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Cultures of Instrument Making in Assam Upatyaka Dutta
Cultures of Instrument Making in Assam Upatyaka Dutta As Assam slowly recovers from the double whammy of COVID-19 pandemic and floods, I utilized every little opportunity to visit instrument makers living in the interior villages of Assam. My first visit was made to a Satra (Neo-vaishnavite monastery) by the name of Balipukhuri Satra on the outskirts of Tezpur (Sonitpur district), the cultural capital of Assam. There in the Satra, the family introduced me to three hundred years old folk instruments. A Sarinda, which is an archaic bowed string instrument, turns out to be one of their most prized possessions. Nobody in the family is an instrument maker, however, their ancestors had received the musical instruments from an Ahom king almost three hundred years back. The Sarinda remains in a dilapidated condition, with not much interest given to its restoration. Thus, the sole purpose that the instrument is serving is ornamentation. Fig 1: The remains of a Sarinda at Balipukhuri Satra The week after that was my visit to a village in Puranigudam, situated in Nagaon district of Assam. Two worshippers of Lord Shiva, Mr. Golap Bora and Mr. Prafulla Das, told tales of Assamese folk instruments they make and serenaded me with folk songs of Assam. Just before lunchtime, I visited Mr. Kaliram Bora and he helped me explore a range of Assamese instruments, the most interesting among which is the Kali. The Kali is a brass musical instrument. In addition to making instruments, Kaliram Bora is a well-known teacher of the Kali and has been working with the National Academy of Music, Dance and Drama’s Guru-shishya Parampara system of schools to imbibe education in Kali to select students of Assam. -
UNIT 3 PERFORMING ART PRACTICAL Notes STRUCTURE
Performing Art Practical UNIT 3 PERFORMING ART PRACTICAL Notes STRUCTURE 3.0 Introduction 3.1 Learning Objectives 3.2 Elements in different performing arts 3.2.1 Music 3.2.1.1Vocal 3.2.1.2Instrumental 3.2.2 Dance 3.2.2.1Folk 3.2.2.2 Classical 3.2.2.3 Creative 3.2.3 Theatre 3.2.3.1 Folk Theatre 3.2.4 Puppetry 3.2.5 Significance of Regional Art Forms 3.3 Planning and Preparation of any Performing Art 3.3.1 Planning 3.3.2 Preparation 3.3.3 Tips for Presentation 3.4 Making a Folder of covering practical activities 3.5 Let us Sum up 3.6 Answers to Check Your Progress 3.7 Suggested Readings and References 3.8 Unit-End Exercises 3.0 INTRODUCTION In the previous chapter you have learned about Visual Arts and Craft. The chapter gives you the knowledge about different aspects of Visual Arts and Craft. It 60 Diploma in Elementary Education (D.El.Ed) Performing Art Practical describes fundamentals of Art, experimentation with different materials and Exploration and Experimentation with different Methods of Visual Arts and Crafts. Apt implementation by teachers will give ample opportunity for children to Notes explore and experiment .It will enhance the creativity of the child and also help them to explore and enjoy in the immediate environment. As Art figures in almost every walk of life Art and India are almost synonymous. Right from birth singing the soothing lullaby to the child, enacting tales of valor and courage in schools and community celebration from the epics – The ‘Mahabharata’ and The ‘Ramayana’, or Panchatantra we are connected to art. -
Indian Journal of Comparative Literaure and Translational Studies
