12 Performing Arts: Music, Dance and Drama
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 -
Application Form for Empanelment
INDIAN COUNCIL FOR CULTURAL RELATIONS APPLICATION FOR EMPANELMENT AS A PERFORMING ARTIST/GROUP NAME OF THE ARTIST / GROUP MAIN CATEGORY FORMAT STYLE ENCLOSURES VCD DVD (PLEASE SEE PAGE 2 TO 5 BEFORE FILLING THE ABOVE COLUMNS) 2 GUIDELINES / IMPORTANT INSTRUCTIONS TO ARTISTE / GROUP FOR FILLING THE PROFORMA 1. All entries should by typewritten or handwritten in BLOCK letters. Only capital letters must be used. 2. Only one letter per Box must be entered. One Box must be left empty between words and / or initials. For example. NAME OF THE ARTISTE / GROUP S A R A S W A T I C H A N D R A MAIN CATEGORY M U S I C FORMAT S O L O STYLE H I N D U S T A N I 3. Nothing extra should be written outside the Boxes. 4. Wherever specified. Codes specified in the respective appendices must be used. 5. The cover of the Form indicates the main category / format style. The details are given below: TICK( ) THE CATEGORY AND FORMAT: Main Category: Dance/ Folk/ Theatre & Puppetry/ Carnatic Music/ Hindustani Music/ Modern Dance & Music A. Format } (Please specify Vocal or instrumental) b. Jugalbandi c. Group Music d. Fusion Music e. Popular Music/ Rock Band/ Bollywood Style / Qawwali B. f. Solo Dance (Classical) g. Duet Dance (Classical) h. Dance Drama / Group Dance based on Classical or Traditional Forms. i. Contemporary / Modern Choreography (Solo, Duet. Group) C. j. Folk Dance k. Folk Music D. l. Theatre ( Director/ Actor/ Actress/ Play Writer/ Critic ) m. Puppetry 6. The VCD/DVD specified below must be furnished along with the Form, in the format specified. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
Times-NIE-Web-Ed-AUGUST 14-2021-Page3.Qxd
CELLULAR JAIL, ANDAMAN & BIRLA HOUSE: Birla House is a muse- NICOBAR ISLANDS: Also known as um dedicated to Mahatma Gandhi. It ‘Kala Pani’, the British used the is the location where Gandhi spent CELEBRATING FREEDOM jail to exile political prisoners at the last 144 days of his life and was SATURDAY, AUGUST 14, 2021 03 this colonial prison assassinated on January 30, 1948 CLICK HERE: PAGE 3 AND 4 Pre-Independence slogans and its relevance in India today Slogans raised by leaders during the freedom movement set the mood of the nation’s revolution for its independence. They epitomised the struggle and hopes of millions of Indians. Author and former ad guru ANUJA CHAUHAN revisits these powerful slogans and explains their history and relevance in a contemporary India SATYAMEV JAYATE QUIT INDIA LIKE SWARAJ, KHADI IS (Truth alone triumphs) HISTORY: This slogan is widely associ- OUR BIRTH-RIGHT ated with Mahatma Gandhi (what he HISTORY: Inscribed at the base of started was the Quit India Movement India’s national emblem, this phrase is from August 8, 1942, in Bombay (then), a mantra from the ancient Indian scr- but the term ‘Quit India’ was actually ipture, ‘Mundaka Upanishad’, which coined by a lesser-known hero of was popularised by freedom fighter India’s freedom struggle – Yusuf Pandit Madan Mohan Malaviya during Meherally. He had published a booklet India’s freedom movement. titled ‘Quit India’ (sold in weeks) and got over a thousand ‘Quit India’ badges to give life to the slogan that Gandhi also started using and popularised. ‘YOUNGSTERS, DON’T QUIT INDIA’: Quit India was a powerful slogan and HISTORY: Mahatma Gandhi’s call to as a slogan) was written by Urdu the jingle of an epic movement meant use khadi became a movement for poet Muhammad Iqbal in 1904 for to drive the British away from our the indigenous swadeshi (Indian) children. -
