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New and Bestselling Titles Sociology 2016-2017
New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint. -
Routes 2 Roots Dreams of a Peaceful World Co-Existing with Diverse Cultures, Ruled by Harmony
Routes 2 Roots dreams of a peaceful world co-existing with diverse cultures, ruled by harmony. The world’s largest interactive digital program of teaching performing arts with global reach R-19 LGF, Hauz Khas, New Delhi - 16, Ph: +91 11 41646383 Fax: +91 11 41646384 Studio: Flat No. 5, 1st Floor, Sector - 6 Market, R. K. Puram, New Delhi - 110022, Ph: +91 11 26100114, 26185281 Web: www.routes2roots.com, www.r2rvirsa.in, Email: [email protected] An Initiative of Routes2Roots NGO Routes2Roots twitter.com/Routes2RootsNGO twitter.com/virsar2r virsabyroutes2roots.blogspot.in Board of Advisors & Contributing Maestros of Virsa ROUTES 2 ROOTS Routes 2 Roots is a Delhi based non-profit reputed NGO with a presence all over India. Since its inception in 2004 the NGO is constantly striving to disseminate culture, art and heritage to the common people and the children throughout the world. Ever since its inception in 2004 Routes 2 Roots has dedicated itself to promoting art, culture and heritage throughout the world with the prime objective of spreading the message of peace. We have hosted over 26 international events, 14 exhibitions and 110 concerts throughout the world and all of these programs have been on a non-commercial basis, i.e. no ticketing so that people en masse can come and enjoy a shared experience of each-others’ culture freely. Our organisation is known for quality cultural programs and we have to our credit numerous prestigious international programs such as celebration of 60 years of diplomatic ties between India and China, which was held in 4 cities of China, Celebration of 65 years of Indo-Russian diplomatic ties, which was held in 5 cities of Russia, Festival of India in South Africa covering 4 cities and many more. -
Pandit Ravi Shankar—Tansen of Our Times
Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times by S. Kalidas IND I A INTERNAT I ONAL CENTRE 40, MAX MUELLER MARG , NEW DELH I -110 003 TEL .: 24619431 FAX : 24627751 1 Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times The views expressed in this publication are solely those of the author and not of the India International Centre. The Occasional Publication series is published for the India International Centre by Cmde. (Retd.) R. Datta. Designed and produced by FACET Design. Tel.: 91-11-24616720, 24624336. Pandit Ravi Shankar—Tansen of our Times Pandit Ravi Shankar died a few months ago, just short of his 93rd birthday on 7 April. So it is opportune that we remember a man whom I have rather unabashedly called the Tansen of our times. Pandit Ravi Shankar was easily the greatest musician of our times and his death marks not only the transience of time itself, but it also reminds us of the glory that was his life and the immortality of his legacy. In the passing of Robindro Shaunkar Chowdhury, as he was called by his parents, on 11 December in San Diego, California, we cherish the memory of an extraordinary genius whose life and talent spanned almost the whole of the 20th century. It crossed all continents, it connected several genres of human endeavour, it uplifted countless hearts, minds and souls. Very few Indians epitomized Indian culture in the global imagination as this charismatic Bengali Brahmin, Pandit Ravi Shankar. Born in 1920, Ravi Shankar not only straddled two centuries but also impacted many worlds—the East, the West, the North and the South, the old and the new, the traditional and the modern. -
Cultural' Diary
CULTURAL' DIARY JANUARY The ten-day eighth National Conference and Festival of the Indian People's Theatre Associa tion concluded in New I.P.T.A. Delhi on January I. About Festival 1,000 artistes from 14 States participated in the Con Shri Mogliai Ozha, the famous drummer from ference and the festival which was inaugurated Assam, as he appeared at the 1.1'.T.A. festival. on December 23 by the Vice-President, Dr. S. Radhakrishnan. Delegates from the Soviet Union and China also attended. On the concluding evening of the I.P.T.A.'s festival of music, dance and drama, a number of the most successful items presented earlier were repeated. Among these were the Harvest Dance of West Bengal, the Fishermen's Dance of Andhra and the Chhau Dance of Bihar. One of the most outstanding features of the festival was a dance recital by Guru Gopinath, well known exponent of Kathakali. A scene from Bengali Jatra presented at the A scene from a dance number presented I.P.T.A. festival, at the I.P.T.A,festiral. The Conference elected Shri Sachin Sen Kesarbai Kerkar, Gangubai Hangal, Nazkat Gupta as the new president of the Indian Ali and Salamat Ali and Vilayat Khan and People's Theatre Association, while Shri Imrat Khan featured the programme of the Niranjan Sen was re-elected as General concluding night. The duet Violin and Shahnai Secretary. Shrimati Kamala Devi Chatto by V. G. Jog and Bismillah Khan and party padhyaya, Vice-Chairman of the Sangeet Natak provided an titting finale to an eight-day music Akademi, was among the 13 Fellows elected to programme. -
Re-Appropriated Voices in the Poetry of Kathak Dance Repertoire
The Polish Journal of the Arts and Culture. New Series 4 (2/2016): 47–78 [article] DOI: 10.4467/24506249PJ.16.010.6241 A heroine in the pangs of separation or a soul longing for the divine? Re-appropriated voices in the poetry of kathak dance repertoire Katarzyna Skiba Abstract The paper explores the ambivalent nature of poems that are partand parcel of the kathak dance repertoire in the context of a changing sys- tem of dance patronage during the 19th and 20th centuries in North India. Through a textual analysis of selected ṭhumrī songs, the author investigates the use of śṛṅgāra rasa (erotic sentiment) in this poetic genre in relation to its original, secular function and its interpretation in religious idioms. The comparison of traditional ṭhumrīs with the compositions prevalent on the modern, classical dance stage shall un- derline a shift in the character of kathak performance (from romantic, sensual and intimate to devotional and impersonal). The attempts to locate ṭhumrī in the shastric framework and to ‘purify’ the content of these poems from the imprints of its lineage with tawā’if s culture is examined as part of the process of reinventing kathak in response to the tastes of a new class of patrons and performers and matching this art to the vision of Indian cultural heritage, propagated by nationalists. Keywords: kathak, ṭhumrī, Indian dance revival, nāyikā-bheda, dance Katarzyna Skiba is a Ph.D student at the Jagiellonian University in Krakow. Her main area of research includes: South Asian perform- ing arts, dance anthropology, sociology and postcolonial studies. -
Social Science TABLE of CONTENTS
2015 Social Science TABLE OF CONTENTS Academic Tools 79 Labour Economics 71 Agrarian Studies & Agriculture 60 Law & Justice 53 Communication & Media Studies 74-78 Literature 13-14 Counselling & Psychotherapy 84 7LHJL *VUÅPJ[:[\KPLZ 44-48 Criminology 49 Philosophy 24 Cultural Studies 9-13 Policy Studies 43 Dalit Sociology 8 Politics & International Relations 31-42 Development Communication 78 Psychology 80-84 Development Studies 69-70 Research Methods 94-95 Economic & Development Studies 61-69 SAGE Classics 22-23 Education 89-92 SAGE Impact 72-74 Environment Studies 58-59 SAGE Law 51-53 Family Studies 88 SAGE Studies in India’s North East 54-55 Film & Theatre Studies 15-18 Social Work 92-93 Gender Studies 19-21 Sociology & Social Theory 1-7 Governance 50 Special Education 88 Health & Nursing 85-87 Sport Studies 71 History 25-30 Urban Studies 56-57 Information Security Management 71 Water Management 59 Journalism 79 Index 96-100 SOCIOLOGY & SOCIAL THEORY HINDUISM IN INDIA A MOVING FAITH Modern and Contemporary Movements Mega Churches Go South Edited by Will Sweetman and Aditya Malik Edited by Jonathan D James Edith Cowan University, Perth Hinduism in India is a major contribution towards ongoing debates on the nature and history of the religion In A Moving Faith by Dr Jonathan James, we see for in India. Taking into account the global impact and the first time in a single coherent volume, not only that influence of Hindu movements, gathering momentum global Christianity in the mega church is on the rise, even outside of India, the emphasis is on Hinduism but in a concrete way, we are able to observe in detail as it arose and developed in sub-continent itself – an what this looks like across a wide variety of locations, approach which facilitates greater attention to detail cultures, and habitus. -
About the Artists
About the Artists PT. SATYA NARAYANA CHARKA is DAVID PITTENGER is a ballet RINIL ROUTH has trained with Pt. Director of the East-West School of Dance, dancer, choreographer and yoga S.N. Charka and graduated from NY. He has studied with Pt. R.K. Shukla, instructor. David has received major the East-West School of Dance in Smt. Maya Rao, Pt. Shambhu Maharaj, and acclaim for his portrayals of the title 1998, subsequently she also Pt. Birju Maharaj. Pt. Charka is recognized roles in the classics. He was a studied for some time with Pt. Birju as one of the foremost exponents of Indian member of the American Repertory Maharaj and Saswati Sen, as well classical dance. He has presented numerous Ballet and the Metropolitan Opera as Ashim Bandhu Roy of Calcutta. dance dramas and traditional dance recitals Ballet, David has created and She has taken main character roles worldwide. He served as a cultural choreographed half a dozen ballets. in many productions of the E-W representative appointed by the Govt. of He performs regularly as Rama in the School of Dance and has India in Japan, Australia, and the Fiji Islands. E-W School of Dance production of performed in many places in the US In addition, he was selected as the premiere “Ramayana”. He also teaches yoga and abroad, including Toronto and artist in major festivals at the Sydney Opera asana dance at Saraswati River Yoga England. Currently, she is a Justice House for four consecutive years. School in Pennsylvania, Harlan Scholar at NY Law School. -
1 Sample Question Paper on Cinema Prepared by : Naresh Sharma: Director
1 Sample question paper on cinema prepared by : Naresh Sharma: Director. CRAFT Film School.Delhi.www.craftfilmschool.com: [email protected] Disclaimer about this sample paper ( 50+28 Objective questions ) by Naresh Sharma: 1. This is to clarify that I, Naresh Sharma, neither was nor is a part of any advisory body to FTII or SRFTI , the authoritative agencies to set up such question paper for JET-2018 entrance exam or any similar entrance exam. 2. As being a graduate of FTII, Pune, 1993, and having 12 years of Industry experience in my quiver as well the 12 years of personal experience of film academics, as being the founder of CRAFT FILM SCHOOL, this sample question-answers format has been prepared to give the aspiring students an idea of variety of questions which can be asked in the entrance test. 3. The sample question paper is mainly focused on cinema, not in exhaustive list but just a suggestive list. 4. As JET - 2018 doesn't have any specific syllabus, so any question related to General Knowledge/Current Affair can be asked. 5. Since Cinema has been an amalgamation of varied art forms, Entrance Test intends to check as follows; a) Information; and b) Analysis level of students. 6. This sample is targeted towards objective question-answers, which can form part of 20 marks. One need to jot down similar questions connected with Literature/ Panting Music/ Dance / Photography/ Fine arts etc. For any Query, one can write: [email protected] 2 Sample question paper on cinema prepared by : Naresh Sharma: Director. -
PAPER-II DANCE / DRAMA / THEATRE Signature and Name of Invigilator 1
PAPER-II DANCE / DRAMA / THEATRE Signature and Name of Invigilator 1. (Signature) __________________________ OMR Sheet No. : ............................................... (Name) ____________________________ (To be filled by the Candidate) 2. (Signature) __________________________ Roll No. (Name) ____________________________ (In figures as per admission card) Roll No.________________________________ J6 5 1 1 (In words) 1 Time : 1 /4 hours] [Maximum Marks : 100 Number of Pages in this Booklet : 20 Instructions for the Candidates ¯Ö¸üßõÖÖÙ£ÖµÖÖë Ûêú ×»Ö‹ ×®Ö¤ìü¿Ö 1. Write your roll number in the space provided on the top of 1. ¯ÖÆü»Öê ¯Öéšü Ûêú ‰ú¯Ö¸ü ×®ÖµÖŸÖ Ã£ÖÖ®Ö ¯Ö¸ü †¯Ö®ÖÖ ¸üÖê»Ö ®Ö´²Ö¸ü ×»Ö×ÜÖ‹ … this page. 2. ‡ÃÖ ¯ÖÏ¿®Ö-¯Ö¡Ö ´Öë ¯Ö“ÖÖÃÖ ²ÖÆãü×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü … 2. This paper consists of fifty multiple-choice type of questions. 3. ¯Ö¸üßõÖÖ ¯ÖÏÖ¸ü´³Ö ÆüÖê®Öê ¯Ö¸ü, ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ †Ö¯ÖÛúÖê ¤êü ¤üß •ÖÖµÖêÝÖß … ¯ÖÆü»Öê 3. At the commencement of examination, the question booklet ¯ÖÖÑ“Ö ×´Ö®Ö™ü †Ö¯ÖÛúÖê ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ÜÖÖê»Ö®Öê ŸÖ£ÖÖ ˆÃÖÛúß ×®Ö´®Ö×»Ö×ÜÖŸÖ will be given to you. In the first 5 minutes, you are requested •ÖÖÑ“Ö Ûêú ×»Ö‹ פüµÖê •ÖÖµÖëÝÖê, וÖÃÖÛúß •ÖÖÑ“Ö †Ö¯ÖÛúÖê †¾Ö¿µÖ Ûú¸ü®Öß Æîü : to open the booklet and compulsorily examine it as below : (i) ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ÜÖÖê»Ö®Öê Ûêú ×»Ö‹ ˆÃÖÛêú Ûú¾Ö¸ü ¯Öê•Ö ¯Ö¸ü »ÖÝÖß ÛúÖÝÖ•Ö (i) To have access to the Question Booklet, tear off the paper Ûúß ÃÖᯙ ÛúÖê ±úÖ›Ìü »Öë … ÜÖã»Öß Æãü‡Ô µÖÖ ×²Ö®ÖÖ Ã™üßÛú¸ü-ÃÖᯙ Ûúß seal on the edge of this cover page. -
Courtesans and Choreographers: the (Re)Placement of Women in the History of Kafhak Dance*
