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SR. No. Registration No. Name of Student Program Name Academic
SR. No. Registration No. Name of Student Program Name Academic Year Year of Passing 1 200600447 Francesca Beulah Dmello PGDBA 2006 27-02-2009 2 200600448 Shraddha Vikas Naik PGDBA 2006 11-06-2010 3 200600453 Richa Kumari PGDBA 2006 18-01-2011 4 200600455 Lajith Nambiar PGDBA 2006 05-05-2010 5 200600458 Shiwani Beniwal PGDBA 2006 19-07-2010 6 200600459 Amrita Khosa PGDBA 2006 04-05-2010 7 200600461 Prashant Pralhad Mohite PGDBA 2006 26-10-2010 8 200600462 Shailesh Prakash Malve PGDBA 2006 26-10-2010 9 200600465 Vilas Rajaram Waman PGDBA 2006 20-02-2009 10 200600469 Swati Nivarutti Bhise PGDBA 2006 26-03-2010 11 200600473 Vivek Ramesh Dave PGDBA 2006 26-08-2009 12 200600475 Naureen Kabiruddin Mithani PGDBA 2006 02-02-2011 13 200600476 Sanjiv Kumar Agarwala PGDBA 2006 12-11-2010 14 200600477 Vinay Ishwar Pagadal PGDBA 2006 16-12-2009 15 200600483 Loveena Kanaya Sughand PGDBA 2006 23-12-2008 16 200600502 Varsha Kailash Kothawle PGDBA 2006 05-02-2010 17 200600512 T. V. Raghuraman PGDBA 2006 04-07-2009 18 200600519 Nutan Singh PGDBA 2006 26-08-2010 19 200600520 Aravind Rangnath Kulkarni PGDBA 2006 04-06-2009 20 200600522 Raja K Singh Tanwar PGDBA 2006 07-12-2010 21 200600523 Rakesh VasantKumar Jethwa PGDBA 2006 11-11-2009 22 200600526 Abilash Srinivasan PGDBA 2006 23-08-2011 23 200600533 Ashish Bhatnagar PGDBA 2006 23-12-2008 24 200600537 Rani Srinivas PGDBA 2006 26-02-2010 25 200600541 Ankush Mohan PGDBA 2006 19-07-2010 26 200600543 Mohit Bhargava PGDBA 2006 19-04-2010 27 200600544 Basavarajesh Chandrashekhar Anegundi PGDBA 2006 20-02-2009 -
1481186712P4M12TEXT.Pdf
PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 12 Pioneers Of Kathak 1930-1950 Pioneers are those who show the path not attempted before. They lead us to light to the new ways of doing something. These are people with vision to fulfill a mission and they are given divine support by history and circumstances to do so. Thus, pioneers are people, ordinary in appearance but with special abilities and mind backed by hard work. Once a form that was long forgotten and got known and established as Kathak, many stars of other forms, most notably Bharatanatyam and Kathakali did much to learn and promote Kathak and help it reach national acclaim. In this, Bharatanatyam trained Ram Gopal, Kathakali trained Uday Shankar and pioneers in films like Menaka and Sadhona Bose took this form further and can be called pioneers, in addition to the generation that followed their example. It would not be wrong to call Uday Shankar a cult figure of the early part of the 20th century. He was a showman, a creator of magical spectacles and a dancer par excellence. He was not a trained dancer, so his movements flowed from the heart. He 1 created the Indian ballet scene because nothing like it existed before. Originally a painter, on his museum visits to delve into books, Uday got fascinated with pictures of sculptures of Hindu gods and goddesses in varied poses. He began imitating the poses. Although unfamiliar with dance techniques, the images provided inspiration to translate into dance movement. -
The Sixth String of Vilayat Khan
Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration. -
RTI Handbook
PREFACE The Right to Information Act 2005 is a historic legislation in the annals of democracy in India. One of the major objective of this Act is to promote transparency and accountability in the working of every public authority by enabling citizens to access information held by or under the control of public authorities. In pursuance of this Act, the RTI Cell of National Archives of India had brought out the first version of the Handbook in 2006 with a view to provide information about the National Archives of India on the basis of the guidelines issued by DOPT. The revised version of the handbook comprehensively explains the legal provisions and functioning of National Archives of India. I feel happy to present before you the revised and updated version of the handbook as done very meticulously by the RTI Cell. I am thankful to Dr.Meena Gautam, Deputy Director of Archives & Central Public Information Officer and S/Shri Ashok Kaushik, Archivist and Shri Uday Shankar, Assistant