List of Existing CCRT Scholarship Holders Year 2009
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Particulars of Some Temples of Kerala Contents Particulars of Some
Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ........................................................................................................... -
The 45Th ALL INDIA COMPETITIONS in MUSIC and DANCE, 2013
The 45th ALL INDIA COMPETITIONS IN MUSIC AND DANCE, 2013 (This form duly filled in should reach the Organising Secretary, Navya Nataka Samiti, # 1-8-522/12, Chikkadpally, Hyderabad - 500 020 or the Y.M.C.A., Narayanguda, Hyderabad - 500 029 on or before the 20th November, 2012 ENTRY FORM 1. Name in full (in Block Letters) : Sri / Smt. / Kum.________________________________________________ 2. Address with Pin Code ___________________________________________________________________ ___________________________________________________________________Pin : ______________ 3. Age and Date of Birth____________________________________________________________________ (Proof of age to be produced) 4. Contact No.: ___________________________________________________________________________ 5. Branch and Section in which the entry is made : ______________________________________________ (Tick the appropriate item) 1. Karnatak - Vocal - Senior 11. Bharatanatyam - Senior 2. Karnatak - Veena - Senior 12. Bharatanatyam - Junior 3. Karnatak - Violin - Senior 13. Bharatanatyam - Sub - Junior 4. Karnatak - Mridangam - Senior 14. Kuchipudi - Senior 5. Karnatak - Vocal - Junior 15. Kuchipudi - Junior 6. Karnatak - Vocal - Sub-Junior 16. Kuchipudi - Sub-Junior 7. Hindustani - Vocal - Senior 17. Andhra Natyam - Senior 8. Hindustani - Sitar - Senior 18. Andhra Natyam - Junior 9. Hindustani - Tabla - Senior 19. Andhra Natyam - Sub-Junior 10. Hindustani - Tabla - Junior 20. Kathak - Senior 21. Kathak - Junior Entry fee remitted : Seniors / Juniors / Sub-Juniors Rs.100/- -
M.P.A DANCE Hall Ticket No
s- L1 UNIVERSITY OF HYDERABAD SAROJINI NAIDU SCHOOL OFARTS AND COMMUNICATION Gachibowli, Hyderabad - 500 046 ENTRANCE EXAMINATION, JUNE 2O1O M.P.A DANCE Hall Ticket No. Date:02 - 6 -2010 Time: 10.00 a.m-12.00 pm. Max.Marks:50 Instructions: 1. Part 'A' should be answered in the Question Paper itself and returned to the Invigilator. 2. Part 'B' should be answered in the answer book provided to the candidate. 3. All questions in Part 'A' carry equal marks. There will be a negative marking of 0.33 mart for eacn attemptea won . PART - A z5xl:25 l. Choose the correct Answer: 1. Karagattam is a folk form of A) A.P B) Tamil Nadu c) u.P D) none 2. Bhagavatam or Veedhinatakam involves the performance of ( A) A group with story B) A group without story C) Solo D) None 3. Abhinaya Darpana is written by: ( ) A) Nandikeswara B) Kshetrayya C) Narayanatirdha D) Jayadeva 4. Anita Ratnam is an exponent of A) Contemporary dance B) Kuchipudi C) Bharatanatyam D) Manipuri 5. Kalamandalam of Kerala is founded by: ( A) M.K.Menon B) Swati Tirunal C) Vallathole D) None 6. According to Abhinaya Darpana, the total number of Drishti bhedas is ( 4.)36 B)8 c)6 D) none 7. Tribhanga position is significantly seen in the dance style ( A) Kuchipudi B) BharatanatYam C) Mohiniattam D) Odissi J- , s '21 8. Adhyatma Ramayana Kirtanas are written by ( A) Munipalle Subrahmanya Kavi B) Tyagaraja C) Tandu D) Kshetrayya 9. One of the percussion instruments used traditionally in Kathakal ( A) Pakhawaj B) Mridangam C) Tabla D) Chanda l0' Andhra Praja Natya Mandali is a group actively involved in presenting ( A) classical performances B) only Tribal dance performances C) All Folk performing genres D) none 11. -
The Childhood Love That Became Nilimma's Life
COLUMN Dance: The childhood love that became Nilimma’s life The travails of the partition, and her mother’s determination to give her daughter a chance to partake of the divinity in dance, started CULTURATI the US-based Kuchipudi dancer on a life-long journey in dance ARSHIYA SETHI he has been recorded by made her eyes moist up. The family with the National Heritage great difficulty moved to Delhi and ten Foundation as part of of them lived in one room in old Delhi. Dr Sethi has been their documentation of Her mother loved poetry and despite writing on the arts the cultural wealth of the the fact that everything around them scene in India and united States of America still spoke of loss, her mother would the world for three and has been a member for six years of send Nilimma and her sister Rashma, decades. She has a theS Maryland State Arts Council. She walking, all the way to Bengali Market, doctorate on the link teaches a popular course at George chaperoned by the old family retainer, between dance and Washington University on “Gender in to learn dance from the renowned politics, with the Indian Dance” and was awarded the Life Kathak dancer Uma Sharma’s uncle. Sattriya dance form of time Pola Nireneka Award for Dance Their forays in dance were met with Assam as a case study. by Washington Performing Arts in patriarchal disapproval for every time 2015. And yet, Nilimma Devi’s dance life they were “asked to dance in family set- began with the pain and sadness of the tings, my grandfather would leave the partition of India. -
Dance of India Download
IAS YAN An initiative of APTI PLUS Dances Inofd ia Indian folk dances, which typically consist of a few simple steps, are performed throughout the world to celebrate a new season, childbirth, weddings, festivals, and other social occasions. In some Indian folk dances, men and women perform separately; in others, they dance together. On most occasions, the dancers will sing accompanied by musicians. Most folk dances have intricately-designed costumes. Although a number of structured, ancient folk and tribal dances exist, many others are evolving. Andhra Pradesh Kuchipudi, Vilasini Natyam, Andhra Natyam, Bhamakalpam, Veeranatyam, Dappu, Tappeta Gullu, Lambadi, Dhimsa, Kolattam, Butta Bommalu. Assam Bihu, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai. Bihar Jata-Jatin, Bakho-Bakhain, Panwariya, Sama Chakwa, Bidesia. Gujarat Garba, Dandiya Ras, Tippani Juriun, Bhavai. Haryana Jhumar, Phag, Daph, Dhamal, Loor, Gugga, Khor, Gagor. Himachal Pradesh Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Nati, Dangi. Jammu and Kashmir Rauf, Hikat, Mandjas, Kud Dandi Nach, Damali. Karnataka Yakshagan, Huttari, Suggi, Kunitha, Karga, Lambi. Kerala Kathakali (Classical), Ottamthullal, Mohiniattam, Kaikottikali. Maharashtra Lavani, Nakata, Koli, Lezim, Gafa, Dahikala Dasavtar or Bohada. Odisha Odissi (Classical), Savari, Ghumara, Painka, Munari, Chhau. West Bengal Kathi, Gambhira, Dhali, Jatra, Baul, Marasia, Mahal, Keertan. Punjab Bhangra, Giddha, Daff, Dhaman, Bhand, Naqual. Rajasthan Ghumar, Chakri, Ganagor, Jhulan Leela, Jhuma, Suisini, Ghapal, Kalbeliya. Tamil Nadu Bharatanatyam, Kumi, Kolattam, Kavadi. Uttar Pradesh Nautanki, Raslila, Kajri, Jhora, Chappeli, Jaita. Uttarakhand Garhwali, Kumayuni, Kajari, Jhora, Raslila, Chappeli. Goa Tarangamel, Koli, Dekhni, Fugdi, Shigmo, Ghode, Modni, Samayi nrutya, Jagar, Ranmale, Gonph, Tonnya mell. Madhya Pradesh Jawara, Matki, Aada, Khada Nach, Phulpati, Grida Dance, Selalarki, Selabhadoni, Maanch. -
Jangal-Mahal Utsab Jhargam District in West Bengal
Culture Notebook: Preliminary Factual Sheet Created: 12/24/2016 7:16 PM Updated: 5/11/2018 11:35 PM Author: Siya Rasik URL: http://forumias.academy/lms/#/main/examAnswers 2018 GIST Festival Name State Other Information Tribal folk songs and dances such Jhargam district in West Jangal-mahal Utsab as Tusu, Bhadu, Ahira and Bengal Jhumur Held bi-annually to honour the twin goddesses Sammakka and Medaram’s Sammakka- her daughter Sarakka. Sarakka/Saralamma Forest dwelling Koya tribe Biggest Tribal festival in Asia Jatara of Telangana and surrounding states which is attended by one crore Medaram is a remote people on an average place in the Central government is likely to According to the myth it declare Medaram’s