Editor: Katarzyna Tempczyk Series Editor: Ishita Banerjee-Dube Language Editor: Wayne Smith Open Access Hinduism ISBN: 978-3-11-051736-1 e-ISBN: 978-3-11-051737-8 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. © 2016 Manu V. Devadevan Published by De Gruyter Open Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Managing Editor: Katarzyna Tempczyk Series Editor:Ishita Banerjee-Dube Language Editor: Wayne Smith www.degruyteropen.com Cover illustration: © Manu V. Devadevan In memory of U. R. Ananthamurthy Contents Acknowledgements VIII A Guide to Pronunciation of Diacritical Marks XI 1 Introduction 1 2 Indumauḷi’s Grief and the Making of Religious Identities 13 3 Forests of Learning and the Invention of Religious Traditions 43 4 Heredity, Genealogies, and the Advent of the New Monastery 80 5 Miracles, Ethicality, and the Great Divergence 112 6 Sainthood in Transition and the Crisis of Alienation 145 7 Epilogue 174 Bibliography 184 List of Tables 196 Index 197 Acknowledgements My parents, Kanakambika Antherjanam and Vishnu Namboodiri, were my first teachers. From them, I learnt to persevere, and to stay detached. This book would not have been possible without these fundamental lessons. -
Period – 1682 - 1755
Vijayadasaru Period – 1682 - 1755 CeÁÕ£Àw«ÄgÀZÉÒÃzÀA §Ä¢Þ¸ÀA¥ÀvÀàçzÁAiÀÄPÀA | «eÁÕ£À«ªÀÄ®A ±ÁAvÀA «dAiÀiÁRå UÀÄgÀÄA ¨sÀeÉà | A¥ÉÉlÉÌiÉÍqÉUcNåûSÇ oÉÑήxÉÇmÉimÉëSÉrÉMÇü | ÌuÉ¥ÉÉlÉÌuÉqÉsÉÇ zÉÉÇiÉÇ ÌuÉeÉrÉÉZrÉ aÉÑÂÇ pÉeÉå | aj~jaanatimirachChEdaM buddhisaMpatpradaayakaM | vij~jaanavimalaM shaaMtaM vijayaaKya guruM bhajE | Birth Place – Cheekalaparvi, Manvi Taluk in Raichur District Birth Name – Dasappa (He was popularly called as Koosi maga daasappa) Amsha - Brugu Rushigalu His Niryana place - Chippagiri (Bhaskara kshetra) (A Mandal in Kurnool District, Andrapradesh. It is twenty km from Alur and 7 km from Guntkal Railway station/bus stand) Previous Avathara Guru Madhwapathi as son of Purandaradasaru www.sumadhwaseva.com Page 1 Vijayadasaru Parents – Srinivasappa & Koosamma Brothers – Hayavadana Vittaladasaru, Ananda Dasaru Upanayana – 1690 AD Marriage in 1698 with Aralamma Children – 1 male child Sheshagiri Adopted son – Mohana (He found in Hampi. At that time the child was suffering severe desease, saved him and adopted that child and gave the name Mohana, who became Mohana Dasa subsequently Ankita – Vijaya Vittala by Purandaradasaru in Gaya (swapna labda) Compositions - He has composed 25000 + Devaranamas, Suladees, ugabogas. Paramatha Khandana – At Kashi he defeated a Advaitha Vidwan named Ramashastri and he sought the Vaishnava Deekshe, which he obliged and took him to Vadeendra Tirtharu for taptamudradharana. Theertha yatre – He has done theertha kshetra yathre not less than 18 times during his life time and he has spent not less than 20 years of his for theertha yatra. www.sumadhwaseva.com Page 2 Vijayadasaru “Saagi baarayya Bhavarogada vaidyane” – Once he had gone to Tirupati during Brahmotsava, and was doing dhyana. The time for Tathotsava arrived but he could not go for the Rathotsava in time. -
Haridasa Thakura
– All glories to Çré Guru and Çré Gauräìga – HARIDÄSA ÖHÄKURA One of The World’s Greatest Saints By Çréla Bhakti Siddhänta Saraswaté Öhäkura (Translated by Çrépäda Bhakti Vijïäna Bhäraté Mahäräja) Originally published by Sri Chaitanya Sridhara Sangha, The Netherlands, 1986 Now available for download through www.vaisnava.com and www.scsmath.com Haridäsa Öhäkura was entirely devoted to the service of to undergo very rigid vows, as propagated in the yoga Lord Hari. This great devotee made his appearance in this system. world in the village of Buòhana towards the end of the 15th The following of vows or the accepting of the sannyäsa Century. In order to understand the significance of his order all pointed to the paths of intelligence, the sympathy appearance, it is necessary to have some ideas about the of enjoyment, and the liberation of spiritual suicide. state of the society of Bengal at that period. The caste The Hindus as time had absolutely no respect for the system had lost all its propriety and its so-called purity and path of pure devotion, as they had many doubts regarding was simply only another name for malpractices, because of the highest attainment of life, which is simply the pure gross abuse to the principles of sanätana-dharma. chanting of the Holy Name of the Lord. It was during these At that time the so-called opinion of religious dark times of Bengal approximately 30-35 years before the communities was nothing more than a narrow-minded appearance of Lord Çré Chaitanya Mahäprabhu that Lord sectarian view. -
