Guru Gopinath National Dance Museum Request For

Total Page:16

File Type:pdf, Size:1020Kb

Guru Gopinath National Dance Museum Request For GURU GOPINATH NATIONAL DANCE MUSEUM REQUEST FOR PROPOSAL FOR CONTENT & CONCEPT AND ENGAGING AGENCY FOR DESIGN & ‘WALK THROUGH’ FOR GURU GOPINATH NATIONAL DANCE MUSEUM Thiruvananthapuram Guru Gopinath Natanagramam (Govt. of Kerala Undertaking) Dept. of Cultural Affairs Vattiyoorkavu Thiruvananthapuram - 695013 Tel: +91-471-2364771 E-mail: [email protected] www.gurugopinathnatanagramam.org Reference No.16.GGNG/Dt 05.02.2014 February, 2014 © GuruGopinathNatanagramam, 2014 1 Contents Summary Disclaimer PART-1: REQUESTS FOR CONCEPT AND CONTENT Objectives of the RFP Guidelines Pre-requisite Content and Format for Proposals Language of the Proposal Clarification on the Proposals Quote for preparing Proposal part-2 Submission of the Proposal Deadline for submission Extension of date Late Proposal Opening of the price quotes Modification of Proposals Ownership of the content Soliciting Part-2 Proposal Right to accept/reject/modify and cancel Evaluation of the Proposals Payment PART-2: REQUESTS FOR DESIGN AND WALKTHROUGH Pre-requisite for solicitation Responsibilities Content and Format of the Proposal Language of the Proposal Clarification on the Proposals Submission of the Proposal Deadline for submission Extension of the date Late Proposals Modification of Proposals Ownership of the content Right to accept/reject/modify and cancel Communication requesting presentation Presentation to the Committee Evaluation of the Proposals Payment List of materials and resources Prequalification PART-3: INFORMATION TO PROPOSERS/BIDDERS INTRODUCTION About National Dance Museum Layout of the Museum MUSEUM CONTENT Overall Story Wax Museum Content Wax Gallery 2 Gallery- I: History and Evolution of dances Content of Gallery- I Gallery-II: Tribal Dances of Kerala Content of Gallery- II Gallery-III: Folk Dances of Kerala Content of Gallery- III Gallery-IV: Classical and Temple dances of Kerala Content Gallery- IV Gallery-V: Dances of India Content Gallery -V Classical Dances Folk Dances Tribal Dances Contemporary dance forms Gallery VI: Dances of the World Gallery VII: Guru Gopinath Gallery PART-4: ANNEXURE Floor plan: Ground Floor Floor Plan: Fist Floor Floor Plan: Second Floor 3 Summary Guru Gopinath National Dance Museum is a unique Museum Project supported by the Government of Kerala and Government of India, undertaken by the Guru Gopinath Natanagramam, a society under the Department of Culture, Government of Kerala. The Museum is a tribute to the great dance maestro and reformer Guru Gopinath. The Museum will be established in a building specially designed and builtfor the purpose at Vattiyoorkavu, Thiruvananthapuram in Kerala. ThisRequest for Proposal(RFP) for generating the concept, content, design and preparing a walkthrough solicits proposals in two parts. i. Part one is for creating concept and content either afresh or by modifyingthe content and concept contained in this document. This is addressed toindividuals and institutions interested and knowledgeable in the history,evolution and contemporary forms of dance and to institutions interestedand experienced in building dance Museums. ii. Requests for the Part-II (for detailed design and preparing a walk through) will be solicited from selected Proposers (ofPart-1) after the concept and content are finalised. Interested bidders are also requested show their interest for being considered for prequalification for building the Museum in part or in full. DISCLAIMER Guru Gopinath National Dance Museum (GGNDM) makes no representation or warranty and shall incur no liability under any law, statute, rules or regulations as to the accuracy, reliability or completeness of this RFP document. GGNDM may in its absolute discretion, but without being under any obligation to do so, update, amend or supplement the information contained in this RFP document. Information contained in this Request for Proposal (RFP) document or provided subsequently at any stage of discussions or communication in this connection to the Proposer or applicants or his agent or representative whether verbally or in documentary form by or on behalf of Guru Gopinath National Dance Museum is provided on the terms and conditions set out in this document and all other terms and conditions subject to which such information is provided and not otherwise. 