Seventh Annual Report 2013-14
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Indian Cultural Dance Logos Free Download Indian Cultural Dance Logos Non Watermarked Dance
indian cultural dance logos free download indian cultural dance logos non watermarked Dance. Information on North Central Zonal Cultural Centre (NCZCC) under the Ministry of Culture is given. Users can get details of various art forms of various states such as Uttar Pradesh, Bihar, Madhya Pradesh, Rajasthan, Haryana, Uttaranchal and Delhi. Get detailed information about the objectives, schemes, events of the centre. Links of other zonal cultural centers are also available. Website of Eastern Zonal Cultural Centre. The Eastern Zonal Cultural Center (EZCC) is one of the seven such Zonal Cultural Centers set up by the Ministry of Culture with a vision to integrate the states and union territories culturally. Users can get information about the objectives, infrastructure, events, revival projects, etc. Details about the member states and their activities to enhance the cultural integrity are also available. Website of Indira Gandhi National Centre for the Arts. The Indira Gandhi National Centre for the Arts (IGNCA) under the Ministry of Culture is functioning as a centre for research, academic pursuit and dissemination in the field of the arts. Information about IGNCA, its organizational setup, functions, functional units, regional centres, etc. is given. Details related to archeological sites, exhibitions, manuscripts catalogue, seminars, lectures. Website of Jaipur Kathak Kendra. Jaipur Kathak Kendra is a premier Institution working for Training, Promotion & Research of North Indian Classical Dance Kathak. It was established in the year 1978 by the Government of Rajasthan and formally started working from 19th May 1979. Website of North East Zone Cultural Centre. North East Zone Cultural Centre (NEZCC) under Ministry of Culture aims to preserve, innovate and promote the projection and dissemination of arts of the Zone under the broad discipline of Sangeet Natak, Lalit Kala and Sahitya. -
Assam - a Study on Bihugeet in Guwahati (GMA), Assam
International Journal of Science and Research (IJSR) ISSN: 2319-7064 Impact Factor (2018): 7.426 Female Participation in Folk Music of Assam - A Study on Bihugeet in Guwahati (GMA), Assam Palme Borthakur1, Bhaben Ch. Kalita2 1Department of Earth Science, University of Science and Technology, Meghalaya, India 2Professor, Department of Earth Science, University of Science and Technology, Meghalaya, India Abstract: Songs, instruments and dance- the collaboration of these three ingredients makes the music of any region or society. Folk music is one of the integral facet of culture which also poses all the essentials of music. The instruments used in folk music are divided into four halves-taat (string instruments), aanodha(instruments covered with membrane), Ghana (solid or the musical instruments which struck against one another) and sushir(wind instruments)(Sharma,1996). Out of these four, Ghana and sushirvadyas are being preferred to be played by female artists. Ghana vadyas include instruments like taal,junuka etc. and sushirvadyas include instruments that can be played by blowing air from the mouth like flute,gogona, hkhutuli etc. Women being the most essential part of the society are also involved in the process of shaping up the culture of a region. In the society of Assam since ancient times till date women plays a vital role in the folk music that is bihugeet. At times Assamese women in groups used to celebrate bihu in open spaces or within forest areas or under big trees where entry of men was totally prohibited and during this exclusive celebration the women used to play aforesaid instruments and sing bihu songs describing their life,youth and relation with the environment. -
