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Eating-In-Delhi
S No. Premises Name Premises Address District 1 DOMINOS PIZZA INDIA LTD GF, 18/27-E, EAST PATEL NAGAR, ND CENTRAL DISTRICT 2 STANDARD DHABA X-69 WEST PATEL NAGAR NEW DELHI CENTRAL DISTRICT 3 KALA DA TEA & SNACKS 26/140, WEST PATEL NAGAR, NEW DELHI CENTRAL DISTRICT 4 SHARON DI HATTI SHOP NO- 29, MALA MKT. WEST PATEL NAGAR NEW CENTRAL DISTRICT DELHI 5 MAA BHAGWATI RESTAURANT 3504, DARIBA PAN, DBG ROAD, DELHI CENTRAL DISTRICT 6 MITRA DA DHABA X-57, WEST PATEL NAGAR NEW DELHI CENTRAL DISTRICT 7 CHICKEN HUT 3181, SANGTRASHAN STREET PAHAR GANJ, NEW CENTRAL DISTRICT DELHI 8 DIMPLE RESTAURANT 2105,D.B.GUPTA ROAD KAROL BAGH NEW DELHI CENTRAL DISTRICT 9 MIGLANI DHABA 4240 GALI KRISHNA PAHAR GANJ, NEW DELHI CENTRAL DISTRICT 10 DURGA SNACKS 813,G.F. KAMRA BANGASH DARYA GANJ NEW DELHI- CENTRAL DISTRICT 10002 11 M/S SHRI SHYAM CATERERS GF, SHOP NO 74-76A, MARUTI JAGGANATH NEAR CENTRAL DISTRICT KOTWALI, NEAR POLICE STATION, OPPOSITE TRAFFIC SIGNAL, DAR 12 AROMA SPICE 15A/61, WEA KAROL BAGH, NEW DELHI CENTRAL DISTRICT 13 REPUBLIC OF CHICKEN 25/6, SHOP NO-4, GF, EAST PATEL NAGAR,DELHI CENTRAL DISTRICT 14 REHMATULLA DHABA 105/106/107/110 BAZAR MATIYA MAHAL, JAMA CENTRAL DISTRICT MASJID, DELHI 15 M/S LOCHIS CHIC BITES GF, SHOP NO 7724, PLOT NO 1, NEW MARKET KAROL CENTRAL DISTRICT BAGH, NEW DELHI 16 NEW MADHUR RESTAURANT 26/25-26 OLD RAJENDER NAGAR NEW DELHI CENTRAL DISTRICT 17 A B ENTERPRISES( 40 SEATS) 57/13,GF,OLD RAJINDER,NAGAR,DELHI CENTRAL DISTRICT 18 GRAND MADRAS CAFE GF,8301,GALI NO-4,MULTANI DHANDA PAHAR CENTRAL DISTRICT GANJ,DELHI-55 19 STANDARD SWEETS 3510,CHAWRI BAZAR,DELHI CENTRAL DISTRICT 20 M/S CAFE COFFEE DAY 3631, GROUND FLOOR, NETAJI SUBASH MARG, CENTRAL DISTRICT DARYAGANJ, NEW DELHI 21 CHANGEGI EATING HOUSE 3A EAST PARK RD KAROL BAGH ND DELHI 110055 CENTRAL DISTRICT 22 KAKE DA DHABA SHOP NO.47,OLD RAJINDER NAGAR,MARKET,NEW CENTRAL DISTRICT DELHI 23 CHOPRA DHABA 7A/5 WEA CHANNA MKT. -
A Portrayal of People Essays on Visual Anthropology
A PORTRAYAL OF PEOPLE Digitized by the Internet Archive in 2018 with funding from Public.Resource.Org https://archive.org/details/portrayalofpeoplOOunse A PORTRAYAL OF PEOPLE Essays on Visual Anthropology in India Co-published by ANTHROPOLOGICAL SURVEY OF INDIA INDIAN NATIONAL TRUST FOR ART AND CULTURAL HERITAGE INTACH 71, Lodhi Estate New Delhi-110 003 ANTHROPOLOGICAL SURVEY OF INDIA West Block 2, Wing 6, First Floor R.K. Puram New Delhi 110 066. ©ASI, INTACH, 1987. © For individual contributions with authors. Printed at Indraprastha Press (CBT) 4 Bahadur Shah Zafar Marg, New Delhi 110002. CONTENTS Foreword v Introduction ix An Examination of the 1 Need and Potential for Visual Anthropology in India Rakhi Roy and Jayasinhji Jhala Anthropological Survey of 20 India and Visual Anthropology K.S. Singh History of Visual Anthropology 49 in India K.N. Sahay Perceptions of the Self and Other 75 in Visual Anthropology Rakhi Roy and Jayasinhji Jhala My Experiences as a Cameraman 99 in the Anthropological Survey Susanta K. Chattopadhyay The Vital Interface 114 Ashish Rajadhyaksha The Realistic Fictional Film: 127 How far from Visual Anthropology? Chidananda Das Gupta Phaniyamma and the Triumph 139 of Asceticism T.G. Vaidyanathan Images of Islam and Muslims 147 on Doordarshan Iqbal Masud Man in My Films 161 Mrinal Sen/Someshwar Bhowmick The Individual and Society 169 Adoor Gopalakrishnan/Madhavan Kutty Notes on Contributors 174 FOREWORD It has often been said that India lives in many centuries at the same time. The complex network of diversity that stretches across time and space has made India a paradise for anthropologists. -
Rikhi Ram Music Instrument Manufacturing Company
