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Androgynous Pariahs Gender Transformations and Politics of Culture in the North Indian Folk Theater Svāṅg
Karan Singh Government College for Women, Haryana, India Androgynous Pariahs Gender Transformations and Politics of Culture in the North Indian Folk Theater Svāṅg Theater in general and so-called “folk” theater forms in particular transpose derivative behavioral patterns onto performers by arranging them spatially within a circumscribed area. This power of theater to transform a person from his familiar, normative life to an altered “persona,” temporally and spatially, lingers on with the performer, individually as well as collectively, even when outside of the performance arena. At the same time, however, even while on the stage, a performer is never really an individual in the sense of having a dis- tinct consciousness, for he carries with him a considerable amount of baggage based on gender, caste, and other cultural determinants prominent within the Indian social sphere. While utilizing his dramatic capacity to transform his individual self into another being on stage, performance confers on the actor an opportunity to transcend social and gender boundaries. The present article seeks to understand the role played by ontological transformations and dis- guises as factors responsible for cultural condemnation of a well-known form of folk theater called svāṅg, due to the challenge it poses to the structural view of life undertaken by cultural purists as stable and fixed, particularly in the case of gender and social identities. At the same time it traces the genesis of opprobrium on folk theater as low-caste or low-class activity, resulting -
Bharatiya Temple of Northwest Indiana Tulsi Vivah Utsav
Bharatiya Temple of Northwest Indiana Invites you for Tulsi Vivah Utsav Vivah of Lord Vishnu with Devi Tulsi Location: Bharatiya Temple of NWI 8605 Merrillville Road,Merrillville,In 46410 Sunday , November 2nd , 2014 Gruhshanti Pooja – 10:30am Shobha Yatra of Lord Vishnu – 11.30PM Kanya Agaman and Vivah Pooja noon Followed by Aarti & Lunch Prasad RSVP by October 29th Sponsors Yajman Couple For Devi Tulsi : $251 Kanyadan : $21 Yajman couple for Lord Vishnu :$251 Annadan :$51/$101 Yajaman for Kanya ( Devi Tulsi) Agaman : $101 For RSVP please call : Kalpana Bhatt 219-227-5937 Suchita Shah 219-614-1106 Panna Barai 219-614-7820 Sonal Shah 219-201-2670 Shaku Sarma 219-663 -3987 Kalyani Desai 219-613-7732 www.bharatiyatemple-nwindiana.org Please read the legend of Tulsi Vivah on next page TULSI VIVAH LEGEND Tulsi Vivah is considered the beginning of the wedding season in India in the month of Kartik, which occurs in October/November every year. Tulsi Vivah is conducted on the day after Kartik Ekadashi (the eleventh bright day of the new moon, Amavasya). According to Hindu mythology, Devi Tulsi is ceremonially married to Lord Vishnu on this day. The festival continues for five days and concludes on the full moon day of Purnima.. The festival is based on the legend of the marriage (or Vivah) of the holy Tulsi plant with Lord Vishnu. The Tulsi plant is considered holy by many Hindus and traditional Hindu homes used to have Tulsi plant growing in the courtyard. Offerings were made to the Tulsi plant every morning and evening during the daily prayers. -
Academic Year Year of Passing 1 200220998 Col
