DOCSLIB.ORG

All in One Gs 06 फेब्रुअरी 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
All in One Gs 06 फेब्रुअरी 2019 ALL IN ONE GS 06 FEBRUARY 2019 Classical Dance in India: 3. Yajurveda / यजुर्ेद 4. Rigveda / ऋग्र्ेद Ans- 2 भारत मᴂ शास्त्रीय न配ृ य: Q-2 The oldest form of the composition of Hindustani Vocal Music is: Classical Dances are based on Natya Shastra. सहंदुस्तानी गायन संगीत की रचना का सबसे पुराना 셂प है: शास्त्रीय नृ配य नाट्य शास्त्र पर आधाररत होते हℂ। 1. Ghazal / ग़ज़ल 2. Dhrupad / ध्रुपद Classical dances can only be performed by trained dancers and who have 3. Thumri / ठुमरी 4. Qawwali / कव्र्ाली studied their form for many years. Ans- 2 शास्त्रीय नृ配य के वल प्रशशशित नततशकयⴂ द्वारा शकया जा सकता है और शजन्हⴂने कई वर्षⴂ तक Q-3 Which of the following is correct? अपने 셁पⴂ का अध्ययन शकया है। सन륍न में से कौन सा सही है? Classical dances have very particular meanings for each step, known as 1. Hojagiri dance- Tripura / होजासगरी नृ配य- सिपुरा "Mudras". 2. Bhavai dance- Rajasthan / भर्ई नृ配य- राजस्थान शास्त्रीय नृ配यⴂ के प्र配येक चरण के शलए बहुत शवशेर्ष अर्त होते हℂ, शजन्हᴂ "मुद्रा" के 셂प मᴂ 3. Karakattam- Tamil Nadu / करकटम- तसमलनाडु जाना जाता है। 4. All of the above / उपरोक्त सभी Classical dance forms are based on grace and formal gestures, steps, and Ans- 4 poses. Q-4 Which of the musical instruments is of Indo-Islamic origin? शास्त्रीय नृ配य 셂पⴂ अनुग्रह और औपचाररक इशारⴂ, और हाव-भाव पर आधाररत होते हℂ। कौन सा र्ाद्ययंि इडं ो-इस्लासमक मूल का है? 1. Sitar, Tabla, and Shehnai / ससतार, तबला, और शहनाई Folk dance in India: 2. Sitar, Tabla, and Sarangi / ससतार, तबला, और सारंगी 3. Sitar, Sarangi, and Shehnai / ससतार, सारंगी, और शहनाई भारत मᴂ लोक न配ृ य: 4. Sarangi, Tabla, and Shehnai / सारंगी, तबला, और शहनाई It is a simple dance form performed for any social celebrations in villages, Ans- 2 any harvests of crop or any celebrations. Q-5 To which state does the Sattariya dance belong? यह गा車वⴂ मᴂ शकसी भी सामाशजक समारोह, फसल की कटाई या शकसी भी उ配सव के शलए सत्ताररया नृ配य सकस रा煍य से संबंसित है? शकया जाने वाला एक सरल नृ配य है। 1. Mizoram / समजोरम 2. Manipur / मसिपुर No particular complex steps to dance and a person without any particular 3. Assam / असम 4. Meghalaya / मेघालय knowledge of dance can also perform it, because it is easy and fun. Ans- 3 नृ配य के शलए कोई शवशेर्ष जशटल कदम नहĂ और नृ配य के शकसी शवशेर्ष ज्ञान के शबना एक Q-6 Which of the following dance is not done by women? व्यशि भी इसे प्रदशशतत कर सकता, क्यⴂशक यह आसान और मजेदार है। सन륍नसलसित में से कौन सा नृ配य मसहलाओ ंद्वारा नहीं सकया जाता है? Many folk dances are present in India, depending on the regions. 1. Ankia Nat / अंसकया नाट 2. Giddha / सग饍ा िेत्रⴂ के आधार पर, भारत मᴂ कई लोक नृ配य मौजूद हℂ। 