Governing Bodies of 28 Delhi Government Sponsored Colleges Appendix-III Resolution No
Appendix-III Resolution No. 42 E.C. dated 07/08.03.2018 Annexure- Ill I Governing Bodies of 28 Delhi Government Sponsored Colleges Appendix-III Resolution No. 42 E.C. dated 07/08.03.2018 Acharya Narendra Dev• College Delhi Government Nominee S.No. Name Profession Affiliation Residence Phone Email 1 Prof. Anwar Alam Ed ucationist JNU School of Language, · Literature and 9868319298 - Culture Studies, Jawahar Lal University, New Delhi - 67 2 Surender Jaglan Social Worker Former Teacher in Kendriya 0/59, 3rd Floor, Pandav Nagar, Delhi 8588833513 Vidhyalaya Delhi University Panel S.No. Name Profession Affiliation Residence Phone Email I Ms. Meena Mani Architect Mani Chowfla. Architects Consultants, 011-41327564 contact@manichowfla. com 5613 Friends Colony East, Delhi - 110065 2 Justice Usha Mehra Judge Delhi High Court B-57, Defence Colony 9818421144 j [email protected]. in New Delhi - II 0024 3 Dr. Madhavi Diwan Advocate 9, Nizamuddin East, New Delhi - 9873819504 110013 4 Prof. Atiqur Rahman Dept. of Geography, Plot No. 35, Flat No. 302, Zakir Nagar 9873115404 [email protected]. in Jamia Millia Tslamia !(West) New Delhi - II 0025 5 Tapas Sen Media specialist Executive Vice President 3rd Florr, Times Center, Plot No. 6, 9810301383 [email protected] Journalist Times of India Group & Sector 16A, Film City, Noida Chief Programming Officer, Radio Mirchi Appendix-III Resolution No. 42 E.C. dated 07/08.03.2018 Aditi Mahavidyalaya Delhi Government Nominee S.No. Name P'rofession Affiliation Residence . Phone Email I Prabhanjan Jha Educationist Delhi Atithi Shikshak Sangh 4498 A, B-1 10/10, Sant Nagar (Burari), 8447747601 Delhi -84 2 Dharam Veer Sharma Advocate Udbhos (NGO) B-4/205, Sector-7, Rohini, Delhi - 9810883384 110085. -
General Knowledge Objective Quiz
Brilliant Public School , Sitamarhi General Knowledge Objective Quiz Session : 2012-13 Rajopatti,Dumra Road,Sitamarhi(Bihar),Pin-843301 Ph.06226-252314,Mobile:9431636758 BRILLIANT PUBLIC SCHOOL,SITAMARHI General Knowledge Objective Quiz SESSION:2012-13 Current Affairs Physics History Art and Culture Science and Technology Chemistry Indian Constitution Agriculture Games and Sports Biology Geography Marketing Aptitude Computer Commerce and Industries Political Science Miscellaneous Current Affairs Q. Out of the following artists, who has written the book "The Science of Bharat Natyam"? 1 Geeta Chandran 2 Raja Reddy 3 Saroja Vaidyanathan 4 Yamini Krishnamurthy Q. Cricket team of which of the following countries has not got the status of "Test" 1 Kenya 2 England 3 Bangladesh 4 Zimbabwe Q. The first Secretary General of the United Nation was 1 Dag Hammarskjoeld 2 U. Thant 3 Dr. Kurt Waldheim 4 Trygve Lie Q. Who has written "Two Lives"? 1 Kiran Desai 2 Khushwant Singh 3 Vikram Seth 4 Amitabh Gosh Q. The Headquarters of World Bank is situated at 1 New York 2 Manila 3 Washington D. C. 4 Geneva Q. Green Revolution in India is also known as 1 Seed, Fertiliser and irrigation revolution 2 Agricultural Revolution 3 Food Security Revolution 4 Multi Crop Revolution Q. The announcement by the Nuclear Power Corporation of India Limited Chairmen that India is ready to sell Pressurised 1 54th Conference 2 53rd Conference 3 51st Conference 4 50th Conference Q. A pension scheme for workers in the unorganized sector, launched recently by the Union Finance Ministry, has been named 1 Adhaar 2 Avalamb 3 Swavalamban 4 Prayas Q. -
THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’ ------ISSN 0971-7942 Volume: Annual - TRN 2011 ------S.I.R.C
THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’ ------------------------------------------------------------------------ ISSN 0971-7942 Volume: Annual - TRN 2011 ------------------------------------------------------------------------ S.I.R.C. Units: Mumbai, Pune, Solapur, Nanded and Amravati ============================================================= Feature Articles Music of Mughal-e-Azam. Bai, Begum, Dasi, Devi and Jan’s on gramophone records, Spiritual message of Gandhiji, Lyricist Gandhiji, Parlophon records in Sri Lanka, The First playback singer in Malayalam Films 1 ‘The Record News’ Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US $ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full -
T>HE JOURNAL MUSIC ACADEMY
T>HE JOURNAL OF Y < r f . MUSIC ACADEMY MADRAS A QUARTERLY IrGHTED TO THE ADVANCEMENT OF THE SCIENCE ' AND ART OF MUSIC XXXVIII 1967 Part.' I-IV ir w > \ dwell not in Vaikuntha, nor in the hearts of Yogins, ^n- the Sun; (but) where my Bhaktas sing, there L ^ Narada ! ” ) EDITED BY v. RAGHAVAN, M.A., p h .d . 1967 PUBLISHED BY 1US1C ACADEMY, MADRAS a to to 115-E, MOWBRAY’S ROAD, MADRAS-14 bscription—Inland Rs. 4. Foreign 8 sh. X \ \ !• ADVERTISEMENT CHARGES \ COVER PAGES: Full Page Half Page i BaCk (outside) Rs. 25 Rs. 13 Front (inside) 99 20 .. 11. BaCk (Do.) 30 *# ” J6 INSIDE PAGES: i 1st page (after Cover) 99 18 io Other pages (eaCh) 99 15 .. 9 PreferenCe will be given (o advertisers of musiCal ® instruments and books and other artistic wares. V Special positions and speCial rates on appliCation. t NOTICE All correspondence should be addressed to Dr. V. Ragb Editor, Journal of the MusiC ACademy, Madras-14. Articles on subjects of musiC and dance are accepte publication on the understanding that they are Contributed to the Journal of the MusiC ACademy. f. AIT manuscripts should be legibly written or preferabl; written (double spaced—on one side of the paper only) and be sigoed by the writer (giving his address in full). I The Editor of the Journal is not responsible for tb expressed by individual contributors. AH books, advertisement moneys and cheques du> intended for the Journal should be sent to Dr. V, B Editor. CONTENTS Page T XLth Madras MusiC Conference, 1966 OffiCial Report .. -
Archives Available on Patrick Moutal's Site Sorted by Rag Name Audio =Mp3 Audio 20/05/2012 =Mp4 Video
Audio (mp3) and Video (mp4) archives available on Patrick Moutal's Site Sorted by Rag Name Audio = mp3 20/05/2012 Video = mp4 mp3 mp4 All Records Rag Artist Chanson Comic Jazz Pensées Pop Nb Rag Name Artist 1 A tribute - P. Moutal - Diaporama Vilayat Khan Sitar mp4 2 Adana Abdul Haziz Khan Vichitra Veena mp3 3 Adana Amir Khan Vocal mp3 4 Adana Anjanibai Lolekar Vocal mp3 5 Adana Mirashibua Vocal mp3 6 Adana Roshanara Begum Vocal mp3 7 Adana Sawai Gandharva Vocal mp3 8 Adana Vinayak Rao Patwardhan Vocal mp3 9 Ahir Bhairav Ali Akbar Khan & Ravi Shankar Sarod & Sitar mp3 10 Ahir Bhairav Basavraj Rajguru Vocal mp3 11 Ahir Bhairav Hirabai Barodekar Vocal mp3 12 Ahir Bhairav V. G. Jog Violin mp3 13 Ahir Bhairav alap Nicolas Delaigue Sitar mp3 14 Ahir Bhairav jod jhala Nicolas Delaigue Sitar mp3 15 Ahir lalit Ravi Shankar Sitar mp3 16 Alhaiya Bilaval Allaudin Khan Sarod mp3 17 Alhaiya Bilaval Imrat Khan Surbahar mp3 18 Alhaiya Bilaval Lalmani Misra Vichitra Veena mp3 19 Alhaiya Bilaval Mogubai Kurdikar Vocal mp3 20 Anand Bhairavi Lalmani Misra Vichitra Veena mp3 21 Asavari D. V. Paluskar Vocal mp3 22 Asavari Vilayat Hussain Khan Vocal mp3 23 Ashtapadi Durga Mehbubjan of Sholapur Vocal mp3 24 Bageshree Anjanibai Lolekar Vocal mp3 25 Bageshree Bade Ghulam Ali Khan Vocal mp4 26 Bageshree Inayat Khan Surbahar mp3 27 Bageshree Inayat Khan Surbahar mp3 28 Bageshree Master Krishnarao Vocal mp3 29 Bageshree Roshanara Begum Vocal mp3 30 Bageshree Shahid Parvez Sitar mp3 31 Bageshree Vilayat Khan Sitar mp4 32 Bageshree (registered) Bade Ghulam Ali Khan -
