DOCSLIB.ORG

A STUDY RAMKATHA in PERFORMING ARTS TRADITIONS Krishna Kumar Assistant Professor, Faculty of Education, I.A.S.E

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A STUDY RAMKATHA in PERFORMING ARTS TRADITIONS Krishna Kumar Assistant Professor, Faculty of Education, I.A.S.E Wutan Huatan Jisuan Jishu ISSN:1001-1749 A STUDY RAMKATHA IN PERFORMING ARTS TRADITIONS Krishna Kumar Assistant Professor, Faculty of Education, I.A.S.E. (deemed to be university), Sardarshahar, Churu Abstract Ramlila, Rasleela is the one of greatest performing art of India. It is true that it is impossible to conceive of a uniform tradition of performing arts, especially performing arts in India. The vast geographical area of India has many traditions of the performing arts. The main objective of this research is to study the theatrical traditions based on Ram Katha. Some dramatics that take the epic of Ramayana as a sacred story. Ram Katha became an integral part of our local culture. Ram Katha spread not only to India but to the continent of Asia, South East Asia, Central Asia, China, Japan, and shaped and shaped the life and art of the people there. Ram Katha reached the masses through folklore and folk arts. Despite various invasions and conflicts in India, cinema, social media such as media is still popular and existing today. The popularity of Ramkatha can be gauged by this fact that it is famous not only in India but also outside India. In this research we have studied the performing arts based on Ram Katha in India and outside India. How Harikatha, Tableau, Loknatya, Puppet, Dance, Nautanki, Khyal, Tamasha, Bhavai, Burrakatha, Duskathia, Chhaya Theater, Puppet Dance, Ramnagar Ramayana Ram Katha reached the village and city to city through easy and simple mediums like LeelaNatak, folk dance and performing arts like Ramlila. KeyWord :-Ramakatha, Lokanatya, Tradition, Ramayana, Chhaya Theater, Puppet Dance, Epics. Introduction :- The traditions of the arts revolving around Ramkatha are found not only in India but in many parts of Asia. The play based on Ram Katha is an artistic in itself and also holds a deep significance for the people of India. Whether it is a village, a town or a city, it spreads from Volume XVI, Issue IX, SEP/2020 Page No: 229 Wutan Huatan Jisuan Jishu ISSN:1001-1749 folk theater to classical theater and performing arts, street plays, circus acrobatics. Even this story has reached from the rest of the society to the tribal society. There is no township, no village, no district, city where Ram Katha is not known. This eternal rip is a new story. Which is far ahead and important from the experiences of ephemeral artistic drama. Rama and Krishna have shaped and shaped the life and art of not only the people of India but also those of South East Asia. Its amazing spread to South, East Asia, Central Asia, China and Japan has been present in the history of art for many centuries. Therefore, the field of Ram's story is wide. And it is not limited to literary or theatrical traditions only. In addition, Ram Katha theater should not only be considered in the backdrop of literature and arts, but also the background of the ideals values of Ram Katha life, this Narration presents to the people as a criterion of human conduct. Consciously or unconsciously, every man wants to be brave like Ram and sacrifice like Laxman and sacrificial like Tyagi and Hanuman with a calm neutral and selfless spirit. And every woman wants to be kind and courageous like Sita. The characters of Ram's story have house-to-door discussions in India, Indonesia, Thailand, Cambodia and Sri Lanka. When decisions are to be taken in the deepest and crisp moments of life, the characters of this epic emerge in the minds of the inhabitants of Asia as human-styled individuals as symbols of natural powers. The Objectives of the study :- To study Indian cultural traditions, theatrical traditions and to know the diverse history of Ramayana Ramlila theater. The values and ideals that Ramayana has presented to us are norms of human conduct. To Cultivate ethical value among people through Ramakatha. To Shows the significance of these epic worth while in present scenario. Historical background of the Performing art Tradition :- Different the thinker and Artist have different opinions about the introduction of Ramkatha in the performing arts. Some scholars consider the presentation of HarivanshPuranaRamlila drama as evidence. KapilaVatsayan mentioned in his book. The