4 PART-1 REQUESTS FOR CONCEPT AND CONTENT Individuals or institutions interested and knowledgeable in Dance may respond Objectives of the RFP The purpose of this Request for Proposal (RFP) document is to provide the Proposer with information to assist them in the formulation of their Proposals and request such Proposals. This RFP document is neither an agreement nor an offer by Natanagramam. The RFP document does not claim to contain all the informationrequired. Each Proposer should conduct their own research, studies and analysis and should check the completeness, comprehensiveness, accuracy and reliability of the information and mayobtain independent advice before finalising their Proposals. The RFP seeks submission of Proposal in two stages. In the first stage, it is an invitation to individuals or institutions to submit a preliminary Proposal as detailed below: Guidelines Part-1 Proposalis for generating the Content and Concept of the Museum. Proposals may be submitted as a document detailing the overall content and layout of the Museum to be established in the building and space as detailed in this RFP. The outline and flow of the story as provided in this document may be retained as far as possible. Additional information can be incorporated based on the Proposers’ knowledge, information, research, and studies to make the content more comprehensive. Information provided in the Proposals areassumed to be authentic and based on verifiable records. Pre-requisite There is no pre-requisite for submitting Part-I Proposals. It is desired that theProposer is informed and knowledgeable in matters of Dance and preferably interested in the establishment of Guru Gopinath National Dance Museum. It is desirable that the Proposer is capable of conceiving the full Museumeither independently or based on the content given in this RFP. Content and Format for Proposals Data contained in this document can be used as the baseline for preparing the Part-1Proposal. Proposals may be submitted as a separate hard copy document. A soft copy sent by E-Mail is also acceptable. A concept paper on the Museumwith sketches and a story line may form a part of the document. If the general concept brought out in this RFP is generally agreeable, the content alone may be considered for modification. As already stated, this document is not complete in all respect and any addition/modification to this document that will add value to the Museum is welcome. This same document may be returned with correction, addition, modifications marked legibly. Concept drawings and layout plans may be included wherever possible. Language of the Proposal Part-1 Proposals may be submitted English or Malayalam Clarification on the Proposals 5 Proposers are free to contact the Secretary of Natanagramam for any clarification. They may visit the Natanagramam premises and the Museum building, if deemed necessary, preferably with prior notice. It may be noted that the Natanagramam is functional from Tuesday to Sunday FN. It is closed on Mondays and Sunday AN. Quote for preparing Proposal part-2 Proposers, who are capable and interested in being, considered for preparing Part-2 of the Proposal,may express their interest in writing and quote for the same. Please indicate the minimum amount chargeable for preparing the Design and Walkthrough. It may be noted that the Part-2Proposals will be based on the approved content which need not exactly be any of the Part-1Proposals, but a synthesised final draft of ‘Content and Concept’ as approved by the Natanagramam. Part -2 Proposers should be willing to make a presentation at the venue and incorporate modifications. The price quote should be in a separate sealed cover. Open quotes will not be considered. Experience in designing Museums, creating designs, walkthrough etc may be brought forth separately as their profiles. Sample work may be included assisting the committee to assess their capability Submission of the Proposal Part-1Proposal may be sent by post to the secretary or by E-mail given in the first page of this document. Deadline for submission Part-1Proposal should reach the Natanagramam office on or before April 11th 2014 Extension of the date Extension of date for submission of the Proposal is not anticipated. However Natanagramam is at liberty to extend the date for submission is considered necessary. Late Proposal Late Proposals will be considered only if the dates are extended and they cease to be late Proposals. Opening of the price Quotes Price quotes of Proposers qualified in the first round only will be opened. In the event of a decision to invite better competition, Natanagramam will be at liberty to seek more quotes for design and walkthrough. Modification of the Proposals Any of the Proposals will be modified as decided by Natanagramam. Ownership of the content Once submitted, Proposals will be the property of the Guru Gopinath National Dance Museum and GGNDM will be entitled to use them in full or in part for creating the GGNDM. Proposers relinquish their copyright as soon as the Proposal is submitted and will not have any claim whatsoever. Soliciting Part-2 Proposal 6 Part -2 Proposals will be solicited only from qualified Proposers, evaluated on the merit of their Part-1Proposal, experience, reputation and/or quote for Part-2. Previous experience in design, 3D graphics and walk through of exhibitions, Museums or of similar work will be important criteria for being considered for seeking Part-2 Proposals.Natanagramam will solicit the shortlisted Proposers by E mail, SMS and or through letters sent to address provided in the Part- 1Proposal Right to accept/reject/modify and cancel Natanagramam reserves the right to accept, reject, and modify any of the Proposals and/ or to cancel the RFP without assigning any reason. Evaluation of the Proposals The Proposals will be evaluated by the technical committee of the Natanagramam Payment Part-1 Proposals will not be compensated.
