Woes of Turtuk

Total Page:16

File Type:pdf, Size:1020Kb

Woes of Turtuk SUNDAY, JULY 27, 2014 (PAGE-3) SACRED SPACE BOOK REVIEW Contradictory statements Woes of Turtuk Mahesh Kaul reads:"Turtuk, small place nestled at In 1971, India launched an operation the farthest end of Nubra valley in to liberate Turtuk and reunited it with Lt Col R K Langar son should be from your heart and not that inwardly you do not Jammu And Kashmir State has feel happy but outwardly you are pretending that you are happy Ladakh has a unique history. It was Ladakh."(pp 66). Turtuk remained the distinction of being blessed with part of Baltistan, had remained with under Pakistani occupation till 1971 Sometimes apparent contradictory statements give deeper to meet. Here you must remember that your thoughts, words and varied topography, vegetation, cli- Pakistan for a long time and then was and it was during the Bangladesh lib- knowledge and understanding. Looks like a paradox but it is deeds should be in unison with each other. If you show warmth mate, culture and people. The fron- absolutely true. Again there is a tendency to express certain on meeting the other person for the first time, the other person reunited with India. Turtuk Unveiled eration war that this area came tier areas of the state had impor- which is first literary work of its kind under the ambit of theatre of war, things about life in a negative way where as these could also be shall feel very comfortable. tance for the strategic reasons for easily expressed in a positive manner. We shall study the above I have noticed that people do not show warmth and cordial- on Indian side of Baltistan, throws leading to the reunification of this the rulers of the state and when the light on Indian side of Baltistan, area with India. two aspects with examples. ity on meeting another person. You only show warmth on meet- state acceded to India in the back- Contradictory statements ing the other person when you have some self interest. This is throws light on the history of the People of Turtuk have witnessed drop of the partition of India, it region which is dominated by the the administration of both Pakistan " Meet some one as if you are meeting him for the first time" selfishness. This is the reason that most of the relationships are assumed political prominence for fragile and not sincere. Bhagavad Gita tells us to see yourself in and India. It who has is one statement . Another statement which is quite opposite to different reasons. the other person because it is the same Atma or soul which shaped their perception in it says " meet some one as if you have known him for ages." The imperial British overlords and resides in every one and see the other person in yourself. So the terms of identity and at These two statements look opposite to each other but see how the communal forces, which enjoyed other person you meet is you yourself. We all want that people present it has lead to iden- these give deep understanding about our conduct. their patronage, were hell bent to Meet someone as if you are meeting him for the first time should be nice to us, then why do not we show sincerity and tity crisis. The book deals warmth in meeting others. Your motto of life should be ' May I destabilize the state. It suited them at various aspects of this This holds good for person A who is holding personal grudge to maintain their foothold and stran- against some other person B. B has annoyed A on some issue give comfort and warmth to any one who comes in my contact.' issue and can act as a glehold over the Northern Frontier. and A has not forgotten it nor has he forgiven B. if some one has At one moment I feel that the whole world belongs to me and guide for the policy mak- Dogra rulers who defined the harmed you in the past and you have not forgotten it, then only the next moment I feel that nothing in the world belongs to me ers to devise mechanism geographical and political bound- you are suffering and not the person who has harmed or annoyed The above contradictory statement was made by king Jana- to develop this area. aries of Jammu and Kashmir in terms you. The person who has annoyed you does not even remem- ka. Janaka was the king of Mithila and father of Sita, wife of Lord Book deals in detail ber the incident, whereas you have kept this incident in your heart Rama. King Janaka was known for working for the welfare of all of viable administrative purpose kept with the traditions, culture people of his kingdom. He attained perfection from karma yoga. a keen eye on the ethnic tribes that and way of life of the Baltis. He taught others by personal example to work selflessly for their inhabited Gilgit and Baltistan. Their The major problem being When you know someone for a very long own upliftment and for the good of fellow beings. When king Jana- culture, tradition and way of life faced by the Baltis is the ka says that the whole world belongs to him, he is referring to needed to be understood in order to land ownership that has time, you are always happy to meet him. the Atma or soul inside him which is a fragment of God. When govern the people. led to their identity crisis. You extend warmth and hospitality to him. man attains perfection, the soul is liberated from the limiting Turtuk Unveiled written by Dr. Giving vent to the woes of Kavita Suri is a well measured move Similarly when you meet