earliest form of this Volume XVI, Issue IX, SEP/2020 Page No: 230 Wutan Huatan Jisuan Jishu ISSN:1001-1749 Ramakatha dates back to 1000 BCE or 800 BCE. And this time is definitely before the creation of Ramayana by Valmiki.India, South East Asia, Central Asia, History from Valmiki to the present of Ramkatha can be written in several volumes in different parts of Mongolia, Iran, China, Japan and Sri Lanka. Creative works and Granthalochanare just one dimension of the generality of this fascinating story. Artists, craftsmen, woodworkers, painters, musicians and dancers alike have an amazing affection for this Ramakatha. Rama Katha has been depicted on the walls of temples of India, for instance Indonesia, Cambodia, Thailand and Burma from about the fourth century to the modern era. Most of them belong to the 9th century to the 13th century. Where there the Ramkatha has been a subject of attachment for the painters of murals and weavers or for the printing of clothes. Different aspects of performing Art :- Harikatha :- Pure artistic sense Ramlila appears in many ways and in many forms across India. The simplest and most popular is the artist of Harikatha who either recites the pure fiction or sings it. This is called the Hari storyteller. He is a professional reader, singer, musician, actor, instrumentalist. It is believed that the earliest singers and speakers of this tale were Luv and Kush. The narrator or saga was a precursor to the character actor of the theater. There is no unanimous history in the presentation of scholar Ramayana as a theatrical performance. Some scholars believe that the first presentation of the RamacharitraManas was done by a disciple of Tulsidas in the form of Ramlila. Whose life span was in or around 1625 AD. But according to some scholars, the architect of the temple named Narayan Das presented it for the first time after receiving the order in a dream. This dream vision is staged every year by the theater troupe in Varanasi. Daskathia :- This form ofRama Katha singing is found in Orissa. Its name originated from wood masses, which are the only musical instruments played together. Those are also called Dasakathia or Ramtali. The themes of the saga are taken from the Ramayana. The text used in this is from the Odiya language book Vichitra Ramayana. The saga singer also uses other Oriya adaptations of the Ramayana such as the Ramayana composed by Ram Das and the Dandi Ramayana. The story of Sita's birth is similar to that of Thailand and the Malaysian legend. In which he is told to be expelled by Ravana. The creation of all these adaptations is 16th Volume XVI, Issue IX, SEP/2020 Page No: 231 Wutan Huatan Jisuan Jishu ISSN:1001-1749 century. Saga singer who uses verses. Those verses are known as "Chautisa" and "Chaupadi". And compositions called Love and Vritta. Burrakatha :- It is a popular singing of Andhra Pradesh. Which is represented by a group of one or three singers. Rang Mahal inevitably recites the Ramayana. Telugu adaptation takes place in this tale. Which is called Dvaipada Ramayana or Ranganath Ramayana.Which is the creation of 12th century.RanganathRamayanain many episodesJava, Malaysia Ramayana stories finds sourcesof the. Many variations are found in these and Valmiki Ramayana. Chhaya and Puppet Theater :- Chhaya Theater and Puppet Theater have all the forms of rods, glove and pupils in India, apart from the contemporary traditions of VayagulKulit or Nang Swek or Nang Yai of Indonesia, Malaysia, Cambodia and Thailand. VygGolak variety rod puppets and Burmese type pupils are found in different parts of India. The Ramayana dominated the Ram Katha Chhaya and puppet theater with Kathapath, singer, instrument, music and performance. RavanaChhaya :- Puppets inOrissa are made by cutting short and dyed leather. And they project photographs and side photographs. The text is performed from the bizarre Ramayana. The only sign of the "Dalang" of the VyagKulit of Indonesia is the signifying puppet driver or Ravana Shadow. TholuBommalattam :- Which means leather puppet dance. The text of dance plays is adapted from the Telugu Ramayana. The form of puppets resembles medieval murals of the Vijay Nagar era. The shadows are large. Which can be compared to Nang Swake. Karnataka ChhayaTheater :- Another presentation based around the Kannada Ramayana revolves around the Ramakatha, the Chhaya Theater of Karnataka closely related to the Ramnatak offered through puppets. The Chhaya Theater, a TholapauKoothu (leather effigy drama) in Kerala, is a recurring Volume XVI, Issue IX, SEP/2020 Page No: 232 Wutan Huatan Jisuan Jishu ISSN:1001-1749 rendition of the Ramakatha. Along with this, recitation and singing of poetry of Kamban Ramayana goes on. Kamban Ramayana is also followed in Tamil Nadu's puppet drama. Ramlila of Ramnagar :- Start the Ramlila of Ramnagar between the 18th century and the 16th was from RamcritrmansLeknkal. According to a legend, an ancestor of the Maharaja was ordered to convert the city of Varanasi into a Ramayana event in his dream. The entire Hindu society in Varanasi plays the Ramayana as a collective effort. People of all classes and all castes cooperate in the preparation. Its patron is still the local king. Actors are elected from any caste. Ram LaxmanSita's roles are performed by teenagers under 14 years of age. Announcers etc. to other characters musicians are selected on the basis of skill. In the performing arts, the Ramayana of Varanasi follows the text of Ramacharitramanas.
Load more

Recommended publications
  • Copyright by Kristen Dawn Rudisill 2007
    Copyright by Kristen Dawn Rudisill 2007 The Dissertation Committee for Kristen Dawn Rudisill certifies that this is the approved version of the following dissertation: BRAHMIN HUMOR: CHENNAI’S SABHA THEATER AND THE CREATION OF MIDDLE-CLASS INDIAN TASTE FROM THE 1950S TO THE PRESENT Committee: ______________________________ Kathryn Hansen, Co-Supervisor ______________________________ Martha Selby, Co-Supervisor ______________________________ Ward Keeler ______________________________ Kamran Ali ______________________________ Charlotte Canning BRAHMIN HUMOR: CHENNAI’S SABHA THEATER AND THE CREATION OF MIDDLE-CLASS INDIAN TASTE FROM THE 1950S TO THE PRESENT by Kristen Dawn Rudisill, B.A.; A.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2007 For Justin and Elijah who taught me the meaning of apu, pācam, kātal, and tuai ACKNOWLEDGMENTS I came to this project through one of the intellectual and personal journeys that we all take, and the number of people who have encouraged and influenced me make it too difficult to name them all. Here I will acknowledge just a few of those who helped make this dissertation what it is, though of course I take full credit for all of its failings. I first got interested in India as a religion major at Bryn Mawr College (and Haverford) and classes I took with two wonderful men who ended up advising my undergraduate thesis on the epic Ramayana: Michael Sells and Steven Hopkins. Dr. Sells introduced me to Wendy Doniger’s work, and like so many others, I went to the University of Chicago Divinity School to study with her, and her warmth compensated for the Chicago cold.
    [Show full text]
  • CHAPTER – I : INTRODUCTION 1.1 Importance of Vamiki Ramayana
    CHAPTER – I : INTRODUCTION 1.1 Importance of Vamiki Ramayana 1.2 Valmiki Ramayana‘s Importance – In The Words Of Valmiki 1.3 Need for selecting the problem from the point of view of Educational Leadership 1.4 Leadership Lessons from Valmiki Ramayana 1.5 Morality of Leaders in Valmiki Ramayana 1.6 Rationale of the Study 1.7 Statement of the Study 1.8 Objective of the Study 1.9 Explanation of the terms 1.10 Approach and Methodology 1.11 Scheme of Chapterization 1.12 Implications of the study CHAPTER – I INTRODUCTION Introduction ―The art of education would never attain clearness in itself without philosophy, there is an interaction between the two and either without the other is incomplete and unserviceable.‖ Fitche. The most sacred of all creations of God in the human life and it has two aspects- one biological and other sociological. If nutrition and reproduction maintain and transmit the biological aspect, the sociological aspect is transmitted by education. Man is primarily distinguishable from the animals because of power of reasoning. Man is endowed with intelligence, remains active, original and energetic. Man lives in accordance with his philosophy of life and his conception of the world. Human life is a priceless gift of God. But we have become sheer materialistic and we live animal life. It is said that man is a rational animal; but our intellect is fully preoccupied in pursuit of materialistic life and worldly pleasures. Our senses and objects of pleasure are also created by God, hence without discarding or condemning them, we have to develop ( Bhav Jeevan) and devotion along with them.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility.
