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Great Heritages of Orissa
Orissa Review * December - 2004 Great Heritages of Orissa Dr. Hemanta Kumar Mohapatra Etymologically, 'heritage' is anything that is or Cultural heritages are the creation of human may be inherited. In such case 'heritage' covers beings, who have created it by virtue of their everything that is seen around the human innovative power, creativity, skill and artistic civilization. Heritage is thus natural or created ability. or has evolved in the course of history. It is natural or man-made. Of the man-made Cultural heritages may be tangible or heritages some are already made and existing intangible. Archaeological heritages may be and others are in the process of making. But otherwise called tangible heritages. The everything what we inherit or may be inherited intangible ones may be called living heritages. can not be heritage in the proper use of the But for better comprehension and convenience term. To assume the dimension of heritage such we have discussed the cultural heritages in features must have influenced the socio- entirety under the following sections. economic and cultural life of the people. It must (a) Archaeological heritages (b) Literary have substantially influenced the imagination heritages (c) Religious heritages and life style of the human beings. A society (d) Performing art heritages, (e) Heritage or civilization is known and become unique festivals (f) Art and craft heritages by its own tradition. It gets its identity by its (g) Modern heritages of Orissa. own heritages. The cultural dimension of Orissa is Heritage is something which is specific varied and wide. Every bit of Oriyan culture and typical of a place, area, region or country and tradition is not included in this discussion. -
Odissi Dance
ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing -
A Critical Analysis of Narrative Art on Baranagar Temple Facades
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Special Conference Issue (Vol. 12, No. 5, 2020. 1-18) from 1st Rupkatha International Open Conference on Recent Advances in Interdisciplinary Humanities (rioc.rupkatha.com) Full Text: http://rupkatha.com/V12/n5/rioc1s16n2.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v12n5.rioc1s16n2 Unraveling the Social Position of Women in Late-Medieval Bengal: A Critical Analysis of Narrative Art on Baranagar Temple Facades Bikas Karmakar1 & Ila Gupta2 1Assistant Professor, Government College of Art & Craft Calcutta [email protected] 2Former Professor, Department of Architecture & Planning, IIT Roorkee [email protected] Abstract The genesis of the present study can be traced to an aspiration to work on the narratives of religious architecture. The Terracotta Temples of Baranagar in Murshidabad, West Bengal offer a very insightful vantage point in this regard. The elaborate works of terracotta on the facades of these temples patronized by Rani Bhabani during the mid-eighteenth century possess immense narrative potential to reconstruct the history of the area in the given time period. The portrayals on various facets of society, environment, culture, religion, mythology, and space and communication systems make these temples exemplary representatives for studying narrative art. While a significant portion of the temple facades depicts gods, goddesses, and mythological stories, the on-spot study also found a substantial number of plaques observed mainly on the base friezes representing the engagement of women in various mundane activities. This study explores the narrative intentions of such portrayals. The depictions incorporated are validated with various types of archival evidence facilitating cross-corroboration of the sources. -
