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The 45Th ALL INDIA COMPETITIONS in MUSIC and DANCE, 2013
The 45th ALL INDIA COMPETITIONS IN MUSIC AND DANCE, 2013 (This form duly filled in should reach the Organising Secretary, Navya Nataka Samiti, # 1-8-522/12, Chikkadpally, Hyderabad - 500 020 or the Y.M.C.A., Narayanguda, Hyderabad - 500 029 on or before the 20th November, 2012 ENTRY FORM 1. Name in full (in Block Letters) : Sri / Smt. / Kum.________________________________________________ 2. Address with Pin Code ___________________________________________________________________ ___________________________________________________________________Pin : ______________ 3. Age and Date of Birth____________________________________________________________________ (Proof of age to be produced) 4. Contact No.: ___________________________________________________________________________ 5. Branch and Section in which the entry is made : ______________________________________________ (Tick the appropriate item) 1. Karnatak - Vocal - Senior 11. Bharatanatyam - Senior 2. Karnatak - Veena - Senior 12. Bharatanatyam - Junior 3. Karnatak - Violin - Senior 13. Bharatanatyam - Sub - Junior 4. Karnatak - Mridangam - Senior 14. Kuchipudi - Senior 5. Karnatak - Vocal - Junior 15. Kuchipudi - Junior 6. Karnatak - Vocal - Sub-Junior 16. Kuchipudi - Sub-Junior 7. Hindustani - Vocal - Senior 17. Andhra Natyam - Senior 8. Hindustani - Sitar - Senior 18. Andhra Natyam - Junior 9. Hindustani - Tabla - Senior 19. Andhra Natyam - Sub-Junior 10. Hindustani - Tabla - Junior 20. Kathak - Senior 21. Kathak - Junior Entry fee remitted : Seniors / Juniors / Sub-Juniors Rs.100/- -
List of 1% Top Students of Ii Puc March 2014 Exam In
LIST OF 1% TOP STUDENTS OF II PUC MARCH 2014 EXAM IN KARNATAKA STATE TOTAL OBTAINED PERCENTAGE SLNO CANDIDATE NAME REG_NO FATHER / MOTHER NAME MARK MARK % 1 PRIYATHOSH LOKESH K 424227 LOKESH K 600 594 99.00 2 VENKATESH KAMATH G 492313 SURESH KAMATH G 600 594 99.00 3 VASUDHA D 323630 DINESH G 600 594 99.00 4 SUJAY UMESH BANI 484423 UMESH 600 593 98.83 5 PALLAVI RAO K 486455 MANJUNATH RAO K 600 593 98.83 6 POOJA BALIGA B 491777 B RADHAKRISHNA BALIGA 600 593 98.83 7 SHRIGOURI SHRIPADA HEGDE 505026 SHRIPADA HEGDE 600 593 98.83 8 NAVYASHREE E 503899 EKANTHAPPA H 600 592 98.67 9 CHANDANA H M 940127 H M PRAKASH 600 592 98.67 10 HUDEDAGADDI ANKITA MAHANTESH 511452 HUDEDAGADDI MAHANTESH 600 592 98.67 11 ABHAY KESHAVA BHAT A 480038 JAI KRISHNA A K BHAT 600 591 98.50 12 MAHIMA KHANDIGE 482310 RADHAKRISHNA KHANDIGE 600 591 98.50 13 APOORVA 491102 SHREEDHARA KALKUR N 600 591 98.50 14 SRINIVAS R BHAT 484419 RAMAKRISHNA A BHAT 600 591 98.50 15 BHAVANA B M 502678 THIPPESWAMY B M 600 591 98.50 16 SAMANVITA SASTRY 691825 VASANTH SASTRY 600 591 98.50 17 SRINIDHI PRABHU 758834 SHASHIDHAR ATTUR 600 590 98.33 18 NAVYA R S 687364 RATHNAKARA SHETTY 600 590 98.33 19 PUNEETH KUMAR JAIN 719720 DHANRAJ JAIN 600 590 98.33 20 SRIDEVI BHAT 511832 MADHUSOODANA BHAT S 600 590 98.33 21 RAVINDRA L PATIL 682953 PATIL L B 600 590 98.33 22 DEEPIKA KARJIGI 940164 DR BASAVARAJ K 600 590 98.33 23 SOURABH A S 473367 SUNIL A G 600 590 98.33 24 HASTHA R AITHAL 483810 RAVINDRANATHA AITHAL 600 590 98.33 25 SUHAG B S 505254 SANTHOSHKUMAR SHETTY 600 590 98.33 26 MAHABALESHWAR R BHAT -
M.P.A DANCE Hall Ticket No
