DOCSLIB.ORG

Hindu Temple of Oklahoma Hindu

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hindu Temple of Oklahoma Hindu HINDU TEMPLE OF OKLAHOMA PRESENTS CARNATIC CLASSICAL VOCAL MUSIC CONCERT Smt. Tulasi Vishwanath Accompanied by Smt. Kanchana S. Sumanasaranjani on Violin Sri. Sreenivas Ponnappan on Mridhangam AtAtAt:At : Hindu Temple ooofof Oklahoma 7200 N. Coltrane, Oklahoma City OK 73121 Date: SundaySunday,,,, September 18th 444:4:::000000 ppp.p...m.m.m.m. ––– 666:6:::000000 ppp.p...m.m.m.m. ***Donations are welcome and should be made to the Hindu Temple of Oklahoma Artistes’ Bio Smt. Tulasi Vishwanath hails from a music family. She started learning music from a tender age of 7 years. She had her initial training under Smt. Krishna Kumari garu and Sri Saagi Venkateswara Rao garu. Later, she came under the tutelage of the renowned Guru Shri Annavarappu Ramaswamy garu, who belongs to the Guru - Shishya parampara of Saint Thyagaraja. Soon, she emerged as a much sought after vocal artist with good manodharmam and repertoire. PROFESSIONAL CAREER • She is an "A-Grade" Artist of All India Radio for the last 14 years. • She has performed in the National Programs of Music on All India Radio and Doordarshan and in many prestigious Sabhas such as the Madras Music Academy, Indian Fine Arts Society, Nehru Centre – Mumbai, Shanmukhananda Sangeetha Sabha – Mumbai, India International Centre – Delhi, India Habitat Centre – Delhi, Thiruvaiyyaru Sadguru Thyagaraja Araadhana Festival, Naada-Nirajanam – Tirumala, T.T.D. Brahmotsavam Music Festival, Pracheen Kala Kendra, and Visakha Music Academy to name a few. AWARDS AND TITLES 1. Awarded "SANGEETHA SEVA MANI" title by the KANCHI KAMAKOTI PEETHAM, Kancheepuram. 2. Awarded GOVT. OF INDIA FELLOWSHIP. 3. Awarded "GAANA SARASWATHI" title by the Srirama Gana Sabha, Hyderabad. 4. Awarded "GAANA – VISHARADE" by the Rama Seva Mandali, Kolar. 5. Received "OUTSTANDING MUSICIAN AWARD" from the Rotary Chapter – Rajahmundry. 6. Received "NAALAM SUSEELAMMA MEMORIAL AWARD" from the Naalam Trust. Kanchana S. Sumanasaranjani hails from a family of core musicians famously known in Carnatic music circles as ‘Kanchana’ in India and belongs in the 4th generation of musicians in the family hierarchy. She is a daughter and disciple of violin legend “Karnataka Kalasri” Kanchana V Subbarathnam. She is also a disciple of violin maestro Sri TKV Ramanujacharyulu on violin. She is well versed in violin, flute and vocal. She took initial lessons for flute from Guru Sri K. U. Raghavendra Rao, Udupi and later self learnt the instrument. She graduated with ‘Vidwath’ degree (Masters equivalent) in Carnatic music and performed in many prestigious sabhas in India. She was awarded the ‘Prathibha Puraskara’ by Suddi newspaper group as the most accomplished of the year for being the youngest to perform Talla Avadhana Pallavis. She started performing at the age of 5 and has been teaching Carnatic music for more than 14 years. She is a freelance poet and has written and composed songs in English and Kannada. She is currently working as a Business Intelligence Developer at Corelogic in Westlake. Sreenivas Ponnappan commenced his musical career in Mridhangam at the young age of seven under his guru Vidwan Chandrasekharan. He later came under the tutelage of Ghatam Vidwan V Suresh who is a direct disciple of Sangeetha Kalanidhi Sri T.V.Gopalakrishnan, a well-known multi-talented musical legend. Sreenivas has now over two decades of skillful accompaniment for leading senior vocal and instrumental artistes and for Arangetrams, on Mridhangam and a variety of other percussion instruments including Kanjira and Ghatam. He regularly performs during Chennai music season. Sreenivas currently resides in Dallas, TX and is a computer architect by profession . .
