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Mask: a Creative Representation of Functional Art
[Pandey *, Vol.7 (Iss.4): April 2019] ISSN- 2350-0530(O), ISSN- 2394-3629(P) DOI: https://doi.org/10.29121/granthaalayah.v7.i4.2019.878 Arts MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART Dr. Anjali Pandey *1 *1 Associate Prof & H.O.D., Department Drawing &Painting, Govt. M.L.B. Girls P. G. Autonomous College Bhopal, India Abstract Masks are used all over the world for their expressive power. It is an important part of theatre and rituals. It is generally used to conceal the identity or to transform the character. In India the festival mask are used to represent the deities and mythological character in dance and drama performance as well as in many ceremonial functions, religious and social rituals and in entertainment since ancient time. The evidences of mask could also be seen since prehistoric age. Many tribes of India mask are used in rituals and performances. The masks of different region are distinct and peculiar in size, shape, form, design and material used. In early era the masks were made in simplified form, now some innovative decorations have changed their aesthetic value. Keywords: Living Culture; Prehistoric Era; Ceremonial Functions; Costumes; Entertainment; Transform; Regional; Paper Machie; Wood; Zari Painting; Designs. Cite This Article: Dr. Anjali Pandey (2019). “MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART.” International Journal of Research - Granthaalayah, 7(4), 90-96. https://doi.org/10.29121/granthaalayah.v7.i4.2019.878. 1. Introduction Http://www.granthaalayah.com ©International Journal of Research - GRANTHAALAYAH [90] [Pandey *, Vol.7 (Iss.4): April 2019] ISSN- 2350-0530(O), ISSN- 2394-3629(P) DOI: 10.5281/zenodo.2653124 “The word ‘mask’ has a foreign origin. -
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 -
The Role of Indian Dances on Indian Culture
www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts. -
Ezhumattoor Padayani Panamattathukavu Temple
EZHUMATTOOR PADAYANI PANAMATTATHUKAVU TEMPLE Panchayat/ Municipality/ Ezhumattoor Grama Panchayat Corporation LOCATION District Pathanamthitta Nearest Town/ Mallappally Town – 7 Km Landmark/ Junction Ezhumattoor Bus Stop – 300 m Nearest Bus station Nearest Railway Chengannur Railway Station – 21 Km station ACCESSIBILITY Cochin International Airport – 114 Km Nearest Airport Panamattathukavu Devi Temple Ezhumattoor Pin – 689586 Phone : +91-469-2650528 CONTACT DATES FREQUENCY DURATION TIME March/April/May (Meenam-Medam) Annual 7 Days ABOUT THE FESTIVAL (Legend/History/Myth) Ezhumattoor is famous for Padayani, which is a combination of music, dance, painting etc. Padayani in Ezhumattoor is performed during the Vishu festival in the Panamattathukavu temple with utmost enthusiasm and devotion by the people of Ezhumattoor. Kolamezhuthu, Kolamthullal, Kolappattu, Thappumelam etc. are the essential parts of Padayani. Thompil House from where the renowned astrologer Late.Shri. Bhaskaran Shastry hailed, is authorized for Kolamezhuthu by the temple authorities of Ezhumattoor. But nowadays other inhabitants of this place have also started this divine art for their livelihood. According to Hindu Mythology evolution of Padayani is related to the birth of Kali .Once an Asura (Demon) named Darika delighted Lord Brahma through his hand practice of penance and gained blessings that, he would be killed only by a women. Darika went on with his these atrocities. Failings to defend Darika, Devas approached Lord Shiva for help. Hearing the atrocities of Darika, Lord Shiva kindled with anger and opened his third eye bursting out fire. It is from this third eye, Kali was born. Accepting the request of Devas and obeying the instruction of her father Shiva, Kali left for the abode of Darika mounting herself on Vethal accompanied by Koolee Gana. -
Static GK: Dances in India
