DOCSLIB.ORG

Railway (Group-D) Gs 16 October 2018 Q.1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Railway (Group-D) Gs 16 October 2018 Q.1 RAILWAY (GROUP-D) GS 16 OCTOBER 2018 Q.1. Which of the following is a source of phosphorous for our body? मध्यप्रदेश मᴂ पचमढी बायोस्फीयर ररजवण मᴂ____ शानमि है। नि륍ि मᴂ से कौि हमारे शरीर के निए फास्फोरस का एक स्रोत है? 1. Satpura national park / सतपुडा राष्ट्ट्रीय उद्याि 1. Spinach / पािक 2. Bori wildlife sanctuary / बोरी वन्यजीव अभयारण्य 2. Banana / केिा 3. Pachmarhi sanctuary / पचमढी अभयारण्य 3. Egg / अंडा 4. All of the above / उपरोक्त सभी 4. Fish / मछिी Ans: 4 Ans: 2 The Pachmarhi Biosphere Reserve is a non-use conservation area Fish is a rich source of iodine for our body. and biosphere reserve in the Satpura Range of Madhya Pradesh मछिी हमारे शरीर के निए आयोडीि का एक समृ स्रोत है। state in central India. / पचमढी बायोस्फीयर ररजवण मध्य भारत मᴂ मध्य प्रदेश Q.2. The broad, green part of the leaf is called ____. रा煍य के सतपुरा रᴂज मᴂ एक गैर-उपयोग संरक्षर् क्षेत्र और जीवमंडि ररजवण है। पत्ते के व्यापक, हरे रंग के नहस्से को ____ कहा जाता है। This conservation area was created in 1999 by the Indian 1. Petiole / डठं ि government. / यह संरक्षर् क्षेत्र 1999 मᴂ भारत सरकार द्वारा बिाया गया था। 2. Lamina / िैनमिा UNESCO designated it a biosphere reserve in 2009. / यूिेस्को िे 2009 3. Midrib / मध्यनशरा मᴂ इसे बायोस्फीयर ररजवण िानमत नकया। 4. Chlorophyll / पर्णहररत Q.8. Which of the following is non-metal? Ans: 2 नि륍ि मᴂ से कौि अधात ु है? Q.3. Which of the following is/are roots? 1. Sodium / सोनडयम नि륍िनिनित मᴂ से कौि सा जडᴂ हℂ? 2. Phosphorous / फास्फरोस 1. Sweet potato / शकरकं द 3. Magnesium / मै嵍िीनशयम 2. Turnip / शिजम 4. Calcium / कैनफशयम 3. Radish / मूिी Ans: 2 4. All of the above / उपरोक्त सभी Phosphorus is a non-metal that sits just below nitrogen in group 15 Ans: 4 of the periodic table. / फॉस्फोरस एक अधातु है जो आवतण सारर्ी के समूह 15 Q.4. Which of the following is not correct? मᴂ िाइट्रोजि से िीचे नस्थत है। नि륍िनिनित मᴂ से कौि सा सही िहĂ है? This element exists in several forms, of which white and red are the 1. Earthworms breathes through skin / कᴂ चुआ त्वचा के माध्यम से सााँस best known. / यह तत्व कई 셂पⴂ मᴂ मौजदू है, नजिमᴂ से श्वेत और िाि सबसे िेता है प्रनस हℂ। 2. The whales and Dolphins breathe through Gills / व्हेि और डॉनफफि Atomic mass / परमार्ु द्रव्यमाि- 30.9737 गिफडे के माध्यम से सााँस िेते हℂ Group / समूह- 15 , Period / अवनध- 3 , p-block 3. Cockroaches have three pairs of leg / नतिचट्टे मᴂ पैर के तीि जोडे होते हℂ Discovered by- Hennig Brandt / हेनिग ब्ांट (1669) 4. Malaria is caused by Protozoa / मिेररया प्रोटोजोआ के कारर् होता है Phosphorus is an important constituent of bones and teeth, and it is Ans: 2 essential to the growth of living organisms. / फॉस्फोरस हड्नडयⴂ और The whales and Dolphins breathe in air through Nostrils. दांतⴂ का एक महत्वपूर्ण घटक है, और जीनवत जीवⴂ के नवकास के निए यह व्हेि और डॉनफफि िथुिे के माध्यम से हवा मᴂ सांस िेते हℂ। आवश्यक है। Q.5. Which type of mosquito is the carrier of Dengue? In organisms, this element usually appears as phosphate. / जीवⴂ मᴂ, डᴂगू का वाहक नकस प्रकार का म楍छर है? यह तत्व आमतौर पर फॉस्फेट के 셂प मᴂ नदखाई देता है। 