Odisha Review Dr
Orissa Review * Index-1948-2013 Index of Orissa Review (April-1948 to May -2013) Sl. Title of the Article Name of the Author Page No. No April - 1948 1. The Country Side : Its Needs, Drawbacks and Opportunities (Extracts from Speeches of H.E. Dr. K.N. Katju ) ... 1 2. Gur from Palm-Juice ... 5 3. Facilities and Amenities ... 6 4. Departmental Tit-Bits ... 8 5. In State Areas ... 12 6. Development Notes ... 13 7. Food News ... 17 8. The Draft Constitution of India ... 20 9. The Honourable Pandit Jawaharlal Nehru's Visit to Orissa ... 22 10. New Capital for Orissa ... 33 11. The Hirakud Project ... 34 12. Fuller Report of Speeches ... 37 May - 1948 1. Opportunities of United Development ... 43 2. Implication of the Union (Speeches of Hon'ble Prime Minister) ... 47 3. The Orissa State's Assembly ... 49 4. Policies and Decisions ... 50 5. Implications of a Secular State ... 52 6. Laws Passed or Proposed ... 54 7. Facilities & Amenities ... 61 8. Our Tourists' Corner ... 61 9. States the Area Budget, January to March, 1948 ... 63 10. Doings in Other Provinces ... 67 1 Orissa Review * Index-1948-2013 11. All India Affairs ... 68 12. Relief & Rehabilitation ... 69 13. Coming Events of Interests ... 70 14. Medical Notes ... 70 15. Gandhi Memorial Fund ... 72 16. Development Schemes in Orissa ... 73 17. Our Distinguished Visitors ... 75 18. Development Notes ... 77 19. Policies and Decisions ... 80 20. Food Notes ... 81 21. Our Tourists Corner ... 83 22. Notice and Announcement ... 91 23. In State Areas ... 91 24. Doings of Other Provinces ... 92 25. Separation of the Judiciary from the Executive .. -
RAVENSHAW UNIVERSITY CUTTACK – 753 003 Accredited with NAAC’S “A” Grade
ADMISSION PROSPECTUS 2019-20 Ravenshaw : Celebrating 150 Impacting “Life Worlds” and interrogating inherited norms since 1868 RAVENSHAW UNIVERSITY CUTTACK – 753 003 Accredited with NAAC’s “A” Grade CONTENTS Sl Particulars Page No 1. Ravenshaw University: A Journey of Ideas 5 2. Schools and Departments 7 3. Academic Programmes 16 i. Admission Prospectus for Undergraduate Courses 21 ii Admission Prospectus for Post-Graduate Courses 37 iii Prospectus for Admission into M.Phil Programme 51 iv. Prospectus for Admission into Ph.D Programme 59 4. Annexure - I : 69 Syllabi for Post Graduate Entrance Test 5. Annexure - II : 73 Facilities 6. Annexure - III : 78 Activities : Co-curricular and Extracurricular 7. Annexure - IV : 80 Rules & Regulations for Hostel Residents 8. Annexure - V : 90 Hostel Application Form RAVENSHAW UNIVERSITY : A JOURNEY OF IDEAS John Axtell, one of the leading authorities, tracing “genealogy” of the modern research University of the Globe, perhaps underscores a seminal observation when he reminds that “Great universities are made, not born. Invariably their infancies and youth are pinched, puzzling, and unpropitious and their adolescence, even when finally promising is bumptious and conflicted…”It is in this context, chronicling the institutional history of Ravenshaw, steeped with an intimate “colonial past”, with its heterogeneous moments of engagements over a period of two centuries defies any simplistic and linear imagination. “Monument which represents Orissa to the outside World”, “Temple of learning”, “stately in proportions which compares not unfavorably with the only other temple – The temple of Jagannath” and “source of justice and pride to every Oriya” were the qualifiers invoked to depict Ravenshaw in the high noon of a colonial order. -
Registration-2017 Admission Batch
