DOCSLIB.ORG

Creative Arts in India Theater, Dance and Crafts Industry December 2016 Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creative Arts in India Theater, Dance and Crafts Industry December 2016 Contents Creative arts in India Theater, dance and crafts industry December 2016 Contents 2 Creative arts in India—Theater, dance and crafts industry 1 Current state of the industry 1.1 Performing Arts (theater and dance) industry 9 1.2 Handicrafts industry 11 2 Investments and grants provided to the industry 2.1 Investments and grants provided to Performing Arts (theater and dance) industry 13 2.2 Investments and grants provided to Handicrafts industry 19 3 Opportunities in the industry 3.1 Opportunities in the Performing Arts (theater and dance) industry 21 3.2 Opportunities in the Handicrafts industry 22 4 Key challenges in the industry 4.1 Top challenges faced by the industry 27 4.2 Key challenges in the Performing Arts (theater and dance) industry 28 4.3 Key challenges in the Handicrafts industry 31 Key recommendations 32 5 Annexure 5.1 Theater and Dance forms of India 35 5.2 Theater and Dance festivals in India 38 5.3 Institutions in the field of Performing Arts 40 5.4 Types of Handicrafts manufactured in India 42 Foreword Mr. Utkarsh Dr. Jyotsna Mr. Sanjoy Sanghvi Suri K Roy Partner, EY Chairperson,FICCI Art Co-Chairperson, FICCI Art & Culture Committee & Culture Committee 4 Creative arts in India—Theater, dance and crafts industry Performing arts and handicrafts have been the cornerstone of Government, and other best practices adopted. Drawing on the art and culture of India. However, in recent years, due to the both secondary research and primary data collected through advent of other forms of entertainment, performing arts and interviews, the report aims to provide recommendations to the handicrafts have taken a beating. Lack of funds and a dearth of Government on how the current status of the industry can be infrastructure have been hampering the growth. Despite this, the enhanced through adequate investment and funding measures. creative arts have been showing a healthy growth rate and pose a multitude of opportunities for the artists and craftsmen as well The report also aims to showcase how the private sector can as the Government. be involved in promoting the creative arts along with business advantages to propel corporates to imbibe such cultural activities This first ever report on the performing arts and handicrafts with their regular businesses. Moreover, the report aims to industry in India focuses on the current size of the industry, provide a direction on how the creative arts can play a prominent funding mechanisms, key opportunities and challenges faced role in the recent Smart Cities Initiatives Program and, in turn, by the industry, along with best practices followed in other lead to substantial growth in other sectors, such as tourism and countries and how they drive and fund creative arts. This report hospitality. is a result of over 30 interviews conducted by FICCI and EY of eminent theater, dance and craft personalities to understand their perspective of the industry and its growth opportunities/ aspects, key challenges faced, support needed from the Creative arts in India—Theater, dance and crafts industry 5 Executive summary Current state of the Investments and grants industry provided The performing arts industry in India reached INR236 billion The performing arts industry is funded through several in 2012 and is expected to witness a CAGR of 2.5% over mechanisms in the form of grants, donations by the Central and 2012—2018 to reach INR275 billion in 2018. The industry will state Governments, private corporations, foundations, trusts, primarily be driven by new and innovative forms of fund raising and developmental organizations. However, when compared to by theater and dance groups and a growing demand for Indian global nations, the state of the Indian industry remains bleak. culture at an international level. Several new initiatives have also been undertaken by the During April-September 2016, handicraft exports from India Government of India for promotion of the textiles industry, increased by 13.5% y-o-y to US$ 1.9 billion (~INR130 billion). including handicrafts. Total export of handicrafts from India is expected to grow by 10% to USS$ 3.5 billion (INR239.6 billion) in FY16-17. 6 CreativeCreative arts arts in inIndia—Theater, India—Theater, dance dance and and crafts crafts industry industry Creative arts in India—Theater, dance and crafts industry 7 Opportunities in the Key challenges in industry the industry Increasing national and international exposure across theater, Raising funds/sponsorship; dearth of infrastructure spaces dance and crafts industries; upgradation of new technology to perform theater and dance; and inclination toward other and settings; rising global demand; and emergence of varied creative arts platforms are the major challenges faced by the performances being experimented as sources for performance industry. The Government needs to adopt certain measures to are providing opportunities for the industry to capitalize on. improve the current status of the industry as it is a means of Development of creative clusters within Smart Cities will provide livelihood for a large section of society. additional opportunity that the industry can leverage. 