Archivist of RTI Cell for assisting in updating the present edition. I trust this updated publication will familiarize the public with the mandate, structure and functioning of the NAI. LOV VERMA JOINT SECRETARY & DGA Dated: 2008 Place: New Delhi Table of Contents S.No. Particulars Page No. ============================================================= 1 . Introduction 1-3 2. Particulars of Organization, Functions & Duties 4-11 3. Powers and Duties of Officers and Employees 12-21 4. Rules, Regulations, Instructions, 22-27 Manual and Records for discharging Functions 5. Particulars of any arrangement that exist for 28-29 consultation with or representation by the members of the Public in relation to the formulation of its policy or implementation thereof 6. -
Tradition and the Individual Dancer
1: Tradition and the Individual Dancer History and Innovation in a Classical Form Critical accounts and promotional materials frequently refer to bharata natyam as “ancient.” The dance form’s status as traditional and classical seems to render it fixed, even timeless. A connection to the past appears to be a given for this dance practice. Even on closer examination, a relationship to the past seems integral to the dance form’s identity, its content, and its structure. Present-day bharata natyam choreography draws from the dance practices of earlier decades and centuries. Its movement vocabulary derives from sadir, the solo dance per- formed by temple and court dancers in precolonial and colonial South India. The margam—the concert order that determines when in a program each dance piece appears—was standardized in the nineteenth century by the renowned musician- composers of the Thanjavur Quartet. The roots of bharata natyam extend still further back. For example, the mudras, or hand gestures, used today accord in both shape and meaning with those described in the Natyasastra, a Sanskrit dra- maturgical text, dating from the beginning of the Christian era. Similarly, an arangetram, or initial performance, described in the fifth-century Tamil epic Silappadikaram correlates with that of devadasi practitioners of the nineteenth century, which then established the protocol for twentieth-century debuts. Bharata natyam’s repertoire consists largely of songs written between the sev- enteenth and twentieth centuries. The poems of love and religious devotion that form the basis of the bharata natyam canon emerged from the musical and lit- erary traditions of previous centuries. -
Pandit Ravi Shankar—Tansen of Our Times
Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times by S. Kalidas IND I A INTERNAT I ONAL CENTRE 40, MAX MUELLER MARG , NEW DELH I -110 003 TEL .: 24619431 FAX : 24627751 1 Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times The views expressed in this publication are solely those of the author and not of the India International Centre. The Occasional Publication series is published for the India International Centre by Cmde. (Retd.) R. Datta. Designed and produced by FACET Design. Tel.: 91-11-24616720, 24624336. Pandit Ravi Shankar—Tansen of our Times Pandit Ravi Shankar died a few months ago, just short of his 93rd birthday on 7 April. So it is opportune that we remember a man whom I have rather unabashedly called the Tansen of our times. Pandit Ravi Shankar was easily the greatest musician of our times and his death marks not only the transience of time itself, but it also reminds us of the glory that was his life and the immortality of his legacy. In the passing of Robindro Shaunkar Chowdhury, as he was called by his parents, on 11 December in San Diego, California, we cherish the memory of an extraordinary genius whose life and talent spanned almost the whole of the 20th century. It crossed all continents, it connected several genres of human endeavour, it uplifted countless hearts, minds and souls. Very few Indians epitomized Indian culture in the global imagination as this charismatic Bengali Brahmin, Pandit Ravi Shankar. Born in 1920, Ravi Shankar not only straddled two centuries but also impacted many worlds—the East, the West, the North and the South, the old and the new, the traditional and the modern. -
Reg.No. Name 1071310001 RAHUL R 1071310002 APOORVA NIKHIL 1071310003 KALAGOTLA SAI ABHISHEK 1071310005 AMEENA KADERKUTTY 1071310
