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Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Self Study Report of SHREEMATI NATHIBAI DAMODAR THACKERSEY ARTS and COMMERCE COLLEGE for WOMEN, PUNE
Self Study Report of SHREEMATI NATHIBAI DAMODAR THACKERSEY ARTS AND COMMERCE COLLEGE FOR WOMEN, PUNE- SELF STUDY REPORT FOR 3rd CYCLE OF ACCREDITATION SHREEMATI NATHIBAI DAMODAR THACKERSEY ARTS AND COMMERCE COLLEGE FOR WOMEN, PUNE- SNDT ARTS AND COMMERCE COLLEGE FOR WOMEN, MAHARSHI KARVE VIDYA VIHAR, KARVE ROAD, PUNE 411038 www.sndtarts.ac.in Submitted To NATIONAL ASSESSMENT AND ACCREDITATION COUNCIL BANGALORE November 2020 Page 1/116 20-05-2021 04:11:24 Self Study Report of SHREEMATI NATHIBAI DAMODAR THACKERSEY ARTS AND COMMERCE COLLEGE FOR WOMEN, PUNE- 1. EXECUTIVE SUMMARY 1.1 INTRODUCTION The SNDT Arts and Commerce College for Women is the first women's college in South-East Asia. It was founded by Bharatratna Maharshi Dhondo Keshav Karve on 5 July 1916, with five students. This College is the Parent Institution of the SNDT Women’s University, Mumbai. Today, it functions as a Constituent College of this University. It is situated in the Pune campus of SNDT Women's University at Karve Road, Pune. The vision of the great social reformer, Bharatratna Maharshi Dhondo Keshav Karve, was translated into reality by the foundation of this College. With this College, he founded Indian Women's University. With generous support from Sir Vitthaldas Thackersey, an industrialist with social orientation, this University was named as Shreemati Nathibai Damodar Thackersey (SNDT) Women’s University, in the year 1920. The head office of the University was shifted to Mumbai in 1936. In the year 1951, the University acquired statutory recognition from the Government of Maharashtra along with the rare privilege of jurisdiction across the country. -
The Famous Car Festival of Puri
July - 2013 Odisha Review The Famous Car Festival of Puri Rabindra Kumar Behuria The historic Car Festival of Puri in Odisha is an Fa-hien, the Chinese traveller in 4th century have important facet of Hindu civilisation in Indian described the Car Festival in Khotan, a city in Peninsula since ages. It is important because it West China, where the image of Buddha was annually registers global brotherhood and offers installed in chariot, and the king of Khotan used an unprecedented access to the humanity at large to sprinkle water and sweep the chariot in to come closer to the divinity. Man and God and broomstick. It was observed in the month of June, God and Man become one in the Ratha Jatra. which synchronizes with the period of Car Festival No distinction in whatever form exists. at Puri. He has also seen the Car Festival at Pataliputra on the birth day of Buddha. From such The Car Festival of Lord Jagannath, Puri historical evidences this scholar infer that Car is a popular Festival celebrated all over the world. Festival at Puri have its source from Buddhism. Even in Communist country like Russia, a city has been named as ‘Purusottam Kshetra’ and festival is observed with intense enthusiasm by the mass. The ISKCON devotees have spread the message of the Lord all over the world and by the year 1997, in 62 foreign countries this festival is observed. Some historians ascribe the origin of the Car Festival to Buddhist Convention. 35 Odisha Review July - 2013 The Rig Vedic sloka runs thus: scholars have described the Car Festival in their own way as far as back 1321 A.D. -
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. -
Issue No. 4 : January, February & March 2020
vfHkO;fDr Abhivyakti West Zone Cultural Centre News Letter Issue No. 4 : January, February & March 2020 eople without the knowledge of their past, origin & culture are like a tree with no roots. Culture represents varied forms of arts with a set of beliefs. Culture has a Pprofound power to help in building a nation. Culture is something, very intrinsic to all, literally shows us who we are. There is a need to do concerted efforts to preserve our heritage, cultural and aesthetic inspirational legacies, so an edifice of identity and oneness for tomorrow can be built upon for new aspiring generations. Cultural diversity brings collective strength to benefit mankind and to inculcate the spirit of humanity. The programmes