EV-FR-09 POST GRADUATE DIPLOMA IN BUSINESS ADMINISTRATION (2002 - 2004) Sr.No. Reg. no. Students Name Academic Year Year of Passing 1 200220998 Col. Sunil Chandra Jhingan 2002 24/11/04 2 200205766 Lt. Padmavathi Jagannath Rao 2002 24/11/04 3 200225473 Nb/Sub Suryakant Appa Chavan 2002 24/11/04 4 200206615 Mubasher Jain 2002 24/11/04 5 200225705 Syed Faisal Rizvi 2002 24/11/04 6 200215818 Anthony Mathew Fernandes 2002 24/11/04 7 200224011 Maj. Pranjal Prabhakar Jadhav 2002 24/11/04 8 200200585 MCPO -I Munendra Kumar Jha 2002 24/11/04 9 200201142 Shashi Prabha Koley 2002 24/11/04 10 200218013 Poelr Narendra Singh Jodha 2002 24/11/04 11 200225251 Cdr. Anoop Verma 2002 24/11/04 12 200214476 Soumyo Chatterjee 2002 24/11/04 13 200201490 Lt. Sushma Mathur 2002 24/11/04 14 200225423 Sreenivasulu Vemula 2002 24/11/04 15 200216494 Lt. Bhaskar Singh Parihar 2002 24/11/04 16 200207085 Pushpa Vasudeva Rao 2002 24/11/04 17 200218360 Wg.Cdr. Yashpal Singh 2002 24/11/04 18 200201178 Jitendra Saxena 2002 24/11/04 19 200213873 Komal Kapoor 2002 24/11/04 20 200205569 Suparna Kapoor 2002 24/11/04 21 200200386 Maj. Anil Kumar Gupta 2002 24/11/04 22 200225428 Lt.Cdr. Manish Sain 2002 24/11/04 23 200219081 Cpl Gajendra Kumar Verma 2002 24/11/04 24 200222086 Percy Pervez Bhatporia 2002 24/11/04 25 200200063 Girija Rajamani 2002 24/11/04 26 200208517 Anju Bhatia 2002 24/11/04 27 200217384 Deepti Kalra 2002 24/11/04 28 200203141 Lingolu Narayana Rao 2002 24/11/04 29 200200024 K. -
Bal Satsang 1 Ii Bal Satsang 1 Iii
i Bal Satsang 1 ii Bal Satsang 1 iii A Textbook of the Bal Satsang Examination Series Bal Satsang 1 Translation of Gujarati Version Swaminarayan Aksharpith Ahmedabad iv Bal Satsang 1 Bal Satsang 1 (A Satsang textbook through which satsangi children can learn general Satsang knowledge and traditions in an easy and enjoyable manner.) Blessing : His Holiness Pramukh Swami Maharaj Inspirer : His Holiness Mahant Swami Maharaj Previous Editions: 1989, 1993, 1996,1998 5th Edition: August 2005 5th Edition 1st Reprint: June 2008 5th Edition 2nd Reprint: October 2011 5th Edition 3rd Reprint: December 2019 Copies: 2,000 (Total Copies: 30,000) Cost: ` 65/- ISBN: 978-81-7526-375-8 Copyright © SWAMINARAYAN AKSHARPITH All rights reserved. No part of this book may be used or reproduced in any form or by any means without permission in writing from the publisher, except for brief quotations embodied in reviews and articles. Published & Printed by Swaminarayan Aksharpith Shahibaug, Ahmedabad-4, India Website : www.baps.org u baps.kids.org v CONTENTS SECTION A Introduction ..................................................................................vii 1. Little but Famous ........................................................................... 1 2. God Himself .................................................................................... 2 3. Evil Kalidatt .................................................................................... 4 4. Here, There, Everywhere! ............................................................. 6 5. Ghanshyam -
Artifacts and Representations of North Indian Art Music [*Ecompanion At
Oral Tradition, 20/1 (2005): 130-157 Shellac, Bakelite, Vinyl, and Paper: Artifacts and Representations of North Indian Art Music [*eCompanion at www.oraltradition.org] Lalita du Perron and Nicolas Magriel Introduction Short songs in dialects of Hindi are the basis for improvisation in all the genres of North Indian classical vocal music. These songs, bandiśes, constitute a central pillar of North Indian culture, spreading well beyond the geographic frontiers of Hindi itself. Songs are significant as being the only aspect of North Indian music that is “fixed” and handed down via oral tradition relatively intact. They are regarded as the core of Indian art music because they encapsulate the melodic structures upon which improvisation is based. In this paper we aim to look at some issues raised by the idiosyncrasies of written representations of songs as they has occurred within the Indian cultural milieu, and then at issues that have emerged in the course of our own ongoing efforts to represent khyāl songs from the perspectives of somewhat “insidish outsiders.” Khyāl, the focus of our current research, has been the prevalent genre of vocal music in North India for some 200 years. Khyāl songs are not defined by written representations, but are transmitted orally, committed to memory, and re-created through performance. A large component of our current project1 has been the transcription of 430 songs on the basis of detailed listening to commercial recordings that were produced during the period 1903-75, aspiring to a high degree of faithfulness to the details of specific performance instances. The shellac, bakelite, and vinyl records with 1 An AHRB-funded (Arts and Humanities Research Board) project, “Songs of North Indian Art Music” (SNIAM), carried out by the two authors in the Department of Music at the School of Oriental and African Studies (SOAS). -
