4.5 Festivals of North East India
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Assamese Film Siraj and Ajala Kakai Portraying Bihu Dance and Songs As Popular Culture
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 7, Ser. 6 (July. 2019) 30-34 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Assamese Film Siraj and Ajala Kakai Portraying Bihu Dance and Songs as Popular Culture Dr. Debasis Bezbaruah Guest FacultyGauhati University Institute of North East India Studies Corresponding Author: Dr. Debasis Bezbaruah ----------------------------------------------------------------------------------------------------------------------------- --------- Date of Submission: 10-07-2019 Date of acceptance: 25-07-2019 --------------------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION Bihu dance and songs are folk media forms of Assam. Folk media forms of Bihu are vibrant among people of Assam. However Bihu as represented by Assamese cinema creates popular culture forms which are distinctly deviates from folk forms.Assamese cinema has a glorious history since the first ever film Joymoti by Jyotiprasad Agarwala in 1935. Cinema forms the popular culture. At the same time cinema itself is popular culture. In the twentieth and in the twenty first century cinema is the most powerful mass media which can overcome all barriers of boundaries and forms a universal platform for human race. Cinema is inseparable from the living process of modern human society. The voice of a society is represented by cinema. The people, life and living process, thoughts and beliefs, cultural ethos are represented by cinema. Cinema can carry the culture of the society where the cinema is made. The story, theme, characters, settings, costumes, music, dance etc. of a cinema showcase the cultural forms of the representative society. Assamese cinema therefore represents the cultural forms of Assamese society in the broad sense. “Although the word culture is part of everyday vocabulary, it’s difficult to define. -
Taking Root in Bangladesh
The Newsletter | No.53 | Spring 2010 24 The Focus: ‘Indigenous’ India Taking root in Bangladesh Mymensingh, Chittagong and in particular Dhaka in ever Recently, a Garo friend of mine became increasing numbers. They leave their villages to look for work or to follow higher education (at colleges and universities). Exact a high-profi le adivasi representative. fi gures are not known but during my last visit I understood that ever increasing numbers of young people are leaving for Dhaka or other He’s considered by (non-Garo) donors, big cities, in search of jobs in domestic service, beauty parlours, or the garment industry. Each village that I visited had seen dozens politicians, academics and media to be of its young people leave. Villagers told me amusing stories about these migrants returning to their homes in the villages during an important spokesperson for indigenous Christmas holidays, with their trolley bags and mobile phones, as if they had come straight from Dubai. people(s) and is frequently consulted Only a minority of Garos are citizens of Bangladesh. The large on a variety of ‘indigenous’ issues. When majority live in the Garo Hills in India (and the surrounding plains of Assam). An international border has separated the Bangladeshi I visited Bangladesh last year, my friend Garos from the hill Garos since 1947. Partition resulted in a much stricter division than ever before. Although trans-boundary mobility and his wife asked me to stay with them. has never stopped, Indian and Bangladeshi Garos increasingly developed in diff erent directions. Bangladeshi Garos were more As a result of their generous off er, I gained oriented towards Dhaka, infl uenced by Bengali language and culture, and obviously aff ected by the distinct political developments before unexpected insights into current changes and after the independence war of 1971. -
Indian Cultural Dance Logos Free Download Indian Cultural Dance Logos Non Watermarked Dance
indian cultural dance logos free download indian cultural dance logos non watermarked Dance. Information on North Central Zonal Cultural Centre (NCZCC) under the Ministry of Culture is given. Users can get details of various art forms of various states such as Uttar Pradesh, Bihar, Madhya Pradesh, Rajasthan, Haryana, Uttaranchal and Delhi. Get detailed information about the objectives, schemes, events of the centre. Links of other zonal cultural centers are also available. Website of Eastern Zonal Cultural Centre. The Eastern Zonal Cultural Center (EZCC) is one of the seven such Zonal Cultural Centers set up by the Ministry of Culture with a vision to integrate the states and union territories culturally. Users can get information about