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How Modern India Reinvented Classical Dance
ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD. -
Odisha Review
ODISHA REVIEW VOL. LXXI NO. 2-3 SEPTEMBER-OCTOBER - 2014 MADHUSUDAN PADHI, I.A.S. Commissioner-cum-Secretary BHAGABAN NANDA, O.A.S, ( SAG) Special Secretary DR. LENIN MOHANTY Editor Editorial Assistance Production Assistance Bibhu Chandra Mishra Debasis Pattnaik Bikram Maharana Sadhana Mishra Cover Design & Illustration D.T.P. & Design Manas Ranjan Nayak Hemanta Kumar Sahoo Photo Raju Singh Manoranjan Mohanty The Odisha Review aims at disseminating knowledge and information concerning Odisha’s socio-economic development, art and culture. Views, records, statistics and information published in the Odisha Review are not necessarily those of the Government of Odisha. Published by Information & Public Relations Department, Government of Odisha, Bhubaneswar - 751001 and Printed at Odisha Government Press, Cuttack - 753010. For subscription and trade inquiry, please contact : Manager, Publications, Information & Public Relations Department, Loksampark Bhawan, Bhubaneswar - 751001. Five Rupees / Copy E-mail : [email protected] Visit : http://odisha.gov.in Contact : 9937057528(M) CONTENTS Nabakalebar Bhagaban Mahapatra ... 1 Good Governance ... 5 The Concept of Sakti and Its Appearance in Odisha Sanjaya Kumar Mahapatra ... 8 Siva and Shakti Cult in Parlakhemundi : Some Reflections Dr. N.P. Panigrahi ... 11 Durga Temple at Ambapara : A Study on Art and Architecture Dr. Ratnakar Mohapatra ... 20 Perspective of a Teacher as Nation Builder Dr. Manoranjan Pradhan ... 22 A Macroscopic View of Indian Education System Lopamudra Pradhan ... 27 Abhaya Kumar Panda The Immortal Star of Suando Parikshit Mishra ... 42 Consumer is the King Under the Consumer Protection Law Prof. Hrudaya Ballav Das ... 45 Paradigm of Socio-Economic-Cultural Notion in Colonial Odisha : Contemplation of Gopabandhu Das Snigdha Acharya ... 48 Raghunath Panigrahy : The Genius Bhaskar Parichha .. -
Courses Taught at Both the Undergraduate and the Postgraduate Levels
Jadavpur University Faculty of Arts Department of History SYLLABUS Preface The Department of History, Jadavpur University, was born in August 1956 because of the Special Importance Attached to History by the National Council of Education. The necessity for reconstructing the history of humankind with special reference to India‘s glorious past was highlighted by the National Council in keeping with the traditions of this organization. The subsequent history of the Department shows that this centre of historical studies has played an important role in many areas of historical knowledge and fundamental research. As one of the best centres of historical studies in the country, the Department updates and revises its syllabi at regular intervals. It was revised last in 2008 and is again being revised in 2011.The syllabi that feature in this booklet have been updated recently in keeping with the guidelines mentioned in the booklet circulated by the UGC on ‗Model Curriculum‘. The course contents of a number of papers at both the Undergraduate and Postgraduate levels have been restructured to incorporate recent developments - political and economic - of many regions or countries as well as the trends in recent historiography. To cite just a single instance, as part of this endeavour, the Department now offers new special papers like ‗Social History of Modern India‘ and ‗History of Science and Technology‘ at the Postgraduate level. The Department is the first in Eastern India and among the few in the country, to introduce a full-scale specialization on the ‗Social History of Science and Technology‘. The Department recently qualified for SAP. -
NRITYANJALI – an Ode to Indian Classical Dance and Maestros
Films Division Ministry of Information & Broadcasting Govt. of India 24- Dr.G Deshmukh Marg MUMBAI -400 026 PRESS RELEASE Dated 22st Sept., 2020 NRITYANJALI – an ode to Indian Classical Dance and Maestros Indian Classical Dance is an umbrella term for various performing arts whose theory and practice can be traced to the Sanskrit text, Natya-Shastra, the foundational treatise for the text of which is attributed to the ancient scholar Bharata Muni. Prominent dance forms like Bharat Natyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohini Aattam are traditionally regional, all of them include music and recitation in local language or Sanskrit, and they represent a unity of core ideas in a diversity of styles, costumes and expression. After the overwhelming response to