Title: Need to Set up a University for Music and Fine Arts in Thanjavur

Total Page：16

File Type：pdf, Size：1020Kb

pan> Title: Need to set up a University for Music and Fine Arts in Thanjavur. *SHRI K. PARASURAMAN (THANJAVUR): Hon. Chairman Sir, Vanakkam. I bow before Hon. Chief Minister of Tamil Nadu Puratchithalaivi Amma. I urge upon the Hon. Minister of Human Resources Development to take necessary action for setting up of a Music and Fine Arts University in Thanjavur. Tamil Music (Tamilisai) is 3000 years old. There are some important grammar books on Tamil Music like Kalaria, Virai, Muthunaarai, Muthukurugu, Isainunukkam, and Panchamarabu. Tamil Music (Tamilisai) is very ancient which is 3000 years old. There are seven notes in Tamil Music such as Sa, Ri, Ga, Ma, Pa, Tha and Ni. No one is able to find the eight note till now. Pann in Tamil is called as Raaga in Sanskrit, The word Alatti has a Sanskrit equivalent called Alapana. Isai is called as Sangeet in Sanskrit. This traditional and ancient music of Tamil Nadu should be preserved and passed on to the youth of this country. Hon. Puratchithalaivi Amma has been taking continuous efforts in this direction with a foresighted vision. Government Music Colleges in Chennai, Tiruvaiyaaru, Coimbatore and Madurai; Colleges of Fine Arts in Kumbakonam and Chennai; Government College of Architecture and Sculpture in Mamallapuram; Unaided Private Colleges which teach Music, Drama and Fine Arts could be brought under one umbrella i.e. Music and Fine Arts University. There could be Under Graduate and Post Graduate courses on Music and Fine Arts offered by these institutions. I therefore urge upon the Hon. Minister of Human Resources Development to set up a University for Music and Fine Arts in Thanjavur with 13 full-fledged departments to teach Vocal music, Veena, Violin, Nadhaswaram (Nagaswaram), Thavil, Ghatam, Mridangam, Kanjira, Morsing (Mukharshanku), Flute, Bharathanatyam, Nattuvangam and Folk Arts. Thank you..

Copy Link

Recommended publications

Towards Automatic Audio Segmentation of Indian Carnatic Music
Friedrich-Alexander-Universität Erlangen-Nurnberg¨ Master Thesis Towards Automatic Audio Segmentation of Indian Carnatic Music submitted by Venkatesh Kulkarni submitted July 29, 2014 Supervisor / Advisor Dr. Balaji Thoshkahna Prof. Dr. Meinard Muller¨ Reviewers Prof. Dr. Meinard Muller¨ International Audio Laboratories Erlangen A Joint Institution of the Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU) and Fraunhofer Institute for Integrated Circuits IIS ERKLARUNG¨ Erklärung Hiermit versichere ich an Eides statt, dass ich die vorliegende Arbeit selbstständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus anderen Quellen oder indirekt ubernommenen¨ Daten und Konzepte sind unter Angabe der Quelle gekennzeichnet. Die Arbeit wurde bisher weder im In- noch im Ausland in gleicher oder ähnlicher Form in einem Verfahren zur Erlangung eines akademischen Grades vorgelegt. Erlangen, July 29, 2014 Venkatesh Kulkarni i Master Thesis, Venkatesh Kulkarni ACKNOWLEDGEMENTS Acknowledgements I would like to express my gratitude to my supervisor, Dr. Balaji Thoshkahna, whose expertise, understanding and patience added considerably to my learning experience. I appreciate his vast knowledge and skill in many areas (e.g., signal processing, Carnatic music, ethics and interaction with participants).He provided me with direction, technical support and became more of a friend, than a supervisor. A very special thanks goes out to my Prof. Dr. Meinard Müller,without whose motivation and encouragement, I would not have considered a graduate career in music signal analysis research. Prof. Dr. Meinard Mülleris the one professor/teacher who truly made a difference in my life. He was always there to give his valuable and inspiring ideas during my thesis which motivated me to think like a researcher.