    [Show full text]
  • Global Feminisms: Interview Transcripts: India Language: English
    INDIA Global Feminisms: Comparative Case Studies of Women’s Activism and Scholarship Interview Transcripts: India Language: English Interview Transcripts: India Contents Acknowledgments 3 Shahjehan Aapa 4 Flavia Agnes 23 Neera Desai 48 Ima Thokchom Ramani Devi 67 Mahasweta Devi 83 Jarjum Ete 108 Lata Pratibha Madhukar 133 Mangai 158 Vina Mazumdar 184 D. Sharifa 204 2 Acknowledgments Global Feminisms: Comparative Case Studies of Women’s Activism and Scholarship was housed at the Institute for Research on Women and Gender at the University of Michigan (UM) in Ann Arbor, Michigan. The project was co-directed by Abigail Stewart, Jayati Lal and Kristin McGuire. The China site was housed at the China Women’s University in Beijing, China and directed by Wang Jinling and Zhang Jian, in collaboration with UM faculty member Wang Zheng. The India site was housed at the Sound and Picture Archives for Research on Women (SPARROW) in Mumbai, India and directed by C.S. Lakshmi, in collaboration with UM faculty members Jayati Lal and Abigail Stewart. The Poland site was housed at Fundacja Kobiet eFKa (Women’s Foundation eFKa) in Krakow, Poland and directed by Slawka Walczewska, in collaboration with UM faculty member Magdalena Zaborowska. The U.S. site was housed at the Institute for Research on Women and Gender at the University of Michigan in Ann Arbor, Michigan and directed by UM faculty member Elizabeth Cole. Graduate student interns on the project included Nicola Curtin, Kim Dorazio, Jana Haritatos, Helen Ho, Julianna Lee, Sumiao Li, Zakiya Luna, Leslie Marsh, Sridevi Nair, Justyna Pas, Rosa Peralta, Desdamona Rios and Ying Zhang.
    [Show full text]
  • RMTU 2021 Downloadable Schedule
    RMTU 2021 /colfinearts 14th Annual Rocky Mountain Sou th Asian Classical Music Festival from CFAA Feb 26-28, Mar 5-7, 12-14, 2021 Register @ rmtu.org | SUBSCRIBE to YouTube.com/colfinearts Day 1 Friday Feb 26th, 6:00 PM MDT | Saturday Feb 27th, 6:30 AM IST Pancharatna Renditions by Colorado Community Artists Basavaraj Brothers Jugalbandi - Carnatic Violin & Hindustani Sitar How to watch RMTU 2021 ? Register @ rmtu.org & SUBSCRIBE to YouTube.com/colfinearts [email protected] rmtu.org +1 (720) 340 CFAA /colfinearts /COLORADOFINEARTSASSOCIATION /COLORADOFINEARTSASSOCIATION RMTU 2021 /colfinearts 14th Annual Rocky Mountain South Asian Classical Music Fes tival | Since 2008 - Presented by Colorado Fine Arts Association (CFAA) Feb 26-28, Mar 5-7, 12-14, 2021 Register @ rmtu.org | SUBSCRIBE to YouTube.com/colfinearts Day 2 Saturday Feb 27th, 8:00 AM MDT | Saturday Feb 27th, 8:30 PM IST Prince Rama Varma Carnatic Concert Conversation with Prince Rama Varma Saturday Feb 27th, 2:00 PM MDT | Sunday Feb 28th, 2:30 AM IST Saturday Feb 27th, 6:00 PM MDT | Monday Feb 28th, 6:30 AM IST Gowri Nandakumar with Rohan Nandakumar Carnatic Vocal Ananya Kashyap Carnatic Vocal Srikriti Bhaskara Carnatic Vocal Milind Tulankar Hindustani Jalatarang Priyanka Nair Carnatic Vocal Srinikapriya Gridharan Carnatic Vocal Sangeetha Rao Carnatic Vocal Annika Ajay Carnatic Flute Godaa Hitesh Carnatic Vocal Viraj Joshi Hindustani Vocal Pavani Chivukula Carnatic Vocal Sooraj Lal Carnatic Vocal Manu Chandrasekharan Carnatic Vocal Saijyothi Ramgopal Carnatic Vocal Manjusha
    [Show full text]
  • Iasbaba's 60 Days Plan – Day 48 (History)