3. Lavani / लार्िी 4. Panihari / पसनहारी Ans- 1 Exampal Ankia Nat is a dance and singing style form of classical ragas by Jhumar, Kalbelia, Kachhi Ghodhi / झमर, कालबेशलया, क楍छी घोडी ु men in Assam. Rajasthan / राजस्र्ान अंसकया नाट असम में पु셁षⴂ द्वारा शास्त्रीय रागⴂ का एक नृ配य और गायन शैली है। Garba, Dandiya / गरबा, डाशडया 車 Q-7 Which among the following is a folk dance of India? Gujarat / गुजरात सन륍नसलसित में से कौन सा भारत का लोक नृ配य है? Giddha, Bhangra / शगद्धा, भा車गडा 1. Manipuri / मसिपुरी 2. Bihu / सबहु Punjab / प車जाब 3. Kathakali / कथकली 4. Bharatanatyam / भरतनाट्यम Yakshagana / यिगान Ans- 2 Karnataka / कनातटक Folk dance in India, which are in villages and cities, are Bhangra, Mayurbhanj Chhau / मयरभज छऊ ू 車 Garba, Kalbelia and Bihu etc. Orissa / ओशडशा भारत में लोक नृ配य जो सक गांर्ⴂ और शहरⴂ में होते हℂ, भांगडा, गरबा, कलबेसलया Purulia Chhau / पु셁शलया छऊ और सबहू आसद हℂ। West Bengal / पशिम बगाल 車 Q-8 The boat race is part of which of the following festival? Saraikela Chhau / सरायकेला छऊ नौका दौड सन륍नसलसित में से सकस 配योहार का सहस्सा है? Jharkhand / झारखड 車 1. Pongal / पⴂगल 2. Onam / ओिम Tamasha, Lavani / तमाशा, लावणी 3. Jallikattu / ज쥍लीकट्ट 4. All of the above / उपरोक्त सभी Maharashtra / महाराष्ट्र ू Ans- 2 Bihu / शबह ु Q-9 Who of the following is referred to as the Parrot of India? Assam / असम सन륍नसलसित में से सकसे भारत का तोता के 셂प में जाना जाता है? Rauf / रऊफ 1. Sarojini Naidu / सरोसजनी नायडू 2. Amir Khusro / अमीर िुसरो Jammu and Kashmir / ज륍म और कश्मीर ू 3. Mirza Ghalib / समज़ाा ग़ासलब 4. Tansen / तानसेन Raut Nach / रउत नाच Ans- 2 Chhattisgarh / छत्तीसगढ़ Q-10 Which South Indian classical dance mainly enacts scenes from the Karakattam / करकटम lives of the Gods Rama and Krishna? Tamil Nadu / तशमलनाडु सकस दसिि भारतीय शास्त्रीय नृ配य में मुख्य 셂प से भगर्ान राम और कृ ष्ि के Hojagiri / होजाशगरी जीर्न के दृश्य शासमल हℂ? Tripura / शत्रपुरा 1. Kuchipudi / कु सचपुडी 2. Mohini Attam / मोसहनी अट्टम Q-1 The theory of classical music is discussed in: 3. Bharatanatyam / भरतनाट्यम 4. Kathakali / कथकली शास्त्रीय सगीत के सस饍ात पर चचाा की जाती है: ं ं Ans- 4 1. Atharvaveda / अथर्ार्ेद 2. Samaveda / सामर्ेद Kathakali is a dance drama which depicts scenes from the lives of Q-17 Gulabo Sapera is associated with which form of folk dance? Lord Rama and Krishna. गुलाबो सपेरा सकस लोक नृ配य से संबंसित है? कथकली एक नृ配य नाटक है सजसमें भगर्ान राम और कृ ष्ि के जीर्न के दृश्यⴂ को 1. Jhumar / झुमर 2. Bhavai / भर्ई दशााया गया है। 3. Kalbelia / कालबेसलया 4. Suisini / सूइससनी Q-11 Kathakali name is derived from which of the following language? Ans- 3 कथकली नाम सन륍नसलसित में से सकस भाषा से सलया गया है? Q-18 Which of the following is correctly matched? 1. Telgu / तेलगु 2. Malayalam / मलयालम सन륍नसलसित में से कौन सही ढंग से मेल िाता है? 3. Tamil / तसमल 4. Sanskrit / संस्कृ त 1. Raja Reddy- Bharatnatyam / राजा रेड्डी- भरतनाट्यम Ans- 2 2. Birju Maharaj- Odissi / सबरजू महाराज- ओसडसी Q-12 How many classical dance forms exist in India? 3. Priyadarshini Govind- Kuchipudi / सियदशानी गोसर्ंद- कु सचपुडी भारत में सकतने शास्त्रीय नृ配य 셂प मौजूद हℂ? 4. None of these / इनमें से कोई नहीं 1. 6 2. 7 Ans- 4 3. 8 4. 