[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]
The Journal the Music Academy
■ '■)''' ^ % fHr MUSIC AC/*.nrH« , * **’"•- **C ■■ f / v ’s •OVAPETT a h , M A 0R , THE JOURNAL OF THE MUSIC ACADEMY { | M A D R A S A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC ol. XXXI 1960 Parts I-IV 5frt srcrrfo lrf^% * i *Tr*rf?cT fts r f ir stt^ ii “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun ; where my Bhaktas sing, there be I, Narada ! ” E D IT E D BY V. RAGHAVAN, M .A ., p h . d . 1 9 6 0 PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD, MADRAS-14. Annual Subscription—Inland Rs. 4. Foreign 8 sb. Post paid. n l u X-gfr*** ■»" '« Hi* '% 8" >«■ "«■ nMin { ADVERSTISEMENT CHARGES a | | COVER P A G E S : Full Page Half page | T Back (outside) Rs. 25 A Front (inside) „ 20 Rs. 11 a Back (Do.) „ 20 „ 11 * ♦ INSIDE PAGES: 1st page (after cover) „ 18 „ 10 Other pages (each) „ 15 „ 9 | Preference will be given to advertisers of musical I i instruments and books and other artistic wares. f * * I A Special position and special rates on application. o ^ T CONTENTS The XXXIIIrd Madras Music Conference, 1959, Official Report Gramas and Musical Intervals By S. Ramanathan The Historical development of Prabandha Giti By Swami Prajnanananda Significant use of Srutis in North Indian Ragas By Robindralal Roy Gamakas in Hindusthani Music By Pt. Ratanjankar New Trends in American Dancing By Clifford Jones Untempered Intonation in the West By H. Boatwright Three Dance Styles of Assam By Maheshwar Neog History of Indian Music as gleaned through Technical terms, Idioms and Usages By G.
[Show full text]
Drum Kit List
DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing
[Show full text]
TESIS551-140717.Pdf
“Heavy drumming sound tends the entire creation to a charged atmosphere where one enters the world of imagination”1 (Bhattacharya 1999: 93) 1 “Fuertes sonidos de tambor conducen a toda la creación a una cargada atmósfera en la que uno entra en un mundo de fantasía”. Todas las traducciones del inglés al castellano que se encuentran a lo largo del presente trabajo son de mi autoría. INDICE GENERAL Agradecimientos 9 Listado de imágenes, cuadros y esquemas 13 Nota explicativa acerca de la lógica adoptada en la transcripción de términos autóctonos 19 Abstract (Resumen) 23 INTRODUCCIÓN 25 I. Justificación del tema elegido y motivación personal 27 II. Hipótesis, objetivos y marco teórico 31 III. Estado de la cuestión 36 IV. Metodología de la investigación 42 V. Estructura formal 53 PRIMERA PARTE: ESTUDIO DEL CONTEXTO SOCIO- RELIGIOSO DE PANCHAVADYAM 59 1. EL ESTADO DE KERALA DESDE UNA PERSPECTIVA HISTÓRICO- CULTURAL 63 1.1 Fisonomía de Kerala 63 1.2 Historia de la formación de Kerala como estado 65 1.3 Sociedad 72 1.3.1 Organización social: sistema de castas 74 1.3.1.1 Brahmanes 78 1.3.1.2 Kshatriyas y vaisyas 81 1.3.1.3 Sudras 81 1.3.1.3.1 Ambalavasis 82 1.3.1.3.2 Nayars 87 1.3.1.4 Avarnas 88 1.3.2 Marumakathayam: sistema matrilineal de herencia 91 2. EL HINDUISMO EN KERALA Y SU PRÁCTICA 94 2.1 Cultura dravídica y cultura aria 98 2.2 Principales deidades que conforman el panteón hindú en Kerala 101 3. EL TEMPLO HINDÚ EN KERALA (KSHETRAM) COMO ESPACIO RELIGIOSO, ARTÍSTICO Y SOCIAL 104 3.1 Modelo arquitectónico 106 3.2 Organización interna y administración 111 3.2.1 Sacerdotes 111 3.2.2 Devaswom Boards 112 3.3 Reformas socio/económicas en Kerala, y su repercusión en los templos 115 4.
