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Sadir, Bharatanatyam, Feminist Theory Sriv1dya
ANOTHER STAGE IN THE LIFE OP THE NATION: SADIR, BHARATANATYAM, FEMINIST THEORY A THESIS SUBMITTED TO THE UNIVERSITY OF HYDERABAD FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE SCHOOL OF HUMANITIES SRIV1DYA NATARAJAN FEBRUARY, 1997 CERTIFICATE This is to certify that Ms. Srividya Natarajan worked under my supervision for the Ph.D. Degree in English. Her thesis entitled "Another Stage in the Life of the Nation: Sadir. Bharatanatyam. Feminist Theory" represents her own independent work at the University of Hyderabad. This work has not been submitted to any other institution for the award of any degree. Hyderabad Tejaswini Niranjana Date: 14-02-1997 Department of English School of Humanities University of Hyderabad Hyderabad February 12, 1997 This is to certify that I, Srividya Natarajan, have carried out the research embodied in the present thesis for the full period prescribed under Ph.D. ordinances of the University. I declare to the best of my knowledge that no part of this thesis was earlier submitted for the award of research degree of any University. To those special teachers from whose lives I have learnt more than from all my other education put together: Kittappa Vadhyar, Paati, Thatha, Paddu, Mythili, Nigel. i ACKNOWLEDGEMENTS In the course of five years of work on this thesis, I have piled up more debts than I can acknowledge in due measure. A fellowship from the University Grants Commission gave me leisure for full-time research; some of this time was spent among the stacks of the Tamil Nadu Archives, the Madras University Library, the Music Academy Library, the Adyar Library, the T.T. -
Quote of the Week
31st October – 6th November, 2014 Quote of the Week Character cannot be developed in ease and quiet. Only through experience of trial and suffering can the soul be strengthened, ambition inspired, and success achieved. – Helen Keller < Click icons below for easy navigation > Through Chennai This Week, compiled and published every Friday, we provide information about what is happening in Chennai every week. It has information about all the leading Events – Music, Dance, Exhibitions, Seminars, Dining Out, and Discount Sales etc. CTW is circulated within several corporate organizations, large and small. If you wish to share information with approximately 30000 readers or advertise here, please call 98414 41116 or 98840 11933. Our mail id is [email protected] Entertainment - Film Festivals in the City Friday Movie Club @ Cholamandal presents - Film: BBC Modern Masters - Andy Warhol The first in a four-part series exploring the life and works of the 20th century's artists: Matisse; Picasso; Dali and Warhol. In this episode on Andy Warhol, Sooke explores the king of Pop Art. On his journey he parties with Dennis Hopper, has a brush with Carla Bruni and comes to grips with Marilyn. Along the way he uncovers just how brilliantly Andy Warhol pinpointed and portrayed our obsessions with consumerism, celebrity and the media. This film will be screened on 31st October, 2014 at 7.00 pm - 8.30 pm. at Cholamandal Centre for Contemporary Art (CCCA), Cholamandal Artists’ Village, Injambakkam, ECR, Chennai – 600 115. Entry is free. For more information, contact 9500105961/ 24490092 / 24494053 Entertainment – Music & Dance Bharat Sangeet Utsav 2014 Bharat Sangeet Utsav, organised by Carnatica and Sri Parthasarathy Swami Sabha is a well-themed concert series and comes up early in November. -
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 -
Bharatanatyam: Eroticism, Devotion, and a Return to Tradition
BHARATANATYAM: EROTICISM, DEVOTION, AND A RETURN TO TRADITION A THESIS Presented to The Faculty of the Department of Religion In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Taylor Steine May/2016 Page 1! of 34! Abstract The classical Indian dance style of Bharatanatyam evolved out of the sadir dance of the devadāsīs. Through the colonial period, the dance style underwent major changes and continues to evolve today. This paper aims to examine the elements of eroticism and devotion within both the sadir dance style and the contemporary Bharatanatyam. The erotic is viewed as a religious path to devotion and salvation in the Hindu religion and I will analyze why this eroticism is seen as religious and what makes it so vital to understanding and connecting