6 Creative arts in India—Theater, dance and crafts industry CreativeCreative arts arts in in India—Theater, India—Theater, dance dance and and crafts crafts industry industry 7 1 Current state of the industry In this section, we cover the current and future market size of the Indian performing arts (theater and dance) industry along with the export trend of the handicrafts industry in the country. 8 Creative arts in India—Theater, dance and crafts industry 1.1 Performing Arts (theater and dance) industry The performing arts refers to art forms wherein artists use possibly, less visibly. It is one of the most powerful expressions movements of their bodies, often in relation to other objects and of contemporary India and the world. The growing number of their voices, to convey artistic expression. The performing arts reputable theater awards and festivals over the past few years industry includes theater, dance, opera, musical theater, magic, have enhanced the value of theater publicly. This is important, mime, spoken word, illusion, puppetry, circus arts, recitation especially given the shrinking space in media for any serious and public speaking. There is also a specialized form of fine art, coverage of the arts. Some production companies have also performance art, wherein the artists perform their work live to an taken the responsibility to make theater commercially viable and audience. In this report, we will focus on theater and dance forms successful. within the performing arts. Performing arts in India and its practitioners are referred to as being part of the “entertainment industry.” This indicates a In a bid to restore theater’s glory and paradigm shift in the manner in which the arts is being viewed by Culture in India, Zee Entertainment society. The message apparent by the shift is that the audience now expects that the Arts must entertain in the manner defined Enterprises Ltd. has launched a new by the entertainment industry, and they must form part of an vertical called Zee Theater, to boost organised industry. the art form in the country and also Theater1 make it available across platforms. Theater is a branch of performing arts concerned with enacting stories in front of a live audience, using a combination of speech, Of late, the theater community is witnessing a new culture of music, gesture, dance and sound. Various forms of theater include collaboration that is brewing — of creating and sharing new and plays, opera, musicals, ballet, mime, illusion, classical Indian dance, innovative pieces of work. Led by the younger generation, this mummers’ plays, kabuki, improvisational theater, pantomime, movement is opening up exciting possibilities for new forms of stand-up comedy, and non-conventional or contemporary forms theater. The very language of theater is being rediscovered and like postmodern theater or performance art. challenged. From The Tadpole Repertory in Delhi, Patchwork Theater in Mumbai, Jyoti Dogra and her one-woman pieces, Badungduppa Kalakendra in Assam to the Natak Company in Pune, among others, there is exciting work developing amongst “Smart art/contemporary younger theater groups/performers, marked by a readiness to needs to be nurtured undertake more risks with form and content. and developed by the Dance2 Government.” In India, dance has a long tradition of over 2,000 years. Eminent theater personality Different dance forms have originated in varied parts of India and have developed according to the local traditions. Themes of dance are derived from legends, mythology, and classical Indian theater has undergone several reforms in the post- literature and it is used as a form of audience entertainment independence era. Today, theater is performed in 24 major in a performance setting. There are three main dance forms: languages, including English and several tribal languages. While classical, folk and tribal, and contemporary. Indian theater is still very niche, it has infinite varieties invigorated by individual talents, which is still attracting audiences in spite of Over the years, the visibility of Indian classical dance has been the overwhelming popularity of its rivals. diminishing. One of the reasons for this is that people have stopped relating to them and are not willing to invest time and With the emergence of all modern forms of entertainment, such as effort into it. On the contrary,
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]
  • Particulars of Some Temples of Kerala Contents Particulars of Some
    Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ...........................................................................................................