1. Female Anopheles / मादा एिोफेिीज़ 2. Female Aedes / मादा एडीज 3. Male Anopheles / िर एिोफेिीज़ 4. Male Aedes / िर एडीज Ans: 2 Q.6. Which of the following is known as “Black gold”? नि륍ि मᴂ से कौि "कािा सोिा" के 셂प मᴂ जािा जाता है? 1. Coal / कोयिा 2. Coke / कोक Q.9. A female has contains ____. 3. Petroleum / पेट्रोनियम एक मनहिा मᴂ ____होता है। 4. All of the above / उपरोक्त सभी 1. Two X chromosomes / दो X गुर्सूत्र Ans: 4 2. Two Y chromosomes / दो Y गुर्सूत्र Name Nature % of Carbon Calorific value 3. One X and one Y chromosome / एक X और एक Y गुर्सूत्र िाम प्रकृ नत काबणि उष्ट्मीय माि 4. None of the above / उपरोक्त मᴂ से कोई िहीं Peat Low-grade coal produces less heat, more 50-60% 2500-3500 पीट smoke & ash/ नि륍ि स्तर का कोयिा ष्ट्मा का कम Ans: 1 उत्पादि अनधक धुआं और राख Q.10. Chromosomes are made up of ____. Lignite High moisture, low calorific value (Brown 60-70% 3500-4500 गुणसूत्रⴂ ____ के बिे होते हℂ। नि嵍िाइट coal)/ उ楍च िमी कम कैिोरी माि भूरा कोयिा 1. DNA and RNA Bituminous Hard form & Smoky but flammable 75-80% 6700-7500 2. DNA, RNA, and Protein नबटुनमिस (Domestic coal)/ कठोर 셂प और धु सनहत िेनकि 3. DNA and protein 煍वििशीि घरेिू कोयिा 4. RNA and Protein Anthracite Superior quality, hardest form & High 90-95% 7500-8500 एन् ेसाइट Calorific value/ उ楍च गुर्वत्ता सबसे कनठि 셂प Ans: 3 और उ楍च उष्ट्मीय माि Chromosomes are thread-like structures usually present in the nucleus which becomes visible only during cell division. / गर्सत्र धागे- Q.7. Pachmarhi Biosphere reserve in Madhya Pradesh consists of ____. ु ू जैसी संरचिाए ं आमतौर पर िानभक मᴂ मौजूद होती हℂ जो के वि कोनशका नवभाजि 4. 5 के दौराि नदखाई देती है। Ans: 2 Each chromosome is made up of two components. / प्रत्येक गुर्सूत्र दो These are three big events that Indians celebrate every year. / ये तीि घटकⴂ से बिा होता है। बडे आयोजि हℂ जो भारतीय हर साि मिाते हℂ। Deoxyribonucleic acid / डीऑ啍सीररबोन्यून啍िक एनसड (DNA) Republic Day / गर्तंत्र नदवस- January 26th Proteins / प्रोटीि (e.g., histones and acidic proteins / उदाहरर् के निए, The first of the three national holidays in India is Republic Day. / भारत नहस्टोि और अ륍िीय प्रोटीि) मᴂ तीि राष्ट्ट्रीय छु रट्टयⴂ मᴂ से पहिा गर्तंत्र नदवस है। Q.11. The loudness sound is expressed in a unit called ____. Independence Day / स्वतंत्रता नदवस- August 15th ध्वनि प्रबिता ____ िामक इकाई मᴂ व्यक्त की जाती है। Gandhi Jayanti / गांधी जयंती- October 2nd 1. Decibel / डेनसबि The final national holiday celebrated in India is Gandhi Jayanti. / 2. Hertz / हट्णज भारत मᴂ मिाया जािे वािा अंनतम राष्ट्ट्रीय अवकाश गाधं ी जयंती है। 3. Pitch / नपच Q.17. The heaviest land animal in the world is ____. 4. None of the above / उपयणुक्त मᴂ से कोई िहीं दुनिया मᴂ सबसे भारी भूनम प्राणी ____ है। Ans: 1 1. Southern Elephant Seal / दनक्षर्ी हाथी सीि Q.12. UNFCCC stands for ____. 2. African bush elephant / अफ्रीकी बुश हाथी यएिएफसीसीसी का तात्पयण ____ है। ू 3. Hippopotamus / दररयाई घोडा 1. United Nations Framework Convention on Climate Change 4. Blue Whale / िीिी व्हेि 2. United Nations Federation Convention on Climate Change Ans: 2 3. United Nations Framework Council on Climate Change The Largest Animal of the World / दुनिया का सबसे बडा प्राणी- 4. United Nations Federation Council on Climate Change The Blue Whale / िीिी 핍हेि Ans: 1 The Heaviest Land Animal of the World / दुनिया का सबसे भारी भूनम The United Nations Framework Convention