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Nieuwsbrief 2018 (PDF)
U ontvangt deze nieuwsbrief als vriend van Kalai Manram, steunstichting van Kattaikkuttu Sangam in India. Van voorzitter Reineke Schoufour Op deze mooie eerste kerstdag willen wij u een fijne tijd wensen met de mensen om u heen. Voor 2019 wensen bestuur en leden van Kalai Manram u veel mooie dingen, dromen die uitkomen en steun als u die nodig heeft! De Nederlandse Stichting Kalai Manram ondersteunt de Kattaikkuttu Sangam in India. Het bestuur heeft hard gewerkt om bekendheid te geven aan dit mooie Kattaikuttutheater en zijn jonge spelers. Ze doet dit door geld te genereren en mee te denken met de oprichters P. Rajagopal en dr. Hanne M. de Bruin. We hopen dat u deze nieuwsbrief met interesse zult lezen en geïnspireerd raakt om op de website te kijken. Natuurlijk hopen wij ook op uw donatie. Wat gebeurde er in 2018 op de Kattaikkuttu Sangam? Examens Alle leerlingen van de 10th, 11th en 12th standard haalden hun examen; ze hebben er hard voor gewerkt, hun opleiding is van hoog niveau maar ze moeten het echt zelf doen! Gefeliciteerd! Karnatic Kattaikkuttu De nieuwste produktie Karnatic Kattaikkuttu was het hoogtepunt van het jaarlijkse theaterfestival van de Kattaikkuttu Sangam dat plaatsvond op 14 augustus 2018. De voorstelling is een unieke samenwerking tussen Karnatic music - klassieke concertmuziek - en Kattaikkuttu theater. Karnatic vocalisten T.M. Krishna en zijn vrouw Sangeetha Sivakumar, Kattaikkuttu acteur P. Rajagopal en dramaturge Hanne M. de Bruin stonden aan de wieg van deze samenwerking en de muzikale en visuele vormgeving. Karnatic Kattaikkuttu werd voor het eerst opgevoerd in Mumbai in december 2017.In Karnatic Kattaikkuttu delen Rajagopal en zijn studenten het toneel met Krishna, Sangeetha en hun musici. -
Nirvana Ias Academy Current Affairs 1St to 15Th
NIRVANA IAS ACADEMY CURRENT AFFAIRS 1ST TO 15TH FEBRUARY 2019 CONTENT 1. FDI POLICY ON COMMERCE…………………………………………….2 53. SCHEME FOR PENSION & MEDICAL AID TO 2. NATIONAL VIRTUAL LIBRARY…………………………………………..2 ARTISTES…………………………………………………………………..29 3. SHEKATKAR COMMITTEE…………………………………………….....3 54. CHYLP……………………………………………………………………….30 4. NTA STUDENT APP………………………………………………………….3 55. LIGHT HOUSE PROJECT CHALLENGE……………………..…..30 5. DIGITALISATION OF SCHOOLS……………………………………......3 56. MAITHILI LANGUAGE……………………………….………………..31 6. MAHILA COIR YOJAN……………………………………………………….5 57. SCHEDULED TRIBES………………………………….………………..31 7. AGRICULTURE EXPORT POLICY………………………………………..5 58. SPACE TECHNOLOGY IN AGRICULTURE…….………………..32 8. PRE-DEPARTURE ORIENTATION TRAINING 59. ROOF TOP SOLAR POWER SYSTEM…………….………………33 PROGRAMME………………………………………………………………….5 60. 5TH INTERNATIONAL DAM SAFETY CONFERENCE 9. CLEANING PROGRAMME FOR RIVER GANGA…………………..6 2019…………………………………………………………….……………33 10. TOKYO OYLMPICS 2020…………………………………………………..7 61. SEQI……………………………………………………………..……………34 11. 20TH BHARAT RANG MAHOTSAV……………………………………..7 62. SAATH-E…………………………………………………………..……….34 12. KNOW MY INDIA PROGRAMME………………………………………8 63. CLCS-TUS…………………………………………………………………..35 13. EXPORT PROMOTION CAPITAL GOODS SCHEME……………..8 64. E-AUSHADHI PORTAL…………………………………………..…..36 14. ADKL TRANSMISSION SYSTEM…………………………………………9 65. ATOMIC ENERGY BASED POWER……….……………………..36 15. CONSERVATION & PROMOTION OF MEDICINAL 66. BONDED LABOUR………………………………….………………….36 PLANTS………………………………………………………………………….10 67. BHARAT-22 ETF…………………………….….……………….………37 -
Tru Helper. a Melodic Analysis of Christian Music in Garhwal, North India
