UPSC Monthly Magazine" May-2018
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Schattentheater II. Indien
Das Indische Schattentheater NIMMALAKUNTA PUPPET GROUP Tholu Bommalata Tholu Bommalata - wörtlich übersetzt "Tanz der Lederpuppen" - ist in Andhra Pradesh beheimatet, einem Bundesstaat im Südosten Indiens. Hier findet sich die landesweit wahrscheinlich ausgeprägteste Tradition des Schattenpuppentheaters. In Madhavapatanam, einem kleinen Dorf etwa sechs Kilometer von der Provinzhauptstadt, leben rund fünfzig Familien traditioneller Schattenhteater-Puppenspieler, die letzten professionellen Künstler dieses Genres. Aus diesem Dorf stammt auch die Nimmalakunta Puppet Group, die ihre Geschichte bis in das 15.Jahrhundert zurückverfolgen kann. Die Kunst der tanzenden Lederpuppen existiert in Andhra Pradesh seit dem 3. Jahrhundert v. Chr. Ursprünglich war Tholu Bommalata eng mit dem Shiva-Kult verknüpft. Zum Frühlingsfest des Mahashivrati, dem Geburtstag Shivas, ließ man häufig neun Nächte hintereinander, von der Dämmerung bis zum Sonnenaufgang, die Schatten auf der Leinwand tanzen. Solche langen, religiös inspirierten Veranstaltungszyklen gibt es heute allerdings kaum noch. Wichtig waren auch reisende Puppenspieler, die mit ihren Vorführungen meist durch ländliche Gegenden zogen. Tatsächlich waren die frühen Puppenspieler meist Nomaden, die oft königliche Protektion genossen. Im allgemeinen wurden die Puppenspieler von einem Dorf eingeladen. In den Dörfern glaubte man, daß eine Schattentheatervorführung Regen oder eine gute Ernte bringe, oder daß man dadurch zum Beispiel eine Viehseuche vertreiben könne. Als traditionsreiche kunstvolle Unterhaltungsform insbesondere für die Landbevölkerung muß sich das Schattentheater in Andhra Pradesh heute vor allem gegenüber der Konkurrenz des Hörspiels, des Fernsehens und des Films behaupten. Ohne elektronische Hilfsmittel bietet Tholu Bommalata auf einer weißen Leinwand bewegte Bilder, bunte Schatten, dazu Gesang und Musik, Dialog und Erzählung. Es findet im Freien statt, nach Einbruch der Dunkelheit, meist auf dem festgestampften Lehmboden eines Dorfplatzes. -
History Dlsc
Dr. Lakshmaiah IAS Study Circle H. No: 1-10-233, Ashok Nagar, Hyderabad - 500 020. Delhi, Dehradun, Amaravati, Guntur, Tirupati, Vishakhapatnam Ph no:040-27671427/8500 21 8036 HISTORY DLSC Dr. Lakshmaiah IAS Study Circle H. No: 1-10-233, Ashok Nagar, Hyderabad - 500 020. Delhi, Dehradun, Amaravati, Guntur, Tirupati, Vishakhapatnam Ph no:040-27671427/8500 21 8036 CONTENTS CARNATIC MUSIC CLASSICAL DANCE FORMS III. DRAMA, PAINTING AND VISUAL ART IV. Circle HINDUSTANI MUSIC V. IMPORTANT INSTITUTIONS VI. INDIAN ARCHITECTURE VII. INDIAN FAIRS AND FESTIVALSStudy VIII. INDIAN MUSIC IX. LANGUAGES OF INDIA IAS LITERATURE OF INDIA XI. MUSICAL INSTRUMENTS OF INDIA XII. PAINTINGS OF INDIA XIII. PERFORMING ARTS-DRAMA XIV. PUPPET FORMS OF INDIA XV. REGIONAL FOLKS DANCES XVI. RELIGIOUS ISSUES ASSOCIATED WITH CULTURE XVII. SANGAM SOCIETY AND OTHER STUFF Lakshmaiah Dr. 1 . CARNATIC MUSIC The Tamil classic of the 2nd Century AD titled the Silappadhikaram contains a vivid description of the music of that period. The Tolkappiyam, Kalladam & the contributions of the Shaivite and the Vaishnavite saints of the 7th & the 8th Centuries A.D. were also serve as resource material for studying musical history. It is said that South Indian Music, as known today, flourished in Deogiri the capital city of the Yadavas in the middle ages, and after the invasion & the plunder of the city by the Muslims, the entire cultural life of the city took shelter in the Carnatic Empire of Vijaynagar under the reign of Krishnadevaraya. Thereafter, the music of South India came to be known as Carnatic Music. In the field of practical music, South India had a succession of briliant & prolific composers who enriched the art with thousands of compositions. -
