Unit 5 : Materrial Culture of Assam
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Numbers in Bengali Language
NUMBERS IN BENGALI LANGUAGE A dissertation submitted to Assam University, Silchar in partial fulfilment of the requirement for the degree of Masters of Arts in Department of Linguistics. Roll - 011818 No - 2083100012 Registration No 03-120032252 DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGE ASSAM UNIVERSITY SILCHAR 788011, INDIA YEAR OF SUBMISSION : 2020 CONTENTS Title Page no. Certificate 1 Declaration by the candidate 2 Acknowledgement 3 Chapter 1: INTRODUCTION 1.1.0 A rapid sketch on Assam 4 1.2.0 Etymology of “Assam” 4 Geographical Location 4-5 State symbols 5 Bengali language and scripts 5-6 Religion 6-9 Culture 9 Festival 9 Food havits 10 Dresses and Ornaments 10-12 Music and Instruments 12-14 Chapter 2: REVIEW OF LITERATURE 15-16 Chapter 3: OBJECTIVES AND METHODOLOGY Objectives 16 Methodology and Sources of Data 16 Chapter 4: NUMBERS 18-20 Chapter 5: CONCLUSION 21 BIBLIOGRAPHY 22 CERTIFICATE DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGES ASSAM UNIVERSITY SILCHAR DATE: 15-05-2020 Certified that the dissertation/project entitled “Numbers in Bengali Language” submitted by Roll - 011818 No - 2083100012 Registration No 03-120032252 of 2018-2019 for Master degree in Linguistics in Assam University, Silchar. It is further certified that the candidate has complied with all the formalities as per the requirements of Assam University . I recommend that the dissertation may be placed before examiners for consideration of award of the degree of this university. 5.10.2020 (Asst. Professor Paramita Purkait) Name & Signature of the Supervisor Department of Linguistics Assam University, Silchar 1 DECLARATION I hereby Roll - 011818 No - 2083100012 Registration No – 03-120032252 hereby declare that the subject matter of the dissertation entitled ‘Numbers in Bengali language’ is the record of the work done by me. -
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. -
Assam - a Study on Bihugeet in Guwahati (GMA), Assam
International Journal of Science and Research (IJSR) ISSN: 2319-7064 Impact Factor (2018): 7.426 Female Participation in Folk Music of Assam - A Study on Bihugeet in Guwahati (GMA), Assam Palme Borthakur1, Bhaben Ch. Kalita2 1Department of Earth Science, University of Science and Technology, Meghalaya, India 2Professor, Department of Earth Science, University of Science and Technology, Meghalaya, India Abstract: Songs, instruments and dance- the collaboration of these three ingredients makes the music of any region or society. Folk music is one of the integral facet of culture which also poses all the essentials of music. The instruments used in folk music are divided into four halves-taat (string instruments), aanodha(instruments covered with membrane), Ghana (solid or the musical instruments which struck against one another) and sushir(wind instruments)(Sharma,1996). Out of these four, Ghana and sushirvadyas are being preferred to be played by female artists. Ghana vadyas include instruments like taal,junuka etc. and sushirvadyas include instruments that can be played by blowing air from the mouth like flute,gogona, hkhutuli etc. Women being the most essential part of the society are also involved in the process of shaping up the culture of a region. In the society of Assam since ancient times till date women plays a vital role in the folk music that is bihugeet. At times Assamese women in groups used to celebrate bihu in open spaces or within forest areas or under big trees where entry of men was totally prohibited and during this exclusive celebration the women used to play aforesaid instruments and sing bihu songs describing their life,youth and relation with the environment. -
Cultures of Instrument Making in Assam Upatyaka Dutta
Cultures of Instrument Making in Assam Upatyaka Dutta As Assam slowly recovers from the double whammy of COVID-19 pandemic and floods, I utilized every little opportunity to visit instrument makers living in the interior villages of Assam. My first visit was made to a Satra (Neo-vaishnavite monastery) by the name of Balipukhuri Satra on the outskirts of Tezpur (Sonitpur district), the cultural capital of Assam. There in the Satra, the family introduced me to three hundred years old folk instruments. A Sarinda, which is an archaic bowed string instrument, turns out to be one of their most prized possessions. Nobody in the family is an instrument maker, however, their ancestors had received the musical instruments from an Ahom king almost three hundred years back. The Sarinda remains in a dilapidated condition, with not much interest given to its restoration. Thus, the sole purpose that the instrument is serving is ornamentation. Fig 1: The remains of a Sarinda at Balipukhuri Satra The week after that was my visit to a village in Puranigudam, situated in Nagaon district of Assam. Two worshippers of Lord Shiva, Mr. Golap Bora and Mr. Prafulla Das, told tales of Assamese folk instruments they make and serenaded me with folk songs of Assam. Just before lunchtime, I visited Mr. Kaliram Bora and he helped me explore a range of Assamese instruments, the most interesting among which is the Kali. The Kali is a brass musical instrument. In addition to making instruments, Kaliram Bora is a well-known teacher of the Kali and has been working with the National Academy of Music, Dance and Drama’s Guru-shishya Parampara system of schools to imbibe education in Kali to select students of Assam. -
