Folk Singers Are Obligated Been
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Classical Dances Have Drawn Sustenance
Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return. -
Mixed Media December Online Supplement | Long Island Pulse
Mixed Media December Online Supplement | Long Island Pulse http://www.lipulse.com/blog/article/mixed-media-december-online-supp... currently 43°F and mostly cloudy on Long Island search advertise | subscribe | free issue Mixed Media December Online Supplement Published: Wednesday, December 09, 2009 U.K. Music Travelouge Get Yer Ya-Ya’s Out and Gimmie Shelter As a followup to our profile of rock photographer Ethan Russell in the November issue, we will now give a little more information on the just-released Rolling Stones projects we discussed with Russell. First up is the reissue of the Rolling Stones album Get Yer Ya-Ya’s Out!. What many consider the best live rock concert album of all time is now available from Abcko in a four-disc box set. Along with the original album there is a disc of five previously unreleased live performances and a DVD of those performances. There is a also a bonus CD of five live tracks from B.B. King and seven from Ike & Tina Turner, who were the opening acts on the tour. There is also a beautiful hardcover book with an essay by Russell, his photographs, fans’ notes and expanded liner notes, along with a lobby card-sized reproduction of the tour poster. Russell’s new book, Let It Bleed (Springboard), is now finally out and it’s a stunning visual look back on the infamous tour and the watershed Altamont concert. Russell doesn’t just provide his historic photos (which would be sufficient), but, like in his previous Dear Mr. Fantasy book, he serves as an insightful eyewitness of the greatest rock tour in history and rock music’s 60’s live Waterloo. -
I Wasn't on Some Campaign to Change the World, I Was a Drummer in A
Contents Masthead The Off 07 Loic maurin Apesanteur [ZERO GRAVITY] 17 The Sum Of The Parts John Maher 28 Dropping Names Don Lombardi 35 Maximum Break Richard Colburn 44 Retirement Bill Bruford 49 Out On A Limb CONTENTS A conversation with Eddie Prevost Issue One, December 2012 57 Rhythm As A Medium Ben Martin 62 Tatsuya Amano クロスフェイス [CROSSFAITH] Subscriptions/Newsletter Editor: Tom Hoare [email protected] Art Director: Luke Douglas [email protected] Web Editor: Andrew Jones Contributors: Ben Martin, Iain Bellamy, Kate Darracott, Flora Hodson, Elspeth Leadbetter, John Maher, Julia Kaye, Jim Bevington Thanks: Tim Wilson, Rew Kubayashi, Ryan Richards, BGM Rhythms, John Williamson, James Walker, Greg & Julia, Alex Sayles, Crystalline Connolley, Papillon Zamprioli, Needham Avenue, Glen Thomson Contact: Editorial: [email protected] Advertising: [email protected] Cover: A preoccupation with time. Reading note: We’ve made this magazine to be readable online, without the need to zoom and MASTHEAD scroll. It looks best when viewed in full screen. Issue One, December 2012 www Copyright © The Drummer’s Journal 2012 The proprietors and contributors to The Drummer’s Journal have asserted their right under the Copyright Designs and Patens Act 1988 to be identified as the owners and authors of this work. THE OFF www welve months ago, the brief conversation which sowed the seeds for The Drummer’s Journal occurred. It was between a good friend and myself. Having dredged out an assorted collection of drum magazines from under my bed, he selected a copy and Tread it cover to cover. He then picked up another and did the same. -
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 -
Arts-Integrated Learning
ARTS-INTEGRATED LEARNING THE FUTURE OF CREATIVE AND JOYFUL PEDAGOGY The NCF 2005 states, ”Aesthetic sensibility and experience being the prime sites of the growing child’s creativity, we must bring the arts squarely into the domain of the curricular, infusing them in all areas of learning while giving them an identity of their own at relevant stages. If we are to retain our unique cultural identity in all its diversity and richness, we need to integrate art education in the formal schooling of our students for helping them to apply art-based enquiry, investigation and exploration, critical thinking and creativity for a deeper understanding of the concepts/topics. This integration broadens the mind of the student and enables her / him to see the multi- disciplinary links between subjects/topics/real life. Art Education will continue to be an integral part of the curriculum, as a co-scholastic area and shall be mandatory for Classes I to X. Please find attached the rich cultural heritage