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The Sixth String of Vilayat Khan
Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration. -
Kannada & Culture, Information Department
KANNADA & CULTURE, INFORMATION DEPARTMENT INTRODUCTION Vision To Preserve, Promote and Propagate the Language, Culture and Heritage of Karnataka in India and abroad. Mission: To Preserve and promote culture & heritage of Karnataka and development of Language by use of Media and Technology for achieving its vision. Objectives: 1. To promote the progressive use of Kannada language in the State through Government Programmes. 2. To encourage and honour individuals and institutions promoting Cultural Heritage. 3. To propagate Kannada language, culture and heritage in India and abroad 4. To preserve and protect the archival records/documents for future generation. 5. Exploration, excavation and conservation of Archaeological Sites, monuments. 6. Collection and Preservation of Art and Archaeological specimens in the Museums both public and private. 7. Dissemination of Information on the developmental activities of the state Government. 8. To promote regional film industry. The Department of Kannada, Culture and Information is presently housed at Ground Floor, Vikasa Soudha, Bangalore. The Hon’ble Information Minister holds the portfolio of the Department of Information and the Department of Kannada and Culture is headed by the Hon’ble Minister for Kannada and Culture. The Secretary to Government is the Head of the Department of Kannada ,Culture and Information. He is assisted by one Deputy Secretary three Under Secretaries, 4 Section Officers besides group C and D employees. 1 This Department examines the Administrative, Financial and Service -
Born in a Family of Musicians, Music Is a Divine Blessing to Pravin
! ! GURU AND EARLY TUTELAGE: Born in a family of musicians, music is a divine blessing to Pravin. He hails from Dharwad, a place which has given to the world many great musicians like Pt Bhimsen Joshi, Gangubai Hangal and Pt Kumar Gandharva. He is fortunate to have his father Pandit VENKATESH GODKHINDI, an eminent vocalist and Bansuri arCste of the country, as his first and only Guru for Flute. Pravin started toying with a small flute at the tender age of 3 and since then it has been his best companion. His passion for Flute could hardly be matched with anything else even during his childhood. With such a passion blended with early hours of rigorous Riyaz under the able guidance of his guru, Pravin started exhibiCng the glimpses of a genius in the making. Pravin gave his first public concert at the age of 6 years and held the audience spellbound. His quest for deeper knowledge about LAYAKAARI brought him to his Guru, Vidwan ANOOR ANANTH KRISHNA SHARMA a reputed Mridangam arCste who is providing able guidance to Pravin on the deeper aspects of LAYA and LAYAKAARI. TWO DIFFERENT STYLES OF PLAYING: His father has taught him Hindustani BANSURI in KIRANA GHARAANA GAYAKI STYLE. But Pravin added the GATKAARI or TANTRAKAARI STYLE by his own efforts and succeeded in it. He is adept in both the styles. Sonorous blowing, control over the breath, elaboraCons of Raga with its aestheCc appeal, extraordinary and skillful rendiCon of Layakaari are but a few salient features of his flute recital. He has been ably balancing both tradiConal and creaCve music. -
Bestguru.Comcarnatic Music ‐ Vocal 1978 Maharajapuram V
Name of the Artist Name of the Art / Field Awarded in Amba Sanyal (Costume Designing) Allied Theatre Arts 2008 Anant Gopal Shinde (Make‐up) Allied Theatre Arts 2003 Ashok Sagar Bhagat (Lighting) Allied Theatre Arts 2002 Ashok Srivastava (Make‐up) Allied Theatre Arts 1981 D. G. Godse (Scenic Design) Allied Theatre Arts 1988 Dolly Ahluwalia (Costume Design) Allied Theatre Arts 2001 G.N. Dasgupta (Lighting) Allied Theatre Arts 1989 Gautam Bhattacharya (Lighting) Allied Theatre Arts 2006 Goverdhan Panchal (Scenic Design) Allied Theatre Arts 1985 H. V. Sharma (Stagecraft) Allied Theatre Arts 2005 Kajal Ghosh (Theatre Music) ‐ Allied Theatre Arts 2000 Kamal Arora (Make‐up) Allied Theatre Arts 2009 Kamal Jain (Lighting) Allied Theatre Arts 2011 Kamal Tewari (Theatre Music) ‐ Allied Theatre Arts 2000 Kanishka Sen (Lighting) Allied Theatre Arts 1994 Khaled Choudhury (Scenic Design) Allied Theatre Arts 1986 Kuldeep Singh (Music for Theatre) Allied Theatre Arts 2009 M. S. Sathyu (Stagecraft) Allied