2.Hindu Websites Sorted Category Wise
Hindu Websites sorted Category wise Sl. No. Broad catergory Website Address Description Reference Country 1 Archaelogy http://aryaculture.tripod.com/vedicdharma/id10. India's Cultural Link with Ancient Mexico html America 2 Archaelogy http://en.wikipedia.org/wiki/Harappa Harappa Civilisation India 3 Archaelogy http://en.wikipedia.org/wiki/Indus_Valley_Civil Indus Valley Civilisation India ization 4 Archaelogy http://en.wikipedia.org/wiki/Kiradu_temples Kiradu Barmer Temples India 5 Archaelogy http://en.wikipedia.org/wiki/Mohenjo_Daro Mohenjo_Daro Civilisation India 6 Archaelogy http://en.wikipedia.org/wiki/Nalanda Nalanda University India 7 Archaelogy http://en.wikipedia.org/wiki/Taxila Takshashila University Pakistan 8 Archaelogy http://selians.blogspot.in/2010/01/ganesha- Ganesha, ‘lingga yoni’ found at newly Indonesia lingga-yoni-found-at-newly.html discovered site 9 Archaelogy http://vedicarcheologicaldiscoveries.wordpress.c Ancient Idol of Lord Vishnu found Russia om/2012/05/27/ancient-idol-of-lord-vishnu- during excavation in an old village in found-during-excavation-in-an-old-village-in- Russia’s Volga Region russias-volga-region/ 10 Archaelogy http://vedicarcheologicaldiscoveries.wordpress.c Mahendraparvata, 1,200-Year-Old Cambodia om/2013/06/15/mahendraparvata-1200-year- Lost Medieval City In Cambodia, old-lost-medieval-city-in-cambodia-unearthed- Unearthed By Archaeologists 11 Archaelogy http://wikimapia.org/7359843/Takshashila- Takshashila University Pakistan Taxila 12 Archaelogy http://www.agamahindu.com/vietnam-hindu- Vietnam -
Ranganathar in Orgonite Relieving Our Relationship Problems REMOVING DOSHAS of SUKRAN
Reclining Pose Ranganathar in Orgonite Relieving our Relationship Problems REMOVING DOSHAS OF SUKRAN Lord Ranganathar is in Reclining - Ananta sayanam posture (yogic eternal sleep of yoga-nidra) as smiling Lord Vishnu. He is relaxing on the coil of the seven hooded Great Serpent bed of God Adisesha in an ocean of milk as per the “Puranas", the Vishnu Sahasranama. His consort is Goddess Lakshmi, doing pada seva to Him. He is enjoying the aroma emanating from the lotus held in His left hand, and His right hand is blessing Lord Siva. Lord Brahma is seen on a lotus, which emanates from the navel of Vishnu. Structuring the orgonite Base for Ranganathar: A rectangular shape beedam with a medium size of 25*21*2.9cm base is made for keeping the Gold Coated ashtadhatu idol of Ranganathar with Height 3 inches and weight 300 grams in the center permanently. Two kinds of orgonite are shown above. Though there are fifteen kinds of ingredients inside, some of them are mentioned here. Black Saligram inside orgonite: According to the Hindu tradition this stone is the shelter for a small insect known as "Vajra-Keeta" that has a diamond tooth which cuts through the Shaligram stone and stays inside it. Saligram is usually black in color with the symbol of Sudharsan chakra – the discus of Vishnu. The chakras can be seen both outside and inside. Black natural Shaligram heals us to come out of the black box of our past life fears and traumas and guides to surrender to Lord Vishnu in Ranganathar form. -
Breaking Boundaries: Bhangra As a Mechanism for Identity