some one say adjuncts which are body, mind and intellect and we can enlarge the people she writes," and embrace the whole world. Then the man sees his own self and welcome addition to the archival Since 39 years, Ghulam even for the first time, you should show in all beings and feels that the world is his own. As is Macrocosm and research material available on Mohammed has been try- warmth in meeting him as if you have outside so is the Microcosm inside. Such a statement can be the tribes of Turtuk, a part of ing to get the revenue made only by a person like king Janaka who had attained union Baltistan. It is pertinent to mention papers made of his land known him for him for ages. of his Atma or self with Supreme self. that the British paid significant atten- and home in Turtuk. But all When king Janaka says that nothing in the world belongs to tion to Gilgit as far the strategic val- his efforts have been wast- him, he is referring to the famous verse of Isha Upanishad which ue is concerned .Gilgit was in the ed. He is among the 5000 and unnecessarily you are feeling miserable. That is the reason says that whole world belongs to God and whatever you pos- centre stage of the intrigues to desta- Baltis of this region who do that our scriptures advice us that we should not only forgive but sess is not your own. You are only a custodian of what you pos- bilize the defense of India so that Balti tribal's" not have any land records. There are also forget so that you remain free and do not carry the annoy- sess. Hence do not have a sense of possession or a sense of I advantage is given to Pakistan in the Explaining the locale of the place, absolutely no revenue records hare ance with you. Past is past. We are also advised by our scrip- and Mine. The other interpretation of this statement is that when Himalayas. In this process of desta- she writes, "Situated amid the mighty unlike the other parts of the state of man leaves the world whatever are his possessions are left tures and sages that we should live in the present without hold- bilization Baltistan was affected Himalayas and Karakorum mountain Jammu and Kashmir.( pp 74-77) behind. ing any regrets of the past in our mind and at the same time with- automatically as the region is in the range in northern Pakistan and Explaining this issue, Dr. Suri Both the above statements beautifully explain the reality of out worrying for the future. That is why it is said that you should geographical proximity of Gilgit. Ladakh, Baltistan or Baltiyal (Land of writes, "As Turtuk was part of Chor- life. The aim of life is to attain liberation and feel that the whole meet your old acquaintance who have annoyed you as if you are People of this area have been Baltis or Homeland of Baltis as is bat block of Skardu district of meeting them for the first time. When you meet a person for the world belongs to you as you feel oneness with all. But at the same suffering but it goes to their credit time one must remember that when one dies all his possession popularly known in Balti language) is Baltistan from 1948 to 1971,all the first time you are bound to be courteous towards him. So let us that they have retained their smile in the historic junction of the Buddhist land records and related papers forgive others who have harmed you. More important is to for- are left behind. There are some such statements in Bhagavad spite of the inhospitable terrain. Dr. and Islamic Worlds."(pp 40) were kept in the office of land rev- get the past and live in the present.
Recommended publications
  • SPECIAL REPORT an Analysis of the June 1-15, 2008 the Fortnightly from Afaqs! Mobile Marketing Business in India 16
    Rs 40 THE SPECIAL REPORT An analysis of the June 1-15, 2008 The fortnightly from afaqs! mobile marketing business in India 16 PROFILE Mohit Anand Making the transition from software to Channel [V]. 22 SPRITE Being Upfront How a consistent message worked like magic. 24 DEFINING MOMENTS Gullu Sen Anything can change your life, feels this adman. TV SHOWS The Power of Stars 12 WEBSITES Are details really everything? A report At Home 14 on whether execution in Indian PARLE MONACO advertising matches the idea. The Lighter Side 38 28 STAR COMIC BOOKS Animated in Print 38 The fortnightly from agencyfaqs! This fortnight... Volume III, Issue 21 he subject of this issue’s cover story has been provoked by the impending Cannes festival EDITOR T– but is not really about it. In the course of covering international awards, we have found Sreekant Khandekar that the quality of execution in Indian advertising keeps cropping up. The issue generally gets sidelined because the natural focus is the idea behind a campaign. PUBLISHER Prasanna Singh Craft and execution are not a pre-requisite for awards alone. It is the stuff of everyday advertising life, the very thing that can enhance the impact of an idea dramatically – EXECUTIVE EDITOR or wreck it, quite as easily. Happydent, Fevicol and Nike are three examples of the M Venkatesh delightful consequence when great idea meets great execution. CREATIVE CONSULTANTS We talk to creative directors, film makers and to clients to find out what the prob- PealiDezine lem is when it comes to execution. Is it about time? Money? Or simply about an LAYOUT Indian way of doing things? You may not like all that you read but it will make you Vinay Dominic look at an old issue afresh.