Scholars Crossing Masters Theses Center for Music and Worship 12-15-2004 Sachu Saharu: Tru Helper. A Melodic Analysis of Christian Music in Garhwal, North India Laura Eilders Bethel University Follow this and additional works at: https://digitalcommons.liberty.edu/ethno_master Recommended Citation Eilders, Laura, "Sachu Saharu: Tru Helper. A Melodic Analysis of Christian Music in Garhwal, North India" (2004). Masters Theses. 6. https://digitalcommons.liberty.edu/ethno_master/6 This Article is brought to you for free and open access by the Center for Music and Worship at Scholars Crossing. It has been accepted for inclusion in Masters Theses by an authorized administrator of Scholars Crossing. For more information, please contact [email protected]. SACHU SAHARU: TRUE HELPER A Melodic Analysis of Christian Music in Garhwal, North India A MASTER’S THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE CENTER FOR GRADUATE AND CONTINUING STUDIES BETHEL UNIVERSITY BY LAURA EILDERS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 15, 2004 Copyright DECEMBER 15, 2004 by Laura Eilders BETHEL UNIVERSITY TITLE LAURA EILDERS DECEMBER, 2004 Approved: ___________________________________, Thesis Advisor ___________________________________ ___________________________________ ACCEPTED _____________________________ Program Director _____________________________ Dean of Graduate Studies Acknowledgements As I neared the completion of the required classes for a Master’s in Ethnomusicology, -
Minutes of 32Nd Meeting of the Cultural
1 F.No. 9-1/2016-S&F Government of India Ministry of Culture **** Puratatav Bhavan, 2nd Floor ‘D’ Block, GPO Complex, INA, New Delhi-110023 Dated: 30.11.2016 MINUTES OF 32nd MEETING OF CULTURAL FUNCTIONS AND PRODUCTION GRANT SCHEME (CFPGS) HELD ON 7TH AND 8TH MAY, 2016 (INDIVIDUALS CAPACITY) and 26TH TO 28TH AUGUST, 2016 AT NCZCC, ALLAHABAD Under CFPGS Scheme Financial Assistance is given to ‘Not-for-Profit’ Organisations, NGOs includ ing Soc iet ies, T rust, Univ ersit ies and Ind iv id ua ls for ho ld ing Conferences, Seminar, Workshops, Festivals, Exhibitions, Production of Dance, Drama-Theatre, Music and undertaking small research projects etc. on any art forms/important cultural matters relating to different aspects of Indian Culture. The quantum of assistance is restricted to 75% of the project cost subject to maximum of Rs. 5 Lakhs per project as recommend by the Expert Committee. In exceptional circumstances Financial Assistance may be given upto Rs. 20 Lakhs with the approval of Hon’ble Minister of Culture. CASE – I: 1. A meeting of CFPGS was held on 7 th and 8th May, 2016 under the Chairmanship of Shri K. K. Mittal, Additional Secretary to consider the individual proposals for financial assistance by the Expert Committee. 2. The Expert Committee meeting was attended by the following:- (i) Shri K.K. Mittal, Additional Secretary, Chairman (ii) Shri M.L. Srivastava, Joint Secretary, Member (iii) Shri G.K. Bansal, Director, NCZCC, Allahabad, Member (iv ) Dr. Om Prakash Bharti, Director, EZCC, Kolkata, Member, (v) Dr. Sajith E.N., Director, SZCC, Thanjavur, Member (v i) Shri Babu Rajan, DS , Sahitya Akademi , Member (v ii) Shri Santanu Bose, Dean, NSD, Member (viii) Shri Rajesh Sharma, Supervisor, LKA, Member (ix ) Shri Pradeep Kumar, Director, MOC, Member- Secretary 3. -
Universidade Estadual De Campinas Instituto De Artes
UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES IRANI DA CRUZ CIPPICIANI THERU-K-KOOTHU: UM OLHAR SOBRE AS CULTURAS TEATRAIS POPULARES DO SUL DA ÍNDIA THERU-K-KOOTHU: A LOOK AT THE FOLK THEATRE CULTURES OF SOUTH INDIA CAMPINAS 2020 2 IRANI DA CRUZ CIPPICIANI THERU-K-KOOTHU: UM OLHAR SOBRE AS CULTURAS TEATRAIS POPULARES DO SUL DA ÍNDIA THERU-K-KOOTHU: A LOOK AT THE FOLK THEATRE CULTURES OF SOUTH INDIA Tese apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutora em Artes da Cena, na área de Teatro, Dança e Performance. Thesis presented to the Institute of Arts of the University of Campinas in partial fulfillment of the requeriments for the degree of Doctor in Scene Artes: Theatre, Dance and Performance. ORIENTADOR: Prof. Dr. Cassiano Sydow Quilici Este trabalho corresponde à versão final da tese defendida pela aluna Irani da Cruz Cippiciani, e orientada pelo Prof. Dr. Cassiano Sydow Quilici. CAMPINAS 2020 3 FAPESP e CAPES, processo nº 2016/10719-0, Fundação de Amparo à Pesquisa do Estado de São Paulo. 