DOCSLIB.ORG

Ocd Section Implementation Chart for the Period April

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ocd Section Implementation Chart for the Period April OCD SECTION IMPLEMENTATION CHART FOR THE PERIOD APRIL 2014 TO MARCH 2015 S.NO. COUNTRIES NAME OF THE GROUP DATE PURPOSE OF VISIT Remarks VISITED 1 Egypt, Israel 06-member Kathak Dance 5 to 17 April, To participate at the “India by the Nile” Palestine group led by Ms. Marami 2014 Festival in Egypt and to give cultural UAE Medhi performances in Israel, Palestine and UAE (Assam) 2 Cambodia 10-member Manipuri Folk 6 to 25 April, To participate in the Hue Festival in Vietnam dance group led by Ms. 2014 Vietnam and to participate at the Food Malaysia Suman Sarawgi Festival and inauguration of MGC Textile Museum in Cambodia and to give cultural (West Bengal) performances in Malaysia 3 South Africa 05-member Bharatnatyam 8 to 18 April, To participate in the Tamil New Year Mauritius dance group led by Ms. Purva 2014 celebrations Dhanashree (Andhra Pradesh) 4 Thailand 12-member Bhangra and 20 to 28 April, To participate at the 232nd Year of Giddha Dance group led by 2014 Rattanakos in City Royal Benevolence and Shri Harinder Pal also to perform at the Fun Fair organized by the Ministry of Culture, Thailand (Punjab) 5 Malawi 10-member Rajasthani folk 24 April to 9 To participate at the Harare International Zimbabwe dance group led by Ms. Moru May, 2014 Festival of Arts (HIFA) in Zimbabwe and to Mauritius Sapera give cultural performances in the region (Rajasthan) 6 Switzerland, 06-member Kathak Dance 12 May to 9 To participate at the Trade Fair in Germany group led by Ms. Rujuta June, 2014 Belgrade and to give cultural Serbia, Soman performances in the region Montenegro Austria, Croatia (Maharashtra) Spain 7 Japan 08-member Kathakali dance 15 May to 1st To participate at the Commemorative China group led by Shri M. June, 2014 Lecture and music concert on Budhisena, Gopalakishnan the first Indian monk who spread Buddhism in Japan and to give cultural (Kerala) performances in China 8 Nepal 05-members Manipuri Dance 20 to 27 May, To participate at “Mini Festival of Indian Bhutan group led by Ms. Baishali 2014 Culture” in Nepal and to give cultural Basu Sarkar performances in Bhutan (West Bengal) 9 Nepal 04-member Sarod group led 19 to `23 May, To participate at “Mini Festival of Indian by Pt. Debjyoti Bose 2014 Culture” in Nepal (West Bengal) 10 Suriname 06-member Bhojpuri music 20 to 31 May To participate at the Indian Arrival Day Guyana group led by Ms. Kalpana 2014 celebrations Trinidad & Tobago Patowari (Maharashtra) 11 Romania, Hungary 10-member Rajasthani Folk 20 May to 18 To give cultural performances Spain, Portugal dance group led by Shri June, 2014 Fakira Khan Bishala (Rajasthan) 12 Japan Financial Support to June, 2014 The Council granted Yen 3,00,000/- as Japanese local artists for performance fees to the Japanese artists celebrations of Kala Utsav – for Indian Classical Dance performances 2014 being organized by the in Japan Embassy of India in Japan 13 Australia, 12-member ‘Dance Era’ 19 to 30 June, To perform at the “India@Mindi” Festival in Indonesia Bollywood group led by Shri 2014 Darwin, Northern Territory (Australia) and Vietnam Manik Batheja to give cultural performances in the region (New Delhi) 14 Latvia, Sweden 10-member Gujarati Folk 20 June to 16 To perform in the Festival in Russia, and Finland, group “Saptak” led by Shri July, 2014 Milan Festival in Netherlands and to give Netherlands Chetan Chandrakant Jethava cultural performances in other countries Russia (Gujarat) 15 South Korea 06-member Manipuri dance 18 to 27 July, To give cultural performances at the group led by Ms. Debanjana 2014 Unveiling of Gandhi Bust at ICC Busan, Roy Korea (West Bengal) 16 Bulgaria 10-member Manipuri Folk 18 July to 03 To participate in the Chelopech group led by Shri Raj Kumar