Cultural Overview of Uttar Pradesh a Cultured, Genteel Lifestyle Was

Total Page：16

File Type：pdf, Size：1020Kb

Cultural Overview of Uttar Pradesh a Cultured, Genteel Lifestyle Was

Cultural Overview Of Uttar Pradesh by newsdesk A cultured, genteel lifestyle was the essence of the rule of the Muslim Nawabs of Awadh. Music, dance, literature, poetry, arts and crafts flourished under royal patronage. Women were encouraged to learn the fine arts and to read and write, albeit within the ‘purdah’. Literateurs, painters, dancers and musicians created masterpieces in their respective genres. Writers like Munshi Premchand, Mahadevi Verma, Srikant Verma, poets like Suryakant Tripathi ‘Nirala’, Harivanshrai Bacchan, Sumitra Nandan Pant, Mahavir Prasad Dwiwedi, and Upendranath ‘Ashk’; artistes of the stature of the shehnai maestro Ustad Bismillah Khan, Kathak wizard Birju Maharaj, tabla maestro Kishan Maharaj, the legendary Baba Allaudin Khan and his disciples Pt. Ravi Shankar and Ustad Vilayat Khan; ghazal singers Begum Akhtar, Rasoolan Bai, Girija Devi and many more have lived and practised their art and craft here. Uttar Pradesh is the birthplace of Kathak, a classical dance genre that was traditionally performed in temple precincts, relating mythological tales to common people but was given patronage and adapted by the rulers of Awadh,(modern day Lucknow) into its present form of artistic expression. Uttar Pradesh has a rich tradition of craftsmanship. Ranging from exquisitely woven carpets, to gold embroidery or zardozi, priceless hand woven Banarasi silk sarees and chikankari or shadow embroidery on fine cotton voiles and muslins. The state is also famous for its glassware, brass inlay, marble ware inlaid with semi-precious stones and ivory carving (now replaced by camel-bone and sandalwood carving). Cultural Overview Of Uttar Pradesh by newsdesk.

Copy Link

Recommended publications

Indian Cultural Troupes As Part of Namaste Russia 2019
Jawaharlal Nehru Cultural Center Embassy of India Moscow – 2019 – With a view to promote and further strengthen cultural ties between India and Russia, cultural troupes of both countries visited each others’ country for performances. In 2018, three groups from Russia – ‘Reverse’ Musical theater production by Moscow Musical Theater, Quintet ‘Timofei Dokshizer New Life Brass’ and Vainakh Chechen State Dance Ensemble – visited India. These groups gave enthralling performances in New Delhi, Chennai, Jaipur, Chandigarh, Kolkata and Hyderabad. People of India got the opportunity to witness their performances. Similarly, four Indian groups - ‘Drishtikon’. a Kathak Dance Group, Hindustani Kalari Sangam, a martial art group, Bollywood Dance Group and Shehnai Group visited Russia. These groups performed in Vladivostok, Khabarovsk, Veliky Novgorod, Saint Petersburg, Moscow, Sochi, Krasnodar, Gelendzhik, Yessentuki and Kislovodsk. Indian groups gave spectacular performances that were highly appreciated by the Russian audiences. ***** Aditi Mangaldas Dance Company – the Drishtikon Dance Foundation, a group of Indian Classical Dance and Contemporary dance based on Kathak, was established with a vision to look at tradition with a modern mind, to explore the past to create a new imaginative future. The dance company aims to achieve excellence and virtuosity in the rich classical Indian dance form of kathak, as well as encourage the spirit of innovation. In doing so, Aditi Mangaldas Dance Company seeks to challenge established norms and develop the courage to dance their own dance, while at the same time being informed about the heritage, cultures, influences and language of other dance styles and forms, viewpoints and ideas. Aditi Mangaldas is a leading dancer and choreographer in the classical Indian dance form of Kathak.