Branch:CSE, NANO, CHEMICAL Date: 13 & 14th July S.NO Reg.No. Name 1 1071310001 RAHUL R 2 1071310002 APOORVA NIKHIL 3 1071310003 KALAGOTLA SAI ABHISHEK 4 1071310005 AMEENA KADERKUTTY 5 1071310006 CHANDANA S 6 1071310007 VEMULAPALLI NIKHIL KRISHNA 7 1071310008 MADUPURI THEJASWINI 8 1071310009 SAKTHIVEL V S 9 1071310011 V ABHILASH 10 1071310013 GOWTHAM S 11 1071310014 ANTON AKKARA 12 1071310016 SWAMI CHETNA DEVRAJ 13 1071310018 TADIKAMALLA NITHIN 14 1071310019 AMRENDRA KUMAR GUPTA 15 1071310020 R PAVITHRAN 16 1071310021 SEVIN XAVIER JOHN 17 1071310022 VENKATA SUBHASH SRIKARNA 18 1071310023 MANGIPUDI KRISHNA TEJA 19 1071310025 GAYATHRI SREEKUMAR 20 1071310027 KARTHICK R 21 1071310028 M RAMYA 22 1071310029 KEERTHANA G 23 1071310030 PRANAVU JOSEPH J 24 1071310032 PAPATHI S 25 1071310033 AKSHYA K A 26 1071310034 SOVAN GHOSH 27 1071310037 ADITI DATTA 28 1071310039 VAIBHAV SOOD 29 1071310045 REEM ABDUL RAZAK KARIPAKULAM 30 1071310046 PRASANTH S 31 1071310050 VISHNA NAIR 32 1071310051 GOWSIGAN V 33 1071310054 ACHANTA VENKATESH RAO 34 1071310055 REME DAS 35 1071310057 VIKAS JHA 36 1071310060 NIHAL RAO 37 1071310061 GAURAV PUROHIT 38 1071310065 SANJAY B 39 1071310067 RWIDDHI SARKHEL 40 1071310068 VISHNU PRIYAN S 41 1071310069 SAMRAJ A 42 1071310070 PANKAJ KUMAR 43 1071310072 ARUN KUMAR N 44 1071310073 ZAHRA AMAN SHEIKH 45 1071310074 JIJO V OMMEN 46 1071310076 BAIDURJYA BANERJEE 47 1071310077 REEMA BORUAH 48 1071310078 MD SADAKAT ALI Branch:CSE, NANO, CHEMICAL Date: 13 & 14th July S.NO Reg.No. Name 49 1071310083 NANDYALA ROHITH REDDY 50 1071310084 -
Chapter 1 Uday Shankar and Locating Modernity
CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead. -
Chapter 1 Uday Shankar: an Overview of the Period
CHAPTER 1 UDAY SHANKAR: AN OVERVIEW OF THE PERIOD BETWEEN 1900 – 1960 Given that the focus of the thesis is the period from 1960 to 1977, this overview of Uday Shankar’s life from 1900 – 1960 is primarily based on Mohan Khokar’s book, His Dance His Life – A Portrait of Uday Shankar1, the write up published in the name of Uday Shankar in the Souvenir of Shankarscope in 1970, titled My Love for Dance ,2 and a televised interview of Uday Shankar with Shambhu Mitra on DD Bharati3. The researcher is well aware of the limitations that this might present. The two most evident ones being – the biography of Uday Shankar by Mohan Khokar is in many instances incorrect, inaccurate and inadequate for the period 1960 – 1977, therefore the veracity of the biography of Shankar’s early life also remains suspect, all the more so as Khokar does not use any citations, nor does he state the sources of his information in many a case. Nonetheless, this appears to be the most comprehensive book written on Uday Shankar’s life and works till date, and therefore the researcher has used this as a base for the period between 1900 – 1960. The second limitation arises from the usage of the write-up published in the souvenir, and Uday Shankar’s interview as the researcher is well aware that the content of this write-up and interview is what Uday Shankar wanted in terms of information dissemination to his audience and therefore is more 1 Mohan Khokar, His Dance His Life – A Portrait of Uday Shankar (New Delhi: Himalayan Books, 1983) 2 Uday Shankar, “My Love for Dance,” Souvenir of Shankarscope (1970) 3 An interview of Uday Shankar by Shambhu Mitra on DD Bharati, accessed April 28, 2019, url: https://www.youtube.com/watch?v=JHq-uBio5vE&t=14s for purposes of publicity. -
India Dance Brochure
About the Mamata Shankar Ballet Troupe: Florence High School’s Creative Writing Program teaches students to write for The Group follows the style evolved by Uday Shankar, which has the inherent grammar of Classical Indian dance and yet is innovative, contemporary and not shackled with the moors of rigid classicism. publication. Students write poems, short stories, essays, and one-act plays which The graceful body movements are blended with the idiom of vibrant folk dances of India to attain a are entered into local, state, and national writing competitions. Creative Writing statuesque quality of lyricism. The group believes that dance inculcates the feeling of love & compassion, students also write, edit, design, and publish Signatures, Florence High