Load more

Recommended publications
  • “I Cannot Live Without Music”
    INTERVIEW “I cannot live without music” Swati Tirunal was undoubtedly one of the most important modern composers, one who included Hindustani styles in his compositions. Nowadays it has become fashionable to say you must avoid Hindustani in Carnatic music or the other way around. But looking back, Bhimsen Joshi was among those south Indians who became luminaries in the north Indian style. How many south Indians are really open to Hindustani music is debatable. The late M.S. Gopalakrishnan was very competent in the Hindustani field, and my colleague Sanjay Subrahmanyan is a Carnatic musician open to Hindustani ragas – he sings a Rama Varma at the Swarasadhana workshop focussing on Swati Tirunal’s compositions pallavi in Bagesree, for instance. Then again there are ‘fundamentalist’ groups Well known Carnatic vocalist Rama Varma was in Chennai recently to who think Behag, Sindhubhairavi, conduct a two-day workshop (9 and 10 February 2013) Swarasadhana, Yamunakalyani, Sivaranjani and their at the Satyananda Yoga Centre at Triplicane. Here he speaks of the event, ilk should be totally done away with. his journey in classical music and his thoughts on the changing trends of the art form. Rama Varma How did Swarasadhana happen? in conversation with I have been teaching in a village called Perla near Mangalore for the past M. Ramakrishnan four years, at a music school called Veenavadini, run by the musician Yogeesh Sharma. He invites musicians to visit there once a year. Four years ago Veenavadini invited me. They enjoyed my teaching and Do you follow the same style of teaching I enjoyed being there too, and my visits became regular.
    [Show full text]
  • Sadir, Bharatanatyam, Feminist Theory Sriv1dya
    ANOTHER STAGE IN THE LIFE OP THE NATION: SADIR, BHARATANATYAM, FEMINIST THEORY A THESIS SUBMITTED TO THE UNIVERSITY OF HYDERABAD FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE SCHOOL OF HUMANITIES SRIV1DYA NATARAJAN FEBRUARY, 1997 CERTIFICATE This is to certify that Ms. Srividya Natarajan worked under my supervision for the Ph.D. Degree in English. Her thesis entitled "Another Stage in the Life of the Nation: Sadir. Bharatanatyam. Feminist Theory" represents her own independent work at the University of Hyderabad. This work has not been submitted to any other institution for the award of any degree. Hyderabad Tejaswini Niranjana Date: 14-02-1997 Department of English School of Humanities University of Hyderabad Hyderabad February 12, 1997 This is to certify that I, Srividya Natarajan, have carried out the research embodied in the present thesis for the full period prescribed under Ph.D. ordinances of the University. I declare to the best of my knowledge that no part of this thesis was earlier submitted for the award of research degree of any University. To those special teachers from whose lives I have learnt more than from all my other education put together: Kittappa Vadhyar, Paati, Thatha, Paddu, Mythili, Nigel. i ACKNOWLEDGEMENTS In the course of five years of work on this thesis, I have piled up more debts than I can acknowledge in due measure. A fellowship from the University Grants Commission gave me leisure for full-time research; some of this time was spent among the stacks of the Tamil Nadu Archives, the Madras University Library, the Music Academy Library, the Adyar Library, the T.T.
    [Show full text]
  • Mechanical Aspire
    Newsletter Volume 6, Issue 11, November 2016 Mechanical Aspire Achievements in Sports, Projects, Industry, Research and Education All About Nobel Prize- Part 35 The Breakthrough Prize Inspired by Nobel Prize, there have been many other prizes similar to that, both in amount and in purpose. One such prize is the Breakthrough Prize. The Breakthrough Prize is backed by Facebook chief executive Mark Zuckerberg and Google co-founder Sergey Brin, among others. The Breakthrough Prize was founded by Brin and Anne Wojcicki, who runs genetic testing firm 23andMe, Chinese businessman Jack Ma, and Russian entrepreneur Yuri Milner and his wife Julia. The Breakthrough Prizes honor important, primarily recent, achievements in the categories of Fundamental Physics, Life Sciences and Mathematics . The prizes were founded in 2012 by Sergey Brin and Anne Wojcicki, Mark Zuckerberg and Priscilla Chan, Yuri and Julia Milner, and Jack Ma and Cathy Zhang. Committees of previous laureates choose the winners from candidates nominated in a process that’s online and open to the public. Laureates receive $3 million each in prize money. They attend a televised award ceremony designed to celebrate their achievements and inspire the next generation of scientists. As part of the ceremony schedule, they also engage in a program of lectures and discussions. Those that go on to make fresh discoveries remain eligible for future Breakthrough Prizes. The Trophy The Breakthrough Prize trophy was created by Olafur Eliasson. “The whole idea for me started out with, ‘Where do these great ideas come from? What type of intuition started the trajectory that eventually becomes what we celebrate today?’” Like much of Eliasson's work, the sculpture explores the common ground between art and science.