[Show full text]
10U/111121 (To Bejilled up by the Candidate by Blue/Black Ball-Point Pen)
Question Booklet No. 10U/111121 (To bejilled up by the candidate by blue/black ball-point pen) Roll No. LI_..L._.L..._L.-..JL--'_....l._....L_.J Roll No. (Write the digits in words) ............................................................................................... .. Serial No. of Answer Sheet .............................................. D~'y and Date ................................................................... ( Signature of Invigilator) INSTRUCTIONS TO CANDIDATES (Use only bluelblack ball-point pen in the space above and on both sides of the Answer Sheet) 1. Within 10 minutes of the issue of the Question Booklet, check the Question Booklet to ensure that it contains all the pages in correct sequence and that no page/question is missing. In case of faulty Question Booklet bring it to the notice oflhe Superintendentllnvigilators immediately to obtain a fresh Question Booklet. 2. Do not bring any loose paper, written or blank, inside the Examination Hall except the Admit Card without its envelope, .\. A separate Answer Sheet b,' given. It !J'hould not he folded or mutilated A second Answer Sheet shall not be provided. Only the Answer Sheet will be evaluated 4. Write your Roll Number and Serial Number oflhe Answer Sheet by pen in the space prvided above. 5. On the front page ofthe Answer Sheet, write hy pen your Roll Numher in the space provided at the top and hy darkening the circles at the bottom. AI!J'o, wherever applicahle, write the Question Booklet Numher and the Set Numher in appropriate places. 6. No overwriting is allowed in the entries of Roll No., Question Booklet no. and Set no. (if any) on OMR sheet and Roll No.
[Show full text]
General Knowledge
Siddhartha Basu Preface Know for Sure—a series of eight general knowledge books for students of classes 1 to 8—has been a carefully and has earned the trust of many for providing detailed and accurate information on a wide range of subjects. between knowing more and being sure of what we learn is by getting to the primary source of facts or by cross- checking these with sound references. Know for Sure has been doing this since its beginning while continuously updating itself to keep pace with this age of information boom. This year, the series has been thoroughly revised Know for Sure is not just a bunch of questions and answers or just another bundle of facts which have to be answers. It is about going beyond a few select subjects that are taught in schools. It is also about becoming more aware of the world around us. Therefore, this series has been designed as an extension of the recommendations of National Curriculum Framework (NCF) 2005 and is aimed at bringing alive general knowledge in the classroom with quizzes, games, facts, surveys, word craft, activities, life skills, brain-teasers, lifestyles, stories, handicrafts, group discussions about value systems, and a whole lot more that can excite, engage, and educate a young mind. The perspective of the series—India and the World—is aimed at kindling an all-round interest in subjects both familiar and unknown. While systematically dealing with subjects and areas recommended for learning, these books not only make quizzing fun and fascinating but also encourage learners to discover more.
[Show full text]
The Journey of Kathak Dance
Katha Dance Theatre Press Kit Dance. Discover. Transform. Office: 5444 Orchard Avenue N., Crystal, MN 55429 | Studio: 5806 W. 36th Street, St. Louis Park, MN 55416 | 763.533.0756 | [email protected] Mission Katha Dance Theatre creates, performs, and educates through the art forms of dance, music, poetry, and storytelling. Rooted in Kathak, the classical dance style of North India, KDT is dedicated to making dance accessible, inclusive and relevant. It enhances the local community by bridging diverse cultures and audiences to contribute to life’s infinite artistic expressions. History Founded in 1987 by Artistic Director Rita Mustaphi, KDT is a non-profit organization based in Crystal, Minnesota. The company was founded with the intent to advance Kathak, the classical dance tradition native to North India, and integrate it into the Twin Cities dance community. To this end, KDT offers performances, education, and other cultural activities of the highest artistic and cultural quality throughout the state of Minnesota. Furthermore, KDT is the only organization of its kind, scale and scope in the Midwest, ensuring its strong cultural and artistic impact. The word “Kathak” is derived from the Sanskrit word “Katha,” meaning “story”. As a dance form, Kathak has its origins among traveling storytellers (called “Kathakas”) who traveled throughout India’s villages sharing dramatized versions of Hindu epics and lore using songs, gestures, and subtle expressions. Centuries of exposure to Indo-Persian cultures enriched the art form, manifesting within it a unique synthesis of Hinduism and Islam. In the 16th Century, Persian rulers introduced Kathak to the royal courts, where it acquired secular elements of sophistication, especially in its pure dance passages.
