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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. -
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. -
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. -
List of Indian Folk Dances - State Wise
STUDENT'S SENA New resolution for banking aspirants List of Indian Folk Dances - State Wise List of Folk dances, important for general awareness section of bank exams. Jharkhand Chhanu, Sarahul, Jat-Jatin, Karma, Danga, Bidesia, Sohrai. Uttarakhand Garhwali, Pandav Nritya, Kumaoni, Kajari, Chancheri, Jhora, Raslila, Chhapeli. Andhra Kuchipudi (Classical), Ghanta mardala, Vilasini Pradesh Natyam, Andhra Natyam, Burrakatha, Veeranatyam, Butta bommalu, Tholu Bommalata, Dappu. Chhattisgarh Goudi, Karma, Jhumar, Dagla, Pali, Tapali, Navrani, Diwari, Mundari. Arunachal Mask dance (Mukhauta Nritya), War dance. Pradesh Himachal Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Pradesh Nati, Dangi, Chamba, Thali, Jhainta, Daf, Stick dance etc. Goa Mandi, Jhagor, Khol, Dakni etc. Assam Bihu, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai etc. West Bengal Kathi, Gambhira, Dhali, Jatra, Baul, Marasia, Mahal, Keertan etc. Kerala Kathakali (Classical), Ottamthullal, Mohiniyattam, Kaikottikali, Tappeti Kali, Kali Attam. Meghalaya Laho, Baala etc. Manipur Manipuri (Classical), Rakhal, Nat Rash, Maha Rash, Raukhat etc. 1 STUDENT'S SENA New resolution for banking aspirants Nagaland Chong, Lim, Nuralim etc. Orissa Odissi (Classical), Savari, Ghumara, Painka, Munari, Chhau, Chadya Dandanata etc. Maharashtra Lavani, Nakata, Koli, Lezim, Gafa, Dahikala Dashavatar or Bohada, Tamasha, Mouni, Powara, Gauricha etc. Karnataka Yakshagana, huttar, Suggi, Kunitha, Karga, Lambi Gujarat Garba, Dandiya Raas, Tippani Juriun, Bhavai. Punjab Bhangra, Giddha, Daff, Dhaman etc. Rajasthan Ghumar, Chakri, Ganagor, Jhulan Leela, Jhuma, Suisini, Ghapal, Panihari, Ginad etc. Mizoram Khanatm, Pakhupila, Cherokan etc. Jammu Rauf, Hikat, Mandjas, kud Dandi nach, Damali. & Kashmir Tamil Nadu Bharatanatyam, Kummi, Kolattam, Kavadi. Uttar Pradesh Nautanki, Raslila, Kajri, Jhora, Chappeli, Jaita. Bihar Jata-Jatin,Bakho-Bakhain, Panwariya, Sama-Chakwa, Bidesia, Jatra etc. -
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 -
Classical Dances Have Drawn Sustenance
Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return. -
Summer Break Assignments
orksheets W VII GURU NANAK PUBLIC SCHOOL, SARABHA NAGAR Class Class Summer Break Assignments Computer Science Mathematics English Music Social Art PhysicalEducation General Knowledge Do the following integrated HHW of Social Science, Science, English, Maths and Punjabi on A4 size sheets and put it in a single folder. SOCIAL STUDIES Prepare a chart on COVID-19 pandemic explaining the following points with the help of drawings: 1. What is coronavirus? 2. Why is it dangerous? 3. Who can catch it? 4. What are the safety measures children should adopt to protect themselves? 5. What message can you give to others to create a peaceful environment? SCIENCE 1. Write effects and causes of covid-19 with pictures in a creative way. (At least 2 pages) 2. Slogan on "Save Forest" •You can use A4 size sheets (white or coloured) to present your project. •Be Creative. •Paste/ draw relevant pictures. •The activity should be neat and attractive. ENGLISH 1. Notice Writing You are the Secretary of Red Cross Unit of your school. Your school is organizing a Vaccination Camp for COVID-19 for the age group of 18-45 years. Draft a notice for the school notice board in about 50 words. 2. Story Writing Weave a story with the following beginning in about 100-120 words. Also suggest a suitable title. Rahul went to Hyderabad to meet his grandparents during his vacation. But the silence on the roads and the current scenario made him sad....... MATHS The table given below shows the number of covid cases of four towns over two years. -
M.A. Dance Guru Nanak Dev University Amritsar
FACULTY OF VISUAL ARTS & PERFORMING ARTS SYLLABUS FOR M.A. DANCE (SEMESTER: I – IV) Session: 2014-15 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 M.A. DANCE (SEMESTER SYSTEM) SEMESTER – I: PAPER – I: HISTORICAL & THEORETICAL Time: 3 Hrs Max Marks: 100 ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) – I (THEORY) PAPER – II: PRACTICAL COMPOSITION & ESSAY–I Time: 3 Hrs Max Marks: 100 PAPER – III: PRACTICAL STAGE PERFORMANCE–I Time: 40 Minutes Max Marks: 100 PAPER – IV: PRACTICAL APPROACH OF KATHAK Time: 40 Minutes Max Marks:–100 TERMINOLOGY (VIVA–VOCE)–I 2 M.A. DANCE (SEMESTER – I) PAPER – I: HISTORICAL & THEORETICAL ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) (THEORY) – I Time: 3 Hrs Max Marks: 100 Note: 1. The Paper setter will set 8 questions. 2. The students will be required to attempt five questions. 3. While sending the syllabus to the paper setter in theory the syllabus prescribed for Practical paper should also be sent 4. All questions carry equal Marks. 1. Knowledge of basic technical terms:– Stuti Uthan, Thaat, Salami, Amad, Paran, Chakardar Paran, Farmaishi Paran, Pakshi Paran, Parmelu, Tehai. 2. Detailed study of Tandava and Lasya 3. Study of Abinaya Darpan Granth in the context of Dance. 4. Detailed study of Rasa and its relavance in dance. 5. Knowledge of Asanyukta and Sanyukta Hast Mudras with special reference to Abhinaye Darpan. 6. Contribution of Uday Shankar in the field of dance. -
Punjab Vidhan Sabha List of Candidates Called for Interview for the Post of Watch & Ward Assistant Roll No Name & Address DOB Category Remarks
Punjab Vidhan Sabha List of Candidates Called for Interview for the Post of Watch & Ward Assistant Roll No Name & Address DOB Category Remarks 1 Amandeep S/o Sh. Ashok Kumar, PO Mulanpur Garibdass, Teh. Kharar, 17.10.1997 SC Distt. Mohali 2 Gurwinder preet Singh S/0 Sh. Karnail Singh, #5297, Sahibzada Jujhar 17.12.2000 BC Singh Nagar, Gali No. 2, Roopnagar, Punjab. 140001 3 Rakesh Kumar S/o Banwari Lal, Near PNB Bank, Mohalla Khatik, Vill. 09.01.1982 SC BhagsarTeh+Distt. Sri Mukatsar Sahib 4 Amandeep Singh S/o Sh. Sarabjit Singh, Vill Jhampur,PO Tira, 07.07.1998 SC Teh+Distt. Mohali. 5 Simranjit Singh S/o Sh Jagtar Singh, Vill. Rathia, PO. Chaper. Teh+Distt. 07.02.1997 General Patiala . 147021 6 Sudesh Kumar S/o Sh. Subash Chander, VPO Mulanpur Garibdass, Teh. 02.03.1984 Gen Kharar, Dist SAS Nagar (Mohali).140901 7 Navjot Singh S/o Sh. Karamjeet Singh, Vill. Kakrali, PO Marinda, Teh.Sri 16.01.2000 Gen Chomkaur Sahib, Distt. Ropar. 8 Satwinder Singh S/o Sh. Harmeet Singh, VPO Rampur, Teh.+Distt. 13.01.1990 Gen Fatehgarh Sahib 140406 9 Tajinder Singh S/o Sh. Prem Singh, Vill. Basowal, PO Ganguwal, Teh. Sri 25.03.1977 SC Anandpur Sahib, Distt. Ropar. 10 Nawab Ali, S/o Sh Pappu Kumar, H. No. 2351, Mil Mil Nagar, 24.08.1994 Gen Roopnagar, 140001 11 Manpreet Singh S/o Sh. Harbans Singh, # 1377/5, Sector-65, Phase-11, 05.01.1988 SC SAS Nagar (Mohali). 12 Davinder Singh S/oSh Surmukh Singh, # 1537/9, Ranjit Calony, Sector- 27.09.1988 BC 11, Kharar Distt. -
Folk Dances of Haryana
IJMSS Vol.01 Issue-05, (September, 2013) ISSN: 2321–1784 RENAISSANCE CALL: FOLK DANCES OF HARYANA * Jatinder Sohi ** Preeti Sodhi ABSTRACT “Every Indian is a dancer” Uday Shankar (qtd. in Bala,Unpublished Thesis) Amongst the art, dance is the most primeval and classy and scarcely there is any civilization where the wakefulness of human movement as a vehicle of expression, ecstasy and grief is not evident. Perchance, before man begins to verbalize and to paint, he began to dance. Dancing, which is dependent on human habits and action is the most malleable and changeable. India has a very rich tradition of folk dances. Every region manifests different cultural feature. Haryana - the land of raaginis, saangs and swift folk dances, vividly depicts life in its variegated colour with joys and sorrow, ups and downs in melodious tunes and fascinating