Raagotsav, an online film festival on Indian Classical Music, Films Division is presenting the first part of “Nrityanjali”, an on line festival on Indian Classical Dance and Maestros between September 23–25, 2020. Ten films on the life and works of India’s leading classical dancers will be streamed on Films Division website and You Tube channel. Nrityanjali showcases “Sitara Devi” (20 min./1995/Amar Varma), a film on doyen of Kathak Dance, hailed as the Queen of Kathak by Rabindranath Tagore, honoured with many awards including Padma Shri, Sangeet Natak Akademi Award and Kalidas Samman. “Yamini Krishnamurthy” (20 min./1981/Balwant Gargi), is on the leading Bharat Natyam exponent who also excels in Odissi and Kuchipudi. She has been honoured with Padma Vibhushan, Sangeet Natak Akademi Award and Natya Shastra Award. “Raja-Radha” (22 min./1989/Kunwar Sinha), a biographical film on the well known Kuchipudi dancer-couple Raja and Radha Reddy, who gave new dimension to the traditional Kuchipudi dance and honoured with Padma Bhushan, Sangeet Natak Akademi Award and Nritya Choodmani Award. -
The Journal the Music Academy
THE JOURNAL OF THE MUSIC ACADEMY* DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXI 1990 vet rrar fassT fa m r s n ''I dwell not In Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!" Edited ^by: T. S. PARTHASARATHY The Music Academy Madras 306, T. T. K. Road, Madras-600014 Annual Subscription — Inland Rs. 30 : Foreign $ 3-00 OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be addressed and all books etc,, intended for it should be sent to The Editor Journal of the Music Academy, 306, T. T. K. Road, Madras-600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, type written (double-spaced and on one side of the paper only) and should be signed by the writter (giving his or her address in full.) The Editor of the Journal is not responsible for the views expressed by contributors in their articles. CONTENTS PAGE The 63rd Madras Music Conference—Official Report ... 1 Meetings of the Advisory Committee , 28 The Sadas 46 Prahlada Bhakti Vijayam of Sri Tyagaraja ... 65 7. S. Parthasarathy Bharata Natyam 116 Anne—Marie Gaston The Pancha Ratna Kritis of Sri Tyagaraja 146 7. S. Parthasarathy Balasaraswati’s Abhinaya Style 160 Kay Poursine Ancient Music : 165 Brinda Varadarajan Sri Tyagaraja Swamigal in Samskrita Kritis 189 V. Sivaswamy The Values of Tyagaraja 206 W illiam J . -
Banis / बानी and Schools Are Aplenty
PAPER: 3 Detail Study Of Bharatanatyam, Devadasis-Natuvnar, Nritya And Nritta, Different Bani-s, Present Status, Institutions, Artists Module 18 Institutions Of Bharatanatyam Present day Bharatanatyam banis / बानी and schools are aplenty. There are many branches of main banis and some as far as in New Jersey in USA or Ukhrul in Manipur! Since Bharatanatyam has spread far and wide, each dancer is adding something to what was learnt and trying to extend its boundaries and body. Many dancers are also teachers today, so they are adding new poses or postures and calling it sub banis or schools. Schools today mean individual teaching establishments, not a generic bani or style. It means in one city itself, say small town like Mysore or Baroda, there could be ten schools of Bharatanatyam. Each teaching same dance, differently. In that, there is no standardization. In one area of a big metro like Chennai or Bangalore, Mylapore or Malleswaram, there are over a dozen teachers teaching from same bani differently. This is not to break away as much as what one learnt from a guru and how much. Schools of Bharatanatyam today within one city can be in hundreds, especially nerve centre of dance like Chennai. The Dhananjayans, Chandrasekhars, Ambika Buch, Savitri Jagannath Rao, M.V. 1 Narasimhachari and Vasanthalakshmi, Sheejith Krishna, P.T. Narendran, Shijith Nambiar and Parvathy Menon teach the Kalakshetra style. J. Suryanarayanamurthy, a disciple of the Dhananjayans, is a popular teacher. Sreelatha Vinod, Tulsi Badrinath, Radhika Surajit, Shobana Bhalchandra are ardent disciples of the Dhananjayans and faithfully follow their teachers’ teachings. -
20Years of Sahmat.Pdf