with the divine, especially through the embodied practices of religious dance. Introduction Bharatanatyam is an Indian dance style that evolved from the sadir dance of devadāsīs. Sadir has been popular since roughly the 6th century. The original sadir dance form most likely originated in the area of Tamil Nadu in southern India and was used in part for temple rituals. Because of this connection to the ancient sadir dance, Bharatanatyam has historic traditional value. It began as a dance style performed in temples as ritual devotion to the gods. This original form of the style performed by the devadāsīs was inherently religious, as devadāsīs were women employed by the temple specifically to perform religious texts for the deities and for devotees. Because some sadir pieces were dances based on poems about kings and not deities, secularism does have a place in the dance form. -
Tne Qjlassical Uoicinq Ine Miooern
tne Qjlassical J J Uoicinq ine Miooern THE POSTCOLONIAL POLITICS OF MUSIC IN SOUTH INDIA amandaj. weidman O O M I CALCUTTA 2007 Contents Date: v-> First published by Duke University Press in 2006 List of Illustrations vii © 2006 Duke University Press This edition printed in arrangement with Duke University Press Acknowledgments ix For publication and sale in India, Bangladesh, Burma, Bhutan, Sri Lanka, Note on Transliteration and Spelling xvii Nepal and Pakistan only Introduction l ISBN 81 7046 319 X 1. Gone Native?: Travels of Typset in Bembo by Tseng Information Systems, Inc. the Violin in South India 25 Book design by Amy Ruth Buchanan Cover design by Sunandini Banerjee 2. From the Palace to the Street: Staging "Classical" Music 59 Published by Naveen Kishore, Seagull Books Pvt Ltd 26 Circus Avenue, Calcutta 700 017 3. Gender and the Politics of Voice ill Printed at Rockewel Offset 4. Can the Subaltern Sing?: Music, 55B Mirza Ghalib Street, Calcutta 700 016 Language, and the Politics of Voice 150 Exclusively distributed in India and South Asia by Cambridge University Press India Pvt Ltd 5. A Writing Lesson: Musicology Cambridge House, 4381/4 Ansari Road, Daryaganj, New Delhi 110 002 and the Birth of the Composer 192 Portions of Chapter 3 were previously published as "Gender and the politics of voice: Colonial 6. Fantastic Fidelities 245 modernity and classical music in South India," in Cultural Anthropology 18, no. 2 (2003): 194-232. © 2003 American Anthropological Association. Afterword: Modernity and the Voice 286 Portions of Chapter 4 were previously published as "Can the subaltern sing? Music, language, Notes 291 and the politics of voice in twentieth-century South India," in Indian Economic and Social History Review 42, no. -
CII-ITC Sustainability Awards 2008 Chemplast Sanmar Gets Recognition in the Large Business Category Awards
1 Sanmar Holdings Limited Sanmar Chemicals Corporation Sanmar Engineering Corporation Chemplast Sanmar Limited BS&B Safety Systems (India) Limited PVC Flowserve Sanmar Limited Chlorochemicals Sanmar Engineering Services Limited Trubore Piping Systems Fisher Sanmar Limited TCI Sanmar Chemicals LLC (Egypt) Regulator Valves Tyco Sanmar Limited Sanmar Metals Corporation Xomox Sanmar Limited Sanmar Foundries Limited Pacific Valves Division Sand Foundry Investment Foundry Sanmar Speciality Chemicals Limited Machine Shop ProCitius Research Matrix Metals LLC Intec Polymers Keokuk Steel Castings Company (USA) Performance Chemicals Richmond Foundry Company (USA) Bangalore Genei Acerlan Foundry (Mexico) Cabot Sanmar Limited NEPCO International (USA) Sanmar Ferrotech Limited Eisenwerk Erla GmBH (Germany) Sanmar Shipping Limited The Sanmar Group 9, Cathedral Road, Chennai 600 086. Tel.: + 91 44 2812 8500 Fax: + 91 44 2811 1902 2 In this issue... Momentous Moments MNC Flying to the Moon 4 MNC Celebrates 19th Anniversary 28 5th National Workshop on Early Intervention for Cover Story Mental Retardation 29 Sanmar’s Egyptian Sojourn 8 Social Responsibility Guest Column India’s Environment Ambassador Bata by Choice -Thomas G Bata 12 Voyages to the Arctic 30 A New Financial World Order - Arvind Subramanian 15 CII-Tsunami Rehabilitation Scorecard 32 Celebrating Art Chemplast Sanmar Distributes Rice in Hurricane- ravaged Villages in Cuddalore & Karaikal 34 Strumming to Spanish Music 19 Renovation of Park at Karaikal 35 Sruti Magazine Celebrates Silver Jubilee 20 The First Mrs Madhuram Narayanan Endowment Lecture 36 Pristine Settings Around Sanmar 22 Events Awards Sanmar Stands Tall 37 Flowserve Sanmar’s Training Centre 24 Trubore Dealers’ Meet 25 Legends from the South The 9th AIMA-Sanmar National Management Quiz 26 Padmini 42 Matrix can be viewed at www.sanmargroup.com Designed and edited by Kalamkriya Limited, 9, Cathedral Road, Chennai 600 086. -