    [Show full text]
  • Tne Qjlassical Uoicinq Ine Miooern
    tne Qjlassical J J Uoicinq ine Miooern THE POSTCOLONIAL POLITICS OF MUSIC IN SOUTH INDIA amandaj. weidman O O M I CALCUTTA 2007 Contents Date: v-> First published by Duke University Press in 2006 List of Illustrations vii © 2006 Duke University Press This edition printed in arrangement with Duke University Press Acknowledgments ix For publication and sale in India, Bangladesh, Burma, Bhutan, Sri Lanka, Note on Transliteration and Spelling xvii Nepal and Pakistan only Introduction l ISBN 81 7046 319 X 1. Gone Native?: Travels of Typset in Bembo by Tseng Information Systems, Inc. the Violin in South India 25 Book design by Amy Ruth Buchanan Cover design by Sunandini Banerjee 2. From the Palace to the Street: Staging "Classical" Music 59 Published by Naveen Kishore, Seagull Books Pvt Ltd 26 Circus Avenue, Calcutta 700 017 3. Gender and the Politics of Voice ill Printed at Rockewel Offset 4. Can the Subaltern Sing?: Music, 55B Mirza Ghalib Street, Calcutta 700 016 Language, and the Politics of Voice 150 Exclusively distributed in India and South Asia by Cambridge University Press India Pvt Ltd 5. A Writing Lesson: Musicology Cambridge House, 4381/4 Ansari Road, Daryaganj, New Delhi 110 002 and the Birth of the Composer 192 Portions of Chapter 3 were previously published as "Gender and the politics of voice: Colonial 6. Fantastic Fidelities 245 modernity and classical music in South India," in Cultural Anthropology 18, no. 2 (2003): 194-232. © 2003 American Anthropological Association. Afterword: Modernity and the Voice 286 Portions of Chapter 4 were previously published as "Can the subaltern sing? Music, language, Notes 291 and the politics of voice in twentieth-century South India," in Indian Economic and Social History Review 42, no.
    [Show full text]
  • Carnatic Music Vs. Western Music: a Comparison by Maya Anand
    Carnatic Music vs. Western Music: A Comparison by Maya Anand Many music rasikas are familiar with the phrase “music is music” or “all music is the same”. However, as a student of both Western Classical music and Carnatic music, I am able to identify a few fundamental differences in the two styles of music. While it is true that all music is fundamentally similar to some extent, it is important, and quite frankly, interesting to take time to compare the striking contrasts between genres of music. This isn’t to say that Carnatic music and Western music don’t share anything in common. There are definitely similarities in pitch and rhythm, which are the first things that one must understand about any type of music. Pitch is an important aspect in any type of music, and this rings true in both Western and Carnatic music as well. There are many things similar about the basics of these two musical genres. Firstly, both of them have seven notes in their scale. In Western music, that scale is Do, Re, Mi, Fa, So, La, and Ti. In Carnatic music, the scale is Sa, Ri, Ga, Ma, Pa, Dha, and Ni. Already, it is evident that these solfa syllables resemble each other greatly, further demonstrating that all music probably derived from the same concepts. The similarity doesn’t end there. Not only are these differing styles of music similar in pitch, they are also similar in rhythm. In Western Classical music, there is something called a time signature. The time signature of a piece of music is similar to what we call tala in Carnatic music.