The Classical Tradition in the Vaisnava Music of Assam
The Classical Tradition in the Vaisnava Music of Assam Maheswar Neog --- www.atributetosankaradeva.org presents before the readers a pioneering paper on the Vaisnava music of Assam, authored by Dr. Maheswar Neog. It covers virtually every aspect of the music of the Sankaradeva Movement (and also touches upon other traditions of music in Assam). As is evidenced by some of its references, this paper was written in the early part of the latter half of the 20th century when Bargit research was still at a nascent stage. We have retained these references as they reflect the important milestones in the progress of research on the Sankaradeva Movement in Assam. The paper is redacted from the Journal of the Srimanta Sankaradeva Research Institute, Nagaon (2006). Editing note(s):- Diacritics has been used sparingly; only the long diacritic (macron) pertaining to a/A has been highlighted and that too, depending upon the context. --- We do not have any particular evidence to show what exact type of music was prevalent in Assam anterior to the spread of the wave of neo-Vaisnavism which was ushered into the valley of the Brahmaputra in the last decades of the 15th and the initial decades of the 16th century by Sankaradeva. We are left to our imagination in this matter; but this imagination can be based on the evidence of the writings of a few pre- Sankaradeva poets, and the song compositions of at least two poets, Mankara and Durgavara, who seem to have remained outside of the neo-Vaisnava circle of Sankaradeva. In the early period of Assamese literature preceding the neo-Vaisnava movement of the last part of the 15th century and the early part of the 16th, the Ramayana and portions of the Mahabharata were rendered into Assamese verse; and these verses were put to ragas or recited in simple tunes. -
Title Cultural Adaptation of the Himalayan Ethnic Foods With
Cultural Adaptation of the Himalayan Ethnic Foods with Title Special Reference to Sikkim, Arunachal Pradesh and Ladakh Author(s) Tamang, Jyoti Prakash; Okumiya, Kiyohito; Kosaka, Yasuyuki ヒマラヤ学誌 : Himalayan Study Monographs (2010), 11: Citation 177-185 Issue Date 2010-05-01 URL http://dx.doi.org/10.14989/HSM.11.177 Right Type Departmental Bulletin Paper Textversion publisher Kyoto University Himalayan Study Monographs No.11, 177-185,Him 2010alayan Study Monographs No.11 2010 Cultural Adaptation of the Himalayan Ethnic Foods with Special Reference to Sikkim, Arunachal Pradesh and Ladakh Jyoti Prakash Tamang1), Kiyohito Okumiya2) and Yasuyuki Kosaka2) 1)Food Microbiology Laboratory, Sikkim University, Gangtok 737102, India 2)Research Institute for Humanity and Nature, Kyoto 603-8047, Japan The Himalayan people have developed the ethnic foods to adapt to the harsh conditions and environment. The in-take of such foods has been in the systems for centuries and people have adapted such foods to protect and sustain them. People living in high altitude (>2500) are adapted to cereals and food grains grown in dry and cold climates, with less vegetables and more meat products. More diversity of food items ranging from rice, maize to vegetable, milk to meat is prevalent in the elevation less than 2500 to 1000 m. Ethnic foods possess protective properties, antioxidant, antimicrobial, probiotics, bio-nutrients, and some important health-benefits compounds. Due to rapid urbanisation, development, introduction of commercial ready-to-eat foods have adverse effects on production and consequently consumption of such age-old cultural ethnic foods is declining. The people should be ascertained about the worth indigenous knowledge they possess, and biological significance of their foods. -
SUFIS and THEIR CONTRIBUTION to the CULTURAL LIFF of MEDIEVAL ASSAM in 16-17"' CENTURY Fttasfter of ^Hilojiopl)?