    [Show full text]
  • Contents SEAGULL Theatre QUARTERLY
    S T Q Contents SEAGULL THeatRE QUARTERLY Issue 17 March 1998 2 EDITORIAL Editor 3 Anjum Katyal ‘UNPEELING THE LAYERS WITHIN YOURSELF ’ Editorial Consultant Neelam Man Singh Chowdhry Samik Bandyopadhyay 22 Project Co-ordinator A GATKA WORKSHOP : A PARTICIPANT ’S REPORT Paramita Banerjee Ramanjit Kaur Design 32 Naveen Kishore THE MYTH BEYOND REALITY : THE THEATRE OF NEELAM MAN SINGH CHOWDHRY Smita Nirula 34 THE NAQQALS : A NOTE 36 ‘THE PERFORMING ARTIST BELONGED TO THE COMMUNITY RATHER THAN THE RELIGION ’ Neelam Man Singh Chowdhry on the Naqqals 45 ‘YOU HAVE TO CHANGE WITH THE CHANGING WORLD ’ The Naqqals of Punjab 58 REVIVING BHADRAK ’S MOGAL TAMSA Sachidananda and Sanatan Mohanty 63 AALKAAP : A POPULAR RURAL PERFORMANCE FORM Arup Biswas Acknowledgements We thank all contributors and interviewees for their photographs. 71 Where not otherwise credited, A DIALOGUE WITH ENGLAND photographs of Neelam Man Singh An interview with Jatinder Verma Chowdhry, The Company and the Naqqals are by Naveen Kishore. 81 THE CHALLENGE OF BINGLISH : ANALYSING Published by Naveen Kishore for MULTICULTURAL PRODUCTIONS The Seagull Foundation for the Arts, Jatinder Verma 26 Circus Avenue, Calcutta 700017 86 MEETING GHOSTS IN ORISSA DOWN GOAN ROADS Printed at Vinayaka Naik Laurens & Co 9 Crooked Lane, Calcutta 700 069 S T Q SEAGULL THeatRE QUARTERLY Dear friend, Four years ago, we started a theatre journal. It was an experiment. Lots of questions. Would a journal in English work? Who would our readers be? What kind of material would they want?Was there enough interesting and diverse work being done in theatre to sustain a journal, to feed it on an ongoing basis with enough material? Who would write for the journal? How would we collect material that suited the indepth attention we wanted to give the subjects we covered? Alongside the questions were some convictions.
    [Show full text]
  • Giddha Folk Dance: an Embodiment of Healing Through Creative Artistic Punjabi Dance Culture and Connection with Somatic Dance Therapy & Practice
    GIDDHA FOLK DANCE: AN EMBODIMENT OF HEALING THROUGH CREATIVE ARTISTIC PUNJABI DANCE CULTURE AND CONNECTION WITH SOMATIC DANCE THERAPY & PRACTICE Giddha is a form of folk dance from the land of five rivers called Punjab in North- Western part of India. So many rivers in one place signifying fertility and precious land for cultivation and farming. Punjabi culture is filled with vibrancy and fun loving loud people. They believe in expressing themselves with full power and intensity. Punjabi dances are based around energy and happiness. This form has freedom, expression, dramatic voice, facial and body dialoguing. It is a kinaesthetic, preoperceptive and muscular activity with elements of clapping and voicing emotions. It is an act of body, mind and emotions. Clapping helps to release toxins and also can be related to acupressure, as this triggers the points that effect major inner body organs. This form of movement exploration is therapeutic and has the ability to heal from a holistic perspective. Healing here is not when one goes into hospital and finds external source of therapy but from this perspective it simply means uniting the wholeness of being. This supports body, mind and spirit energy, bringing many people together to perform in a sacred circle; thus helping socialising to become artistic and motivational. It allows women of small knit family structures, villages and controlled environment societies to voice their inner feelings and releasing painful toxins through singing, dancing and bodily expression. It gives time to people to release everything in a joking fun loving manner and especially in a non- judgmental circle.