34Th Akhila Bharata Haridasa Sammelana and Aradhana Celebrations of Shri Purandara Dasaru
|| Hari Sarvottma || || Shri: || || Vayu Jeevottama || || HarE Vittala || || Shri Guru Govinda VittalAtmaka Hari Narayana VittalO VijayatE || || Shri Mantra Mandira Nilayaya Nama: || 34th Akhila Bharata Haridasa Sammelana AND ArAdhana Celebrations of Shri Purandara Dasaru Date: 31st Jan, 2011 to 3rd Feb, 2011 Venue: Shri Purandara Ashrama, OM Nagar Post, Adoni Tq, Kurnool Dist, AP -518349 (Adjoining Adoni-Mantralayam State Highway Via Madhavaram) Phone No: 91-8512-201073 (Landline), 93940-17134 ©, 93922-27850 © PROGRAMME DETAILS 31st Jan, 2011 - Monday – Pushya BahuLa Dwadasi/Trayodasi 05:30 a.m. – 06:30 a.m. -- Udayaraaga , Shri Hari Guru Chintana, etc. 05.30 a.m. – 08:00 a.m. -- Navagraha Shanti Homa, Purnahuti 07:30 a.m .– 08:00 a.m. -- Naivedya & Maha Mangalarati 08.00 a.m. -- Teertha Prasada 04:30 p.m. – 06.00 p.m. -- Inviting H.H.Shri Shri 1008 Shri Suyateendra Teertha Swamiji, Raghavendra Swamy MaTa, Mantralayam through Procession to Shri Purandara Mantapa with Vadya-Vaibhava 06:00 p.m. – 06:20 p.m. -- A brief introduction about Shri Purandara Ashrama 06:20 p.m.– 07:20 p.m. -- Pravachana - ‘Hari nAmadaragiNiyu hArutide Jagadi | parama bhAgavataru baleya bIsirayya ||’ by VedaMurthy Vidwan K.L. Pushkara Prasad, Tumkur 07:20 p.m. – 08:20 p.m. -- BharataNatyam – Kumari Pratyusha, Anantapur 08:20 p.m. – 09:00 p.m. -- Swasti Vachana, Maha Mangalarati 09:00 p.m. -- Phalahara/Bhojana 1st Feb, 2011 – Tuesday – Pushya BahuLa Chaturdashi (PurvarAdhana) 05:30 a.m. – 06:30 a.m. -- Udayaraaga , Shri Hari Guru Chintana, etc. by Vedamurthy Vidwan Shri K.Appannacharya, Kaultalam 06:30 a.m .– 08:30 a.m. -
Purandaradasaru-English.Pdf
Purandara Daasaru Collection - Paneendra N Gautham For “Sumadhwa Seva” Group --------------------------------------------------------------------------------------------------------------------- Purandara Mantapa at Hampi Postal Stamp of Purandaradasaru Vyasararajaru, the Guru of Sri Purandaradasaru, has said “ Daasarendare Purandara Daasarayya” Four daasas have been referred as “Chathwari Shrungas” of Haridasa Sahitya, viz., Purandara, Vijaya, Gopala, and Jagannatha dasaru. He has composed more than 4 lakh “Kruthis” but hardly around 1000 are now available for us. He was a master of Music, Suladi, mandigEs Keerthanas, Ugabhoga, etc. His Sahitya was called as “Purandaropanishat” and was placed next to Sarvamoola Granthas by Sri Vyasarajaru. Purandara Dasaru is also called as “Karnataka Sangeetha Pithamaha”. Saint Thyagarajaru was influenced by Sri Purandaradasaru and he has almost translated many songs of Purandaradasaru in Telugu. Visit www.sumadhwaseva.com Page 1 Purandara Daasaru Collection - Paneendra N Gautham For “Sumadhwa Seva” Group --------------------------------------------------------------------------------------------------------------------- 1. Birth Place - Purandara Ghada, 18 Miles from Poona 2. Period - 1480 A.D to 1564 A.D 3. Janma naama - Srinivasa Naika 4. Profession - Business in Gold and precious stones 5. Gotra - Vasista, Yajurshaka 6. Wife‟s name - Saraswathi Bai 7. Children - four children – Varadappa, Gururaya, Abhinavappa and Guru Madhwapathi 8. Other details - He was a “Lobhi” “Jipuna”. He had a lot of wealth and was popularly called as “Navakoti Narayana”, but he hardly gave anything to anybody. 9. Vairagya - When he was 40 years, “Lobha” gave place to “Vairagya”, his “love of Gold” turned as “love of God” and became “Haridasa”. He left Purandara Gada alongwith his entire family and visited „Pandarapura‟ and came to Vijayanagar and sought the Shishyatva of Shri Vyasarajaru, who gave him “Ankitha” as “Purandara Vittala” and asked him to compose Kruthis on Devaranama in Kannada.