SUFIS AND THEIR CONTRIBUTION TO THE CULTURAL LIFF OF MEDIEVAL ASSAM IN 16-17"' CENTURY '•"^•,. DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF fttasfter of ^hilojiopl)? ' \ , ^ IN . ,< HISTORY V \ . I V 5: - • BY NAHIDA MUMTAZ ' Under the Supervision of DR. MOHD. PARVEZ CENTRE OF ADVANCED STUDY DEPARTMENT OF HISTORY ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2010 DS4202 JUL 2015 22 CENTRE OF ADVANCED STUDY Department of History Aligarh Muslim University Aligarh-202 002 Dr. Mohd. Parwez Dated: June 9, 2010 Reader To Whom It May Concern This is to certify that the dissertation entitled "Sufis and their Contribution to the Cultural Life of Medieval Assam in 16-17^^ Century" is the original work of Ms. Nahida Muxntaz completed under my supervision. The dissertation is suitable for submission and award of degree of Master of Philosophy in History. (Dr. MoMy Parwez) Supervisor Telephones: (0571) 2703146; Fax No.: (0571) 2703146; Internal: 1480 and 1482 Dedicated To My Parents Acknowledgements I-11 Abbreviations iii Introduction 1-09 CHAPTER-I: Origin and Development of Sufism in India 10 - 31 CHAPTER-II: Sufism in Eastern India 32-45 CHAPTER-in: Assam: Evolution of Polity 46-70 CHAPTER-IV: Sufis in Assam 71-94 CHAPTER-V: Sufis Influence in Assam: 95 -109 Evolution of Composite Culture Conclusion 110-111 Bibliography IV - VlU ACKNOWLEDGEMENTS It is pleasant duty for me to acknowledge the kindness of my teachers and friends from whose help and advice I have benefited. It is a rare obligation to express my gratitude to my supervisor Dr. Mohd. -
Classical Music in Assam
CLASSICAL MUSIC IN ASSAM Dr. Maheswar Neog There has been a strong tradition ofthe culture of music in Assam (or ancient Kamarupa) from the earliest times. When the great Chinese traveller Hiuen-tsang visited the capital ofthe seventh century Kamarupa king, Bhaskaravarman, the holy guest was entertained with music and dances almost everyday for a month. It is further held that a maid-in waiting, who was adept in dancing and music, died on the funeral pyre of Bhaskaravarman, a great lover of these arts. King Vanamalavarman of Kamarupa (orh century) erected a temple to Hatakasulin Siva, and this was properly endowed with dan seuse. In the copperplate inscription of this king, the boats on the waves of the Lauhitya, or Brahmaputra, are likened to dancing women agitated at the approach of male dancers. In the Bargaon inscription of another succeeding Kamarupa monarch, Ratnapala, obeisance is paid to Natesvara Sankara, the master of dances, always exhibiting tandava. Indrapala of the same dynasty is eulogised in an inscription as anavadyavidyadhara. Among the early sculptural remains we fmd many dancing figures, and men playing on different types ofdrums, flute and vina. In the tantric, text, Kalika-purana, written at Kamarupa in the IIth or rzrh century, there are several references to vocal and instrumental music in connection with different rituals. The sixteen-armed Maha maya, for example is to be worshipped with certain music in the autumn, SANGEET NATAK 14 the eighteen-armed goddess likewise is to be adored on mahanavami day. It has been ordained in this tantra that kings, seeking victory in wars, should have the army worshipped by women performing music and dance. -
The Music Academy, Madras 115-E, Mowbray’S Road
THE JOURNAL THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC VoLXXIX 1958 Parts I-1V silt si i m iiwfer m farmfo u “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; where my Bhaktas sing, there be I, Narada ! ” EDITED BY V. RAGHAVAN, m .a ., p h .d . 1959 PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription :—Inland Rs. 4 : Foreign 8 sh. Post paid. A11 correspondence should be addressed to Dr. V. Raghavan, Editqr,Journal of the Music Academy. * Articles on musical Subjects,are accepted for publication; on the understandihg that they .are contributed solely to the Journal of the Music Academy. • n All’manuscripts should be legibly written or preferably typewrit ten (double spaced—on one side of the paper only) and should be signed by the writer giving his address in full. ^ All .articles and communications intended for publication should reach the office at least one month before the date of publication (ordinarily the 15th of the* 1st month in each quarter). n The Editor of the. Journal is not responsible for the views expres sed by individual contributors. v All advertisements intended for publication should, reach the office not later than the 1st of the first month of each quarter. All books, moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan, Editor. *• f ADVERTISEMENT CHARGES COV&R PA G ES: Full Page Half page A.• f Back (outside) Rs. -