The Classical Tradition in the Vaisnava Music of Assam
The Classical Tradition in the Vaisnava Music of Assam Maheswar Neog --- www.atributetosankaradeva.org presents before the readers a pioneering paper on the Vaisnava music of Assam, authored by Dr. Maheswar Neog. It covers virtually every aspect of the music of the Sankaradeva Movement (and also touches upon other traditions of music in Assam). As is evidenced by some of its references, this paper was written in the early part of the latter half of the 20th century when Bargit research was still at a nascent stage. We have retained these references as they reflect the important milestones in the progress of research on the Sankaradeva Movement in Assam. The paper is redacted from the Journal of the Srimanta Sankaradeva Research Institute, Nagaon (2006). Editing note(s):- Diacritics has been used sparingly; only the long diacritic (macron) pertaining to a/A has been highlighted and that too, depending upon the context. --- We do not have any particular evidence to show what exact type of music was prevalent in Assam anterior to the spread of the wave of neo-Vaisnavism which was ushered into the valley of the Brahmaputra in the last decades of the 15th and the initial decades of the 16th century by Sankaradeva. We are left to our imagination in this matter; but this imagination can be based on the evidence of the writings of a few pre- Sankaradeva poets, and the song compositions of at least two poets, Mankara and Durgavara, who seem to have remained outside of the neo-Vaisnava circle of Sankaradeva. In the early period of Assamese literature preceding the neo-Vaisnava movement of the last part of the 15th century and the early part of the 16th, the Ramayana and portions of the Mahabharata were rendered into Assamese verse; and these verses were put to ragas or recited in simple tunes. -
The Systems of Digging Ponds by the Ahoms, the Greater Tai Tribe in the North-East India
International Journal of Management Volume 11, Issue 09, September 2020, pp. 657-662. Article ID: IJM_11_09_061 Available online at http://iaeme.com/Home/issue/IJM?Volume=11&Issue=9 Journal Impact Factor (2020): 10.1471 (Calculated by GISI) www.jifactor.com ISSN Print: 0976-6502 and ISSN Online: 0976-6510 DOI: 10.34218/IJM.11.9.2020.061 © IAEME Publication Scopus Indexed THE SYSTEMS OF DIGGING PONDS BY THE AHOMS, THE GREATER TAI TRIBE IN THE NORTH-EAST INDIA Dr. Nandita Goswami Nagaon, Assam, India ABSTRACT The meaning of the word ‘Ahom’ in local language of Assam is “Tai People’. The Ahoms are the biggest Tai tribe of North-East India. They reined Assam for six hundred years in the medieval era. They are the descents of Prince Chaolong Su-Ka-Pha who was hailing from the area of Chipchong Panna Dehang of Yunnan Province of China. The course of time they came to be known as the Ahom. They started the process of writing History for the first time in this part of the sub-continent. The period of their rule (1228 AD to 1826 AD) is named as Ahom Yug (Ahom Era). They were very advance in science and technology. The artistic construction and architectural technology of Ahom dynasty was unparalleled and bewildering. The creative and aesthetic designs built hundreds of year ago with unbelievable scientific analysis create inquisitiveness even today. Out of many such creations, one that has long been talked about is the systems of digging voluminous ponds. The most spectacular characteristic of those ponds is that, both during summer and winter season, the water level remains unchanged. -
Documentation on Life and Culture of Deori
DOCUMENTATION ON LIFE AND CULTURE OF DEORI CONDUCTED BY ASSAM INSTITUTE OF RESEARCH FOR TRIBALS AND SCHEDULED CASTES, JAWAHARNAGAR, KHANAPARA, GUWAHATI-781022 1 INTRODUCTION : The word Deori is derived from Sanskrit word Devagrihik. The meaning of Deori is the people who know Deo or Gods or Goddess and worship with devotion “De” means God, “U” means offering and “Ri” means manner or system. Those who know the proceedings of the Puja, and perform sacrifice before the deities are called Deoris. There are four broad divisions amongst the Deoris viz. Dibangias, Tengapanias, Borgoyan and Patorgonga. There divisions are called „Gayan‟ (Khel). Each of the divisions is said to be originated from a particular river or place name. The group settled on the banks of the river Dibang is called Dibangia. The group settled on the banks of river Tengapani is called Tengapania and the group settled on the banks of river Borpani or Bargang is called Borgoyan. The other group living at Patsadiya was known as Patorgonya. But at present existence of this group is not traced. Perhaps due to acculturation and assimilation process the members of the group were amalgamated with other communities. The name Borgoyan is said to have originated from the great number of households (Jakhela) in the village. It is said the village had one hundred and eighty households hence Bargaon / Borgand or Bargonya. Although the Deoris of present generation refuse to accept the prevailing notion that Deoris were one of the divisions of Chutiyas, and they were only priests of the Chutiya kings, yet the linkage of Chutiyas with the Deoris cannot be underestimated. -
SUFIS and THEIR CONTRIBUTION to the CULTURAL LIFF of MEDIEVAL ASSAM in 16-17"' CENTURY Fttasfter of ^Hilojiopl)?