    [Show full text]
  • Temple Music Traditions in Hindu South India: Periya Mēḷam and Its Performance Practice
    Temple Music Traditions in Hindu South India: Periya Mēḷam and Its Performance Practice Yoshitaka Terada The whole place, too, was filled with the horrid din of tomtoms, and the shrill noise of pipes, reverberating through the weird gloom of the passages, and giving one quite an uncanny feeling. (Mitchell 1885, 140–1) The sounds produced by these instruments are far from pleasing, and may even appear hideous to European ears. (Dubois 1906/1986, 587) During the festival nights of Ani Tirumanjanam and Arudra Darsanam, I have lingered for hours at a stretch at the corners of the main car streets, in the thrall of Nadasvaram music of Chidambaram Vaidyanathan of revered memory . Ever since my boyhood, when I heard it first, nothing has stirred me to the depths of my being as much as Chidambaram Vaidyanathan’s Mallari in the raga, Nattai–played traditionally when Nataraja and Sivakama are taken out in procession during the festivals. (Natarajan 1974, 137) The unfamiliar music flowing inside and around the Hindu temples has caught the attention of many inquisitive European travelers to South India for centuries. Their reactions to these sounds were mixed with bewilderment and uneasiness at best, and usually characterized by impulsive criticism and naive ethnocen- trism. Mrs. Murray Mitchell, the wife of an English missionary, gives a typical example of European reaction when she describes the music she heard in 1882 at the famous Minakshi Temple in Madurai as shown in the first quotation. For Mitchell, the music, sounded as “horrid din” and “shrill noise,” was incompre- hensive and threatening.
    [Show full text]
  • Hindu Patrika
    Board of Trustees C HINDU PATRIKAC Term Name Published 2009-2011 Vishal Adma Chairman Bimonthly 2010-2012 Deb Bhaduri Vice Chair DECEMBER/JANUARY 2012 Vol 17/2011 2009-2011 Sanjeev Goyal 2009-2011 Mahendra Sheth 2010-2012 Sadhana Bisarya 2010-2012 Sanjay Mishra 2009-2011 Vishal Adma 2010-2012 Manu Rattan 2011-2013 Mohan Gupta 2011-2013 Priti Mohan 2011-2013 Govind Patel 2011-2013 Mana Pattanayak 2011-2013 Eashwer Reddy 2011 Neelam Kumar 2011 Sridhar Harohalli Vision of HTCC To promote Hinduism’s spiritual and cultural legacy of inspiration and optimism for the larger Kansas City community. Mission of HTCC • Create an environment of worship that enables people to say “yes” to the love of God. • Cultivate a community that nurtures spiritual growth. • Commission every devotee to serve the creation through their unique talents and gifts. • Coach our youth with the spiritual and cultural richness and the diversity they are endowed with • Communicate Hinduism – A way of life to everyone we can and promote inter-faith activities with equal veneration Hindu Temple & Cultural Center of Kansas Hindu Temple Wishes a Very Happy New Year to all the City Members A NON-PROFIT TEMPLE HOURS Day Time Aarti ORGANIZATION Mon - Fri 10:00am-12:00pm 11:00am Please remember to renew your annual membership which runs from January to 6330 Lackman Road Mon - Fri 5:00pm-8:00pm 7:30pm Shawnee, KS 66217-9739 Sat & Sun 9:00am-8:00pm 12:00pm December. Sat & Sun 7:30pm http://www.htccofkc.org Your Current membership status is printed on the mailing label.
    [Show full text]
  • Dr. Padma Sugavanam AIR A-Graded Carnatic Musician – Vocalist
    Dr. Padma Sugavanam AIR A-graded Carnatic Musician – Vocalist, Academic and Researcher New No 14, First floor, 3rd Avenue, Besant Nagar, Chennai – 600090 E-mail : [email protected]; Ph: +91-9949121122, 044-24910306 Experience and Credentials - Performance A-Grade artiste (AIR) specially double promoted (from B-grade, skipping B-high), since 2002 Most outstanding vocalist (junior) award from the Music Academy, Chennai in 2014, followed by promotion to the sub-senior category in 2015 Sought-after vocalist, gave 60 performances in 2016 across India, US, Canada, Singapore, Malaysia Performances in leading Sabhas (Music Academy, Krishna Gana Sabha, Parthasarathy Swami Sabha, Mylapore Fine Arts etc.) during December Margazhi music festival in Chennai Lecture-demonstrations at prestigious forums such as the Madras Music Academy, and the Ivy League institution, University of Pennsylvania (Philadelphia, USA) Six international concert tours, including an 18 concerts tour of USA and Canada (including the Cleveland Tyagaraja Aradhana), and a tour of Singapore and Malaysia, in 2016 “Pallavi Darbar” concert on advanced Pallavis (Dvinadai, Dviraga, Ettu-kalai, Chanda-taalam pallavis), with Gayathri Girish, Amritha Murali, Nisha Rajagopal, for Carnatica and Parthasarathy Swamy Sabha Performance in the Akashvani Sangeet Sammelan 2012 Regular performances in Nada Nirajanam of Sri Venkateswara Bhakti Channel (SVBC), Tirupati Performances in various TV channels such as Podhigai TV, Jaya TV, Pudu Yugam etc. Thematic programs and lecture-demonstrations such as Prahlada Bhakti Vijayam, Nauka Charitram, Sri Krishna Leela Tarangini, Raganubhava series (Carnatica Archival Centre) etc. Musical Tutelage Intensive training in gurukula style, from Sangita Kala Acharya Smt. Seetha Rajan from 1994 – 2014 Presently undergoing advanced training, under Sangita Kalanidhi Smt.
