The Pandit As Public Intellectual
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Kirtan Leelaarth Amrutdhaara
KIRTAN LEELAARTH AMRUTDHAARA INSPIRERS Param Pujya Dharma Dhurandhar 1008 Acharya Shree Koshalendraprasadji Maharaj Ahmedabad Diocese Aksharnivasi Param Pujya Mahant Sadguru Purani Swami Hariswaroopdasji Shree Swaminarayan Mandir Bhuj (Kutch) Param Pujya Mahant Sadguru Purani Swami Dharmanandandasji Shree Swaminarayan Mandir Bhuj (Kutch) PUBLISHER Shree Kutch Satsang Swaminarayan Temple (Kenton-Harrow) (Affiliated to Shree Swaminarayan Mandir Bhuj – Kutch) PUBLISHED 4th May 2008 (Chaitra Vad 14, Samvat 2064) Produced by: Shree Kutch Satsang Swaminarayan Temple - Kenton Harrow All rights reserved. No part of this book may be used or reproduced in any form or by any means without written permission from the publisher. © Copyright 2008 Artwork designed by: SKSS Temple I.T. Centre © Copyright 2008 Shree Kutch Satsang Swaminarayan Temple - Kenton, Harrow Shree Kutch Satsang Swaminarayan Temple Westfield Lane, Kenton, Harrow Middlesex, HA3 9EA, UK Tel: 020 8909 9899 Fax: 020 8909 9897 www.sksst.org [email protected] Registered Charity Number: 271034 i ii Forword Jay Shree Swaminarayan, The Swaminarayan Sampraday (faith) is supported by its four pillars; Mandir (Temple), Shastra (Holy Books), Acharya (Guru) and Santos (Holy Saints & Devotees). The growth, strength and inter- supportiveness of these four pillars are key to spreading of the Swaminarayan Faith. Lord Shree Swaminarayan has acknowledged these pillars and laid down the key responsibilities for each of the pillars. He instructed his Nand-Santos to write Shastras which helped the devotees to perform devotion (Bhakti), acquire true knowledge (Gnan), practice righteous living (Dharma) and develop non- attachment to every thing material except Supreme God, Lord Shree Swaminarayan (Vairagya). There are nine types of bhakti, of which, Lord Shree Swaminarayan has singled out Kirtan Bhakti as one of the most important and fundamental in our devotion to God. -
Smt. Kala Ramnath Concert
presents in association with UC Worldfest 2009 ART at its best Internationally Renowned Hindustani Violinis Smt. Kala Ramnath accompanied by Shri Prithwiraj Bhattacharjee on Tabla Date: 25 th April, 2009 (Saturday) Venue: 4400 Aronoff (DAAP Auditorium) Time: 6 :00 pm Parking: Langsam Garage Artiste Biography Maestro KALA RAMNATH , the contemporary torch bearer of the Mewati Gharana, stands today Prithwiraj Bhattacharjee another young and amongst the most outstanding instrumental musicians in the North Indian classical genre. Born upcoming artist began his initial training under into a family of prodigious musical talent, which his guru Dhiranjan Chakraborty at the tender has given Indian music such violin legends as Prof. age of seven. In the year 1994 his life long T.N. Krishnan and Dr. N. Rajam, Kala's genius with the violin manifested itself from childhood. She ambition of learning under the tabla maestro began playing the violin at the tender age of three Ustad Alla Rakha and Ustad Zakir Hussain came under the strict tutelage of her grandfather true. Blessed with highly cultivated fingers, Vidwan. Narayan Aiyar. Simultaneously she received training from her aunt Dr. Smt. N. Rajam. absorbing all the aspects of his guru’s style For fifteen years she put herself under the training through vigorous riyaz under the ever watchful of Mewati vocal maestro, Sangeet Martand Pandit eyes of his guru have made him progress into a Jasraj. This has brought a rare vocal emotionalism to her art. Kala's violin playing is characterized by very promising upcoming tabla player. Prithwi an immaculate bowing and fingering technique, has performed in many solo concerts and command over all aspects of laya, richness and travelled extensively all over India and abroad clarity in sur. -
Health Care Providers' Handbook on Hindu Patients