SUFIS AND THEIR CONTRIBUTION TO THE CULTURAL LIFF OF MEDIEVAL ASSAM IN 16-17"' CENTURY '•"^•,. DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF fttasfter of ^hilojiopl)? ' \ , ^ IN . ,< HISTORY V \ . I V 5: - • BY NAHIDA MUMTAZ ' Under the Supervision of DR. MOHD. PARVEZ CENTRE OF ADVANCED STUDY DEPARTMENT OF HISTORY ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2010 DS4202 JUL 2015 22 CENTRE OF ADVANCED STUDY Department of History Aligarh Muslim University Aligarh-202 002 Dr. Mohd. Parwez Dated: June 9, 2010 Reader To Whom It May Concern This is to certify that the dissertation entitled "Sufis and their Contribution to the Cultural Life of Medieval Assam in 16-17^^ Century" is the original work of Ms. Nahida Muxntaz completed under my supervision. The dissertation is suitable for submission and award of degree of Master of Philosophy in History. (Dr. MoMy Parwez) Supervisor Telephones: (0571) 2703146; Fax No.: (0571) 2703146; Internal: 1480 and 1482 Dedicated To My Parents Acknowledgements I-11 Abbreviations iii Introduction 1-09 CHAPTER-I: Origin and Development of Sufism in India 10 - 31 CHAPTER-II: Sufism in Eastern India 32-45 CHAPTER-in: Assam: Evolution of Polity 46-70 CHAPTER-IV: Sufis in Assam 71-94 CHAPTER-V: Sufis Influence in Assam: 95 -109 Evolution of Composite Culture Conclusion 110-111 Bibliography IV - VlU ACKNOWLEDGEMENTS It is pleasant duty for me to acknowledge the kindness of my teachers and friends from whose help and advice I have benefited. It is a rare obligation to express my gratitude to my supervisor Dr. Mohd. -
List of Officers Who Attended Courses at NCRB
List of officers who attened courses at NCRB Sr.No State/Organisation Name Rank YEAR 2000 SQL & RDBMS (INGRES) From 03/04/2000 to 20/04/2000 1 Andhra Pradesh Shri P. GOPALAKRISHNAMURTHY SI 2 Andhra Pradesh Shri P. MURALI KRISHNA INSPECTOR 3 Assam Shri AMULYA KUMAR DEKA SI 4 Delhi Shri SANDEEP KUMAR ASI 5 Gujarat Shri KALPESH DHIRAJLAL BHATT PWSI 6 Gujarat Shri SHRIDHAR NATVARRAO THAKARE PWSI 7 Jammu & Kashmir Shri TAHIR AHMED SI 8 Jammu & Kashmir Shri VIJAY KUMAR SI 9 Maharashtra Shri ABHIMAN SARKAR HEAD CONSTABLE 10 Maharashtra Shri MODAK YASHWANT MOHANIRAJ INSPECTOR 11 Mizoram Shri C. LALCHHUANKIMA ASI 12 Mizoram Shri F. RAMNGHAKLIANA ASI 13 Mizoram Shri MS. LALNUNTHARI HMAR ASI 14 Mizoram Shri R. ROTLUANGA ASI 15 Punjab Shri GURDEV SINGH INSPECTOR 16 Punjab Shri SUKHCHAIN SINGH SI 17 Tamil Nadu Shri JERALD ALEXANDER SI 18 Tamil Nadu Shri S. CHARLES SI 19 Tamil Nadu Shri SMT. C. KALAVATHEY INSPECTOR 20 Uttar Pradesh Shri INDU BHUSHAN NAUTIYAL SI 21 Uttar Pradesh Shri OM PRAKASH ARYA INSPECTOR 22 West Bengal Shri PARTHA PRATIM GUHA ASI 23 West Bengal Shri PURNA CHANDRA DUTTA ASI PC OPERATION & OFFICE AUTOMATION From 01/05/2000 to 12/05/2000 1 Andhra Pradesh Shri LALSAHEB BANDANAPUDI DY.SP 2 Andhra Pradesh Shri V. RUDRA KUMAR DY.SP 3 Border Security Force Shri ASHOK ARJUN PATIL DY.COMDT. 4 Border Security Force Shri DANIEL ADHIKARI DY.COMDT. 5 Border Security Force Shri DR. VINAYA BHARATI CMO 6 CISF Shri JISHNU PRASANNA MUKHERJEE ASST.COMDT. 7 CISF Shri K.K. SHARMA ASST.COMDT. -
Classical Music in Assam
CLASSICAL MUSIC IN ASSAM Dr. Maheswar Neog There has been a strong tradition ofthe culture of music in Assam (or ancient Kamarupa) from the earliest times. When the great Chinese traveller Hiuen-tsang visited the capital ofthe seventh century Kamarupa king, Bhaskaravarman, the holy guest was entertained with music and dances almost everyday for a month. It is further held that a maid-in waiting, who was adept in dancing and music, died on the funeral pyre of Bhaskaravarman, a great lover of these arts. King Vanamalavarman of Kamarupa (orh century) erected a temple to Hatakasulin Siva, and this was properly endowed with dan seuse. In the copperplate inscription of this king, the boats on the waves of the Lauhitya, or Brahmaputra, are likened to dancing women agitated at the approach of male dancers. In the Bargaon inscription of another succeeding Kamarupa monarch, Ratnapala, obeisance