[Show full text]
MAITHREE Nirmala Rajasekar
1. Mary O’Neil 5:23 6. Maithree - The Music of Friendship 2:29 Turlough O’ Carolan Lyrics by H.H. Chandrasekharendra Saraswati NIRMALA RAJASEKAR MAITHREE Music by Vasant Desai 2. Mallari: Temple Processional 4:31 Thanjavur K. Murugaboopathi & 7. Nihavent Oyun Havası 8:03 Nirmala Rajasekar Haydar Tatlıyay 8. Sublime Journey 5:21 3. Pentatonic - New Beginnings 10:02 Nirmala Rajasekar & Nirmala Rajasekar Thanjavur K. Murugaboopathi 4. Prism 6:03 9. Nanati Baduku 6:05 Pat O’ Keefe Sri Annamacharya 5. Vaasanthi - The Quest 4:27 10. Ted’s Dream 5:02 Nirmala Rajasekar Michelle Kinney & Peter Linman –57:28– MAITHREE Nirmala Rajasekar, veena, voice Thanjavur K. Murugaboopathi, mridangam, ghatam, khanjira Michelle Kinney, cello Pat O’Keefe, clarinet, alto saxophone, cowbell Tim O’Keefe, bongos, frame drums, bendr, daff, riqq innova 987 © Nirmala Rajasekar. All Rights Reserved, 2018. innova® Recordings is the label of the American Composers Forum. www.innova.mu www.nirmalarajasekar.com Nirmala Rajasekar is one of the best known Saraswathi veena players and vocalists in the world today. A dynamic and vibrant artist, she has been perform- ing for nearly four decades all over the world. nirmalarajasekar.com Murugaboopathi aka Boopathi is one of the world’s most celebrated mridangam THESE ARE MORE THAN JUST players. He had the unique honor of living SONGS with his Guru Tanjore Upendren and learn- ing in the age old tradition of ‘Gurukula’. THEY ARE A RHYTHMIC, MELODIC sangeetmela.org/artists/murugaboopathi- & HARMONIC CONVERGENCE OF mridangam/ MANY DIVERSE SOULS & SPIRITS INTO ONE Michelle Kinney, cellist and composer, is EXPRESSIVE CREATION.
[Show full text]
Click Here for More Details
Click Here for more details https://kalakendra.com/yours-truly-margazhi/ 15-12-2020 Sozhavaram Venkatesan & R.Govindarajan - Nadhaswaram, Thavil - Adyar Tuesday D.senthil Kumar & R.jeevanandam Inaugural Function Vocal - Sandeep Narayan, Violin - Mysore Srikanth, Mridangam - Umayalpuram K Sivaraman 16-12-2020 Thiruppavai Wednesday Namasangeerthanam Vocal - ABHIRAM BHODE, Violin - Shyam Raghav, Mridangam - Indhalur Adharsh Devarajan Vocal - CHINMAYA SISTERS-UMA & RADHIKA, Violin - B.V Raghavendra Rao, Mridangam - Tanjavur K Murugabhoopathi, Ghatam - N Guruprasad Violin Duet -GANESH & KUMARESH, Mridangam - Anantha R Krishnan, Ghatam - Trichy Krishnaswamy 17-12-2020 Thiruppavai Thursday Namasangeerthanam Vocal - Chithra Moorthy, Violin - Haritha Narayanan, Mridangam - Rohith A THE CARNATIC QUARTET, Violin - Shreya Devnath, Mridangam - Praveen Sparsh, Nadhaswaram - Mylai Karthikeyan Thavil - R.Jeevanandam Vocal - TRICHUR BROTHERS - SRIKRISHNA MOHAN & RAMKUMAR MOHAN, Violin - Sayee Rakshith, Mridangam - Trichur Mohan, Kanjira - B.S Purushotham Click Here for more details https://kalakendra.com/yours-truly-margazhi/ 18-12-2020 Thiruppavai Friday Namasangeerthanam Vocal - CALCUTTA SHANKAR, Violin - V.L.V.Sudharsan, Mridangam - Manikkudi.S.Chandrasekaran Vocal - K.GAYATHRI, Violin - R. Hemalatha, Mridangam - Poongulam Subramaniam Violin Duet - A KANYAKUMARI & EMBAR S KANNAN, Mridangam - Mannargudi A Easwaran, Kanjira - B.S Purushotham 19-12-20 Thiruppavai Saturday Namasangeerthanam Vocal - SVARATHMIKA, Violin- C.S Chinmayi, Mridangam - Pazhani