Queensland Health Health care providers’ handbook on Hindu patients © State of Queensland (Queensland Health) 2011. This document is licensed under a Creative Commons Attribution, Non-Commercial, Share Alike 2.5 Australia licence. To view a copy of this licence, visit www.creativecommons.org/licenses/by-nc-sa/2.5/au/deed.en You are free to copy, communicate and adapt the work for non-commercial purposes, as long as you attribute Queensland Health and distribute the resulting work only under the same or similar license. For permissions beyond the scope of this licence contact: Intellectual Property Officer Queensland Health GPO Box 48 Brisbane Queensland 4001 Email: [email protected] Phone +61 7 3234 1479 For further information contact: Queensland Health Multicultural Services Division of the Chief Health Officer Queensland Health PO Box 2368 Fortitude Valley BC Queensland 4006 Email: [email protected] Suggested citation: Queensland Health. Health Care Providers’ Handbook on Hindu Patients. Division of the Chief Health Officer, Queensland Health. Brisbane 2011. Photography: Nadine Shaw of Nadine Shaw Photography Health care providers’ handbook on Hindu patients Table of contents Preface .................................................... 4 Introduction ................................................ 5 Section one: Guidelines for health services . 6 1 Communication issues .................................... 7 2 Interpreter services ....................................... 7 3 Patient rights ........................................... -
Darbhanga Dhrupad Tradition Sumeet Anand Pandey
Darbhanga Dhrupad Tradition Sumeet Anand Pandey Dhrupad Dhrupad is the oldest surviving genre of Hindustāni (North Indian) classical music, and has its initial origins in the ancient tradition of Vedic chanting1 (2000 BCE). By 1200 CE the styles of Vedic chanting called Chhanda and Prabandha had developed with the introduction of verse and metre. It is from these two styles that Dhrupad emerged. Practitioners of dhrupad, also referred to as Dhrupadiya, treat it as a contemplative and meditative form, sustained for centuries by traditions of classical and devotional music. While its soul remains unchanged, it is thought that dhrupad has adapted its character and temperament over the last fi ve to six centuries. This is possibly due to its vast travels from temples, to royal courts and fi nally into the public performance arena. Dhrupad recital typically begins with an extended alāp,2 sung with tānpura in four stages. It uses the syllables derived from the mantra ‘Om Anant Hari Nārāyana’ to sing its melody. 1 Vedic chanting: a form of religious chanting, where the vocalisation of hymns from the Vedas (ancient scriptures of Hinduism) are repeated in three notes - Udātt, Anudātt and Swarit. 2 Alāp: an introductory melodic improvisation that introduces and develops the rāga. There is no rhythm or percussion. A full alāp has three parts, anibaddha (slow, no meter), j odd or madhya laya (mid-tempo) and Jhāla or drut laya (fast tempo). 2 The Pakhāwaj is a double-headed, barrel-shaped drum used for accompanying the composition. The composition has four parts, namely sthāye, antara, sanchāri and ābhog. -
Shri Amritwaani Paath & Satsang with Swami Nalinanand Giri Ji
THE HINDU TEMPLE OF METROPOLITAN WASHINGTON 10001 RIGGS ROAD, ADELPHI, MD 20783 PHONE #s 301-445-2165, 301-434-1000; http://www.hindutemplemd.org; E-mail: [email protected] December 2014 Scheduled Events Month Date Day Time Event Description December 1 MONDAY Shiv Pooja December 2 TUESDAY AMAVASYA GEETA JAYANTI December 2 TUESDAY 7:30 PM to 8:30 PM Hanuman Chalisa Paath & with Pandit Pitamber Dutt Sharm ji -reading, bhajans, kirtan, katha Sunderkaand Paath December 3 WEDNESDAY Laxmi Narayana Pooja December 4 THURSDAY PRADOSHA December 4 THURSDAY 7:00 PM to 9:00 PM Sai Baba Group Bhajans, Reading & Arti; Followed by Prasad December 5 FRIDAY 8:00 PM Santoshi Mata Arti Service December 6 SATURDAY PURNIMA DATTATREYA JAYANT December 6 SATURDAY Serva Deva Pooja December 6 SATURDAY 9:00 AM to 10:00 AM Jain Pooja "New Program" Every Saturday Morning - 10 am to 11:30 am December 6, 13, 20, & 27, 2014 Shri Amritwaani Paath & Satsang With Swami Nalinanand Giri Ji December 7 SUNDAY 8:00 AM to 10:00 AM Yoga Classes December 7 SUNDAY 9:00 AM to 10:00 AM Jain Pooja December 7 SUNDAY 5:00 PM to7:00 PM Hari & Ram Katha Katha, bhajans, Kirtan Evening; Prasad & Priti Bhoj December 8 MONDAY Shiv Pooja December 9 TUESDAY 7:30 PM to 8:30 PM Hanuman Chalisa & Sunderkaand with Pandit Pitamber Dutt Sharm ji -reading, bhajans, kirtan, katha Paath December 10 WEDNESDAY Laxmi Narayana Pooja December 11 THURSDAY 7:00 PM to 9:00 PM Sai Baba Group December 12 FRIDAY 8:00 PM Santoshi Mata Arti Service Bhajans, Reading & Arti; Followed by Prasad December 13 SATURDAY -