    IASbaba’s 60 Days Plan – Day 48 (History) 2018 Q.1) Consider the following pairs about Sufi philosophy. Philosophy Meaning 1. Waḥdat al-wujūd Unity of Existence 2. Waḥdat ash-shuhūd Unity of appearance 3. Al-Wujūd Al-Munbasiṭ Self-unfolding Being Which of the above pairs is/are correctly matched? a) 1 only b) 1 and 2 only c) 1, 2 and 3 d) 3 only Q.1) Solution (c) Major ideas in Sufi metaphysics have surrounded the concept of weḥdah meaning "unity", or in Arabic tawhid. Two main Sufi philosophies prevail on this topic. waḥdat al-wujūd literally means the "Unity of Existence" or "Unity of Being" but better translation would be Monotheism of Existence. Wujud (i.e. existence) here refers to Allah's Wujud - implication is Wahdat/Tawheed Of Wujud Of Allah. On the other hand, waḥdat ash-shuhūd, meaning "Apparentism" or "Monotheism of Witness", holds that God and his creation are entirely separate. Al-Wujūd Al-Munbasiṭ (Self-unfolding Being) Shah Waliullah Dehlawi tried to reconcile the two (apparently) contradictory doctrines of waḥdat al-wujūd (unity of being) of Ibn Arabi and waḥdat ash-shuhūd (unity in conscience) of Shaykh Ahmad Sirhindi. Shah Waliullah neatly resolved the conflict, calling these differences 'verbal controversies' which have come about because of ambiguous language. If we leave, he says, all the metaphors and similes used for the expression of ideas aside, the apparently opposite views of the two metaphysicians will agree. Do you know? While orthodox Muslims emphasise external conduct, the Sufis lay stress on inner purity. While the orthodox believe in blind observance of rituals, the Sufis consider love and devotion as the only means of attaining salvation.
    [Show full text]
  • Sita Ram Baba
    सीता राम बाबा Sītā Rāma Bābā סִיטָ ה רְ אַמָ ה בָבָ ה Bābā بَابَا He had a crippled leg and was on crutches. He tried to speak to us in broken English. His name was Sita Ram Baba. He sat there with his begging bowl in hand. Unlike most Sadhus, he had very high self- esteem. His eyes lit up when we bought him some ice-cream, he really enjoyed it. He stayed with us most of that evening. I videotaped the whole scene. Churchill, Pola (2007-11-14). Eternal Breath : A Biography of Leonard Orr Founder of Rebirthing Breathwork (Kindle Locations 4961-4964). Trafford. Kindle Edition. … immortal Sita Ram Baba. Churchill, Pola (2007-11-14). Eternal Breath : A Biography of Leonard Orr Founder of Rebirthing Breathwork (Kindle Location 5039). Trafford. Kindle Edition. Breaking the Death Habit: The Science of Everlasting Life by Leonard Orr (page 56) ראמה راما Ράμα ראמה راما Ράμα Rama has its origins in the Sanskrit language. It is used largely in Hebrew and Indian. It is derived literally from the word rama which is of the meaning 'pleasing'. http://www.babynamespedia.com/meaning/Rama/f Rama For other uses, see Rama (disambiguation). “Râm” redirects here. It is not to be confused with Ram (disambiguation). Rama (/ˈrɑːmə/;[1] Sanskrit: राम Rāma) is the seventh avatar of the Hindu god Vishnu,[2] and a king of Ayodhya in Hindu scriptures. Rama is also the protagonist of the Hindu epic Ramayana, which narrates his supremacy. Rama is one of the many popular figures and deities in Hinduism, specifically Vaishnavism and Vaishnava reli- gious scriptures in South and Southeast Asia.[3] Along with Krishna, Rama is considered to be one of the most important avatars of Vishnu.