[Show full text]
Sandesh Sandesh Issue 3 “The Message” a Newsletter from Indus of Fox Valley
October 2007 Volume 5 Sandesh Sandesh Issue 3 “The Message” A Newsletter from IndUS of Fox Valley From Editors’ Desk Indian Classical Music and Dances: A Brief Introduction Dear Readers, By B. S. Sridhar Each year the October issue of Sandesh is dedicated to the theme Classical Indian Music raga is a projection of artist’s inner spirit. of upcoming annual IndUS ban- The origin of Indian music is said to be The current classification of ragas can be quet. The theme of IndUS-2007 is rooted in the Vedas (1000-1700 B.C.). traced to two seminal works by great Music & Dances of India and the Over the centuries classical music has musicologists: Svaramelakalanidhi by articles in this issue are a prelude evolved into two distinct schools, namely, Raamamaatya (c. 1550 AD) and to such a rich and diverse compo- Hindustani (the North Indian) and Carnatic Caturdandi Prakaasikaa by Venkatamakhi nent of Indian culture. (the South Indian). (1660 A.D.). The ten principal families of ragas in Hindustani are: Asavari, Bhairav, The lack of space prevents us to Carnatic music is devotional in nature, with Bhairavi, Bilawal, Kafi, Kalyan, Khamaj, cover many other interesting attention on melody and rhythm, heavy Marwa, Purvi and Todi. Carnatic labels for forms and important aspects of emphasis is placed on sahitya or lyrics. The ragas generally differ but there are Indian music and dance. We are music is often in praise of the Hindu equivalent ragas in both systems. sure that at the banquet you will pantheon and often the poets are known to discover interesting and informa- express other emotions such as love, anger, Tala refers to rhythmic cycles.
[Show full text]
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.
[Show full text]
KARTIK FINE ARTS (Regd.) Rajalakshmi
DATE : 18-11-2012 KARTIK FINE ARTS (Regd.) ‘Bhargavi’, Flat No. F1, First Floor, New No. 16, (Old No. 39), Bheemanna Mudali Garden St., Chennai - 600 018. Ph. : 2499 7788, 2495 2695, 90948 29675 e-mail : [email protected] Web : www.kartikfinearts.com in association with KARTIK ART FESTIVAL TRUST Sri P. OBUL REDDY and P. GNANAMBAL TRUST (Sponsored by Shri P. Vijayakumar Reddy & Smt. Preetha Reddy) Rajalakshmi Institutions & 39th YEAR ART FESTIVAL From 1-12-2013 To 04-01-2014 NARADA GANA SABHA MAIN HALL (Phone : 2498 3201) 01.12.13 10.30 am Inauguration followed by "SRI" a Bharathanatyam Sunday recital by Ms. Krithika Subrahmanian 04.00 pm ‘Isai Peroli’ Malladi Brothers(Sriram Prasad & Ravikumar) – Embar S. Kannan – Neyveli Narayanan – B.S. Purushotham 06.45 pm Sridevi Nrithyalaya presents “Janani Jagath Karani”- Dance drama. Choreography : Sheela Unnikrishnan Sri L. SABARETNAM Sri. RAJAGOPAL SEKAR & Chairman Sri . R. VENKATASUBRAMANIAN Secretaries Sri A.V.S. RAJA Sri . S. CHANDRASEKARAN President Treasurer Sri R. RAJAGOPAL, Managing Trustee, Kartik Art Festival Trust. 1 DATE : 18-11-2012 NARADA GANA SABHA MINI HALL (Phone-24983201) 02.12.13 10.00 am Mandolin Sisters (Sreesha & Sreeusha) – Monday Delhi Sairam – B. Subba Rao 12.15 pm R. Rajiv – R. Rajesh – Ammangudi Ramanarayanan 02.00 pm Jayakrishnan – C.N. Srinivasamurthy – V.S. Raghavan NARADA GANA SABHA MAIN HALL (Phone- 24983201) 04.30 pm S. Saketha Raman – Nagai Sriram – Umayalpuram Dr. K. Sivaraman – Giridhar Udupa 06.45 pm Hindustani Classical Recital by renowned Vocalist from Delhi MEETA PANDIT NARADA GANA SABHA MINI HALL (Phone-24983201) 03.12.13 10.00 am N.
[Show full text]
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.