on Climate Change is प्रार्ी- an international environmental treaty adopted on 9 May 1992. The African Bush Elephant / अफ्रीकी बुश हाथी जिवायु पररवतणि पर संयुक्त राष्ट्ट्र फ्रे मवकण कन्वᴂशि 9 मई 1992 को अपिाया गया The Tallest Land Animal of the World / दुनिया का सबसे िंबा भूनम प्रार्ी- एक अंतरराष्ट्ट्रीय पयाणवरर् संनध है। The Giraffe / नजराफ Q.13. Which of the following is not a greenhouse gas? The Largest Carnivora Animal of the World / दुनिया का सबसे बडा नि륍िनिनखत मᴂ से कौि सा ग्रीिहाउस गैस िहीं है? मांस-भक्षी प्रार्ी- 1. Carbon-di-oxide / काबणि डाइऑ啍साइड The Southern Elephant Seal / दनिणी हाथी सीि 2. Methane / मीथेि Q.18. The second highest mountain in the world is ____. 3. Nitrous oxide / िाइट्रस ऑ啍साइड दुनिया का दूसरा सबसे ऊं चा पर्वत ____ है। 4. None of these / इिमᴂ से कोई िहीं 1. Kanchenjunga / कं चिजंगा Ans: 4 2. Mount K2 / माउंट K2 Q.14. Which of the following is correct? 3. Andes / एडं ीज़ नि륍िनिनित मᴂ से कौि सा सही है? 4. None of these / इिमᴂ से कोई िहीं 1. Hepatology / हेपेटोिॉजी- Study of blood / रक्त का अध्ययि Ans: 2 2. Haematology/ हेमेटोिॉजी- Study of liver / यकृ त का अध्ययि Mount K2, the second tallest peak in the world after Mount Everest, 3. Myology / मायोिॉजी- Study of human beauty / मािव स㄂दयण का is the tallest peak of the Karakoram Range.
Load more

Recommended publications
  • How Modern India Reinvented Classical Dance
    ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD.
    [Show full text]
  • June 2017.Pmd
    Torch Bearers Padma Sharma: CONTENTSCONTENTS An Exceptional Guru Cover 10 18 Story Rays of Kumari Kamala: 34 Hope A True Inspiration Dr Dwaram Tyagaraj: A Musician with a Big Heart Cultural Beyond RaysBulletin of Hope Borders The Thread of • Expressions34 of Continuity06 Love by Sri Krishna - Viraha Reviews • Jai Ho Russia! Reports • 4th Debadhara 52 Dance Festival • 5 Art Forms under One Roof 58 • 'Bodhisattva' steals the show • Resonating Naatya Tarang • Promoting Unity, Peace and Indian Culture • Tyagaraja's In Sight 250th Jayanthi • Simhapuri Dance Festival: A Celebrations Classical Feast • Odissi Workshop with Guru Debi Basu 42 64 • The Art of Journalistic Writing Tributes Beacons of light Frozen Mandakini Trivedi: -in-Time An Artiste Rooted in 63 Yogic Principles 28 61 ‘The Dance India’- a monthly cultural magazine in "If the art is poor, English is our humble attempt to capture the spirit and culture of art in all its diversity. the nation is sick." Editor-in-Chief International Coordinators BR Vikram Kumar Haimanti Basu, Tennessee Executive Editor Mallika Jayanti, Nebrasaka Paul Spurgeon Nicodemus Associate Editor Coordinators RMK Sharma (News, Advertisements & Subscriptions) Editorial Advisor Sai Venkatesh, Karnataka B Ratan Raju Kashmira Trivedi, Thane Alaknanda, Noida Contributions by Lakshmi Thomas, Chennai Padma Shri Sunil Kothari (Cultural Critic) Parinithi Gopal, Sagar Avinash Pasricha (Photographer) PSB Nambiar Sooryavamsham, Kerala Administration Manager Anurekha Gosh, Kolkata KV Lakshmi GV Chari, New Delhi Dr. Kshithija Barve, Goa and Kolhapur Circulation Manager V Srinivas Technical Advise and Graphic Design Communications Incharge K Bhanuji Rao Articles may be submitted for possible publication in the magazine in the following manner.