    [Show full text]
  • The Journal the Music Academy
    THE JOURNAL OF THE MUSIC ACADEMY* DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXI 1990 vet rrar fassT fa m r s 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-600014 Annual Subscription — Inland Rs. 30 : Foreign $ 3-00 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, type­ written (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 responsible for the views expressed by contributors in their articles. CONTENTS PAGE The 63rd Madras Music Conference—Official Report ... 1 Meetings of the Advisory Committee , 28 The Sadas 46 Prahlada Bhakti Vijayam of Sri Tyagaraja ... 65 7. S. Parthasarathy Bharata Natyam 116 Anne—Marie Gaston The Pancha Ratna Kritis of Sri Tyagaraja 146 7. S. Parthasarathy Balasaraswati’s Abhinaya Style 160 Kay Poursine Ancient Music : 165 Brinda Varadarajan Sri Tyagaraja Swamigal in Samskrita Kritis 189 V. Sivaswamy The Values of Tyagaraja 206 W illiam J .
    [Show full text]
  • Ramayan Ki Kathayen, Pandemic and the Hindu Way of Life and the Contribution of Hindu Women, Amongst Others
    Hindu Sevika Samiti (UK) Mahila Shibir 2020 East and South Midlands Vibhag FOREWORD INSPIRING AND UNPRECEDENTED INITIATIVE In an era of mass consumerism - not only of material goods - but of information, where society continues to be led by dominant and parochial ideas, the struggle to make our stories heard, has been limited. But the tides are slowly turning and is being led by the collaborative strength of empowered Hindu women from within our community. The Covid-19 pandemic has at once forced us to cancel our core programs - which for decades had brought us together to pursue our mission to develop value-based leaders - but also allowed us the opportunity to collaborate in other, more innovative ways. It gives me immense pride that Hindu Sevika Samiti (UK) have set a new precedent for the trajectory of our work. As a follow up to the successful Mahila Shibirs in seven vibhags attended by over 500 participants, 342 Mahila sevikas came together to write 411 articles on seven different topics which will be presented in the form of seven e-books. I am very delighted to launch this collection which explores topics such as: The uniqueness of Bharat, Ramayan ki Kathayen, Pandemic and the Hindu way of life and The contribution of Hindu women, amongst others. From writing to editing, content checking to proofreading, the entire project was conducted by our Sevikas. This project has revealed hidden talents of many mahilas in writing essays and articles. We hope that these skills are further encouraged and nurtured to become good writers which our community badly lacks.