For More Study Material Static GK: Dances in India Classical Dance: Classical Dance State Mohiniyattam Kerala Bharatanatyam Tamil Nadu Kathak Uttar Pradesh Kathakali Kerala Kuchipudi Andhra Pradesh Manipuri Manipur Odissi Orissa Chhau West bengal Sattriya Assam Folk Dance: State Folk Dance Andhra Pradesh Kolattam, Gobbi Dance, Dhimsa, Dhamal Dance Assam Bihu, Jhumur Naach, Ali Ai Ligang, Bagurumba Arunachal Pradesh Bardo Chham, Lion and Peacock dance Chhattisgarh Raut Nacha, Gaur Maria Dance, Panthi Join Telegram Channel For More Study Material Gujarat Garba, Dandiya ras, Tippani Dance, Kinnauri Nati, Namgen Goa Tarangamel, Dekhni, Dhalo, Dhangar, Fugdi Haryana Jhumar Dance, Gugga dance, Saang, Teej, Loor dance, Dhamal Dance, Phag dance Himachal Pradesh Luddi dance, Munzra, Kanayala, Giddha Parhaun, Hikat Karnataka Yakshagana, Bayalata, Dollu Kunitha, Veeragaase dance Kerala Theyyam or Kaliyattam, Thullal, Thirayattam, Oppana, Mar- gamkali, Thitambu Nritham, Chakyar Koothu, Chavittu Na- dakam Madhya pradesh Tertali, Charkula, Matki dance, Phulpati dance, Grida dance, Maanch Maharashtra Pavri Nach, Lavani Manipur Thang Ta, Dhol Cholom Mizoram Cheraw dance or Bamboo dance Nagaland Chang Lo or Sua Lua Odisha Ghumura dance, Goti Pua, Nacni, Baagh Naach or Tiger dance, Dalkhai dhap, Karma Naach, Keisabadi Punjab Bhangra, Giddha, Malwai Giddha, Jhumar, Karthi, Kikli Puducherry Garadi Sikkim Singhi Chham Rajasthan Ghoomar, Kalbelia, Bhavai, Kachchhi Ghodi Tamil Nadu Kamandi, Kummi, Kolattam, Karagattam or Karagam, Oyi- lattam, Puliyattam, Mayil Attam or Peacock dance, Pampu Attam or snake dance West Bengal Jatra, Chau, Kathi Join Telegram Channel For More Study Material Lakshadweep Lava Uttar Pradesh Nautanki, Raslila, Jhora, Chhapeli, Jaita Jammu Kashmir Rouf, Chakri Jharkhand Karma Telengana Perini Thandavam, Dappu, Lambadi Tripura Hojagiri, Goria, Lebang Boomani Uttrakhand Chholiya, Jagars, Thali-Jadda, Jhainta, Barada Nat Bihar Kajari, Jaat- Jaatin, Jhijhian, Jhumeri, Souhar- Khilouna Uttrakhand Barada Nati, Bhotiya, Chancheri, Chhapeil Join Telegram Channel . -
SSR St.Thomas College, Kozhencherry September 2014
1 St. Thomas College KOZHENCHERRY, KERALA STATE- 689 641 Phone: 0468-2214 566 Fax: 0468-2215 543 Website: www.stthomascollege.info E-mail: [email protected] (Affiliated to Mahatma Gandhi University) Re-accredited by NAAC with B++ (2007) SELF STUDY REPORT Submitted to National Assessment and Accreditation Council Bangalore -560 072, India NAAC-SSR St.Thomas College, Kozhencherry September 2014 5 PREFACE he Malankara Mar Thoma Syrian Church, a staunch ally of an epoch- T making social movement of the nineteenth century, was led forward by the lamp of Reformation popularly known as „Naveekarana Prasthanam‟. Mar Thoma Church, part of the great tradition of the Malankara Syrian Church which had been formulated by St. Thomas, one of the twelve apostles of Jesus Christ, wielded education during the progressive period of Reformation in Kerala, as a mighty weapon for the liberation of the downtrodden masses from their stigmatized ignorance and backwardness. The establishment of St.Thomas College at Kozhencherry in 1953, as part of the altruistic missionary zeal of the church during Reformation, was the second educational venture under the auspices of Mar Thoma Church. The founding fathers, late Most Rev. Dr. Juhanon Mar Thoma Metropolitan and late Rev. K.T.Thomas Kurumthottickal, envisaged the college as an instrument for the realization of a bold vision that aimed at providing quality education to the people of the remote hilly regions of Eastern Kerala. The last six decades of the momentous historical span of the college has borne witness to the successful fulfilment of the vision of the founding fathers. The college has gone further into newer dimensions, innovations and endeavours which are impactful and relevant to the shaping of the lives of contemporary and future generations of youngsters. -
State Dance (S) Andra Pradesh Kuchipudi, Kolattam, Ghantamardala, (Ottam Thedal, Mohiniattam, Kummi, Siddhi, Madhuri, Chhadi