of India and its cultural diversity in a tabular form for reading purpose. The young generation need to be aware of this aspect of our country which will enable them to participate in Heritage Quiz under the aegis of CBSE. TRADITIONAL TRADITIONAL DANCES FAIRS & FESTIVALS ART FORMS STATES & UTS DRESS FOOD (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) Kuchipudi, Burrakatha, Tirupati Veerannatyam, Brahmotsavam, Dhoti and kurta Kalamkari painting, Pootha Remus Andhra Butlabommalu, Lumbini Maha Saree, Langa Nirmal Paintings, Gongura Pradesh Dappu, Tappet Gullu, Shivratri, Makar Voni, petticoat, Cherial Pachadi Lambadi, Banalu, Sankranti, Pongal, Lambadies Dhimsa, Kolattam Ugadi Skullcap, which is decorated with Weaving, carpet War dances of laces and fringes. -
Alankar: First Year Coursepack
LEVEL ONE WORKSHEETS The activities of the worksheet must be completed by the students. They may refer to class notes and online resources. Completed worksheets should be submitted as part of the online theory exam in the last week of February. Unfinished worksheets may be submitted with the theory exam of the following year. 1. Concepts Mangalacharan: This is the very first item a student of Odissi learns. This is an invocatory item in which one pays tribute to Mother Earth, Lord Jagannath and other Gods, also with stanzas to welcome the audience and to thank one's Gurus. "Mangala" means goodness, and "charan" mean wishing. Mangalacharan's rhythmic sequence of steps forming the Bhumi Pranam (salutation to Mother Earth) and Trikhandi Pranam (three-fold salutation to God, the Guru, and the audience) will be completed. Bhumi Pranam: The lesson starts with an brief and respectful apology to the Earth, for we are about to spend the next hour stamping on her. Tribhanga: The dancer's body is divided into three bhangas along which deflections of the head, torso and hips can take place. The technique is built on the principle of an unequal division of weight and the shift of weight from one foot to the other. The movement of the head, the torso, the hips and the knees, are important. Hip deflection is the characteristic feature of this dance style. The tribhanga is one of the most typical poses of Odissi dancing. Chowka: In this stance, weight is equally distributed and altogether four right angles create a perfect geometrical motif. -
America Bombs Military Targets, Airdrops Food by SARA FUNAIOCK Nation
An Associated Collegiate Press Pacemaker Award Winner • THE • Broadway rebounds from Hens defeat New ,national tragedy, Hampshire, 49-36, Bl Cl Non-Profit Org. 250 Student Center • University of Delaware • Newark, DE 19716 U.S. Postage Paid Thesday & Friday Newark, DE Permit No. 26 FREE Volume 128, Issue 12 www.review.udel.edu Tuesday. October 9, 200 I America bombs military targets, airdrops food BY SARA FUNAIOCK nation. Taliban officials said the first wave of The humanitarian aid is meant to NationaVSrate News Editor Support for the military strikes was mixed strikes did not kill bin Laden or Tali ban leader underscore the Bush administration's message American and British forces unleashed air around the world and at home, the Assoicated Mullah Mohammed Omar. that the strikes are meant to harm terrorists, not attacks Sunday against military targets and Press reported. Kandahar, hometown of Omar and the ordinary Afghans. suspected terrorist Osama bin Laden's training Taliban, saw strikes·on its airfield and military "To say that these attacks are in any way camps inside Afghanistan Sunday in U.S. TARGETING AIRFIELDS, CAMPS command centers as well as the compound against Afghanistan or the Afghani people is retaliation of the Sept 11 . attacks, the The first U.S. strikes in where Omar lives. flat wrong," he said. Associated Press reported. Afghanistan were focused on Strikes also landed in and The military also dropped leaflets and made The military strikes also included military targets such as S Ed"t • I around Kabul, Afghanistan's radio broadcasts into Afghanistan to explain humanitarian aid from the United States in the airfields and command ee I 0r1a ' war-shattered capital and site of the U.S. -
Ghoomar,Leading Scholar of Indian Classical Dance