Rikhi Ram Music Instrument Manufacturing Company https://www.indiamart.com/rikhirammusicalinstruments/ Manufacturer of sarangi, dholak and teak wood sitar. About Us Indian instruments belong to a tradition dipped in antiquity. It dates back to the Veena of Saraswati, Bansuri of Krishna and Damru of Shiva, corresponding to modern classifications of musical instruments under string, wind & percussions respectively. The journey of 'Rikhi Ram Musical Instrument Mfg.Co' started with founder Late Pt. Rikhi Ram, who was a great musicians and one of the best known musical instrument maker. Pt. Rikhi Ram's father Pt. Gobind Ram was also a musician and had inclinations towards making musical instruments and so manufacturing of musical instruments started in the family 85 years ago. Pt. Rikhi Ram learnt sitar playing from eminent musician Abdul Harim Poonchwala. Late Pt. Bishan Dass followed in his father's footsteps and started learning sitar at a very tender age under the guidance and supervision of his father. Later, he became a disciple of world renowed sitar maestro Pt. Ravi Shankar. He also worked in the maintainance cell of A.I.R. During his tenor at A.I.R he got associated with great musicians like Ustad Allauddin Khan, Ustad Hafiz Ali Khan, Ustad Vilayat Khan, Pt.Ravi Shankar and many others. From these great Ustads Bishan learnt that the primal value of a good instrument was its tonal quality. They would often discuss these aspects of an instrument and give him useful hints. "This extra interest fired my imagination and aroused in me the urge to produce quality instruments for the maestros" says Late Pt. -
101 Chapter-Ii Early Phase of Satirical Art in Bengal
CHAPTER-II EARLY PHASE OF SATIRICAL ART IN BENGAL 2.1 INTRODUCTION In this chapter, the research deals with some essential quarries of origin of satirical impulse in art and activities in the 19th century Calcutta, as the market for art started expanding, thanks to the processes of urbanization, the rural folk traditions of pat painting transformed in the hands of the migrant artists to produce water-colours (they used gouache and tempera) of Hindu gods and goddesses as well as to address the unprecedented diversity of urban life. As a result, many of these Kalighat paintings (as the art-practice came to be known) described, using their signature bold lines and colorations, some of the city‟s most popular scandals. Most importantly, they took satirical pot-shots at the sanctimoniousness of the city‟s middle-classes. One can, in fact, trace the obsession with the dandyish and dissolute Babu figure in the early 20th century art to many of the searing images produced by these patuas. The Bat-tala prints and wood-cuts also explored the same themes, targeting the lascivious courtesan and the effeminate Babu with equal ardour. (Sardesai:2003) The historical study of the evolution of satirical images cannot be done without including the patachitras, an art that had an exclusive position in the world of art in Bengal. While speaking of patachitras what instantly comes to our mind is the school of kalighat patachitras. Satire has been a part of traditional culture in Bengal since a long time. The various traditional practises like bolan in rahr Bengal, gombhira of north Bengal, jhumur incorporated in their performances an element of satire. -
The Sarangi Family
THE SARANGI FAMILY 1. 1 Classification In the prestigious New Grove Dictionary of Music and Musicians. the sarangi is described as follows : "A bowed chordophone occurring in a number of forms in the Indian subcontinent. It has a waisted body, a wide neck without frets and is usually carved from a single block of wood; in addition to its three or four strings it has one or two sets of sympathetic strings. The sarangi originated as a folk instrument but has been used increasingly in classical music." 