9 Raja Reddy- Kuchipudi / राजा रेड्डी- कु सचपुडी Ans- 3 Birju Maharaj- Kathak / सबरजू महाराज- कथक Q-13 Mando is a popular dance of which of the following Indian State? Priyadarshini Govind- Bharatnatyam / सियदशानी गोसर्ंद- भरतनाट्यम मांडो सन륍नसलसित में से सकस भारतीय रा煍य का लोकसिय नृ配य है? Q-19 Which of the following is correctly matched? 1. Rajasthan / राजस्थान 2. Goa / गोर्ा सन륍नसलसित में से कौन सही ढंग से मेल िाता है? 3. Manipur / मसिपुर 4. Karnataka / कनााटक 1. Chakyar Koothu- Kerala / चसकयार कु थु- केरल Ans- 2 2. Kathakali- Kerala / कथकली- केरल Q-14 Which of the following is not correctly matched? 3. Koodiyattam- Kerala / कू सडयाट्टम्- केरल सन륍नसलसित में से कौन सही ढंग से मेल नहीं िाता है? 4. All of the above / उपरोक्त सभी 1. Ravi Shankar - Sitarist / रसर्शंकर - ससतारर्ादक Ans- 4 2. M. F. Hussain - Tabla / एम एफ हुसैन - तबला Koodiyattam is a traditional dance of Kerala. 3. R. K. Narayanan - Novelist / आर.के . नारायिन - उपन्यासकार कू सडयाट्टम ् केरल का एक पारंपररक नृ配य है। 4. Kaifi Azmi - Poet / कैफी आज़मी - कसर् Q-20 Which of the following is not the folk dance of Rajasthan? Ans- 2 सन륍नसलसित में से कौन सा राजस्थान का लोक नृ配य नहीं है? Q-15 Which classical Indian dance form is distinguished by the special 1. Ghoomar, Kalbelia / घूमर, कालबेसलया postures with "three independent body movements"? 2. Tera Tali, Suisini / तेरहताली, सूइससनी सकस शास्त्रीय भारतीय नृ配य 셂प को "तीन स्र्तंि शरीर की गसतसर्सियⴂ" के साथ 3. Kachchhi Ghodi, Bhavai / क楍छी घोडी, भर्ई सर्शेष मुद्राओ ंद्वारा िसतसित सकया जाता है? 4. Ghumra, Dhap / घुमरा, िाप 1. Kathak / कथक 2. Manipuri / मसिपुरी Ans- 4 3. Odissi / ओसडसी 4. Mohini Attam / मोसहनी अट्टम Q- 21 Which of the following is not the folk dance of Tamil Nadu? Ans- 3 सन륍नसलसित में से कौन तसमलनाडु का लोक नृ配य नहीं है? The independent movement of the head, chest, and pelvis is known 1. Oyilattam / ओसयलट्टम 2. Puliyattam / पुसलयाट्टम as the "Tribhangi".
Load more

Recommended publications
  • Indian Classical Dance Is a Relatively New Umbrella Term for Various Codified Art Forms Rooted in Natya, the Sacred Hindu Musica
    CLASSICAL AND FOLK DANCES IN INDIAN CULTURE Palkalai Chemmal Dr ANANDA BALAYOGI BHAVANANI Chairman: Yoganjali Natyalayam, Pondicherry. INTRODUCTION: Dance in India comprises the varied styles of dances and as with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country. These dance forms emerged from Indian traditions, epics and mythology. Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past. These are: Bharatanatyam- Tamil Nadu Kathak- Uttar Pradesh Kathakali- Kerala Kuchipudi- Andhra Pradesh Manipuri-Manipur Mohiniyattam-Kerala Odissi-Odisha Sattriya-Assam Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of South East Asia as well. In modern times, the presentation of Indian dance styles in films (Bollywood dancing) has exposed the range of dance in India to a global audience. In ancient India, dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times.