    [Show full text]
  • 1465539437P14M1TEXT.Pdf
    PAPER 14 KIRTANAM and TILLANA MODULE 1 The Importance of KIRTANAM in Bharatanatyam repertoire KIRTANAM Singing The Praise of God Is Keertana / कीर्तन. Keertan Is a Sanskrit Word .It means telling the Glory of God. In Southern Part India Keertana, came to be known as Kirtanam / कीर्तनम Or Keertanai / ककर्तनै with a regional touch. The different names with Adjectives attributed to gods are known as Kirtanam. Keertan Singing is a common feature in the pan Indian Tradition. It Is Sung In Temples And Religious Congregations. This Musical Form Is Prevalent In The Regional Languages All Over India. Irrespective Of the Type of Music Whether Hindustani or Carnatic, Keertan Takes a Special Place in the Repertoire of Music, Dance, Harikatha / हररकथा and bhajan Concerts. The Recitation And Chanting Of Vedas By A Group Of Priests As Part Of The Rituals Can Be Considered As The Early Example Of Collective Singing Of Devotional Music. Devotion Is a Universal Feeling and the Supreme Prayer to Attain God’s Feet. There are Threefold Margas to approach The Infinite .They are Gyanamarga / ऻानमागत (Intellectual Path), Karma Marga / कमत मागत (way of action) and The Bakhtimarga / भक्तर्मागत (Devotional Path).The devotional path is considered the ideal and easiest to approach god. The attractive form of displaying devotion is by singing his praise. Hence kirtanas are the best musical form in the sphere of devotional music. Structure of the kirtanam Kirtanams are set in simple ragas (tunes) to make easy for everybody to sing. The talas set are also simple and rhythmic.
    [Show full text]
  • Traditional Media of Communication
    International Journal of Social Science, Volume 4, No. 1, March 2015, pp. 159-169 © 2015 New Delhi Publishers. All rights reserved DOI Number: 10.5958/2321-5771.2015.00011.3 Traditional Media of Communication T. Mathiyazhagan1, Jagjyot Kaur2, M. Ravindhar3 and G.P. Devrani4 1Worked at the National Institute of Health and Family Welfare, Munirka, New Delhi-110067, India. 2International Institute of Health Management Research, New Delhi-110075, India. 3Jaipur National University, Jaipur, Rajasthan, India. 4National Institute of Health and Family Welfare, Munirka, New Delhi -110067, India. Corresponding author: [email protected] Traditional media have been in existence in India for long and have been used as a medium of communication, particularly in remote parts of the country where the modern media of communication has either less penetration or no penetration at all. Despite the revolution of modern media including; new media such as kiosks, internet, social networking such as facebook, twitter, MySpace etc., the traditional media yet occupy some space in the delivery of messages to a large number of people in the country. The traditional media are defined as ‘those media which attempt to communicate a message to a particular group of target audiences in a given time in local dialect with entertainment’. Centre for communication program, John Hopkins University, Baltimore (USA) advocates ‘Enter-Educate’ approach for making the communication more effective. Traditional media, hence, become personal forms of communication and can be considered to be ‘matchless persuasive means of communication for policy makers and administrators’ and an inexhaustible treasure of colorful forms and meaningful themes for mass media personnel[1].
    [Show full text]
  • The 40Th Annual Conference on South Asia (2011)
    2011 40th Annual Conference on South Asia Paper Abstracts Center for South Asia University of Wisconsin - Madison Aaftaab, Naheed Claiming Middle Class: Globalization, IT, and exclusionary practices in Hyderabad In this paper, I propose that middle class identity in the IT sector can be read as part of an “identity politics” that claim certain rights and benefits from governmental bodies both at the national and international levels. India’s economic growth since the 1991 liberalization has been attended by the growth of the middle classes through an increase in employment opportunities, such as those in the IT sector. The claims to middle class status are couched in narratives of professional affiliations that shape culturally significant components of middle class identities. The narratives rely on the ability of IT professionals to reconcile the political identities of nationalism while simultaneously belonging to a global work force. IT workers and the industry at large are symbols of India’s entry into the global scene, which, in turn, further reinforces the patriotic and nationalist rhetoric of “Indianness.” This global/national identity, however, exists through exclusionary practices that are evident in the IT sector despite the management’s assertions that the industry’s success is dependent on “merit based” employment practices. Using ethnographic data, I will examine middle class cultural and political claims as well as exclusionary practices in professional settings of the IT industry in order to explore the construction of new forms of identity politics in India. 40th Annual Conference on South Asia, 2011 1 Acharya, Anirban Right To (Sell In) The City: Neoliberalism and the Hawkers of Calcutta This paper explores the struggles of urban street vendors in India especially during the post liberalization era.
    [Show full text]