DOCSLIB.ORG

Indian Classical Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Indian Classical Dance Indian Classical Dance Ravi K. Thakur | @ravi_pushpak | January 2, 2016 upscandgateportal.wordpress.com / @UpscGatePortal/ 2014-16 (C) UPSC AND GATE PORTAL Indian Classical Dance is an Array term used to represent a group of Dance performed in different areas of India, which has originated from NATYA SASHTRA written by Bharatha Muni (Sanskrit: नाट्य शास्त्र, Nāṭyaśāstra) around 200 BCE to 200 CE. Natya Sashtra :- Natya means Classical Dance and Sashtra means Book so Natya Sashtra is an ancient Indian treatise which describe three forms of art Dance Music & Drama in systematic way containing 6000 slokas in Sanskrit language. The Word Classical is introduced by Sangeet Natak Akademi, originated from Sanskrit word "Shastriya". According to Natya Shastra previously Classical dances are only performed inside the sanctum of the temple called Agama Nartanam and Dances performed in royal courts to the accompaniment of classical music are called Carnatakam. later these dances bought to perform on stages and now a days on theaters. The basic aspects of Indian classical dance are tandava and lasya which means rhythm and grace respectively. The poses given are called mudras. Every Indian classical dance form exhibits the navarasas (nine human emotions) in their own way. List of Classical Dances in different regions in India and their Recognition ( Source Ministry of Culture). Recognition Recognition by by Dance form State(s) of origin Sangeet Natak Ministry of Akademi Culture Bharatanatyam Tamil Nadu Yes Yes PAGE 1 Odisha, West Bengal, Chhau No Yes Jharkhand Gaudiya Nritya West Bengal No No Kathak Northern India (Uttar Pradesh) Yes Yes Kathakali Kerala Yes Yes Kuchipudi Andhra Pradesh Yes Yes Manipuri Manipur Yes Yes Mohiniyattam Kerala Yes Yes Odissi Odisha Yes Yes Sattriya Assam Yes Yes Thang Ta Manipur No Yes The basic aspects of Indian classical dance are tandava and lasya which means rhythm and grace respectively. The poses given are called mudras. Every Indian classical dance form exhibits the navarasas (nine human emotions) in their own way. PAGE 2 1. BHARATANATYAM is the most famous classical dance form of India which was originated in TAMIL NADU state. BHARATANATYAM came from the words BHARATA denoting bhava (expression), raga (music) and tala (rhythm).This dance form was performed by devadasis only in temples in ancient days. Later on it came to dance schools and flourished. PANDANALLUR style and TANJAVUR style are two styles of BHARATANATYAM. FAMOUS DANCERS: The famous dancers of BHARATANATYAM are Rukmini Devi, T. BALASARASWATHI, MRINALINI SARABHAI, ANITA RATNAM and so on. 2. KATHAKALI classical dance was born in the temples of Kerala. It was originated from the words KATHA (means story) and KALI (means drama). It is said that the ancient dance form of Kerala RAMANATTAM was evolved into KATHAKALI. It was used to be performed in open air stages and was soon brought to the theatres. FAMOUS DANCERS: The famous dancers of KATHAKALI are GURU KUNCHU KURUP, KARUNAKARAN, GOPINATH, RAMAN PILLAI etc. 3. KATHAK dance form was originated in Uttar Pradesh. It literally means story telling through dance. It was highly influenced by VAISHNAVISM and was associated with temples accompanied by keertans. During Mughal rule, Persian style costumes were introduced into this form. It was greatly flourished in GHARANAS of different cities. FAMOUS DANCERS: The famous dancers of KATHAK are SITARA DEVI, DAMAYANTI JOSHI, UMA SHARMA, MANISHA GULYANI etc. 4. KUCHIPUDI was named after its place of origin, KUCHELAPURAM, a village in Andhra Pradesh. In ancient days it was only performed by male Brahmins in temples for enacting puranas. Later on, it was brought on to the stage and was patronised by Vijayanagara and Golconda rulers. FAMOUS DANCERS: The famous dancers of KUCHIPUDI are VEMPATI CHINA SATYAM, SWAPNA SUNDARI, CHINTA KRISHNA MURTHY etc. PAGE 3 5. Mohiniyattam was named after a mythological story in which lord Vishnu appeared as Mohini to save the amrita (nectar of immortality) & second time to save Lord Shiva from Bhasmasura. It originated in Kerala around 16th CE. 6. Oddisi also known as Orissi is originated in Odisha in Natya Shastra it is Odra-Magadhi around 1 BCE in the hill of Udaygiri near Bhubaneswar. Conclusion:- Indian Classical Dance is a lead role which represent India's rich Ancient heritage culture. It attracts many foreigners towards our glorifying Indian Culture. Source:- Wikipedia, www.indiaculture.nic.in, IAS.org.in Witten and Edited BY:- Ravi Kumar Thakur (Follow@ravi_pushpak on twitter). PAGE 4 .