The Dance of the Hyperbole Students showcase the penultimate piece, “Hyperbole,” in the Washington University Dance Theatre* Living for the last two years masked behind a sanitized cloth; with a social distancing even from our loved ones, yet in the same home; sleeping alone in our rooms with our soft pillows as our only bedside companions; not being able to share our tea with our gossiping greying cacophonous neighbour; or even not being able to lend our inner stories to our restless dreams; we are constantly today, creating an artificial world. In this excessive superficiality will we forget we are alive? Do we have voices? Do we have real living pain and words that can be penned? My answer is NO. We as humans are never created with a loss of memory and total negligence to ourselves. We are created instead of choosing to forget, choosing to see our lives as three eased dots… I see these moments of the easing gentle pauses, the “life moments of truth”. For we as artists, as creators, those little dots are seconds of life, where we can shape and spawn, grow words into lines, lines into paragraphs – of stories, love songs, and poetry of yearnings and being alive in protests. These small breaths, to many, are simply just hyperboles of grammar, however, to the artist, these are intensely alive, strong, emphatic forceful portions of feelings, of coming to belong to what he only knows is the only truth…his art form. Let us not even once, then, discount these as mere undecorated flecks, but as gigantic astronomical atoms, that pinpoint to the immense creativity and churning in the human mind. -
In Dance. Bollywood, Dance Was the Only Medium Through Which This Diversity Could Be by Chanel Samson Preserved and Expressed
Dances of One can map out India India’s complex ndia is a land of diversity. Each region has its own culture, where cultural geography spirituality, tradition and geography one step at a time — intersect. Before the silver screens of in dance. Bollywood, dance was the only medium through which this diversity could be by Chanel Samson preserved and expressed. Each region’s dance reflected the culture and ethos of the people. Take the controlled nature of Iclassical dances harkening back to early forms of worship and storytelling, and compare this with the liveliness of folk dances celebrating the simple joys of one’s livelihood and community. Passed on through generations or rooted in ancient texts, these dances map out the history of a nation that is young, but steeped in thousands of years of tradition. Seabourn 20 SEABOURN CRUISE LINE SEABOURN CLUB HERALD 21 The spiraling movements of the ghoomar Today, kathak is often performed as a dance of love. Both male and female dancers must dance with nazakat, a level of delicacy that makes kathak-style dance numbers popular in Bollywood films. Where to watch: Madhuri Dixit, both an actress and a classically trained kathak dancer, is renowned for her graceful dance sequences in films such asDevdas and Aaja Nachle. GHOOMAR Kathak dancer Origin: Rajasthan For young Rajasthani girls, performing the ghoomar is more than a dance — it announces their entrance into BHANGRA kameez) and style their hair in a long braid KATHAK womanhood. The mesmerizing folk dance Origin: Punjab ornamented with a tassel (paranda). Today, Origin: Jaipur, Banaras, Lucknow of Rajasthan was indigenous to the early In the farming villages of Punjab, the bhangra has moved from the fields of Punjab The graceful dance of India’s northern tribes of India’s northern state but was harvest season is welcomed by the pulse of to become a fixture at weddings, birthdays region is kathak, which literally translates to adopted in the courts of the royal Rajput a drum and the vivacious movements of the and local fairs. -
Music & Dance Examinations
MUSIC & DANCE EXAMINATIONS I. THE AIMS AND OBJECTIVES OF THE FACULTY ARE 1. To encourage the study of Performing Arts as a vocation 2. To institute degree and Junior Diploma Courses in Performing Arts 3 To produce artists of high order and to train and prepare teachers well versed in theory, practice and history of Performing Arts; 4 To conduct research and to carry on auxiliary activities such as collection and publication of manuscripts; 5. To develop a high standard of education and knowledge of the Theory of Music and aesthetics, both ancient and modern, through the study of old and new literature in Sanskrit and other languages and give training in performing arts as a vocation 6. To make special arrangements by way of extension course for those who are not otherwise qualified to be admitted to the Faculty. 7. The Faculty while serving as a repository of all forms of Music including different schools of Music and regional styles, seeks to preserve the traditional methods of teaching and in doing so makes use of all modern techniques e.g. notation and Science of voice culture. In furthering the objectives laid down above, the Faculty arranges for lectures, concerts, demonstrations and excursion tours to important centers of Music in India. II. ADMISSION TO COLLEGES/FACULTIES OF THE UNIVERSITY 1. The last date for admission to all the constituent Colleges / Faculties of the University shall be fixed each year by the Academic Council. 2. Each College/ Faculty maintained by the University shall have a separate form of application which will be serially numbered and issued by the Principal/Dean of the College /Faculty concerned, on payment of the prescribed amount of application fee or by any other officer deputed by University. -