[Show full text]
PSR-I400 Data List Voice List
DIGITAL KEYBOARD Data List Contents Voice List ..........................................................2 Drum Kit List.....................................................9 Style List .........................................................16 Riyaz List ........................................................17 Song List .........................................................18 Arpeggio List ..................................................19 Music Database List.......................................20 Effect Type List...............................................22 Harmony Types.............................................22 Reverb Types................................................22 Chorus Types................................................22 EN Voice List Maximum Polyphony The instrument has 48-note maximum polyphony. This means that it NOTE can play a maximum of up to 48 notes at once, regardless of what • The Voice List includes MIDI program change numbers functions are used. Auto accompaniment uses a number of the for each voice. Use these program change numbers available notes, so when auto accompaniment is used the total number when playing the instrument via MIDI from an external of available notes for playing on the keyboard is correspondingly device. reduced. The same applies to the Split Voice and Song functions. If the • Program change numbers are often specified as maximum polyphony is exceeded, earlier played notes will be cut off and numbers “0–127.” Since this list uses a “1–128” the most recent notes have
[Show full text]
THE GAZETTE of INDIA : EXTRAORDINARY [PART II—SEC. 3(I)] NOTIFICATION New Delhi, the 22Nd September, 2017 No.28/2017-Union
66 THE GAZETTE OF INDIA : EXTRAORDINARY [P ART II—SEC . 3(i)] 111. उडुकईi 112. चंडे 113. नागारा - केटलेG स कƙ जोड़ी 114. प बाई - दो बेलनाकार Gम कƙ इकाई 115. पैराित पु, हगी - sेम Gम दो िटϝस के साथ खेला 116. संबल 117. िटक डफ या िटक डफ - लाठी के साथ खेला जाने वाला टġड मĞ डेफ 118. तमक 119. ताशा - केटलेGम का Oकार 120. उƞम 121. जलातरंग िच पēा - पीतल के ƚजगल के साथ आग टĪग 122. चĞिगल - धातु िडक 123. इलाथलम 124. गेजर - Qास पोत 125. घटक और मटकाम (िमŝी के बरतन बतϕन Gम) 126. घुंघĐ 127. खारट या िच पला 128. मनजीरा या झंज या ताल 129. अखरोट - िमŝी के बतϕन 130. संकरजांग - िल थोफोन 131. थाली - धातु लेट 132. थाकुकाजामनाई 133. कंचारांग, कांच के एक Oकार 134. कथाततरंग, एक Oकार का जेलोफ़ोन [फा सं.354/117/2017-टीआरयू-भाग II] मोिहत ितवारी, अवर सिचव Ɨट पणी : Oधान अिधसूचना सं. 2/2017- संघ राϤ यϓेJ कर (दर), तारीख 28 जून, 2017, सा.का.िन. 711 (अ) तारीख 28 जून, 2018 ůारा भारत के राजपJ , असाधारण, भाग II, खंड 3, उपखंड (i) ůारा Oकािशत कƙ गई थी । NOTIFICATION New Delhi, the 22nd September, 2017 No.28/2017-Union Territory Tax (Rate) G.S.R.1196 (E).— In exercise of the powers conferred by sub-section (1) of section 8 of the Union Territory Goods and Services Tax Act, 2017 (14 of 2017), the Central Government, being satisfied that it is necessary in the public interest so to do, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of India in the Ministry of Finance (Department of Revenue), No.2/2017-Union territory Tax (Rate), dated the 28th June, 2017, published in the Gazette of India, Extraordinary, Part II, Section 3, Sub-section (i), vide number G.S.R.