    [Show full text]
  • Dances & States
    DANCES & STATES 1. Odisha Odissi Bhaka Wata Dandante 2. Kerala Chakiarkoothu Kathakali Mohiniattam Ottam Thullal Chavittu Natakam Kaikotti Kalai Koodiyattam Krishnavattam Mudiyettu Tappatri Kai Theyyam 3. Tamil nadu Bharatnatyam Kummi Kolattam Devarattam Poikkal Kuthirai Attam Therukkoothu Karakattam Mayilattam Kavadiattam Silambattam Thappattam Kaliattam Puliyattam cracktiss.wordpress.com 4. Andhera pradesh Kuchipudi Veethi-Bhagavatham Kottam 5. Karnataka Yakshagana Bayalata Simha Nutrya Dollu Kunitha Veeragase 6. Assam Bihu Ojapali Ankia Nat 7. Bihar Jat Jatin Faguna or Fag Purbi Bidesia Jhijhian Kajari Sohar-Khilouna Holi Dance Jhumeri Harvesting Dance 8. Gujrat Dandya Ras cracktiss.wordpress.com Garba Lasya Nritya Bhavai Garba Rasila Trippani 9. Haryana Swang Khoria Gugga dance Loor Sang Dhamal 10. Himachal pradesh Luddi Dance Munzra Kanayala Giddha Parhaun 11. Jammu and Kashmir Hikat Rouf Chakri 12. Maharashtra Tamasha Dahi Kala Lavani Lezim cracktiss.wordpress.com 13. Madhya Pradesh Lota Pandvani 14. Meghalaya Wangala Laho Shad Nongkrem Shad Sukmysiem 15. Manipur Manipuri Maha Rasa Lai Haroba 16. Mizoram Chiraw (Bamboo Dance) 17. Punjab Bhangra Gidda 18. Rajasthan Khayal Chamar Gindad Gangore Jhulan Leela Jhumar (Ghumar) Kayanga Bajayanga cracktiss.wordpress.com 19. Uttar Pradesh Kathak Nautanki Chappeli Kajri Karan Kumaon 20. West bengal Jatra Chau Kathi 21. Goa Fugdi Dekhnni Tarangamel Dhalo. 22. Arunachal Pradesh Bardo Chham Aji Lamu Hiirii Khaniing Pasi Kongki Lion and Peacock dance Chalo Popir Ponung Rekham Pada 23. Chhattisgarh cracktiss.wordpress.com Karma Panthi Pandavani Rawat Nacha Soowa Nacha or Suwa Tribal dance 24. Jharkhand Paika Chhou Santhal 25. Nagaland Zeliang Nruirolians (Cock dance) Temangnetin (Fly dance) 26. Sikkim Singhi Chham Yak Chaam Maruni Rechungma 27. Telangana Perini Thandavam Dappu Lambadi Tappeta Gullu 28.
    [Show full text]
  • Folk Theatre in Goa: a Critical Study of Select Forms Thesis
    FOLK THEATRE IN GOA: A CRITICAL STUDY OF SELECT FORMS THESIS Submitted to GOA UNIVERSITY For the Award of the degree of Doctor of Philosophy in English by Ms. Tanvi Shridhar Kamat Bambolkar Under the Guidance of Dr. (Mrs.) K. J. Budkuley Professor of English (Retd.), Goa University. January 2018 CERTIFICATE As required under the University Ordinance, OA-19.8 (viii), I hereby certify that the thesis entitled, Folk Theatre in Goa: A Critical Study of Select Forms, submitted by Ms. Tanvi Shridhar Kamat Bambolkar for the Award of the Degree of Doctor of Philosophy in English has been completed under my guidance. The thesis is the record of the research work conducted by the candidate during the period of her study and has not previously formed the basis for the award of any Degree, Diploma, Associateship, Fellowship or other similar titles to her by this or any other University. Dr. (Mrs.) K.J.Budkuley Professor of English (Retd.), Goa University. Date: i DECLARATION As required under the University Ordinance OA-19.8 (v), I hereby declare that the thesis entitled, Folk Theatre in Goa: A Critical Study of Select Forms, is the outcome of my own research undertaken under the guidance of Dr. (Mrs.) K.J.Budkuley, Professor of English (Retd.),Goa University. All the sources used in the course of this work have been duly acknowledged in the thesis. This work has not previously formed the basis of any award of Degree, Diploma, Associateship, Fellowship or other similar titles to me, by this or any other University. Ms.