Indian Journal of Comparative Literature and Translation Studies (IJCLTS) ISSN: 2321 8274, http://ijclts.wordpress.com/ October 2018, Volume 4 Number 1 EDITOR: MRINMOY PRAMANICK & MD INTAJ ALI Image Source: https://goo.gl/images/hjpw4q Advisory Committee 1. Prof. Avadhesh K Singh, Former Director, School of Translation Studies and Training, Indira Gandhi National Open University, New Delhi, India 2. Prof. Tutun Mukherjee,Former Professor, Centre for Comparative Literature, School of Humanities, University of Hyderabad, India 3.Nikhila H, M.A., Ph.D. (Bangalore), Associate Professor,Department Of Film Studies And Visual Communication, EFLU,Hyderabad, India 4. Tharakeshwar, V.B, Former Head & Associate Professor,Department of Translation Studies,School of Interdisciplinary Studies, EFLU,Hyderabad, India Editorial Board Editors: 1. Mrinmoy Pramanick, Head and Assistant Professor, Comparative Indian Language and Literature, Univetrsity of Calcutta. 2. Dr. Md. Intaj Ali, Independent Researcher. Co-Editors: Volume 4, Number 1, October, 2018, (IJCLTS) ISSN: 2321-8274, 2 http://ijclts.wordpress.com/ 1. Saswati Saha, Assistant Professor, Department of English, Sikkim University .India 2. Rindon Kundu, Senior Research Fellow, Department of Comparative Literature, Jadavpur University, India 3. Nisha Kutty, Centre for Comparative Literature, University of Hyderabad, India Board of Editors: (Board of Editors includes Editors and Co-Editors) -Dr. Ami U Upadhyay, Professor of English, Dr. Babasaheb Ambedkar Open University, Ahamedabad, India – Dr. Rabindranath Sarma, Associate Professor, Centre for Tribal Folk Lore, Language and Literature, Central University of Jharkhand, India -Dr. Sushumna Kannan,PhD in Cultural Studies Centre for the Study of Culture and Society, Bangalore,Adjunct Faculty, Department of Women‘s Studies, San Diego State University -Dr. -
ARC Music CATALOGUE
WELCOME TO THE ARC Music CATALOGUE Welcome to the latest ARC Music catalogue. Here you will find possibly the finest and largest collection of world & folk music and other related genres in the world. Covering music from Africa to Ireland, from Tahiti to Iceland, from Tierra del Fuego to Yakutia and from Tango, Salsa and Merengue to world music fusion and crossovers to mainstream - our repertoire is huge. Our label was established in 1976 and since then we have built up a considerable library of recordings which document the indig- enous lifestyles and traditions of cultures and peoples from all over the world. We strive to supply you with interesting and pleasing recordings of the highest quality and at the same time providing information about the artists/groups, the instruments and the music they play and any other information we think might interest you. An important note. You will see next to the titles of each album on each page a product number (EUCD then a number). This is our reference number for each album. If you should ever encounter any difficulties obtaining our CDs in record stores please contact us through the appropriate company for your country on the back page of this catalogue - we will help you to get our music. Enjoy the catalogue, please contact us at any time to order and enjoy wonderful music from around the world with ARC Music. Best wishes, the ARC Music team. SPECIAL NOTE Instrumental albums in TOP 10 Best-Selling RELEASES 2007/2008 our catalogue are marked with this symbol: 1. -
Folleto 2020
INSTRUMENTOS EXPUESTOS Abreviaturas Fb: Fabricante Cc: Colección Cn: Constructor Md: Modelo Dn: Donación Ap: Anterior Propietario Rest: Restaurador Los números en negrita corresponden con los instrumentos que se citan en la audioguía. 1 Armonio España (ca. 1930) 2 Clavicordio Cn: Jesús Reolid SUDESTE ASIÁTICO Vitrina 1 3 Celempung o Siter Indonesia (Java) Dn: Javier Blanco 4 Tarompet Indonesia (Sunda, Java) 4a Saron Demung Indonesia 4b Saron Barung Indonesia 4c Saron Panerus Indonesia 5 Sasando Indonesia (Java) 5a Dan Bao Vietnam 5b Karinding Indonesia Dn: Bill Cooley 6 Rebab Byur Indonesia (Java) Dn: Beatriz Gayá 7 Phin Tailandia 7a Dan Nguyet Vietnam 7b Dan Day Vietnam 8 Saw-U Tailandia Ap: J. Reolid 9 Kateobak Indonesia (Mentawi) 10 Kacapi Sumatra (Batak) Dn: César Carazo 11 Angklung Tailandia Dn: Carlos Beceiro 12 Sung Lisu Tailandia 13 Sompoton Malasia (Sabah) Dn: Manuel Martínez 13a Khene Paet Tailandia Ap: J. Reolid 13b Sueng Tailandia Ap: J. Reolid 14 Khim Tailandia 15 Mong Indonesia 16 Balingbing Filipinas (Kalingga) 17 Tonkungon Malasia Dn: Maribel Shoemaker 18 Thon Tailandia 18b T’rung Vietnam Dn: Huyen E. Thi Than 18c Sin Tien Vietnam www.luisdelgado.net 1 SUBCONTINENTE INDIO Vitrinas 2 y 3 19 Rabab Afganistán, Pakistán e India Ap: Pablo de Jebenois 20 Sarod India 21 Thaus India 22 Esraj India Fb: Bina 23 Dotara Bengala 23b Dotara Bengala Dn: Carlos Baceiro 24 Dholak India 25 Anandalahari y púa India (Bengala) 26 Udakka Sri Lanka 27 Tabla India Ap: Begoña Olavide 28 Sruti Petti India 29 Armonio India Fb: Bina 30 Khol India 30a Ghungroo India 31 Saranghi I India 32 Saranghi II (s. -