1 Whereas this entry consists of only a few lines. the violin family extends to 72 pages. lea ding one to conclude that a comprehensive study of the sarangi has been sorely lacking for a long time. A cryptic description like the one above reveals next to nothing about this major Indian bowed instrument which probably originated at the same time as the violin. It also ignores the fact that the sarangi family comprises the largest number of Indian stringed instruments. What kind of sarangi did the authors visualize when they wrote these lines? Was it the large classical sarangi or one of the many folk types? In which musical context are these instruments used. and how important is the sarangi player? How does one play the sarangi? Who were the famous masters and what did they contribute? Many such questions arise when one talks about the sarangi. A person frnm Romhav-assuminq he is familiar with the sarangi-may have a different 2 picture in mind than someone from Jodhpur or Srinagar. -
1 PERSONAL PROFILE Name : Pran Kumar
1 PERSONAL PROFILE Name : Pran Kumar Rajak Designation : Assistant Professor Department : Philosophy Academic Qualification : M.A. in Philosophy, B. T. Office address : MUC Women’s College, Burdwan (W. B.) Phone (Office) : 03422533168 Phone/Mobile : 9474321505 Correspondence Address : Vill + P. O. - Panchthupi Dist - Murshidabad PIN – 742161 (W.B.) E-mail : [email protected] Personal Profile including : a) Biography: Mr Pran Kumar Rajak graduated from Kandi Raj College, Murshidabad and did his M.A. from Visva- Bharati, Santiniketan, West Bengal. He has been teaching at MUC Women’s College, Burdwan since 2010. Formerly, he taught at Patikabari H. S. School, Murshidabad for more than eleven years. He acted as Joint- Coordinator in UGC Sponsored National Seminar on “The Place of Vedanta in Contemporary Indian Philosophy”, 14 September, 2011 and also on “Swami Vivekananda and the Present Day Indian Society”, 12-13 September, 2013. His areas of interest are Indian Philosophy and Contemporary Indian Philosophy. He has contributed scholarly articles to various journals and magazines. b) Research activity (if any) in bullet form (or within 250 words) Past Research program: Nil Present Research program: Nil Future research plan: Indian Philosophy c) List of Publication (if required add Annexure) Published Articles: 1. “Vhishmer Icchāmrityu Hala Aicchik Swastimrityu”, BARNOLIPI: An Interdisciplinary Journal, Vol.I. Issue VI. Apr., 2012. (ISSN 2249-2666) Pp. 107-113. 2. “Dalit O Ādibāsi, Ucchabarner Dwāra Ājo Padadalita”. BARNOLIPI: An Interdisciplinary Journal, Vol.II. Issue I. June, 2012. (ISSN 2249-2666) Pp. 136-148. 2 3. “Rupabaishamya - Kālo Meyer Kopāl Manda”, PURVA BHARAT (Mānush O Sanskriti). [Pub.by East Indian Society for the Studies of Social Sciences] Vol. -
Indian Music Instruments Sarangi Sitar Sitar Is of the Most Popular Music
Indian Music Instruments Sarangi Sitar Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury. Sarod Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan. Sarangi Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan. -
Folk Instruments of Punjab
Folk Instruments of Punjab By Inderpreet Kaur Folk Instruments of Punjab Algoza Gharha Bugchu Kato Chimta Sapp Dilruba Gagar Dhadd Ektara Dhol Tumbi Khartal Sarangi Alghoza is a pair of woodwind instruments adopted by Punjabi, Sindhi, Kutchi, Rajasthani and Baloch folk musicians. It is also called Mattiyan ,Jōrhi, Pāwā Jōrhī, Do Nālī, Donāl, Girāw, Satārā or Nagōze. Bugchu (Punjabi: ਬੁਘਚੂ) is a traditional musical instrument native to the Punjab region. It is used in various cultural activities like folk music and folk dances such as bhangra, Malwai Giddha etc. It is a simple but unique instrument made of wood. Its shape is much similar to damru, an Indian musical instrument. Chimta (Punjabi: ਚਚਮਟਾ This instrument is often used in popular Punjabi folk songs, Bhangra music and the Sikh religious music known as Gurbani Kirtan. Dilruba (Punjabi: ਚਿਲਰੱਬਾ; It is a relatively