Sammakka- Eturnagaram Wildlife was Sammakka’s curse Sanctuary, a part of Sarakka/Saralamma Jatara a which caused gradual national festival Dandakaranya, the decline and death of largest surviving forest Once declared a national Kakatiya rule. belt in the Deccan. festival, Jatara can be considered for ‘intangible cultural heritage of humanity’ tag of UNESCO Paika Dance Form Jharkhand Celebrarted by Marathas Wari wakari Tradition more than 700 years old Maharashtra Three different set of journey Or starts from three places in VARKARI Maharashtra 21 days journey NANDA DEVI RAJ JAATI Uttrakhand yatra Assam’s Bihugeet Bihu - Assam colours of the Brahmaputra songs and its life-sustaining character Bhupen Hazarika in praise of the grit of its people Jallikatu Traditional bull-taming sport Eruthazhuvuthal or Tamil Nadu organised in Tamil Nadu during Manju virattu Pongal Largest congregation of female for a festival in the world Kuthiyottam ritual: Against child Attukal Pongala festival Kerala right as children are made as God soldier and side pierxing is done and thread is knot so that bond with God is shown. -
Name of the Artist & Contact Details Links Grading
MINISTRY OF CULTURE GRADED LIST OF APPLICANTS FOR PARTICIPATING IN FESTIVALS OF INDIA ABROAD LEGEND : O - OUTSTANDING, P- PROMISING, W- WAITING Kathak S.NO Name of the Artist & contact Details Links Grading 1. Arijeet Mukherjee Business Development and Events Coordinator https://vimeo.com/151495589 Aditi Mangaldas Dance Company - The Drishtikon Dance Foundation Password: within123 O ADD: N-75/4/2, Sainik Farms South Lane - W 17 (Main) New Delhi-110080 MOB: 0 93111 57771 | 0 98105 66044 http://vimeo.com/aditimangaldasdance/ WEB: www.aditimangaldasdance.com Email: unchartedseas [email protected] Password: AMDC-US 2 Shovana Narayan IA&AS retd https://www.youtube.com/watch?v=Hha O Kathak Guru(Padmashri& central Sangeet Natak Akademi awardee) Mq0Nxg5s T2-LL-103, Commonwealth Games Village, Delhi-110092 https://www.youtube.com/watch?v=eOD Cell:+919811173734+919810725340 RnwLc9Mg Email:[email protected] or [email protected] https://www.youtube.com/watch?v=KAw Padmashree Awardee (1996) jM9ggTh8 SNA Awardee (1999-2000) https://www.youtube.com/watch?v=lsUd IJI0yn8 https://www.youtube.com/watch?v=aR W89rFJ6dc https://www.youtube.com/watch?v=KAw jM9ggTh8 https://www.youtube.com/watch?v=UN A_4Cf1taQ https://www.youtube.com/watch?v=4Ax MxNkuxvw https://www.youtube.com/watch?v=RhL 6wQ1Y-WA https://www.youtube.com/watch?v=7A3 dh8pBElg https://www.youtube.com/watch?v=8Xe RJqb65e4 https://www.youtube.com/watch?v=xjsl5 Rq3HVo https://www.youtube.com/watch?v=RJQ pWVKMTJI https://www.youtube.com/watch?v=xjsl5 Rq3HVo https://www.youtube.com/watch?v=5Uf sLeqIYhY https://www.youtube.com/watch?v=o- ftl8rIjnc https://www.youtube.com/watch?v=Jrnt MQy2320 https://i.ytimg.com/vi/IMKCvbQ7cUk/mq default.jpg https://www.youtube.com/watch?v=MS wixkNxubg https://www.youtube.com/watch?v=oO1 -WsLotZg https://www.youtube.com/watch?v=gZrd 14SjJkA https://www.youtube.com/watch?v=RJq PTQTD-Zs https://www.youtube.com/watch?v=PG5 -DTTykdk https://www.youtube.com/watch?v=VW Fuv9mBUQI https://www.youtube.com/watch?v=1UY NfMqZ9aQ https://www.youtube.com/watch?v=SDq xUHbTLHw 3. -
Memory and the Recovery of Identity: Living Histories and The
9 Memory and the Recovery of Identity Living Histories and the Kalavantulu of Coastal Andhra Pradesh DAVESH SONEJI Peddapuram is a town located in the east Godavari district of Andhra Pradesh, about 20 km from the city of Kakinada. It is famous for its celebration of the annual festival (jatra) of the local goddess Maridamma2 in the month ofJyaishtha, and infamous for its rows of brothels. Today, the town of Peddapuram is known for the exceptionally high numbers of pros- titutes who inhabit its streets. Many of them are kalavantulu. These women work in the brothels of towns like Peddapuram as the result of a complex social, political, aesthetic and cultural restructuring that began in the nine- teenth century. One of the senior-most kalavantulu living in Peddapuram is Jakkula Radha. Today Radha sells bidis (tendu-leaf cigarettes), candy, and other confectionary at a small stall outside her home. For about an hour after I met her, Radha refused to discuss her kalavantula identity. Instead, she talked about the fact that she has converted to Christianity, because the local mission pays her Rs 60 (about $2) per month for maintaining a Christian lifestyle. 