Avalon Woodroffe Serpent Power.Pdf
DOVER BOOKS ON EASTERN PHILOSOPHY AND RELIGION The M ystery-Religions, S. A n g u s. (23124-0) $3.95 Tantra of the G reat Liberation, Arthur Avalon. (20150-3) $7.50 Shakti and Shakta, Arthur Avalon. (23645-5) $7.95 Y o g a : A Scientific Evaluation, Kovoor Т. B e h a n a n . (20505-3) $4.00 The Egyptian Book of the Dead, E.A. W allis Budge. (21866-X) $6.95 An Egyptian Hieroglyphic Dictionary, E. A. Wallis Budge. (23615-3, 23616-1) Two-volume set $24.00 Egyptian Magic, E.A. W allis Budge. (22681-6) $4.00 The Gods of the Egyptians, E.A. Wallis Budge. (22055-9, 22056-7) T w o - volume set $20.00 Osiris and the Egyptian Resurrection, E.A. Wallis Budge. (22780-4, 22781-2) Two-volume set $13.50 Confucian Analects, G reat Learning, and the Doctrine of the Mean, Confucius. (22746-4) $6.00 Christian and O riental Philosophy of A rt, Ananda K. Coomaraswamy. (20378-6) $3.00 Myths of the Hindus and Buddhists, Ananda K. Coomaraswamy and Sister Nivedita. (21759-0) $5.50 Buddhist M ahayana Texts, E.B. C o w ell, F. Max Muller and J. T a k a k u su . (22093-1) $6.50 A strology and Religion among the Greeks and Romans, Franz Cumont. (20581-9) $2.75 The M ysteries of M ithra, Franz Cumont. (20323-9) $4.00 The O riental Religions in Roman Paganism, Franz Cumont. (20321-2) $4.50 M agic and M ystery in Tibet, Alexandra David-Neel. -
PROFILE Prof. Dr. Kakali Dhara Mandal
PROFILE Prof. Dr. Kakali Dhara Mandal Prof. Dr. Kakali Dhara Mandal, Professor, HOD at Department of Folklore, KU Academic Qualification M.A., Ph.D., D.Lit. Telephone No. 091 033 25768900 (R) Mob. No. - 918420104401 E-Mail – [email protected], [email protected] Area of Interest I. Teaching Experience. (26 Years) Full Time Teacher=21 years Guest Teacher=5.6Years. Area Environmental Folklore Theory and Methodology Folk Technology & Folk Science Folk Arts & Craft Ethnic Culture / Tribal Studies Comparative Folklore Applied Folklore Dept. of Folklore, KU. Folk Performances Folk musicology etc Puppetry History of Folklore Studies Tribal lore II. Research Experience (24Year) Awarded Research Scholar-21 Thesis Submitted-2 Registered /Working Scholar-2+2 Area of Research of the working Scholars Materialized Folklore Folk literature Food Culture Folk Arts & Crafts Folk Architecture Folk Performing Art Folk belief & customs Environmental Folklore Research Project Carried Out Minor research project entitled “Agricultural Science as Revealed in our Agricultural proverbs” Funded By U.G.C Duration 2 years National Merit Scholarship Award / Prize / National/International in Madhyamik Recognition Examination Rank & Merit Certificate (ME) Prize for First class First in M.A. Exam. Gold Medal for 1st. Position in Arts & Commerce Faculties, Kalyani University Junior Research fellowship & Senior Research fellowship (UGC-JRF & SRF) Awarded First Prize & Medal in District Science Prize for First class First in M.A. from Governor Saiyid Nurul Fair 1985 (from Hasan Govt. Of West Bengal & Govt. Of India) Vice-President of Asian Folklore Congress, Kolkata, India, 2010 Vice-President of Asian Folklore Congress, Penang, Malaysia, 2011. President, Centre for Folklore Studies and Research, Kolkata (2007-till date) President, Institute of Folk Culture, Kolkata (2015- till date) Gold Medal for 1st. -
Art Education