Theatre Arts 1993 Mahendra Kumar (Scenic Design) Allied Theatre Arts 2007 Mansukh Joshi (Scenic & Light Design) Allied Theatre Arts 1997 N. Krishnamoorthy (Stagecraft) Allied Theatre Arts 1995 Nissar Allana (Stagecraft) Allied Theatre Arts 2002 R. K. Dhingra (Lighting) ‐ Allied Theatre Arts 2000 R. Paramashivan (Theatre Music) Allied Theatre Arts 2005 Robin Das (Scenic Design) ‐ Allied Theatre Arts 2000 Roshen Alkazi (Costume Design) Allied Theatre Arts 1990 Shakti Sen (Make‐up) ‐ Allied Theatre Arts 2000 Sreenivas G. Kappanna (Lighting & Stage Design) Allied Theatre Arts 2003 Suresh Bhardwaj (Lighting) Allied Theatre Arts 2005 Tapas Sen (Lighting) Allied Theatre Arts 1974 V. Ramamurthy (Lighting) Allied Theatre Arts 1977 Alathur S. Srinivasa Iyer Carnatic Music ‐ Vocal 1968 Ariyakudi Ramanuja Iyengar Carnatic Music ‐ Vocal 1952 B. -
Editors Seek the Blessings of Mahasaraswathi
OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi -
Annual Report-2004-2005
2004-2005 THIS IS THE 44th Annual Report of the India International Centre for the year commencing February 2004 up to 31 January 2005. It will be placed before the 49th Annual General Body Meeting of the Centre, to be held on the 28th of March 2005. The tenure of the existing elected representatives on the Executive Committee and the Board of Trustees, from both the Individual and Corporate membership segments, will come to an end on the 31st of March 2005. The Centre would like to place on record its gratitude to the two outgoing Trustees, Shri S.K. Singh and Dr Arun Nigavekar, and to Shri Inder Malhotra, Lt. Gen. (retd) A. S. Kalkat, Dr S. M. Dewan, Dr R. K. Pachauri, Shri M. H. Ansari and Prof. (Mrs.) Sneh Bhargava (members of the Executive Committee), for the interest they have taken and the valuable support they provided towards the Centre’s functioning. The process of filling up the vacancies for the ensuing two-year period, 1 April 2005 to March 2007, has been underway since December 2004. The results of the elections will be announced in the forthcoming Annual General Body Meeting of the Centre. In the year’s national honours list, twenty-five of the Centre’s distinguished Members were vested with Padma awards. Dr Karan Singh, Member of Parliament and a Life Trustee was awarded the Padma Vibhushan. Earlier, Dr Kapila Vatsyayan, also a Life Trustee, and a Fellow of the Lalit Kala Akademi, was conferred the ‘Lalit Kala Ratna Award’ by the Akademi on the occasion of its golden jubilee celebrations. -
JNU News July-August, 2017 Final Edited by Prof. Bhaduri.Cdr
2017 4 B I M O N T H L Y J O U R N A L O F J A W A H A R L A L N E H R U U N I V E R S I T Y A university stands for humanism, for tolerance, for reason, for Contents the adventure of ideas and for the search of truth. It stands for the onward march of the human race towards ever higher In Conversation with….. 2 objectives. It the Universities discharge their duties adequately, A Conversation with Prof. Isabel Karremann, then it is well with the nation and the people. She has visited JNU thrice: as Erasmus Mundus Visiting Professor in 2015 Movements & Appointments 3-4 Achievements/Awards 5 The symbol is a graphic statement which stands for international Campus Activities 5-10 academic exchange and onwards search of knowledge for the JNU Alumni Association (AAJ) organised betterment of human being. Linguists & Translators' Meet The overlapping circular segments of the design denote global 71st Independence Day Celebrations at JNU interaction, creating a flame emitting enlightenment, this flame emerges out of Cultural Clubs organise SPICMACAY Programme the traditional Indian 'diya' (lamp)-a source of Light, Understanding and Foundation Laying Ceremony of Barak Brotherhood. Hostel at JNU The design is also representative of the rose-bud closely associated with the JNU Launches a New CMS (Content name of Pt. Jawaharlal Nehru. Management System based website Hindustani Classical Vocal Recital by Pt. Rajan and Sajan Mishra Formation of JNU Retired Officers' Forum A Group of JNU Retired Officers Meets Vice- Chancellor nlo"kZdhmezesafHk[kkjhBkdqjdslkFk tqM+s92o"khZ;eka>hvktHkheapij tedjfFkjdrsgSa Community Corner 10-11 Seminars/Conferences 11-13 A Series of Lectures Brazil and the Ebb of the Pink Tide in South America Foreign Policy of Trump Administration with Focus on Latin America Various Programs Organised by Dr. -
Karnatak University 21
