Governing Bodies of 28 Delhi Government Sponsored Colleges Appendix-III Resolution No
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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 -
Times-NIE-Web-Ed-AUGUST 14-2021-Page3.Qxd
CELLULAR JAIL, ANDAMAN & BIRLA HOUSE: Birla House is a muse- NICOBAR ISLANDS: Also known as um dedicated to Mahatma Gandhi. It ‘Kala Pani’, the British used the is the location where Gandhi spent CELEBRATING FREEDOM jail to exile political prisoners at the last 144 days of his life and was SATURDAY, AUGUST 14, 2021 03 this colonial prison assassinated on January 30, 1948 CLICK HERE: PAGE 3 AND 4 Pre-Independence slogans and its relevance in India today Slogans raised by leaders during the freedom movement set the mood of the nation’s revolution for its independence. They epitomised the struggle and hopes of millions of Indians. Author and former ad guru ANUJA CHAUHAN revisits these powerful slogans and explains their history and relevance in a contemporary India SATYAMEV JAYATE QUIT INDIA LIKE SWARAJ, KHADI IS (Truth alone triumphs) HISTORY: This slogan is widely associ- OUR BIRTH-RIGHT ated with Mahatma Gandhi (what he HISTORY: Inscribed at the base of started was the Quit India Movement India’s national emblem, this phrase is from August 8, 1942, in Bombay (then), a mantra from the ancient Indian scr- but the term ‘Quit India’ was actually ipture, ‘Mundaka Upanishad’, which coined by a lesser-known hero of was popularised by freedom fighter India’s freedom struggle – Yusuf Pandit Madan Mohan Malaviya during Meherally. He had published a booklet India’s freedom movement. titled ‘Quit India’ (sold in weeks) and got over a thousand ‘Quit India’ badges to give life to the slogan that Gandhi also started using and popularised. ‘YOUNGSTERS, DON’T QUIT INDIA’: Quit India was a powerful slogan and HISTORY: Mahatma Gandhi’s call to as a slogan) was written by Urdu the jingle of an epic movement meant use khadi became a movement for poet Muhammad Iqbal in 1904 for to drive the British away from our the indigenous swadeshi (Indian) children. -
General Knowledge Objective Quiz
Brilliant Public School , Sitamarhi General Knowledge Objective Quiz Session : 2012-13 Rajopatti,Dumra Road,Sitamarhi(Bihar),Pin-843301 Ph.06226-252314,Mobile:9431636758 BRILLIANT PUBLIC SCHOOL,SITAMARHI General Knowledge Objective Quiz SESSION:2012-13 Current Affairs Physics History Art and Culture Science and Technology Chemistry Indian Constitution Agriculture Games and Sports Biology Geography Marketing Aptitude Computer Commerce and Industries Political Science Miscellaneous Current Affairs Q. Out of the following artists, who has written the book "The Science of Bharat Natyam"? 1 Geeta Chandran 2 Raja Reddy 3 Saroja Vaidyanathan 4 Yamini Krishnamurthy Q. Cricket team of which of the following countries has not got the status of "Test" 1 Kenya 2 England 3 Bangladesh 4 Zimbabwe Q. The first Secretary General of the United Nation was 1 Dag Hammarskjoeld 2 U. Thant 3 Dr. Kurt Waldheim 4 Trygve Lie Q. Who has written "Two Lives"? 1 Kiran Desai 2 Khushwant Singh 3 Vikram Seth 4 Amitabh Gosh Q. The Headquarters of World Bank is situated at 1 New York 2 Manila 3 Washington D. C. 4 Geneva Q. Green Revolution in India is also known as 1 Seed, Fertiliser and irrigation revolution 2 Agricultural Revolution 3 Food Security Revolution 4 Multi Crop Revolution Q. The announcement by the Nuclear Power Corporation of India Limited Chairmen that India is ready to sell Pressurised 1 54th Conference 2 53rd Conference 3 51st Conference 4 50th Conference Q. A pension scheme for workers in the unorganized sector, launched recently by the Union Finance Ministry, has been named 1 Adhaar 2 Avalamb 3 Swavalamban 4 Prayas Q. -
Kathak Through the Ages, the Last Choreography of Guru Maya Rao in 2014, Video Projection in the Background Adds to the Dynamism of the Choreography
PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 20 Modern Development And Future Trends In Kathak Kathak though an ancient dance form, with clear established history, has grown to a massive body of work, making it veer towards what is contemporary and modern. The words contemporary and modern are two different terms in context of art. Any art form, design, film, fashion, music can be contemporary. Each generation or time cycle brings something to the table of this development in society but modern means a whole new language. It means new structure, new grammar and new form. So, in dance when we speak of a modern Kathak, what does it imply? Kathak has certain grammar and structure, as with any and most dance forms. Thus, when we say modern Kathak, it doesn’t mean we break the grammar or change costume - that is just innovation or making it more in tune with contemporary desires of a society at any given point of time. 1 Many believe that Kumudhini Lakhia’s solo performance entitled Duvidha was a turning point of Kathak as a dance form. She founded the Kadamb School of Dance and Music in Ahmedabad in 1967 and has done more than 70 successful productions all over the world. Her choreographies include Dhabkar / धबकार, Yugal / युगऱ, Atah Kim / अथ: ककम, The Peg, Okha-Haran / ओखा हरण, Sama Samvadan / सम संवाद, Suverna / सुवण,ण Bhav Krida / भाव क्रीड़ा, Golden Chains, Kolaahal / कोऱाहऱ, Mushti / मुष्टि to name a few. -
