Textual Traditions in Indian Classical Dances 93 Priyashri V

Total Page:16

File Type:pdf, Size:1020Kb

Textual Traditions in Indian Classical Dances 93 Priyashri V V 1 ISSN. 0970-3101 tUlje lou n tal of tEljc jHustc jHafrras Devoted to the Advancement of the Science and Art of Music Vol. 82 2011 f ^ n f t r v $ t \ TT^rfiT: *lwRd 7T5T frfgrfh ^TC^II 'I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (hut) where my Bhaktas sing, there he I, Narada !" Narada Bhakti Sutra EDITOR Pappu Venugopala Rao i I j I l i THE MUSIC ACADEMY MADRAS New No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014. Email [email protected] Website www.musicacademymadras.in \ Copyright © The Music Academy Madras December 2011 oJ Ip Statement about ownership and other particulars about newspaper "JOURNAL OF THE MUSIC ACADEMY MADRAS" to be published in the first issue every year after the last day of February Form IV (See Rule 8) 1. Place of Publication - New No. 168, T.T.K. Road Chennai 600 014 2. Periodicity of its publication - Annual 3. Printer's Name - Mr. N. Subramanian All Correspondence relating to the journal should be addressed Nationality - Indian and all books, etc., intended for it should be sent in duplicate to (a) Whether a citizen of India ? - Yes the Editor, The Journal of the Music Academy Madras, New 168, (b) If a foreigner, the country of origin, - N/A T.T.K. Road, Chennai 600 014. Address - Sudarsan Graphics Offset Press 14, Neelakanta Mehta Street Articles on music and dance are accepted for publication on the T Nagar, Chennai 600 017 recommendation of the Editor. The Editor reserves the right to accept 4. Publisher's Name - Sri. N. Murali or reject any articles without assigning reasons. Nationality - Indian (a) Whether a citizen of India ? - Yes Manuscripts / soft copies should be sent to the editor either by (b) If a foreigner, the country of oirgin - N/A courier or by email to [email protected] Address - 260 A, T.T.K. Road, Alwarpet The Editor of the Journal is not responsible for the views expressed Chennai 600 018 by contributors in their articles. 5. Editor's Name - Dr. Pappu Venugopala Rao Nationality - Indian (a) Whether a citizen of India ? - Yes (b) If a foreigner, the country of origin. - N/A Address - 2, RR Flats, Anthu Street, Santhome, Chennai 600 004. 6. Names and addresses of individuals who own the newspaper and partners Price Rs. 150/- US $ 12 or shareholders holding more than one percent of the total capital - The Music Academy Madras IN. Murali hereby declare that the particulars given above are true to the best of my knowledge and belief. Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Date: Dec. 15,2011 N. Murali Royapettah, Chennai 600 014. Typeset by Compuprint, Chennai 600 086 and Printed by N. Subramanian Signature of the Publisher at Sudarsan Graphics Offset Press, 14, Neelakanta Mehta Street, T. Nagar, Chennai 600 014. Editor Pappu Venugopala Rao. ^1_______________________________ ____________________________________________ P 3 CONTENT 1. Our Contributors 7 2. Editor’s Note 11 3. 84th Annual Conference & Concerts - December 2010 Welcome Address by Sri. N. Murali, President 13 EDITORIAL BOARD Inaugural address by Sri. Shiv Nadar 20 Dr. Pappu Venugopala Rao (Editor) Speech of Bombay Sisters 24 Sri. N. Murali, President (Ex. Officio) Welcome address by Sri. N. Murali, President at the Sadas 30 Dr. Malathi Rangaswami 34 Dr. Chithra Madhavan Speech by Hon’ble Sri. Venkatraman Ramakrishnan Dr. S.A.K. Durga Awardees 2010 35 Dr. N. Ramanathan Note on Dance Festival 41 Sri. V. Sriram 4. Proceedings of the Conference 2010 42 Mrs. Sujatha Vijayaraghavan 5. The dhrupad compositional form and the krti-s 59 of Muttusvami Dik$itar - A comparative study Kanniks Kannikeswaran 6. Music manuscripts and Manavalli Ramakrsna Kavi 75 V. Premalatha 