Load more

Recommended publications
  • List of Candidates Who Have Not Submitted Their Neet Ug 2017 Roll Number
    LIST OF CANDIDATES WHO HAVE NOT SUBMITTED THEIR NEET UG 2017 ROLL NUMBER Sl. Application Candidate's Name Father's Name Mother's Name DOB No. No. 1 100249 SACHIN KUMAR PAWAN KUMAR ANITA SHARMA 15.Nov.93 2 100808 ANUSHEEL NAGAR OMBIR SINGH GEETA DEVI 07/Oct/1998 3 101222 AKSHITA DAAGAR SUSHIL KUMAR SEEMA 24/May/1999 4 101469 ANKITA YADAV SANJAY YADAV CHANCHAL YADAV 31/Dec/1999 5 101593 ZEWA NAWAB KHAN NOOR JAHAN 10/Feb/1999 6 101814 SHAGUN SHARMA GAGAN SHARMA RACHNA SHARMA 13/Oct/1998 7 102087 MOHD FAISAL SHAHABUDDIN JANNATUL FIRDOUS 14/Aug/1998 8 102121 SNEHA SOBODH KUMAR RAJENDRI 20/Jul/1998 9 102256 ABUZAR MD SHAHZAMAN SHABNAM SABA 25/Mar/1999 10 102397 ANJALI DESWAL JAGBIR SINGH RAJ RANI 05/Sep/1998 11 102402 RASMEET KAUR SURINDER PAL SINGH GURVINDER KAUR 11/Sep/1997 12 102474 ABU TALHA MD SHAHZAMAN SHABNAM SABA 25/Mar/1999 13 102515 SHIVANI SHARMA RAKESH KUMAR SHARMA KRISHNA SHARMA 01/Aug/2000 14 102529 POONAM SHARMA GOVIND SHARMA RAJESH SHARMA 04/Nov/1998 15 102532 SHAISTA BANO MD SHAHZAMAN SHABNAM SABA 09/Nov/1997 KARUNA KUMARI 16 102711 ANUSHKA RAJ SINGH RAJ KUMAR SINGH 12/Mar/2000 SINGH 17 102841 AAMIR SUHAIL MALIK NASIMUDDIN SHANNO 26/May/1996 18 102971 ABLE MOGHA MANOJ KUMAR MOGHA SARITA MOGHA 19/Aug/1998 19 103053 HARSHITA AGRAWAL MOHIT AGRAWAL MEERA AGRAWAL 07/Sep/1999 20 103245 HIMANSHI GUPTA VIJAY KUMAR GUPTA INDU GUPTA 09/May/2000 NGULLIENTHANG 21 103428 PAOKHUP HAOKIP VANKHOMOI HAOKIP 03/Oct/1998 HAOKIP 22 103433 APOORVA SINHA GAUTAM BIRENDRA ALPANA DEVA 12/Sep/1999 23 103518 TANYA GUPTA RAJIV GUPTA VANDANA GUPTA 29/Apr/1999
    [Show full text]
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • IBEF Presentataion
    WEST BENGAL CULTURALLY ARTISTIC For updated information, please visit www.ibef.org July 2017 Table of Content Executive Summary .…………….….……...3 Advantage State ...………………………….4 Vision 2022 …………..……..…………..…..5 West Bengal – An Introduction …….……....6 Annual Budget 2015-16 ……………………18 Infrastructure Status ..................................19 Business Opportunities ……..…………......42 Doing Business in West Bengal …...……...63 State Acts & Policies ….….………..............68 EXECUTIVE SUMMARY One of the largest state . West Bengal, India’s 6th largest economy, had a gross state domestic product (GSDP) of US$ 140.56 billion economies in 2016-17. The state’s GSDP grew at a CAGR of 10.42% during 2005-16. Kolkata as the next IT . By 2015-16, 8 IT parks located at Barjora, Rajarhat, Asansol, Durgapur Phase II, Bolpur, Siliguri Phase II, Puralia & Kharagpur started operating. Establishment of 7 new IT parks at Haldia, Krishnanagar, Kalyani, hub