DOCSLIB.ORG

B.-A.-Bharathanatyam.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
B.-A.-Bharathanatyam.Pdf Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam SCHEME & SYLLABI For Under Graduate Programme In BHARATHANATYAM-MODEL-III (w.e.f. 2015-16 Admissions) St Teresa’s College [Autonomous] Ernakulum Curriculum and Syllabi 2015 admission onwards: Page 1 Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam Board of Studies in Bharathanatyam (UG) Sl.No. Name Official Address 1.Smt.K R Radhamani (Chairman) Associate Professor Head of the Dept of Bharathanatyam St.Teresa’s College, Ernakulam 2.Smt.Kalakshethra Vilasini Chilampoli, Gandhi Nagar, Retd. Professor Kadavanthra, Ernakulam R L V Music & Fine ArtsCollege, Tripunithura 3. Dr. C P. Unnikrishnan Lakshmi Vilas R.Madhavan Nair Road Cohin-682016 4. Sri.C.P Madhavan Nampoothiri HOD, Dept.of Bharathanatyam, R L V College of Music & Fine Arts Tripunithura 5. Smt.P A Vanajakumari Dept. of Bharathanatyam, Associate Professor St.Teresas College, Ernakulam 6. Sri.Suresh Kumar C K Dept. Of Bharathanatyam Associate Professor St.Teresas College, Ernakulam 7. Smt.Anjana S Mohanan Dept. Of Bharathanatyam RLV College of Music & Fine arts, Tripunithura Curriculum and Syllabi 2015 admission onwards: Page 2 Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam CONTENTS Foreword Acknowledgement 1. Preamble 2. Graduate Attributes 3. Objectives of the Programme 4. Course Structure of Bachelor Programme in Bhatrathanatyam Scheme of Courses Detailed Distribution of Courses for Bachelor Programme in Bhatrathanatyam Details of Course Code Details of Core, Choice-based Core, Project, Complementary ,Open course Scheme of Core Course Scheme of Complementary Course Project 5. Examinations a) Sessional Assessment b) Final Assessment c) Pattern of Questions d) Project Evaluation e) Computation Of CCPA 7. Syllabai a) Syllabai - Coré Courses b) Syllabi –Choice Based Core Course c) Syllabi – Complementary Course c) Syllabi - Open Course Curriculum and Syllabi 2015 admission onwards: Page 3 Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam ACKNOWLEDGEMENT I acknowledge that without the valuable help, guidance and co- operation we have received from various quarters, we would not have been able to function smoothly. The Board of Studies in Bharathanatyam proceeded with the idea of developing students in the field of dance both vocationally and professionally of St Teresa’s college as per the terms of reference and guidelines given by the UGC, Mahatma Gandhi University and Kerala State Higher Education Council. I am greatly indebted to the members of the Board of Studies who, from the very beginning, did a marvellous work in co- ordinating all activities leading to successful culmination of the restructuring process. Apart from members of the board of studies, the contributions of Smt.Devi Chandana and Smt.Ria V R, Assosiate Professors Department of Bharathanatyam, St.Teresa’s College were invaluable in designing this syllabus. I express my gratitude to all those who gave valuable suggestions and whole-hearted co-operation in making this restructuring a memorable intellectual exercise. K.R RADHAMANI Chairman Board of Studies (UG) in Bharathanatyam. Curriculum and Syllabi 2015 admission onwards: Page 4 Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam CURRICULUM 1. Preamble: Curriculum is the statement of what we want our students to learn through our academic programmes and of the ways and means we adopt to facilitate the learning process. 1.1. Curriculum Design of General Three-Year General Undergraduate Degree Programmes Design of curriculum for any programme tries to answer the following questions (Tylor 1949) What educational purpose should the programme seek to attain? What educational experiences can be provided that are likely to attain these purposes? How can these educational experiences be effectively organized? How can we determine whether these purposes are being attained? The educational purposes a general higher education programme seeks to attain are Programme Outcomes also called Graduate Attributes. 