June 2018 Classical Indian Dance Forms
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Rasaesthetics.Pdf
Rasaesthetics Richard Schechner Where in the body is theatricality located? What is its place? Traditionally in Western theatre, the eyes and to some degree the ears are where theatricality is experienced. By etymology and by practice a theatre is a “place of/for seeing.” Seeing requires distance; engenders focus or differentiation; encourages analysis or breaking apart into logical strings; privileges meaning, theme, narration. Modern science depends on instruments of observation, of ocularity: tele- scopes and microscopes. Theories derived from observations made by means of ocular instruments define the time-space continuum. From super-galactic strings on the one hand to molecular and subatomic wave particles on the other, we “know” the universe by “seeing” it. See = know; know = see; speed = space; distance = time; diachronicity = story. But in other cultural traditions there are other locations for theatricality. One of these, the mouth, or better said, the snout-to-belly-to-bowel—the route through the body managed by the enteric nervous system—is the topic of this essay. The snout-to-belly-to-bowel is the “where” of taste, digestion, and excretion. The performance of the snout-to-belly-to-bowel is an ongoing interlinked muscular, cellular, and neurological process of testing-tasting, separating nourishment from waste, distributing nourishment throughout the body, and eliminating waste. The snout-to-belly-to-bowel is the where of in- timacy, sharing of bodily substances, mixing the inside and the outside, emo- tional experiences, and gut feelings. A good meal with good company is a pleasure; so is foreplay and lovemaking; so is a good shit. -
Yuva Bharati Guru Nookala Chinna Satyanarayana, Sh
Orchestra Vocal : Snigdha Venkataramani is an accomplished Carnatic vocalist and has undergone training under various senior teachers, prominent among them being Padmabhushan Yuva Bharati Guru Nookala Chinna Satyanarayana, Sh. K. Vageesh and Smt. K. Sudha, Smt. Sarada Presents Subramanian and Guru Smt Radhakrishna. She is currently training under vocal duo - Sh. K.N. Shashikiran and Chitravina P. Ganesh, popularly known as the Carnatica Brothers. Contrasts and Parallels She also learnt Theory in Music and Dance from musicologist [Late] Sh. T. S. By Parthasarathy. She received the Junior Scholarship from the Center for Cultural Indumathy Ganesh, Jyothi Lakkaraju, Radhika Shankar and Resources and Training (CCRT), Government of India, and is a graded artiste of the All Nirupama Vaidhyanathan India Radio, New Delhi. She has released two music albums - "SAMARPANAM", of Carnatic music compositions and "NATYA MANJARI", which comprises a repertoire for Bharatanatyam. January 24th, 2015, 4:00 pm Mission Center of Performing Arts, Santa Clara Flute by Ashwin Krishnakumar was trained in Carnatic classical flute by Sri A V Prakash www.yuvabharati.org in Mysore and by Late Sri B N Suresh in Bangalore and recognized with a scholarship from the Central Govt. of India (CCRT) to pursue advanced training in flute. His accomplished musical career includes several solo concerts and he has accompanied Pushpanjali and Slokham various classical dance, light music productions and fundraisers in India and the US. Ragam Revathi Talam: Adhi Composer: Dr. Uma Rama Rao Mridangam : Balaji Mahadevan had his initial training from Shri K.S.S.Mani (Chennai). Ardhanareeswarar stothram He continued to learn from Shri Madhu Sudhanan, Chennai (disciple of Shri Karikudi Ragamalika Talam: Kantachapu Composer: Adi Sankara Mani). -
Academic Catalog 2020
Academic Catalog 03/01/2020 – 12/31/2020 University of Silicon Andhra Dr. Hanimireddy Lakireddy Bhavan 1521 California Circle, Milpitas, CA 95035 1-844-872-8680 www.universityofsiliconandhra.org University of Silicon Andhra, Academic Catalog- 2020 Table of Contents INTRODUCTION: ............................................................................................ 5 Mission Statement ........................................................................................................................................................................................................................... 