August, 2014 International Folklore Festival, Veliko Ratan Singh Tarnove International Folklore Festival and Varna International Folklore Festival (Manipur) 17 Hong Kong 05-member Bharatnatyam 27 July to 04 To participate in the Annual Bharatnatyam Malaysia Dance group led by Ms. August, 2014 Dance Festival in Malaysia and to give Kavita Ramu cultural performance in Hong Kong (Tamilnadu) 18 South Africa 05-member Odissi Dance 9 to 23 August, To perform at the Independence Day Lesotho group led by Ms. Vani 2014 Celebrations Tanzania Madhav Kenya (Haryana) 19 Bhutan 05-member Odissi Dance 14 to 19 To perform at the Independence Day group led by Ms. Pompi Paul August, 2014 Celebrations (West Bengal) 20 Fiji 12-member Bollywood Dance 19 August to 13 To participate at the Hibiscus Festival and China and Music group led by Ms. September, Friendly North Festival in Fiji and Parminder Kaur 2014 to perform at the Independence Day Celebrations and participate at the (Maharashtra) Glimpses of India Festival, China to mark a India – China Friendly Exchange Year 21-22 Sri Lanka (i) 05-member Carnatic 24-27 August, To perform at the Independence Day Vocal group led Shri T.V. 2014 Celebrations Ramprasad (Tamilnadu) (ii) 05-member 23-26 August, Bharatnatyam Dance 2014 group led by Ms. Lavanya Ananth (Tamilnadu) 23 France 04-member Puppet group led 05 to 26 To participate at the DIG Chain Tour in Germany by Shri Vinod Bhatt September, Germany and to give performances in the Belgrade 2014 region (Rajasthan) 24 USA 05-member Kathak Dance 11-20 To participate at the 3rd International Canada group led by Ms. Richa Jain September, Kathak dance festival in Chicago, USA 2014 and to give cultural performances in (New Delhi) Canada 25 Oman, Kuwait 08-member Fusion group 12 September, To participate at the SAMAA Festival in Egypt, Tunisia “The Sufi Gospel Project” led to 08 October Egypt and to give cultural performances in Lebanon, by Ms. Sonam Kalra 2014 the region Mauritius (New Delhi) 26 Germany 07 travel grants to Dr. Mohan 17 to 30 To participate at a Theater collaboration Agashe (Theater), September, between Grips Theatre, Berlin and 2014 Maharashtra Culture Centre, Pune (Maharashtra) 27 Japan 08-member Rajasthani Folk 19 September To participate at the Namaste India Cambodia dance group led by Shri Hanif – 06 October Festival, Japan, to perform during the Singapore Khan Langa 2014 Board of Governors meeting of India MGCTTM and to participate at the Mela (Rajasthan) organized by SUNTEC in Cambodia and to give cultural performances in Singapore 28 USA 04 Travel grants to 23 September To give cultural performances “Samarthanam” The to 12 November differently abled group 2014 (Karnataka) 29 UK 02 Travel grants to Ms. 24 September To give cultural performances Sharbani Mitra (Odissi), to 14 October 2014 (Odissa) 30 Sweden & Latvia 05-member Ghatam group 26 September To participate in the Indian Classical Music Belarus led by Shri Somnath Roy to 3 October, Conference on Scandinavia. 2014 (West Bengal) 31 USA 05-member Bharatnatyam 1 to 10 October, To participate in the festival “Heritage of Belize dance group led by Shri 2014 India” and to give cultural performances on Shijith Nambiar the Birth Anniversary of Mahatama Gandhi in USA and to give cultural performances (Tamilnadu) in Belize 32 Malawi, Tanzania 08-member Fusion group 1 to 20 October, To participate in the Blantyre Arts Festival Uganda, Zambia ‘Soul Samvaad’ led by Shri 2014 in Malawi and to give cultural South Africa Murad Ali Khan performances in the region (New Delhi) 33 South Korea 08-memebr Rajasthani dance 3 – 11 October To participate in the Jenjou Sori Festival & & music group led by Shri 2014 International Folk Art Festival Apa Nath (Rajasthan) 34 New Zealand 05-member Sattriya dance 10 to 26 To participate in the Diwali Celebrations in Australia group led by Ms. Menaka PP October,2014 New Zealand and