Vijayashri Vittal
Vijayashri Vittal Born and raised in a family of musicians, Vijayashri Vittal started her musical training from her grandmother, Krishnaveni and her father, Vidwan Vittal Ramamurthy, an internationally acclaimed violinist and under the tutelage of Vidwan SP Ramh. Currently she is undergoing advanced training from world renowned vocalist, Vidushi Bombay Jayashri. Her journey in Bharatanatyam also began at the same time under the able tutelage of Vidwan Vijay Madhavan, disciple of Padmashri Chitra Visweswaran. Vijayashri was truly blessed to perform her Bharatanatyam arangetram in 2008 in the gracious presence of legendary Padmabhushan Lalgudi Jayaraman Sir. Her rigorous training under great gurus like Bombay Jayashri and Vijay Madhavan has opened avenues for her to groom herself not only as a performing artiste, but also as a teacher and creative collaborator, thus making her a multifaceted artist. Vijayashri regularly performs charity concerts in old age homes and for differently abled children through the Bhoomika Trust. As part of the Hitham Trust and Swami Dayananda Educational Trust (SDET), she teaches music to around 300 underprivileged children in Manjakudi and Tiruvarur, villages in South India. She strongly believes that music has the power to heal people. She has been working with children in the autistic spectrum using Carnatic music. Every year, she joins hands with her family and plays a vital role in conducting the ‘Karunbithil Shibira’ at their ancestral home in Nidle, Dharmasthala. Vijayashri has given many vocal and Bharatanatyam performances in the December Music Festival, Chennai and other reputed venues in India. She has had the privilege to travel around the world with her Guru and has also given solo performances at few major cities abroad. -
Tradition and the Individual Dancer
1: Tradition and the Individual Dancer History and Innovation in a Classical Form Critical accounts and promotional materials frequently refer to bharata natyam as “ancient.” The dance form’s status as traditional and classical seems to render it fixed, even timeless. A connection to the past appears to be a given for this dance practice. Even on closer examination, a relationship to the past seems integral to the dance form’s identity, its content, and its structure. Present-day bharata natyam choreography draws from the dance practices of earlier decades and centuries. Its movement vocabulary derives from sadir, the solo dance per- formed by temple and court dancers in precolonial and colonial South India. The margam—the concert order that determines when in a program each dance piece appears—was standardized in the nineteenth century by the renowned musician- composers of the Thanjavur Quartet. The roots of bharata natyam extend still further back. For example, the mudras, or hand gestures, used today accord in both shape and meaning with those described in the Natyasastra, a Sanskrit dra- maturgical text, dating from the beginning of the Christian era. Similarly, an arangetram, or initial performance, described in the fifth-century Tamil epic Silappadikaram correlates with that of devadasi practitioners of the nineteenth century, which then established the protocol for twentieth-century debuts. Bharata natyam’s repertoire consists largely of songs written between the sev- enteenth and twentieth centuries. The poems of love and religious devotion that form the basis of the bharata natyam canon emerged from the musical and lit- erary traditions of previous centuries. -
Online Film Festival Raytoday by Films Division