Understanding Arts and Arts Education (Theory) UNIT 1 UNDERSTANDING ARTS AND ARTS EDUCATION (THEORY) Notes STRUCTURE 1.0 Introduction 1.1 Learning Objectives 1.2 Meaning and Concept of Art Education (i)Visual Arts (ii) Performing Arts and its significance at elementary level of school Education 1.2.1 What is Art Education? 1.2.2 What is Visual Art? 1.2.3 What is Performing art? 1.2.4 Nature and Scope of Art Education 1.3 Importance of Art Education at Elementary Level 1.3.1 Need and Importance of Visual Arts 1.3.2 Need and Importance of Performing Arts 1.3.2.1 The World of Dance 1.3.2.2 The World of Drama 1.3.2.3 The World of Music 1.3.3 Understanding Child Art 1.4 Knowledge of Regional Arts and Crafts (Local Specific) And it’s Relevance in Education 1.4.1 What is Regional Art and Craft? 1.4.2 Relationship of art and craft with elementary education. 1.4.3 Teaching Students about Folk Objects and Traditional Arts 1.5 Knowledge of contemporary Arts and Artists, and artisans from the field of Visual and Performing Arts 1.6 Let Us Sum Up 1.7 Suggested Reading &References 1.8 Unit-End Exercises Block 1 : Art Education 1 Understanding Arts and Arts Education (Theory) 1.0 INTRODUCTION Notes The child comes to the world with an innate capacity to learn. The first language of learning is not the language you speak to the child, the learning does not start with the alphabets and numerals, with facts or books, with the schools or classes, actual learning begins with the immediate environmentwith the visuals around, with the sounds enveloping the child and the regular events that take place around them. -
Understanding and Exploring the Music of the Bauls of Bengal
`` Understanding and Exploring the Music of the Bauls of Bengal DISCOVER INDIA PROGRAM 2015-16 March, 2016 i Understanding and Exploring the Music of the Bauls of Bengal DISCOVER INDIA PROGRAM 2015-16 March, 2016 ii CERTIFICATE This is to certify that the work incorporated in this report entitled “Understanding and Exploring the Music of the Bauls of Bengal” submitted by the undersigned Research Team was carried out under my mentorship. Such material as has been obtained from other sources has been duly acknowledged. Sr. No NAME OF THE STUDENT DESIGNATION SIGNATURE 1 Abhiram Pasumarthy Group Leader/ Content Writer/ Videographer 2 Abraham Zachariah On- field researcher 3 Armaan Mustafa Content Writer 4 Ashvita Anand Content Writer/ On field researcher/ Finance and Logistics 5 Ayush Goel On- field researcher 6 Chirantan Ghanekar On- field researcher/ Creative Head 7 Disha Duggal On- field researcher/ Creative Head/ Content Writer 8 Ipsita Roy On- field researcher/ Creative Head/ Content Writer 9 Kabir Bhargava Finance and Logistics Head 10 Ria Monie Photographer 11 Rohant Chadha Videographer Name of the Faculty Mentor: Professor Ravikant Kisana Signature: Date: 3 March 2016 iii Contents CERTIFICATE .................................................................................................................................... iii ACKNOWLEDGEMENTS ................................................................................................................ vi ABSTRACT ........................................................................................................................................ -
Verzeichnis Der Schallplatten Und Compact Discs Der Vergleichenden Musikwissenschaft an Der Fachbereichsbibliothek Musikwissenschaft
Verzeichnis der Schallplatten und Compact Discs der Vergleichenden Musikwissenschaft an der Fachbereichsbibliothek Musikwissenschaft Inhalt: Erwerbungen bis 2004 SV = Schallplatte (vergleichende Musikwissenschaft) SV […] CD = Compact Disc (vergleichende Musikwissenschaft) Schallplatten 1-500 Beschreibung: Sigel des Kontinents Land bzw. Stamm. – Gattung. Ensemble, Instrument. – Liedanfänge. - Interpreten, Komponisten Die Zuordnung der einzelnen Länder und Stämme zu den entsprechenden Kontinenten orientiert sich nach den Angaben des "Fischer Weltalmanach '83". Innerhalb der Kontinente sind die Länder bzw. Stämme nach dem Alphabet gereiht. Diesem Ordnungswort