SHRI JAGANNATH SANSKRIT VISHVAVIDYALAYA, PURI REGISTER FOR REGISTRATION-SLIP Page 1 of 335 COURSE : UPASHASTRI ADMISSION BATCH : 2017 Dept./COLLEGE CODE/NAME : ( 01AN ) JADUNATH SANSKRIT COLLEGE,ANGUL SlNo. NAME OF THE CANDIDATE NAME OF THE FATHER REGISTRATION No. PHOTO SL 001 ABHIJIT NAIK BIDYADHAR NAIK U01AN001/17 002 AJAYA KUMAR GOCHHAYAT ANIRUDDHA GOCHHAYAT U01AN002/17 003 ANAMIKA SAHU PABITRA SAHU U01AN003/17 004 ANITA PRADHAN SARAT PRADHAN U01AN004/17 005 ARCHANA BHUTIA GOUTAM BHUTIA U01AN005/17 006 ARPITA BHOI ANANDA BHOI U01AN006/17 007 ASHOK KUMAR DEHURY KHAGESWAR DEHURY U01AN007/17 008 BADAL SAHU KUMUD CHANDRA SAHU U01AN008/17 009 BAISHNAB BISWAL SUBASH CHANDRA BISWAL U01AN009/17 010 BALARAM BEHERA BHAGABAN BEHERA U01AN010/17 011 BASANTI NAIK TIRTHA NAIK U01AN011/17 012 BHANUMATI MAHALIK PRAMOD MAHALIK U01AN012/17 013 BIJAY KUMAR MOHANTA TARAKANTA MOHANTA U01AN013/17 014 BINOD PRADHAN BIJAN PRADHAN U01AN014/17 015 BISWAJITA SAHU BRAJABANDHU SAHU U01AN015/17 016 CHINMAYEE SAHU CHANDRA SHEKHAR SAHU U01AN016/17 017 CHITTARANJAN MOHANTA BHAGIRATHI MOHANTA U01AN017/17 018 DIPAK GHADEI BIJAY GHADEI U01AN018/17 019 DIPAK NAIK TRINATH NAIK U01AN019/17 020 DIPUN GHADEI BHARAT GHADEI U01AN020/17 021 JANMEJAY MOHANTA BHAGIRATHI MOHANTA U01AN021/17 022 JAYANT PRADHAN JITEN PRADHAN U01AN022/17 023 JYOTSNA SAHU RAMESH CHANDRA SAHU U01AN023/17 024 KANHEI BEHERA RANJAN BEHERA U01AN024/17 025 KANHU MURMU DEMAKA MURMU U01AN025/17 026 LAILARANI DAS NABAGHANA DAS U01AN026/17 027 LAMBODHAR MOHANTA AKSHAY MOHANTA U01AN027/17 028 LOPAMUDRA NAYAK GOLEKH -
Hindu Music in Bangkok: the Om Uma Devi Shiva Band
Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok: The Om Uma Devi Shiva Band Kumkom Pornprasit+ (Thailand) Abstract This research focuses on the Om Uma Devi Shiva, a Hindu band in Bangkok, which was founded by a group of acquainted Hindu Indian musicians living in Thailand. The band of seven musicians earns a living by performing ritual music in Bangkok and other provinces. Ram Kumar acts as the band’s manager, instructor and song composer. The instruments utilized in the band are the dholak drum, tabla drum, harmonium and cymbals. The members of Om Uma Devi Shiva band learned their musical knowledge from their ancestors along with music gurus in India. In order to pass on this knowledge to future generations they have set up music courses for both Indian and Thai youths. The Om Uma Devi Shiva band is an example of how to maintain and present one’s original cultural identity in a new social context. Keywords: Hindu Music, Om Uma Devi Shiva Band, Hindu Indian, Bangkok Music + Kumkom Pornprasit, Professor, Faculty of Fine and Applied Arts, Chulalongkorn University, Thailand. email: [email protected]. Received 6/3/21 – Revised 6/5/21 – Accepted 6/6/21 Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok… | 218 Introduction Bangkok is a metropolitan area in which people of different ethnic groups live together, weaving together their diverse ways of life. Hindu Indians, considered an important ethnic minority in Bangkok, came to settle in Bangkok during the late 18 century A.D. to early 19 century A.D. -
Causelistgenerate Report
WEEKLY DAILY THE HIGH COURT OF ORISSA,CUTTACK LIST OF BUSINESS FOR MONDAY THE 6TH SEPTEMBER 2021 CHIEF JUSTICE'S COURT (2ND FLOOR) AT 10:30 AM THE CHIEF JUSTICE AND MR. JUSTICE B. P. ROUTRAY This Bench will function through hybrid arrangement ( virtual/ physical mode). ( Learned counsel desirous to appearing through Virtual Mode shall intimate the name, item number, case details etc. to the Court Master through Mobile No.8763760499 between 8.00 P.M. to 10.00 P.M. on the previous date of the hearing of the case. ) Learned advocates are requested to submit the memos for urgent listing of matters first to the D.R.(Judicial), and only where the D.R.