Recommended publications
  • Indian Classical Dance Is a Relatively New Umbrella Term for Various Codified Art Forms Rooted in Natya, the Sacred Hindu Musica
    CLASSICAL AND FOLK DANCES IN INDIAN CULTURE Palkalai Chemmal Dr ANANDA BALAYOGI BHAVANANI Chairman: Yoganjali Natyalayam, Pondicherry. INTRODUCTION: Dance in India comprises the varied styles of dances and as with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country. These dance forms emerged from Indian traditions, epics and mythology. Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past. These are: Bharatanatyam- Tamil Nadu Kathak- Uttar Pradesh Kathakali- Kerala Kuchipudi- Andhra Pradesh Manipuri-Manipur Mohiniyattam-Kerala Odissi-Odisha Sattriya-Assam Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of South East Asia as well. In modern times, the presentation of Indian dance styles in films (Bollywood dancing) has exposed the range of dance in India to a global audience. In ancient India, dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times.
    [Show full text]
  • Assamese Film Siraj and Ajala Kakai Portraying Bihu Dance and Songs As Popular Culture
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 7, Ser. 6 (July. 2019) 30-34 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Assamese Film Siraj and Ajala Kakai Portraying Bihu Dance and Songs as Popular Culture Dr. Debasis Bezbaruah Guest FacultyGauhati University Institute of North East India Studies Corresponding Author: Dr. Debasis Bezbaruah ----------------------------------------------------------------------------------------------------------------------------- --------- Date of Submission: 10-07-2019 Date of acceptance: 25-07-2019 --------------------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION Bihu dance and songs are folk media forms of Assam. Folk media forms of Bihu are vibrant among people of Assam. However Bihu as represented by Assamese cinema creates popular culture forms which are distinctly deviates from folk forms.Assamese cinema has a glorious history since the first ever film Joymoti by Jyotiprasad Agarwala in 1935. Cinema forms the popular culture. At the same time cinema itself is popular culture. In the twentieth and in the twenty first century cinema is the most powerful mass media which can overcome all barriers of boundaries and forms a universal platform for human race. Cinema is inseparable from the living process of modern human society. The voice of a society is represented by cinema. The people, life and living process, thoughts and beliefs, cultural ethos are represented by cinema. Cinema can carry the culture of the society where the cinema is made. The story, theme, characters, settings, costumes, music, dance etc. of a cinema showcase the cultural forms of the representative society. Assamese cinema therefore represents the cultural forms of Assamese society in the broad sense. “Although the word culture is part of everyday vocabulary, it’s difficult to define.