    [Show full text]
  • Magnitude of Folk Performing Arts in the Life of the People of Kanyakumari District – a Case Study
    © 2018 JETIR June 2018, Volume 5, Issue 6 www.jetir.org (ISSN-2349-5162) Magnitude of Folk Performing Arts in the Life of the People of Kanyakumari District – A Case Study C. Gomathavalli Assistant Professor, Department of History Government Arts and Science College, Nagercoil, Kanyakumari District, Tamilnadu, India-629504. Abstract This study attempts to analyse the importance of folk performing arts, which are the real modes of entertainment for folks and way of veneration of their deities, in the social life of people of Kanyakumari district. Villuppaatu (82%), kanuyankoothu (11%), Karagaattam 6%) and Kalialattam (1%) are very important in Hindu temples managed by villagers, of which villuppattu is inevitable in the temples of deities such as Mutharaman, Isakiyamman, Vaathai saami, Bathrakali amman, Boothathan sami, Pitchaikalasami and Aaldibothi, Kaniyankoothu is well-liked in Sudalaimadan temples, Karagaattam is a rule in some Mutharamman temples, Kalialaattam is austerely a mode of entertainment in the temple festivals irrespective of the deity. Villuppattu, Kaniyan koothu and Karaga attam seem to be inevitable in Hindu temples while Kaliyal attam has occupied a high place in the festivals of Christians as well as Hindu temples; the other folk performing arts are being executed during the cultural festivals and even temple festivals for entertainment. This paper presents the real situation of folk performing arts among the people of Kanyakumari district, at present, to reveal their social impacts, economic impacts and cultural impacts on different castes of people and the conditions of artisans in the society. Keywords: Folk performing arts, castes, religions, social, cultural, financial. Introduction Kanyakumari district, the southernmost district of Tamilnadu state, lies between 77º 15' and 77º 36' of the eastern longitudes and between 8º 03' and 8º 35' of the northern latitudes.
    [Show full text]
  • 7 CHAPTER 1.Pdf
    1 In general day to day life, if you describe someone as dynamic, you approve of them because they are full of energy or full of new and exciting ideas. The dynamic of a system or process is the force that causes it to change or progress. 'Dynamic' is used as an adjective, except when it means "motivating force", while 'dynamics' is always used as a noun meaning 'functioning' and 'development'. I think that, in the case of my research work, 'dynamics' is better suited than 'dynamic'. In contemporary India n society, a revitalisation of ‘traditional’ dances can be observed which manifests in the proliferation of dance schools and institutions, especially in urban areas. This revival was part of the drive, which has characterised India, to reconstruct itself after the traumatic colonial rule of 200 years. It was to create a new, unified nation that strives to be ‘modern’ and integrated into the global market economy. Here in the thesis I try to explore the repertoire and dynamics of one of the eight accepted classical dance styles, which is Bharatanatyam and its repertoire that is the Margam , as it embodies the new national identity. I have also tried looking into and pointing to the practices and views of gurus, teachers, scholars and dancers trained in the pre-colonial period and those from contemporary times with respect to the structure of the Margam . My research concentrates and is limited to looking and exploring the dynamics of changes in the format and structure of the Bharatanatyam Margam . The postures of classical dancer obey and follow strict rules established by tradition while following the mechanical rules of the body.
    [Show full text]
  • 2013 1.Worldview of Subaltern People the Department of Folklore And
    2012- 2013 1.Worldview of Subaltern People The Department of Folklore and Folklore Resources & Research Centre, St. Xavier’s College (autonomous) have jointly organized six days National workshop on “Worldview of Subaltern People” from August 6 – 11, 2012. In the inaugural ceremony, Prof. Tho Paramasivan, Governing Council member, Tamil University, Tanjore, delivered keynote address while Prof. A Sivasubramanian, eminent Folklorist, delivered special address on the theme, “Research Areas and Subaltern History of Tamilnadu”. Rev. Fr. A Arockiyasamy SJ, Secretary, St. Xavier’s College, gave valedictory address on August 11, 2018. 2. Field Methodology and Ethnography The Department of Folklore and Folklore Resources & Research Centre, St. Xavier’s College (autonomous) have jointly organized five days State level workshop on “Field Methodology and Ethnography” from December 04 – 08, 2012. Dr. A Dhananjeyan, head and associate professor, Department of Folklore, SXC, introduced the workshop theme and keynote address while Rev. Fr. V Britto SJ, Rector, SXC institutions and Rev. Fr. A Arockiyasamy SJ, Secretary, St. Xavier’s College, felicitated the inaugural ceremony on December 4, 2012. 3. Colours: An Art Exhibition The Department of Folklore and Folklore Resources & Research Centre, St. Xavier’s College (autonomous) have jointly organized an art exhibition on the theme “Colours” during December 07 – 08, 2012. The exhibition curated the visual images of a young artist from Kilinochy, Sri Lanka, V Vasantharupan, who was also our student. 4. International Documentary Film Festival In association with Chithiramum Kaippazhakkam, Tirunelveli, the Department of Folklore and Folklore Resources & Research Centre, St. Xavier’s College (autonomous) have jointly organized an International Documentary Film Festival on the theme “People and Traditions” during January 21 – 22, 2013 commemorating Century of Indian Cinema.