    [Show full text]
  • Nishanth Chandran August 3, 2021 Principal Researcher, Microsoft Research, India
    Nishanth Chandran August 3, 2021 Principal Researcher, Microsoft Research, India. Email: [email protected] \VIGYAN", No. 9, Lavelle Road, Ph: +91-80-6658 6252 Bangalore, India 560001 https://www.microsoft.com/en-us/research/people/nichandr/ Work Experience Microsoft Research Bangalore, India Principal Researcher July 2019 − Present Microsoft Research Bangalore, India Researcher November 2013 − July 2019 AT&T Labs − Security Research Center New York, NY Senior Member of Technical Staff October 2012 − November 2013 Microsoft Research Redmond, WA Post-doctoral Researcher July 2011 − September 2012 Research Expertise Cryptography, Cloud Security, Confidential Computing, Blockchain Computing on encrypted data, Secure Computation, Data protection and key management Education University of California, Los Angeles Los Angeles, CA Ph.D. Computer Science 2007 − 2011 { Thesis: Theoretical Foundations of Position-based Cryptography University of California, Los Angeles Los Angeles, CA M.S. Computer Science 2005 − 2007 { GPA: 4:0=4:0 Anna University (Hindustan College of Engineering) Chennai, India B.E. Computer Science and Engineering 2001 − 2005 In Media Work on Secure Neural Network Inference and Training covered by 1. \Announcing SecureNN in tf-encrypted", Ben DeCoste, December 13 2018; Web: https: //medium.com/dropoutlabs/announcing-securenn-in-tf-encrypted-9c9c3e8a5a52. 2. \A Path to Sub-Second, Encrypted Skin Cancer Detection", Yann Dupis, June 13 2019; Web: https://medium.com/dropoutlabs/encrypted-skin-cancer-detection-3d096d3b7237. Work on position-based cryptography covered by 1. Nature : \Quantum information: The conundrum of secure positioning", Gilles Brassard; Nature, 479, Pages 307-308, 2011. 2. The MIT Technology Review: \Physicists Use Location To Guarantee Security of Quantum Messages", May 13, 2010.
    [Show full text]
  • Carnatic Music Theory Year I
    CARNATIC MUSIC THEORY YEAR I BASED ON THE SYLLABUS FOLLOWED BY GOVERNMENT MUSIC COLLEGES IN ANDHRA PRADESH AND TELANGANA FOR CERTIFICATE EXAMS HELD BY POTTI SRIRAMULU TELUGU UNIVERSITY ANANTH PATTABIRAMAN EDITION: 2.6 Latest edition can be downloaded from https://beautifulnote.com/theory Preface This text covers topics on Carnatic music required to clear the first year exams in Government music colleges in Andhra Pradesh and Telangana. Also, this is the first of four modules of theory as per Certificate in Music (Carnatic) examinations conducted by Potti Sriramulu Telugu University. So, if you are a music student from one of the above mentioned colleges, or preparing to appear for the university exam as a private candidate, you’ll find this useful. Though attempts are made to keep this text up-to-date with changes in the syllabus, students are strongly advised to consult the college or univer- sity and make sure all necessary topics are covered. This might also serve as an easy-to-follow introduction to Carnatic music for those who are generally interested in the system but not appearing for any particular examination. I’m grateful to my late guru, veteran violinist, Vidwan. Peri Srirama- murthy, for his guidance in preparing this document. Ananth Pattabiraman Editions First published in 2009, editions 2–2.2 in 2017, 2.3–2.5 in 2018, 2.6 in 2019. Latest edition available at https://beautifulnote.com/theory Copyright This work is copyrighted and is distributed under Creative Commons BY-NC-ND 4.0 license. You can make copies and share freely.