undertaken by the Centre amply depict how a culture of the country is interwoven with lifestyle and festivals. It is an intrinsic part of social milieu, yet diverse, but has a strong cord of unity throughout the country. This needs to be preserved, protected and disseminated among the masses while keeping its Essence and Soul intact. Director Programmes held during January – February - March 2020 Fort Festival, Chittorgarh, Rajasthan Lokotsav, Goa Camel Festival, Bikaner, Rajasthan Kite Festival, Jaipur Rajasthan Uttarardh Utsav – Classical Dance Festival: Modhera (Guj.) Youth Fest under Ek Bharat Shreshtha Bharat, IIT Kharahpur Republic Day Parade, Rajpath, New Dehli Nagaur Festival, Nagaur, Rajasthan Baneshwar Fair, Dungarpur, Rajasthan Maru Mahotsav, Jaisalmer, Rajasthan Lokanuranjan Mela, Jodhpur, Rajasthan 27th Tribal -
In Laos, Sahai Inferred It As a Probable Precursor for Angkor Vat
Price Re. 1/- -Ihe _@ Inula - I dl-arvInternatlona centre Volume XXX No. 3 May- June 2016 The Irish Rebellion FILM India Premiere of The 1916 Irish Rebellion INTRODUCTION by HE. Mr. Brian Mc Elduff SPEAKERS:Professor Briona Nic Dhiarmada; Dr. Conor Mulvagh COLLABORATlON: Embassy of Ireland 6 May 2016 n 6 May. 2016. the IIC hosted the India premiere of the documentary film. The 19/6 Irish Rebellion, a landmark examination of an event O that shaped the face of Irish history. Narrated by Liam Neeson, the film tells the story of the dramatic events that took place in Dublin during the week of Easter. 1916. when a small group of rebels stood against the might of the British Empire. Using rarely seen and difficult to obtain archival footage of the events. audio files that allow the audience to listen to the leaders of the rebellion. and interviews with leading international experts. the documentary is stunning in how it draws several threads together. The film introduces Ireland as it was in the days of the Empire. and how the earliest seeds of rebellion were sown in the field of culture. not politics. and the role that women played at a time when even the suffragette movement had just moved past its fledgling phase. It also reveals the untold story of the role Irish Americans played in the lead-up to the rebellion. supporting them from the other side of the Atlantic. Although it proved to be a military defeat. the Easter Rising served as the first battleground against the machinery of the British Empire. -
Chapter 5: Biographies
1 © Anjali Nandedkar, nandedkarproductions.com www.swaranjalimusicschool.com Vishaarad Pratham Theory 2006 Syllabus: Akhil Bharatiya Gandharva Mahavidyalay Mandal – India www.abgmvm.org Theory: Written Exam Paper # 2: Chapter 5: Biographies 1. Pandit Baalkrushnabua Ichalkaranjikar 2. Sangeet Choodaamanee Pandit Vinaayakbuvaa Patwardhan 3. Gaanasamraat Ustaad Allaadiyaa Khaansaaheb 4. Pandit Shreekrushna Naaraayan Ratanjankar 5. Ustaad Alaauddin Khaan 6. Sangeet Maartand Onkaarnaath Thaakur 7. Pandit Nikhil Bannarjee 8. Ustaad Bismilla Khaan 2 © Anjali Nandedkar, nandedkarproductions.com 1. Pandit Baalkrushnabua Ichalkaranjikar Maharashtra has produced many individuals who derived inspiration from role models in Indian mythology and lived their lives like respected sages. Gaayanaachaarya Pandit Baalkrushnabuaa Ichalkaranjikar is one of them. He learnt singing style of Gwalior gharaanaa (family or hierarchy) from Pandit Vaasudevbuaa Joshi with great service to his Guru and hard work. Pandit Baalkrushnabuaa Ichalkaranjikar was the first one to introduce and popularize Gwalior gharaanaa gaayakee (singing style) in the state of Mahaaraashtra. He taught his hard earned vocal music to his students and created a musical community. He also brought music to respected peoples’ houses in society and established a dignified place for music. This extraordinary man was born in 1849 near a town of ‘Ichalkaranji’ in a small village called ‘Bedag’. His was a family of priests for generations. However, Baalkrushna ji’s father Raamchandra had learnt a little music and he was a performing vocalist. Hence Raamchandra often travelled to different places. He was very pleased when he noticed that his son’s voice was remarkably capable of fast development. He taught Baalkrushna ji some dhrupads and other arrangements (prabandh). Raamchandra ji wished for his son to be a singer. -