the objectives, infrastructure, events, revival projects, etc. Details about the member states and their activities to enhance the cultural integrity are also available. Website of Indira Gandhi National Centre for the Arts. The Indira Gandhi National Centre for the Arts (IGNCA) under the Ministry of Culture is functioning as a centre for research, academic pursuit and dissemination in the field of the arts. Information about IGNCA, its organizational setup, functions, functional units, regional centres, etc. is given. Details related to archeological sites, exhibitions, manuscripts catalogue, seminars, lectures. Website of Jaipur Kathak Kendra. Jaipur Kathak Kendra is a premier Institution working for Training, Promotion & Research of North Indian Classical Dance Kathak. It was established in the year 1978 by the Government of Rajasthan and formally started working from 19th May 1979. Website of North East Zone Cultural Centre. North East Zone Cultural Centre (NEZCC) under Ministry of Culture aims to preserve, innovate and promote the projection and dissemination of arts of the Zone under the broad discipline of Sangeet Natak, Lalit Kala and Sahitya. -
Performing the Garo Nation? Garo Wangala Dancing Between Faith and Folklore
Erik de Maaker Leiden University Performing the Garo Nation? Garo Wangala Dancing between Faith and Folklore In recent decades, Wangala dancing has gained prominence as an important cultural expression of the Northeast Indian Garo community. In 2008, a Wangala performance was included in the annual Republic Day parade. Pho- tographs of Wangala dancing have come to play an important role on posters circulated by politicians and on calendars produced by organizations that call for greater political assertion of the Garo community. Beyond these relatively new uses, for adherents of the traditional Garo religion, Wangala dancing con- tinues to be linked to the most important post-harvest festival. In exploring how Wangala dancing has developed into a powerful mediatized expression of the Garo community, this article examines how national- and state-level per- formances continue to be linked to village-level celebrations. keywords: Wangala dance—Republic Day parade—authenticity— folklorization—indigeneity Asian Ethnology Volume 72, Number 2 • 2013, 221–239 © Nanzan Institute for Religion and Culture he fifty-eighth Republic Day, 26 January 2008, was celebrated under a Tcrisp blue Delhi winter sky. Political and military leaders, as well as a crowd of thousands, cheered as an immaculately performed parade that wanted to display the military might and cultural diversity of the Indian nation passed them by. In India, the Republic Day parade is an annual event, and ever since 1950, it has been held to commemorate and acknowledge the adoption of the Indian constitution. As with any constitution, it defines the relationship between the Indian state and its citizens, and the parade acts as an expression of the power, endurance, and per- petuity of that state. -
Glimpses from the North-East.Pdf
ses imp Gl e North-East m th fro 2009 National Knowledge Commission Glimpses from the North-East National Knowledge Commission 2009 © National Knowledge Commission, 2009 Cover photo credit: Don Bosco Centre for Indigenous Cultures (DBCIC), Shillong, Meghalaya Copy editing, design and printing: New Concept Information Systems Pvt. Ltd. [email protected] Table of Contents Preface v Oral Narratives and Myth - Mamang Dai 1 A Walk through the Sacred Forests of Meghalaya - Desmond Kharmawphlang 9 Ariju: The Traditional Seat of Learning in Ao Society - Monalisa Changkija 16 Meanderings in Assam - Pradip Acharya 25 Manipur: Women’s World? - Tayenjam Bijoykumar Singh 29 Tlawmngaihna: Uniquely Mizo - Margaret Ch. Zama 36 Cultural Spaces: North-East Tradition on Display - Fr. Joseph Puthenpurakal, DBCIC, Shillong 45 Meghalaya’s Underground Treasures - B.D. Kharpran Daly 49 Tripura: A Composite Culture - Saroj Chaudhury 55 Annexure I: Excerpts on the North-East from 11th Five Year Plan 62 Annexure II: About the Authors 74 Preface The north-eastern region of India is a rich tapestry of culture and nature. Breathtaking flora and fauna, heritage drawn from the ages and the presence of a large number of diverse groups makes this place a treasure grove. If culture represents the entire gamut of relationships which human beings share with themselves as well as with nature, the built environment, folk life and artistic activity, the north-east is a ‘cultural and biodiversity hotspot’, whose immense potential is beginning to be recognised. There is need for greater awareness and sensitisation here, especially among the young. In this respect, the National Knowledge Commission believes that the task of connecting with the north-east requires a multi-pronged approach, where socio-economic development must accompany multi-cultural understanding. -