    [Show full text]
  • The Role of Indian Dances on Indian Culture
    www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts.
    [Show full text]
  • Bhagavata Mela Dance-Drama of Bharata Natya
    BHAGAVATA MELA DANCE-DRAMA OF BHARATA NATYA E. Krishna Iyer The classical dance-drama of the Bhagavata Mela tradition which is struggling for survival in the Tanjore District is a rare art of great value. Its revival will not only add one more rich variety to our existing dance arts but also help to clear away many prevailing misconceptions about Bharata Natya, by proving, that it is not confined to, or exhausted by, the solo Sadir-Natya of women and that it has a dramatic form too with many male and female characters expounding great Puranic themes and rasas other than Sringara as well. In short it will be found as an exemplifica­ tion of the 2000-year old conception of Natya as dance-drama according to the Natyasastra. Incidentally it may also prove the art to be a source of rich material to help the creation or evolution' of new forms of dance­ drama and ballet. Bharata Natya, properly understood, is a vast, comprehensive and generic system of classical dance in India, the principles and technique of which are closely applied to three chief forms among others namely; (1)the lyrical solo Sadir nautch, (2) the heavy Bhagavata Me/a dance-drama and (3) the light Kuravanji ballet. Of these, only the first has become widely popular and is called by the generic name itself. Early Origins The Bhagavata Mela Dance-Drama tradition seems to have been in vogue in this country from the 1lth century A.D. ifnot earlier. It is known to have come into prominence in South India from the time of Thirtha­ narayana Yogi, the author of Krishna Lee/a Tharangini who migrated from Andhra Desa, lived 'and died at Varahur in the Tanjore District about The late 'Shri E.
    [Show full text]
  • Bridging the Gap: Exploring Indian Classical Dances As a Source of Dance/Movement Therapy, a Literature Review
    Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Capstone Theses (GSASS) Spring 5-16-2020 Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Ruta Pai Lesley University, [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_theses Part of the Art Education Commons, Counseling Commons, Counseling Psychology Commons, Dance Commons, Dramatic Literature, Criticism and Theory Commons, Other Arts and Humanities Commons, Other Languages, Societies, and Cultures Commons, and the Performance Studies Commons Recommended Citation Pai, Ruta, "Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review." (2020). Expressive Therapies Capstone Theses. 234. https://digitalcommons.lesley.edu/expressive_theses/234 This Thesis is brought to you for free and open access by the Graduate School of Arts and Social Sciences (GSASS) at DigitalCommons@Lesley. It has been accepted for inclusion in Expressive Therapies Capstone Theses by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected], [email protected]. BRIDGING THE GAP 1 Bridging the Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Capstone Thesis Lesley University August 5, 2019 Ruta Pai Dance/Movement Therapy Meg Chang, EdD, BC-DMT, LCAT BRIDGING THE GAP 2 ABSTRACT Indian Classical Dances are a mirror of the traditional culture in India and therefore the people in India find it easy to connect with them. These dances involve a combination of body movements, gestures and facial expressions to portray certain emotions and feelings.