Running head: BREAKING BOUNDARIES 1 Breaking Boundaries: Bhangra as a Mechanism for Identity Formation and Sociopolitical Refuge Among South Asian American Youths A Thesis Presented By Quisqueya G. Witbeck In the field of Global Studies & International Relations Northeastern University June 2018 BREAKING BOUNDARIES 2 Table of Contents Abstract……………………………………………………………………………………...3 Introduction………………………………………………………………………………….4 Literature Review…………………………………………………………………………....4 Cultural Expression & Identity Formation………………………………………….6 Challenges to Plurality………………………………………………………………7 Expanding Scope & Audience………………………………………………………9 Implications of Cultural Fusion…………………………………………………….10 Summary...………………………………………………………………………….12 Methodology……………………………………....………………………………………...12 Topics……………………………………………………………………………….12 Subjects……………………………………………………………………………..14 Analysis……………………………………………………………………………..16 Data………………………………………………………………………………………......17 Kirapa ate Sakati Bhangra…………………………………………………………..18 The Comparison Group……………………………………………………………..18 The Individuals……………………………………………………………………...19 Discussion…………………………………………………………………………………....27 Background………………………………………………………………………….27 Team Dynamics Structure & Authenticity ………………………………………….28 Originality: Crafting a Style………………………………………………………....31 Defining Desi: Negotiating Identity and Expectations in a Shared Medium………..32 Opinions & ideals.…………………………………………...……………...32 Credibility, expectations & exposure…………………...…………………..33 Refuge……………………………………………………………………………….36 Conclusions………………………………………………………………………………......39 -
Light on Pahari Culture Imtiaz Ahmad Hindus of the Himalayas by Gerald D Berreman, Bombay, Oxford University Press, 1963; Pp X +430, Price Rs 25.00
THE ECONOMIC WEEKLY August 22, 1964 Book Review Light on Pahari Culture Imtiaz Ahmad Hindus of the Himalayas by Gerald D Berreman, Bombay, Oxford University Press, 1963; pp X +430, price Rs 25.00. THE Paharis living on the Himala- tern of landholding and structure of cial and economic levels. Thus, the yan foothills have always been re authority and political power. pure polluted or high-low caste dicho garded as Hindus, but there has hardly tomy is a striking feature of the Pahari been any serious attempt so far to The study is concerned primarily caste structure as distinguished from study their social structure and culture with an analysis of the village social the multiple division of the plains. Se and to compare them with the social system. The author shows that ties of condly, there are few ranked subcastes structure and culture of Hindus in kinship, caste and community consti among the indigeneous hill castes in and other culture areas. Berreman's tute three important levels of organiza around Bhatbair; the sub-divisions book is the first systematic anthropolo tion in the lives of the villagers. They (gotra, sib) are of equal rank and purity. gical study attempted on Pahari provide the structural basis for Pahari culture, and one of the very few studies culture and social interaction, and It seems that the author has over that have dealt with the Himalayan pe come into prominence in varying de stated the pure-polluted dichotomy in ople. It describes a central Pahari villa grees in different contexts. The ties Pahari caste structure in trying to dis ge in the broader contexts of Pahari of kinships are of most immediate sig tinguish it from the caste structure in and North Indian culture areas. -
Vaisnava Goddess As Plant: Tulasi in Text and Context John Carbone
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Vaisnava Goddess as Plant: Tulasi in Text and Context John Carbone Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES VAISNAVA GODDESS AS PLANT: TULASI IN TEXT AND CONTEXT By JOHN CARBONE A Thesis submitted to the Department of Religion in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2008 The members of the Committee approve the Thesis of John Carbone defended on April 7, 2008. Kathleen M. Erndl Professor Directing Thesis Bryan Cuevas Committee Member Adam Gaiser Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii For Irina and Joseph iii ACKNOWLEDGEMENTS I wish to thank Kathy Neall for her help in editing this manuscript. iv TABLE OF CONTENTS List of Figures .................................................................................... vi Abstract .......................................................................................... vii Introduction……………………………………………………………………. 