    [Show full text]
  • Mask: a Creative Representation of Functional Art
    [Pandey *, Vol.7 (Iss.4): April 2019] ISSN- 2350-0530(O), ISSN- 2394-3629(P) DOI: https://doi.org/10.29121/granthaalayah.v7.i4.2019.878 Arts MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART Dr. Anjali Pandey *1 *1 Associate Prof & H.O.D., Department Drawing &Painting, Govt. M.L.B. Girls P. G. Autonomous College Bhopal, India Abstract Masks are used all over the world for their expressive power. It is an important part of theatre and rituals. It is generally used to conceal the identity or to transform the character. In India the festival mask are used to represent the deities and mythological character in dance and drama performance as well as in many ceremonial functions, religious and social rituals and in entertainment since ancient time. The evidences of mask could also be seen since prehistoric age. Many tribes of India mask are used in rituals and performances. The masks of different region are distinct and peculiar in size, shape, form, design and material used. In early era the masks were made in simplified form, now some innovative decorations have changed their aesthetic value. Keywords: Living Culture; Prehistoric Era; Ceremonial Functions; Costumes; Entertainment; Transform; Regional; Paper Machie; Wood; Zari Painting; Designs. Cite This Article: Dr. Anjali Pandey (2019). “MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART.” International Journal of Research - Granthaalayah, 7(4), 90-96. https://doi.org/10.29121/granthaalayah.v7.i4.2019.878. 1. Introduction Http://www.granthaalayah.com ©International Journal of Research - GRANTHAALAYAH [90] [Pandey *, Vol.7 (Iss.4): April 2019] ISSN- 2350-0530(O), ISSN- 2394-3629(P) DOI: 10.5281/zenodo.2653124 “The word ‘mask’ has a foreign origin.
    [Show full text]
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • Integrated Handicraft Cluster Development Programme
    OFFICE OF THE DEVELOPMENT COMMISSIONER [HANDICRAFTS] West Block No. 7, R.K. Puram, New Delhi-110066 INTEGRATED HANDICRAFT CLUSTER DEVELOPMENT PROGRAMME Proposals are invited in prescribed proforma for undertaking Handicraft Cluster Development Projects under Ambedkar Hastshilp Vikas Yojana for the year 2016-17. The eligible Organisation who can apply are Central/State Handloom and Handicrafts Development Corporations and other Govt. Corporations/agencies promoted by State Government or organization promoted by Financial Institutions/banks and NIFT, NID, University Department, DRDA, NISIET, Artisans Federation, Apex Co-operatives societies/Co-Operative Society, EDIs and other similar bodies, and those Non-Governmental Organisations(NGOs) which are empanelled with TATA INSTITUTE OF SOCIAL SCIENCES(TISS), MUMBAI & NITI AYUG NGO Partnership Portal. In addition to the above, Research and Development Project Proposal under R&D Scheme is also invited from the eligible Organisation. For further details visit: www.handicrafts.nic.in OFFICE OF THE DEVELOPMENT COMMISSIONER [HANDICRAFTS] West Block No. 7, R.K. Puram, New Delhi-110066 INTEGRATED HANDICRAFT CLUSTER DEVELOPMENT PROGRAMME Proposals are invited in prescribed proforma for undertaking Handicraft Cluster Development Projects under Ambedkar Hastshilp Vikas Yojana for the year 2015-16. The eligible Organisation who can apply are Central/State Handloom and Handicrafts Development Corporations and other Govt. Corporations/agencies promoted by State Government or organization promoted by Financial Institutions/banks and NIFT, NID, University Department, DRDA, NISIET, Artisans Federation, Apex Co-operatives societies/Co-Operative Society, EDIs and other similar bodies, and those Non- Governmental Organisations (NGOs) which are empanelled with TATA INSTITUTE OF SOCIAL SCIENCES (TISS), MUMBAI. The proposal can be submitted to Deputy Director (Cluster Cell), Hd.
    [Show full text]
  • Annexure-VI-Eng Purba Bardhaman Corrected Final Final.Xlsx
    Annexure-6 (Chapter 2, para 2.9.1) LIST OF POLLING STATIONS For 260-Bardhaman Dakshin Assembly Constituency within 39-Bardhaman-Durgapur Perliamentry Constitutency Wheather Sr. No. for all voters of the Building in which will be Locality Polling Area or men only Polling located or women Station only 1 2 3 4 5 Kamal Sayar, Ward no. 26, Burdwan Municipality University Engineering 1. Both side of Kamal Sayar, 2. East Side of 1 For all voters Sadar Burdwan, Pin-713104. College, Kamal Sayar Research Hostel road Goda, Ward No. 26, Burdwan Municipality Sadar Goda Municipal F.P. School (R- 1.Goda Kajir Hat, 2. Goda Sib tala, 3. 2 For all voters Burdwan, Pin-713102. 1) Tarabag, 4. Golapbag Goda, Ward No. 26, Burdwan Municipality Sadar Goda Municipal F.P. School (R- 1. Goda Koit tala, 2. Goda Kumirgorh, 3. 3 For all voters Burdwan, Pin-713102. 2) Goda Jhumkotala, 4. Goda Khondekar para, 1. Banepukur Dakshinpar, 2. Banepukur Goda, Ward No. 26, Burdwan Municipality Sadar pashimpar, 3. Das para, 4. Simultala, 5. 4 Goda F.P. School (R-1) For all voters Burdwan, Pin-713102. Banepukur purba para, 6. Goda Roy colony, 7. Goda Majher para, 8. Goda Dangapara. 1. Goda Mondal Para, 2. Goda Molla Para, Goda, Ward No. 26, Burdwan Municipality Sadar 5 Goda F.P. School (R-2) 3.Dafadar Para, 4. Goda Bhand para, 5. Goda For all voters Burdwan, Pin-713102. Bizili par, 6. Nuiner Par 1. Goda math colony, 2. Goda kaibartya para, 3. Goda sibtala, 4. Goda mali para, 5. Goda Goda, Ward No.