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. -
From Rituals to Stage: the Journey of A·Chik Folk Theatre
The NEHU Journal, Vol XI, No. 2, July 2013, pp. 55-72 55 From Rituals to Stage: The Journey of A·chik Folk Theatre BARBARA S ANGMA * Abstract The A·chiks are one of the major tribes of Meghalaya and is basically an oral community. Though the A·chiks are not aware of the concept of theatre, the elements of folk theatre are to be found in their various performances, from rituals to the present day stage plays. The rituals associated with traditional religion of the A·chiks, that is Songsarek comprise sacrifices of animals, libation and chanting of prayers and myths. They also have a rich repository of epic narrations known as Katta Agana and folk songs of various kinds. Dance, comprising ritual dances, warrior dances and community dances form part of rituals and festivals of the A·chik community. Today majority of A·chiks have become Christians and it is seen that theatrical elements have made inroads into Christian devotion in the forms of kirtans , songkristans, etc. In addition to these, folk plays were performed by the community as early as 1937-38. The seasonal plays have allowed themselves to grow and be influenced by the performances of neighbouring states and communities. Today A·chik theatre has arrived in the true sense in the forms of stage-plays like A·chik A·song and Du·kon. Keywords : A·chik, oral performance, dance, kirtan , plays. he A·chiks or the Garos are one of the three major indigenous tribes of Meghalaya. The tribe is distributed in the five districts Tof Garo Hills - North, East, South, West and South West - that lie in the West of the state of Meghalaya, bordering Assam and Bangladesh. -
Y8 South Asian Dance Bhangra: Lesson 3
09/07/2020 Y8 South Asian Dance Bhangra: Lesson 3 Y8 South Asian Dance Bhangra: Lesson 3 Read through the following information in regard to South Asian Dance and in particular for this week Kathak Dance. Once you have read the information please complete the quiz. All the answers to the questions are within the information below. *Required 1. Name and Class https://docs.google.com/forms/d/1mQCE2DiUnfhcw2v0hwMhMOxH4QaNrt2qFplFWBxW3O0/edit 1/7 09/07/2020 Y8 South Asian Dance Bhangra: Lesson 3 What is South Asian Dance? South Asian dance encompasses dance forms originating from the Indian subcontinent (India, Pakistan, Bangladesh and Sri Lanka) and varies between classical and non-classical dance. The classical dance forms often described as Indian Classical Dance include Bharatanatyam, Kathak, Odissi, Kuchipudi, Kathakali, Manipuri, Mohiniyattam and Sattriya. Other dance forms include Kalaripayattu or Kalari and Chhau which are influenced by martial art. The non-classical dance are Bollywood dance and folk dances such as Bhangra, Garba, Kalbelia and Bihu dance. (https://akademi.co.uk/) We are going to take a closer look at 3 of these Dance forms: Bollywood, Kathak and Bhangra. In Lesson 3 we will be looking at Bhangra Dance in more depth. Bhangra refers to several types of dance originating from the Punjab region of the Indian subcontinent and it is a celebratory folk dance which welcomes the coming of spring, or Vaisakhi, as it is known. Bhangra dance is based on music from a dhol, folk singing, and the chimta (tongs with bells). The accompanying songs are small couplets written in the Punjabi language called bolis. -
Evolution and Assessment of South Asian Folk Music: a Study of Social and Religious Perspective
British Journal of Arts and Humanities, 2(3), 60-72, 2020 Publisher homepage: www.universepg.com, ISSN: 2663-7782 (Online) & 2663-7774 (Print) https://doi.org/10.34104/bjah.020060072 British Journal of Arts and Humanities Journal homepage: www.universepg.com/journal/bjah Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective Ruksana Karim* Department of Music, Faculty of Arts, Jagannath University, Dhaka, Bangladesh. *Correspondence: [email protected] (Ruksana Karim, Lecturer, Department of Music, Jagannath University, Dhaka, Bangladesh) ABSTRACT This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia. -
An Overview of Impact of Modern Technology on Assamese Culture, Language and Literature