Iasbaba's 60 Days Plan –COMPILATION (History)
IASBABA.COM 2018 IASBABA [IASBABA’S 60 DAYS PLAN –COMPILATION (HISTORY)] Born with the vision of “Enabling a person located at the most remote destination a chance at cracking AIR 1 in IAS”. IASbaba’s 60 Days Plan –COMPILATION (History) 2018 Q.1) Consider the following pairs about Mughal administration: Officer Function 1. Wazir Looked after revenue and finance. 2. Mir Bakshi Record and requirement of the state karkhanas, stores, order, interactions and internal relations. 3. Khan-i-Saman Military pay and accounts and related duties. 4. Sadr The head of religious donations and contributions. Which of the above pairs is/are correctly matched? a) 1, 2 and 3 only b) 1 and 4 only c) 2 and 4 only d) All the above. Q.1) Solution (b) Central Administration Enjoying the absolute power, the Emperor of the Mughal Empire was always the central administrative authority. A number of officers in the different governmental departments were appointed for the smooth functioning of transactions involving various affairs. The state had four main departments and the four main officers of the central government were diwan; Mir bakhshi; Mir saman; and sadr. The diwan (also called the Wazir or chief minister), held the primary position among them and looked after revenue and finance, but kept an overview of all matters of expenditure and related departments recording all imperial orders and assigning duties and expense to district faujdars. Mir Bakshi handled the military pay and accounts and related duties. He not only was the Paymaster for all officers but also played role in recruitment of soldiers, listing of mansabdars and important officials. -
Ugc - Major Research Project Final Report
UGC - MAJOR RESEARCH PROJECT FINAL REPORT THEATRICAL WORKS OF SHAHAJI Submitted by Prof. A. ANURADHA HOD, Dept. of Music & Dance DEPARTMENT OF MUSIC & DANCE COLLEGE OF ARTS & COMMERCE ANDHRA UNIVERSITY VISAKHAPATNAM JANUARY 2021 This Project is Dedicated to the Maratha Rulers who have done Tremendous Service to the South Indian Culture and Arts, Particularly to Telugu Language. INDEX Pg. No. PREFACE ACKNOWLEDGEMENT INTRODUCTION 1–2 CHAPTER 1: NATYA SASTRA AND DASA ROOPAKA-S 3–9 CHAPTER 2: VISUAL ART FORMS OF INDIA - MARGA AND DESI DIVISION 10–15 CHAPTER 3: FOLK DANCE DRAMAS OF SOUTH INDIA 16–38 CHAPTER 4: YAKASHAGANA-S OF SOUTH INDIA 39–49 CHAPTER 5: NAYAKA AND MARATHA RULERS OF 50–52 THANJAVUR CHAPTER 6: KING SHAHAJI AND HIS CONTRIBUTION TO 53–61 MUSIC CHAPTER 7: THEATRICAL WORKS (YAKSHAGANA-S) OF KING SHAHAJI 62–176 CHAPTER 8: YAKSHAGANA PRESENTATION IN AUDIO & VIDEO FORMATS 177–182 CHAPTER 9: PROJECT REPORT 183–192 CONCLUSION 193–195 BIBLIOGRAPHY 196–198 APPENDIX 199–202 LIST OF PLATES List of Plates Page No Plate 1 Rasleela in Kuchipudi Dance style 13 Plate 2 Rasleela in Odissy Dance style 13 Plate 3 Rasleela in Manipuri Dance style 14 Plate 4 Rasleela in Kathak Dance style 14 Plate 5 Rasleela in Bharatanatyam Dance style 14 Plate 6 Shadow Puppetry 17 Plate 7 Chekka Bommalaata 18 Plate 8 Kuravanji Therukoothu play 20 Plate 9 Theru koothu Dance Drama 21 Plate 10 Kuravanji nadanam 22 Plate 11 ‘Kurutti’ character in a Classical Kuravanji Natakam 22 Plate 12 Traditional Ganesha paatra pravesam in Melattur Bhagavata 23 Mela Naatakam Plate 13 Prahladha Charithram – Melattur Bhagavatha Mela Natakam 25 Plate 14 Veedhi Naatakam-1 26 Plate 15 Veedhi Naatakam-2 26 Plate 16 Pagati veshaalu 27 Plate 17 ‘Erukulasaani’ role in Kalyana Sreenivasam – Kuchipudi Dance 28 drama Plate 18 Bhama Kalaapam – Thurpu Bhagavatham-1 32 Plate 19 Bhama Kalaapam – Thurpu Bhagavatham-2 33 Plate 20 Dr. -
The Surabhi Theatre–An Oasis of Telugu Theatre