Bantala, Taratala, Howrah, Malda is expected to start soon in next 5 years. Major producer of . In 2016-17, West Bengal was the 2nd largest producer of potato in India, accounting for about 25.06% of the potato country’s potato output. The state’s potato production stood at 11 million tonnes in 2016-17. West Bengal is the largest producer of rice in India. In 2016-17, rice production in West Bengal totalled to Largest rice producer 16.2 million tonnes, which is expected to cross 17 million tonnes by 2017. West Bengal is the 3rd largest state in India in term of mineral production, accounting for about one-fifth of Coal rich state total mineral production. Coal accounts for 99% of extracted minerals. Source: Statistics of West Bengal, Government of West Bengal 3 WEST BENGAL For updated information, please visit www.ibef.org ADVANTAGE: WEST BENGAL 2014-15 Geographic and cost advantage Rich labour pool 2022-23 T .
    [Show full text]
  • West Bengal Culturally Artistic
    WEST BENGAL CULTURALLY ARTISTIC DECEMBEROCTOBER 2016 2013 For updated information, please visit www.ibef.org 1 WEST BENGAL CULTURALLY ARTISTIC Executive Summary………………..…… 3 Advantage State……………………..….. 4 Vision 2022………………………….……5 West Bengal – An Introduction…….….. 6 Annual Budget 2015-16…………..……18 Infrastructure Status…………………... 19 Business Opportunities……………….. 42 Doing Business in West Bengal……… 63 State Acts & Policies………………….. 68 DECEMBEROCTOBER 2016 2013 For updated information, please visit www.ibef.org 2 WEST BENGAL CULTURALLY ARTISTIC EXECUTIVE SUMMARY • West Bengal, India’s sixth largest economy, had a gross state domestic product (GSDP) of One of the largest state US$ 132.86 billion in 2014-15. The state’s GSDP grew at a CAGR of 10.57% during 2005- economies 16. • By 2015-16, eight IT parks located at Barjora, Rajarhat, Asansol, Durgapur Phase II, Kolkata as the next IT Bolpur, Siliguri Phase II, Puralia and Kharagpur started operating. Establishment of seven hub new IT parks at Haldia, Krishnanagar, Kalyani, Bantala, Taratala, Howrah, Malda is expected to start soon in next five years. Major producer of • In 2014-15, West Bengal was the second largest producer of potato in India, accounting for about 21.41% of the country’s potato output. The state’s potato production stood at potato 9.03 million tonnes in 2014-15. • West Bengal is the largest producer of rice in India. In 2015-16, rice production in India Largest rice producer totalled to16.10 million tonnes, which is expected to cross 17 million tonnes by 2017. • West Bengal is the third largest state in India in term of mineral production, accounting for Coal rich state about one-fifth of total mineral production.