The Changing Contours of Women and Dance in India (A Historical Twilight on Tradition and Transition)
2012 2nd International Conference on Social Science and Humanity IPEDR vol.31 (2012) © (2012) IACSIT Press, Singapore The Changing Contours of Women and Dance in India (A Historical Twilight on Tradition and Transition) ∗ Prabhu Kumari Vanama PG Dept of Historical Studies, Bharathi Women’s College, Chennai, India Abstract. A sweeping look at the magnificence of the Indian women through the forms, characteristics, challenges and changes occurred and are still occurring in traditional dance, forms the theoretical and pictorial substance of this study. At one level, it is a historical compendium of classical dance, an exploration of its’ moods and majesty, an ode to its sublime aesthetics and at another level, it is a stunning scholarly portrayal of a pluralistic society teeming with feminine cultural vitality. Keywords: Women, Bharathanatyam,, Kathak, Kuchipudi, Manipuri, Mohiniattam, Odissi. 1. Introduction According to Natyashastra or the treatise of Classical Dance “The Body should catch up to the tune, the hands must explain the meaning, the eyes must speak the emotion, and the feet must beat the time-measure” [1]. Bharatha’s Natyashastra which is popularly styled as Panchama Veda [2] speaks about 108 dance postures which constitute the basic structure of any classical dance and women whose mind as well as physic that is best suitable for this dance divine, naturally inclined towards dance from the inception of this universe. Women of India succeeded in developing an individual style which is a blend of the typical features of many Paramparas with the distinct stamp of their individuality. Basically, there are two types of dancing – Theatrical Dancing and then Social Dancing. -
Slow Moving Titles for Sale in IHC Library S
Slow moving titles for sale in IHC Library S. no. Accn No. Title Details 1 B8914 Service-oriented architecture: a planning and implementation / Marks, Eric A., 2006 004.068 MARK 2 B5668 India: e-readiness assessment report 2003 004.0954 INDI 3 B9487 Digital review of Asia Pacific 2007-2008 / Librero, Felix, ed., 2008 004.165 DIGI 4 B6990 Webs of history: information, communication and technology / Bagchi, Amiya Kumar, ed., 2005 004.62 WEBS 5 B488 Doing business on the internet / Collin, Simon, 1998 004.678 COLL 6 B2199 Web.studies: rewriting media studies for the digital age / Gauntlett, David, ed., 2000 004.678 WEBS 7 B7422 Information security policies and actions in modern integrat / Fugini, Mariagrazia, 2004 005.8 FUGI 8 B2435 Effective literature searching for research / Gash, Sarah, 2000 020.72 GASH 9 B5340 Implementing digital reference service: setting standards / Lankes, R. David, ed., 2003 025.52 IMPL 10 B8259 Encyclopaedia Britannica almanac 2006 030 ENCY 11 B8563 Guinness world records 2007 / Freshfield, Jackie, ed., 2007 030 GUIN 12 B11815 Limca book of records 2012: India at her best / Ghose, Vijaya, ed., 2012 030 LIMC 13 B9473 Time almanac 2008 / Britannica, 2008 030 TIME 14 B9241 Whitaker's almanac 2007 030 WHIT 15 B8843 The World Almanac and book of facts 2007 030 WORL Page 1 of 46 16 B8419 Indiastat top 10 of India 2006: a year book / Thukral, R. K., ed., 2006 030.954 INDI 17 B9552 Indiastat India top 10 yearbook 2008: key statistics / Thukral, R. K, ed., 2008 030.954 INDI 18 B11026 India 2010: a reference annual / India. -
Yuva Bharati Flexibility and Graceful and Convincing Abhinaya (Mime), Which Reflects a Rare Depth
towards Bharatanatyam. Her refreshing approach to Bharatanatyam has won her many accolades and praise from critics and dance lovers around the world. Janaki is known for her precision in Nritta (rhythm), outstanding Yuva Bharati flexibility and graceful and convincing Abhinaya (mime), which reflects a rare depth. She is also an accomplished dance choreographer and teacher. A Presents recipient of many accolades, Janaki has received the Kala Rathna award, Odissi by Sujata Mohapatra Yagnaraman Award of Excellence, MetroDC Dance award, Nadanamamani and award. Janaki has performed at various prestigious venues around the Bharatanatyam by Janaki Rangarajan world. In 2014, Janaki performed in the USA, Canada, India, Chile, Argentina, France, Germany, Sweden and Latvia. For