Swan Festival of Lights Borah in Australia (Assam) 35 Suriname 05-member Light Classical 14 to 31 To perform on the occasion of Diwali Trinidad & Tobago Vocal group led by Ms. Indira October, 2014 Celebrations St. Vincent & Naik Grenandines Barbados (Maharashtra) Guyana 36 Vietnam 06-member Fusion Band 17 to 24 To participate in the Diwali Celebrations Thailand group ‘Girish and the October, 2014 Chronicles’ led by Shri Girish Pradhan, (Karnataka) 37 Australia, Thailand 06-member Odissi dance 17 October – 01 To participate in The Parramasala Festival Vietnam group led by Ms. Raminder November, in Australia, to perform on the 50th Khurana 2014 Anniversary of Chiang Mai University, Thailand and to give cultural performances (Maharashtra) in Vietnam 38 South Africa 04-member Kathak Dance 17 October to To participate in the Diwali Celebrations Reunion Island group led by Ms. Prerana 09 November, Ethiopia and Deshpande 2014 Djibouti Kenya (Maharashtra) 39 Kyrgyzstan 10-member Bhangra & Gidda 17 to 26 To participate in the Russian Drama Russia group “Bhola Panchhi” led by October 2014 Threatre event in Kyrghyzstan and to give Shri Parvinder Singh cultural performances in Russia (Rajasthan) 40 Netherlands 08-member Fusion Band 28 October to To give performances at the Holland India Serbia group ‘East India Company’ 06 November, Festival 2014 in Netherlands and to give led by Shri Angaraag Papon 2014. cultural performances in Serbia Mahanta (Assam) 41 USA 03 Travel grants to Ms. Rita 29 October to To give cultural performances on the UK Ganguly, (Hindustani Vocal), 23 November occasion of Begum Akhtar’s centenary 2014 year in UK (New Delhi) 42-43 Mauritius (i) 09-member Bhojpuri 31 October – 17 To participate at the 180th Anniversary of South Africa Dance and Music group November 2014 arrival of Indentured Labour in Mauritius led by Dr. Pushpa Prasad (Bihar) 31 October – 09 (ii) Food Festival (02 Chefs) November 2014 (New Delhi) 44 Maldives 10-member Goan group 31 October to To perform on the occasion of 50th “Goenchim Noketram” led by 03 November, Anniversary of Establishment of Diplomatic Ms.
Load more

Recommended publications
  • Reading Diaspora and Sundar Popo's Chutney Lyrics As Indo
    Mohabir, R 2019 Chutneyed Poetics: Reading Diaspora and Sundar Popo’s Chutney Lyrics as Indo-Caribbean Postcolonial Literature. Anthurium, 15(1): 4, 1–17. ARTICLE Chutneyed Poetics: Reading Diaspora and Sundar Popo’s Chutney Lyrics as Indo-Caribbean Postcolonial Literature Rajiv Mohabir Auburn University, US [email protected] It is my intent for these new readings of Sundar Popo’s song lyrics to not only challenge modern epistemic violence perpetrated against the deemed frivolity of Chutney (as a genre’s) lyrics, but also to utilize the original texts to understand these songs as an essential postcolonial Indo-Caribbean literature. Since the archive of Caribbean literature includes predominantly English, Spanish, French, and various nation languages, I posit the inclusion of Caribbean Hindi as a neglected archive is worth exploring given its rich significations as literature. I engage chutney music, a form of popular music, as poetry to illustrate the construction of Indo-Caribbean identity through the linguistic and poetic features of its lyrics as a cultural production that are created by the syncretisms of the Caribbean. This paper is written in four sections: 1. A Chutneyed Diaspora, 2. Methods and Approach, 3. Chutney Translation and Analysis: Bends Towards Meaning and 4. Diaspora as Chutney. The first section provides a historical stage for the emergence of Chutney music, concentrating on an introduction to the trends of its study by contemporary ethnomusicologists. The second section introduces my own approach to the study of oral traditions as literature and my engagement with my subjective postcolonial positioning as an individual of Indo-Caribbean origin.