young instrument, being only about 300 years old. The Dilruba (translated as robber of the heart) is found in North India, primarily Punjab, where it is used in Gurmat Sangeet and Hindustani classical music and in West Bengal. Dhadd (Punjabi: ਢੱਡ), also spelled as Dhad or Dhadh is an hourglass-shaped traditional musical instrument native to Punjab that is mainly used by the Dhadi singers. It is also used by other folk singers of the region Dhol (Hindi: ढोल, Punjabi: ਢੋਲ, can refer to any one of a number of similar types of double-headed drum widely used, with regional variations, throughout the Indian subcontinent. Its range of distribution in India, Bangladesh and Pakistan primarily includes northern areas such as the Punjab, Haryana, Delhi, Kashmir, Sindh, Assam Valley Gagar (Punjabi: ਗਾਗਰ, pronounced: gāger), a metal pitcher used to store water in earlier days, is also used as a musical instrument in number of Punjabi folk songs and dances. -
Musical Instruments of North India 5.1 Do You Know
Musical instruments of North India 5.1 Do you know Description Image Source Sarangi is the only instrument which comes in closest proximity to the human voice and therefore it is very popular among the singers as an accompanying instrument in hindustani classical music. Pakhawaj is the only percussion instrument to accompany the dhrupad style of singing. Bansuri or flute is a simple bamboo tube of a uniform bore. The primary function of tabla is to mentain the metric cycle in which the compositions are set. Tanpura is an instrumenused in both north and south Indian classical music. 5.2 Glossary Staring Related Term Definition Character Term Membranophones, instruments in which sound is A Avanadha produced by a membrane, stretched over an opening. B Bansuri A bamboo transverse flute of north India. D Dand The finger board. G Ghan Idiophones; percussion Instruments. A stringed musical instrument with a fretted finger board Guitar played by plucking or strumming with the fingers or a plectrum. H Harmonium A free reed aero phone which has a keyboard. K Khunti Tuning pegs. P Pakhawaj A percussion instrument used as an accompaniment. A large plucked string instrument used in R RudraVeena HindustaniClassical music. Aero phones, wind instruments in which sound is S Sushir produced by the vibration of air. A plucked string instrument used in HindustaniClassical Sitar music. A stringed musical instrument used in Sarod HindustaniClassical music. A trapezoid shaped string musical instrument played with Santoor two wooden sticks. A bowing stringed instrument used in Sarangi HindustaniClassical music. A wind instrument particularly played on auspicious Shehnai occasions like weddings. -
The Annual Kathmandu Conference on Nepal & the Himalaya
HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies Volume 37 Number 1 Article 22 June 2017 The Annual Kathmandu Conference on Nepal & the Himalaya Swatahsiddha Sarkar University of North Bengal Babika Khawas University of North Bengal Follow this and additional works at: https://digitalcommons.macalester.edu/himalaya Recommended Citation Sarkar, Swatahsiddha and Khawas, Babika. 2017. The Annual Kathmandu Conference on Nepal & the Himalaya. HIMALAYA 37(1). Available at: https://digitalcommons.macalester.edu/himalaya/vol37/iss1/22 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Conference Report is brought to you for free and open access by the DigitalCommons@Macalester College at DigitalCommons@Macalester College. It has been accepted for inclusion in HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Conference Reports The Annual Kathmandu Conference the nation, and nationalism strategy to provide crucial means on Nepal & the Himalaya presented in two separate panels. for rural livelihood in the form of Ajapa Sharma (Jawaharlal Nehru internal remittance to the migrants’ Lazimpat, Nepal University) spoke on the conflation families. In the second presentation, of nation and gender in the works Ang Sanu Lama and her team from 27–29 July 2016 of three legendary literary figures the SSB drew on fieldwork in three of Nepal: Bal Krishna Sama, Laxmi districts of Nepal to highlight The fifth Annual Kathmandu Prasad Devkota and B.P Koirala. the effect of migration on male Conference on Nepal and the Balram Uprety (St. -