    [Show full text]
  • Indian Cultural Dance Logos Free Download Indian Cultural Dance Logos Non Watermarked Dance
    indian cultural dance logos free download indian cultural dance logos non watermarked Dance. Information on North Central Zonal Cultural Centre (NCZCC) under the Ministry of Culture is given. Users can get details of various art forms of various states such as Uttar Pradesh, Bihar, Madhya Pradesh, Rajasthan, Haryana, Uttaranchal and Delhi. Get detailed information about the objectives, schemes, events of the centre. Links of other zonal cultural centers are also available. Website of Eastern Zonal Cultural Centre. The Eastern Zonal Cultural Center (EZCC) is one of the seven such Zonal Cultural Centers set up by the Ministry of Culture with a vision to integrate the states and union territories culturally. Users can get information about the objectives, infrastructure, events, revival projects, etc. Details about the member states and their activities to enhance the cultural integrity are also available. Website of Indira Gandhi National Centre for the Arts. The Indira Gandhi National Centre for the Arts (IGNCA) under the Ministry of Culture is functioning as a centre for research, academic pursuit and dissemination in the field of the arts. Information about IGNCA, its organizational setup, functions, functional units, regional centres, etc. is given. Details related to archeological sites, exhibitions, manuscripts catalogue, seminars, lectures. Website of Jaipur Kathak Kendra. Jaipur Kathak Kendra is a premier Institution working for Training, Promotion & Research of North Indian Classical Dance Kathak. It was established in the year 1978 by the Government of Rajasthan and formally started working from 19th May 1979. Website of North East Zone Cultural Centre. North East Zone Cultural Centre (NEZCC) under Ministry of Culture aims to preserve, innovate and promote the projection and dissemination of arts of the Zone under the broad discipline of Sangeet Natak, Lalit Kala and Sahitya.
    [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]
  • The Role of Indian Dances on Indian Culture
    www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts.
    [Show full text]
  • Rajasthan Tour Itinerary V. 5
    Exclusive Tour of the Music, Dance and Spiritual Worlds of Rajasthan, India 2016 With Yuval Ron & Sajida Ben-Tzur Take a journey full of rare musical encounters, exquisite dancing, sacred Sufi shrines, stunning landscapes, temples, desert tribal parties and the festive celebrations of Rajasthan 14 glorious days - February 14-27, 2016 The sights of India’s impressive landscapes are the glorious backdrop for a special excursion that enables an intimate, unique introduction to India through its tribal musical culture and the special inhabitants of the Rajasthan desert. Rajasthan (Raj – royal, sthan – land/state) is one of the most colorful states in India. It is a desert region abounding in classical and ancient traditions, where palaces, temples, fortresses and royalty exist alongside villages and tribes. Music in India, and especially in Rajasthan, is a principal part of religious rituals setting the tone for holidays and wedding ceremonies. This music, played for kings when they went off to battle, accompanies the Sufi festivities and provides entertainment for the high society. Bringing the various religions and classes together, the music of Rajasthan opens a door to the fascinating cultural worlds that are the focus and inspiration for this special journey. Sajida Ben-Tzur, our tour guide, is a dancer of Kathak classical Indian and the Rajasthani folk dance traditions, an Indian Chef and the daughter of a Sufi Sheikh from Rajasthan. Sajida (pronounced SAJ-DA) has met and worked with many of the most exceptional musicians in this region. This tour facilitates a personal connection with Rajasthan’s landscapes and people through the ears, the eyes and especially the heart! Feb 14-15, 2016 - Day 1-2: Flight to India Depart on a flight of your choice to Delhi, India.
    [Show full text]
  • Education 320
    CHAPTER Education 320 Kerala State Planning Board 321 Education Education in the present day context is perhaps the single most important means for indi- viduals to improve personal endowments, build capacity levels, overcome constrain, and in the process enlarge their available set of opportunities and choices for a sustained improvement in wellbeing. It is not only a means to enhance human capital, productivity and hence, com- pensation to labour, but it is equally importance for enabling the process of acquisition, as- similation and communication of information and knowledge, all of which augments a person’s quality of life. Education is important not merely as means to other ends, but it is an attribute that is valued in itself, by most individuals. The education system has achieved the objective of providing access, but we need to take determined steps to align the overall system to the national system, requiring some structural changes. 12.2 Public spending on education has been more or less equitably distributed between the sexes and among different social groups and regions in the state. The state is making con- certed efforts in sustaining the achievements in the elementary education sector and improv- ing the quality of secondary, higher, technical education and research. Literacy 12.3 Literacy is a basic step towards education, which is a process of life learning and an entry point to the world of communication and information. Traditionally literacy has been commonly defined as the ability to read and write at an adequate level of proficiency that is necessary for communication. More recently however, literacy has taken on several meanings.