    [Show full text]
  • Bhojpuri Media at a Crossroads Madhusri Shrivastava, [email protected]
    Sleaze, Slur… and the Search for a Sanitized Identity: Bhojpuri Media at a Crossroads Madhusri Shrivastava, [email protected] Volume 5.1 (2015) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2015.130 | http://cinej.pitt.edu Abstract This article offers perspectives on those who control the Bhojpuri media industry in Mumbai, India, and delimit what is to be shown. Bhojpuri is a dialect of Hindi spoken in parts of the north Indian states of Uttar Pradesh and Bihar. The influx of migrants from these regions to different parts of India has led to a resurgence of interest in the Bhojpuri media, and has drawn fly-by-night operators to the industry. To cater to the migrants’ needs, ribald action romances are produced; but this very bawdiness hamstrings attempts to widen the audience base. The article examines the issues that plague the industry, and explores the ways in which the industry is struggling to carve a sanitized, yet distinctive identity. Keywords: Bhojpuri; media industry; ribald; sanitized; migrants New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. Sleaze, Slur… and the Search for a Sanitized Identity: Bhojpuri Media at a Crossroads Madhusri Shrivastava This article seeks to explore the perspective of those who control the Bhojpuri culture industry, and delimit what is to be shown. It is part of a comprehensive research on the manner in which Bhojpuri media help north Indian migrants in Mumbai remain anchored to their traditions and values.
    [Show full text]
  • 3-Peter Manuel.Pmd
    Man In India, 93 (1) : 45-56 © Serials Publications RETENTION AND INVENTION IN BHOJPURI DIASPORIC MUSIC CULTURE: PERSPECTIVES FROM THE CARIBBEAN, INDIA, AND FIJI Peter Manuel Bhojpuri diasporic culture, especially as constituted in the Caribbean, Fiji, and secondary diasporic sites, exhibits striking consistency in its patterns of neo-traditional music making. Based on extensive research in North India and the Caribbean (including Suriname), and with Indo- Fijian communities in the USA, in this paper I explore some of the socio-musical dynamics which have conditioned music culture in the diaspora. I also explore relations of musical genres and entities to their counterparts and sources in the Bhojpuri region. I suggest a categorization of neo-traditional music entities into such groups as: marginal survivals (such as the Caribbean birha style), orthogenetic neo-traditional genres (local-classical music, tassa drumming), and entities which, though derived from India, have declined in that country and became disproportionately more widespread in the diaspora (such as chowtal and the dantal). I suggest ways in which the Bhojpuri diasporic traditional music cultures of Fiji and the Caribbean, though isolated from each other (and from Bhojpuri India), exhibit similar patterns of differentiation from ancestral North Indian Bhojpuri music culture. It has become commonplace to observe that diasporic cultures, rather than constituting miniature or diluted versions of their ancestral homeland counterparts, possess their own independent character, vitality, and legitimacy. In pointing out these distinctive features, scholars and others generally celebrate the syncretic and innovative dynamism of diasporic and border cultures. Hence, for example, chutney- soca is often hailed as a reflection of the more creative and inclusive aspect of Indo-Caribbean music culture, as opposed to genres like birha or chowtal that are merely derivatives of Indian predecessors, or as opposed to local amateur renditions of Bollywood hits.
    [Show full text]
  • Retention and Invention in Bhojpuri Diasporic Music Culture: Perspectives from the Caribbean, India, and Fiji
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2013 Retention and invention in Bhojpuri diasporic music culture: Perspectives from the Caribbean, India, and Fiji Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/23 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 3 PETER MANUEL It has become commonplace to observe that diasporic cultures, rather than constituting miniature or diluted versions of their ancestral homeland counterparts, possess their own independent character, vitality, and legitimacy. In pointing out these distinctive features, scholars and others generally celebrate the syncretic and innovative dynamism of diasporic and border cultures. Hence, for example, chutney-soca is often hailed as a reflection of the more creative and inclusive aspect of Indo-Caribbean music culture, as opposed to genres like birha or chowtal that are merely derivatives of Indian predecessors, or as opposed to local amateur renditions of Bollywood hits. The dynamism of a genre like chutney- soca, and the way in which it makes Indo-Caribbean culture distinctive, are typically seen as located precisely in the way that it embodies creolization, or syncretism with a local non-Indian genre. While not challenging the accuracy or importance of these perspectives, in this paper I wish to focus on the more traditional and neo-traditional stratum of Bhojpuri diasporic music culture in the Caribbean, with passing reference to Indo-Fijian music culture.