    [Show full text]
  • List of Shortlisted Candidates of 12Th Batch of Wosc (Wise Kiran-Ipr)
    LIST OF SHORTLISTED CANDIDATES OF 12TH BATCH OF WOSC (WISE KIRAN-IPR) Coordination S.No. Application No. Name Centre 1WOSC12-00001 SHIVANI TYAGI New Delhi 2WOSC12-00002 RASHMI KUMARI New Delhi 3WOSC12-00003 DEEPSHIKHA New Delhi 4WOSC12-00004 POOJA THAKUR New Delhi 5WOSC12-00006 MADHUSMITA OJHA New Delhi 6WOSC12-00008 ANAMIKA KUMARI New Delhi 7WOSC12-00012 DIVYA New Delhi 8WOSC12-00016 SHAGUN JAIN New Delhi 9WOSC12-00019 AARTI SINGH New Delhi 10WOSC12-00021 SAMIRA KUMARI New Delhi 11WOSC12-00024 AKANKSHA New Delhi 12WOSC12-00026 UMA DHAWAN New Delhi 13WOSC12-00031 ARYA SUMANGI New Delhi 14WOSC12-00032 KAMALA TANWAR New Delhi 15WOSC12-00034 BHOOMIKA New Delhi 16WOSC12-00040 SYEDAH ASMA ANDRABI New Delhi 17WOSC12-00042 PALLAVI SAXENA New Delhi 18WOSC12-00043 ZOOMI SINGH New Delhi 19WOSC12-00044 NEETI CHAUDHARY New Delhi 20WOSC12-00045 ANAMIKA New Delhi 21WOSC12-00047 PRIYANKA TYAGI New Delhi 22WOSC12-00048 SHAZIYA NISAR New Delhi 23WOSC12-00051 POOJA New Delhi 24WOSC12-00053 NUSRAT PRAWEEN New Delhi 25WOSC12-00056 NADISH MANZOOR New Delhi 26WOSC12-00057 VIBHA BHATIA New Delhi 27WOSC12-00059 AMALA MASA New Delhi 28WOSC12-00062 NEHA SHARMA New Delhi 29WOSC12-00068 TARUNA SHARMA New Delhi 30WOSC12-00070 MEDHAVI New Delhi 31WOSC12-00074 VIJAY LAXMI New Delhi 32WOSC12-00075 RAKHI GAUNIYAL New Delhi 33WOSC12-00078 RASHMI GUPTA New Delhi 34WOSC12-00080 PREETI GUPTA New Delhi 35WOSC12-00083 MONIKA New Delhi 36WOSC12-00084 POONAM New Delhi 37WOSC12-00097 SUDHA CHINNU New Delhi 38WOSC12-00099 AZRA UNNISA New Delhi 39WOSC12-00100 RUCHI SINGHAL New
    [Show full text]
  • 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
    [Show full text]
  • 1481186712P4M12TEXT.Pdf
    PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 12 Pioneers Of Kathak 1930-1950 Pioneers are those who show the path not attempted before. They lead us to light to the new ways of doing something. These are people with vision to fulfill a mission and they are given divine support by history and circumstances to do so. Thus, pioneers are people, ordinary in appearance but with special abilities and mind backed by hard work. Once a form that was long forgotten and got known and established as Kathak, many stars of other forms, most notably Bharatanatyam and Kathakali did much to learn and promote Kathak and help it reach national acclaim. In this, Bharatanatyam trained Ram Gopal, Kathakali trained Uday Shankar and pioneers in films like Menaka and Sadhona Bose took this form further and can be called pioneers, in addition to the generation that followed their example. It would not be wrong to call Uday Shankar a cult figure of the early part of the 20th century. He was a showman, a creator of magical spectacles and a dancer par excellence. He was not a trained dancer, so his movements flowed from the heart. He 1 created the Indian ballet scene because nothing like it existed before. Originally a painter, on his museum visits to delve into books, Uday got fascinated with pictures of sculptures of Hindu gods and goddesses in varied poses. He began imitating the poses. Although unfamiliar with dance techniques, the images provided inspiration to translate into dance movement.