Kathak Through the Ages, the Last Choreography of Guru Maya Rao in 2014, Video Projection in the Background Adds to the Dynamism of the Choreography
PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 20 Modern Development And Future Trends In Kathak Kathak though an ancient dance form, with clear established history, has grown to a massive body of work, making it veer towards what is contemporary and modern. The words contemporary and modern are two different terms in context of art. Any art form, design, film, fashion, music can be contemporary. Each generation or time cycle brings something to the table of this development in society but modern means a whole new language. It means new structure, new grammar and new form. So, in dance when we speak of a modern Kathak, what does it imply? Kathak has certain grammar and structure, as with any and most dance forms. Thus, when we say modern Kathak, it doesn’t mean we break the grammar or change costume - that is just innovation or making it more in tune with contemporary desires of a society at any given point of time. 1 Many believe that Kumudhini Lakhia’s solo performance entitled Duvidha was a turning point of Kathak as a dance form. She founded the Kadamb School of Dance and Music in Ahmedabad in 1967 and has done more than 70 successful productions all over the world. Her choreographies include Dhabkar / धबकार, Yugal / युगऱ, Atah Kim / अथ: ककम, The Peg, Okha-Haran / ओखा हरण, Sama Samvadan / सम संवाद, Suverna / सुवण,ण Bhav Krida / भाव क्रीड़ा, Golden Chains, Kolaahal / कोऱाहऱ, Mushti / मुष्टि to name a few. -
The Gwalior Gharana of Khayal
THE GWALIOR GHARANA OF KHAYAL SusheeJa Misra The different gharanas in Khayal-singing have not only helped to preserve and perpetuate the older traditions through an unbroken lineage of Guru shishya-paratnpara, but also added much colour and infinite variety to Hindustani Music. In an article on "A spects of Karnatic Music", the late Sri G.N. Balasubramaniam (a famous performing artiste and scholar) wrote almost longingly:- "Unlike the Karnatak system, the Hindustani system is more elastic and flexible and comparatively free from inhibitions and restrictions. For instance, in the North there are several Gharanas--each one handling one and the same raga differently. In the South everywhere, every raga is ren dered alike". It is this scope for variety, choice of suitable style, and flights of fancy that have maintained the popul arity of the Khayal up till now. The precursors of the Khayal also used to be rendered in different styles. In ancient granthas, we come across mention of different types of "Geetis" such as "Shudhdha", "Bhinna", "Goudi", "Vesari", and "Saadhaarant", When the golden age of the Dhrupad began (during the Middle Ages), Dhrupad-gayan also had developed four "Baants" (meaning styles, or schools) namely, :-"Goudi" or "Gobarhari", "Daggur", "Khandar", and "Nowhar". When the majestic and ponderous Dhrupad had to give place to the .classico-romantic Khayal-form, the latter was developed and perfected into various styles which came to be known as "Gharanas", These "gharanas" gave an attractive variety to Khayal-singing,-each "gharana" developing its own distinctive features, although all of them were deeply rooted in a common underlying tradition or "Susampradaaya". -
Editors Seek the Blessings of Mahasaraswathi
OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi