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CHRISTINE CALFAS height: 5' 3" SAG/AFTRA, AEA 503.274.8555 weight: 118 www.christinecalfas.com Justin Habel / Q6 Talent hair: brown 971.266.0970 eyes: grey [email protected] STAGE THE IMAGINARY INVALID Beline Portland Center Stage -- Chris Coleman THE 39 STEPS all the women Portland Center Stage -- Chris Coleman MACBETH Lady Macbeth Anonymous Theater -- LiZ Young THE CLEAN HOUSE Matilde ACT Seattle -- Allison Narver MISALLIANCE Lina SZcZepanowska Portland Center Stage -- Chris Coleman MISS WITHERSPOON Maryamma ACT Seattle -- Burke Walker KING LEAR Cordelia Portland Center Stage -- Chris Coleman THE SEAGULL Nina Portland Center Stage -- Chris Coleman METAMORPHOSIS Eurydice/Aphrodite Artist’s Repertory Theater -- Randall Stuart O LOVELY GLOWWORM Philomel Portland Center Stage -- Randy White THE MERCHANT OF VENICE Jessica Shakespeare & Co. -- Tina Packer THE GLASS MENAGERIE Laura Profile Theater Project -- Jane Unger MIDSUMMER NIGHT’S DREAM Titania Orlando Shakespeare Festival -- Jim Helsinger AS YOU LIKE IT Rosalind Tygre’s Heart Shakespeare Co. -- John Kretzu RICHARD III EliZabeth Tygre’s Heart Shakespeare Co. -- Jan Powell BURN THIS Anna Oregon Stage Company -- David Ivers BEAST ON THE MOON Seta Artist’s Repertory Theater -- Allen Nause THE LIBATION BEARERS Electra Classic Greek Theater -- Keith Scales THE CHANGELING Jasperino The Salon NYC -- Rebecca Holderness MIDSUMMER NIGHT’S DREAM Titania Shakespeare & Co. -- Tony Simotes LOVE’S LABOR’S LOST Jaquenetta Shakespeare & Co. -- Cecil MacKennon HENRY IV PART I Welsh Lady Shakespeare & Co. -- Tina Packer BALLERINA Malin Artist’s Repertory Theater -- JoAnne Johnson ORIGINAL SOLO PERFORMANCE SAPPHO'S ARROW for actor and percussion Dream's Well Studio SOUNDING HEKATE for actor, puppet and percussion Conduit Studio PERICARDIUM 8 for actor and 36 bricks Ten Tiny Dances RARE BIRDS for actor and 118 paper birds Ten Tiny Dances WHOOP for actor, percussion and 99 knives Ten Tiny Dances/Taiko AWARDS Best Actress 1996 Seta in Beast on the Moon Portland Drama Critic’s Circle Best Supporting Actress 1997 EliZabeth in Richard III Portland Drama Critic’s Circle TRAINING Fulbright Scholar in Odissi Indian classical dance: disciple of Dance Master Guru Surendra Nath Jena, New Delhi Grotowski physical theater training with Khalid Tyabji, National School of Drama, New Delhi Roy Hart extended voice work with Richard Armstrong in NYC & at Banff Centre for the Arts, Alberta Shakespeare & Co. Intensives and Summer Performance Institute 1997 Allen Wayne Work: strength training with Brendan McCall & Paul Langland in NYC (affiliated with ETW @ Tisch) Linklater voice work with Fran Bennet, Kristin Linklater, Frances West, Walton Wilson & other master teachers SPECIAL SKILLS Odissi Indian classical dance-theater, Sappho in Ancient Greek, ballroom dance, yoga, cello, chanting, meZZo voice. .

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Odissi Dance
ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing
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The High Court of Orissa,Cuttack List of Business for Friday the 19Th February 2021 Chief Justice's Court (2Nd Floor)
SUPPLEMENTARY LIST THE HIGH COURT OF ORISSA,CUTTACK LIST OF BUSINESS FOR FRIDAY THE 19TH FEBRUARY 2021 CHIEF JUSTICE'S COURT (2ND FLOOR) AT 10:30 AM THE HON'BLE THE CHIEF JUSTICE AND THE HON'BLE MR. JUSTICE B. P. ROUTRAY CRIMINAL APPLICATINOS & MOTIONS. THIS BENCH WILL FUNCTION THROUGH HYBRID ARRANGEMENT (VIRTUAL/PHYSICAL MODE. Learned Counsel desirous to appearing through Virtual Mode shall intimate the name, item number, case details etc. to the Court Master through Mobile no. 8763760499 between 8.00 P.M. to 10.00 P.M. on the previous date of the hearing of the case. LEARNED ADVOCATES ARE REQUESTED TO SUBMIT THE MEMOS FOR URGENT LISTING OF MATTERS FIRST TO THE D.R.(JUDICIAL), AND ONLY WHERE THE D.R.(JUDICIAL) HAS COMMUNICATED THAT THE REQUEST HAS BEEN DECLINED OR THE DATE GIVEN IS NOT CONVENIENT FOR SOME REASONS, SHOULD THE MATTERS BE MENTIONED ORALLY BEFORE THE BENCH OF THE CHIEF JUSTICE OR SUCH BENCH ASSIGNED FOR THE PURPOSE. FOR THE ORAL MENTIONING BEFORE THE DIVISION BENCH IN CHIEF JUSTICE’S COURT, LEARNED ADVOCATES WILL FIRST OBTAIN FROM THE COURT MASTER BETWEEN 9.30 A.M. AND 10.15 A.M. ON ALL WORKING DAYS, OVER PHONE NO.8763760499, A MENTIONING MATTER (MM) NUMBER. IN MATTERS OTHER THAN FRESH ADMISSION MATTERS, THE LEARNED ADVOCATES WILL FURNISH TO THE COURT MASTER ON e-mail ID- [email protected] PROOF OF INTIMATION OF THE MENTIONING TO LEARNED COUNSEL FOR THE OPPOSITE PARTIES. WHEN THE COURT OF THE CHIEF JUSTICE ASSEMBLES, THE MENTIONING MATTERS WILL BE CALLED OUT SERIAL WISE.) (SUPPLEMENTARY LIST WILL BE TAKEN UP FIRST.) (THIS BENCH WILL RISE AT 12.50 P.M.AND MAY FUNCTION AGAIN AFTER LUNCH.) NUMBER OF SLOTS AND RESPECTIVE V.C.
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IRDAI Cracks Down on Reliance Health
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The High Court of Orissa,Cuttack List of Business for Thursday the 25Th February 2021 Chief Justice's Court (2Nd Floor)
SUPPLEMENTARY LIST THE HIGH COURT OF ORISSA,CUTTACK LIST OF BUSINESS FOR THURSDAY THE 25TH FEBRUARY 2021 CHIEF JUSTICE'S COURT (2ND FLOOR) AT 10:30 AM THE HON'BLE THE CHIEF JUSTICE AND THE HON'BLE MR. JUSTICE B. P. ROUTRAY (CRIMINAL APPLICATINOS & MOTIONS. THIS BENCH WILL FUNCTION THROUGH HYBRID ARRANGEMENT (VIRTUAL/PHYSICAL MODE. Learned Counsel desirous to appearing through Virtual Mode shall intimate the name, item number, case details etc. to the Court Master through Mobile no. 8763760499 between 8.00 P.M. to 10.00 P.M. on the previous date of the hearing of the case. LEARNED ADVOCATES ARE REQUESTED TO SUBMIT THE MEMOS FOR URGENT LISTING OF MATTERS FIRST TO THE D.R.(JUDICIAL), AND ONLY WHERE THE D.R.(JUDICIAL) HAS COMMUNICATED THAT THE REQUEST HAS BEEN DECLINED OR THE DATE GIVEN IS NOT CONVENIENT FOR SOME REASONS, SHOULD THE MATTERS BE MENTIONED ORALLY BEFORE THE BENCH OF THE CHIEF JUSTICE OR SUCH BENCH ASSIGNED FOR THE PURPOSE. FOR THE ORAL MENTIONING BEFORE THE DIVISION BENCH IN CHIEF JUSTICE’S COURT, LEARNED ADVOCATES WILL FIRST OBTAIN FROM THE COURT MASTER BETWEEN 9.30 A.M. AND 10.15 A.M. ON ALL WORKING DAYS, OVER PHONE NO.8763760499, A MENTIONING MATTER (MM) NUMBER. IN MATTERS OTHER THAN FRESH ADMISSION MATTERS, THE LEARNED ADVOCATES WILL FURNISH TO THE COURT MASTER ON e-mail ID- [email protected] PROOF OF INTIMATION OF THE MENTIONING TO LEARNED COUNSEL FOR THE OPPOSITE PARTIES. WHEN THE COURT OF THE CHIEF JUSTICE ASSEMBLES, THE MENTIONING MATTERS WILL BE CALLED OUT SERIAL WISE.) (SUPPLEMENTARY LIST WILL BE TAKEN UP FIRST.) NUMBER OF SLOTS AND RESPECTIVE V.C.
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Nartanam 19-1.Pmd
ISSN 2455-7250 Vol. XIX No. 1 A Quarterly Journal of Indian Dance January - March 2019 & Special Issue Guru Surendra Nath Jena Nartanam pays tribute to it's Founder Editor Professor Modali Nagabhushana Sarma (24 July 1935 - 15 January 2019) A Quarterly Journal of Indian Dance Volume: XIX, No. 1 January - March 2019 Sahrdaya Arts Trust Hyderabad RNI No. APENG2001/04294 ISSN 2455-7250 Nartanam, founded by Kuchipudi Kala Founders Kendra, Mumbai, now owned and Late G. M. Sarma published by Sahrdaya Arts Trust, Late M. N. Sarma Hyderabad, is a quarterly which provides a forum for scholarly dialogue on a Chief Editor broad range of topics concerning Indian Madhavi Puranam dance. Its concerns are theoretical as well as performative. Textual studies, dance criticism, intellectual and interpretative Patron history of Indian dance traditions are its Edward R. Oakley focus. It publishes performance reviews and covers all major events in the field of dance in India and notes and comments Advisory Board on dance studies and performances Anuradha Jonnalagadda (Scholar, Kuchipudi dancer) abroad. The opinions expressed in the articles Avinash Pasricha (Former Photo Editor, SPAN; SNA Awardee) and the reviews are the writers’ own and C.V. Chandrasekhar (Bharatanatyam Guru, Padma Bhushan) do not reflect the opinions of the editorial committee. The editors and publishers Kedar Mishra (Poet, Scholar, Critic) of Nartanam do their best to verify the Kiran Seth (Padma Shri; Founder, SPIC MACAY) information published but do not take responsibility for the absolute accuracy K. K. Gopalakrishnan (Critic, Scholar) of the information. Leela Venkataraman (Critic, Scholar, SNA Awardee) Mallika Kandali (Sattriya dancer, Scholar) Cover: Guru Surendra Nath Jena Manjari Sinha (Critic, Scholar) Reginald Massey (Poet, FRSA, Freeman of London) Photo: Sunil Kothari (Scholar, Padma Shri, SNA Awardee, Fellow of SNA) Suresh K.
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Madhusudan Das.Pdf
Madhusudan Das, (1848- 1934) popularly known as Kulabruddha (Grand Old Man), Utkal-Gourab, (Glory of Orissa) and Odisar Janaka (Father of Orissa), was the architect of the province (now state) known as Orissa. He was a visionary par excellence and a tireless worker. He could foresee that India's existence &.. a Nation-State would depend upon Its federal structure, where states should be reorganised on the basis of language, He was also a philanthropist and Industrialist. He championed the social, political and economic rights of women end depressed classes, His long, eventful career had created a new beginning In the history of Orissa and given an Identity to Oriyas, In the Part-I of this book, through reminiscences of his contemporaries, the life and character of Madhusudan have been intimately portrayed, The Part-ll of the book Includes research papers of some scho lars, evaluating the personality end contributions of this great man to Oriya nationalism and Indian political thought, MADHUSUDAN DAS His Life and Achievements Editor: Debendra Kumar Dash PRAGATI UTKAL SANGHA Rourkela MADHUSUOAN DAS: HIS LIFE & ACHIEVEMENTS Debendra Kumar Dash Editor First Edition : 2002 Published by : Pragati Utkal Sangha B/9, Fakirmohan Nagar (Sector-7) Rourkela-769 003 Orissa Typeset by : Kumarika-Gangotri B/144, Sector-7 Rourkela-769002 Printed at : Optima Offset Prints Sutahat, Cuttack-753 001 Price : Rupees Two Hundred Only Madhusudan Das: His Life and Achievements has only three objectives in view :(i) to present source materials on the life and works of Madhusudan Das; (ii) to have an objective evaluation of his personality and contributions; (iii) not to succumb to the hagiographical tradition while writing on the life and works of Madhusudan.
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SEARCH a Journal of Arts, Humanities & Management Vol-IX, Issue-II July, 2015
SEARCH A Journal of Arts, Humanities & Management Vol-IX, Issue-II July, 2015 DDCE Education for All DDCE, UTKAL UNIVERSITY, BHUBANESWAR, INDIA Editorial Board Prof. S. P. Pani, Director,DDCE, Utkal University, Bhubaneswar. Dr. M. R. Behera Lecturer in Oriya, DDCE, Utkal University, Bhubaneswar. Dr. Sujit K. Acharya Lecturer in Business Administration DDCE, Utkal University, Bhubaneswar. Dr. P. P. Panigrahi Executive Editor Lecturer in English, DDCE, Utkal University, Bhubaneswar. ISSN 0974-5416 Copyright : © DDCE, Utkal University, Bhubaneswar Authors bear responsibility for the contents and views expressed by them. Directorate of Distance & Continuing Education, Utkal University does not bear any responsibility. Published by : Director, Directorate of Distance & Continuing Education, Utkal University, Vanivihar, Bhubaneswar – 751007. India. Reach us at E-mail : [email protected]. 91-674 –2376700/2376703(O) Type Setting & Printing: inteCAD 442, Saheed Nagar Bhubaneswar - 751 007 Ph.: 0674-2544631, 2547731 ii NEW EDUCATION POLICY Ever since the beginning of 19th Century the Governments of India have felt the need for a laying an education policy. It may appear that the classic debate of two points of view, Macaulay and Elphinstone is long dead. In fact it constantly reappears. The answer that we should accept the best of west and India does not satisfy any deep thinking and reflective Indian. There are many fundamental counters. - Science is not necessarily the gift of west - India cannot go back to Sanskrit tols and live in a fool’s paradise - Education is today global international and national characteristics no longer determine contours of education. - East shall remain east, west shall remain west both shall never meet.
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By Dr. Kapila Vatsyayan, and Now to Write the Foreword of Its Publication
The First Kamaladevi Kamaladevi Chattopadhyay Chattopadhyay Memorial Memorial Lecture Lecture Series 2009 Education through the Arts: Values and Skills design: seechange.in Dr. Kapila Vatsyayan (under the aegis of Ministry of Culture, Govt. of India) Centre for Cultural Resources and Training First Kamaladevi Chattopadhyay Memorial Lecture Education through the Arts: Values and Skills Dr. Kapila Vatsyayan May 29, 2009 URAL RE LT SO U U C R R C O E F S E A N R D T N T E R C A I l N I ka N LÑ G frd Ïksr ,oa çf'k{k.k ds Uæ Centre for Cultural Resources and Training © Centre for Cultural Resources and Training, 2010 All rights reserved. No part of this publication may be reproduced in any form without the prior written permission of the Director General, Centre for Cultural Resources and Training FOREWORD It was for me, a great opportunity and a privilege to have been present at the first Kamaladevi Chattopadhyay Memorial Lecture delivered by Dr. Kapila Vatsyayan, and now to write the Foreword of its publication. Both Kamaladeviji and Dr. Vatsyayan being iconic figures, it is not necessary for me to write about either, nor do I possess the competence to do so. The step taken by the Centre for Cultural Resources and Training (CCRT) in initiating an annual lecture series to honour the memory of one of the pre-eminent Indians of the last century is both commendable and long overdue. Dr. Vatsyayan, in her lecture has said of Kamaladeviji, ‘the values she embodied she actualized throughout her life’, that ‘she refused to be President of India, because her calling was of a different kind’, and that she chose instead to devote her life to giving ‘dignity to the crafts, and craftpersons.’ But, despite her reserve and self-effacement, offices and honours pursued her.