    [Show full text]
  • The Childhood Love That Became Nilimma's Life
    COLUMN Dance: The childhood love that became Nilimma’s life The travails of the partition, and her mother’s determination to give her daughter a chance to partake of the divinity in dance, started CULTURATI the US-based Kuchipudi dancer on a life-long journey in dance ARSHIYA SETHI he has been recorded by made her eyes moist up. The family with the National Heritage great difficulty moved to Delhi and ten Foundation as part of of them lived in one room in old Delhi. Dr Sethi has been their documentation of Her mother loved poetry and despite writing on the arts the cultural wealth of the the fact that everything around them scene in India and united States of America still spoke of loss, her mother would the world for three and has been a member for six years of send Nilimma and her sister Rashma, decades. She has a theS Maryland State Arts Council. She walking, all the way to Bengali Market, doctorate on the link teaches a popular course at George chaperoned by the old family retainer, between dance and Washington University on “Gender in to learn dance from the renowned politics, with the Indian Dance” and was awarded the Life Kathak dancer Uma Sharma’s uncle. Sattriya dance form of time Pola Nireneka Award for Dance Their forays in dance were met with Assam as a case study. by Washington Performing Arts in patriarchal disapproval for every time 2015. And yet, Nilimma Devi’s dance life they were “asked to dance in family set- began with the pain and sadness of the tings, my grandfather would leave the partition of India.
    [Show full text]
  • The Sixth String of Vilayat Khan
    Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration.
    [Show full text]
  • RTI Handbook
    PREFACE The Right to Information Act 2005 is a historic legislation in the annals of democracy in India. One of the major objective of this Act is to promote transparency and accountability in the working of every public authority by enabling citizens to access information held by or under the control of public authorities. In pursuance of this Act, the RTI Cell of National Archives of India had brought out the first version of the Handbook in 2006 with a view to provide information about the National Archives of India on the basis of the guidelines issued by DOPT. The revised version of the handbook comprehensively explains the legal provisions and functioning of National Archives of India. I feel happy to present before you the revised and updated version of the handbook as done very meticulously by the RTI Cell. I am thankful to Dr.Meena Gautam, Deputy Director of Archives & Central Public Information Officer and S/Shri Ashok Kaushik, Archivist and Shri Uday Shankar, Assistant Archivist of RTI Cell for assisting in updating the present edition. I trust this updated publication will familiarize the public with the mandate, structure and functioning of the NAI. LOV VERMA JOINT SECRETARY & DGA Dated: 2008 Place: New Delhi Table of Contents S.No. Particulars Page No. ============================================================= 1 . Introduction 1-3 2. Particulars of Organization, Functions & Duties 4-11 3. Powers and Duties of Officers and Employees 12-21 4. Rules, Regulations, Instructions, 22-27 Manual and Records for discharging Functions 5. Particulars of any arrangement that exist for 28-29 consultation with or representation by the members of the Public in relation to the formulation of its policy or implementation thereof 6.