7. Harikatha in the four States of South India 84 Premeela Gurumurthi 8. Textual Traditions in Indian Classical Dances 93 Priyashri V. Rao 5 ----------------- THE MUSIC ACADEMY • JOURNAL 2011 • VOLUME 82 -------------- THE MUSIC ACADEMY • JOURNAL 2011 • VOLUME 82 qJ b 9. Pathantara-s in SrTkrsnalTlatarariginT of Sri Narayana Tlrtha 112 N. Bhairavi OUR CONTRIBUTORS 10. Form and Process in the Tani Avartanam: a non-Indian insider’s 118 N. BHAIRAVI is a disciple of Smt. and Sri K.R. Kedaranathan. An Electrical and perspective Electronics Engineer she later did her Masters degree and M. Phil in Music. She has David Nelson recently submitted her doctoral thesis on ‘The Srikrsnalilatarangini of Sri Narayana Tirtha’ to the University of Madras, working under the research fellowship from the UGC. She 11. Flute and its playing techniques 133 is a recipient of the Ministry of Culture ‘Scholarship to young artistes’. She is an A-grade Mala Chandrasekar artiste of the All India Radio, Chennai and performs with her sister N. Malavi. 12. Harmony, Myriad Shades of Passion and Religion of Man : A Tagore 147 Prof. DAVID P NELSON Artist in Residence, Music Department, Wesleyan University: Symphony 2001 -present, has been a student of Carnatic Music under many Gurus such as, Mrudangam: Somali Panda Sri C.S. Sankarasivam, Sri Ramnad V. Raghavan, Sri T. Ranganathan and Vocal Music: Sangita Kalanidhi S. Ramanathan, Jon B. Higgins and Sangita Kalanidhi T. Viswanathan. 13. Mallari 157 He did his Ph.D from Wesleyan University in 1991 in Ethnomusicology. He accompanied B.M. Sudaram many well-known artists, including: Sangita Kalanidhi T. Viswanathan, Sangita Kalanidhi 14. LHTP2§lljl6OT Uni_6D QLDLL©®»OT <9lQJIT @ujrbfl5lujui(2 160 N. Ramani, Sri T.V. Gopalakrishnan, Smt. Ranganayaki Rajagopalan and others. Rajkumar Bharathi Prof. KANNIKESWARAN is a musician / composer / music educator based in Cincinnati 15. ^eiisfiluju iSlgujj# 176 Ohio. He has been an Adjunct Faculty at the Composition / Musicology / Theory Division Uma Maheswari of the College Conservatory of Music since1994. His presentation titled ‘The nOttu-svara- sahitya-s of Muttusvami Dlksitar’ won him awards at the 2007 conference of the Music 16. Book Reviews and New Arrivals 182 Academy, Chennai. Kannikeswaran is the first to record the entire set of NOttu-svara- sahitya-s with Indian voices and western orchestration. 17. Obituary 188 SIKKIL MALA CHANDRASEKHAR is a noted South Indian musician playing the flute. Mala Chandrasekhar is a disciple of her aunt and mother Sikkil Sisters - Kunjumani & Neela and combines the strongest aspects of both in her music. She imbibed through her mothers the flute artistry of their paternal uncle, Azhiyur Narayanaswamy Iyer and the rigorous rhythmic training given by their mrudangam playing father, Azhiyur Natesa Iyer. Other major influences on her are the expertise and repertoire of noted vocalist and teacher Radha Viswanathan and of Radha’s mother and guru, Smt. M.S. Subbulakshmi, whose family Mala joined by marriage. Dr. V. PREMALATHA Assistant Professor in the Department of Performing Arts, Sri Venkateswara University, Tirupati. Study of Music manuscripts has been her main area of research. She was the recipient of the National Fellowship in Arts - Music (Junior) J ^ 6 7 THE MUSIC ACADEMY • JOURNAL 2011 • VOLUME 82 THE MUSIC ACADEMY • JOURNAL 2011 • VOLUME 82 aJ Ip d b awarded by the Sangeet Natak Akademi (2003-5). She has presented research papers at Vidwan BJV1. SUNDARAM, BMS as he is popularly known hails from a family of various seminars and conferences and some have been published in leading journals. She musicians. He has authored several books on music, which became popular and put him in is now handling a Major Research Project funded by the UGC, surveying and documenting the limelight. His