1 1. Tulasī as the Plant Form of Lakṣmī................................................... 9 Śrī and Lakṣmī in the Vedas .......................................................... 9 Purāṇic Śrī and Lakṣmī.................................................................. Yakṣa, Yakṣī, and Śrī’s Iconography ............................................ -
Shree Saligrams
+91-9335159393 Shree Saligrams https://www.indiamart.com/shree-saligrams-allahabad/ Shree Saligrams is considered the direct symbol of Lord Vishnu, They are found only in Mukti chhetra and Damodar Kunda (north- west of Nepal). According to the religious text of Devi Bhagwate (and other scriptures) to kill demon Jalandhar Lord ... About Us Shree Saligrams is considered the direct symbol of Lord Vishnu, They are found only in Mukti chhetra and Damodar Kunda (north-west of Nepal). According to the religious text of Devi Bhagwate (and other scriptures) to kill demon Jalandhar Lord Vishnu have to destroy Sati Brindha's sati dharma. When he did that Sati Brindha gave four seeming desecrations to Lord Vishnu to become stone, grass, tree, plant. To wash away this reaction Lord Vishnu took four avatars (incarnations). He became stone (Shree Saligram) grass (kush) tree (Pipal) and plant (Tulsi). Since this time the Saligrams are considered to be most auspicious to behold and to worship. The worshipper knows no fear and by Shree Saligram's mercy the worshipper is blessed to attain all desirable things; worldly comforts, good wife, good sons, good health and wealth etc. It is all by the blessings of Lord Mahavishnu that His pastimes are being served. It is an excellent service for devotees of Lord Narayana. Saligram , the only self incarnated god in Kali Yuga, found in northern parts of Nepal on the banks of Gandaki river. Our mission is to provide devotees best saligram as Saligram Strotram suggest. We are dealing in Saligram from many years and gain knowledge and experience to choose saligram and name them according to the ancient scripture. -
Music, the Media, and Communal Relations in North India, Past and Present
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 1996 Music, the Media, and Communal Relations in North India, Past and Present Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/87 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 5 Music, the Media, and Communal Relations in North India, Past and Present PETER MANUEL MUCH OF THE DISCUSSION of communalism has attempted to ascertain the depth of the evident communal sentiment reflected in recent distur bances and the rise of Hindu militancy. Amrita Basu's essay above echoes a similar question about cultural history: do current developments reflect profound, long-standing, grass-roots animosity, or, alternately, are they merely the products of contemporary elite manipulation, ultimately con ditioned by factorsother than religious ones? While sociopolitical history is a natural focusfor such inquiries, the study of expressive culture may re veal much about social practices and attitudes, both elite and grass-roots, past and present. This chapter focuses on musical culture in north India, outlining relevant aspects of the social history of classical music, and pre senting some observations on twentieth-century folkand popular musics. My discussion of the contemporary scene will also refer to related forms of expressive culture, notably Hindi cinema and the sociopolitical uses of cassettes. Given the extraordinary diversity of South Asian musical genres and practices, any attempt to generalize about music's relation to communal ism is destined to a degree of superficiality.