    [Show full text]
  • A North Indian Classical Dance Form: Lucknow Kathak
    100 A North Indian Classical Dance Form: Lucknow Kathak Gina Lalli The word 'Kathak' now refers to a school of dancing and 'Kathak dancer' to a practitioner of that school. The old word kathak (story-telling, composition) is a Sanskrit word, as is ka.thaka., which means 'narrator' or 'one who recites'. Both words refer to a tradition of dramatic recitation, utilizing gestures and musical accompaniment, of religious teachings still practiced in the temples of Ind.ia. 1 The main schools of Kathak originated in Luck.now, Benares, Jaipur and (later on), Lahore. These schools have a general form in common, but they differ in emphasis of some facet of the dance form. Lucknow Kathak is noted for its development of the pantomimic part of the dance and for its balance bet\.veen storytelling and more abstract aspects of the dance having no stories attached to them. It would be difficult to trace the history of Lucknow Kathak with any accu­ racy beyond the past one hundred fifty years. It is known that in the early nineteenth century, Mo brothers, Thakur and Durga Prasad, migrated to 2 Lucknow from Rajastan or Jodhpur (from Khokar 1959 and Birju Maharaj ). The then ruler of Lucknow, Wajid Ali Shah, was a great patron of the arts who, recognizing Durga Prasad's mastery as a dancer and musidan, invited him to be his court musician and dance teacher. According to Birju Marharaj, Durga Prasad taught the dance to his own sons, Kalkadin and Bindadin. The brothers were devoted, together deciding that only one of them would marry so that the other, free from the economic responsibilities of marriage, could spend his life in the practice and teaching of Kathak.
    [Show full text]
  • THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’ ------ISSN 0971-7942 Volume: Annual - TRN 2011 ------S.I.R.C
    THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’ ------------------------------------------------------------------------ ISSN 0971-7942 Volume: Annual - TRN 2011 ------------------------------------------------------------------------ S.I.R.C. Units: Mumbai, Pune, Solapur, Nanded and Amravati ============================================================= Feature Articles Music of Mughal-e-Azam. Bai, Begum, Dasi, Devi and Jan’s on gramophone records, Spiritual message of Gandhiji, Lyricist Gandhiji, Parlophon records in Sri Lanka, The First playback singer in Malayalam Films 1 ‘The Record News’ Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US $ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full
    [Show full text]
  • Just Dance / जट डाॊस, Boogie Woogie / फूगी वूगी
    PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 15 KATHAK AS VOCATION For long has dance been a vocation in India. Both men and women have been ritual dance specialists associated with temples and monasteries. The story of the Devadasis, Maibis and Maharis / भहायी is well known. There are monk dancers in Assam called bhakats who are examples of males who dedicate their lives to the performance of dance as an offering and a ritual in a temple. There were also public platforms, where for entertainment purposes men and women danced. Chhau / छाऊ, Raibenshe / यैफᴂशे, Yakshagana / मऺगान, Kuchipudi / कु चिऩुड़ी, etc are examples of how and when traditionally males’ danced. Some of the women belonging to specific communities were associated with dancing for entertainment. For instance the Kalbelia / कारफेलरमा, Rai / याइ and Bedia / फेडडमा women were for centuries known to dance for entertainment. It is believed that the Bedia women danced for the laborers from different parts of the word who had collected at Taj Ganj at the time of the building of the Taj Mahal. Later they were among the communities and tribes that entertained the British troupes. Today many Bedia girls are among the Bar dancers of Mumbai. Apart from these girls there was also a group of traditional performers called by various names- Tawaif / तवामप, baijis / फाईजी, 1 etc. They were a whole range of professional dancing girls, some so talented that they had access to the highest centres of power, like the palace and the courtly setting, and were well integrated with the royals and the aristocracy.