2. Programme Outcomes The traits of graduates of general undergraduate degree programmes including transferable skills are expressed as Programme Outcomes. While Programme Outcomes of graduates of professional programmes have been stated by the respective Professional Societies and Accreditation Agencies no such set of attributes have been stated by any agency in India. However, many of the desirable Programme Outcomes are alluded to in different policy documents of Kerala Higher Education Council. Programme Outcomes are the broad statements of what the students should be able to do at the time of graduation. St. Teresa’s College has chosen its Programme Outcomes in the spirit of Future Work Skills 2020, Trends in Global Higher Education (UNESCO 2009) and American Association of Higher Education (AAHE), and Kerala HEC as follows: Curriculum and Syllabi 2015 admission onwards: Page 5 Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam 1. The department of Bharathanatyam enables the students a better understanding of the culture and heritage of our country. 2. Develops the dancing as well as musical skills in students. 3. The students are exposed to a wider area of arts and culture of the world. 3. Stages of Curriculum Design The four questions that need to be answered to design the curriculum of a general higher education program are addressed through the following stages keeping NAAC framework in consideration Vision and Mission of the Department offering the program in alignment with Vision and Mission of the Institute Identification of the context of program Distribution of Credits Identification of the courses to meet the stated Graduate Attributes (Program Outcomes) Defining the assessment process 3.1 Vision and Mission of the Department Offering the Programme: VISION To train students in Bharathanatyam to attain proficiency in both performance and teaching career. To enable the students to surpass the conventional approach and introduce innovations in the field of dance. To train the students to peruse in academics as well as performances that enables them to lead a better status and livelihood. Curriculum and Syllabi 2015 admission onwards: Page 6 Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam MISSION To offer courses in Bharathanatyam which will enable the students to have a better understanding of the traditional as well as the modern approaches to dance and various art forms. It not only helps to improve the student’s physical state but also influence the mental, emotional as well as the spiritual well being. To create potential researchers who can enrich the nation with their innovations on and off stage. To encourage women to make a positive impact on society through synergies within and outside the student community across the college/region/national boundaries. 3.2Context of General Undergraduate Programmes The Department of Bharathanatyam offers a Bachelor of Arts degree (B.A), and a Master of Arts (MA) degree in Bharathanatyam. The BA degree is for students who expect to use dance as a professional career in their life. The MA degree is for students who wish to pursue higher studies with dance as the centre point of their career. 3.3 COURSE STRUCTURE The Bachelor programme in Bharathanatyam covers 35 courses and a project in sixth semester all together earning 120 credits. Course is the most significant constituent of an Academic Programme. It is a well designed instruction package for imparting education in a subject matter with a view to achieving the competencies targeted under the Programme Outcomes. Every Course is so designed with insights of ‘continuity’, ‘sequence’, and ‘integration’, appropriate for a spontaneous facilitation of effective learning and realisation of the avowed goals i.e., the learning outcomes supplementing Curriculum and Syllabi 2015 admission onwards: Page 7 Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam and complimenting the Programme Outcomes.1 A Course consists of a series of carefully programmed lessons in a given subject and their instructional strategies, which impart the knowledge and skill postulated as learning outcome. Most Courses have lecture method as the main component supplemented by the interactive session, practical, library consultation, and field-work. Every Course is to be consisting of a statement of the overall objectives at the outset. It should contain an overview of the content and context situating the knowledge content of the Course. This should lead to the syllabus content showing specific lessons.. Following this the assessment pattern consisting of the particulars viz., the internal, final, attendance policy, assignment regulations, tests, sample questions and answers has to be provided. The UG programme in Bharathanatyam includes: (a) common courses, (b) core courses, (c) complementary courses (d) open course and (e) a project. No course shall carry more than 4 credits. The students can select any choice based course offered by the department which offers the core courses, depending on the availability of teachers and infrastructural facilities in the institution. Open course shall be offered in any subject and the students shall have the option to do courses offered by other departments. COURSES The restructured programme should contain 15 core courses of practical