3 When she finally began to speak openly about her past, she insisted on continuing our conversation elsewhere. We helped her into our Ambassador car and started to back out of the lane on which her house "V 285 284 Performing Pasts Memory and the Recovery of Identity was located. Sure enough, four young men rushed out from nearby houses, and provide us with insights that cannot be found elsewhere. -
India Presentation
WTC Mumbai Presents India’s Diversity A Unique Business Opportunity CONTENTS Pg. No Preface - India's Diversity - A Unique Business Opportunity 3 Maharashtra - An Overview 4-9 The Known and Unknown of India 10-11 India - A Brief Overview 12-15 North Eastern States - Cultural Overview 16-17 Eastern India - Cultural Overview 18-19 South India - Cultural Overview 20-23 Central India - Cultural Overview 24-25 Western India - Cultural Overview 26-27 North India - Cultural Overview 28-33 State-wise Contribution to Indian Economy 34-35 Indian Economy At a Glance 36-37 Major Export Destinations 38-39 Major Sources of Import 40-41 Major Source of FDI 42-43 MSMEs Sector: Engine of Economic Growth 44-45 State-wise Distribution of MSME Clusters 46-47 State-wise Mega Food Parks in India 48-49 Women in Business / Women Entrepreneurship 50-51 Major Industrial Belts of India 52-53 Other Industrial Centres in India 54-55 Major and Non Major Ports in India 56-57 India Road Infrastructure 58-59 Key Infrastructure Projects 60-61 Proposed Industrial Corridors 62-63 Government of India’s Ambitious Programmes 64-65 Key Policy Steps Taken in Last 2 Years 66-67 Promising Sectors for Investors 68-69 Goods and Services Tax 70-71 India Economic Outlook 72-74 Preface - India's Diversity – A Unique Business Opportunity ndia's diversity in geography, ethnicity, culture, language and religion has remained the bedrock of its dynamic and resilient economy. IDiversity in geographical regions has supported occupations as diverse as agriculture, forestry, weaving, jewellery, travel and tourism, healthcare and so on. -
November 2017.Pmd
Contents Volume 2, Issue 5 | November 2017 Editorial Team 04 Beacons of Light 30 Jayashree Nair Editor’s Note 05 A Woman with a Steadfast Belief Cultural Bulletin 06 Torch Bearers 14 A MAN OF COMMITMENT IN GOD’S OWN COUNTRY Reports 40 Sadanam Puthiya Veetil Balakrishnan Kindled Spirits 52 Scholarly Corner 54 Folk Dances of Rays of Hope 34 Maharashtra Dr Sai Jyothi Palisetty, M.A., Ph.D. A Kuchipudi Diamond Frozen in Time 61 with Resilience Cover Story 20 THIRUKKURAL A Guide for Meaningful, Effective and Joyful Living Tributes 63 Reviews 38 Rasa United: In Sight 64 Vanashree Rao and Dancers Classifieds 65 Scale Great Artistic Heights P 3 | NOVEMBER 2017 Editorial ‘The Dance India’- a monthly cultural magazine in English is our humble "If the art is poor, attempt to capture the spirit and culture of art in all its diversity. the nation is sick." Articles may be submitted for possible Editor-in-Chief publication in the magazine in the following BR Vikram Kumar manner. Executive Editor • Send in your articles to [email protected] Paul Spurgeon Nicodemus Please include your full name, contact Associate Editor information (address and telephone number) and a short bio data. RMK Sharma • Articles are published in the magazine only Assistant Editor on the condition that the author agrees to UNS Vijayshri the terms of the Copyright Statement and Policy Sub Editor D Praveena Regd. Office: Trivikram Publications, Feature Writer D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Visakhapatnam - 530 013, A.P. Ch Nikhitha Coordinators (News, Advertisements & Tel: +91 8897987445 Administration Manager Subscriptions) The opinions, beliefs and viewpoints expressed KV Lakshmi by the various writers in the articles and Sai Venkatesh Karnataka reviews do not necessarily reflect the opinions, Communications Incharge beliefs and viewpoints of the editorial team or K Bhanoji Rao Kashmira Trivedi Maharashtra official policies of The Dance India. -