first book ‘Palayazhi ’ deals with 3,600 raga scales with different ‘arOhana’ the Music manuscripts of the Oriental Research Institute, S V University, Tirapati. and ‘avardhana’. Mr. Sundaram’s works are many. He knows many languages. He worked as music producer and composer at the All India Radio, Pondicherry. A winner of many Dr. PREMEELA GURUMURTHY is a well known musician and musicologist who took awards, BMS was conferred with the Musicologist Award from The Music Academy. up Harikatha for her PhD. She is a performing artiste in both camatic vocal and Harikatha occasionally. Her illustrious gurus were Sri. T.K. Govinda Rao, Sri. B. Rajam Iyer and Dr. P. UMA MAHESWARI presently Principal, Tamilnadu Govt. Music College, Sri. T.M. Thyagarajan. She learnt the nuances of Harikatha from Smt. C. Banni Bai and Thiruvaiyaru, hails from a family of musicians. She represented the nation in the Festival Sri. Embar S.Vijayaraghavacharya. At present she is both the Professor and Head, of the of India at Russia. She has travelled extensively. Her doctoral thesis is ‘Musical aspects of Department of Indian Music and the Chairperson of the School of Fine and Performing Nalayira Divya Prabandam’. She has sung many albums. Arts, University of Madras. Dr. PRIYASHRI RAO a Classical Camatic Musician, Bharatanatyam exponent and a Research Scholar graduated in Bharatanatyam from Kalakshetra Foundation at Chennai and went on to complete her Ph.D from the Department of Indian Music, University of Madras. A Nattuvanar, Bharatanatyam dance choreographer and Music Composer, Priyashri is a recipient of the HRD Ministry scholarship for Bharatanatyam and the Junior Research Fellowship for pursuing doctoral studies. She is a versatile scholar and an articulate speaker. Vidwan RAJKUMAR BHARATHI is the great grandson of the Great Renaissance poet, Mahakavi Subramanya Bharathi. His mother, Smt. Lalitha Bharathi, initiated Rajkumar into music at a tender age of 5, later on, the great musician Sri. Valliyur Gurumurthi, the stalwart Dr. Balamuralikrishna and the musical maestro T.V. Gopalakrishnan, groomed him. He is an Electronics and telecommunications engineer but turned to music as a full time career. He has been giving Classical Camatic music concerts all over India and abroad.
Recommended publications
  • Abhinavagupta's Portrait of a Guru: Revelation and Religious Authority in Kashmir
    Abhinavagupta's Portrait of a Guru: Revelation and Religious Authority in Kashmir The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:39987948 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Abhinavagupta’s Portrait of a Guru: Revelation and Religious Authority in Kashmir A dissertation presented by Benjamin Luke Williams to The Department of South Asian Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of South Asian Studies Harvard University Cambridge, Massachusetts August 2017 © 2017 Benjamin Luke Williams All rights reserved. Dissertation Advisor: Parimal G. Patil Benjamin Luke Williams ABHINAVAGUPTA’S PORTRAIT OF GURU: REVELATION AND RELIGIOUS AUTHORITY IN KASHMIR ABSTRACT This dissertation aims to recover a model of religious authority that placed great importance upon individual gurus who were seen to be indispensable to the process of revelation. This person-centered style of religious authority is implicit in the teachings and identity of the scriptural sources of the Kulam!rga, a complex of traditions that developed out of more esoteric branches of tantric "aivism. For convenience sake, we name this model of religious authority a “Kaula idiom.” The Kaula idiom is contrasted with a highly influential notion of revelation as eternal and authorless, advanced by orthodox interpreters of the Veda, and other Indian traditions that invested the words of sages and seers with great authority.