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Minutes of 43Rd Meeting of CFPGS
1 F.No. 9-1/2020-S&F Ministry of Culture S&F Section **** MINUTES OF 43rd MEETING OF THE CULTURAL FUNCTION AND PRODUCTION GRANT SCHEME (CFPGS) HELD ON 5th to 8th October, 2020 AT NSD New Delhi 1. A meeting of CFPGS was held on 5th to 8th October, 2020 under the Chairmanship of Smt. Amita Prasad Sarbhai, Joint Secretary (P.Arts & ZCC Bureau) to consider the proposal for financial assistance by the Expert Committee. 2. Under CFPGS Scheme Financial Assistance is given to ‘Not for Profit’ organisations, NGOs including Societies, Trusts, and Universities, for holding Conferences, Seminar, Workshops, Festivals, Exhibitions, Production of Dance, Drama-Theatre, Music and undertaking small research projects etc, on any art forms/important cultural matters relating to different aspects of Indian Culture. The quantum of assistance is restricted to 75% of the total project cost subject to maximum Rs. 5.00 Lakhs per project as recommend by the Expert Committee. In exceptional circumstances Financial Assistance may be given upto Rs. 20.00 Lakhs with the approval of Hon`ble Minister of Culture. 3. The Expert Committee examined a total of 1880 applications in its meeting held during 5th to 8th October, 2020 and after examining each and every proposal individually, has recommended 1001 proposals for financial assistance under the scheme. The details of 1001 cases approved for grant is placed at Annexure-I. The list of 729 cases not approved for grant is at Annexure-II. The list of 150 number of incomplete/ Grant Already Given proposals is placed at Annexure-III. 2 Annexure-I THE LIST OF ORGANIZATIONS APPROVED UNDER CFPG The details of approved proposals are as under:- Sl.No.
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Balasore District
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Odissi and Chhau Dance
ORISSA REFERENCE ANNUAL - 2004 ODISSI AND CHHAU DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ‘RASALILA’ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :–08-04-58 STATESMAN “It was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi
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A Festival Committed to Promoting Indian Classical Arts, the Geeva Heritage Festival Held on June 29 and 30, 2012 Presented the Geeva LIFETIME SERVICE AWARD to Dr
7/4/12 Flash News Narthaki Address.Bank News Info.Centre Featured.Columns User.Interactive Contact.Us A festival committed to promoting Indian classical arts, the GeeVA Heritage Festival held on June 29 and 30, 2012 presented the GeeVA LIFETIME SERVICE AWARD to Dr. Vasundhara Doraswamy, of Vasundhara Performing Arts, at Ursuline Arts Center in Louisville, KY, for her continued commitment and dedication to the promotion of Bharatanatyam. Dr. Doraswamy has been a frequent visitor to Louisville, KY for the last ten years and during her stay, has conducted workshops and training in Yoga, Kalaripayattu and Bharatanatyam. She has several students who have performed their Rangapravesha under her tutelage. For her dedication and affection towards Louisville and for making a difference in the lives of Louisvillans, the City of Louisville, Mayor’s Office, presented her with an HONORARY CITIZEN OF LOUISVILLE AWARD in the presence of the Mayor of Kentucky. Odissi Guru Harekrushna Behera (father of Odissi dancer Kavita Dwibedi) passed away at his residence in New Delhi on June 24, 2012. He was 81. He learned the Gotipua and Mahari style of Odissi from Ramhari Behera, Shriram Chandra Dey and Ramchandra Mahapatra apart from learning champu, chhanda, tabla, and contemporary dances like Chhota Khayal. He joined the Nritya Sangeet Kala Mandir (Balasore) in 1952 as a dance teacher. In 1957, he joined the Kala Vikas Kendra to pursue his education under Guru Kelucharan Mohapatra. He also joined the Jayantika movement committed to evolve Odissi with a classical character. In 1960, Babulal Joshi, the then secretary of the Kala Vikas Kendra sponsored his entrance to the Natya Ballet Centre at Delhi to learn ballet.
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