s- L1 UNIVERSITY OF HYDERABAD SAROJINI NAIDU SCHOOL OFARTS AND COMMUNICATION Gachibowli, Hyderabad - 500 046 ENTRANCE EXAMINATION, JUNE 2O1O M.P.A DANCE Hall Ticket No. Date:02 - 6 -2010 Time: 10.00 a.m-12.00 pm. Max.Marks:50 Instructions: 1. Part 'A' should be answered in the Question Paper itself and returned to the Invigilator. 2. Part 'B' should be answered in the answer book provided to the candidate. 3. All questions in Part 'A' carry equal marks. There will be a negative marking of 0.33 mart for eacn attemptea won . PART - A z5xl:25 l. Choose the correct Answer: 1. Karagattam is a folk form of A) A.P B) Tamil Nadu c) u.P D) none 2. Bhagavatam or Veedhinatakam involves the performance of ( A) A group with story B) A group without story C) Solo D) None 3. Abhinaya Darpana is written by: ( ) A) Nandikeswara B) Kshetrayya C) Narayanatirdha D) Jayadeva 4. Anita Ratnam is an exponent of A) Contemporary dance B) Kuchipudi C) Bharatanatyam D) Manipuri 5. Kalamandalam of Kerala is founded by: ( A) M.K.Menon B) Swati Tirunal C) Vallathole D) None 6. According to Abhinaya Darpana, the total number of Drishti bhedas is ( 4.)36 B)8 c)6 D) none 7. Tribhanga position is significantly seen in the dance style ( A) Kuchipudi B) BharatanatYam C) Mohiniattam D) Odissi J- , s '21 8. Adhyatma Ramayana Kirtanas are written by ( A) Munipalle Subrahmanya Kavi B) Tyagaraja C) Tandu D) Kshetrayya 9. One of the percussion instruments used traditionally in Kathakal ( A) Pakhawaj B) Mridangam C) Tabla D) Chanda l0' Andhra Praja Natya Mandali is a group actively involved in presenting ( A) classical performances B) only Tribal dance performances C) All Folk performing genres D) none 11. -
The Childhood Love That Became Nilimma's Life
COLUMN Dance: The childhood love that became Nilimma’s life The travails of the partition, and her mother’s determination to give her daughter a chance to partake of the divinity in dance, started CULTURATI the US-based Kuchipudi dancer on a life-long journey in dance ARSHIYA SETHI he has been recorded by made her eyes moist up. The family with the National Heritage great difficulty moved to Delhi and ten Foundation as part of of them lived in one room in old Delhi. Dr Sethi has been their documentation of Her mother loved poetry and despite writing on the arts the cultural wealth of the the fact that everything around them scene in India and united States of America still spoke of loss, her mother would the world for three and has been a member for six years of send Nilimma and her sister Rashma, decades. She has a theS Maryland State Arts Council. She walking, all the way to Bengali Market, doctorate on the link teaches a popular course at George chaperoned by the old family retainer, between dance and Washington University on “Gender in to learn dance from the renowned politics, with the Indian Dance” and was awarded the Life Kathak dancer Uma Sharma’s uncle. Sattriya dance form of time Pola Nireneka Award for Dance Their forays in dance were met with Assam as a case study. by Washington Performing Arts in patriarchal disapproval for every time 2015. And yet, Nilimma Devi’s dance life they were “asked to dance in family set- began with the pain and sadness of the tings, my grandfather would leave the partition of India. -
Heritage Languages Among South Asian Americans Bryn Mawr College Spring 2014 Karuna Doraiswamy Abstract* This Thesis Explores Se