International Seminar on Assamese Culture & Heritage
International Seminar on Assamese Culture & Heritage 07th July 2018 Centre for Heritage Studies University of Kelaniya Sri Lanka Editorial Board Prof. Anura Manatunga Ms. Piyumi Embuldeniya Ms. Apeksha Embuldeniya Mr.Aditya Abeysinghe Ms. T. D. H. Darsha Page Layout Ms. Apeksha Embuldeniya Ms. Piyumi Embuldeniya Cover Page Design Ms. T. D. H. Darsha ISBN 978-955-704-079-0 Message from the Vice Chancellor University of Kelaniya It is an honour for me to write these words as the Vice-Chancellor of the University of Kelaniya for the International Seminar on Assamese Culture and Heritage - 2018 of Centre for Heritage Studies, University of Kelaniya. As a leading higher educational institution, University of Kelaniya is organizing National and International Conferences under various themes as we always encourage the exposure to new knowledge. In this context Centre for Heritage Studies plays an important role by organizing an International Conferences, International Seminars, National Workshops, and International and National Lecture Series. This International Seminar provides an impressive opportunity to sharing knowledge on Assamese Culture and Heritage. I wish to congratulate the Director of Centre for Heritage Studies, the Deputy Director of Centre for Heritage Studies and the organizing committee of the International Seminar on Assamese Culture and Heritage - 2018 for their notable efforts towards this event. Professor D. M. Semasinghe Vice Chancellor University of Kelaniya 1 Message from the Deputy Vice Chancellor University of Kelaniya It is indeed a great honor for me to offer this message for the International Seminar on Assamese Culture and Heritage - 2018 organized by the Centre for Heritage Studies, University of Kelaniya. -
Folk Culture of Assam : Meaning and Importance 36-54
GHT S6 02(M) Exam Codes: HTM6B CULTURAL HISTORY OF ASSAM SEMESTER - VI HISTORY BLOCK - 1 KRISHNA KANTA HANDIQUI STATE OPEN UNIVERSITY Subject Expert 1. Dr. Sunil Pravan Baruah, Retd. Principal, B.Barooah College, Guwahati 2. Dr. Gajendra Adhikari, Principal, D.K.Girls’ College, Mirza 3. Dr. Maushumi Dutta Pathak, HOD, History, Arya Vidyapeeth College, Guwahati Course Co-ordinator : Dr. Priti Salila Rajkhowa, Asst. Prof. (KKHSOU) SLM Preparation Team UNITS CONTRIBUTORS 1 & 2 Dr. Mamoni Sarma, L.C.B. College 3 Dr. Dhanmoni Kalita, Bijni College 4 & 5 Mitali Kalita, Research Scholar, G.U 6 Dr. Sanghamitra Sarma Editorial Team Content Editing: Dr Moushumi Dutta Pathak, Department of History, Arya Vidyapeeth College Dr. Priti Salila Rajkhowa, Department of History, KKHSOU Structure, Format & Graphics : Dr. Priti Salila Rajkhowa, KKHSOU December , 2019 © Krishna Kanta Handiqui State Open University. This Self Learning Material (SLM) of the Krishna Kanta Handiqui State Open University is made available under a Creative Commons Attribution-NonCommercial-ShareAlike4.0 License (international): http://creativecommons.org/licenses/by-nc-sa/4.0/ Printed and published by Registrar on behalf of the Krishna Kanta Handiqui State Open University. Head Office : Patgaon, Rani Gate, Guwahati-781017 City Office : Housefed Complex, Dispur, Guwahati-781 006; Web: www.kkhsou.in The University acknowledges with thanks the financial support provided by the Distance Education Council, New Delhi, for the preparation of this study material. BACHELOR OF ARTS CULTURAL HISTORY OF ASSAM DETAILED SYLLABUS BLOCK - 1 PAGES UNIT 1 : Assamese Culture and Its Implication 5-23 Definition of Culture; Legacy of Assamese Culture; Interpretations and Problems UNIT 2 : Assamese Culture and Its Features 24-35 Assamese Culture and its features: Assimilation and Syncretism UNIT 3 : Folk Culture of Assam : Meaning and Importance 36-54 Meaning and Definition of Folk Culture; Relation to the Society; Tribal Culture vs. -
Diversty of Microorganisms in Global Fermented Foods and Beverages