5 Vision Statement ..............................................................................................................................................................................................................................5 Institutional Learning Outcomes ............................................................................................................................................................................................. 5 Notice to Current and Prospective Students ......................................................................................................................................................................... 6 Academic Freedom Statement .................................................................................................................................................................................................. 6 Notice to Prospective Degree Program Students -
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 -
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. -
Academic Catalog (January 1, 2018 – December 31, 2018)
Academic Catalog (January 1, 2018 – December 31, 2018) University of Silicon Andhra Dr. Hanimireddy Lakireddy Bhavan 1521 California Circle, Milpitas, CA 95035 1-844-872-8680 www.universityofsiliconandhra.org University of Silicon Andhra, Academic Catalog- 2018 TABLE OF CONTENTS INTRODUCTION: 5 MISSION STATEMENT 5 VISION STATEMENT 5 OBJECTIVES 5 NOTICE TO PROSPECTIVE STUDENTS 6 ADDITIONAL IMPORTANT FACTS ABOUT THE UNIVERSITY 6 ORGANIZATION AND MANAGEMENT 8 BOARD OF DIRECTORS AND GOVERNING COMMITTEES 9 FACULTY 14 PROGRAMS OF INSTRUCTION 16 METHOD OF INSTRUCTION EXPLAINED 16 LANGUAGE OF INSTRUCTION 17 APPROVAL DISCLOSURE STATEMENT 17 QUESTIONS OR COMPLAINTS 17 LIBRARY AND LEARNING RESOURCES 18 LEARNING MANAGEMENT SYSTEM 19 ACCREDITATION 20 HOUSING 21 STUDENT SERVICES 21 FACILITIES AND EQUIPMENT 21 PROGRAMS OF INSTRUCTION: COURSE OUTLINES 23 SCHOOL OF MUSIC: 23 1. MASTER OF ARTS IN CARNATIC MUSIC 23 GCM 501: MUSICOLOGY 1 23 GCM 502: RAGAM-TANAM-PALLAVI 24 GCM 503: IMPROVISATIONAL (MANODHARMA) ASPECTS OF COMPOSITIONS (KRITIS) AND DEVOTIONAL MUSIC 24 GCM 504: ALLIED RAGAS AND VIVADI RAGA COMPOSITIONS, RAGA MALIKA, VARNAMS 24 GCM 505: COMPOSITIONS OF TYAGARAJA 24 GCM 506: MUSICOLOGY-2 25 GCM 507: COMPOSITIONS OF MUTHUSWAMY DIKSHITAR AND SYAMA SASTRY 25 GCM 508: CONCERT (PERFORMANCE) 25 GCM 510: THESIS 25 GCM 515: VOXOLOGY 25 2. DIPLOMA IN CARNATIC MUSIC 26 DCM 301: ADVANCED THEORY-1 26 DCM 302: ADVANCED THEORY-2 27 DCM 303: MANODHARMASANGITAM (CREATIVE ABILITY) 27 DCM 304: MUSICAL COMPOSITIONS 27 DCM 305: GHANA RAGA PANCHARATNAS 27 3. CERTIFICATE IN CARNATIC MUSIC 27 CCM 101: BASIC AND TEXTUAL THEORY 28 CCM 102: MUSICAL COMPOSITIONS-1 28 CCM 103: MUSICAL COMPOSITIONS -2 29 SCHOOL OF DANCE: 30 1. -
Classical Dances of India - Everything You Need to Know About
GAUTAM SINGH UPSC STUDY MATERIAL – INDIAN HISTORY 0 7830294949 UPSC – UNIT 1- Classical Dances of India - Everything you need to know about India is known for its rich cultural legacy. Performing arts like classical dances are integral parts of Indian culture. This is a mega-post which cover the details of all classical dances in India. Origin of classical dances Most of the classical dance forms originated in temples. Worshipping was the main aim. Although every dance form evolved from different regions, their roots are the same. The roots can be traced from the Sanskrit text – ‘Natya Shastra’. The first compilation of Natya Shastra is dated between 200BCE and 200CE. As time passed, artists improvised many classical dances which resulted in the present day forms. Today, Indian classical dances are very popular dance all over the world. Rasanubhuti: The 8 Rasas The Rasanubhuti is the ultimate aim of these dance forms. Natya Shastra speaks of Eight Rasas. They are as following: 1. Shringar: Love 2. Hasya: Humorous 3. Karuna: Sorrow 4. Raudra: Anger THANKS FOR READING – VISIT OUR WEBSITE www.educatererindia.com GAUTAM SINGH UPSC STUDY MATERIAL – INDIAN HISTORY 0 7830294949 5. Veer: Heroism 6. Bhayanak: Fear 7. Bibhats: Disgust 8. Adbhoot: Wonder Note: Later Abhinav Gupta added a ninth one to it, Shanta: Peace. What are classical dances? Unlike folk dances, classical dances are all about technicalities and strict rules. Acharya Nandikeshawara’s ‘Abhinaya Darpan’ and Sharangdev’s ‘Sangeeth Ratnakar’ (Nartanadhyaya), along with the Natya Shastra forms the foundation of technicalities of all the classical dance forms (which includes their body movements, rasa, bhava etc). -
THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice
Paper 11: Special Interest Tourism Module 34: Performing Arts of India: Classical Dances, Folk Dance & HistoricalFolk Culture Development of Tourism and Hospitality in the World THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice Chancellor, Indira Gandhi University, Rewari Co-Principal Investigator Dr. Prashant K. Gautam Director, UIHTM, Panjab University, Chandigarh Paper Coordinator Prof. Deepak Raj Gupta School of Hospitality & Tourism Management (SHTM), Jammu University Content Writer Dr. Arunesh parashar, Chief Coordinator Department Of Tourism Management, Dev Sanskriti University Content Reviewer Prof. Pariskhit Manhas Director , school of hospitality & tourism management Jammu university, Jammu ITEMS DESCRIPTION OF MODULE Subject Name Tourism and Hotel Management Paper Name Special Interest Tourism Module Title Performing Arts of India: Classical Dances, Folk Dances and Folk Culture Module Id 34 Pre- Requisites Basic knowledge about Performing Arts Objectives To develop a basic insight about the performing arts in India Keywords Classical, folks lore, folk dances and folk cultures QUADRANT-I Performing arts are divided into two dimensions of performance: Dance Music Classical dance Bharatnatyam Bharatnatyam originates in Tamil Nadu which is likewise alluded to as artistic yoga and Natya yoga. The name Bharatnatyam is gotten from the word "Bharata’s" and subsequently connected with the Natyashashtra. Though the style of Bharatnatyam is over two thousand years old, the freshness and lavishness of its embodiment has been held even today. The strategy of human development which Bharatnatyam takes after can be followed back to the fifth Century A.D. from sculptural proof. This established move has an entrancing impact as it inspires the artist and the spectator to a larger amount of profound cognizance. -
Folk Dances of North India: an Overview K
Academic Journal of Dance and Music Xournals Xournals Academic Journal of Dance and Music ISSN UA | Volume 01 | Issue 01 | January-2019 Folk Dances of North India: An Overview K. Kabatas1 Available online at: www.xournals.com Received 12th September 2018 | Revised 11th October 2018 | Accepted 7th December 2018 Abstract: Folk dance demonstrates the nation's temperament, art, culture, simplicity, social status and customs. In simple language folk dances are the nation’s mirror. The folk dancers are represented by basic folks commonly of a specific community. These are the dances performed by the whole village community by the young and the old. Traditional folk dances has a role in preserving traditional values and teaching it to next. Folk dance are performed spontaneously with great ease and grace. Every individual region and state suggest a unique glimpse and taste into its system of life, and related traditions and rituals. The number of folk dances of India is very large so here we explore some main folk dances of north India. Most of the north Indian dances are traditional or folk dances, which marks the celebration of festivals, marriages ceremonies, celebration of birth, and the harvesting time. The present paper aims to explore the popular folk dances of North India by studying the present status of the dancing community. Keywords: Dance, Folk, India, Customs Authors: 1. Kastamonu University, Kastamonu, TURKEY. Volume 01 | Issue 01 | January-2019 | Page 5 of 9 Xournals Academic Journal of Dance and Music Introduction Hence in general the folk dance are basically shows In India, dance is considered as widely spread no thoughtful emphasis on representing the art of the activity which include their different forms and dance to the audience as they itself present in the manner. -
Alekya: Spilling Ink at Dance Place by Rachael Appold