School’s gives a meaningful dimension to human emotions, and binds the mind and heart of the youth to the award-winning literary-arts magazine. cultural heritage and tradition. About Mamata Shankar: The mission of the Bengali Association of Huntsville is to educate the communi- Mamata Shankar is the Principal of the institution. She is an accomplished dancer, choreographer, and an ty about the culture and heritage of Bengal and its neighboring regions through actress. She has trained in Bharatanatyam, Manipuri, Kathakali, and the Uday Shankar style of dance. She educational, cultural, and recreational activities. is the daughter of Uday and Amala Shankar, wife of Chandrodoy Ghosh, niece of Pt. Ravi Shankar and sister of Ananda Shankar. Shoals India & South Asian Association (SISAA) is a non-profit organization About Chandrodoy Ghosh: based in the Shoals. SISAA’s primary mission is to enhance awareness about Chandrodoy Ghose is the Founder-Director of MAMATA SHANKAR BALLET TROUPE. -
Violence Against Women and Various Preventive
The Sentinel CMYK CMYK AUGUST 18, 2018 POTPOURRI Mouni’s Fashion Quotient During Gold's Promotions Useful Apps & Websites Sight & Sound Recipes from the Plantix, Wordament , Nilotpal Bora to Debut in Award Winning Author Bring! Shopping list, and others Hindi Web Series Mridula Baljekar Ditch the Witch and Cuddle Violence against Women and Various Preventive Measures Humanity: Birubala R Buddhadev Nandi A report says that between 2001 and 2007, 193 witch-hunting deaths Ever since the dawn of civilization down to the for equal work are enshrined in Article 39(a) and occurred, and 202 cases were registered, while 931 arrests were made. present era gender justice is a burning question. Male 39(d) respectively. Even Article 39(e) ensures that This highlights the need of people like Birubala and related organizations violence against female is a worldwide phenome- the health and strength of women workers cannot to take a stand to create a strong and unbreakable wall between myth and non. Most of the women are the victims under so- be abused and they should not be forced to enter truth; being evil towards someone and being human; and illogical existence cio-cultural, religious and economic structures. Need- avocations unsuited to their strength. Besides, there and literate and logical stance. less to say, violence against women has been a cru- are several provisions in the Constitutions to en- Tell us a bit about Borjhara Anchalik Mahila Samiti & Mahila cial issue even in the contemporary Indian society. sure safety, security and dignity of women. Samata Society. Crime against women is a phenomenon from womb To improve the socio-economic status of women to tomb. -
CDE Point Awarded
FULL NAME PROFESSION REGISTRATION REGISTRATION STATE DENTAL COUNCIL NUMBER NUMBER 1 Dr.Parveen kaur Practitioner A 17229 Punjab State Dental Council SUNITA PATHAK Faculty A 11303 Uttar Pradesh State Dental Council A. Karthic Practitioner A 7071 Tamil Nadu State Dental Council Aarthi.S.L.M PG Student A 28150 Tamil Nadu State Dental Council Abhijeet Bhandari PG Student A 2212 Uttarakhand Dentists Registration Tribunals Adil Iqbal Sait PG Student A 40222 Karnataka State Dental Council Aditi Johri Practitioner A 20686 Uttar Pradesh State Dental Council Aditya Acharya Faculty A 26991 Karnataka State Dental Council Agrima Thakur PG Student A 37431 Maharashtra State Dental Council Aishwarya V Practitioner A 15444 Tamil Nadu State Dental Council Akash Bhatnagar Faculty A 8067 Uttar Pradesh State Dental Council Akriti Goel Faculty A 9521 Uttar Pradesh State Dental Council Alok sharma Faculty A 0299 Rajasthan State Dental Council Amber Prakash PG Student A 7395 Bihar State Dental Council Angitha Balakrishnan PG Student A 16403 Kerala State Dental Council ANKUR DHAON Practitioner A 2714 Uttar Pradesh State Dental Council Annie John PG Student A 17486 Punjab State Dental Council Anoushka Menon PG Student A 40037 Maharashtra State Dental Council ANU BABU Faculty A 19645A Kerala State Dental Council ANU KUMARI Practitioner A 3783 Bihar State Dental Council ANUJA PANDITRAO Faculty A 18566 Maharashtra State Dental HAKKEPATIL Council Anupam Sharma Faculty A 1483 Uttar Pradesh State Dental Council Anusha.R Faculty A 21374 Tamil Nadu State Dental Council