Load more

Recommended publications
  • Particulars of Some Temples of Kerala Contents Particulars of Some
    Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ...........................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Dances & States
    DANCES & STATES 1. Odisha Odissi Bhaka Wata Dandante 2. Kerala Chakiarkoothu Kathakali Mohiniattam Ottam Thullal Chavittu Natakam Kaikotti Kalai Koodiyattam Krishnavattam Mudiyettu Tappatri Kai Theyyam 3. Tamil nadu Bharatnatyam Kummi Kolattam Devarattam Poikkal Kuthirai Attam Therukkoothu Karakattam Mayilattam Kavadiattam Silambattam Thappattam Kaliattam Puliyattam cracktiss.wordpress.com 4. Andhera pradesh Kuchipudi Veethi-Bhagavatham Kottam 5. Karnataka Yakshagana Bayalata Simha Nutrya Dollu Kunitha Veeragase 6. Assam Bihu Ojapali Ankia Nat 7. Bihar Jat Jatin Faguna or Fag Purbi Bidesia Jhijhian Kajari Sohar-Khilouna Holi Dance Jhumeri Harvesting Dance 8. Gujrat Dandya Ras cracktiss.wordpress.com Garba Lasya Nritya Bhavai Garba Rasila Trippani 9. Haryana Swang Khoria Gugga dance Loor Sang Dhamal 10. Himachal pradesh Luddi Dance Munzra Kanayala Giddha Parhaun 11. Jammu and Kashmir Hikat Rouf Chakri 12. Maharashtra Tamasha Dahi Kala Lavani Lezim cracktiss.wordpress.com 13. Madhya Pradesh Lota Pandvani 14. Meghalaya Wangala Laho Shad Nongkrem Shad Sukmysiem 15. Manipur Manipuri Maha Rasa Lai Haroba 16. Mizoram Chiraw (Bamboo Dance) 17. Punjab Bhangra Gidda 18. Rajasthan Khayal Chamar Gindad Gangore Jhulan Leela Jhumar (Ghumar) Kayanga Bajayanga cracktiss.wordpress.com 19. Uttar Pradesh Kathak Nautanki Chappeli Kajri Karan Kumaon 20. West bengal Jatra Chau Kathi 21. Goa Fugdi Dekhnni Tarangamel Dhalo. 22. Arunachal Pradesh Bardo Chham Aji Lamu Hiirii Khaniing Pasi Kongki Lion and Peacock dance Chalo Popir Ponung Rekham Pada 23. Chhattisgarh cracktiss.wordpress.com Karma Panthi Pandavani Rawat Nacha Soowa Nacha or Suwa Tribal dance 24. Jharkhand Paika Chhou Santhal 25. Nagaland Zeliang Nruirolians (Cock dance) Temangnetin (Fly dance) 26. Sikkim Singhi Chham Yak Chaam Maruni Rechungma 27. Telangana Perini Thandavam Dappu Lambadi Tappeta Gullu 28.
    [Show full text]
  • LOK SABHA ___ BULLETIN-PART II (General Information Relating to Parliamentary and Other Matters) ______Nos
    LOK SABHA ___ BULLETIN-PART II (General Information relating to Parliamentary and other matters) ________________________________________________________________________ Nos. 7943-7976 ] [Monday, February 4, 2019/ Magha 15, 1940(Saka) ________________________________________________________________________ No.7943 Legislative Branch-I GOVERNMENT RESOLUTION The following Resolution has been admitted :- From whom Ministry Text of Resolution received concerned Shri Piyush Goyal Finance That this House approves the proposal of the Government to reject the Award given on 6th April, 2004 by the Board of Arbitration in C.A. Reference Case No. 2 of 2002 regarding grant of House Rent Allowance to the Central Government Employees for the period from 01.01.1996 to 31.07.1997 at pre- revised rates but with reference to revised pay, in terms of Para 21 of the Scheme for the Joint Consultative Machinery and Compulsory Arbitration, as the implementation of the Award which involves an expenditure of approximately Rs. 1000 crores, will lead to diversion of scarce resources from development expenditure to non-productive expenditure and will, thus, adversely affect the National Economy. No.7944 Legislative Branch-I GOVERNMENT RESOLUTION The following Resolution has been admitted :- From whom Ministry concerned Text of Resolution received Shri Piyush Goyal Finance That this House approves the proposal of the Government to reject the Award given on 24th November, 2005 by the Board of Arbitration (BoA) in CA Reference Case No. 3 of 2004 regarding revision of rates of Transport Allowance to the Central Government employees in terms of Para 21 of the Scheme for Joint Consultative Machinery and Compulsory Arbitration, as the implementation of BoA Award from the date of Award viz.
