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History Mains Workbook (Gs 1)

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History Mains Workbook (Gs 1) HISTORY MAINS WORKBOOK (GS 1) History is one of the most signifi cant part of UPSC General Studies 1 preparation. It is a wide subject that requires complete understanding of signifi cant events, role of personalities in Indian history, Indian art and culture as well as events of world history. Understanding of broad ideas and themes around important events is important to have a broader outlook towards History. GS Score History workbook aims to give you conceptual understanding of the relevant topics under History. How will the workbook help students? It will enable broad coverage of syllabus and help you address demand of questions skillfully. It is meant to act as a guide for your preparation of important topics and ideas of history and to gain maximum benefi t out of it; a student must fi rst attempt each of the set by himself. Then compare it with model hints given. This exercise will enable answer writing practice, in enrichment of your answers and in better time management. The GS SCORE History Workbook consists of questions from the following topics: Total 20 Sets " Covering Indian culture will cover the salient aspects of Art Forms, Literature and Architecture from ancient to modern times. " Modern Indian history from about the middle of the eighteenth century until the present- signifi cant events, personalities, issues. " The Freedom Struggle – its various stages and important contributors /contributions from different parts of the country. " Post-independence consolidation and reorganization within the country. " History of the world will include events from 18th century such as industrial revolution, world wars, redrawing of national boundaries, colonization, decolonization, political philosophies like communism, capitalism, socialism etc., their forms and effect on the society. ********** ART & CULTURE WORKBOOK SET:1-6 QUESTION & ANSWER WORKBOOK | GS MAINS PAPER - 1 www.iasscore.in ART & CULTURE (SET-1) QUESTIONS & ANSWERS Q1. Is Sangeet Natak Academi, the sole custodian for the promotion of the performing arts in India, functioning in sync with its objectives? Critically analyze. Q2. Globalization has not only affected the economy and the society but also it has emerged as a challenge for the performing arts in India. Discuss. Q3. Religion has such a deep imprint on Indian art, that often entire Indian art is dismissed as religious only; however, there is no dearth of secular art. Elaborate. Q4. Elaborate the contribution of following in development of Indian Music. Q5. a) Tabla, b.) Thyagaraja, c) Purandara Dasa, d) Allauddin Khan, e) Amir Khusro Q6. What is the difference between classical and folk music? Q7. Is there a parallel between Indian classical music and western classical music? Q8. Most of the classical dances trace their origin in temples and themed around religious scriptures’. Elaborate Q9. What are the unique features of Kuchipudi dance? What are the similarities and differences between Kuchipudi and Bharatanatyam? Q10. Rukmini Devi Arundale was one of the greatest exponents of Bharatanatyam. Write her contributions to this classical dance Q11. Some dance forms in India are unique amalgamation of martial traditions and temple rituals. Write a short note on any such non-classical dance in India ********** 2 www.iasscore.in HISTORY 1. Is Sangeet Natak Academi, the sole custodian for the promotion of the performing arts in India, functioning in sync with its objectives? Critically analyze. (200 words) APPROACH 1. Discuss objectives of Sangeet Natak Academy (40 words) 2. Explain the positive role played by it (60 words) 3. Give problems faced by Academy (60 words) 4. Conclude it by giving solutions (40 words) HINTS Sangeet Natak Akademi was set up in 1953 for the promotion of performing arts. It is an autonomous body under ministry of culture. Objectives: The academy functions as the apex body of the performing arts in the country to preserve and promote the vast cultural heritage of India expressed in music, dance and drama. It also works with governments and art academies in states and territories of the country. Gives grants to aid research, documentation and publishing in the performing arts Organizes and subsidizes seminars and conferences of subject specialists Documents and records the performing arts for its audio-visual archive Renders advice and assistance to the government of India in the task of formulating and implementing policies and programmes in the fi eld The Akademi is also responsible for the establishment and maintenance of institutions and projects of national importance in the fi eld of performing arts. Positive Role Since its inception, the Akademi has been funding institutions dedicated to music, dance and drama and providing fi nancial assistance to eminent practitioners. It has played a critical role in keeping alive the guru-shishya parampara, and has intervened to support young artists from traditional practicing families and gharanas, who would otherwise be unable to pursue their art. The