JOURNAL OF CRITICAL REVIEWS ISSN- 2394-5125 VOL 7, ISSUE 01, 2020 An overview of impact of modern technology on Assamese culture, language and literature Anurupa Chutia Assistant Professor, Department of Assamese,Dhemaji College,Assam, India Abstract It is an acknowledged and well known fact that Modern technology has a direct interference in every walk of human life in today’s world. Owing to the landmark developments that modern technology has achieved in recent decades, these technological revolutions have left their mark on almost everything, including language and literature. The recent scientific-technological revolutions of human civilization have had a significant impact on Assamese language and literature as well. In this paper, I will try to discuss how the modern technology has affected Assameseculture, language and literature in both negatively and positively on one hand, while on the other I would like to address its impact on literary forms of this rich language. Key words:- Assamese language, medium, education, mother tongue, regional language, Corresponding author:[email protected] 1.0 Introduction:- Assam is one of the Eight Sister states of northeastern India. Known for its rich culture and dive rse population, the culture of Assam is a fusion of Indo Burmese, Mongolian and Aryan influences. This beautiful land, known as the 'land of red rivers and blue hills' is a little paradise with untouched natural landscapes worth to be traversed for its pristine beauty. The people of the state are collectively called Axomiyas and the language Axomiya (Assamese) which is also the most widely spoken official state language. No doubt, Assam is the meeting ground of diverse cultures. -
Mughal Paintings (16Th – 19Th Century)
UNIT - III PERFORMING ARTS • Performing arts refers to forms of art in which artists use their voices, bodies or inanimate objects to convey artistic expression. It is different from visual arts, which is when artists use paint, canvas or various materials to create physical or static art objects. • Performing arts include a range of disciplines which are performed in front of a live audience, inducing theatre, music, and dance INDIAN MUSIC • Owing to India's vastness and diversity, Indian Music encompass numerous genres, multiple varieties and forms which include classical music, folk music, filmi, rock, and pop. It has a history spanning several millennia and developed over several geo- locations spanning the sub-continent. • Hindustani Classical Music: Indian classical music found throughout North India. The style is sometimes called North Indian classical music or Shāstriya Sangīt. It is a tradition that originated in Vedic ritual chants and has been evolving since the 12th century CE, in North India and to some extent in Nepal and Afghanistan. • Carnatic music (Karnataka Sangita): A system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu. • It is one of two main sub-genres of Indian classical music that evolved from ancient Hindu traditions; the other sub-genre being Hindustani music, which emerged as a distinct form because of Persian and Islamic influences in North India. FOLK MUSIC IN INDIA Introduction The music of common people, farmers, village occupational, masses adorned with beautiful simple lyrics and rhythms, interesting poetry depicting nature and human mind. -
Bihu Festival: Dance of the Goddesses
Vol-7 Issue-3 2021 IJARIIE-ISSN(O)-2395-4396 BIHU FESTIVAL: DANCE OF THE GODDESSES SUWANEE GOSWAMI* & ERIC SORENG**, Ph. D. *Research Scholar Department of Psychology University of Delhi Delhi **Associate Professor Department of Psychology University of Delhi Delhi Abstract The amorous dance of the Goddesses—Kolimoti, Seuti and Malati—has given birth to the Bihu festival in Assam which has instinctively ingrained the joy of dance and music in every Assamese woman and man in every form of festivities in and beyond Bohag Bihu. The mythic origin of Bohag Bihu shows diversion from the blood sacrifice to the Goddesses to the repetition of and participation in the dance of the Goddesses. In the archaic spirituality of Assam, women dance repeating the mythic acts of the Goddesses and men partake in the joy as nature blooms and humankind prosper in the amorous state of the Goddesses. The paper presents interpretation of one of the myths of the origin of the Bihu festival. “Man is obliged to return to the actions of his Ancestor, either to confront or else repeat them; in short, never to forget them, whatever way he may choose to perform this regressus ad originem” (Eliade, 1959). Humankind has evolved as a race from the primitive to the modern state of being with numerous breakthroughs and developments in various spheres of activity since the twilight of civilization. However, even in this age of technology and materialism, the modern mentality continues to display traces of mythic traits, in spite of the mutations in religious and cultural history. To reinstate the words of Jung: “…every civilized human being, whatever his conscious development, is an archaic man at the deeper levels of his psyche” (Jacobi, 1953, p.