CDRSP KNOWLEDGE SERIES Series Editors Geoffrey Mitchell Paula Pascoal-Faria 1 CDRSP KNOWLEDGE SERIES 2 CDRSP KNOWLEDGE SERIES Title: CDRSP Knowledge Series Vol. 7 International Conference on Direct Digital Manufacturing and Polymers 2021 Series editors: Geoffrey Mitchell Paula Pascoal-Faria Volume Authors: Artur Mateus Geoffrey Mitchell Paula Faria A.B.Vedamurthy R.R.Kamble ISBN: 978-989-96765-7-2 (eBook) 978-989-96765-8-9 (Printed) Design & Graphic Art: Renato Batista Sara Silva Published By: IPLeiria May 2021 Editorial Coordination: Centre for Rapid and Sustainable Product Development - IPLeiria Rua de Portugal – Zona Industrial 2430-028 – Marinha Grande, Portugal cdrsp.ipleiria.pt Phone Number :+351 244 569 441 3 TABLE OF CONTENTS WELCOME 5 INTRODUCTION 7 SERIES PREFACE 9 VOLUME PREFACE 10 PRESENTATION 11 ICCDMAP SUMMARY 12 VIDREIRO’S BOTTLE 13 CONFERENCE PATRONS 15 CONFERENCE PRESIDENTS 16 CONFERENCE CHAIRS 17 ORGANIZING COMMITTEE 18 SUPPORTED BY 19 POLYTECHNIC INSTITUTE OF LEIRIA 20 KARNATAK UNIVERSITY 21 ABOUT THE DEPARTMENT OF CHEMISTRY 23 CDRSP 27 PLENARY SPEAKERS 30 KEYNOTES SPEAKERS 31 CONFERENCE SCHEDULE 38 PRESENTATIONS 42 DIRECT DIGITAL MANUFACTURING 94 GLOSSARY 109 NOTES 114 4 WELCOME Dear Participant It is with great pleasure that we welcome each and everyone of you to this 4th Edition of the International Conference on Direct Digital Manufacturing and Polymers which will take place online. The intervening two years since the 3rd Edition took place in 2019 in Dharwad India have been very challenging for the whole world and last year we took the difficult decision to move the conference from presential to online in order to safeguard all involved and to provide certainity to authors who would otherwise travel considerable distances in uncertain times. -
Profile Ustad Mohammad Akram Khan AJRADA GHARANA TABLA Personal Details Full Name Mohammad Akram Khan Fathers Name Late Hashma
Profile Ustad Mohammad Akram Khan AJRADA GHARANA TABLA Personal details Full name Mohammad Akram Khan Fathers name Late Hashmat Ali khan Date of Birth Jan 1, 1965 Email [email protected] Phone +91 9999980937 9350162407 +91 11 22441556 Current Residence address A61, 3rd floor , Kishan Kunj Ext Laxmi Nagar New Delhi 110092 Website www.akramkhantabla.in Facebook Akram khan Twitter @akramtabla1 Language spoken/ written Hindi Urdu English Education Bachelor in Commerce 1987 Meerut UP. Learned Tabla from Gurushishya Parampara. Sangeet Visharad Chandigarh 1984 Sangeet Praveen Allahabad 1988 Brief Introduction Ustad Mohammad Akram Khan is the son of legendary tabla maestro Ustad Hashmat Ali Khan who hails from the famous Gharana of Tabla called AJRADA GHARANA. Ustad Akram Khan is the 7th Generation exponent of the Gharana considered to be one of the six main traditional schools of tabla in India. During his childhood he has been fortunate to get training under the guidance of his great grandfather Ustad Mohammad Shafi Khan. He is also fortunate to learn from Ustad Niazu Khan who is considered as one of the greatest exponents tabla from AJRADA GHARANA. Ustad Akram Khan has been instrumental in retention and reaffirmation of the Art of Tabla of the Ajrada Gharana. He has preserved the legacy of the Ajrada Gharana and the traditional values of tabla through his dedication towards this Art. He has successfully retained more than fifteen kaydas that has been conceptualized by the Ajrada Gharana. Ustad Akram Khan has been playing tabla for past 43 years. He started learning at the age of eleven and since then he has followed his passion in tabla. -
CHAPTER 14 Dharwad Is the Cultural Capital of North Karnataka. Ancient
Literature and Culture 637 CHAPTER 14 LITERATURE AND CULTURE harwad is the cultural capital of North Karnataka. Ancient temples, Mutts and Agraharas in the D district encouraged the spread of education here and paved the way for the growth of literature and folk arts as well. Pampa was born in Annigeri. It has a tradition of poets starting with Kumara Vyasa, Kanakadasa and Sarvajna down to Shishunala Sharief and Bendre. Institutions like the Training College, Basel Mission, Vidyavardhaka Sangha, Karnatak University and All India Radio Station have in different ways helped the spread of scholarship and creativity. It was here that Aalur Venkata Rao convened the first writers conference in Karnataka. In the field of literature, it was here that the friends circle which developed around Bendre was formed and