[Show full text]
Scheme of Study B.A
Scheme of Study B.A. (Hons) School in Dance Part-III (Semester - Fifth & Sixth) (Session 2013-14, 2014-15, 2015-16) 1H gouk ^ gfjbk L eZEe (fbysh) 2H gouk ^ d{ik L eZEe (gq?eNheb) 3H gouk ^ shik L fwT{fIe t'eb 4H gouk ^ u"Ek L spbk (B'N L fJj f;b/p; phHJ/H nkBoI ;e{b fJB r[owfs ;zrhs Bkb ;KMk j?.) 5H gouk ^ gzitK L gzikph bkIwh$gzikph bkIwh (w[Ybk frnkB) (B'N L fJj f;b/p; phHJ/H nkBoI ;e{b fJB r[owfs ;zrhs Bkb ;KMk j?. f;b/p; gzikph :{Bhtof;Nh dh t?Zp;kJhN *s/ T[gbpX j?.) 6H gouk ^ S/tK L fJzrfbP efwT{Bhe/PB ;feb (B'N L fJj f;b/p; phHJ/H nkBoI ;e{b fJB r[owfs ;zrhs Bkb ;KMk j?. f;b/p; gzikph :{Bhtof;Nh dh t?Zp;kJhN *s/ T[gbpX j?.) 1 B.A. (Hons) School in Dance Part-III Semester - Fifth Paper-I Kathak Theory (Session 2013-14, 2014-15, 2015-16) Theory - 5 Periods per week Max. Marks : 80 Time Allowed : 3 Hours Internal Assessment : 20 Instructions for the Paper-Setter The question paper will consist of five sections : A, B, C, D and E. Section A, B,C and D will have two questions from the respective sections of the syllabus and will carry 15 marks each. Section E will consist of 10 short answer type questions which will cover the entire syllabus uniformly and will carry 20 marks in all. Instructions for the Candidates Candidates are required to attempt five questions in all, selecting at least one question from each section.
[Show full text]
B.A Dance Syllabus
Bharati Vidyapeeth (Deemed to be University) School Of Performing Arts, Pune Semester Wise Detailed Chart of Syllabus of B.A. (Dance)(Credit System) B.A. 1 st Year ( Dance ) Credits (Bharatnatyam / Kathak) Sem – 1st Two Language Papers 01 Credit each Theory Paper 02 Stage Performance 14 Viva 07 Sr. Subject Paper Syllabus no 1 Language (English) L11 Biography of Pt. Sapan Chaudhari, Padma Subramaniam, Pt. Shivkumar Sharma, Pt. Jasraj 2 Language (Marathi) L12 Biography of Pt. Vishnu Digambar Paluskar 3 Theory (Dance) T13 1) Dance Notation, related terms & terminology (Notation System) 1) Kathak Bhatkhande & Paluskar systems 2) Bharatnatyam Karnataki Notation system 2) Introduction to Dance style: Kathak / Bharatanatyam 4 Viva (Dance) V13 Information on practical syllabus Sem I (Bharatnatyam) 5 Viva (Dance) (Kathak) V14 Information on practical syllabus Sem I 6 Practical (Dance) P13 1) Allaripu Chatushtra or Mishra (Bharatnatyam) 2) Kirtanam on Ganesh or Shiv or Devi 3) Asanyukta and Sanyukta Hasta Mudra 4) Shirobheda, Dhrushtibheda, Padabheda and Grivabheda 5) Reciting given item in Taal, Singing ability and full knowledge about the composition is necessary. 7 Practical P14 1) Teental : Tatkar (Ekgun, Dugun, Tigun, (Dance) (Kathak) Chaugun, Aathgun) 2) Vandana; Ganesh Vandana 3) Teental: That, Sadha Amad, Toda, Chakrad har Toda, Paran, , Tihai 4) Gata bhav or Kavit Bharati Vidyapeeth (Deemed to be University) School Of Performing Arts, Pune Semester Wise Detailed Chart of Syllabus of B.A. (Dance)(Credit System) B.A. 1 st Year ( Dance ) Credits (Bharatnatyam / Kathak) Sem – 2nd Two Language Papers 01 Credit each Theory Paper 02 Stage Performance 14 Viva 07 Sr. Subject Paper Syllabus no 1 Language L21 Biographies of Dr.