is paid to Natesvara Sankara, the master of dances, always exhibiting tandava. Indrapala of the same dynasty is eulogised in an inscription as anavadyavidyadhara. Among the early sculptural remains we fmd many dancing figures, and men playing on different types ofdrums, flute and vina. In the tantric, text, Kalika-purana, written at Kamarupa in the IIth or rzrh century, there are several references to vocal and instrumental music in connection with different rituals. The sixteen-armed Maha maya, for example is to be worshipped with certain music in the autumn, SANGEET NATAK 14 the eighteen-armed goddess likewise is to be adored on mahanavami day. It has been ordained in this tantra that kings, seeking victory in wars, should have the army worshipped by women performing music and dance. -
The Music Academy, Madras 115-E, Mowbray’S Road
THE JOURNAL THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC VoLXXIX 1958 Parts I-1V silt si i m iiwfer m farmfo u “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; where my Bhaktas sing, there be I, Narada ! ” EDITED BY V. RAGHAVAN, m .a ., p h .d . 1959 PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription :—Inland Rs. 4 : Foreign 8 sh. Post paid. A11 correspondence should be addressed to Dr. V. Raghavan, Editqr,Journal of the Music Academy. * Articles on musical Subjects,are accepted for publication; on the understandihg that they .are contributed solely to the Journal of the Music Academy. • n All’manuscripts should be legibly written or preferably typewrit ten (double spaced—on one side of the paper only) and should be signed by the writer giving his address in full. ^ All .articles and communications intended for publication should reach the office at least one month before the date of publication (ordinarily the 15th of the* 1st month in each quarter). n The Editor of the. Journal is not responsible for the views expres sed by individual contributors. v All advertisements intended for publication should, reach the office not later than the 1st of the first month of each quarter. All books, moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan, Editor. *• f ADVERTISEMENT CHARGES COV&R PA G ES: Full Page Half page A.• f Back (outside) Rs. -
International Seminar on Assamese Culture & Heritage
International Seminar on Assamese Culture & Heritage 07th July 2018 Centre for Heritage Studies University of Kelaniya Sri Lanka Editorial Board Prof. Anura Manatunga Ms. Piyumi Embuldeniya Ms. Apeksha Embuldeniya Mr.Aditya Abeysinghe Ms. T. D. H. Darsha Page Layout Ms. Apeksha Embuldeniya Ms. Piyumi Embuldeniya Cover Page Design Ms. T. D. H. Darsha ISBN 978-955-704-079-0 Message from the Vice Chancellor University of Kelaniya It is an honour for me to write these words as the Vice-Chancellor of the University of Kelaniya for the International Seminar on Assamese Culture and Heritage - 2018 of Centre for Heritage Studies, University of Kelaniya. As a leading higher educational institution, University of Kelaniya is organizing National and International Conferences under various themes as we always encourage the exposure to new knowledge. In this context Centre for Heritage Studies plays an important role by organizing an International Conferences, International Seminars, National Workshops, and International and National Lecture Series. This International Seminar provides an impressive opportunity to sharing knowledge on Assamese Culture and Heritage. I wish to congratulate the Director of Centre for Heritage Studies, the Deputy Director of Centre for Heritage Studies and the organizing committee of the International Seminar on Assamese Culture and Heritage - 2018 for their notable efforts towards this event. Professor D. M. Semasinghe Vice Chancellor University of Kelaniya 1 Message from the Deputy Vice Chancellor University of Kelaniya It is indeed a great honor for me to offer this message for the International Seminar on Assamese Culture and Heritage - 2018 organized by the Centre for Heritage Studies, University of Kelaniya.