    [Show full text]
  • Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)
    No.F.10-01/2012-P.Arts (Pt.) Ministry of Culture P. Arts Section Minutes of the Meeting of the Expert Committee held on 14th, 15th,17th and 18th October, 2013 under the Performing Arts Grants Scheme (PAGS). The Expert Committee for the Performing Arts Grants Scheme (PAGS) met on 14th, 15th ,17thand 18th October, 2013 to consider renewal of salary grants to existing grantees and decide on the fresh applications received for salary and production grants under the Scheme, including review of certain past cases, as recommended in the earlier meeting. The meeting was chaired by Smt. Arvind Manjit Singh, Joint Secretary (Culture). A list of Expert members present in the meeting is annexed. 2. On the opening day of the meeting ie. 14th October, inaugurating the meeting, Sh. Sanjeev Mittal, Joint Secretary, introduced himself to the members of Expert Committee and while welcoming the members of the committee informed that the Ministry was putting its best efforts to promote, develop and protect culture of the country. As regards the Performing Arts Grants Scheme(earlier known as the Scheme of Financial Assistance to Professional Groups and Individuals Engaged for Specified Performing Arts Projects; Salary & Production Grants), it was apprised that despite severe financial constraints invoked by the Deptt. Of Expenditure the Ministry had ensured a provision of Rs.48 crores for the Repertory/Production Grants during the current financial year which was in fact higher than the last year’s budgetary provision. 3. Smt. Meena Balimane Sharma, Director, in her capacity as the Member-Secretary of the Expert Committee, thereafter, briefed the members about the salient features of various provisions of the relevant Scheme under which the proposals in question were required to be examined by them before giving their recommendations.
    [Show full text]
  • FINE ARTS ART and CULTURE ‡ Bhangra (Punjab) - Folk Dance of Harvest Season, Coinciding with the Festival of Baisakhi
    78 FINE ARTS ART AND CULTURE ‡ Bhangra (Punjab) - folk dance of harvest season, coinciding with the festival of Baisakhi. ‡ Lalit Kala Academy was set up in 1954 at New Delhi. ‡ Tamasha (Maharashtra) - Nautanki (U.P.), Garba ‡ Sangeet natak Academy was established in 1953 at (Gujarat), Chhow (Orissa, Bihar). New Delhi. Its function is to conduct survey ‡ There are two forms of music in India - Carnatic and research of different art forms in India. Hindustani. ‡ Sahitya Academy was established in 1954 at New ‡ Sama Veda deals with music. Delhi. Its aim is to encourage production of high ‡ Purandaradas gave shape and form to Carnatic class literature in several languages of India. music. ‡ The National Book Trust of India was set up in ‡ The trinity of Carnatic music is Thyagaraja, Syama 1957. Shastri and Muthuswami Dikshitar. ‡ ASI - Archaeological Survey of India - was established in 1861. Its headquarters is in New Names Associated with Indian Music: Delhi. ‡ Ustad Alla Rakha - A master of the Tabla. ‡ Indian Council for Cultural Relations was established ‡ Bala Murali Krishna - A singer of Carnatic music. in 1950, and it strives to promote and to strengthen cultural relations and mutual understanding between ‡ Bhim Sen Joshi - A Hindustani singer. India and other countries. The Council administers ‡ Pt. Hari Prasad Chaurasya - Flute player. the Jawaharlal Nehru Award for the promotion of ‡ Pt. Jasraj - Famous singer of Hindustani music. peace and international understanding. ‡ Parveen Sulthana - Hindustan style singer. ‡ NSD - National School of Drama - was set up in 1959 in Delhi. ‡ Neralathu Ramapothuval - Sopanam. ‡ Dances : There are two main branches of Indian ‡ M.S.Subha Lakshmi - Carnatic music.