    [Show full text]
  • Kalbeliya Dance
    Kalbeliya Dance drishtiias.com/printpdf/kalbeliya-dance Why in News Recently, due to Covid-19-Pandemic an app called chendavia is gaining popularity among the students of kalbeliya dance. Key Points 1/3 About: Kalbeliya dances are an expression of the Kalbelia community’s traditional way of life. It is associated with a Rajasthani tribe of the same name. It was included in the United Nations Educational, Scientific and Cultural Organizations (UNESCO) list of Intangible Cultural Heritage (ICH) in 2010. UNESCO’s List of Intangible Cultural Heritage is made up of those intangible heritage elements that help demonstrate diversity of cultural heritage and raise awareness about its importance. It was established in 2008 when the Convention for Safeguarding of the Intangible Cultural Heritage came into effect. The dance form consists of swirling; graceful movements that make this dance a treat to behold. The movements associated with the Kalbelia also make it one of the most sensuous forms of folk dance in India. It is generally performed for any joyous celebration and is considered to be an integral part of the Kalbeliya culture. Another unique aspect of the Kalbelia dance is that it is only performed by women while the men play the instruments and provide the music. Instruments & Dress: Women in flowing black skirts dance and swirl, replicating the movements of a serpent, while men accompany them on the “khanjari” instrument and the "poongi", a woodwind instrument traditionally played to capture snakes. The dancers wear traditional tattoo designs, jewellery and garments richly embroidered with small mirrors and silver thread. Kalbeliya Songs: They disseminate mythological knowledge through stories.
    [Show full text]
  • Dances Inscribed in the UNESCO Intangible Cultural Heritage of Humanity a List Compiled by Alkis Raftis
    Dances inscribed in the UNESCO Intangible Cultural Heritage of Humanity A list compiled by Alkis Raftis www.CID-world.org/Cultural-Heritage/ The International Dance Council CID, being the official organization for dance, presents a list of dances recognized by UNESCO as part of the Cultural Heritage of Humanity. Dances are part of many customs or rituals included either in the Representative List or the Urgent Safeguarding List. I have listed below only cultural manifestations where dance is ​ the central part. ​ For information visit www.CID-world.org/Cultural-Heritage/ ​ Send comments to the CID Secretariat or CID Sections in the respective countries. Representative List & Urgent Safeguarding List 2018 Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan - Azerbaijan Khon, masked dance drama in Thailand - Thailand Mooba dance of the Lenje ethnic group of Central Province of Zambia - Zambia Mwinoghe, joyous dance - Malawi 2017 Zaouli, popular music and dance of the Guro communities in Côte d’Ivoire - Côte d'Ivoire Kushtdepdi rite of singing and dancing - Turkmenistan Kolo, traditional folk dance - Serbia Kochari, traditional group dance - Armenia Rebetiko – Greece Taskiwin, martial dance of the western High Atlas - Morocco 2016 Almezmar, drumming and dancing with sticks - Saudi Arabia Momoeria, New Year's celebration in eight villages of Kozani area, West Macedonia, Greece - Greece Music and dance of the merengue in the Dominican Republic - Dominican Republic Rumba in Cuba, a festive combination of music and dances and all
    [Show full text]
  • Kerala University Youth Festival Items and Rules
    2 UNIVERSITY OF KERALA KERALA UNIVERSITY YOUTH FESTIVAL RULES (Abstract) Rules: Kerala University Youth Festival Rules - Regarding 1. These rules may be called the “Kerala University Youth Festival Rules”. Department of Student Services 2. In these rules unless the context otherwise requires:- a. “Act” means the Kerala University Act 1974; No. DSS/19/KUYF/2000 Dated, Thiruvananthapuram, 08-02-2000 b. “College” means any educational institution maintained by or affiliated to the University of Kerala; c. “Judges” means persons appointed to pronounce a decision in a contest or competition. Read: (1) Item No. 55 of the minutes of the meeting of the Syndicate held on 1-12-1984 3. Object : The object of these rules, is to codify and co-ordinate the rules governing the conduct of the various competitions to be held in (2) Item No. 45 of the meeting of the Syndicate held on 9th November 1999. the youth festivals, at the college and University level. 4. Applicability : These rules shall be applicable to the Youth Festivals conducted at the College and University level. O R D E R 5. Competitions shall be conducted in the item mentioned in The Syndicate at its meeting held on 1-12-1984 considered the the Schedule I appended hereto in the Youth Festivals held at the College level as well as at the University level. minutes of the Standing Committee on Student Services held on 16-11-1984 and resolved that the minutes of the meeting of the Standing 6. College level Competition : College level competitions are Committee on Student Services held on 16-11-1984 be approved and to be held not later than the second week of November every year, the syndicate at its meeting held on 9-11-1999.