Review: Diversty of Microorganisms in Global Fermented Foods and Beverages Jyoti P. Tamang1* 1 Microbiology, Sikkim University, India Submitted to Journal: Frontiers in Microbiology Specialty Section: Food Microbiology Article type: Review Article Manuscript ID: 181961 Received on: 14 Dec 2015 Frontiers website link: Inwww.frontiersin.org review Conflict of interest statement The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest Author contribution statement Tamang: Corresponding author; contributed 50% of review works. Holzapfel: contributed 25 % of review Watanabe: contributed 25% of review Keywords fermented foods, lab, Yeasts, filamentous moulds, fermented beverages Abstract Word count: 128 Majority of global fermented foods is naturally fermented by both cultivable and uncultivable microorganisms. Food fermentations represent an extremely valuable cultural heritage in most regions, and harbour a huge genetic potential of valuable but hitherto undiscovered strains. Holistic approaches for identification and complete profiling of both culturalable and unculturable microorganisms in global fermented foods are interest to food microbiologists. The application of molecular and modern identification tools through culture-independent techniques has thrown new light on the diversity of a number of hitherto unknown and uncultivable microorganisms in naturally fermented foods. Functional bacterial groups (“phylotypes”) may -
April 4, 2020 | Vol LV No 14
APRIL 4, 2020 Vol LV No 14 ` 110 A SAMEEKSHA TRUST PUBLICATION www.epw.in EDITORIALS Fighting COVID-19 India’s Public Health System on Trial? The long-term effects of the COVID-19 outbreak will not Survival and Mobility in the Midst only require political will and decisive actions of the of a Pandemic government for economic stimulus, but also the fostering FROM THE EDITOR’S DESK of social solidarity for community resilience. pages 10, 16 COVID-19 and the Question of Taming Social Anxiety Goal of Higher Education COMMENTARY Is the massification of higher education in India aimed Impact of COVID-19 and What Needs at providing knowledge for its sake, or to facilitate the to Be Done training of minds in a neo-liberal nationalist agenda of Fighting Fires: Migrant Workers in Mumbai economic development? page 21 Reducing the Spread of COVID-19 Politics of Scheduled Tribe Status in Assam Dynamics of Folk Music The Idea of a University in India An exploration of Assam’s Goalpariya folk form reveals BOOK REVIEWS that the dynamism in folk music is rendered through its A Shot of Justice: Priority-Setting for linkages with the themes of identity assertion, tradition, Addressing Child Mortality authenticity, and contexts of appropriation. page 30 A Multilingual Nation: Translation and Language Dynamic in India PERSPECTIVES Devolution vs Reforms Gender, Space and Identity in Goalpariya When economic reforms triumph over democratic Folk Music of Assam decentralisation, as evidenced in Gujarat, there arises a SPECIAL ARTICLES need for a minimum constitutionally guaranteed The Troubled Ascent of a Marine Ring Seine devolution to local governments to safeguard against Fishery in Tamil Nadu the vicissitudes of state-level politics. -
ORIGINAL RESEARCH PAPER Sailendra Prasad Sarma
PARIPEX - INDIAN JOURNAL OF RESEARCH Volume-7 | Issue-7 | July-2018 | ISSN - 2250-1991 | IF : 6.761 | IC Value : 86.18 ORIGINAL RESEARCH PAPER Social Science VOICE OF RESISTANCE:AN ETHNOGRAPHIC STUDY KEY WORDS: dhulia, social ON 'DHULIA' AS ONE OF THE FOLK ART FORMS OF message, satires, folk art, dialects, ASSAM resistance Sailendra Prasad Research Scholar, Dept. of Communication & Journalism Gauhati University, Sarma Guwahati The soul of folk art lies in its simple rusticity and rawness in movement, rhythm and form. Lt. Hemanga Biswas, Folk Art Scholar and Social activist The use of folk art in communicating social message is there across different media platforms. Folk art, in its different forms, sometimes, works as alternatives to the discourses of mainstream-media and society. As an art of the grassroots, it has its own place among the voices that shoot-up from the margin and periphery. Dhulia is one of such traditional art forms in Assam that has a special significance as it uses satires in different forms to resist the dominant social norms. This art form, not only challenges the tyrannical values with the help of satirical verses critiquing the dominant social structure, but also, it puts up an energetic display of different acrobatic skills which are performed by both young and old performers in a theatrical fashion. The reason why, such an art form has a greater connect with the audience belonging to all the sections of the society of all ages. Besides, the uses of local ABSTRACT dialects in their performances help in keeping such an art form alive as an alternative to the language and art of the elite and the mainstream.