können zur näheren Bestimmung weitere Ortsangaben folgen. Daran schließt die Aufzählung der Musikgattungen der jeweiligen Tonaufnahme an. Der Aufzählung von Ensembles ist die der Musikinstrumente angefügt, welche in ihrer Reihung der Hornbostel-Sachs'schen Systematik folgen. Zusätzliche und einheimische Bezeichnungen von Musikinstrumenten sind den deutschen Oberbegriffen in Klammer beigesetzt. Nicht deutschsprachige Namen von Gattungen, Ensembles und Musikinstrumenten sind grundsätzlich klein geschrieben. Die Erfassung der Liedanfänge unterliegt keiner systematischen Gliederung. Nach den alphabetisch geordneten Liedanfängen folgt jeweils die Angabe des Landes (soweit dies möglich), der Gattung, des Interpreten und eventuell des Komponisten. Die Namen der Interpreten und Komponisten sind nach dem Alphabet gereiht. Im Stichwortverzeichnis sind die Gattungsbegriffe alphabetisch, die Musikinstrumente -
Music .General
.General. - . - . Character' of the Folk Music ) /j/' of Bengal /// Some authors have defined folk songsas songs of parts of the province and which never fails to impress /7 the peasants. This may be.true in other lands, but e:,~n the most casual visitor to Bengal. One such this definition does not properly apply to India. VISItor, a European thus describes his experience: 'Because -here villagers in different spheres of life have evolved different types of songs suited to their "Stopping one evening in a Bengal village we particular occupation. The song of a cowboy there heard on every side of us different kinds of music. fore, naturally differs from that ofthe boatman or the There was nothing discordant and it all blended woodcutter or the fisherman or the nomadic Badya together into a .pleasing harmony. Our boat had (gypsy), while all these are very different from the drawn up by a small landing stage, while the boat -songs sung on the occasion of a marriage ceremony men went to their food. Out in the stream were other or a puja. The village story-teller has his own way ~oats, their occupants singing love-lyrics or devo- of singing songs inserted. infolk-lores, as interludes. , tronal songs,as they rested 'for a time after their The Baul is certainly not a peasant either in occupa meal. In one boat was a musical party with Tambur tion or in spirit, but his songs are Some of the best (Dotara?) and drum. As we strolled round the specim ~nS of the folk songs of Bengal. -
Adaption of Panchitra to Suit Contemporary Society
Ministry of Culture Govt. of India Senior Fellowship 2013-2014 Field of the Fellowship: Visual Art (Painting) File No. - CCRT/SF-3/166/2015 Subject: Adaptation of Patachitra to suit Contemporary Society 1st Report: 1st January, 2016 to 30th June, 2016 Name and address of the awardee: Samir Kumar Dutta 7B, Chanchal Sarani Santoshpur, Jadavpur Kolkata, West Bengal Pin-700 075 Email- [email protected] 1 Index S.No Topic Pg. No 1. Abstract 3 2. Introduction 3 3. Origin of the Research Problem 5 4. Interdisciplinary Relevance 6 5. Objectives 6 6. Visit to Naya 6 7. Conclusion from my visit to Naya 15 8. Visit to showrooms 16 9. Plan for next six months 17 10. Bibliography 18 11. Annexure i Questionnaire 19 ii Pictures 77-88 2 Adaptation of Patachitra to suit Contemporary Society Abstract With the conception of this project I decided to look into two aspects. Firstly I went to Naya to try and understand the requirements of the patuas and secondly I visited various boutique and shops and had discussions with a few interior designers to understand the contemporary urban requirement. I realized that the patuas are not being able to diversify their stories and applications as per the modern society, hence their work seems repetitive when they paint the utilitarian objects. I plan to be with them and make them paint some objects that I believe will fit better in today’s world. These products will be put to test in the coming fairs and by December-January a clear picture of acceptance or rejection shall immerge.