Sept17 Cal Box.Cdr
Dear Member, September arrives with tremendous promise marked by standalone Quality Street Sat Bhashe Raidas initiatives designed to transform your urban experience! (English/60mins) (Hindi/95mins) Habitat Film Club Notably, IHC, in collaboration with the Ministry of Youth Affairs & Dir. Rasika Agashe Presents A solo directed & performed Sports, begins the Khelo India Series, a quarterly lecture series Writ. Rajesh Kumar A Festival of Iranian Cinema featuring sports icons who will discuss their vision and share life by Maya Krishna Rao Prod. Being Association Collab. Iran Culture House, New Delhi based on a short story by experiences. A platform that aims to nurture sports culture in the 3 Sept 7:00pm|Bodyguard (Persian/2016/95mins) Dir. Ebrahim country and generate valuable insights on sports policy, infrastructure Chimamanda Adichie Hatamikia and opportunities, the maiden lecture on 4 Sept will be delivered by 4 Sept 7:00pm | Sweet Taste of Imagination (Persian/2014/90mins) 22 Sept | 7:00pm Pullela Gopichand, Chief National Coach of the Indian Badminton 9 Sept | 7:30pm Dir. Kamal Tabrezi The Amphitheatre, IHC Team. It is only apt that his lecture falls on the eve of Teacher's Day The Stein Auditorium 5 Sept 7:00pm | Crazy Castle (Persian/2015/115mins) Dir. Abdolhasan Davoodi celebrated across the country in honour of the enduring interventions of For 10 years & above the teaching community. Tickets at Rs.500, Rs.350 & Rs.200 11 Sept 7:00pm | Where are My Shoes (Persian/2016/90mins) Tickets at Rs.300 from 1 Sept. for IHC members Dir. Kioumars Pourahmad available at the Programmes Desk IHC will collaborate with Research and Information System for & open to all from 4 Sept. -
1481178219P3M27TEXT.Pdf
PAPER: 3 Detail Study Of Bharatanatyam, Devadasis-Natuvnar, Nritya And Nritta, Different Bani-s, Present Status, Institutions, Artists Module 27 Modern Development And Future Trends In Bharatanatyam Present day Bharatanatyam is progressing to a new avatar while partaking of old structure and substance. Each new person, educated, city-bred, global, is trying to infuse new energy and light into this form. Many have succeeded tremendously (as in the case of Malavika Sarukkai) in giving it a new dimension, while others (Alarmel Valli) have retained its classical roots and gone back in time to bring back gems of bygone era (Sangam poetry, etc.). Some have used group works (Leela Samson) to create anew and some have gone beyond the solo structure and infused it with group dynamics (B. Bhanumati). What we see are not new banis but new bodies and groups being created. Bani / बानी is now a reference point. Only few retain and guard it without alloying or diluting. While each one comes with certain historical reference point called bani/training, they have all tried to create anew. Partly due to demands of each season and what new work each capable star dancer can present and partly because of sponsors clamoring for new wine in old bottles or vice versa! But Bharatanatyam remains quintessentially the same. Its structure can be marginally changed but form is same. Bent at knee 1 legs are bent at knee legs because that’s what the style’s structure demands (called araimandi / अरैमंडी). One may make the fan of costume longer so one has to sit less! But the basic position still remains that else it can’t qualify to be called Bharatanatyam. -
Jashn-E-Rekhta Festival : Celebrating Urdu