BHARAT SCHOOL OF BANKING STATIC GK Indian Cultural/Classical Dances - Folk Dances in India State Dance (S) Andra Pradesh Kuchipudi, Kolattam, Ghantamardala, (Ottam Thedal, Mohiniattam, Kummi, Siddhi, Madhuri, Chhadi. Arunachal Pradesh Bardo Chham Assam Bihu, Ali Ai Ligang, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai etc. Bihar Chhau,Jata-Jatin, Bakho-Bakhain, Panwariya, Sama-Chakwa, Bidesia, Jatra etc. Chhattisgarh Panthi, Raut Nacha, Gaur Maria, Goudi, Karma, Jhumar, Dagla, Pali, Tapali, Navrani, Diwari, Mundari. Goa Tarangamel, Dashavatara, Dekhni, Dhalo, Dhangar, Fugdi, Ghodemodni, Goff, Jagar, Kunbi, Mando, Musal Khel, Perni Jagar, Ranamale, Romta Mel, Divlyan Nach (Lamp dance), Veerabhadra, Morulo, Tonayamel , Mandi, Jhagor, Khol, Dakni, , Koli Gujarat Garba, Dandiya Ras, Tippani Juriun, Bhavai. Haryana Saang, Chhathi, Khoria, Ras Leela, Dhamal, Jhumar, Loor, Gugga, Teej Dance, Phag, Daph, Gagor Himachal Pradesh Kinnauri, Mangen, Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Nati, Dangi, Chamba, Thali, Jhainta, Daf, Stick dance Jammu & Kashmir Kud, Dumhal, Rauf, Hikat, Mandjas, Damali Jharkhand Chhanu, Sarahul, Jat-Jatin, Karma , Munda, Danga, Bidesia, Sohrai. Karnataka Yakshagan, Bayalatta, Dollu Kunitha, Veeragasse, Huttar, Suggi, Kunitha, Karga, Lambi Kerala Mohiniyattam, Kathakali, Thirayattam, Theyyam, Thullal, Koodiyattam, Duffmuttu / Aravanmuttu, Oppana, Kaikottikali, Thiruvathirakali, Margamkali, Thitambu Nritham, Chakyar Koothu, Chavittu Nadakam, Padayani -
Kerala from Eighth to Eighteenth Century
Kerala from Eighth to eighteenth Century Que.1. Prepare a note on Foreign trade in Medieval Kerala. Marks :(4) Ans. • Arabs, Chinese and European traders • Carried the spices • They brought gold, copper, lead, china clay, pottery and Chinese silk • The Europeans monopolised the sea trade. Que.2. Explain the different kinds of trade prevailed in Medieval Kerala. Marks :(3) Ans. • Regional trade - Chanthas and Angadies, commodities for daily use • Long-distance trade- trade was mainly with Tamilnadu, Karnataka,Andhra pradesh and Orissa • Tamil Brahmins and Chettis were main traders. Black pepper and other spices were brought from Kerala • Foreign trade - Arabs, Chinese, Europeans were the main foreign traders. Pepper, ginger, cinnamon and cardamom were brought from Kerala. Gold, copper, silver, China clay pottery, silk etc. were brought to Kerala. Que.3. One of the growing occupational groups in Medieval Kerala was related to trade. Write down four other occupational groups Marks :(4) Ans. • People engaged in agriculture and the making of agricultural equipments. • People involved in handicrafts and the making of metal equipments • People involved in weaving and oil production • People involved in temple rituals Que.4. Discuss the features of agriculture in Medieval Kerala. Marks :(4) Ans. • Farming was done in vayals, parambus, purayidams and malampradesangal • Paddy was the main crop in vayals • They used to cultivate paddy, horsegram, millets and tubers in parambu. • Coconut, arecanut, pepper, ginger, turmeric, pulses and tubers were also cultivated. • Agriculture depending on the monsoon Que.5. Explain the terms Kettezhuthu and Kandezhuthu Marks :(2) Ans. • Divided the land in terms of acres and cents, and allotted them survey numbers. -
Kavalam Narayana Panikkar (1928-2016): a Tribute
Bharatiya Pragna: An Interdisciplinary Journal of Indian Studies (E-ISSN 2456-1347) Ed. by Dr. P. Mallikarjuna Rao Vol. 1, No. 2, 2016. URL of the Issue: http://www.indianstudies.net/v1n2 Available at http://www.indianstudies.net/V1/n2/01_KN-Panikkar.pdf © AesthetixMS Kavalam Narayana Panikkar (1928-2016): A Tribute Rajesh P1 University of Hyderabad, India Kavalam, a small village alongside the backwaters of Kerala is today known after a thespian par excellence. Kavalam Narayana Panikkar who carried along with him not just the name of his village, but the rhythm of folk, while in search of the ‘roots’ of Indian art forms. With a profound knowledge of the folk arts of Kerala such as Theyyam, Padayani, Koodiyattam and Kakkarishi Natakam1, he became advocate of the “Theatre of Roots” along with Habib Tanvir, Vijay Tendulkar, Ratan Tiyam and Girish Karnad. His contributions to the revival of Tanathu (indigenous) art forms remain unsurpassed. K. N. Panikkar, popularly