    [Show full text]
  • From Cassette Culture to Cyberculture
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2014 The Regional North Indian Popular Music Industry in 2014: From Cassette Culture to Cyberculture Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/299 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Popular Music (2014) Volume 33/3. © Cambridge University Press 2014, pp. 389–412 doi:10.1017/S0261143014000592 The regional North Indian popular music industry in 2014: from cassette culture to cyberculture PETER MANUEL Art & Music Department, John Jay College, New York, NY 10018 E-mail: [email protected] Abstract This article explores the current state of the regional vernacular popular music industry in North India, assessing the changes that have occurred since around 2000 with the advent of digital tech- nologies, including DVD format, and especially the Internet, cellphones and ‘pen-drives’. It provides a cursory overview of the regional music scene as a whole, and then focuses, as a case study, on a particular genre, namely the languriya songs of the Braj region, south of Delhi. It discusses how com- mercial music production is adapting, or failing to adapt, to recent technological developments, and it notes the vigorous and persistent flowering of regional music scenes such as that in the Braj region. In my 1993 book, Cassette Culture: Popular Music and Technology in North India, I endeavoured to present a holistic study of the revolutionary impact of audio cas- settes on vernacular Indian music production, content and consumption during the years around 1990.
    [Show full text]
  • Transnational Chowtal: Bhojpuri Folksong from North India to the Caribbean, Fiji, and Beyond
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2009 Transnational Chowtal: Bhojpuri Folksong from North India to the Caribbean, Fiji, and Beyond Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/308 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Transnational Chowtal: Bhojpuri Folk Song from North India to the Caribbean, Fiji, and Beyond Peter Manuel In mid-February of 2007, I attended some lively sessions of chowtal (Hindi, cautāl), a boisterous Bhojpuri folk song genre, in a Hindu temple in a small town a few hours from Banaras (Varanasi), North India.1 Th e following weekend I was singing chowtal, in an identical style, with an Indo-Guyanese ensemble in Queens, New York City. In the subsequent season of the vernal Holi (Hindi, holī) festival, in March 2008, I found myself singing along with a group of Indo-Fijians in Sacramento, California, as they performed a similar version of one of the same chowtal songs. Despite the nearly identical styles of the three song sessions, they were separated not only by thousands of miles, but more signifi cantly, by the more than 90 years that have elapsed since indentured emigration from the Bhojpuri region ceased. Subsequently, cultural contacts between that region and its diasporic communities in the Caribbean and Fiji became minimal, and those between the latter two sites have been practically nil.
    [Show full text]
  • Kumar, Akshaya (2015) Provincialising Bollywood: Bhojpuri Cinema and the Vernacularisation of North Indian Media. Phd Thesis. Ht
    Kumar, Akshaya (2015) Provincialising Bollywood: Bhojpuri cinema and the vernacularisation of North Indian media. PhD thesis. https://theses.gla.ac.uk/6520/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Provincialising Bollywood: Bhojpuri Cinema and the Vernacularisation of North Indian Media Akshaya Kumar Doctor of Philosophy University of Glasgow School of Culture and Creative Arts July 2015 © Akshaya Kumar 2015 Abstract This thesis is an investigation of the explosive growth of Bhojpuri cinema alongside the vernacularisation of north Indian media in the last decade. As these developments take place under the shadow of Bollywood, the thesis also studies the aesthetic, political, and infrastructural nature of the relationship between vernacular media industries – Bhojpuri in particular – and Bollywood. The thesis then argues that Bhojpuri cinema, even as it provincialises Bollywood, aspires to sit beside it instead of displacing it. The outrightly confrontational readings notwithstanding, the thesis grapples with the ways in which the vernacular departs from its corresponding cosmopolitan form and how it negotiates cultural representation as an industry.