    [Show full text]
  • The Journal of the Music Academy Madras Devoted to the Advancement of the Science and Art of Music
    The Journal of Music Academy Madras ISSN. 0970-3101 Publication by THE MUSIC ACADEMY MADRAS Sangita Sampradaya Pradarsini of Subbarama Dikshitar (Tamil) Part I, II & III each 150.00 Part – IV 50.00 Part – V 180.00 The Journal Sangita Sampradaya Pradarsini of Subbarama Dikshitar of (English) Volume – I 750.00 Volume – II 900.00 The Music Academy Madras Volume – III 900.00 Devoted to the Advancement of the Science and Art of Music Volume – IV 650.00 Volume – V 750.00 Vol. 89 2018 Appendix (A & B) Veena Seshannavin Uruppadigal (in Tamil) 250.00 ŸÊ„¢U fl‚ÊÁ◊ flÒ∑ȧá∆U Ÿ ÿÊÁªNÔUŒÿ ⁄UflÊÒ– Ragas of Sangita Saramrta – T.V. Subba Rao & ◊jQÊ— ÿòÊ ªÊÿÁãà ÃòÊ ÁÃDÊÁ◊ ŸÊ⁄UŒH Dr. S.R. Janakiraman (in English) 50.00 “I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; Lakshana Gitas – Dr. S.R. Janakiraman 50.00 (but) where my Bhaktas sing, there be I, Narada !” Narada Bhakti Sutra The Chaturdandi Prakasika of Venkatamakhin 50.00 (Sanskrit Text with supplement) E Krishna Iyer Centenary Issue 25.00 Professor Sambamoorthy, the Visionary Musicologist 150.00 By Brahma EDITOR Sriram V. Raga Lakshanangal – Dr. S.R. Janakiraman (in Tamil) Volume – I, II & III each 150.00 VOL. 89 – 2018 VOL. COMPUPRINT • 2811 6768 Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Royapettah, Chennai 600 014 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, 14, Neelakanta Metha Street, T. Nagar, Chennai 600 014. Editor : V. Sriram. THE MUSIC ACADEMY MADRAS ISSN.
    [Show full text]
  • M.A. Indian Culture (Semester)
    Placed at the meeting of Academic Council held on 26.03.2018 APPENDIX - AU MADURAI KAMARAJ UNIVERSITY (University with Potential for Excellence) M.A. Indian Culture (Semester) CHOICE BASED CREDIT SYSTEM REVISED SYLLABUS (With effect from the Academic Year 2018-2019) STRUCTURE OF THE SYLLABUS 1. Introduction Unity in diversity is the basic principle of Indian Culture. The uniqueness of Indian Culture is its spiritual foundation. Satya, Dharma, Shanthi, Prema and Ahimsa are the cultural traditions of ours, through which Moral and Spiritual upliftment of humanity is achieved. The Post Graduate Course in Indian Culture will be focusing on the Cultural Traditions and will be shaping the younger generation with Human Values. 2. Eligibility for Admission: Any graduate of Madurai Kamaraj University or of any university duly recognized by the Association of Indian Universities. Order of Preference: 1) A Graduate of Indian Culture 2) An Arts Graduate 3) A Science Graduate 2.1 Duration of the Programme : 2 Years 2.2. Medium of Instructions : English 3. Objectives of the Programme : Infuse the younger generation - To known about the richer Tradition and Culture of India. To inculcating ethical Spirit and Human values. To understand Character is the most precious gift ofEducation. To realize Unity in Diversity nature of India To create Secularist mind To create awareness about the Cultural monuments. To prepare for the Competitive Examinations and preferably for the Executive Officers in the H.R. and C.E. (Admn) Department. 4. Outcome of the programme Students know the Past Glory of our nation ,which in return make them confident in the world.
    [Show full text]