[Show full text]
The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED by AUTHORITY
The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED BY AUTHORITY No. 411, Vol. XXIV, Naharlagun, Wednesday, October 4, 2017 Asvina 12, 1939 (Saka) GOVERNMENT OF ARUNACHAL PRADESH DEPARTMENT OF TAX & EXCISE ITANAGAR ————— Notification No. 28/2017-State Tax (Rate) The 26th September, 2017 No. GST/24/2017.— In exercise of the powers conferred by sub-section (1) of Section 11 of the Arunachal Pradesh Goods and Services Tax Act, 2017 (7 of 2017), the State Government, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of Arunachal Pradesh, Department of Tax & Excise, No.2/2017-State Tax (Rate), dated the 28th June, 2017, published in the Extra ordinary Gazette of Arunachal Pradesh, vide number 192, Vol XXIV, dated the 30th June, 2017, namely:- In the said notification,- (B) in the Schedule,- (i) against serial number 27, in column (3), for the words “other than put up in unit containers and bearing a registered brand name”, the words, brackets and letters “other than those put up in unit container and,- (a) bearing a registered brand name; or (b) bearing a brand name on which an actionable claim or enforceable right in a court of law is available [other than those where any actionable claim or enforceable right in respect of such brand name has been foregone voluntarily, subject to the conditions as in the ANNEXURE I]”, shall be substituted ; (jj) against serial numbers 29 and 45, in column (3), for the words “other than put up in unit container and bearing a registered brand
[Show full text]
Chitresh Das Dance Company Z T I R O M
Saturday, February 27, 2016, 8pm Sunday, February 28, 2016, 3pm Zellerbach Hall Chitresh Das Dance Company z t i r o M o g r a M Shiva Cal Performances’ – season is sponsored by Wells Fargo. IN MEMORIAM i t a s a C d r a w d E IN MEMORIAM Pandit Chitresh Das November 9, 1944 –January 4, 2015 Pandit Das was first and foremost a master and Pandit Das founded the Chitresh Das Dance virtuosic performer of the classical kathak tra - Company & Chhandam School of Kathak dition. Based on his concept of “innovation (CDDC) in 1980. Thirty-six years later, with in tradition,” Pandit Das explored the CDDC boasts one of the foremost Indian boundaries of kathak technique and perform - classical dance companies, and one of the ance, creating compelling new works and world’s largest kathak institutions, with cen - techniques that are inventive, yet deeply ters in the San Francisco Bay Area, Boston, rooted in the kathak tradition. Toronto, Canada, and Mumbai, India. A child prodigy trained from the age of His collaboration with tap star Jason Samuels nine by his guru, Pandit Ram Narayan Smith, India Jazz Suites (IJS), was named one Mishra, Pandit Das was schooled in the two of the top ten productions of the year in 2010 by major kathak traditions. His performing ca - the Boston Globe . IJS has toured India seven reer was launched in India when he was in - times (including a 2013 U.S. State Department vited by Pandit Ravi Shankar to perform in funded India tour), Australia, and the US.
[Show full text]
Unit Revised Reference List, As on 26/09/2012 I
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT – UNIT REVISED REFERENCE LIST, AS ON 26/09/2012 I N D E X S.NO. CATEGORY PAGE NO 1. DANCE 02 2. FOLK 38 3. THEATRE & PUPPETRY 79 4. CARNATIC MUSIC 105 5. HINDUSTANI MUSIC 131 6. MODERN DANCE & MUSIC 172 1 INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMEMT SECTION REVISED REFERENCE LIST FOR DANCE - AS ON 26/09/2012 S.NO. CATEGORY PAGE NO 1. BHARATANATYAM 3 – 11 2. CHHAU 12 – 13 3. KATHAK 14 – 19 4. KATHAKALI 20 – 21 5. KRISHNANATTAM 22 6. KUCHIPUDI 23 – 25 7. KUDIYATTAM 26 8. MANIPURI 27 – 28 9. MOHINIATTAM 29 – 30 10. ODISSI 31 – 35 11. SATTRIYA 36 12. YAKSHAGANA 37 2 REVISED REFERENCE LIST FOR DANCE AS ON 26/09/2012 BHARATANATYAM OUTSTANDING 1. Ananda Shankar Jayant (Also Kuchipudi) (Up) 2007 2. Bali Vyjayantimala 3. Bhide Sucheta 4. Chandershekar C.V. 03.05.1998 5. Chandran Geeta (NCR) 28.10.1994 (Up) August 2005 6. Devi Rita 7. Dhananjayan V.P. & Shanta 8. Eshwar Jayalakshmi (Up) 28.10.1994 9. Govind (Gopalan) Priyadarshini 03.05.1998 10. Kamala (Migrated) 11. Krishnamurthy Yamini 12. Malini Hema 13. Mansingh Sonal (Also Odissi) 14. Narasimhachari & Vasanthalakshmi 03.05.1998 15. Narayanan Kalanidhi 16. Pratibha Prahlad (Approved by D.G March 2004) Bangaluru 17. Raghupathy Sudharani 18. Samson Leela 19. Sarabhai Mallika (Up) 28.10.1994 20. Sarabhai Mrinalini 21. Saroja M K 22. Sarukkai Malavika 23. Sathyanarayanan Urmila (Chennai) 28.10.94 (Up)3.05.1998 24. Sehgal Kiran (Also Odissi) 25. Srinivasan Kanaka 26. Subramanyam Padma 27.
[Show full text]