1 Heritage Languages Among South Asian Americans Bryn Mawr College Spring 2014 Karuna Doraiswamy Abstract* This thesis explores second generation South Asian Americans' relationships with their heritage languages; specifically, the ways in which these relationships might challenge current convention regarding the categorization of heritage and non-heritage learners along a linear spectrum. This thesis also examines the extent to which the decision to (re)leam one's heritage language might be considered a necessary step to earning cultural legitimacy in the diasporic community, a symbolic reclamation of one's history, or even a performative act intended to better match oneself to the dominant perception of what it means to be South Asian. 1 Introduction This section explains basic issues regarding heritage languages in general, including current definitional debates, research on childhood interaction with heritage languages, and the second generation's attitude toward their ancestral language and culture. 1.1 Defining heritage language learners English has long been the dominant language spoken in the United States, to the detriment of many indigenous and immigrant language communities. As such, there has been a *I would like to thank my advisor, Nathan Sanders, for his patience and assistance during this process. I also must acknowledge my parents, whose encouragement led me to pursue this topic for my thesis, as well as the Linguistics Hour at Bryn Mawr and the Panda Cams at the San Diego, National, and Atlanta zoos for keeping me grounded throughout the experience. 2 recent increase in concern about maintaining the diversity of languages spoken among American immigrant populations. While there are diplomatic and business advantages to such multilingualism, retaining knowledge of the home language is also thought to promote minority individuals' psychological well-being and overall ease the process of adjusting to life away from the home country (Brecht and Ingold 1998, Skutnabb-Kangas 1999). -
Languages of New York State Is Designed As a Resource for All Education Professionals, but with Particular Consideration to Those Who Work with Bilingual1 Students
TTHE LLANGUAGES OF NNEW YYORK SSTATE:: A CUNY-NYSIEB GUIDE FOR EDUCATORS LUISANGELYN MOLINA, GRADE 9 ALEXANDER FFUNK This guide was developed by CUNY-NYSIEB, a collaborative project of the Research Institute for the Study of Language in Urban Society (RISLUS) and the Ph.D. Program in Urban Education at the Graduate Center, The City University of New York, and funded by the New York State Education Department. The guide was written under the direction of CUNY-NYSIEB's Project Director, Nelson Flores, and the Principal Investigators of the project: Ricardo Otheguy, Ofelia García and Kate Menken. For more information about CUNY-NYSIEB, visit www.cuny-nysieb.org. Published in 2012 by CUNY-NYSIEB, The Graduate Center, The City University of New York, 365 Fifth Avenue, NY, NY 10016. [email protected]. ABOUT THE AUTHOR Alexander Funk has a Bachelor of Arts in music and English from Yale University, and is a doctoral student in linguistics at the CUNY Graduate Center, where his theoretical research focuses on the semantics and syntax of a phenomenon known as ‘non-intersective modification.’ He has taught for several years in the Department of English at Hunter College and the Department of Linguistics and Communications Disorders at Queens College, and has served on the research staff for the Long-Term English Language Learner Project headed by Kate Menken, as well as on the development team for CUNY’s nascent Institute for Language Education in Transcultural Context. Prior to his graduate studies, Mr. Funk worked for nearly a decade in education: as an ESL instructor and teacher trainer in New York City, and as a gym, math and English teacher in Barcelona. -
Indo-Caribbean African-Isms