    [Show full text]
  • Curtain Goes up on National School of Drama's 21St Bharat Rang Mahotsav
    Curtain goes up on National School of Drama’s 21st Bharat Rang Mahotsav By : Editor Published On : 2 Feb, 2020 12:00 AM IST INVC NEWS New Delhi, The 21st edition of the Bharat Rang Mahotsav (BRM) – the annual theatre festival organised by the National School of Drama (NSD) is all set to bring an assortment of plays, interactive sessions, and other cultural events to cheer up winter afternoons of theatre enthusiasts in the Capital. The inaugural function for BRM 2020 kick started at the Kamani auditorium with Panchvadyam -- a South Indian devotional music. The dignitaries present on the occasion included Chief Guest Prof. Vidushi Rita Ganguly, eminent theatre artist and vocalist, Guest of Honour Dr. Mohan Agashe, renowned theatre and film personality and Special Guest Ms. Nirupama Kotru, IRS, Joint Secretary, Ministry of Culture, Govt. of India among others. The function was presided over by Dr. Arjun Deo Charan, Acting Chairman, NSD Society. Prof. Suresh Sharma, Director In-charge, National School of Drama, welcomed the guest at the inaugural function and appreciated all the participants from National & International theatre fraternity who came all across. Also, he specially expressed his gratitude to the Actor Amol Palekar who came & graced the occasion by presenting his play at the inauguration ceremony. He also said through the years, Bharat Rang Mahotsav has presented some masterpieces from the world of theatre. The idea is to reach out to a much wider set of audiences with works from post-modern and regional theatre. We hope to highlight the importance of theatre and plays and promote the culture of appreciating various forms of performing arts.
    [Show full text]
  • Nimbus Times Magazine – October 2019
    CIVIL SERVICES EXAMINATION 2019 PREFACE This booklet of Current Affairs is an attempt so as to help the Civil Services Aspirants in their process of learning, understanding and analyzing each and every aspect of the current issue in the easiest possible manner. In order to make the understanding of the current affairs a long lasting affair and to help students score good marks in the examination; a balance between factual content and analytical approach has been maintained in this booklet. The booklet has been meticulously designed to suit the needs of Civil Service Aspirants appearing in IAS and State PSC examinations. In addition, it would benefit all those who are preparing for other competitive examinations or such individuals who are knowledge starving and have a passion to learn more. Owing to nature of the booklet, the Nimbus Academy Team has prepared the material with the help of the facts and the information provided by various Ministries of Govt. of India and merging those with the concepts developed by the subject matter experts. Reader’s suggestions and feedback directed towards improvements are welcome and can be e-mailed at [email protected] Nimbus Academy for IAS CIVIL SERVICES EXAMINATION 2019 Published by Nimbus Academy For IAS CHANDIGARH: SCO 72-73, 1st Floor, SEC 15-D MOBILE – 9317442200 SHIMLA: SUSHANT BHAWAN, 1st FLOOR, NEAR CO-OPERATIVE BANK, CHHOTTA SHIMLA, PIN CODE-171002. Mobile No.-86288-68800 All rights reserved, No part of this book can be reproduced in any form, by mimeograph or any other means, without permission in writing from Nimbus Academy for IAS.
    [Show full text]