more informatio n, June 14 th , 2015, 4:00 pm visit www.janakirangarajan.com. Mission Center of Performing Arts, Santa Clara www.yuvabharati.org Mangalacharan - Shantakaram - Sujata Raag: Gujari Todi Taal: Ekatali and Triputa Choreography: Guru Ratikant Mohapatra Music : Sri Bijay Kumar Jhena Swara Lahari Mangalacharan is the first piece in an Odissi recital, which marks an auspicious beginning by the dancer. The central piece, Shantakaram, is a prayer describing Vishnu, the preserver God as the embodiment of peace. From His naval arises a Enjoy Classical Indian Music lotus holding the creator of the Universe, Brahma. He is the Lord of the Gods, (Karnatik and Hindustani) who is the support of the Universe and is omnipresent. His auspicious body resembles the color of the clouds and he is the lotus-eyed Lord of goddess on Television Lakshmi. He is attainable by Yogis through mediation and is the destroyer of the fear of birth and death. -
The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History Paromita Kar a Dissertation S
THE DEBAPRASAD DAS TRADITION: RECONSIDERING THE NARRATIVE OF CLASSICAL INDIAN ODISSI DANCE HISTORY PAROMITA KAR A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN DANCE STUDIES YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2013 @PAROMITA KAR, 2013 ii Abstract This dissertation is dedicated to theorizing the Debaprasad Das stylistic lineage of Indian classical Odissi dance. Odissi is one of the seven classical Indian dance forms recognized by the Indian government. Each of these dance forms underwent a twentieth century “revival” whereby it was codified and recontextualized from pre-existing ritualistic and popular movement practices to a performance art form suitable for the proscenium stage. The 1950s revival of Odissi dance in India ultimately led to four stylistic lineage branches of Odissi, each named after the corresponding founding pioneer of the tradition. I argue that the theorization of a dance lineage should be inclusive of the history of the lineage, its stylistic vestiges and philosophies as embodied through its aesthetic characteristics, as well as its interpretation, and transmission by present-day practitioners. In my theorization of the Debaprasad Das lineage of Odissi, I draw upon Pierre Bourdieu's theory of the habitus, and argue that Guru Debaprasad Das's vision of Odissi dance was informed by the socio-political backdrop of Oriya nationalism, in the context of which he choreographed, but also resisted the heavy emphasis on coastal Oriya culture of the Oriya nationalist movement. My methodology for the project has been ethnographic, supported by original archival research. -
Doc / Timepass (Paperback) / Download
92CMMKHOEE // Timepass (Paperback) < Doc Timepass (Paperback) By Pooja Bedi Prhi, United States, 2000. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****.In 1974, pictures appeared in magazines and newspapers of Protima Bedi streaking down a road in the centre of Bombay in broad daylight. There was immediate uproar. The incident was, in many ways, the culmination of a life of youthful rebellion and brash sexuality that Protima, the scandalous model and wife of the rising star of Bollywood, Kabir Bedi, had lived ever since she ran away from home to live in sin . Barely four years later, the glamorous flower child had reinvented herself as an accomplished classical dancer, a devotee of Goddess Kali, and chosen the sari over slit skirts and halter-necks. Shortly before her death, she had shaved her head and decided on a monk s life. She died in August 1998, in a landslide in the Himalayas while on a pilgrimage to Kailash Mansarovar, leaving behind her most lasting achievement-a flourishing dance village, Nrityagram, where students continue to learn the classical dance styles of India. Few lives have been more eventful and controversial than Protima Bedi s, and Timepass, derived from her unfinished autobiography, journals and her letters to family,... READ ONLINE [ 6.08 MB ] Reviews The publication is great and fantastic. It can be filled with knowledge and wisdom You wont truly feel monotony at at any moment of your time (that's what catalogues are for about if you ask me). -- Dr. Marcos Grimes III This book will never be easy to start on reading but quite exciting to see.