A Report Films Division Govt. of India, Min. of I & B, 24- Dr. G Deshmukh Marg, Mumbai -26 Dated the 10th May, 2021 Online Film Festival RayToday by Films Division Satyajit Ray, one of the greatest film makers of all the time, is credited with taking Indian cinema to the global level. A true renaissance man, Ray earned worldwide fame for himself and to the art of cinema as well, with his poetic realism and cinematic imagination. Films Division marked beginning of the year-long birth centenary celebrations of the legendary filmmaker by screening Shyam Benegal’s eponymous biopic, Satyajit Ray on 2nd May 2021 on its website. Continuing with the celebrations of the auteur, Films Division has organized an online film festival, RayToday, a curated package of non-feature works by Ray along with films on him and his oeuvre, on FD website from 7th to 9th May 2021. RayToday included, among others, a rare documentary made by him on Nobel laureate, Rabindranath Tagore, the one and only television film by Ray on a short story by Munshi Premchand and the much acclaimed biopic by Shyam Benegal. The following films werestreamed in the festival : Sadgati (Satyajit Ray/Doordarshan/52 Mins/1981) - a television film set on rural India which throws light on caste system in society. Two (Satyajit Ray/Esso World Theatre/15 Mins/1964) - a simple but hard hitting societal commentary on the class struggle shows an encounter between a child of a rich family and a street child, and displays attempts of one-upmanship between kids in their successive display of toys. -
Panel Pool 2
FY18-19 PEER REVIEW PANELS Panel Applicants (November deadline) This list contains potential panelists to be added to the pool for peer review panels. Approved panelists may be called upon to serve on grant panels in FY2018-2019 or FY2019-2020. Click a letter below to view biographies from applicants with corresponding last name. A .............................................................................................................................................................................. 2 B ............................................................................................................................................................................... 9 C ............................................................................................................................................................................. 18 D ............................................................................................................................................................................. 31 E ............................................................................................................................................................................. 40 F ............................................................................................................................................................................. 45 G ............................................................................................................................................................................ -
Please Download, for More Information
Chitra Visweswaran Eminent dancer-teacher- choreographer, Chitra Visweswaran, a legend in the field of Indian dance, has the distinction of being a scholar, thinker & seeker. Deep- rooted training in dance under Smt T.A.Rajalakshmi & the doyen Vazhuvoor Sri B Ramiah Pillai an eclectic background & inner thirst for knowledge launched her on a voyage of discovery at a young age. Her research directed towards the extension of the existing Bharatanatyam repertoire has led to the creation of a voluminous body of work, covering the margam, thematic solo, group /dance theatre productions, which reflect individuality and are a synergy of tradition & innovation. Her work has been enriched by the music of her vocalist- musician - composer husband, Visweswaran, who incidentally, was the nephew of the Carnatic Legend G N Balasubramaniam. Chitra Visweswaran’s formal training in dance began with Western Classical Ballet in London at the age of five, but, in actuality, her first Guru, at the age of three, was actually her mother, Smt. Rukmini Padmanabhan, who was an excellent dancer, trained in the Uday Shankar School of dance and Bharatanatyam. It is to her that Chitra owes her artistic and creative vision. To this was harnessed an insatiable intellectual and cerebral quest which she owes to her father, Sri. N. Padmanabhan, a brilliant Engineer. After initiation into dance by her mother, Chitra undertook training in Western Classical Ballet in London, which was followed by training in Manipuri and Kathak in Calcutta. At the age of ten, she went under the tutelage of one of the best devadasis of Tiruvidaimardur, Smt.T.A.Rajalakshmi, who was settled in Calcutta. -
Chapter 1 Uday Shankar and Locating Modernity
CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.