    [Show full text]
  • The Dance Seminar
    Dr. V. Raghavan reading his paper. THE DANCE • A Brief Day to SEMINAR • Day Account he Seminar on the dance arts of India, the regard for authentic traditions, irrespective of T first of its kind to be organised by the linguistic and regional differences or attach­ Sangeet Natak Akademi, was inaugurated ments. at Vigyan Bhavan, New Delhi, on March 30, 1958, by Dr. P.V. Rajamannar, Chairman of "India has been famous for its spirit of the Akademi. Over 350 artists and 40 scholars tolerance in religious matters", he pleaded, "and and critics participated in the Seminar. I do not see why a similar spirit of tolerance cannot be shown in matters of art, particularly The Secretary of the Akademi, Miss Nirmala music and dance." Joshi, in her report, outlined the objects and A Misnomer ideals of the Akademi and narrated its various activities and achievements. Emphasising the need for new forms, Dr. Rajamannar asked that, apart from the preser­ Dr. Rajamannar, in his opening address, vation of old traditions, was there no scope for pointed out the existing spirit of rivalry, intole­ the creation of new forms? His answer was rance and misunderstanding between the 'yes', "provided the inspiration is genuine and different schools or systems of music and dance the creation is authentic and original and not all over the country and pleaded for more a mere imitation". He was of the view that the sympathy, understanding and appreciation of word 'Bharata Nat yam' as it was used now, the various styles that existed in this vast land.
    [Show full text]
  • TEA-STO-30..TEA-STO-30.1 .. Page1
    Ashish Mohan Khokar INDIAN DANCE TODAY. AN HISTORICAL OVER-VIEW [Ashish Mohan Khokar è probabilmente il più importante critico e studioso di danza in India. Ha studiato danza, ha lavorato in diverse accademie di danza, è critico del principale quotidiano indiano, «The Times of India», collabora con diversi altri quotidiani, è il direttore dell’unico Annale di danza in India, «Attendance». Ha scritto molti li- bri sulla danza. E` figlio di Mohan Khokar, senz’altro il più grande stu- dioso di danza indiano dell’ultima generazione. Sta creando il primo Archivio di Danza in India, partendo dall’immensa collezione del pa- dre. Per maggiori dettagli si possono vedere: www.attendance- india.com e www.dancearchivesofindia.com.] Indian classical dance traditions have been borne out of a sense of propitiation of the divinity. A certain spiritual content has always been its mainstay. It has also been essentially the art of a soloist, ex- cept in dance-theatre forms. Over two thousand unbroken years, it has grown to become the longest continuous dance culture, afford- ing an interesting insight into man and his relationship to stage in general and dance art, in particular. Its classical nature comes through by a set of code of grammar, content and concept. Thus, if in one form, the knees are to be bent while performing and a half-sitting position maintained all through, then it cannot be altered. The position of hands, the use of eyes, neck, torso and feet, all go towards making dance units, which be- come strings of movements, through which individual characteristics and a grammar is set which makes each form distinct and thus, with age and tradition, classical.
    [Show full text]