known as Kavalam was born into an affluent family with rich cultural heritage of Kuttanad; he worked relentlessly for the revival of native theatre by incorporating classical, folk and western theaters, though not without criticism. Even as a theatre doyen, he was involved in kalari2 till his last days, meditating over his latest drama Rithambara.3 He remained a multitalented artist and made significant contributions as a playwright, director, lyricist and singer. K. N. Panikkar would have remained a lawyer had his disposition not inclined to the culture abundance around him. His six years practice after obtaining a law degree was replaced by an artistic career spanning over half a century, transcending the discipline with an extensive repertoire of folk art. -
Kerala Tourism Onam Celebrations 2012
Kerala Tourism Onam Celebrations 2012 Date Time Programme Proclamation 2012 August 27 4 Pm Procession Flag hoisting 6 Pm Kanakakkunnu Palace Switch on of 6.30 Pm Illumination 1 Megashow (Chandrasekharan Nair Stadium) Date Time Programme State level Inauguration of Onam week Celebration - Sri. Oommen Chandi Chief Minister Kerala 6.30 Honouring Film Actor Sri. Madhu by Govt of Kerala on his completion of 50 Years of Film Acting. 28/08/2012 Jay Hind TV – Madhuram Honouring Sri. Madhu Film actor followed by a Mega show including 7.30 the moments of his 50 years of acting and his heroines . Kairali T V- Sravana Sandhya 29/08/2012 7.00. Ganamela By M.G. SreeKumar A C V – Avani Thinkal 30/08/2012 7.00 Mega show by Sreenivas, Anuradha Sree Ram,Najeem Arshad, Vodaphone Comedy Star fame Nelson , Abbass and others. Soorya TV – Atma Sooryodayam 2012 31/08/2012 7.00 Programme by Television, Serial Artists Directed Idavela Babu Jeevan TV- Onasadhya 01/09/2012 7.00 Programme by Jassi Gift, Sudeep Kumar and others Amrita T V - Amirtholsavam 02/09/2012 7.00 Songs of noted Music Director Sri. Raveendran Master and Comedy programme by Tiny Tom Kerala Kaumudi - Onam Extreme Ganamela By Anna Katherin, Sachin Warrier, Negha Nair, Rehman Nazeer Minnale, Arun Alaattu, Nikhil Raj 03/09/2012 7.00 Dance by Filim star Iniya and Party Comedy programme by Suraj Venjarammoodu 2 Nishagandhi Auditorium( Classical Dance) Date Time Programme Mappilapattukal 28/08/2012 7.00 V.M. Kutty, Kutty’s Orchestra, Malappuram Kerala Nadanam 5.30-6.30 Nadanagramam, Thiruvananthapuram -
Sanskritization Or Appropriation : Caste and Gender in “Indian” Music and Dance
Savari adivasi bahujan and dalit women conversing http://www.dalitweb.org Sanskritization or Appropriation : Caste and Gender in “Indian” Music and Dance Sreebitha P. V Two recent articles in The Hindu address the question of caste and gender in Indian Music and Dance. The first article titled ‘Sanskritization and Culture’, highlights the fact that many artists from the field of dance and music have rejected and embraced Sanskritization at different points in history. The second article, ‘No caste, no creed and no gender’ is an excerpt from the book A Southern Music: The Karnatik Story by the acclaimed vocalist T. M. Krishna. This gives us a glimpse of the caste, gender and religious bias in the world of Karnatik music. However, what struck me was that the figure of MS Subbulakshmi has been mentioned by both writers. Both talk of her as a woman who originally hailed from a Devadasi community and later acquired a respectable position in the world of Indian classical music either through the process of Sanskritization or by getting married to a Brahmin. Krishna does not give any direct reference to Sanskritization but says that she became a Mira from a Dasi in her husband’s house. According to him her actual positioning and social transformation is a product of the work of men in society, especially those constructing the modern Karnatik story. M. N. Srinivas defined Sanskritization as a process by which “a “low” Hindu caste, or tribal or other group, changes its customs, ritual, ideology, and way of life in the direction of a high, and frequently, “twice-born” caste” (Social Change. -
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.