A Tribute to Pandit Bhimsen Joshi Issue,By Pragya Date Mishra Thakur
Raag-Rang Newsletter Vol. 2 March, 2011 SOOR SANSKAR A Tribute To Pandit Bhimsen Joshi Issue,By Pragya Date Mishra Thakur This second Raag-Rang Pandit Bhimsen Joshi was so in the South Indian language. He newsletter would be incomplete passionate about music from an early would move in an out of styles and without a tribute to our revered age that he left home at the tender age language restrictions as if no such Pandit Bhimsen Joshi, who passed of 11 in a quest for a guru. He was artificial boundaries ever existed. This away on January 24th, 2011 in Pune, eventually found and brought back spirit of unity and oneness was so leaving behind a legion of bereft home but there was no stopping him clearly evident in his unforgettable music lovers. Pandit Bhimsen Joshi from pursuing his dream after that rendition of the song that became a was a recipient of the Bharat Ratna event. He went on to become the call for national integration and unity and many other awards during his recipient of every possible award an in India: Mile Sur Mera Tumhara. illustrious lifetime and was honor that a musician in India can Raag-Rang, now in its third accorded a state funeral receive, culminating with the highest year, through its efforts, hopes to accompanied by a 21 gun salute at honor, the Bharat Ratna. cultivate the same dedication and the the Vaikunth Crematorium of Pune, same passion in the young performers Maharashtra. Mourners gathered and musicians that we support and in large numbers to pay homage encourage. -
Sanskrit Scholars of Orissa
Orissa Review * April - 2006 Sanskrit Scholars of Orissa Jayanti Rath The contribution of Orissan scholars in the domain The famous drama 'Anargha Raghava' of Sanskrit literature is inormous. They have has been written by Murari Mishra. The drama shown their excellence in different branches of deals with the story of Ramayana. The earliest knowledge, i.e. Grammar, Politics, Dharma reference to car festival of Orissa is found in this Sastras, Kavyas, Poetics, Astrology, Astronomy, work. He describes about the assemblage of a Tantra, Dance, Music, Architecture, Arithmetic, large number of people near Tamila-Studde Geography, Trade Routes, Occult Practices, War Purusottama Kshetra, which is situated at the and War Preparation, Temple Rituals and so on. sea-sore. Murari Misra approximately belonged They have enriched it immensely. to 8th century A.D, because he was referred to Vishnu Sharma, the famous another of by Raja Sekhar of 9th century A.D. in his Kavya Pancha Tantra, is the earliest known Sanskrit Mimamsa. scholars of Orissa. He was the court poet and Satananda, a great astronomer of Orissa priest of Ananda Sakti Varman, the ruler of has left indelible mark in the field of Sanskrit study. Mathara dynasty. The Matharas were ruling over His work Bhasvati was once accepted as an Orissa in 4th and 5th Century A.D. Pancha authority on Astronomy and several Tantra is considered to be one of the most commentaries were written on this work by outstanding work of India of early period. But scholars of different parts of India which bear prior to this Upanishadas in Altharva Veda and testimony to its popularity. -
Pandit Bhimsen Joshi Jayanti