[Show full text]
Alphabetical List of Recommendations Received for Padma Awards - 2014
Alphabetical List of recommendations received for Padma Awards - 2014 Sl. No. Name Recommending Authority 1. Shri Manoj Tibrewal Aakash Shri Sriprakash Jaiswal, Minister of Coal, Govt. of India. 2. Dr. (Smt.) Durga Pathak Aarti 1.Dr. Raman Singh, Chief Minister, Govt. of Chhattisgarh. 2.Shri Madhusudan Yadav, MP, Lok Sabha. 3.Shri Motilal Vora, MP, Rajya Sabha. 4.Shri Nand Kumar Saay, MP, Rajya Sabha. 5.Shri Nirmal Kumar Richhariya, Raipur, Chhattisgarh. 6.Shri N.K. Richarya, Chhattisgarh. 3. Dr. Naheed Abidi Dr. Karan Singh, MP, Rajya Sabha & Padma Vibhushan awardee. 4. Dr. Thomas Abraham Shri Inder Singh, Chairman, Global Organization of People Indian Origin, USA. 5. Dr. Yash Pal Abrol Prof. M.S. Swaminathan, Padma Vibhushan awardee. 6. Shri S.K. Acharigi Self 7. Dr. Subrat Kumar Acharya Padma Award Committee. 8. Shri Achintya Kumar Acharya Self 9. Dr. Hariram Acharya Government of Rajasthan. 10. Guru Shashadhar Acharya Ministry of Culture, Govt. of India. 11. Shri Somnath Adhikary Self 12. Dr. Sunkara Venkata Adinarayana Rao Shri Ganta Srinivasa Rao, Minister for Infrastructure & Investments, Ports, Airporst & Natural Gas, Govt. of Andhra Pradesh. 13. Prof. S.H. Advani Dr. S.K. Rana, Consultant Cardiologist & Physician, Kolkata. 14. Shri Vikas Agarwal Self 15. Prof. Amar Agarwal Shri M. Anandan, MP, Lok Sabha. 16. Shri Apoorv Agarwal 1.Shri Praveen Singh Aron, MP, Lok Sabha. 2.Dr. Arun Kumar Saxena, MLA, Uttar Pradesh. 17. Shri Uttam Prakash Agarwal Dr. Deepak K. Tempe, Dean, Maulana Azad Medical College. 18. Dr. Shekhar Agarwal 1.Dr. Ashok Kumar Walia, Minister of Health & Family Welfare, Higher Education & TTE, Skill Mission/Labour, Irrigation & Floods Control, Govt.
[Show full text]
ANNUAL REPORT 2016 15 March Final.Pdf
INDIA INTERNATIONAL CENTRE 2015-2016 INDIA INTERNATIONAL CENTRE Board of Trustees Mr. Soli J. Sorabjee, President Justice (Retd.) B.N. Srikrishna Prof. M.G.K. Menon Mr. Vipin Malik Dr. (Smt.) Kapila Vatsyayan Dr. R.K. Pachauri Mr. N.N. Vohra Executive Committee Mr. Soli J. Sorabjee, Chairman Mr. K.N. Rai Air Marshal Naresh Verma (Retd.), Director Mr. Suhas Borker Cmde. Ravinder Datta, Secretary Smt. Shanta Sarbjeet Singh Mr. Dhirendra Swarup, Hony. Treasurer Dr. Surajit Mitra Mr. K. Raghunath Dr. U.D. Choubey Finance Committee Justice (Retd.) B.N. Srikrishna, Chairman Air Marshal Naresh Verma (Retd.), Director Dr. U.D. Choubey Cmde. Ravinder Datta, Secretary Mr. Rajarangamani Gopalan Mr. Ashok K. Chopra, CFO Mr. Dhirendra Swarup, Hony. Treasurer Medical Consultants Dr. K.A. Ramachandran Dr. Rita Mohan Dr. Mohammad Qasim Dr. Gita Prakash IIC Senior Staff Ms Omita Goyal, Chief Editor Ms Hema Gusain, Purchase Officer Dr. S. Majumdar, Chief Librarian Mr. Vijay Kumar Thukral, Executive Chef Mr. Amod K. Dalela, Administration Officer Mr. Inder Butalia, Sr. Finance & Accounts Officer Ms Premola Ghose, Chief, Programme Division Mr. Rajiv Mohan Mehta, Manager, Catering Mr. Arun Potdar, Chief, Maintenance Division Annual Report 2015–2016 This is the 55th Annual Report of the India International Centre for the year commencing 1 February 2015 to 31 January 2016. It will be placed before the 60th Annual General Body Meeting of the Centre, to be held on 31 March 2016. Elections to the Executive Committee and the Board of Trustees of the Centre for the two-year period, 2015–2017, were initiated in the latter half of 2014.
[Show full text]