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How Modern India Reinvented Classical Dance
ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD. -
Odissi Dance
ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
13366 MM Vol. XXIII No. 11.Pmd
Registered with the Reg. No. TN/CH(C)/374/12-14 Registrar of Newspapers Licenced to post without prepayment for India under R.N.I. 53640/91 Licence No. TN/PMG(CCR)/WPP-506/12-14 Publication: 15th & 28th of every month Rs. 5 per copy (Annual Subscription: Rs. 100/-) WE CARE FOR MADRAS THAT IS CHENNAI INSIDE • Short ‘N’ Snappy • Help Corporation Schools • Kilpauk kindles • Four pages on Madras Week • Tamil journalism Vol. XXIII No. 11 MUSINGS September 16-30, 2013 The vanishing story at Ripon Buildings. The annexe built in the 1950s is a joy to behold while the later Vista additions are terrible and falling apart. From the point of view of a eritage buildings, always quick demolition of the erst- property owner not overly con- Han endangered lot in our while Southern Railway book- cerned about heritage, building city, are faced with a new threat ing office, which by any stan- a new structure to hide the old – being hidden behind modern dard was a heritage building makes much sense. The hidden high-rises, built on spaces sur- (but was not in the Padma- building can wither away due to rounding them and originally nabhan Committee report lack of maintenance and even intended to give an approach and so did not qualify as one). collapse, without anyone notic- vista and an impressive setting. There are many more such ing, thereby making space for Thanks to realestate hungry examples. still newer buildings. A tough owners, unimaginative archi- Heritage Conservation Com- There are several reasons tects and an indifferent admin- mittee can choose to object but why new buildings have to be istration, most of the familiar in our case we have a largely hi- built, all understandable – ours heritage structures we know are bernating and comatose com- is a space-starved city, institu- soon going to become lost to mittee, which prefers to look tions need to modernise and view. -
Courses Taught at Both the Undergraduate and the Postgraduate Levels
Jadavpur University Faculty of Arts Department of History SYLLABUS Preface The Department of History, Jadavpur University, was born in August 1956 because of the Special Importance Attached to History by the National Council of Education. The necessity for reconstructing the history of humankind with special reference to India‘s glorious past was highlighted by the National Council in keeping with the traditions of this organization. The subsequent history of the Department shows that this centre of historical studies has played an important role in many areas of historical knowledge and fundamental research. As one of the best centres of historical studies in the country, the Department updates and revises its syllabi at regular intervals. It was revised last in 2008 and is again being revised in 2011.The syllabi that feature in this booklet have been updated recently in keeping with the guidelines mentioned in the booklet circulated by the UGC on ‗Model Curriculum‘. The course contents of a number of papers at both the Undergraduate and Postgraduate levels have been restructured to incorporate recent developments - political and economic - of many regions or countries as well as the trends in recent historiography. To cite just a single instance, as part of this endeavour, the Department now offers new special papers like ‗Social History of Modern India‘ and ‗History of Science and Technology‘ at the Postgraduate level. The Department is the first in Eastern India and among the few in the country, to introduce a full-scale specialization on the ‗Social History of Science and Technology‘. The Department recently qualified for SAP. -
Banis / बानी and Schools Are Aplenty
PAPER: 3 Detail Study Of Bharatanatyam, Devadasis-Natuvnar, Nritya And Nritta, Different Bani-s, Present Status, Institutions, Artists Module 18 Institutions Of Bharatanatyam Present day Bharatanatyam banis / बानी and schools are aplenty. There are many branches of main banis and some as far as in New Jersey in USA or Ukhrul in Manipur! Since Bharatanatyam has spread far and wide, each dancer is adding something to what was learnt and trying to extend its boundaries and body. Many dancers are also teachers today, so they are adding new poses or postures and calling it sub banis or schools. Schools today mean individual teaching establishments, not a generic bani or style. It means in one city itself, say small town like Mysore or Baroda, there could be ten schools of Bharatanatyam. Each teaching same dance, differently. In that, there is no standardization. In one area of a big metro like Chennai or Bangalore, Mylapore or Malleswaram, there are over a dozen teachers teaching from same bani differently. This is not to break away as much as what one learnt from a guru and how much. Schools of Bharatanatyam today within one city can be in hundreds, especially nerve centre of dance like Chennai. The Dhananjayans, Chandrasekhars, Ambika Buch, Savitri Jagannath Rao, M.V. 1 Narasimhachari and Vasanthalakshmi, Sheejith Krishna, P.T. Narendran, Shijith Nambiar and Parvathy Menon teach the Kalakshetra style. J. Suryanarayanamurthy, a disciple of the Dhananjayans, is a popular teacher. Sreelatha Vinod, Tulsi Badrinath, Radhika Surajit, Shobana Bhalchandra are ardent disciples of the Dhananjayans and faithfully follow their teachers’ teachings. -
20Years of Sahmat.Pdf
SAHMAT – 20 Years 1 SAHMAT 20 YEARS 1989-2009 A Document of Activities and Statements 2 PUBLICATIONS SAHMAT – 20 YEARS, 1989-2009 A Document of Activities and Statements © SAHMAT, 2009 ISBN: 978-81-86219-90-4 Rs. 250 Cover design: Ram Rahman Printed by: Creative Advertisers & Printers New Delhi Ph: 98110 04852 Safdar Hashmi Memorial Trust 29 Ferozeshah Road New Delhi 110 001 Tel: (011) 2307 0787, 2338 1276 E-mail: [email protected] www.sahmat.org SAHMAT – 20 Years 3 4 PUBLICATIONS SAHMAT – 20 Years 5 Safdar Hashmi 1954–1989 Twenty years ago, on 1 January 1989, Safdar Hashmi was fatally attacked in broad daylight while performing a street play in Sahibabad, a working-class area just outside Delhi. Political activist, actor, playwright and poet, Safdar had been deeply committed, like so many young men and women of his generation, to the anti-imperialist, secular and egalitarian values that were woven into the rich fabric of the nation’s liberation struggle. Safdar moved closer to the Left, eventually joining the CPI(M), to pursue his goal of being part of a social order worthy of a free people. Tragically, it would be of the manner of his death at the hands of a politically patronised mafia that would single him out. The spontaneous, nationwide wave of revulsion, grief and resistance aroused by his brutal murder transformed him into a powerful symbol of the very values that had been sought to be crushed by his death. Such a death belongs to the revolutionary martyr. 6 PUBLICATIONS Safdar was thirty-four years old when he died. -
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. -
Master Sheet-Application Format for LT.Xlsx