    [Show full text]
  • Current Affairs a Magazinefor Civilservicespreparation
    www.vishnuias.com JULY 01.07.2021 CURRENT AFFAIRS A MAGAZINEFOR CIVILSERVICESPREPARATION JOIN OUR TELEGRAM:https://t.me/vishnuiasmentor Articles of the day THE HINDU & INDIAN EXPRESS UPSC Online & Offline classes One-Stop General Studies Test Series Solution Free daily materials www.vishnuias.com THE HINDU GS 2 : Polity, Governance, International Relations 1. How the Chinese Communist Party endures The Tiananmen Square protests: The Tiananmen Square protests in China were student- led demonstrations held in Tiananmen Square, Beijing in 1989. o The student-led demonstrations called for democracy, free speech and a free press in China. This was brutally suppressed by the Chinese administration. Context: Celebrations at Tiananmen Square, Beijing to mark the 100th anniversary of the founding of China’s ruling Communist Party. 2. India’s 1991 liberalisation leap and lessons for today Context: In light of the historic economic contraction of the Indian economy induced by the COVID-19 pandemic and calls for economic reforms to revive growth, the article discusses the 1991 economic reforms and the road ahead for India. Background: Pre-reform era: The Indian economy before the 1991 reforms was based on strict regulation and could be characterized as a controlled system. The public sector accounted for a significant proportion of the economy with the so-called critical sectors reserved for the public sector despite their lacklustre performance. The private sector was not allowed to participate in a number of so-called critical sectors. In other sectors too, the private sector’s participation was highly regulated and dependent on obtaining industrial licences from the administration.
    [Show full text]
  • On Bharata Natyam (Excerpted from Dancing by Gerald Jonas
    On Bharata Natyam (Excerpted from Dancing by Gerald Jonas. New York : Harry N. Abrams, 1992) Indian philosophers and religious teachers have debated long and hard about the nature of the world and humanity's place in it; and different schools of thought have advanced different solutions to the problems of appearance and reality, good and evil, duty and desire, spirituality and sensuality . But all the competing formulations have at least two things in common: a belief in the underlying unity of existence and a determination to exclude no aspect of life in the search for the meaning of life. This insistence that all the pieces must ultimately fit together in a satisfying whole has shaped Hinduism's attitude toward the body. Far from being seen as an impediment to spiritual enlightenment, the body is treated as a tool for achieving greater insight and understanding. Is it any wonder that in India—where the gods dance—the dancing body can be both a source of pleasure and a vehicle of worship? Dance in India takes a bewildering variety of forms. Of these, two inparticular— bharata natyam and kathakali— exemplify the ways in which dance and religion intersect in Indian life.... Bharata natyam is a solo for a highly trained female dancer; it traces its origins to the devotional dances once performed within Hindu temples. ...The Natya Sastra (the Hindu tradition's "theatre manual") asserts that dance drama, properly performed, "emboldens the weak, energizes the heroic, enlightens the ignorant and imparts erudition to the scholars" by showing humanity and divinity as they really are.
    [Show full text]
  • Arts-Integrated Learning
    ARTS-INTEGRATED LEARNING THE FUTURE OF CREATIVE AND JOYFUL PEDAGOGY The NCF 2005 states, ”Aesthetic sensibility and experience being the prime sites of the growing child’s creativity, we must bring the arts squarely into the domain of the curricular, infusing them in all areas of learning while giving them an identity of their own at relevant stages. If we are to retain our unique cultural identity in all its diversity and richness, we need to integrate art education in the formal schooling of our students for helping them to apply art-based enquiry, investigation and exploration, critical thinking and creativity for a deeper understanding of the concepts/topics. This integration broadens the mind of the student and enables her / him to see the multi- disciplinary links between subjects/topics/real life. Art Education will continue to be an integral part of the curriculum, as a co-scholastic area and shall be mandatory for Classes I to X. Please find attached the rich cultural heritage of India and its cultural diversity in a tabular form for reading purpose. The young generation need to be aware of this aspect of our country which will enable them to participate in Heritage Quiz under the aegis of CBSE. TRADITIONAL TRADITIONAL DANCES FAIRS & FESTIVALS ART FORMS STATES & UTS DRESS FOOD (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) Kuchipudi, Burrakatha, Tirupati Veerannatyam, Brahmotsavam, Dhoti and kurta Kalamkari painting, Pootha Remus Andhra Butlabommalu, Lumbini Maha Saree, Langa Nirmal Paintings, Gongura Pradesh Dappu, Tappet Gullu, Shivratri, Makar Voni, petticoat, Cherial Pachadi Lambadi, Banalu, Sankranti, Pongal, Lambadies Dhimsa, Kolattam Ugadi Skullcap, which is decorated with Weaving, carpet War dances of laces and fringes.