    [Show full text]
  • Cultural Conflicts and Gender Stereotyping in Mahesh Dattani's
    High Technology Letters ISSN NO : 1006-6748 Cultural Conflicts and Gender Stereotyping in Mahesh Dattani’s Play Dance Like a Man. Dr. L. Sangeetha Head, P.G Department of English Thiruvalluvar University Constituent College of Art and Science Kallakurichi 606202, Tamilnadu,( India) Abstract: Earlier Dramatic works didn’t get much popularity in Indian literature and somewhere it was overshadowed by the fame of poetry and novel writings. Further twentieth century saw a great enrichment of drama writings in Indian literary world. Drama started to appear both in writings and theatrical forms and received wide readership and audience during this time. Many prominent dramatist appears in 20th century and contributed miscellaneous wonderful dramatic pieces such as Girish Karnad, Vijay Tendulkar, Utpul Dutt, Bijan Bhattacharya, Manoj Mitra, Badal Sircar and others. Their writings replete with multitude subjects and themes i.e. historical, social, political, cultural and many contemporary issues. In contemporary period Mahesh Dattani, Asif Currimbhoy, Bhimsen Sahni, Shiv k. Kumar and Cyrus Mistry got significant place in Indian drama for their remarkable contribution. Mahesh Dattani is one of the dramatists who is known for his striking subjects that reflects the contemporary societal, political and cultural problems of the Indian society. Dattani plays largely focus on the urban life issues that is noteworthy characteristic of his writings. In this Paper I have discussed the traditional, modern and Volume 26, Issue 10, 2020 1145 http://www.gjstx-e.cn/ High Technology Letters ISSN NO : 1006-6748 cultural conflicts between two people of different generation, gender stereotyping and other aspects in the play Dance Like a Man.
    [Show full text]
  • Declaration of the Result of Scholarship for the Year 2013-14 Under the Scheme of Award of Scholarship to Young Artistes in Different Cultural Fields
    Declaration of the result of scholarship for the year 2013-14 under the scheme of Award of Scholarship to Young Artistes in different cultural fields. Sl.N. Name Enrl. No. Field 1. Bhoomika Singh 2013/0944 Visual Arts 2. Baraiya Raju 2013/0980 Visual Arts 3. Abhijit Saikia 2013/1669 Visual Arts 4. Ankur Singla 2013/1674 Visual Arts 5. Manoj Kumar 2013/0652 Visual Arts Mohanty 6. Sunil Kumar 2013/3712 Visual Arts 7. Vishal Vishwakarma 2013/4094 Visual Arts 8. Malvika Jain 2013/1202 Visual Arts 9. Akshita Aggarwal 2013/1243 Visual Arts 10. Kailash Chandra Deka 2013/1594 Visual Arts 11. Sher Bahadur Patel 2013/0135 Visual Arts 12. Mhasiselhu Viyie 2013/0465 Visual Arts 13. Tridip Sarma 2013/1048 Visual Arts 14. Dipankar Deka 2013/3525 Visual Arts 15. Shammi Vishwakarma 2013/4289 Visual Arts 16. Debadyuti Saha 2013/0024 Visual Arts 17. Dheeraj Yadav 2013/0608 Visual Arts 18. Akhiljith V. 2013/0807 Visual Arts 19. Krishna Trivedi 2013/0983 Visual Arts 20. Sweta Kaneria 2013/0986 Visual Arts 21. Asmita Ashok Dhule 2013/1984 Visual Arts 22. Shubhangi 2013/3805 Visual Arts 23. Shikha Deo 2013/0915 Visual Arts 24. Linu J. 2013/1757 Visual Arts 25. Ritesh Yadav 2013/1229 Visual Arts 26. Vipin Singh Rajput 2013/0129 Visual Arts 27. Ramesh Mandalik 2013/1222 Visual Arts 28. Maithili Dongaonkar 2013/4033 Visual Arts 29. Shailesh Kumar Ram 2013/4109 Visual Arts 30. Akhil Mohan 2013/1057 Visual Arts 31. Sharwan Kumar Yadav 2013/1034 Visual Arts 32. Namita Kanade 2013/0689 Visual Arts 33.