Indo-Caribbean African-isms: Blackness in Guyana and South Africa By Andre Basheir A thesis submitted in conformity with the requirements for the degree of Master of Arts Graduate Department of Sociology and Equity Studies in Education University of Toronto © Copyright by Andre Basheir 2013 ii Indo-Caribbean African-ism: Blackness in Guyana and South Africa Master of Arts, 2013 Andre Basheir, Sociology and Equity Studies in Education, University of Toronto Abstract In an attempt to close the gaps between diaspora and regional studies an Afro-Asian comparative perspective on African and Indian identity will be explored in the countries of Guyana and South Africa. The overlying aim of the ethnographic research will be to see whether blackness can be used as a unifier to those belonging to enslaved and indentured diasporas. Comparisons will be made between the two race models of the Atlantic Ocean and Indian Ocean worlds. A substantial portion will be set aside for a critique of the concept of Coolitude including commentary on V.S. Naipaul. Further, mixing, creolization, spirituality and the cultural politics of Black Consciousness, multiculturalism, and dreadlocks will be exemplified as AfroAsian encounters. iii Acknowledgements Firstly, I like to thank all the people in the areas I conducted my fieldwork (South Africa especially). I befriend many people who had enormous amounts of hospitality. Specifically, Mark, Bridgette and family as well as Omar, Pinky and Dr. Naidoo and family for letting me stay with them and truly going out of their way to help my research efforts. Many thanks goes to a large list of others that I interviewed. -
Historical Census Statistics on the Foreign-Born Population of the United States: 1850 to 2000
Population Division HISTORICAL CENSUS STATISTICS ON THE FOREIGN-BORN POPULATION OF THE UNITED STATES: 1850 TO 2000 By Campbell Gibson and Kay Jung Working Paper No. 81 HISTORICAL CENSUS STATISTICS ON THE FOREIGN-BORN POPULATION OF THE UNITED STATES: 1850 TO 2000 by Campbell Gibson and Kay Jung Population Division Working Paper No. 81 U.S. Census Bureau Washington, DC 20233 Date February, 2006 This report is released to inform interested parties of research and to encourage discussion. The views expressed on statistical, methodological, or technical issues are those of the authors and not necessarily those of the U.S. Census Bureau. Acknowledgments This working paper was prepared in Population Division. The authors thank Frank Hobbs, Cynthia Davis, Paul Mackun, and Phil Gbur for their review and comments. Abstract This working paper presents selected decennial census data on the foreign-born population of the United States from 1850 to 2000. Other reports on historical census statistics for the United States The following six reports present historical census statistics that are more detailed and/or more recent than historical census statistics published in reports from the decennial census of population or in Historical Statistics of the United States: Colonial Times to 1970 (U.S. Bureau of the Census, 1975a). Population of States and Counties of the United States: 1790 - 1990, by Richard L. Forstall. U.S. Bureau of the Census. Washington, DC: U.S. Government Printing Office, 1996. Data for the 1900 to 1990 period are available also on the Census Bureau’s Internet site at <www.census.gov/population/www/censusdata/hiscendata.html>. -
Dance of India Download