    [Show full text]
  • Dancing Into the Chthulucene: Sensuous Ecological Activism In
    Dancing into the Chthulucene: Sensuous Ecological Activism in the 21st Century Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kelly Perl Klein Graduate Program in Dance Studies The Ohio State University 2019 Dissertation Dr. Harmony Bench, Advisor Dr. Ann Cooper Albright Dr. Hannah Kosstrin Dr. Mytheli Sreenivas Copyrighted by Kelly Perl Klein 2019 2 Abstract This dissertation centers sensuous movement-based performance and practice as particularly powerful modes of activism toward sustainability and multi-species justice in the early decades of the 21st century. Proposing a model of “sensuous ecological activism,” the author elucidates the sensual components of feminist philosopher and biologist Donna Haraway’s (2016) concept of the Chthulucene, articulating how sensuous movement performance and practice interpellate Chthonic subjectivities. The dissertation explores the possibilities and limits of performances of vulnerability, experiences of interconnection, practices of sensitization, and embodied practices of radical inclusion as forms of activism in the context of contemporary neoliberal capitalism and competitive individualism. Two theatrical dance works and two communities of practice from India and the US are considered in relationship to neoliberal shifts in global economic policy that began in the late 1970s. The author analyzes the dance work The Dammed (2013) by the Darpana Academy for Performing Arts in Ahmedabad,
    [Show full text]
  • PROFILE Designation : Assistant Professor, Holy Cross College, Trichy- 2
    PROFILE Name : Dr. G. ARUL SELVI Designation : Assistant Professor, Holy cross college, Trichy- 2 Gender : Female DOB : 18.06.1979 Address : 4/219 Mundaikkavilai Alancode Kanjampuram Post Kanniyakumari District Tamil Nadu Pincode : 629 154 Mobile : 9488957045 E.mail : [email protected] Educational Qualification : B. A., Diploma in RDM, M.A., Ph.D. S. Degree / Subject Name of the College / No. Diploma University 1. B.A Economics Arignar Anna College, Aralvaimozhy 2. M.A Mass MS University, Thirunelveli Communication 3 Ph.D Communication Tamil University, Tanjavore LANGUAGES KNOWN Singing Tamil Teaching English Photography Malayalam Videography AREAS OF INTEREST Reporting Dancing Research Play Back Theatre Oppressed Theatre KNOWN THEATRE ART FORMS: Children’s Theatre Mask and Mime Street Theatre Puppetry Modern Theatre KNOWN ART FORMS (Above 35 Forms) Folk Dances of Tamil Nadu Kummyattam Sila Attam Kolattam Mattu Kombattam Oyilattam Kaisilambattam Kuravan kurathiyattam Kurumbarattam Nellai Kaliyalattam Irular Attam Thoothukudi Kaliyalattam Kambathattam Uvari Kaliyalattam Paraiattam Kumari Kaliyalattam Nedunkuchiyattam Karagattam Sevaiyattam Sakkaiyattam Badugar Attam Saattai Kuchiyattam Folk Dances of Other States : Kerala Maaruni Dance Onakkali Dance Thiruvathirai Dance Vayanadu Tribal Dance Karnataka Kolattam Kamsaalay Maharashtra Dhandiya Lezim Rajasthan Garba Dance Chirmi Dance Orissa Saathiri (Chotta Nagpuri Dance) Daalhai (Sambalpuri Dance) Punjab Bangara Dance Assam Bihu Dance Nepalam Jyaurae Dance Trainer in Folk Art Forms Street Play Tribal Dances Folk & Awareness Songs FILM FESTIVAL ATTENDED ‘Soorya Film Festival’ – Conducted in Kerala (2004 and 2017) DOCUMENTARY FILM ‘Kochaipaduthapatta Sumaigal,’ (2004) – A social awareness short film. ‘Periya Melam,’ (2005) – A social awareness documentary. ‘Tsunamikku pirahum,’ (2005) – A social awareness short film. EDITOR ‘Tamira Bharani’, (2005), a Journal for Students in Manonmaniam Sundaranar University, Tirunelveli.
    [Show full text]