(Judicial) has communicated that the request has been declined or the date given is not convenient for some reasons, should the matters be mentioned orally before the bench of the Chief Justice or such bench assigned for the purpose. For the oral mentioning before the division bench in Chief Justice’s court through virtual mode and physical mode, learned advocates will first obtain from the court master between 9.30 a.m. and 10.15 a.m. on all working days, over phone no.8763760499, a Mentioning Matter (MM) number. In matters other than fresh admission matters, the learned advocates will furnish to the court master on e-mail id- [email protected] proof of intimation of the mentioning to learned counsel for the opposite parties. When the court of the Chief Justice assembles, the mentioning matters for virtual mentioning will be called out serial wise. -
A Confluence of Odissi and Martial Art - Kalarippayattu at 13Th Dhauli-Kalinga Mahotsav Inaugural Function
A CONFLUENCE OF ODISSI AND MARTIAL ART - KALARIPPAYATTU AT 13TH DHAULI-KALINGA MAHOTSAV INAUGURAL FUNCTION Dhauli – 06.02.2017 - The 13th Dhauli-Kalinga Mahotsav jointly organised by Department of Tourism, Government of Odisha and Orissa Dance Akademy got off to a colourful start at the foothills of ancient Dhauli Shanti Stupa with an invocation of peace befitting to the occasion commemorating what King Ashoka had professed in 3rd Century BC. The festival contains cultural multiplicity and a whole range of diverse stream of performing arts, be it classical, folk or martial. The festival is a unique confluence of more than 500 artistes belonging to various art forms of India and it celebrates Unity in Diversity. The structured programme started with Aikatana - a Confluence of Odissi Dance, Aikatana is a harmonious ensemble of expressional brilliances in Odissi. It's a celebration of diversities within the tradition of Odissi. 7 Groups, 7 Gurus and 7 Styles are coming together to celebrate the spirit of oneness in Odissi. In Aikatana Brahma as absolute void and he is the beginning of the beginning. From one Brahma and the union of Jiba and Parama, three representing Trishakti-Mahakali, Ugratara and Dhumabati, four signifies the four ages, five portrays the five senses, six represent the six enemies, seven goes for seven colour eight talks about Ashta Sambhu, nine contains Nava Rasa and ten represents Dasabatara. The artistes from Srjan, Art Vision, Nupur, Gunjan Dance Academy, Suravi, Utkal Sangita Mohavidayalaya and Orissa Dance Academy representing the Odissi Dance Confluence Aikatna. The dance was choreographed by Guru Aruna Mohanty and Guru Ratikanta Mohapatra and the script was prepared by Shri Kedar Mishra. -
Folk Dance: a Distinctive Performing Art Tradition of Odisha
FOLK DANCE: A DISTINCTIVE PERFORMING ART TRADITION OF ODISHA MANMATH PADHY Professor (Dr.) Vice Chancellor, Khallikote University, Berhampur, Ganjam, Odisha, India E-mail: [email protected] I. INTRODUCTION present day. The remnants of the past and continuity of the traditional culture which has been possible in The traditional focus in the study of folk dance has spite of the influx of cultures from the outside have been marked, more or less, on the equilibrium been the striking features of the Odisha history. analysis and configurations in societies characterized Odisha has been made substantial contributions to by its small sizes, isolated location and homogeneous enrich the folk culture with a special identity of its of the population. Folk culture has been generally folk tradition. considered to be the study of primitive societies. The Odisha society is a continuum of tribal and non-tribal cultural program the source of entertainment has been elements even to this day. Every aspects of its socio- performed in various forms all over the world since cultural life – be it religion, language, art, painting, the dawn of the civilization. Archaeological dance drama or literature, bears a stamp of their own evidences indicate that dancing was a common culture. Odisha has as many as folk dances and pastime in Harappan period in ancient India. The literature of which most of them are identified as literary sources are also replete with the cultural primitive and they form considerable percentage of phenomenon of the folk tradition. In Yajur Veda, a the State’s total population. Though the cultural pole dancer or acrobat has been mentioned. -