    [Show full text]
  • Dissemination and Sensitization of Eruthukaati Melam and Kamandiattam
    JOURNAL OF CRITICAL REVIEWS ISSN- 2394-5125 VOL 7, ISSUE 02, 2020 DISSEMINATION AND SENSITIZATION OF ERUTHUKAATI MELAM AND KAMANDIATTAM Dr. M.S. Kanagathara Department of Fine Arts, Alagappa University, Karaikudi Submitted: 04.01.2020 Revised: 21.01.2020 Accepted: 27.01.2020 Abstract: India has rich tradition and variety of dances. Their historical background goes back to more than 2000 years ago. Dance, the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. Tamil Nadu is deeply rooted in a great tradition of folk arts which display the traditions and skills that have come down from generations. Folk Dance and Music are the major part of culture of Tamil Nadu the Folk dances of Tamil Nadu represents the ethos, aesthetic values and melody of the region. There are more than hundreds of dances in Tamil Nadu. The majority of these dances are still thriving in TamilNadu, but many folk dances, even though they are traditional, connected with religious, ancient forms are not in often practice today. This paper dwells about the two folk dances Eruthukaati Melam and Kamandiattam. Keywords: Folk dances, Eruthukaatimelam, kamandiattam INTRODUCTION: Tamil Nadu is deeply rooted in a great tradition of folk arts which display the traditions and skills that have come down from generations. Folk Dance and Music are the major part of culture of Tamil Naduthe Folk dances of Tamil Nadu represents the ethos, aesthetic values and melody of the region.
    [Show full text]
  • Sandesh Sandesh Issue 3 “The Message” a Newsletter from Indus of Fox Valley
    October 2007 Volume 5 Sandesh Sandesh Issue 3 “The Message” A Newsletter from IndUS of Fox Valley From Editors’ Desk Indian Classical Music and Dances: A Brief Introduction Dear Readers, By B. S. Sridhar Each year the October issue of Sandesh is dedicated to the theme Classical Indian Music raga is a projection of artist’s inner spirit. of upcoming annual IndUS ban- The origin of Indian music is said to be The current classification of ragas can be quet. The theme of IndUS-2007 is rooted in the Vedas (1000-1700 B.C.). traced to two seminal works by great Music & Dances of India and the Over the centuries classical music has musicologists: Svaramelakalanidhi by articles in this issue are a prelude evolved into two distinct schools, namely, Raamamaatya (c. 1550 AD) and to such a rich and diverse compo- Hindustani (the North Indian) and Carnatic Caturdandi Prakaasikaa by Venkatamakhi nent of Indian culture. (the South Indian). (1660 A.D.). The ten principal families of ragas in Hindustani are: Asavari, Bhairav, The lack of space prevents us to Carnatic music is devotional in nature, with Bhairavi, Bilawal, Kafi, Kalyan, Khamaj, cover many other interesting attention on melody and rhythm, heavy Marwa, Purvi and Todi. Carnatic labels for forms and important aspects of emphasis is placed on sahitya or lyrics. The ragas generally differ but there are Indian music and dance. We are music is often in praise of the Hindu equivalent ragas in both systems. sure that at the banquet you will pantheon and often the poets are known to discover interesting and informa- express other emotions such as love, anger, Tala refers to rhythmic cycles.
    [Show full text]
  • TEA-STO-30..TEA-STO-30.1 .. Page1
    Ashish Mohan Khokar INDIAN DANCE TODAY. AN HISTORICAL OVER-VIEW [Ashish Mohan Khokar è probabilmente il più importante critico e studioso di danza in India. Ha studiato danza, ha lavorato in diverse accademie di danza, è critico del principale quotidiano indiano, «The Times of India», collabora con diversi altri quotidiani, è il direttore dell’unico Annale di danza in India, «Attendance». Ha scritto molti li- bri sulla danza. E` figlio di Mohan Khokar, senz’altro il più grande stu- dioso di danza indiano dell’ultima generazione. Sta creando il primo Archivio di Danza in India, partendo dall’immensa collezione del pa- dre. Per maggiori dettagli si possono vedere: www.attendance- india.com e www.dancearchivesofindia.com.] Indian classical dance traditions have been borne out of a sense of propitiation of the divinity. A certain spiritual content has always been its mainstay. It has also been essentially the art of a soloist, ex- cept in dance-theatre forms. Over two thousand unbroken years, it has grown to become the longest continuous dance culture, afford- ing an interesting insight into man and his relationship to stage in general and dance art, in particular. Its classical nature comes through by a set of code of grammar, content and concept. Thus, if in one form, the knees are to be bent while performing and a half-sitting position maintained all through, then it cannot be altered. The position of hands, the use of eyes, neck, torso and feet, all go towards making dance units, which be- come strings of movements, through which individual characteristics and a grammar is set which makes each form distinct and thus, with age and tradition, classical.