    [Show full text]
  • The Bengalis: a Thousand Years
    Bengalis Thousand Years 8670/ 021116 The BengAlis: A ThousAnd YeArs Jawhar Sircar The last few days of a century that also happen to be at the end of a whole millennium, are bound to stir a strange excitement in even the most placid person. The two most expected feelings that hold their sway can perhaps be summarized as: introspection and expectation — drawing a balance sheet of the past as also trying to gauge what the future holds. Such an exercise can cover not only a single person or his immediate concerns; it may as well cover his locality, his state or nation and may be stretched to entire humanity. The constraints of my acquaintance and knowledge hardly qualify me to scan any group higher or bigger than my own people: the Bengalis. Even in this, my limitations now plague me more than my enthusiasm to try out such a review — but these notwithstanding; the sheer thrill of initiating an animated adda on the subject overpowers me. At the beginning, let me make it clear that I do not have the audacity to try to cover a thousand years in just a few pages: hence I will concentrate only on certain significant periods or issues, for the sake of presenting a viewpoint. So let us begin: are the Bengalis a thousand years old? Or even more? Historians tell us about our history during the Pala- Sena period, which would give us about 1250 years to be proud of, but if we include the great Sasanka, we could be share-holders in a great concern that goes back fourteen centuries.
    [Show full text]
  • Bestguru.Comcarnatic Music ‐ Vocal 1978 Maharajapuram V
    Name of the Artist Name of the Art / Field Awarded in Amba Sanyal (Costume Designing) Allied Theatre Arts 2008 Anant Gopal Shinde (Make‐up) Allied Theatre Arts 2003 Ashok Sagar Bhagat (Lighting) Allied Theatre Arts 2002 Ashok Srivastava (Make‐up) Allied Theatre Arts 1981 D. G. Godse (Scenic Design) Allied Theatre Arts 1988 Dolly Ahluwalia (Costume Design) Allied Theatre Arts 2001 G.N. Dasgupta (Lighting) Allied Theatre Arts 1989 Gautam Bhattacharya (Lighting) Allied Theatre Arts 2006 Goverdhan Panchal (Scenic Design) Allied Theatre Arts 1985 H. V. Sharma (Stagecraft) Allied Theatre Arts 2005 Kajal Ghosh (Theatre Music) ‐ Allied Theatre Arts 2000 Kamal Arora (Make‐up) Allied Theatre Arts 2009 Kamal Jain (Lighting) Allied Theatre Arts 2011 Kamal Tewari (Theatre Music) ‐ Allied Theatre Arts 2000 Kanishka Sen (Lighting) Allied Theatre Arts 1994 Khaled Choudhury (Scenic Design) Allied Theatre Arts 1986 Kuldeep Singh (Music for Theatre) Allied Theatre Arts 2009 M. S. Sathyu (Stagecraft) Allied Theatre Arts 1993 Mahendra Kumar (Scenic Design) Allied Theatre Arts 2007 Mansukh Joshi (Scenic & Light Design) Allied Theatre Arts 1997 N. Krishnamoorthy (Stagecraft) Allied Theatre Arts 1995 Nissar Allana (Stagecraft) Allied Theatre Arts 2002 R. K. Dhingra (Lighting) ‐ Allied Theatre Arts 2000 R. Paramashivan (Theatre Music) Allied Theatre Arts 2005 Robin Das (Scenic Design) ‐ Allied Theatre Arts 2000 Roshen Alkazi (Costume Design) Allied Theatre Arts 1990 Shakti Sen (Make‐up) ‐ Allied Theatre Arts 2000 Sreenivas G. Kappanna (Lighting & Stage Design) Allied Theatre Arts 2003 Suresh Bhardwaj (Lighting) Allied Theatre Arts 2005 Tapas Sen (Lighting) Allied Theatre Arts 1974 V. Ramamurthy (Lighting) Allied Theatre Arts 1977 Alathur S. Srinivasa Iyer Carnatic Music ‐ Vocal 1968 Ariyakudi Ramanuja Iyengar Carnatic Music ‐ Vocal 1952 B.