IAS YAN An initiative of APTI PLUS Dances Inofd ia Indian folk dances, which typically consist of a few simple steps, are performed throughout the world to celebrate a new season, childbirth, weddings, festivals, and other social occasions. In some Indian folk dances, men and women perform separately; in others, they dance together. On most occasions, the dancers will sing accompanied by musicians. Most folk dances have intricately-designed costumes. Although a number of structured, ancient folk and tribal dances exist, many others are evolving. Andhra Pradesh Kuchipudi, Vilasini Natyam, Andhra Natyam, Bhamakalpam, Veeranatyam, Dappu, Tappeta Gullu, Lambadi, Dhimsa, Kolattam, Butta Bommalu. Assam Bihu, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai. Bihar Jata-Jatin, Bakho-Bakhain, Panwariya, Sama Chakwa, Bidesia. Gujarat Garba, Dandiya Ras, Tippani Juriun, Bhavai. Haryana Jhumar, Phag, Daph, Dhamal, Loor, Gugga, Khor, Gagor. Himachal Pradesh Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Nati, Dangi. Jammu and Kashmir Rauf, Hikat, Mandjas, Kud Dandi Nach, Damali. Karnataka Yakshagan, Huttari, Suggi, Kunitha, Karga, Lambi. Kerala Kathakali (Classical), Ottamthullal, Mohiniattam, Kaikottikali. Maharashtra Lavani, Nakata, Koli, Lezim, Gafa, Dahikala Dasavtar or Bohada. Odisha Odissi (Classical), Savari, Ghumara, Painka, Munari, Chhau. West Bengal Kathi, Gambhira, Dhali, Jatra, Baul, Marasia, Mahal, Keertan. Punjab Bhangra, Giddha, Daff, Dhaman, Bhand, Naqual. Rajasthan Ghumar, Chakri, Ganagor, Jhulan Leela, Jhuma, Suisini, Ghapal, Kalbeliya. Tamil Nadu Bharatanatyam, Kumi, Kolattam, Kavadi. Uttar Pradesh Nautanki, Raslila, Kajri, Jhora, Chappeli, Jaita. Uttarakhand Garhwali, Kumayuni, Kajari, Jhora, Raslila, Chappeli. Goa Tarangamel, Koli, Dekhni, Fugdi, Shigmo, Ghode, Modni, Samayi nrutya, Jagar, Ranmale, Gonph, Tonnya mell. Madhya Pradesh Jawara, Matki, Aada, Khada Nach, Phulpati, Grida Dance, Selalarki, Selabhadoni, Maanch. -
May-2019 Special Music Exams Top-10 List
KARNATAKA SECONDARY EDUCATION EXAMINATION BOARD (OTHER EXAMS) MUSIC TOP 10 LIST MAY-2019 SL EXAM_ EXAM INST_ CENTE MAX_ OBT EXAM_NAME REG_NO STUDENT_NAME FATHER_NAME DOB GENDER PERC RANK No ID _CODE CODE R MARKS _MARKS KATHAK DANCE JUNIOR 1 256 KA71 20198013073 NIVEDITHA A M RATHEESH K 10-FEB-04 K04 03A GIRL 400 349 87.25 1 GRADE KATHAK DANCE JUNIOR 2 256 KA71 20198013064 STHUTHI SRINIVASA K SRINIVASA 17-SEP-07 K04 03A GIRL 400 347 86.75 2 GRADE KATHAK DANCE JUNIOR 3 256 KA71 20198013091 SHREEYAA RAJ DHANUSH DHANUSH RAJ S 21-MAR-03 K04 03A GIRL 400 346 86.5 3 GRADE KATHAK DANCE JUNIOR 4 256 KA71 20198013076 SANJANA S ACHARYA SURESH VAMAN ACHARYA 23-AUG-04 K04 03A GIRL 400 343 85.75 4 GRADE KATHAK DANCE JUNIOR 5 256 KA71 20198013077 INDIRA C P CHENTHAMARA P P 12-MAR-90 K04 03A GIRL 400 340 85 5 GRADE KATHAK DANCE JUNIOR 6 256 KA71 20198013060 PRAKRUTHI G GANGADHARAIAH K S 18-JUN-02 K04 03A GIRL 400 337 84.25 6 GRADE KATHAK DANCE JUNIOR 7 256 KA71 20198013057 AMRUTHA S SANDEEP B R 05-MAY-99 K04 03A GIRL 400 336 84 7 GRADE KATHAK DANCE JUNIOR 8 256 KA71 20198013084 TANAYA ARUN ARUN NARAYAN 30-AUG-04 K04 03A GIRL 400 336 84 7 GRADE KATHAK DANCE JUNIOR 9 256 KA71 20198013063 SHARVANI S N NARAYANAN S M 30-JUN-03 K04 03A GIRL 400 335 83.75 8 GRADE KATHAK DANCE JUNIOR 10 256 KA71 20198013067 MRIDULA K S SUGATHAN NAIR K V 09-JUL-97 K04 03A GIRL 400 333 83.25 9 GRADE KATHAK DANCE JUNIOR 11 256 KA71 20198013058 TANUSHREE KAUSHIK MANJUNATHA S S 30-SEP-04 K04 03A GIRL 400 332 83 10 GRADE KATHAK DANCE SENIOR 12 260 KA73 20198013117 SHWETA VENKATESH -
Chidambaram Sent to Tihar Jail Till Sept 19