Pandit Bhimsen Joshi Jayanti drishtiias.com/printpdf/pandit-bhimsen-joshi-jayanti Recently, the Prime Minister paid homage to Pandit Bhimsen Joshi, the classical music vocalist, on his centenary birth anniversary. Key Points About: Pandit Bhimsen Joshi was born on February 4, 1922. Important Recognition: He received the Bharat Ratna in 2008. Work: He is remembered for his famous ragas including Shuddha Kalyan, Miyan Ki Todi, Puriya Dhanashri and Multani etc. He belonged to the Kirana Gharana. Kirana Gharana got its name from a small town called Kerana in Uttar Pradesh. It was founded by Ustad Abdul Karim Khan. Famous artists such as Abdul Wahid Khan, Suresh Babu Mane, Hira Bai Badodekar and Roshanara Begum belong to this Gharana. He belonged to the school of Hindustani classical music. Hindustani Music: Origin: Hindustani Music is one of the two distinct schools of Indian Classical Music practiced mainly in North India. The other school of Indian Classical Music is Carnatic music which is practiced mainly in Southern India. The historical roots of both the music types belong to the Bharata’s Natyasastra. Hindustani Music is vocal-centric. The major vocal forms associated with Hindustani classical music are the khayal, Ghazal, dhrupad, dhammar, Tarana and thumri. Most of the Hindustani musicians trace their descent to Tansen. 1/2 Gharanas: A Gharana is a system of social organisation linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular musical style. Function in guru-shishya parampara, i.e. disciples learning under a particular guru, transmitting his musical knowledge and style. Gharana Place Founder Gwalior Gwalior Nanthan Khan Agra Agra Hajisujan Khan Rangeela Agra Faiyyaz Khan Jaipur Atrauli Jaipur Alladiya Khan Kirana Awadh Abdul Wahid Khan Banaras Varanasi Ram Sahai Source: PIB 2/2. -
SRUTI NOTES a Publication of SRUTI - the India Music & Dance Society
SRUTI NOTES A Publication of SRUTI - The India Music & Dance Society www.sruti.org E-mail: [email protected] Volume 14, Issue 1, February 2011 Board of Directors Celebrating 25 years of excellence in President Uma Prabhakar Indian Classical Music and Dance President-Elect in the Delaware Valley Raji Venkatesan Treasurer Usha Balasubramaniam President’s Note Secretary Ravi Pillutla Greetings! I wish you all a very happy and prosperous New Year! Directors I consider it a unique privilege and honor for me to have this opportunity to lead SRUTI into her Ramaa Nathan 25th year, along with the competent and enthusiastic support of my fellow board members, who Gayathri Rao come with years of experience in planning, managing and executing such events of SRUTI. Six of Ramana Kanumalla them are from the previous board, with Raji Venkatesan as President-Elect, Usha Balasubramanian Raghunandan Parthasarathy as Treasurer, Ravi Pillutla as Secretary, Ramaa Nathan as Director of Resources and, Sunanda Sunanda Gandham Gandham as Director (2). We welcome our newly elected board members (who are not new to SRUTI by any means), Gayathri Rao as Director of Publications and Outreach, Ramana Kanumalla Committees as Director of Marketing & Publicity and, Raghunandan Parthasarathy as Director (1). Together, we Resources & Development look forward to presenting to you all carefully selected classical Indian music and dance programs Ramaa Nathan (Chair) throughout this year and making your 25th year SRUTI experience extra special and fun! Usha Balasubramanian The programming for 2011 season was initiated way back in the May/June time frame last year un- Rajee Padmanabhan Raghunandan Parthasarathy der the leadership of Mr. -
Kumar Shubhashish Pathak (Tabla & Pakhawaj Exponent)
Kumar Shubhashish Pathak Tabla & Pakhawaj Exponent Shubhashish Pathak hails from a renowned music family of Amta (Darbhanga Gharana), located in the Mithila region which has been a seat of knowledge, art and culture from ancient times. Nurtured from childhood under the guidance of the maestro and his (Guru) father Mridangacharya Pandit Ramashish Pathak, years of guidance and rigorous practice have sharpened his skills and stern devotion to music has made him acquire the finer aspects of playing Tabla & Pakhawaj. He has accompanied many renowned maestro like; Pandit Abhay Narayan Maliick, Pandit Ram Kumar Mallick, Pandit Prem Kumar Mallick, Vidushi Madhu Bhat Tailang, Usatad Mohi Bahauddin Dager (Rudra Veena), Pandit Ashok Pathak (Sitar), Pandit Rajendera Gangani (Kathak ), Vidushi Sikha Khare(Kathak) etc. In his playing skill & tact the clarity of bols, pure pronounciation of words, soulful and clean padhant, rare chand and stuti, rare bandish, ancient parans and paral, resonance and preparations of marvelous relas with veer rasa and shringar rasa and minute intricacies of rhythm are the main characteristics of his Tabla & Pakhawaj playing. He has brilliant