    [Show full text]
  • Tradition and the Individual Dancer
    1: Tradition and the Individual Dancer History and Innovation in a Classical Form Critical accounts and promotional materials frequently refer to bharata natyam as “ancient.” The dance form’s status as traditional and classical seems to render it fixed, even timeless. A connection to the past appears to be a given for this dance practice. Even on closer examination, a relationship to the past seems integral to the dance form’s identity, its content, and its structure. Present-day bharata natyam choreography draws from the dance practices of earlier decades and centuries. Its movement vocabulary derives from sadir, the solo dance per- formed by temple and court dancers in precolonial and colonial South India. The margam—the concert order that determines when in a program each dance piece appears—was standardized in the nineteenth century by the renowned musician- composers of the Thanjavur Quartet. The roots of bharata natyam extend still further back. For example, the mudras, or hand gestures, used today accord in both shape and meaning with those described in the Natyasastra, a Sanskrit dra- maturgical text, dating from the beginning of the Christian era. Similarly, an arangetram, or initial performance, described in the fifth-century Tamil epic Silappadikaram correlates with that of devadasi practitioners of the nineteenth century, which then established the protocol for twentieth-century debuts. Bharata natyam’s repertoire consists largely of songs written between the sev- enteenth and twentieth centuries. The poems of love and religious devotion that form the basis of the bharata natyam canon emerged from the musical and lit- erary traditions of previous centuries.
    [Show full text]
  • Pandit Ravi Shankar—Tansen of Our Times
    Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times by S. Kalidas IND I A INTERNAT I ONAL CENTRE 40, MAX MUELLER MARG , NEW DELH I -110 003 TEL .: 24619431 FAX : 24627751 1 Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times The views expressed in this publication are solely those of the author and not of the India International Centre. The Occasional Publication series is published for the India International Centre by Cmde. (Retd.) R. Datta. Designed and produced by FACET Design. Tel.: 91-11-24616720, 24624336. Pandit Ravi Shankar—Tansen of our Times Pandit Ravi Shankar died a few months ago, just short of his 93rd birthday on 7 April. So it is opportune that we remember a man whom I have rather unabashedly called the Tansen of our times. Pandit Ravi Shankar was easily the greatest musician of our times and his death marks not only the transience of time itself, but it also reminds us of the glory that was his life and the immortality of his legacy. In the passing of Robindro Shaunkar Chowdhury, as he was called by his parents, on 11 December in San Diego, California, we cherish the memory of an extraordinary genius whose life and talent spanned almost the whole of the 20th century. It crossed all continents, it connected several genres of human endeavour, it uplifted countless hearts, minds and souls. Very few Indians epitomized Indian culture in the global imagination as this charismatic Bengali Brahmin, Pandit Ravi Shankar. Born in 1920, Ravi Shankar not only straddled two centuries but also impacted many worlds—the East, the West, the North and the South, the old and the new, the traditional and the modern.