Follow us on: RNI No. TELENG/2018/76469 @TheDailyPioneer facebook.com/dailypioneer Established 1864 Published From ANALYSIS 9 CELEB TALKS 14 SPORTS 16 HYDERABAD DELHI LUCKNOW BHOPAL NO VAGUE FEELS UNREAL: SATNAM SINGH RAFAEL NADAL RAIPUR CHANDIGARHBHUBANESWAR SPACES ONLINE ON HIS BIOPIC INTO LAST FOUR RANCHI DEHRADUN VIJAYAWADA *LATE CITY VOL. 1 ISSUE 333 HYDERABAD, FRIDAY SEPTEMBER 6, 2019; PAGES 16 `3 *Air Surcharge Extra if Applicable WE GOT CARRIED AWAY BY THE HYPE: VISHNU ON NTR BIOPIC FAILURE { Page 13 } www.dailypioneer.com Bring law on live-in Chidambaram sent to ‘Odd-even rule' mooted relationships: for Cyberabad IT corridor Rajasthan HRC Tihar jail till Sept 19 JAIPUR: The Rajasthan l L&T, HMRL and RTC working on smart commute app Human Rights Commission PNS n NEW DELHI has recommended that the NAVEENA GHANATE state government enact a law A court here on Thursday Ambani rolls n HYDERABAD on live-in relationships in sent former Union Minister P. which terms and conditions Chidambaram to 14 days judi- out JioFiber As a way to ease traffic conges- regarding the relationship cial custody in the INX Media tion in the Cyberabad area, the are clearly chalked out. case. The senior Congress PNS n NEW DELHI authorities propose to imple- The commission on leader, who was arrested by the ment Delhi-style 'Odd-even Wednesday said women suf- CBI in the case last month and Billionaire Mukesh Ambani's rule'. At a high-level meeting on fer the most out of live-in had undergone interrogation, Jio on Thursday announced Wednesday, in which officials of relationships as they fail to will be lodged in the Tihar Jail launch of fiber-based broad- GHMC, Traffic police, TSIIC, live a dignified and respect- till September 19. -
Indo-Caribbean Masculinities, Chutney Genealogies, and Qoolie Subjectivities
Middle Atlantic Review of Latin American Studies, 2020 Vol. 4, No. 2, 56-86 “Meh Just Realize I’s Ah Coolie Bai”: Indo-Caribbean Masculinities, Chutney Genealogies, and Qoolie Subjectivities Ryan Persadie Women and Gender Studies Institute University of Toronto [email protected] In the Anglophone Caribbean, nationalist discourses of sexual citizenship are inextricably linked to the afterlife of colonialism and its far-reaching and affective legacies, resonances, and continuities as it reinscribes alterity on the bodies of sexual and gendered “others.” Focusing our optics on the Indo-Caribbean, I explore how archives of chutney music offer disruptive methods, strategies, and praxes of transgression that trouble discourses of “normative” Creole (Afro-Caribbean) and heteronormative nationalisms as “authentic” ideologies of Indo- Caribbean gendering—notably, masculinity. Drawing upon historical genealogies of sexual- sacred erotics found within the Hindu, women-exclusive, pre-wedding Indo-Caribbean tradition of matikor, I interrogate how men artists in chutney music spaces perform what I conceptualize as “qoolie subjectivities,” or distinct embodied languages of self that operate through what I argue are long-standing entanglements of Indo-Caribbeanness and queerness that, when excavated via the body, cultivate critical forms of Indo-Caribbean knowing and living. In this essay, I specifically focus on acts of remaking the pejorative term “coolie” from a grammar of harm to one of reclamation, and agentive potential. Such performances choreograph embodiments of erotic self-making, or “qoolieness,” as methods of pursuing transgressive Indo-Caribbean means of doing nonnormative gender and sexuality, offering us important vocalities that speak through genealogies of (post)indentureship chutney feminisms.