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Theses, Dissertations, and Other Capstone Theses, Dissertations, and Other Capstone Projects Projects 2020 The Surabhi Theatre–An Oasis of Telugu Theatre Pradeep Aswini Gurrala Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Theatre History Commons Recommended Citation Gurrala, P. A. (2020). The Surabhi theatre-An oasis of Telugu theatre [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/1013/ This Thesis is brought to you for free and open access by the Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. THE SURABHI THEATRE–AN OASIS OF TELUGU THEATRE by PRADEEP ASWINI GURRALA A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN THEATRE ARTS MINNESOTA STATE UNIVERSITY, MANKATO MANKATO, MINNESOTA MAY 2020 May 4, 2020 THE SURABHI THEATRE—AN OASIS OF TELUGU THEATRE . PRADEEP ASWINI GURRALA This thesis has been examined and approved by the following members of the student’s committee. Dr. Paul J. Hustoles Dr. Heather E. Hamilton ABSTRACT Gurrala, Pradeep Aswini, M.A. The Surabhi Theatre–An Oasis of Telugu Professional Theatre. -
Amity Communication Review
AMITY COMMUNICATION REVIEW Volume-VII Issue No.1 (January-June 2020) Bi-annual, Double-Blind Refereed Journal of Amity School of Communication Noida ISSN: 2395-101X Copyright @2020 by the Amity School of Communication All rights reserved The views expressed in the articles are those expressed by the contributors and not by those of the Editorial Board of the Institute. The Editorial Board invites original, unpublished contributions in the form of research papers, articles, book reviews and case studies. No part of this publication may be reproduced or transmitted in any form or by any means, or stored in any retrieval system of any nature without prior permission. Application for permission for other use of copyright material including permission to reproduce extracts in other published works shall be made to the publishers. Full acknowledgement of author, publisher and source must be given. Published By: Amity school of Communication (Noida) J-1 Block, 3rd Floor, Amity University Campus, Sector – 125, NOIDA, Uttar Pradesh 201313, INDIA Tel: +91-120 4392307|e-mail: [email protected]| www.amity.edu/asco Patrons in Chief Dr. Ashok K Chauhan Founder President Amity Education Group Dr. Atul Chauhan Chancellor Amity University Uttar Pradesh Patron Prof. Balvinder Shukla Vice Chancellor Amity University Uttar Pradesh (AUUP) Advisor Prof (Col) R.K.Dargan Advisor, Amity School of Communication (Noida) AUUP From the Editor-in-Chief Editorial Message This issue comes at a time when socio-economic structures across the world have been impacted by COVID 19. The impact has been so far reaching that it is difficult to predict the ramifications that the pandemic will have at the global, national and local community levels. -
Prof Balram Prof Singanapalli Balaram's Story Begins
Prof Balram Prof Singanapalli Balaram’s story begins from Gunnathota Valasa, a tiny Agraharam (a village gifted to a scholar by the king) in Andhra Pradesh, South India. He lived in a joint family and as he was from a large household, he had a lot of free time. From his early childhood, the songs and storytelling events, put up during festivals and other events, captivated him. He was especially attracted to Tholu Bommalata the shadow puppet theatre tradition of the state of Andhra Pradesh. He was enamored by it so much, that he tried reproducing it with paper and put on shows for the children in the neighborhood. His uncle later sent him to school where there was no room for such pursuits in the arts. He finished his diploma in Mechanical engineering and was employed by JK Paper Mills. At that time he had no particular idea of design. 1. Hanuman and Ravana in Tholu Bommalata, the shadow puppet tradition of Andhra Pradesh, India When his friend pointed out a particular advertisement in the newspaper from the NID, which called for engineers and architects with an inclination towards the arts. Without putting much thought, he applied for the sake of it and was surprised when he was selected. For somebody who had never even seen a camel or travelled far, this was an incredible opportunity. 2. NID, Paldi under construction NID gave a lot of freedom for experimentation and a chance to be around people whose work was incredibly inspiring, people like Charles Eames, Bob Gill, George Nakashima. -