Akademi has been instrumental in organizing music, dance and theatre festivals across the country and enabling cultural exchange both within the country and internationally. It also organizes workshops and seminars, and provides a forum for creative interaction in this fi eld. The Sangeet Natak Akademi awards for excellence and their fellowships for lifetime achievement in the performing arts are aimed at recognizing and spurring talent to greater heights. Akademi has played a commendable role in preserving endangered art forms. Its generous grants helped resuscitate diffi cult, esoteric traditions such as Koodiyattam and Chhau dance, which would have otherwise fallen prey to the lack of attention of a rapidly changing world. It has made efforts to sustain traditional teaching and learning processes such as the Sufi ana Kalam of Kashmir, or the percussion instruments of Kerala. 3 WORKBOOK | GS MAINS PAPER - 1 www.iasscore.in Limitations of Sangeet Natak Academy Ever since its inception in 1953 as a self-governing body by a resolution of the Government of India, the Akademi has been in the news for reasons other than it’s proclaimed cultural functions Bureaucratization of the functioning of the Akademi: Since the post of the secretary to the Akademi - the chief executive has often been donned by retired bureaucrats, and junior offi cers of the Education Ministry who were appointed on an ad hoc basis. Growing political interference in the functioning of the Akademi. Feudal ethos and administrative infi ghting degrade the performance of the Akademi. From the beginning the executive board - the fountain head of the Akademi has been stuffed with government servants rather than people belonging to the performing arts. According to a leading dancer there is an all-round lethargy and irregularity in its functioning. Curtailment of its autonomy: Though the Akademi enjoys autonomy. The function of giving grants-in-aid is also performed by the Department of Culture reducing the Akademi to the role of a promoter. The preservation of India’s cultural identity amidst the onslaught of globalization is the biggest challenge the Akademi faces today The Haksar Committee, appointed to consider the functioning of the Akademi, had uncovered several glitches in the governance of the Sangeet Natak Akademi. Their awards, mired in controversy are rarely granted to up-and-coming performers. The cultural cell of a leading party created a ruckus by accusing the Akademi of blatant nepotism. Way Ahead In most countries, funds for the arts come from a combination of public and private sources. However, in India, the corporate sector and civil society have yet to assume the role. The more immediate challenge facing the Akademi is to reinvent itself. There is a need to encourage creative experiment among emerging artists, a range of nation-wide programmes geared towards tapping and showcasing young talent need to be done. It must free itself from bureaucratic trappings, and make a genuine attempt to educate young people about the music, dance and theatre traditions that they have inherited. It requires is the imagination and will to re-link the performing arts with society at large. SUPPLEMENTARY NOTES Lalit Kala Akademi, New Delhi Lalit Kala Akademi is the Government’s apex cultural body in the fi eld of visual arts in India. It is an autonomous body, which is fully funded by the Ministry of Culture. The Akademi is an independent organisation and functions at arm’s length from the Government. It has substantial independence in making decisions related to national and international exhibitions, events and providing fi nancial assistance to artists and art organizations through scholarships and grants. Lalit Kala Akademi is an institution that has rendered service to the nation in the arts sphere long before the world woke up to the global impact of Indian art. It has established, preserved and documented a permanent collection of the highest order that refl ects the vitality, complexity and unfolding patterns of modern and contemporary art in India. All through the year it presents exhibitions and educational 4 www.iasscore.in HISTORY programmes of unparalleled signifi cance; sustains a library, art collection, archives, conservation laboratory, and supports scholars and publications of pre-eminent intellectual merit all over the country. National School of Drama, New Delhi The National School of Drama is one of the foremost theatre training institutions in the world and the only one of its kind in India. It was set up by the Sangeet Natak Akademi as one of its constituent units in 1959. In 1975, it became an independent entity and was registered as an autonomous organization under the Societies Registration Act XXI of 1860, fully fi nanced by the Ministry of Culture, Government of India. Training in the School is highly intensive and is based on a thorough, comprehensive, carefully planned syllabus which covers every aspect of theatre and in which theory is related to practice. As a part of their training, students are required to produce plays which are then performed before the public.
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