REVIEW: “Alekya” Spilling Ink at Dance Place REVIEW: Alekya: Spilling Ink at Dance Place by Rachael Appold Intertwining spirituality, poetry, and dance can prove to be a significant task, as these three categories manifest in ways which are unique to each person. Spilling Ink took on this task using Classical Indian dance as their medium. I witnessed this collaboration of ideas, titled Alekhya: Spilling Ink, at Dance Place in Washington, D.C. on Sunday, January 29th, 2017. As the lights dimmed in the theater, a male dancer, Vijay Palaparty entered from upstage right. He moved onto the stage almost undetected; his walk was so soft that it would more accurately be described as a glide. Palaparty floated downstage right where six ceramic jars (five small and one large) awaited him. As he knelt down and executed water-like motions with his arms, a poem was recited through the speakers. The poet spoke of learning his own truth, your truth (the audience’s), and our truth (everyone’s); these truths presented the concept of religion and spirituality. This immediate collaboration of dance and poetry became a motif which would be used to preface each piece in the performance. Each time Palaparty would return to his jars, the other dancers would leave the stage and a new element was added. The third time around, the poet’s words were scrawled in subtitles on the stage floor with a projector, lending itself to the idea of writing in ink. The fourth time, the other dancers stayed onstage, swaying their arms and torsos as Palaparty hovered over his jars. -
A Thematic Production in Bharatanatyam a Thematic
“Krishna as child, lover and God ……. … … . p l a y f u l , r o m a n ti c a n d a w e - i n s p i r i n g b y tu r n s … … . …….evoking wonder in Yas hoda, enchantment among the Gopis, devotion in Andal, yearning in Meera, ageless love in Radha, and unswerving dedication in Rukmini” A Thematic Production in Bharatanatyam presented by students of Shree Bharatalaya, Chennai, India and Silambam, USA An internationally acclaimed Bharatanatyam production, Krishnam Vande Jagatgurum was originally conceived and choreographed in 1989 by Prof. Sudharani Raghupathy, with music scored by Vidwan Madurai N. Krishnan, for the Madras Chapter of the International Dance Alliance. Since its premiere, Krishnam Vande Jagatgurum has been performed widely to packed audiences, and had a most successful tour of the United States in 1992. Fifteen years later, Padmashree Prof. Sudharani Raghupathy’s senior disciples, now performers and teachers in their own right, based in various locations in North and Central America, have come together to bring this premiere production back to the stage in the United States. Krishnam Vande Jatagurum takes the audience on a two-hour journey through the life and exploits of Krishna. Beginning with an invocation, the dancers depict the Dashavataram of Jayadeva, which presents the concept of Krishna as the Avatari. The narrative begins with the poet Andal as the Sutradhari or Narrator. Andal describes the baby Krishna with indulgent love and joy, and the audience is treated to the scene of the baby Krishna playing with Yashoda and the Gopis. -
Booklet & Illustrated Cards
ef.kiqjh u`R; Manipuri Dance Hkkjr esa u`R; cgqr izkphu dky ls ,d le`¼ vkSj izkphu ijEijk jgk gSA fofHkUu Dance in India has a rich and vital tradition dating back to ancient times. Excavations, inscriptions, chronicles, dkyksa dh [kqnkbZ] f'kykys[kksa] ,sfrgkfld o.kZu] jktkvksa dh oa'k&ijEijk rFkk genealogies of kings and artists, literary sources, dykdkjksa] lkfgfR;d L=kksrksa] ewfrZdyk vkSj fp=kdyk ls O;kid izek.k miyCèk sculpture and painting of different periods provide extensive evidence on dance. Myths and legends also gksrs gSaA ikSjkf.kd dFkk,a vkSj nardFkk,a Hkh bl fopkj dk leFkZu djrh gSa fd support the view that dance had a significant place in the Hkkjrh; turk osQ èkeZ rFkk lekt esa u`R; us ,d egRoiw.kZ LFkku cuk;k FkkA religious and social life of the Indian people. However, it tcfd vkt izpfyr ^'kkL=kh;* :iksa ;k ^dyk* osQ :i esa ifjfpr fofoèk u`R;ksa is not easy to trace the precise history and evolution of the various dances known as the ‘art’ or ‘classical’ forms osQ fodkl vkSj fuf'pr bfrgkl dks lhekafdr djuk vklku ugha gSA popular today. lkfgR; esa igyk lanHkZ osnksa ls feyrk gS] tgka u`R; o laxhr dk mn~xe gSA u`R; In literature, the first references come from the Vedas where dk ,d T;knk la;ksftr bfrgkl egkdkO;ksa] vusd iqjk.k] dfoRo lkfgR; rFkk dance and music have their roots. A more consistent history of dance can be reconstructed from the epics, the several ukVdksa dk le`¼ dks"k] tks laLÑr esa dkO; vkSj ukVd osQ :i esa tkus tkrs gSa] puranas and the rich body of dramatic and poetic literature ls iqufuZfeZr fd;k tk ldrk gSA 'kkL=kh; laLÑr ukVd (Mªkek) dk fodkl ,d known as the nataka and the kavya in Sanskrit.