ways. But this folk art is dialing for renaissance umbrella as it has been replaced by dark and loud clouds named filmy and English songs and dances. The present paper has made an attempt to highlight folk dances of Haryana with its changes over the years. Further author(s) jotted down few efforts made by govt. and assemble youth’s insight regarding this folk dance of Haryana. Author(s) came up with handful of suggestions as to pick renaissance call dialed by this folk art. Key Words: Haryana’s Folk Dances, Changes, Role of govt. Youth perspective, Suggestions * HOD, Clothing & Textiles Deptt., Govt. Home Science College, Chandigarh ** Senior Instructor, Clothing & Textiles Deptt., Govt. Home Science College, Chandigarh L W a { { IJMSS Vol.01 Issue-05, (September, 2013) ISSN: 2321–1784 INTRODUCTION Work of art the symbols through which man communicates what lies beyond ordinary speech. -
M.A. Dance Guru Nanak Dev University Amritsar
FACULTY OF VISUAL ARTS & PERFORMING ARTS SYLLABUS FOR M.A. DANCE (SEMESTER: I – IV) Session: 2019-20 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 M.A. DANCE (SEMESTER SYSTEM) SEMESTER – I: PAPER – I: HISTORICAL & THEORETICAL Time: 3 Hrs M.Marks: 100 ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) – I (THEORY) PAPER – II: PRACTICAL COMPOSITION & ESSAY–I Time: 3 Hrs M.Marks: 100 PAPER – III: PRACTICAL STAGE PERFORMANCE–I Time: 30 Minutes M.Marks: 100 PAPER – IV: PRACTICAL APPROACH OF KATHAK Time: 30 Minutes M.Marks:100 TERMINOLOGY (VIVA–VOCE)–I 2 M.A. DANCE (SEMESTER – I) PAPER – I: HISTORICAL & THEORETICAL ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) (THEORY) – I Time: 3 Hrs Max Marks: 100 Instructions for the Paper Setters:- Eight questions of equal marks (Specified in the syllabus) are to be set, two in each of the four Sections (A-D). Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section. SECTION - A 1. Knowledge of basic technical terms:– Stuti Uthan, Thaat, Salami, Amad, Paran, Chakardar Paran, Farmaishi Paran, Pakshi Paran, Parmelu, Tehai. 2. Detailed study of Tandava and Lasya 3. Study of Abinaya Darpan Granth in the context of Dance. SECTION - B 4. Detailed study of Rasa and its relevance in dance. -
AQAR :2009-2010 1 Introduction Punjabi University Named After The
AQAR :2009-2010 Introduction Punjabi University named after the native language was established on 30 April, 1962 and has emereged as one of the premier institutions of higher learning in north India. Although major emphasis of the University has remained on the development of Punjabi Language, Literature and Culture, it has evolved over the years into a multi-faceted, multi-faculty educational institution with over fifty five teaching and research departments. University has also established three- Engineering Colleges to impart professional and technical education to the students of the region. Besides, 11 Regional Centres/Neighbourhood Campuses have also been established in rural areas especially the educationally backward Malwa region to fullfil the educational needs of the students, more specifically the poor ones in this region. In addition, the university has got 186 colleges affiliated to it. University has always endeavored to achieve standards in academics, research and other curricular activities which are par excellence within country as also at the international level. Keeping this in mind, it has entered into a number of collaborations with universities of USA, Canada, Singapore, Sri Lanka and Iran. Excellent achievements of the university can be judged from the fact that a number of departments of the university are being provided grants by UGC and other such agencies. Three departments of the University have been bestowed with the status of Center for Advanced Studies by UGC. Six departments of the university have been covered under SAP scheme- Five under DRS and one under DSA. Further seven science departments have covered under the FIST scheme of DST.