diary volume XXIX. No. 2 March–April 2015 JASHN-E-REKHTA FESTIVAL : CELEBRATING URDU Mushaire ka Badalta Rang-Roop Speakers: Munawwar Rana, Akbar Natiq and Satyapal Anand Chair: Ravish Kumar, March 14 Popular poet Munawwar Rana said that the tradition of Mushaira hasn’t changed much over time. However, he regretted the growing trend of bad and shallow poetry and stressed the importance of preserving the highly developed tradition. The genesis of this tradition, its cultural value and relevance in modern times were the main points of discussion. Satyapal Anand said that there has never been any During the discussion, Munawwar Rana noted that tradition similar to that of Mushaira in Europe and this tradition is being increasingly politicised. It has America. There, poetry is ‘read out’ rather than become a norm for politicians to organise Mushairas to performed. campaign for votes. He also spoke about the anonymous Munawwar Rana added that these days in Pakistan, not and not so easy lives led by poets. Poetry and Mushaira many people watch or listen to Mushairas. Speaking is passing through a bad phase. from personal experience, he said that the harmful competitiveness of poets who at times attempt to degrade one another is not appreciated and it is precisely this which deters people from attending Mushairas. He also pointed out the differences in the same tradition practiced in India and Pakistan. In India, even today Mushairas are very popular, but that is no longer the case in Pakistan. Ravish, at the same time, regretted the deterioration of this tradition. Towards the end, the session was opened to questions. -
Sankeet Natak Akademy Awards from 1952 to 2016
All Sankeet Natak Akademy Awards from 1952 to 2016 Yea Sub Artist Name Field Category r Category Prabhakar Karekar - 201 Music Hindustani Vocal Akademi 6 Awardee Padma Talwalkar - 201 Music Hindustani Vocal Akademi 6 Awardee Koushik Aithal - 201 Music Hindustani Vocal Yuva Puraskar 6 Yashasvi 201 Sirpotkar - Yuva Music Hindustani Vocal 6 Puraskar Arvind Mulgaonkar - 201 Music Hindustani Tabla Akademi 6 Awardee Yashwant 201 Vaishnav - Yuva Music Hindustani Tabla 6 Puraskar Arvind Parikh - 201 Music Hindustani Sitar Akademi Fellow 6 Abir hussain - 201 Music Hindustani Sarod Yuva Puraskar 6 Kala Ramnath - 201 Akademi Music Hindustani Violin 6 Awardee R. Vedavalli - 201 Music Carnatic Vocal Akademi Fellow 6 K. Omanakutty - 201 Akademi Music Carnatic Vocal 6 Awardee Neela Ramgopal - 201 Akademi Music Carnatic Vocal 6 Awardee Srikrishna Mohan & Ram Mohan 201 (Joint Award) Music Carnatic Vocal 6 (Trichur Brothers) - Yuva Puraskar Ashwin Anand - 201 Music Carnatic Veena Yuva Puraskar 6 Mysore M Manjunath - 201 Music Carnatic Violin Akademi 6 Awardee J. Vaidyanathan - 201 Akademi Music Carnatic Mridangam 6 Awardee Sai Giridhar - 201 Akademi Music Carnatic Mridangam 6 Awardee B Shree Sundar 201 Kumar - Yuva Music Carnatic Kanjeera 6 Puraskar Ningthoujam Nata Shyamchand 201 Other Major Music Sankirtana Singh - Akademi 6 Traditions of Music of Manipur Awardee Ahmed Hussain & Mohd. Hussain (Joint Award) 201 Other Major Sugam (Hussain Music 6 Traditions of Music Sangeet Brothers) - Akademi Awardee Ratnamala Prakash - 201 Other Major Sugam Music Akademi -
Indian Council for Cultural Relations Empanelment Artists
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Sponsored by Occasion Social Media Presence Birth Empanel Category/ ICCR including Level Travel Grants 1 Ananda Shankar Jayant Telangana 9/27/1961 Bharatanatyam C-52, Road No.10, 2007 Outstanding 1997-South Korea To give cultural https://www.youtube.com/watch?v=vwH8YJH4iVY Film Nagar, Jubilee Hills Myanmar Vietnam Laos performances to https://www.youtube.com/watch?v=Vrts4yX0NOQ Hyderabad-500096 Combodia, coincide with the https://www.youtube.com/watch?v=YDwKHb4F4tk Cell: +91-9848016039 2002-South Africa, Establishment of an https://www.youtube.com/watch?v=SIh4lOqFa7o +91-40-23548384 Mauritius, Zambia & India – Central https://www.youtube.com/watch?v=MiOhl5brqYc [email protected] Kenya American Business https://www.youtube.com/watch?v=COv7medCkW8 [email protected] 2004-San Jose, Forum in Panana https://www.youtube.com/watch?v=kSr8A4H7VLc Panama, Tegucigalpa, and to give cultural https://www.ted.com/talks/ananda_shankar_jayant_fighti Guatemala City, Quito & performances in ng_cancer_with_dance Argentina other countries https://www.youtube.com/user/anandajayant https://www.youtube.com/user/anandasj 2 Bali Vyjayantimala Tamilnadu 8/13/1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No 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 -
Answered On:09.08.2000 Increase in Indian Cultural Centres P.D