I Courtesans and Choreographers: The (Re)Placement of Women in the History of Kafhak Dance* MARGARET WALKER In the move from feudal empire to British colony to independent nation in less than 300 years, India's traditions have needed to constantly adapt to changing politics, patronage, and philosophies. The trajectory of change through the first half of the twentieth century combined re-invention with rediscovery, as multiple facets of Indian culture met each other in the heady environment surrounding the struggle for and achievement of independence in 1947. During the years leading up to independence, a flowering of interest in music and dance led to a period described as a "Renaissance" or the "Neo- Classical" period of Indian music and dance. These terms, which sug- gest a reclaiming of ancient or lost traditions after a period of decline, underline the crucial role that the reclamation of the performing arts as the rich and worthy cultural inheritance of an independent people played in the raising of national consciousness and pride during the struggle against the colonial Raj. Yet, scholars also analyze the mid-twentieth century as a period of modernity when the newly independent India broke with the colonial past and re-invented itself as an autonomous nation-state. Most histor- ies of music and dance written in the twentieth century combine this modernist sense of rupture with the nationalist need for an ancient Hindu past, offering telescoped pasts that leap from Vedic to modern times in a few giant steps (Devi 1972; Banerji 1982; Narayan 1998; Sinha 2000; Walker 2004 among many others). -
Dancing Into Modernity: Multiple Narratives of India's Kathak Dance
Swarthmore College Works Dance Faculty Works Dance Summer 2006 Dancing Into Modernity: Multiple Narratives Of India's Kathak Dance Pallabi Chakravorty Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-dance Part of the Dance Commons Recommended Citation Pallabi Chakravorty. (2006). "Dancing Into Modernity: Multiple Narratives Of India's Kathak Dance". Dance Research Journal. Volume 38, Issue 1/2. 115-136. DOI: 10.1017/s0149767700007415 https://works.swarthmore.edu/fac-dance/17 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Dance Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Dancing into Modernity: Multiple Narratives of India's Kathak Dance Pallabi Chakravorty odernity, once a prerogative of the West, is now ubiquitous, experienced diversely Mby people all over the world. The changing notions of modernity are historically linked to the development of the public sphere. This article broadly attempts to map the discourse of modernity to the evolution of Kathak, a premier classical dance from India. The article has two threads running through it. One is the development of the public sphere in India as it relates to anti-colonial nationalism, the formation of the modern nation-state, and globalization. The other focuses on transformations in Kathak as they relate to changing patronage, ideology, and postcolonial history. I emphasize the latter to mark the transitions in Kathak as emblematic oflndian national identity and national ideology to a new era of cultural contestation. This emergent public domain of culture is coined as "public modernity" by anthropologist Arjun Appadurai in contemporary India. -
Ragas Are There? — P
THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXII 1991 mimumHHmMjUUMmBimMlIBBBBBBBlIBBBBUIlllIHlBW" ■■nBBBBBBBBBBBflBBBBBBBflBBBBBBBBBBBBM 5n? * jiffitfro to* i tr^TT to nrafci to firoiftr n “I dwell not in Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!” Edited by T. S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras-600 014 Annual Subscription - Inland Rs.40: Foreign $ 3-00 V OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor Journal of the Music Academy, 306, T.T.K. Road, Madras - 600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, typewritten (double-spaced and on one side of the paper only) and should be signed by the writter (giving his or her address in full.) The Editor of the Journal is not responsiblev«r for the views expressed by contributors in their articles. CONTENTS . PAGE y The 64th Madras Music Conference - Official Report — 1 Advisory Committee Meetings — 19 The Sadas — 52 Margadarsi Whom Swati Tirunal Followed — T.S. Parthasarathy — 72 Compositions of Ettayapuram Rulers -—Dr. Gowri Kuppuswamy & Dr. M. Hariharan — 82 Development of the Repertoire in Modern Bharata Natyam —-Annie-Marie Gaston (Anjali) — 95 Tana Varnam - Its Identity and Significance -—Lalita Ramakrishna — 135 How many Janya Ragas are there? — P.