    [Show full text]
  • Cultural Geography of Kathak Dance: Streams of Tradition and Global Flows*
    Cracow Indological Studies vol. XVIII (2016) 10.12797/CIS.18.2016.18.04 Katarzyna Skiba [email protected] (Jagiellonian University, Kraków) Cultural Geography of Kathak Dance: Streams of Tradition and Global Flows* SUMMARY: The article deals with the modern history of Kathak, explored from regional perspectives. It focuses on the Lucknow gharānā (“school”) of Kathak, which sprung up mainly in courts and salons of colonial Avadh as a product of Indo- Islamic culture. The paper investigates how the shift of hereditary artists from Lucknow to ­Delhi affected their tradition in newly founded, state-supported institutions. It also examines various trends of further modernization of Kathak in globalized, metropolitan spaces. The tendency of Sanskritization in national dance institutes (Kathak Kendra) is juxtaposed with the preservation of ‘traditional’ form in dance schools of Lucknow (nowadays becoming more provincial locations of Kathak tradition) and innovative / experimental tendencies. The impact of regional culture, economic conditions and cosmopolitanism are regarded as important factors reshaping Kathak art, practice and systems of knowledge transmission. The paper is based on ethnographic fieldwork, combined with historical research, conducted in the period 2014–2015. KEYWORDS: classical Indian dance, Kathak, Lucknow gharānā, Indo-Islamic culture. * Much of the data referred to in this paper comes from the ­interviews with Kathak artists and dance historians which I conducted in India in 2014–2015 as part of two research projects: The Role of Sanskrit Literature in Shaping the Classical Dance Traditions in India (funded by École française d’Extrême-Orient), and Transformation of the Classical Indian Dance Kathak in the Context of Socio-cultural Changes (funded by National Science Center in Poland/NCN on the basis of decision no.
    [Show full text]
  • KATHAK DANCE IKSV X-XI 2 IKSV X-XI 2 Ch-,- Izfkeo’Kz] Ijh{Kk& 2011 B.A
    IKSV X-XI 1 IKSV X-XI 1 BA/ M A/ M.DANCE KATHAK DANCE IKSV X-XI 2 IKSV X-XI 2 ch-,- izFkeo’kZ] ijh{kk& 2011 B.A. I YEAR, EXAM. 2011 dFkd u`R; KATHAK DANCE Paper-I izFke iz’u i= Time: 3 Hrs. Max. M. 75 Min.M. 25 le;&3 ?k.Vs iw.kkZad&75 U;wuakd&25 Note : Attempt any five questions. All questions carry equal marks. *** Vhi%& dksbZ iakp iz’u gy dhft;s A lHkh iz’uksa ds vad leku gSa A 1. Write in brief history of Kathak Dance. $$$ 2. Explain the importance of Guru-Vandana and 1- dFkd u`R; dk laf{kIr bfrgkl fyf[k;s A Mangalacharan in Kathak Dance. 2- dFkd u`R; esa xq#&oanuk ,oa eaxykpj.k dk egRo le>kb;s A 3. Write down the life sketch of Pt. Bindadin Maharaj 3- ia0 fcUnknhu egkjkt dk thou ifjp; fy[krs gq, dFkd along with his contribution to Kathak Dance. u`R; dks muds ;ksxnku dk o.kZu dhft;s A 4. Describe Greeva Bhed according to Abhinaya Darpan. 4- vfHku; niZ.k ds vuqlkj xzhok Hksnksa dk o.kZu dhft;s A 5. Write the definition of any five of the following:- 5- fuEufyf[kr esa fdUgha ik¡p dks ifjHkkfÔr dhft;s%& Tatkar, Hastak, Sam, Aavartan, Theka, Tal, Matra. rRdkj] gLrd] le] vkorZu] Bsdk] rky] ek=k A 6. According to Abhinaya Darpan write the names of 6- vfHku; niZ.k ds vuqlkj vla;qDr gLr eqnzkvksa dks ’yksd Asamyukta Hasta Mudra with shloka and describe lfgr uke fy[krs gq, fdUgha ik¡p dks fofu;ksx lfgr le>kb;s A any five hastas with viniyoga.