GOVERNMENT OF INDIA EXTERNAL AFFAIRS LOK SABHA UNSTARRED QUESTION NO:2685 ANSWERED ON:09.08.2000 INCREASE IN INDIAN CULTURAL CENTRES P.D. ELANGOVAN Will the Minister of EXTERNAL AFFAIRS be pleased to state: (a) whether the Government have any plan to increase the cultural Centres abroad from the present 14; (b) if so, the details thereof; (c) the details of their role in the promotion of India`s cultural Heritage; (d) the details of the programmes conducted last year by the ICCR within and outside India and the scholars/artists who visited abroad during the last three years till dated; and (e) the details of the future events on anvil and the tentative itinerary of such events that will promote and propagate Indian Heritage abroad? Answer MINISTER OF STATE FOR EXTERNAL AFFAIRS (SHRI AJIT KUMAR PANJA) (a) Yes Sir, (b) The Government has decided to open a Cultural Centre in Washington (USA). There are in addition several other proposals from various Indian Missions abroad which are currently under examination. (c) The activities of the 14 Indian Cultural Centres currently in existence reflects the needs of the local population. Their activities include the organisation of talks, lectures, exhibitions of visual arts, essay competitions, performances of dance & music, staging of plays, screening of Indian films, publication of news bulletins etc. Additionally, in most of the Cultural Centres classes in various aspects of Indian culture such as music, dance, Hindi language and yoga are being conducted. The Centres also maintain libraries, reading rooms and audio-video facilities for visitors. Apart from organising their own activities, the Indian Cultural Centres provide support to the respective Indian Missions for coordinating various cultural activities.T hese Centres develop and maintain contacts with local citizens particularly students, teachers, academicians, opinion makers and cultural personalities to project a holistic picture of India`s rich and diverse cultural heritage. -
REX Karmaveer Global Fellowship Program
Instituted by iCONGO in partnership with the UN to encourage proactive citizenship. www.rexideas.com www.righteverywrong.com www.karmaveerglobalawards.com Prayer I stand with respect and humility before myself and among Karmaveers, free from all past inhibitions, to replace them with character strengths and virtues. I act in harmony with my fellows to fulll our mission. I beseech the indomitable power within me to help me uphold the code and credo of Karmaveer fellowship. Placing others before self, I proceed with steadfastness and fearlessness towards my purpose with a compassionate heart and an ethical mind. I stand here for the weak, the needy and the old. I accept my faults as my own alone, and with modesty place all the credit and praise of my deed on the fellowship. I practice non conformity and step out to be and lead the change. I am the change. I have within me unending everlasting strength to persevere and right every wrong. I shall proceed with the courage of conviction and a determined march. I will fulll my tasks with the utmost diligence and sincerity, for it is on my honour. I am here because I want to be. I have heard the voice of my conscience. I have awoken. I bear the mark of Karmaveer Chakra on the palm of my hands and the soles of my feet that are the innite source of my energy that propels me forward. I resolve to do my duty and to live honourably. I invoke the powers within me to ignite. I am a warrior. -
Module 18 Creativity in Bharatanatyam
PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 18 CREATIVITY IN BHARATANATYAM What is Creativity? The Oxford dictionary says that creativity is “The use of imagination or original ideas to create something or in other words “inventiveness” of the art form while novel yet conforming to the vocabulary and grammar. In Bharatanatyam, creativity has always been the force, like in other classical dances, that has molded the art form to its current state. Even though, Natyasastra and other literature talk about angabhedas / अꅍगभेद, angarakas / अंगारक, upangas / उऩांग, etc., it was probably in the Thanjavur Maratha period that the adavus / आडवु got codified and systematized. It would be an understatement to say that the first bout of creativity in Bharatanatyam was by Tanjore Quartet brothers. The reason is that they had the imagination of reinventing the dance, which was until then a mixed bag of performances, to a path leading to transcendence. The Margam, as we know it, was indeed a path breaking approach, where the dancer starts from the warm-up like Alarippu, to showing the glimpse of abhinaya in Shabdam, to a full throttled combination 1 of nritta and abhinaya in the Varnam, to a more relaxed Padam or Javali, and finally culminating in the showcase of exuberant dance as in the Tillana. Indeed, the Margam has found rasikas and dancers captivated for centuries. In T. Balasaraswati’s words The Bharatanatyam recital is structured like a Great Temple. We enter through the Gopuram / गोऩुरम (outer hall) of alarippu, cross the Ardhamantapam / अधधमंडऩ (half-way hall) of Jatiswaram, then the Mantapa / मंडऩ (great hall) of Sabdam, and enter the holy precinct of the deity in the Varnam.