    [Show full text]
  • 150 Arts from India, Abroad to Colour up Onam Week Conclusion Pageantry 3,000 Artistes at Tvm Show Largely Mirroring Kerala Culture
    Press Release 150 arts from India, abroad to colour up Onam week conclusion pageantry 3,000 artistes at Tvm show largely mirroring Kerala culture Thiruvananthapuram, Aug 29: A colourful cultural pageantry marking the conclusion of this the thoroughfares of the state capital on Monday evening, starting from Vellayambalam and endingyear’s Onam at East Week Fort. celebrations being organized by Kerala’s Tourism department will wind along As many as 3,000 artistes will participate in the procession beginning at 5.30 pm, featuring elements from the famed Thrissur Pooram, Uthrali Vela and Mamankam upstate besides the grand aarattu of Padmanabhswamy temple deity here among other items of culture and festivity ess in the fields of traditional percussion, music and dance. The show will also showcase art forms from other parts of India as well as certainfrom across foreign God’s countries. Own Country, highlighting its richn A chenda melam involving 100 artistes, propped by the ornate alavattam fans and gorgeous fly- whisks (venchamaram), will lead the show which will have 100-plus ladies and men carrying regal parasols. With around 40 ethnic chenda drums and kompu horns to their accompaniment, the ritualistic Velakali war-dance will add flavour to the show that will be flagged off by Kerala Governor Shri Justice P Sathasivam from a special pavilion off Manaveeyam Road near Keltron Junction. -forms at the There will be more tableaus this time; in fact around . The total number of art pageantry will be 5, state Tourism Minister Shri A P Anilkumar said today. We plan to make Therethis event will abe particularly prizes announced memorable for the one, floats: he told Rs 1,00,000 a press conference for the first, here.
    [Show full text]
  • Lkaldfrd CULTURAL Leca/K RELATIONS Ifj"Kn~
    INDIAN Hkkjrh; ` COUNCIL FOR lkaLdfrd CULTURAL lEca/k RELATIONS ifj"kn~ SCHOLARSHIPS FOR FOREIGN NATIONALS Name of Scholarship Scheme AZAD BHAVAN, INDRAPRASTHA ESTATE, NEW DELHI-110 002 TEL: 23379309, 23379310, 23379315, Fax: 00-91-11-23378783, 23378639, 23378647, 23370732 Website : http://www.iccrindia.org Email: [email protected] - 1 - GENERAL INSTRUCTIONS TO APPLICANTS 1) Five complete sets of application forms are to be submitted to the Indian Mission. 2) Candidate should clearly mention the course and university to which he/she is seeking admission. The applicants are advised to go through the “Universities Handbook” available with our Mission before giving these details. ICCR would not be able to entertain a subsequent change in course of study or University once admission of a scholar is confirmed and the scholar has arrived to join the course. 3) Certified copies of all documents should be accompanied with English translations. A syllabus of the last qualifying exam application. NOTE: a) Students applying for doctoral/post doctoral courses or architecture should include a synopsis of the proposed area of research. b) Students wishing to study performing arts should, if possible, enclose Video/audio cassettes of their recorded performances. 4) Candidates must pass English Proficiency Test conducted by Indian Mission. 5) ICCR will not entertain applications which are sent to ICCR directly by the students or which are sent by local Embassy/High Commissions in New Delhi. 6) Priority will be given to students who have never studied in India before. 7) No application will be accepted for admission to courses in medicine or dentistry. 8) Candidates may note that Indian universities/educational institutions are autonomous and independent and hence have their own eligibility criteria.
    [Show full text]
  • India Presentation
    WTC Mumbai Presents India’s Diversity A Unique Business Opportunity CONTENTS Pg. No Preface - India's Diversity - A Unique Business Opportunity 3 Maharashtra - An Overview 4-9 The Known and Unknown of India 10-11 India - A Brief Overview 12-15 North Eastern States - Cultural Overview 16-17 Eastern India - Cultural Overview 18-19 South India - Cultural Overview 20-23 Central India - Cultural Overview 24-25 Western India - Cultural Overview 26-27 North India - Cultural Overview 28-33 State-wise Contribution to Indian Economy 34-35 Indian Economy At a Glance 36-37 Major Export Destinations 38-39 Major Sources of Import 40-41 Major Source of FDI 42-43 MSMEs Sector: Engine of Economic Growth 44-45 State-wise Distribution of MSME Clusters 46-47 State-wise Mega Food Parks in India 48-49 Women in Business / Women Entrepreneurship 50-51 Major Industrial Belts of India 52-53 Other Industrial Centres in India 54-55 Major and Non Major Ports in India 56-57 India Road Infrastructure 58-59 Key Infrastructure Projects 60-61 Proposed Industrial Corridors 62-63 Government of India’s Ambitious Programmes 64-65 Key Policy Steps Taken in Last 2 Years 66-67 Promising Sectors for Investors 68-69 Goods and Services Tax 70-71 India Economic Outlook 72-74 Preface - India's Diversity – A Unique Business Opportunity ndia's diversity in geography, ethnicity, culture, language and religion has remained the bedrock of its dynamic and resilient economy. IDiversity in geographical regions has supported occupations as diverse as agriculture, forestry, weaving, jewellery, travel and tourism, healthcare and so on.