    [Show full text]
  • Dear Aspirant with Regard
    DEAR ASPIRANT HERE WE ARE PRESENTING YOU A GENRAL AWERNESS MEGA CAPSULE FOR IBPS PO, SBI ASSOT PO , IBPS ASST AND OTHER FORTHCOMING EXAMS WE HAVE UNDERTAKEN ALL THE POSSIBLE CARE TO MAKE IT ERROR FREE SPECIAL THANKS TO THOSE WHO HAS PUT THEIR TIME TO MAKE THIS HAPPEN A IN ON LIMITED RESOURCE 1. NILOFAR 2. SWETA KHARE 3. ANKITA 4. PALLAVI BONIA 5. AMAR DAS 6. SARATH ANNAMETI 7. MAYANK BANSAL WITH REGARD PANKAJ KUMAR ( Glory At Anycost ) WE WISH YOU A BEST OF LUCK CONTENTS 1 CURRENT RATES 1 2 IMPORTANT DAYS 3 CUPS & TROPHIES 4 4 LIST OF WORLD COUNTRIES & THEIR CAPITAL 5 5 IMPORTANT CURRENCIES 9 6 ABBREVIATIONS IN NEWS 7 LISTS OF NEW UNION COUNCIL OF MINISTERS & PORTFOLIOS 13 8 NEW APPOINTMENTS 13 9 BANK PUNCHLINES 15 10 IMPORTANT POINTS OF UNION BUDGET 2012-14 16 11 BANKING TERMS 19 12 AWARDS 35 13 IMPORTANT BANKING ABBREVIATIONS 42 14 IMPORTANT BANKING TERMINOLOGY 50 15 HIGHLIGHTS OF UNION BUDGET 2014 55 16 FDI LLIMITS 56 17 INDIAS GDP FORCASTS 57 18 INDIAN RANKING IN DIFFERENT INDEXS 57 19 ABOUT : NABARD 58 20 IMPORTANT COMMITTEES IN NEWS 58 21 OSCAR AWARD 2014 59 22 STATES, CAPITAL, GOVERNERS & CHIEF MINISTERS 62 23 IMPORTANT COMMITTEES IN NEWS 62 23 LIST OF IMPORTANT ORGANIZATIONS INDIA & THERE HEAD 65 24 LIST OF INTERNATIONAL ORGANIZATIONS AND HEADS 66 25 FACTS ABOUT CENSUS 2011 66 26 DEFENCE & TECHNOLOGY 67 27 BOOKS & AUTHOURS 69 28 LEADER”S VISITED INIDIA 70 29 OBITUARY 71 30 ORGANISATION AND THERE HEADQUARTERS 72 31 REVOLUTIONS IN AGRICULTURE IN INDIA 72 32 IMPORTANT DAMS IN INDIA 73 33 CLASSICAL DANCES IN INDIA 73 34 NUCLEAR POWER
    [Show full text]
  • Reg.No. Name 1071310001 RAHUL R 1071310002 APOORVA NIKHIL 1071310003 KALAGOTLA SAI ABHISHEK 1071310005 AMEENA KADERKUTTY 1071310
    Branch:CSE, NANO, CHEMICAL Date: 13 & 14th July S.NO Reg.No. Name 1 1071310001 RAHUL R 2 1071310002 APOORVA NIKHIL 3 1071310003 KALAGOTLA SAI ABHISHEK 4 1071310005 AMEENA KADERKUTTY 5 1071310006 CHANDANA S 6 1071310007 VEMULAPALLI NIKHIL KRISHNA 7 1071310008 MADUPURI THEJASWINI 8 1071310009 SAKTHIVEL V S 9 1071310011 V ABHILASH 10 1071310013 GOWTHAM S 11 1071310014 ANTON AKKARA 12 1071310016 SWAMI CHETNA DEVRAJ 13 1071310018 TADIKAMALLA NITHIN 14 1071310019 AMRENDRA KUMAR GUPTA 15 1071310020 R PAVITHRAN 16 1071310021 SEVIN XAVIER JOHN 17 1071310022 VENKATA SUBHASH SRIKARNA 18 1071310023 MANGIPUDI KRISHNA TEJA 19 1071310025 GAYATHRI SREEKUMAR 20 1071310027 KARTHICK R 21 1071310028 M RAMYA 22 1071310029 KEERTHANA G 23 1071310030 PRANAVU JOSEPH J 24 1071310032 PAPATHI S 25 1071310033 AKSHYA K A 26 1071310034 SOVAN GHOSH 27 1071310037 ADITI DATTA 28 1071310039 VAIBHAV SOOD 29 1071310045 REEM ABDUL RAZAK KARIPAKULAM 30 1071310046 PRASANTH S 31 1071310050 VISHNA NAIR 32 1071310051 GOWSIGAN V 33 1071310054 ACHANTA VENKATESH RAO 34 1071310055 REME DAS 35 1071310057 VIKAS JHA 36 1071310060 NIHAL RAO 37 1071310061 GAURAV PUROHIT 38 1071310065 SANJAY B 39 1071310067 RWIDDHI SARKHEL 40 1071310068 VISHNU PRIYAN S 41 1071310069 SAMRAJ A 42 1071310070 PANKAJ KUMAR 43 1071310072 ARUN KUMAR N 44 1071310073 ZAHRA AMAN SHEIKH 45 1071310074 JIJO V OMMEN 46 1071310076 BAIDURJYA BANERJEE 47 1071310077 REEMA BORUAH 48 1071310078 MD SADAKAT ALI Branch:CSE, NANO, CHEMICAL Date: 13 & 14th July S.NO Reg.No. Name 49 1071310083 NANDYALA ROHITH REDDY 50 1071310084
    [Show full text]
  • Chapter 1 Uday Shankar and Locating Modernity
    CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.
    [Show full text]