Annual-Report-2014-2015-Ministry-Of-Information-And-Broadcasting-Of-India.Pdf
Annual Report 2014-15 ANNUAL PB REPORT An Overview 1 Published by the Publications Division Ministry of Information and Broadcasting, Government of India Printed at Niyogi offset Pvt. Ltd., New Delhi 20 ANNUAL 2 REPORT An Overview 3 Ministry of Information and Broadcasting Annual Report 2014-15 ANNUAL 2 REPORT An Overview 3 45th International Film Festival of India 2014 ANNUAL 4 REPORT An Overview 5 Contents Page No. Highlights of the Year 07 1 An Overview 15 2 Role and Functions of the Ministry 19 3 New Initiatives 23 4 Activities under Information Sector 27 5 Activities under Broadcasting Sector 85 6 Activities under Films Sector 207 7 International Co-operation 255 8 Reservation for Scheduled Castes, Scheduled Tribes and other Backward Classes 259 9 Representation of Physically Disabled Persons in Service 263 10 Use of Hindi as Official Language 267 11 Women Welfare Activities 269 12 Vigilance Related Matters 271 13 Citizens’ Charter & Grievance Redressal Mechanism 273 14 Right to Information Act, 2005 Related Matters 277 15 Accounting & Internal Audit 281 16 CAG Paras (Received From 01.01.2014 To 31.02.2015) 285 17 Implementation of the Judgements/Orders of CATs 287 18 Plan Outlay 289 19 Media Unit-wise Budget 301 20 Organizational Chart of Ministry of I&B 307 21 Results-Framework Document (RFD) for Ministry of Information and Broadcasting 315 2013-2014 ANNUAL 4 REPORT An Overview 5 ANNUAL 6 REPORT Highlights of the Year 7 Highlights of the Year INFORMATION WING advertisements. Consistent efforts are being made to ● In order to facilitate Ministries/Departments in promote and propagate Swachh Bharat Mission through registering their presence on Social media by utilizing Public and Private Broadcasters extensively. -
Orissa High Court Filing Report As on :20/12/2019
ORISSA HIGH COURT FILING REPORT AS ON :20/12/2019 SL FILING NO NAME OF PETNR./APPEL COUNSEL FOR PETNR./APPEL PS CASE/LOWER COURT CASE/DISTRICT 1 ARBA/0000038/2019 FORUM PROJECTS PVT. LTD. AMIT PRASAD BOSE / / VS VS () BERHAMPUR DEVELOPMENT AUTHORITY // 2 BLAPL/0011046/2019 DHANU @ DHANESWAR PURTY B.N.MAHAPATRA ROURKELA GRPS. /72 /2018 VS VS () STATE OF ODISHA // 3 BLAPL/0011047/2019 SAROJ KUMAR DASH ARIJEET MISHRA JEYPORE MAHILA /61 /2019 VS VS () STATE OF ODISHA // 4 BLAPL/0011048/2019 KASHINATH MAHANTA L.BHUYAN TELKOI /182 /2018 VS VS () STATE OF ODISHA // 5 BLAPL/0011049/2019 KORADA BALAJI KRISHNA @ K.BALAJI KRISHNAMANORANJAN PADHY NANDAPUR /76 /2016 VS VS () STATE OF ODISHA // 6 BLAPL/0011050/2019 BIBHUTI BHUSAN MALLICK S.C.ACHARYA KUJANGA /199 /2019 VS VS () STATE OF ODISHA // 7 BLAPL/0011051/2019 AFTAB ALAM KHAN SUBHASHIS MISHRA BHUBANESWAR VIGILANCE /64 /2019 VS VS () STATE OF ODISHA, VIG. // 8 BLAPL/0011052/2019 RUPENDRA BEHERA JYOTIRMAYA SAHOO / /0 VS VS () STATE OF ODISHA // 9 BLAPL/0011053/2019 GOPABANDHU SUNA SURYAKANTA DWIBEDI JHARBANDH /74 /2018 VS VS () STATE OF ODISHA // 10 BLAPL/0011054/2019 MD.INZEMAM @ ROCKY PARTHA SARATHI NAYAK COLLIERY /418 /2019 VS VS () STATE OF ODISHA // 11 BLAPL/0011055/2019 BELIA@ SUSANTA KUMAR MAJHI JITENDRA SAMANTARAY KHURDA P.S. /264 /2018 VS VS () STATE OF ODISHA // Page 1/63 ORISSA HIGH COURT FILING REPORT AS ON :20/12/2019 SL FILING NO NAME OF PETNR./APPEL COUNSEL FOR PETNR./APPEL PS CASE/LOWER COURT CASE/DISTRICT 12 BLAPL/0011056/2019 BIJAY KUMAR MALLIK AMULYA RATNA PANDA MANGALPUR /365