    [Show full text]
  • Bharatanatyam
    P 2 | OCTOBER 2017 Contents Volume 2, Issue 4 | October 2017 Editorial Team 04 Beacons of Light 24 Anupama: Editor’s Note 05 The Unparalleled Cultural Bulletin 06 Dance in India 10 Reviews 35 Sai Nrityotsav @ 100 A Magical Evening with Palpable Excitement A Confluence of Impressive Nritta - Tribute to Legendary Guru Narmada Rays of Hope 28 10th Anniversary Rita Andrade: Vysakhi Nrithyotsav 2017: Torch Bearers 14 Passion A Decade of Classical Personified Dance Cover Story 18 Reliability Reports 46 Then and Now Scholarly Corner 60 Augmenting Brain with Indian Music Kindled Spirits 62 Frozen in Time 63 Arangetram 64 Celebrations 31 Tributes 65 Reformer of In Sight 66 Kuchipudi Natyam Classifieds 67 P 3 | OCTOBER 2017 Editorial ‘The Dance India’- a monthly cultural magazine in English is our humble "If the art is poor, attempt to capture the spirit and culture of art in all its diversity. the nation is sick." Articles may be submitted for possible Editor-in-Chief publication in the magazine in the following BR Vikram Kumar manner. Executive Editor • Send in your articles to [email protected] Paul Spurgeon Nicodemus Please include your full name, contact Associate Editor information (address and telephone number) and a short bio data. RMK Sharma • Articles are published in the magazine only Assistant Editor on the condition that the author agrees to UNS Vijayshri the terms of the Copyright Statement and Policy Sub Editor D Praveena Regd. Office: Trivikram Publications, Feature Writer D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Visakhapatnam - 530 013, A.P. Ch Nikhitha Coordinators (News, Advertisements & Tel: 0891-2525656 Editorial Advisor Subscriptions) The opinions, beliefs and viewpoints expressed by the various writers in the articles and B Ratan Raju Sai Venkatesh Karnataka reviews do not necessarily reflect the opinions, beliefs and viewpoints of the editorial team or Contributions by Kashmira Trivedi Maharashtra official policies of The Dance India.
    [Show full text]
  • MA-Bharatanatyam-2017.Pdf
    M.A.Bharatanatyam Curriculum and Syllabus Effective from the Academic Year 2017-2018 School of Music and Fine Arts PROGRAM EDUCATIONAL OBJECTIVES(PEO) PEO1: To acquire an in-depth knowledge in the repertoire of Bharatanatyam. PEO2: Understand the theoretical concepts through a study of treatises in Sanskrit and Tamil from ancient to modern times. PEO3: Apply the theory of dance learnt into performance and develop the ability to codify practice. PEO4: Publish research findings and innovations in various forums and publication of research articles in peer reviewed and indexed conferences and journals. PROGRAM OUTCOME (PO) PO1: Understanding Performing Art in depth:Understand and go into the depths of the practice of performing arts by revisiting basics and progressively delving into advanced forms as well. PO2: Understanding Art from a Historical perspective: Study and analysis of Art forms in Music and dance from treatises, manuscripts and oral tradition. PO3: Bridging Theory and Practice of Art:Continuing the legacy and tradition of our Indian heritage by recording practice and performance as theoretical concepts for future generations by initiating the student into research studies. PROGRAM SPECIFIC OUTCOME (PSO) PSO1: Be well versed in the various theoretical concepts with an outline study of treatises in Sanskrit and Tamil from ancient to modern times. PSO2: Acquire in-depth knowledge in the various elements of Bharatanatyam and be able toperformwith a good repertoire of compositions. 2 BOARD OF STUDIES S. No NAME AFFILIATION ROLE 1. Dr.Premeela Gurumurthy Dean, School Of Music And Fine Arts Chairperson Asst. Prof and Head i/c, Dept. of Indian 2.
    [Show full text]