SAHMAT – 20 Years 1 SAHMAT 20 YEARS 1989-2009 A Document of Activities and Statements 2 PUBLICATIONS SAHMAT – 20 YEARS, 1989-2009 A Document of Activities and Statements © SAHMAT, 2009 ISBN: 978-81-86219-90-4 Rs. 250 Cover design: Ram Rahman Printed by: Creative Advertisers & Printers New Delhi Ph: 98110 04852 Safdar Hashmi Memorial Trust 29 Ferozeshah Road New Delhi 110 001 Tel: (011) 2307 0787, 2338 1276 E-mail: [email protected] www.sahmat.org SAHMAT – 20 Years 3 4 PUBLICATIONS SAHMAT – 20 Years 5 Safdar Hashmi 1954–1989 Twenty years ago, on 1 January 1989, Safdar Hashmi was fatally attacked in broad daylight while performing a street play in Sahibabad, a working-class area just outside Delhi. Political activist, actor, playwright and poet, Safdar had been deeply committed, like so many young men and women of his generation, to the anti-imperialist, secular and egalitarian values that were woven into the rich fabric of the nation’s liberation struggle. Safdar moved closer to the Left, eventually joining the CPI(M), to pursue his goal of being part of a social order worthy of a free people. Tragically, it would be of the manner of his death at the hands of a politically patronised mafia that would single him out. The spontaneous, nationwide wave of revulsion, grief and resistance aroused by his brutal murder transformed him into a powerful symbol of the very values that had been sought to be crushed by his death. Such a death belongs to the revolutionary martyr. 6 PUBLICATIONS Safdar was thirty-four years old when he died. -
TEA-STO-30..TEA-STO-30.1 .. Page1
Ashish Mohan Khokar INDIAN DANCE TODAY. AN HISTORICAL OVER-VIEW [Ashish Mohan Khokar è probabilmente il più importante critico e studioso di danza in India. Ha studiato danza, ha lavorato in diverse accademie di danza, è critico del principale quotidiano indiano, «The Times of India», collabora con diversi altri quotidiani, è il direttore dell’unico Annale di danza in India, «Attendance». Ha scritto molti li- bri sulla danza. E` figlio di Mohan Khokar, senz’altro il più grande stu- dioso di danza indiano dell’ultima generazione. Sta creando il primo Archivio di Danza in India, partendo dall’immensa collezione del pa- dre. Per maggiori dettagli si possono vedere: www.attendance- india.com e www.dancearchivesofindia.com.] Indian classical dance traditions have been borne out of a sense of propitiation of the divinity. A certain spiritual content has always been its mainstay. It has also been essentially the art of a soloist, ex- cept in dance-theatre forms. Over two thousand unbroken years, it has grown to become the longest continuous dance culture, afford- ing an interesting insight into man and his relationship to stage in general and dance art, in particular. Its classical nature comes through by a set of code of grammar, content and concept. Thus, if in one form, the knees are to be bent while performing and a half-sitting position maintained all through, then it cannot be altered. The position of hands, the use of eyes, neck, torso and feet, all go towards making dance units, which be- come strings of movements, through which individual characteristics and a grammar is set which makes each form distinct and thus, with age and tradition, classical. -
DATE TIME Sabha Venue ARTISTE 24/11/2007 5:15 PM Bharatiya
DECEMBER SEASON 2007: By Date (Please note that this is not a complete listing of all Season 2007 programmes. It reflects only the information that we have received from various organizations. Please check daily newspaper listings for the latest updated schedules. Another useful source is Ram's Blog (http://ramsabode.wordpress.com/concerts-in-chennai/) DATE TIME Sabha Venue ARTISTE 24/11/2007 5:15 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Seshampatti Sivalingam 24/11/2007 7:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall T. V. Gopalakrishnan 25/11/2007 10:00 AM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Papanasam Ashok Ramani 25/11/2007 5:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Master Balamuralikrishna 25/11/2007 7:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Ganesh and Kumaresh 26/11/2007 5:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Gayathri Girish 26/11/2007 7:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Sriram Parasuram and Anoorada Sriram 27/11/2007 5:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Sikkil Gurucharan 27/11/2007 7:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Tirupati Satyanarayana and Valayapatti 28/11/2007 5:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Geetha Rajasekhar 28/11/2007 7:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall Nithyasree Mahadevan 29/11/2007 5:00 PM Bharatiya Vidya Bhavan Bharatiya Vidya Bhavan Main Hall T. V. -
Module 1 Dance in India Today an Overview
PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 1 DANCE IN INDIA TODAY AN OVERVIEW Indian classical dance traditions have been borne out of a sense of propitiation of the divinity. A certain spiritual content has always been its mainstay. It has also been essentially the art of a soloist, except in dance-theatre forms. Over two thousand unbroken years, it has grown to become the longest continuous dance culture, affording an interesting insight into man and his relationship to stage in general and dance art, in particular. Its classical nature comes through by a set of code of grammar, content and concept. Thus, if in one form, the knees are to be bent while performing and a half-sitting position maintained all through, then it cannot be altered. The position of hands, the use of eyes, neck, torso and feet, all go towards making dance units, which become strings of movements, through which individual characteristics and a grammar is set which makes each form distinct and thus, with age and tradition, classical. The content is mostly mythological. These forms evolved over centuries, and it is believed, these were created to please gods and their representatives on earth. The myth goes that the gods were bored and asked the wisest amongst them – Brahma, the creator, - to create some form of entertainment that would involve and engage all. Brahma enlisted the help of sages, of whom Bharata, was given the specific task of writing a new Veda, (the holy treatises of which four existed already - Rig, Saama / साम, Yajur / यजुर and Atharva / अथ셍व) the fifth Veda called the Natyashastra, and through this work, the details of modern dramaturgy in India were born. -
Sabha Artiste Date Time Venue Bharat Kalachar Subbu Arumugam and Party 14/12/2007 4:00 PM YGP Auditorium, T
DECEMBER SEASON 2007: Sabha-wise Schedule (Please note that this is not a complete listing of all Season 2007 programmes. It reflects only the information that we have received from various organizations. Please check daily newspaper listings for the latest updated schedules. Another useful source is Ram's Blog (http://ramsabode.wordpress.com/concerts-in-chennai/) Sabha Artiste Date Time Venue Bharat Kalachar Subbu Arumugam and party 14/12/2007 4:00 PM YGP Auditorium, T. Nagar Bharat Kalachar Padmini Krishnamurthy 14/12/2007 7:15 PM YGP Auditorium, T. Nagar Bharat Kalachar Master M. Balamuralikrishna 15/12/2007 10:30 AM YGP Auditorium, T. Nagar Bharat Kalachar T. V. Sankaranarayanan 15/12/2007 4:00 PM YGP Auditorium, T. Nagar Bharat Kalachar Alarmel Valli 15/12/2007 7:30 PM YGP Auditorium, T. Nagar Bharat Kalachar Dr. N. Hamsini 16/12/2007 10:30 AM YGP Auditorium, T. Nagar Bharat Kalachar Nithyasree Mahadevan 16/12/2007 4:00 PM YGP Auditorium, T. Nagar Bharat Kalachar Srinidhi Chidambaram 16/12/2007 7:30 PM YGP Auditorium, T. Nagar Bharat Kalachar U. Srinivas 17/12/2007 6:00 PM YGP Auditorium, T. Nagar Bharat Kalachar T. N. Seshagopalan 18/12/2007 6:00 PM YGP Auditorium, T. Nagar Bharat Kalachar T. M. Krishna 19/12/2007 6:00 PM YGP Auditorium, T. Nagar Bharat Kalachar Bombay Jayashree 20/12/2007 6:00 PM YGP Auditorium, T. Nagar Bharat Kalachar Y. Gee Melody Makers 21/12/2007 6:00 PM YGP Auditorium, T. Nagar Bharat Kalachar Madurai R. Sundar 22/12/2007 10:30 AM YGP Auditorium, T. -
SOE •fi Final Summer Term, Makeup Exam July 2020 •fi
Slno Program Exam Type Roll no Name Course code Course Name Faculty Name Faculty Email ID Student Phone Student Email ID TLCA 1 B.Tech Summer Term 2015CSE031 CHANDAN R CSE 212 Analysis Of Algorithms Ms. Smitha Patil [email protected] 9538462522 [email protected] Theory 2 B.Tech Make-Up 2015PEE020 AMAL SURENDRAN PET 217 Petroleum Refining And Petrochemicals Mr. Ankur Neog [email protected] 8606828519 [email protected] Theory 3 B.Tech Summer Term 2015PEE020 AMAL SURENDRAN PET 302 Offshore Engineering Technology Dr. Geetanjali Chauhan [email protected] 8606828519 [email protected] Theory 4 B.Tech Make-Up 2016CSE007 KIRAN V CSE 205 Computer Organisation And Architecture Mr. Tapas Guha [email protected] 9448673907 [email protected] Theory 5 B.Tech Make-Up 2016CSE015 GOUTHAM.T CSE 307 Data Mining Ms. Vinitha Dominic [email protected] 9481193643 [email protected] Theory 6 B.Tech Summer Term 2016CSE015 GOUTHAM.T CSE 317 Programming In Python Ms. Ganga V C [email protected] 9481193643 [email protected] Lab 7 B.Tech Summer Term 2016CSE016 SHASHANK TN CSE 214 Principles Of Programming Languages Ms. Galiveti Poornima [email protected] 9886697265 [email protected] Theory 8 B.Tech Summer Term 2016CSE016 SHASHANK TN CSE 215 Cryptography And Network Security Mr. Murthy D H R [email protected] 9886697265 [email protected] Theory 9 B.Tech Summer Term 2016CSE016 SHASHANK TN CSE 307 Data Mining Ms. Vinitha Dominic [email protected] 9886697265 [email protected] Theory 10 B.Tech Summer Term 2016CSE017 MITHUN R CSE 317 Programming In Python Ms.