    [Show full text]
  • Cover Feature: Buddhist Dances of Bhutan
    ISSN 2455-7250 Vol. XVII No. 1 January - March 2017 A Quarterly Journal of Indian Dance Cover Feature: Buddhist Dances of Bhutan A Quarterly Journal of Indian Dance Volume: XVII, No. 1 January-March 2017 Sahrdaya Arts Trust Hyderabad RNI No. APENG2001/04294 ISSN 2455-7250 Nartanam, founded by Kuchipudi Kala Kendra, Founders Mumbai, now owned and published by Sahrdaya G. M. Sarma Arts Trust, Hyderabad, is a quarterly which provides a forum for scholarly dialogue on a broad M. Nagabhushana Sarma range of topics concerning Indian dance. Its concerns are theoretical as well as performative. Chief Editor Textual studies, dance criticism, intellectual and Madhavi Puranam interpretative history of Indian dance traditions are its focus. It publishes performance reviews Patron and covers all major events in the field of dance in Edward R. Oakley India and notes and comments on dance studies and performances abroad. Chief Executive The opinions expressed in the articles and the Vikas Nagrare reviews are the writers’ own and do not reflect the opinions of the editorial committee. The editors and publishers of Nartanam do their best to Advisory Board verify the information published but do not take Anuradha Jonnalagadda (Scholar, Kuchipudi dancer) responsibility for the absolute accuracy of the Avinash Pasricha (Former Photo Editor, SPAN) information. C.V. Chandrasekhar (Bharatanatyam Guru, Padma Bhushan) Cover Photo: A Buddhist Monk, dancing Kedar Mishra (Poet, Scholar, Critic) Kiran Seth (Padma Shri; Founder, SPIC MACAY) Photo Courtesy: Brochure of K. K. Gopalakrishnan (Critic, Scholar) Thimphu Tshechu by Bhutan Leela Venkataraman (Critic, Scholar, SNA Awardee) Communications Services, Mallika Kandali (Sattriya dancer, Scholar) [email protected] Pappu Venugopala Rao (Scholar, Former Associate D G, American Institute; Secretary, Music Academy) Photographers: Kezang Namgay, Reginald Massey (Poet, FRSA & Freeman of London) Leon Rabten, Lakey Dorji, and Sunil Kothari (Scholar, Padma Shri & SNA Awardee) Lhendup for Bhutan Communications Suresh K.
    [Show full text]
  • TEA-STO-30..TEA-STO-30.1 .. Page1
    Ashish Mohan Khokar INDIAN DANCE TODAY. AN HISTORICAL OVER-VIEW [Ashish Mohan Khokar è probabilmente il più importante critico e studioso di danza in India. Ha studiato danza, ha lavorato in diverse accademie di danza, è critico del principale quotidiano indiano, «The Times of India», collabora con diversi altri quotidiani, è il direttore dell’unico Annale di danza in India, «Attendance». Ha scritto molti li- bri sulla danza. E` figlio di Mohan Khokar, senz’altro il più grande stu- dioso di danza indiano dell’ultima generazione. Sta creando il primo Archivio di Danza in India, partendo dall’immensa collezione del pa- dre. Per maggiori dettagli si possono vedere: www.attendance- india.com e www.dancearchivesofindia.com.] Indian classical dance traditions have been borne out of a sense of propitiation of the divinity. A certain spiritual content has always been its mainstay. It has also been essentially the art of a soloist, ex- cept in dance-theatre forms. Over two thousand unbroken years, it has grown to become the longest continuous dance culture, afford- ing an interesting insight into man and his relationship to stage in general and dance art, in particular. Its classical nature comes through by a set of code of grammar, content and concept. Thus, if in one form, the knees are to be bent while performing and a half-sitting position maintained all through, then it cannot be altered. The position of hands, the use of eyes, neck, torso and feet, all go towards making dance units, which be- come strings of movements, through which individual characteristics and a grammar is set which makes each form distinct and thus, with age and tradition, classical.
    [Show full text]