    [Show full text]
  • Famous Indian Classical Musicians and Vocalists Free Static GK E-Book
    oliveboard FREE eBooks FAMOUS INDIAN CLASSICAL MUSICIANS & VOCALISTS For All Banking and Government Exams Famous Indian Classical Musicians and Vocalists Free static GK e-book Current Affairs and General Awareness section is one of the most important and high scoring sections of any competitive exam like SBI PO, SSC-CGL, IBPS Clerk, IBPS SO, etc. Therefore, we regularly provide you with Free Static GK and Current Affairs related E-books for your preparation. In this section, questions related to Famous Indian Classical Musicians and Vocalists have been asked. Hence it becomes very important for all the candidates to be aware about all the Famous Indian Classical Musicians and Vocalists. In all the Bank and Government exams, every mark counts and even 1 mark can be the difference between success and failure. Therefore, to help you get these important marks we have created a Free E-book on Famous Indian Classical Musicians and Vocalists. The list of all the Famous Indian Classical Musicians and Vocalists is given in the following pages of this Free E-book on Famous Indian Classical Musicians and Vocalists. Sample Questions - Q. Ustad Allah Rakha played which of the following Musical Instrument? (a) Sitar (b) Sarod (c) Surbahar (d) Tabla Answer: Option D – Tabla Q. L. Subramaniam is famous for playing _________. (a) Saxophone (b) Violin (c) Mridangam (d) Flute Answer: Option B – Violin Famous Indian Classical Musicians and Vocalists Free static GK e-book Famous Indian Classical Musicians and Vocalists. Name Instrument Music Style Hindustani
    [Show full text]
  • Fusion Without Confusion Raga Basics Indian
    Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
    [Show full text]
  • Upanishad Vahinis
    Glossary This glossary contains Sanskrit words, people, places, and literature that appear in Upanishad Vahini. Some Sanskrit words have made their way into English and appear in English dictionaries. A few of them are used without definition in the text, but they are defined in this glossary. Among them areAtma , dharma, guru, karma, yogas, and yogi. The text uses standard spellings for Sanskrit, and this glossary provides the same spellings. But some of the Sanskrit compounds have been hyphenated between their constituent words to aid those who want to analyze the meanings of individual words. When compound words are broken, individual words are given. Aagama. That which has come or originated. The primeval source of knowledge. A name for Vedas. aapo-jyoti. Splendour of water. abhasa. Appearance, superimposition of false over real. a-bhaya. Fearlessness. a-chetana. Non-intelligent, unconscious, inert, senseless. a-dharma. Evil, unjustice. adhyasa. Superimposition. adi-atma. Pertaining to the individual soul, spirit, or manifestation of supreme Brahman. adi-atmic. Pertaining to adi-atma. adi-bhauthika. Pertaining to the physical or material world; the fine spiritual aspect of material objects. adi-daivika. Pertaining to divinity or fate, e.g. natural disasters. aditya. Sun. Aditya. Son of Aditi; there were twelve of them, one of them being Surya, the sun, so Surya is sometimes called Aditya. a-dwaitha. Nondualism or monism, the Vedantic doctrine that everything is God. a-dwaithic. Of or pertaining to a-dwaitha. agni. Fire element. Agni. God of fire. Agni-Brahmana. Another word for the Section on horse sacrifice. agnihotra. Ritual of offering oblations in the holy fireplace.
    [Show full text]
  • 1 SRUTI August 2011
    1 z SRUTI August 2011 south indian classical music and dance magazine Issue 1 October 1983 Welcome to the brand new pages of SRUTI. In the tradition of a sutradhara, I have the pleasant task of telling you what lies in store for you. The lead group of articles on the phenomenon of Mandolin Srinivas shows that ours is a new kind of magazine. Not only do we bring you a fact-filled report on the musical prodigy (Are of Triumph: A Prodigy at Play, p.3) but we place his advent and achievement in perspective through three related articles: What Makes or Unmakes a Prodigy (p.4): The Twain Meet Again (p.7) and A Sextet of Sensations (p.12). Rounding out this lead group is a column by guest writer K.S. Mahadevan (p. 1 1) and a critique of Srinivas as a musician which appears elsewhere (p.42). In this inaugural issue, we also offer the first in a series of in-depth profiles of personalities of the world of South Indian classical music and dance – profiles of a kind you would not have encountered in any other magazine in India. The profile of D.K. Pattammal, under the caption Trailblazing Traditionalist (p.20) will be concluded in the November issue. Along with the profile . we offer this time a critical appreciation written by Contributing Editor K.S. Muthu- raman (p.36) and also an interview with Pattammal by another singer, Sita Rajan (On Pallavi Singing, p.38). Other music-related items are critiques with the unique SRUTI angle.
    [Show full text]
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
    Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali
    [Show full text]
  • 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
    [Show full text]
  • (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
    MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr.