Shortlisted Candidates for the post of Laboratory Technician as per the Advt. No. :995/OSACS dated 10.03.2015 & Corrigendum No. 2725 dated 26/06/2015 Application Sl. No Name of the Candidate Father's Name Date of Birth No. 1 LT-227 Abhaya Bardhan Dhruba Charan Bardhan 01-06-1992 2 LT-906 Abhisek Giri Ashok Kumar Giri 03-02-1993 3 LT-118 Abinash Bag Daitari Bag 14-06-1992 4 LT-333 Adhikari Das Late Santosh Kumar Das 11-07-1985 5 LT-538 Akshaya Kumar Das Kshetra Mohan Das 04-06-1983 6 LT-643 Arun Kumar Mishra Bhajaram Mishra 02-05-1993 7 LT-486 Asesh Kumar Das Suresh kumar Dash 20-06-1993 8 LT-8 Banishree Mallik Bhikari Charan Mallik 26-06-1990 9 LT-337 Bharati Jayasingh Kabiraj Jayasingh 13-02-1994 10 LT-130 Bharati Mahanta Purna Chandra Mahanta 01-06-1993 11 LT-264 Bibekananda Senapati Lingaraj Senapati 04-05-1993 12 LT-444 Binod Kumar Nayak Dandapani Nayak 05-04-1993 13 LT-362 Biswajit Naik Chandra kanta Naik 18-10-1993 14 LT-243 Darshan Behera Gangadhar Behera 11-06-1991 15 LT-466 Debabrata Lenka Maguni Charan Lenka 25-06-1981 16 LT-213 Debabrata Parida Abhiram Parida 25-05-1993 17 LT-214 Debajyoti Pattanayak Pradeep Kumar Pattnayak 25-05-1993 18 LT-677 Debasis Barik Bhimasen Barik 03-06-1989 19 LT-440 Debasmita Rana Jogeswar Rana 17-07-1991 20 LT-205 Deepak Aind Albert Aind 18-04-1983 21 LT-443 Deepika Tirkey Manuel Tirkey 10-07-1992 22 LT-589 Dhira Kumar Majhi Nabakishor Majhi 09-01-1991 23 LT-668 Dibya Jeebana Panigrahy Kuna Panigrahy 03-06-1993 24 LT-526 Dolagovinda Chhachhan Pradeep Kumar Chhachhan 13-07-1992 25 LT-821 Gitanjali -
Module 1 Dance in India Today an Overview
PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 1 DANCE IN INDIA TODAY AN OVERVIEW 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, except in dance-theatre forms. Over two thousand unbroken years, it has grown to become the longest continuous dance culture, affording 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 become strings of movements, through which individual characteristics and a grammar is set which makes each form distinct and thus, with age and tradition, classical. The content is mostly mythological. These forms evolved over centuries, and it is believed, these were created to please gods and their representatives on earth. The myth goes that the gods were bored and asked the wisest amongst them – Brahma, the creator, - to create some form of entertainment that would involve and engage all. Brahma enlisted the help of sages, of whom Bharata, was given the specific task of writing a new Veda, (the holy treatises of which four existed already - Rig, Saama / साम, Yajur / यजुर and Atharva / अथ셍व) the fifth Veda called the Natyashastra, and through this work, the details of modern dramaturgy in India were born. -
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. -
No. 10/15/2018-EXAM.I NOTICE INCOMPLETE
No. 10/15/2018-EXAM.I NOTICE INCOMPLETE APPLICATION FORM OF STENOGRAPHER GRADE C& D EXAMINATION 2018 The application form in respect of the candidates of Constable (GD) Examination 2018 pertaining to Staff Selection Commission Eastern Region whose name are appeared in the list attached list are incomplete since their Photo and Signature are not uploaded correctly. SMS / E-mail have already been sent to candidates in this regard. Candidates are required to upload their photo and signature in their registration data by using their Username & Password on the portal ssc.nic.in by 22.01.2019 failing which their candidature will be rejected and their claim will not be considered in any case. In case if there is any difficulty in updating the photo & signature online, the candidates may inform through e-mail to [email protected]. Staff Selection Commission (Eastern Region) ANNEXURE TO THE NOTICE NO. 10/15/2018-EXAM.I DATED 15.01.2019 Sl. No. reg_no cand_name 1 76000002552 DHARMENDRA KUMAR HARIJAN 2 76000007915 SAKET EKKA 3 72000396399 SUNIL KUMAR 4 74000544752 ARTIMA MUNDA 5 74000566478 ANISHA DAS 6 72000878553 ANSU KUMAR 7 74001279464 BISWAJIT HALDER 8 74001321393 BHASKAR HASDA 9 74001322163 DILIP KUMAR SINGH 10 72000886953 DEEPAK KUMAR 11 74001324316 SABITA RAY 12 74001343828 NAMITA RAY 13 74001362123 HIMANSHU DANSANA 14 74001368493 SUNIL KUJUR 15 74001370825 RITIK MUNDA 16 74001375508 DIPALI MAHATO 17 72000142918 RAVI KUMAR PASWAN 18 72001369356 JAYPAL KUMAR 19 72001374234 MANTU PANDAY 20 72001374873 ASHUTOSH KUMAR 21 72001377717 SUDHEER