nurtured. Dharwad is known all over India as a major centre of Hindustani music. Mallikarjuna Mansur hails from here. In theatre too, it was in this district that Sriranga tried his experiments with amateur troupes and professionals like Shirahatti Venkoba Rao, Vamanarao Master and Garud Sadashiva Rao carried on their theatre activities. Professional theatre has received constant support in Hubli city. Many of the theatre artistes from here have made it to the cinema as well. Literature and theatre of the region have played a unique role in national awakening. Temples and fairs of the region have been a fountain of inspiration for the folk arts. In the field of journalism too, many successful experiments have been tried out in Hubli and Dharwad. It was from here that a writer like Galaganath used his pen to awaken nationalist sentiments. -
Intricate Designs EXHIBITION: Weaving Magic - Romance of the Kashmir Shawl from Kani to Paisley Inauguration: Or
Intricate Designs EXHIBITION: Weaving Magic - Romance of the Kashmir Shawl from Kani to Paisley Inauguration: Or. Karan Singh Illustrated lecture: TheKashmir Shawl- A Collector's Journey. Aditi Desai November 30 - December 7 The exhibition is based on the collection of Aditi Desai, Like all modern collectors, the shawls have been acquired from diverse sources including those sold by dealers and collectors, or bought at auctions as well as flea markets. Her interest was developed at a young age and she matured into a serious student of the craft, following its history, analyzing its technique while being swayed by the sheer aesthetic appeal of the artefacts she acquired. The collection is interesting The collection of European items has an amazing because of several unusual aspects. As many as fifty range in patterns, without deviating from the original per cent of the exhibits are of European production. canons of decorative repertoire and placement in Rather than concentrating on the classic Kani shawl, design. There is the familiar red shawl so favoured in she has chosen to draw attention to many varied the French market but alongside is another, also of aspects of the tradition. French manufacture, in which the medallion-centred patterning is evocative of the Deccani tradition associated with Hyderabad. There are patkas, male '" ..••.-. accessories in costume, one of which presents an interesting surface of strips of patterning stitched together to form the waist girdle. There are also two square female shoulder cloths with a pleasing contrast in design-one bearing the classic Kashmiri imprint while accommodating itself to the new shape and style in wear, with the other stepping out of the traditional format in its delicate tracery of European- inspired floral design. -
KALA MANJARI Fifty Years of Indian Classical Music and Dance in Singapore
KALA MANJARI Fifty Years of Indian Classical Music and Dance in Singapore Edited by Dr. Seshan Ramaswami Sarita Alurkar-Sriram Singapore Indian Fine Arts Society DEdicaTION Published by Sun Media Pte Ltd for the Singapore Indian Fine Arts Society Designed by Sun Media Pte Ltd Edited by Dr. Seshan Ramaswami and Sarita Alurkar-Sriram Kala Manjari Committee: Dr. Seshan Ramaswami, Sarita Alurkar-Sriram, Shankar Rajan, A. Sachithananthan and P.S. Somasekharan Printed in Singapore by Stamford Press Pte Ltd © Copyright 2015 by Singapore Indian Fine Arts Society. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior written permission of the Singapore Indian Fine Arts Society. ISBN 978-981-09-4443-8 The views of the Writers and Contributors do not reflect the views of the Singapore Memory Project (SMP), which is a national initiative of the Ministry of Communications and Information (MCI) and is managed by the National Library Board, Singapore (NLB). No part of this publication may be reproduced in any form or by any means without prior written permission from the relevant Copyright Owner(s), if any, and the NLB. Whilst reasonable care has been undertaken to ensure the accuracy of the information in this publication, the We dedicate this book to the pioneers of Indian classical music and dance in Singapore, Publisher, MCI and the NLB accept no legal liabilities whatsoever for the contents of this publication. the artistes, teachers and administrators, whose passion and untiring efforts have left us this legacy of a thriving Indian arts scene today, fifty years after Singapore’s independence.