    [Show full text]
  • The Shadow and the Arc Light: Finding the Female Workforce in Bombay Cinema
    E-CineIndia July-September 2020 ISBN: 2582-2500 Article Madhuja Mukherjee The Shadow and the Arc Light: Finding the Female Workforce in Bombay Cinema Abstract: This paper is connected to broader research concerning gender, labour and the Indian film industry, and develops from my on-going audio-visual project titled ”The shadow and the arc light”. While it is linked with my previous book project, ‘Voices of the Talking Stars’ (2017) involving women/ work and cinema dynamics, the attempt here is to reclaim feminist narratives from the historical debris and amnesia, in the context of contemporary and emergent feminist historiography. Furthermore, while certain degree of research has been conducted on women as ‘directors’, my purpose here is not to posit women as ‘auteurs’; contrarily, I aspire draw attention to the problems of historical readings which, generally speaking, have been greatly influenced by studies of periods, styles, movements and (great) masters, even though, more recently newer research have examined industrial conditions, cinematic transactions across regions, media histories, and so on. Consequently, my aim is to shift the focus to subjects of labour, and bring to light the characteristics of film work, and enquire where is the female figure on the elusive credit lists? Therefore, I call attention to a historical lacuna, which provokes us to rethink film historiography, and highlight the nature of filmic work and underscore the (un-credited) work done by women, in multiple capacities, during the last century. The ‘women’s question’ thus, urges us to rethink methods of writing histories for cinema. The purpose of this paper consequently is two fold -- first, to understand the nature filmic work, and secondly, to locate the shadow of the women worker in the archives of cinema.
    [Show full text]
  • INSIDE Aekalavya Awardees Lasyakala & Artists Guru Deba Prasad Nrutyadhara & Artists a Vista of Indian Art, Culture
    1st Edition of A Vista of Indian Art, Culture and Dance INSIDE Aekalavya Awardees Lasyakala & Artists Guru Deba Prasad Nrutyadhara & Artists Channel Partners Transactions Per Month Employees Developer Clients Happy Customers Monthly Website Visitors Worth of Property Sold India Presence : Ahmedabad | Bengaluru | Chennai | Gurugram| Hyderabad | Jaipur Kolkata | Lucknow | Mumbai | Navi Mumbai | New Delhi | Noida | Pune | Thane | Vishakhapatnam | Vijayawada Global Presence : Abu Dhabi | Bahrain| Doha | Dubai | Hong Kong | Kuwait | Muscat | Melbourne | Sharjah Singapore | Sydney | Toronto WWW.SQUAREYARDS.COM SY Solutions PTE Limited, 1 Raffles Place, Level 19-61, One Raffles Place, Tower 2, Singapore - 048616 Message J P Jaiswal, Chairman & Managing Director, Peakmore International Pte Ltd Past Director, Singapore Indian Chamber of Commerce & Industry (2014-2018) Dear Friends, It gives me immense pleasure to congratulate Guru Deba Prasad Nrutyadhara, Singapore and the organizers for bringing the popular production Aekalavya Season 11. Congratulations to the esteemed team of Lasyakala for co-producing this beautiful act in classical dance form. It’s also a matter of joy that Padmabibhushan Shilpiguru Mr Raghunath Mohapatra shall grace the program as Chief Guest. I also congratulate to all Aekalavya Season-11 Awardees and extend my best wishes to all the performers. My heartfelt best wishes for a successful performance and wish a joyful evening to all audience. Finally, once again, I thank the organizers for all the effort
    [Show full text]
  • Cultural Geography of Kathak Dance: Streams of Tradition and Global Flows*
    Cracow Indological Studies vol. XVIII (2016) 10.12797/CIS.18.2016.18.04 Katarzyna Skiba [email protected] (Jagiellonian University, Kraków) Cultural Geography of Kathak Dance: Streams of Tradition and Global Flows* SUMMARY: The article deals with the modern history of Kathak, explored from regional perspectives. It focuses on the Lucknow gharānā (“school”) of Kathak, which sprung up mainly in courts and salons of colonial Avadh as a product of Indo- Islamic culture. The paper investigates how the shift of hereditary artists from Lucknow to ­Delhi affected their tradition in newly founded, state-supported institutions. It also examines various trends of further modernization of Kathak in globalized, metropolitan spaces. The tendency of Sanskritization in national dance institutes (Kathak Kendra) is juxtaposed with the preservation of ‘traditional’ form in dance schools of Lucknow (nowadays becoming more provincial locations of Kathak tradition) and innovative / experimental tendencies. The impact of regional culture, economic conditions and cosmopolitanism are regarded as important factors reshaping Kathak art, practice and systems of knowledge transmission. The paper is based on ethnographic fieldwork, combined with historical research, conducted in the period 2014–2015. KEYWORDS: classical Indian dance, Kathak, Lucknow gharānā, Indo-Islamic culture. * Much of the data referred to in this paper comes from the ­interviews with Kathak artists and dance historians which I conducted in India in 2014–2015 as part of two research projects: The Role of Sanskrit Literature in Shaping the Classical Dance Traditions in India (funded by École française d’Extrême-Orient), and Transformation of the Classical Indian Dance Kathak in the Context of Socio-cultural Changes (funded by National Science Center in Poland/NCN on the basis of decision no.