    [Show full text]
  • Folksongs As an Epistemic Resource: Understanding Bhojpuri Women's
    Public Arguments – 3 Tata Institute of Social Sciences Patna Centre Folksongs as an Epistemic Resource: Understanding Bhojpuri Women’s Articulations of Migration Asha Singh February 2017 Tata Institute of Social Sciences Patna Centre Folksongs as an Epistemic Resource: Understanding Bhojpuri Women’s Articulations of Migration Asha Singh February 2017 Public Arguments Publication: 2017 Publisher: Tata Institute of Social Sciences, Patna Centre Takshila Campus DPS Senior Wing Village: Chandmari, Danapur Cantonment Patna – 801502 (Bihar) INDIA Website: www.tiss.edu e-mail: [email protected] This publication is part of a lecture series on ‘migration’. We express our gratitude to Takshila Educational Society for supporting the lecture series. Folksongs as an Epistemic Resource: Understanding Bhojpuri Women’s Articulations of Migration Asha Singh1 Since centuries, women in Bhojpuri-speaking peasant society of western Bihar and eastern Uttar Pradesh have been experiencing out-migration of their men. The process of labour out-migration, in Bhojpuri peasant society, marks a creative peak in the history of oral cultural productions (especially folksongs).2 Bhojpuri society is so deeply characterised by migration that it has become a frame of reference for all its cultural formulations. It has produced creative subjects. In Bhojpuri folksongs, the ‘migrant’ and his ‘left-behind wife’ are significant examples of such creative subjects. The latter being the protagonist in most of the Bhojpuri folksongs sung by women and men. This essay is a result of my doctoral work on Bhojpuri women’s folksongs in the context of male out-migration. It captures crucial sociological insights that I gathered in the journey of my studies.
    [Show full text]
  • Indian Folk Music and ‘Tropical Body Language’: the Case of Mauritian Chutney
    South Asia Multidisciplinary Academic Journal Free-Standing Articles | 2011 Indian Folk Music and ‘Tropical Body Language’: The Case of Mauritian Chutney Catherine Servan-Schreiber Electronic version URL: http://journals.openedition.org/samaj/3111 DOI: 10.4000/samaj.3111 ISSN: 1960-6060 Publisher Association pour la recherche sur l'Asie du Sud (ARAS) Electronic reference Catherine Servan-Schreiber, « Indian Folk Music and ‘Tropical Body Language’: The Case of Mauritian Chutney », South Asia Multidisciplinary Academic Journal [Online], Free-Standing Articles, Online since 24 January 2011, connection on 19 April 2019. URL : http://journals.openedition.org/samaj/3111 ; DOI : 10.4000/samaj.3111 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. South Asia Multidisciplinary Academic Journal Servan-Schreiber, Catherine (2011) ‘Indian Folk Music and ‘Tropical Body Language’: The Case of Mauritian Chutney’, South Asia Multidisciplinary Academic Journal. URL: http://samaj.revues.org/index3111.html To quote a passage, use paragraph (§). Indian Folk Music and ‘Tropical Body Language’: The Case of Mauritian Chutney Catherine Servan-Schreiber Abstract. In Mauritius, the meeting between Indian worlds and Creole worlds, through the migration of the indentured labour which followed the abolition of slavery in 1834, gave birth to a style of music called ‘chutney’. As a result of the African influence on an Indian folk genre, chutney music embodies the transformation of a music for listening into a music for dancing. In this article, the innovations brought into the choreographical dimension of the chutney groups will be taken as a key to understanding the adaptation of Indian rural migrants to a new ‘Indian-oceanic’ way of life through the experience of diaspora.
    [Show full text]
  • PDF Download
    International Journal of Education and Social Science Research ISSN 2581-5148 Vol. 3, No. 03; 2020 TOWARDS A SAFEGUARDING CONCEPT OF THE INTANGIBLE CULTURAL HERITAGE IN MAURITIUS Mr Jayganesh DAWOSING Lecturer, Department of Bhojpuri, Folklore and Oral Traditions Mahatma Gandhi Institute (Mauritius) http://dx.doi.org/10.37500/IJESSR.2020.302263 ABSTRACT Recently, the word ‘Heritage’ has become a scholarship field with multiple issues. An integral part of human cultures, heritage interests today both the decision maker, the researcher, the public but also the international organizations. The United Nations Educational, Scientific and Cultural Organization (UNESCO) inscribed the Bhojpuri folk songs from Mauritius known as “Geet Gawai” to the representative list of the Intangible Cultural Heritage in December 2016. Within these two years, this Intangible Heritage, deemed worthy of preservation, is often regarded as traditional culture that reflects the identity of a particular nation or group. This paper is aimed at defining the concept of intangible cultural heritage in the context of safeguarding of Bhojpuri folk songs and its evolution after the inscription in the list of the world Intangible Cultural Heritage. Through documentary research on the various ways to preserve heritage and empirical data collected in ethnographic research, both related to the context of the preservation of intangible heritage in Mauritius, we came to findings that reveal certain problems involving the transformation of the performance of the Mauritian Geet Gawai as an alternative to the preservation of local cultural traditions. Furthermore, idealization of certain forms and periods of heritage conflicts with the spirit and principles of the Convention. KEYWORDS: Safeguarding, Intangible Cultural Heritage, Bhojpuri, Geet-Gawai, Evolution, Traditions.