Non Eligible Candidates for the Post of Electrician (Tr.) Cat III Application DOB Ground for Rejecting the Sl.No Name Category No
Non Eligible Candidates for the Post of Electrician (Tr.) Cat III Application DOB Ground for rejecting the Sl.No Name Category No. (MM/DD/YY) application NO LT Permit & TECHNICAL 1 3 sanjay kumar SC 09/28/94 DOCUMENT 2 42 Rohit Besan SC 05/02/94 No Training & LT Permit 3 48 Nilamani Tappo ST 02/02/86 No Training & LT Permit 4 50 Durgesh Kumar Sahu OBC-NCL 10/08/83 No LT Permit 5 51 Prakash Chandra Kandra SC 05/23/80 No Training 6 52 Goutam Turuk SC 05/12/87 No Training & LT Permit 7 76 Tajuddin Shaik Taj OBC-NCL 12/02/82 No Training 8 97 Dileep Kumar Vishwakarma OBC-NCL 05/08/91 No Training & LT Permit 9 108 Upendra Kumar GEN 07/12/87 No ITI 10 109 Purushottam Lal OBC-NCL 08/22/82 No Training 11 138 Ashish Kumar Dewangan OBC-NCL 07/17/86 No LT Permit 12 152 Vivek Kumar SC 12/15/88 No Training & LT Permit 13 163 Rajib Lochan Samal GEN 06/15/87 Permit Validity Lapsed 14 165 Mohan Lal Yadav OBC-NCL 01/04/88 No Training & LT Permit 15 180 Tushar Singh Chouhan GEN 11/10/89 No Training & LT Permit 16 181 Siba Majhi ST 03/02/92 No Training & LT Permit 17 204 Subrat Kumar Sen GEN 10/21/93 No Training & LT Permit No LT Permit & Application Not 18 230 Prashant Kumar ST 03/15/89 Signed 19 235 Mohit Kumar GEN 08/01/87 No Training 20 241 Sanjay Kumar Verma GEN 01/07/88 No Training & LT Permit 21 246 Mahendra Kumar Rathia ST 09/11/86 No Training & LT Permit 22 256 Kamlesh Kumar Saini OBC-NCL 08/10/90 No Training & LT Permit 23 259 Bapuji Sahoo GEN 06/26/91 No Training & LT Permit 24 260 Manoj Kumar Sethi SC 05/21/88 No Training 25 262 Sunil Das GEN -
Commerce 2020-21
COMMERCE GEN/SC/ST SLNO ROLLNO DISTRICT NAME STUDENT'S NAME FATHER'S NAME MOTHER'S NAME COLLEGE NAME TOTAL MARKS CATEGORY 1 208DA123 ANGUL ASHUTOSH SAHU JUGAL KISHOR SAHU MAMATA SAHU GOVERNMENT H S SCHOOL, ANGUL 518 GEN 2 208DA002 ANGUL RAGINI AJAY KUMAR SAXENA MEERA SAXENA GOVERNMENT H S SCHOOL, ANGUL 512 GEN 3 208DA109 ANGUL ASWAJIT MISHRA ANIL KUMAR MISHRA ALAKA MISHRA GOVERNMENT H S SCHOOL, ANGUL 497 GEN 4 208DA022 ANGUL SHIBANI BEHERA BASANT BEHERA SNEHALATA BEHERA GOVERNMENT H S SCHOOL, ANGUL 481 GEN 5 225DA028 ANGUL SIDDHANT SAHOO NIRANJAN SAHOO ARATI SAHOO TALCHER H S SCHOOL, TALCHER 479 GEN 6 208DA075 ANGUL MIR NISHARUDDIN MIR JAMALUDDIN SAMSAD BEGUM GOVERNMENT H S SCHOOL, ANGUL 474 GEN 7 208DA029 ANGUL BIKRAM MUDULI MANMATH MUDULI JEERA MUDULI GOVERNMENT H S SCHOOL, ANGUL 459 GEN 8 225DA003 ANGUL VIJENDRA KUMAR LATA RAJENDRA KUMAR LATA LAXMI DEVI TALCHER H S SCHOOL, TALCHER 456 GEN 9 208DA025 ANGUL ASUTOSH BHUTIA DEBARAJ BHUTIA MANORAMA BHUTIA GOVERNMENT H S SCHOOL, ANGUL 451 GEN 10 208DA006 ANGUL JYOTIRMAYEE SAHU ASHOK SAHU HARAMANI SAHU GOVERNMENT H S SCHOOL, ANGUL 448 GEN 11 225DA001 ANGUL GOPAL KRISHNA ROUT PRABODHA CHANDRA ROUT SOUDAMINI ROUT TALCHER H S SCHOOL, TALCHER 442 GEN 12 225DA026 ANGUL BISWARANJAN SAHOO BIGHNESH SAHOO MANORAMA SAHOO TALCHER H S SCHOOL, TALCHER 439 GEN 13 208DA069 ANGUL RITESH KUMAR DHIREN KUMAR ANITA DEVI GOVERNMENT H S SCHOOL, ANGUL 436 GEN 14 208DA023 ANGUL RAJESH DEO SARAT KUMAR DEO SANDHYARANI DEO GOVERNMENT H S SCHOOL, ANGUL 428 GEN 15 225DA017 ANGUL RISHOP MOHAPATRA RANJIT MOHAPATRA PRAMILA