Tourism in Kerala
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Special Edition, Sep 2018, 145-154 © Impact Journals TOURISM IN KERALA Rajani. U. S1 & C. Arul Mary Thangam 2 1Research Scholar, Department of Commerce, Nanjil Catholic College of Arts and Science, Manaonmaniam Sundaranar University, Tirunelveli, Kaliyikkavila, Tamil Nadu, India 2Assistant Professor, Department of Commerce, Nanjil Catholic College of Arts and Science, Kalikkavilai, Tamil Nadu, India Received: 14 Jun 2018 Accepted: 01 Aug 2018 Published: 30 Sep 2018 ABSTRACT Tourism is one of the maximum essential monetary sports and smokeless enterprise within the world nowadays because it directly generates offerings, products, foreign money, employment, and investments. It is one of the key worldwide industries that's labor in depth and generates manifold benefits. It helps increase countrywide economies, catalysis development method, highlights and conserves cultural heritage, and acts as a bridge in worldwide harmony and peace. Tourism Development is significant to the sustainability-oriented tourism improvement initiative. Based on secondary sources, literature search and discussions with key stakeholders and interaction with the traveler, the existing tourists’ scenario and state of affairs and their role in human resource improvement were studied. The statistics gathered from different sources has been validated within the sphere of experience. The reason for this take a look at is to explore the function of tourism for selling the human aid development in Kerala State. Tourism has emerged as a critical socio- monetary pastime of the humans of Kerala having its specific geographical advantage with a mountainous topography and is a leading vacationer destination in Kerala. -
The Artifice of Brahmin Masculinity in South Indian Dance
2 “I am Satyabhama” Constructing Hegemonic Brahmin Masculinity in the Kuchipudi Village The melodious voice of D.S.V. Sastry, a brahmin male singer raised in the Kuchipudi village, resounded across the D.S.T. Auditorium at the University of Hyderabad on the evening of January 20, 2011. Bhāmanē Satyabhāmanē. I am Bhama, I am Satyabhama. Bhāmanē Satyabhāmanē. I am Bhama, I am Satyabhama. Seated on stage right along with senior Kuchipudi guru Pasumarti Rattayya Sarma playing the cymbals (naṭṭuvāṅgam) and accompanied by an orchestra, Sastry filled the spaces of the auditorium with the lyrics of Satyabhama’s introductory song. The stage lights began to rise, and a veiled figure appeared from behind the orchestra and moved to stage left, his swinging gait synchronized with the rhythms of the item’s seven-beat time-measure (misra-chāpu): ta-ki-ṭa-ta-ka-dhi-mi. Once across the stage, the dancer cast off his veil and grasped the long braid hanging down his back, deftly pulling it over his shoulders in front of him. As the dancer slowly turned around, the audience finally caught a glimpse of Vedantam Venkata Naga Chalapathi Rao, or Venku as he is commonly referred to, in Satyabhama’s vēṣam (guise). Although I had gone backstage to photograph Venku’s makeup session prior to the start of the performance, I was still surprised to witness his onstage trans- formation. Backstage Venku was casually dressed in a white undershirt (banyan) lined by dark chest hairs, a floor-length cotton garment (luṅgi) wrapped around his waist. Now wearing a white and red silken costume, Venku shone under the spot- lights onstage, his face completely altered by layers of makeup that had been care- fully applied by a professional makeup artist.