    [Show full text]
  • A Study on History of Indian Classical Dancers Mallika Sarabhai & Pandit Birju Maharaj Kunsoth Manjula PG College Subedari Kakathiya University
    International Journal of Research e-ISSN: 2348-6848 p-ISSN: 2348-795X Available at https://edupediapublications.org/journals Volume 04 Issue 08 July 2017 A Study on History of Indian Classical Dancers Mallika Sarabhai & Pandit Birju Maharaj Kunsoth Manjula PG College subedari Kakathiya University Abstract: As you can see India is a very intricate culture full of diversities which makes our culture unique as a whole. and I hope that by reading this piece you will understand that dance is full of passion and technique. As Rukmini Devi says “Many people have said many things. I can only say I did not consciously go after dance. It found me." (wikiquotes) You understand that dance is universal. There are two main forms of dances 0 classical and folk. The origin of classical dances are the Hindu temples, Some famous classical dances of India are Bharat Natyam, Kathakali, Manipuri, Kathak and Odissi. The rules and principles of classical dances were laid in the Natyashstra by BharatMuni, ages ago. Folk dance is a traditional dance of the common people of a reign. No rigid rules are followed in folk dances. The Sangeed Natak Akademi and other institutes promote both classical and folk dances. Introduction: in many socio-developmental projects initiated by the United Nations. Mallika Indian classical dance has a distinct Sarabhai has also received the "French character that reflects the great cultural and Palme D'or'', the highest civilian award of traditional endeavor. The forms of Indian France. dance have transcended beyond the fences and socio-cultural hindrances. Exponents of the Indian classical dance believe that it has the caliber of creating a new and disciplined lifestyle.
    [Show full text]
  • Classical Singing / Playing • भरतमुनि का िाट्यशास्त्र' Composed In
    Classical singing / playing • भरतमुनि का िाट्यशास्त्र’ composed in ancient period is the 'Bible of the musicians’ of North India. • Mahaprabhu Vallabhacharya established a पुनि संप्रदाय in Mathura-Vrindavan. • Vitthal Nath established Krishnaleela Gaan Panth (कृष्णलीला गाि संप्रदाय) • In Ashtachhap poets were - Surdas, Nand das, Parmandand das, Kumbhna das, Chaturbuja das, Chhit Swami, Govind Swami and Krishnadas. • Swami Haridas, the propagater of the Sakhi Panth, composed 'Shrikalimal' and 'Ashtashash'. • Swami Haridas had trained Tansen on Deepak Raag, Baiju Bawra on Megh Raag, and Gopal Nayak on Maalakauns Raag. • Amir Khusro had mixed famous Iranian music raags in Indian Raag. • Modu Khan and Bakshur Khan propagated the Lucknow Gharana of Tabla. • Modu Khan's disciple Pt. Ramsahay propagated the Banaras VaJ Gharana. • The Agra Gharana is also called the Kawwal bachcha Gharana. • Singer Ustad Fayaz Khan belongs to Agra Gharana • Akbar's court singer Sujhan Khan is said to be the originator of the Agra Gharana. • Bahram Khan of Saharanpur Gharana was given the title of Pandit. Classical dance • Sitara Devi and Alkhananda Devi of Varanasi received fame in the field of Kathak dance. • Following are the famous uttar Pradesh players of respective instruments Violin playing: Mrs N. Rajam; Shehany Vadan: Ustad Bismillah Khan; Sitar Vandan: Pt-Ravi Shankar, Rajbhan Singh, Ustad Mushtaq Ali Khan and in Dance: Uday Shankar and Gipikrishna. • Kathak style of dance originated in Uttar Pradesh • Bindaddin, Shambhu Maharaj, Lachhu Maharaj and Birju Maharaj were famous practitioners Kathak. Folk dance • 'Charakula' is a pitcher dance which is the folk dance of Brajbhoomi. • 'Pai Danda' dance is performed by Aheers of Bundelkhand.
    [Show full text]