command over his father famous Rela and many smaller tunes are really commendable. He has done Masters in percussion Instruments from Punjabi University Patiala (Punjab) and also done Grade in Western music Guitar (Rock & Pop) from Trinity College of London. He is a regular artist of All India Radio and Doordarshan. Currently, he is working in the department of music at Government College for Girls, Gurugram (Haryana). He has brilliant command over various percussion and non-percussion instruments like Naal, Dholak ,Guitar, Punjabi Dhol, Keyboard, Dabruka etc .He has also produced and conducted live Orchestra several times which was consisting of more than 150 students for Amity International School (Ghaziabad) that was appreciated by the audience. -
Music, the Media, and Communal Relations in North India, Past and Present
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 1996 Music, the Media, and Communal Relations in North India, Past and Present Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/87 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 5 Music, the Media, and Communal Relations in North India, Past and Present PETER MANUEL MUCH OF THE DISCUSSION of communalism has attempted to ascertain the depth of the evident communal sentiment reflected in recent distur bances and the rise of Hindu militancy. Amrita Basu's essay above echoes a similar question about cultural history: do current developments reflect profound, long-standing, grass-roots animosity, or, alternately, are they merely the products of contemporary elite manipulation, ultimately con ditioned by factorsother than religious ones? While sociopolitical history is a natural focusfor such inquiries, the study of expressive culture may re veal much about social practices and attitudes, both elite and grass-roots, past and present. This chapter focuses on musical culture in north India, outlining relevant aspects of the social history of classical music, and pre senting some observations on twentieth-century folkand popular musics. My discussion of the contemporary scene will also refer to related forms of expressive culture, notably Hindi cinema and the sociopolitical uses of cassettes. Given the extraordinary diversity of South Asian musical genres and practices, any attempt to generalize about music's relation to communal ism is destined to a degree of superficiality. -
Pandit Bhimsen Joshi- a Tribute to a Great Legend
Pandit Bhimsen Joshi- a tribute to a great legend Smitha K. Prasad January 24, 2011 marked the passing away of one of the great doyens of Hindusthani music- Pandit Bhimsen Joshi. A Bharat Ratna winner, Pandit Bhimsen Joshi’s name had become synonymous with Hindusthani classical music. Pt. Joshi was born in Gadag, Dharwad district of Karnataka. He searched far and wide to find a guru from whom he could learn Hindsuthani classical music and who could inspire him in his journey of music. He finally found that guru in Pandit Sawai Gandharva, an exponent of the Kirana gharana and a native of Dharwad who agreed to teach him. Pt. Bhimsen Joshi started his performing career at the age of 19. Apart from being one of the most prolific exponents of Hindusthani classical music, he was also very well known for his rendition of devotional music. His rendition of Bhagyada Lakshmi Baramma will probably forever be present among people’s music play lists. Pt. Joshi’s jugalbandhis with Dr. Balamuralikrishna were extremely popular and filled with boundless creativity. Karnataka has the distinction of being one of the very few states that is home to some of the greats of both Carnatic and Hindusthani music. Prominent Hindusthani musicians such as Dr. Gangubai Hangal, Pt. Bhimsen Joshi, Pt. Mallikarjun Mansur, and Pt. Sawai Gandharva are among those who hail from Karnataka. Hindusthani music is more prominent in Northern parts of Karnatka like Dharwad and Belgaum while Carnatic music continues to dominate the southern parts. What made Dharwad such an important hub of Hindusthani music? The Dharwad region became part of the British East India Company’s Bombay Presidency in 1818 and was thus influenced by the culture of Bombay and Pune- rather than Madras, the seat of Carnatic music.