INSTA February 2021 Static Quiz Compilation
INSTA STATIC QUIZ FEBRUARY 2021 WWW.INSIGHTSONINDIA.COM INSIGHTSIAS INSTA STATIC QUIZ Table of Contents 1. POLITY ............................................................................................................................................. 2 2. ART AND CULTURE ......................................................................................................................... 21 3. HISTORY ......................................................................................................................................... 45 www.insightsonindia.com 1 InsightsIAS INSTA STATIC QUIZ 1. Polity 1) Consider the following statements regarding Regulating Act, 1773 1. It prohibited the servants of the company from engaging in any private trade. 2. It made the governors of Bombay, Madras and Bengal presidencies independent of one another. 3. It introduced, for the first time, local representation in the Indian (Central) Legislative Council. Which of the above statements is/are correct? a) 1, 2 b) 1, 3 c) 1 only d) 2, 3 Solution: c) Regulating Act of 1773 was the first step taken by the British Government to control and regulate the affairs of the East India Company in India. Features of the Act 1. It designated the Governor of Bengal as the ‘Governor-General of Bengal’ and created an Executive Council of four members to assist him. The first such Governor-General was Lord Warren Hastings. 2. It made the governors of Bombay and Madras presidencies subordinate to the governor general of Bengal, unlike earlier, when the three presidencies were independent of one another. 3. It provided for the establishment of a Supreme Court at Calcutta (1774) comprising one chief justice and three other judges. 4. It prohibited the servants of the Company from engaging in any private trade or accepting presents or bribes from the ‘natives’. 5. It strengthened the control of the British Government over the Company by requiring the Court of Directors (governing body of the Company) to report on its revenue, civil, and military affairs in India. -
November 2017.Pmd
Contents Volume 2, Issue 5 | November 2017 Editorial Team 04 Beacons of Light 30 Jayashree Nair Editor’s Note 05 A Woman with a Steadfast Belief Cultural Bulletin 06 Torch Bearers 14 A MAN OF COMMITMENT IN GOD’S OWN COUNTRY Reports 40 Sadanam Puthiya Veetil Balakrishnan Kindled Spirits 52 Scholarly Corner 54 Folk Dances of Rays of Hope 34 Maharashtra Dr Sai Jyothi Palisetty, M.A., Ph.D. A Kuchipudi Diamond Frozen in Time 61 with Resilience Cover Story 20 THIRUKKURAL A Guide for Meaningful, Effective and Joyful Living Tributes 63 Reviews 38 Rasa United: In Sight 64 Vanashree Rao and Dancers Classifieds 65 Scale Great Artistic Heights P 3 | NOVEMBER 2017 Editorial ‘The Dance India’- a monthly cultural magazine in English is our humble "If the art is poor, attempt to capture the spirit and culture of art in all its diversity. the nation is sick." Articles may be submitted for possible Editor-in-Chief publication in the magazine in the following BR Vikram Kumar manner. Executive Editor • Send in your articles to [email protected] Paul Spurgeon Nicodemus Please include your full name, contact Associate Editor information (address and telephone number) and a short bio data. RMK Sharma • Articles are published in the magazine only Assistant Editor on the condition that the author agrees to UNS Vijayshri the terms of the Copyright Statement and Policy Sub Editor D Praveena Regd. Office: Trivikram Publications, Feature Writer D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Visakhapatnam - 530 013, A.P. Ch Nikhitha Coordinators (News, Advertisements & Tel: +91 8897987445 Administration Manager Subscriptions) The opinions, beliefs and viewpoints expressed KV Lakshmi by the various writers in the articles and Sai Venkatesh Karnataka reviews do not necessarily reflect the opinions, Communications Incharge beliefs and viewpoints of the editorial team or K Bhanoji Rao Kashmira Trivedi Maharashtra official policies of The Dance India.