    [Show full text]
  • 85425 LCMS Newsletter
    Members’ Voices rarely miss.” My great-uncle’s reply hasn’t trip to Red Lion Square, a random selection of LCMS Strategy Planning survived, but it’s very likely that he did attend the miniature scores of well-known works in the back concerts during his years as editor of the Jewish of the car. The interior of Conway Hall would not I have been a trustee of LCMS for a Three Generations Chronicle in the early 1930s. In his very modest have changed very much since the late 1950s, and year. When I joined the Board I was childhood home in Stoke-on-Trent at the turn of in my adolescent mind its earnest, secular, 1920s asked to look strategically at how we the century music would only have come from the aesthetic became indissoluble from the experience photo: © John Sturrock photo: © John are set up and how we operate. I have wireless and occasional concerts, so it isn’t difficult of listening to chamber music – the distinctive CHAMBER MUSIC NOTES helped others in a similar exercise in to imagine the influence of the Sunday concerts in wood-panelling, the fringed lamp casting a circle of the past, and my way of doing this is the formation of a lifelong music-lover. light on the performers, and the large inscription of to take time, talk to as many people This makes me the third generation of my ‘To Thine Own Self Be True’ forming a constant as I can, and try to understand the family for whom the concerts have been part of our backdrop.
    [Show full text]
  • 2. a Superhit Goddess
    Ganesh, lord of auspicious beginnings and father of goddess Santoshi Ma. A Superhit Goddess Jai Santoshi Maa and Caste Hierarchy in Indian Films Part One Philip Lutgendorf “Audiences were showering coins, perennials of its vast output, yet they quarter of national cinematic output) flower petals and rice at the screen constitute one of the least-studied enjoys the largest audience in appreciation of the film. They aspects of this comparatively under- throughout the Indian subcontinent entered the cinema barefoot and set studied cinema. Indeed, I will venture and beyond. Sholay (“Flames”) and up a small temple outside…. In that for scholars and critics, Deewar (“The Wall”), were both Bandra, where mythological films mythologicals have generally been heavily-promoted “multi-starrers” aren’t shown, it ran for fifty weeks. It “hard to see.” Yet DeMille’s words belonging to the then-dominant genre was a miracle”. —Anita Guha, also belie the fact that most sometimes referred to as the masala (actress who played goddess mythologicals—like most commercial (“spicy”) film: a multi-course cinematic Santoshi Ma; cited in Kabir films of any genre—flop at the box banquet incorporating suspenseful office. The comparatively few that drama, romance, comedy, violent 2001:115). have enjoyed remarkable and action sequences, and song and Genre, Film & Phenomenon sustained acclaim hence merit study dance. Both were expensive and Cecil B. DeMille’s famously both as religious expressions and as slickly made by the standards of the cynical adage, “God is box office,” successful examples of popular art and industry, and both featured Amitabh may be applied to Indian popular entertainment.
    [Show full text]
  • 4 Broadcast Sector
    MINISTRY OF INFORMATION AND BROADCASTING Annual Report 2006-2007 CONTENTS Highlights 1. Overview 1 2. Administration 3 3. Information Sector 12 4. Broadcast Sector 53 5. Films Sector 110 6. International Co-operation 169 7. Plan and Non-Plan Programmes 171 8. New Initiatives 184 Appendices I. Organisation Chart of the Ministry 190 II. Media-wise Budget for 2006-2007 and 2007-2008 192 Published by the Director, Publications Division, Ministry of Information and Broadcasting, Government of India Typeset at : Quick Prints, C-111/1, Naraina, Phase - I, New Delhi. Printed at : Overview 3 HIGHLIGHTS OF THE YEAR The 37th Edition of International Film Festival of India-2006 was organized in Goa from 23rd November to 3rd December 2006 in collaboration with State Government of Goa. Shri Shashi Kapoor was the Chief Guest for the inaugural function. Indian Film Festivals were organized under CEPs/Special Festivals abroad at Israel, Beijing, Shanghai, South Africa, Brussels and Germany. Indian films also participated in different International Film Festivals in 18 countries during the year till December, 2006. The film RAAM bagged two awards - one for the best actor and the other for the best music in the 1st Cyprus International Film Festival. The film ‘MEENAXI – A Tale of Three Cities’ also bagged two prizes—one for best cinematography and the other for best production design. Films Division participated in 6 International Film Festivals with 60 films, 4 National Film Festivals with 28 films and 21 State level film festivals with 270 films, during the period 1-04-06 to 30-11-06. Films Division Released 9791 prints of 39 films, in the theatrical circuits, from 1-4-06 to 30-11-06.
    [Show full text]