    [Show full text]
  • Annexure-I Implementation Chart for the Period April
    ANNEXURE-I IMPLEMENTATION CHART FOR THE PERIOD APRIL 2014 TO MARCH 2015 S. COUNTRIES NAME OF THE GROUP DATE PURPOSE OF VISIT Remarks NO. VISITED 1 Egypt, Israel 06-member Kathak Dance group led by Ms. 5 to 17 April, To participate at the “India by the Nile” Festival in Egypt and Palestine Marami Medhi 2014 to give cultural performances in Israel, Palestine and UAE UAE (Assam) 2 Cambodia 10-member Manipuri Folk dance group led by 6 to 25 April, To participate in the Hue Festival in Vietnam and to participate Vietnam Ms. Suman Sarawgi 2014 at the Food Festival and inauguration of MGC Textile Museum Malaysia (West Bengal) in Cambodia and to give cultural performances in Malaysia 3 South Africa 05-member Bharatnatyam dance group led by 8 to 18 April, To participate in the Tamil New Year celebrations Mauritius Ms. Purva Dhanashree 2014 (Andhra Pradesh) 4 Thailand 12-member Bhangra and Giddha Dance group 20 to 28 April, To participate at the 232nd Year of Rattanakos in City Royal led by Shri Harinder Pal (Punjab) 2014 Benevolence and also to perform at the Fun Fair organized by the Ministry of Culture, Thailand 5 Malawi 10-member Rajasthani folk dance group led by 24 April to 9 To participate at the Harare International Festival of Arts Zimbabwe Ms. Moru Sapera May, 2014 (HIFA) in Zimbabwe and to give cultural performances in the Mauritius (Rajasthan) region 6 Switzerland, 06-member Kathak Dance group led by Ms. 12 May to 9 To participate at the Trade Fair in Belgrade and to give cultural Germany Rujuta Soman June, 2014 performances in the region Serbia, Montenegro Austria, Croatia (Maharashtra) Spain 7 Japan 08-member Kathakali dance group led by Shri 15 May to 1st To participate at the Commemorative Lecture and music China M.
    [Show full text]
  • Folksongs As an Epistemic Resource: Understanding Bhojpuri Women's
    Folksongs as an Epistemic Resource: Understanding Bhojpuri Women’s Articulations of Migration ©author(s) Journal of Migration Affairs Vol. 1(2) : 51-68, March 2019 DOI: https://doi.org/10.36931/jma.2019.1.2.51-68 Folksongs as an Epistemic Resource: Understanding Bhojpuri Women’s Articulations of Migration Asha Singh Since centuries, women in Bhojpuri-speaking peasant society of western Bihar and eastern Uttar Pradesh have been experiencing out-migration of their men. The process of labour out-migration, in Bhojpuri peasant society, marks a creative peak in the history of oral cultural productions (especially folksongs).1 Bhojpuri society is so deeply characterised by migration that it has become a frame of reference for all its cultural formulations. It has produced creative subjects. In Bhojpuri folksongs, the ‘migrant’ and his ‘left-behind wife’ are significant examples of such creative subjects. The latter being the protagonist in most of the Bhojpuri folksongs sung by women and men. In this paper, I argue that ‘folksongs’ produced and disseminated by women are key academic resources (notwithstanding its limitations) which ‘record’ their perceptions and dilemmas as they witness male out-migration. I have analysed folksongs from the standpoint of a gendered cultural insider drawing my material sustenance essentially from outside my field of enquiry. My status of being a material-outsider is crucial in actualizing such an academic exercise.2 Asha Singh is Assistant Professor in Gender Studies at Centre for Studies in Social Sciences, Calcutta (Kolkata). 1. This holds true for many other societies as well. For example, Dubey (1998) drawing from the work of Toni Morrison and others, links the evolution of jazz music with the ‘Great Black Migration’ of the 1920s.
    [Show full text]