Join the Dots! Yojna Synopsis August, 2020 Cultural Diversity
Contents 1. Shadow Puppet Theatre Traditions ...............................................................................1 2. Nazhu Festival - Nagaland .............................................................................................2 3. Kalaripayattu- Kerala .....................................................................................................2 4. Memorial Stones of Jammu and Kashmir .....................................................................2 5. Sankheda Nu Lakh Kam: Lacquered turned wood furniture of Sankheda .................4 6. Rathwa ni Gher: Tribal Dance of Rathwas ....................................................................4 7. Compositions of Ameer Khusro- Delhi ...........................................................................5 8. Ranmale-Goa ...................................................................................................................5 9. Bamboo: Cultural Linkage .............................................................................................5 10. Rongkhli – Meghalaya ....................................................................................................5 11. Chokri Naga Folk Songs – Nagaland .............................................................................6 12. Sowa-Rigpa (Knowledge of Healing or Science of Healing) ..........................................6 13. Songs of Shaman - Arunachal Pradesh .........................................................................6 14. Zadipatti and Dashavatar – Maharashtra -
The Study of Indian Animation Industry
Pramana Research Journal ISSN NO: 2249-2976 The Study of Indian Animation Industry PradeepKumar Assistant Professor UIAM Abstract: This article is the study of the introduction of animation in India and the scope of animation in coming future. Animation is new field but it is practiced in other forms in India from ancient time. If we look at the present scenario the animation has its influence on almost every sector i.e. education, medical, engineering, aerospace, entertainment etc. there are more than 1000 animation studios (2d & 3d) are in India which are continuously working on animation. Which is increasing this industry every day. However, this industry is facing some challenges. Animation studios here are obviously great to give good quality animated films however is not thinking of unique film. Hollywood is outsourcing many projects from India which is continuously increasing the quality and confidence of Indian artists. Introduction: The demand for animation industry of global animation market is growing rapidly due to the increasing number of multinational studios, cable channel companies; TV broadcast companies, availability of low cost internet access, and penetration of mobile devices along with the growing popularity of streaming video. The fast changing technology has made animation, VFX & games available to the masses, and this industry has become one of the fastest growing sector in the global media and entertainment market. More and more global animation, VFX and games production taking place in a globally distributed mode. Factors like favorable government rules, multi-industrial applications, improvements in animation technologies and icreased aired time from cable operators are propelling the market growth.