5 COMISSÃO EXAMINADORA DA DEFESA DE DOUTORADO IRANI DA CRUZ CIPPICIANI ORIENTADOR: PROF. DR. CASSIANO SYDOW QUILICI MEMBROS: 1. PROF. DR. CASSIANO SYDOW QUILICI 2. PROF(A). DR(A). MARÍLIA VIEIRA SOARES 3. PROF(A). DR(A). MARIANA BARUCO MACHADO ANDRAUS 4. PROF(A). DR(A). JOANA PINTO WILDHAGEN 5. PROF(A). DR(A). ANA PAULA IBAÑEZ Programa de Pós-Graduação em Artes da Cena do Instituto de Artes da Universidade Estadual de Campinas. -
The Shifting Boundaries of a Popular South Indian Theatre
8/20/2016 Regions IIAS Newsletter Online IIAS | IIAS Newsletter Online | No. 17 | Regions |[betreffende regio] Tradition and Innovation The Shifting Boundaries of a Popular South Indian Theatre This report describes a unique theatrical event produced by the members of the Tamil Nadu Kattaikkuttu Kalai Valarcci Munnerra Sangam and performed in three rural towns of Tamil Nadu in March 1998. It appeared earlier in a slightly different version as a newspaper article in The Hindu of 31 May 1998. By Mina Swaminathan The Tamil Nadu Kattaikkuttu Kalai Valarcci Munnerra Sangam is a grassroots association, which promotes the interests of professional Kattaikkuttu actors and musicians in Tamil Nadu in South India. It was established in Kanchipuram in 1990 by a group of seventeen performers. At present it has over two hundred members. Its main activities include (1) training in the Kattaikkuttu theatre of (working) children and young people in the rural parts of northern Tamil Nadu, (2) the organization of an annual Kattaikkuttu Festival, and (3) the production of innovative plays on themes which are relevant to the local society. Kattaikkuttu (also known as Kuttu and Terukkuttu) is a theatre traditionally performed by professional male actors and musicians in the northern parts of Tamil Nadu. It is characterized by an epic story repertoire, featuring especially the Mahabharata, and a heroic style of acting. The special performance of the Mahabharata by a group of Kattaikkuttu performers on the occasion of the Eighth Annual Kattaikkuttu Festival was memorable for the number of firsts the number of barriers broken and the chance to observe a living tradition in the process of growing by innovation. -
Lime Lighting on the Folk Theatre As Ritual
International Journal of New Innovations in Engineering and Technology Lime Lighting On The Folk Theatre As Ritual G. Suganya Research scholar, School of Social Sciences and Languages VIT Chennai Dr. V.Vijayalakshmi Assistant Professor, School of Social Sciences and Languages VIT Chennai LIME LIGHTING ON THE FOLK THEATRE AS RITUAL India is a nation which is bound with numerous rituals and traditions. This diversity is formed by the states and their unique culture and traditions. Tamil literature is considered be the classical literature which has great epic poems, novels, mixed with music, songs, dance and drama. Tamil culture is also blended with numerous forms of arts in music, dance and martial arts. It has a separate place in the history which exhibits the strength and wealth of the ruling king. There are many poets who have written different forms of poems and dramas to communicate with the common people. They have used these folk theatres as a medium to educate and take things to the people. This has served as a major entertainment for the people in the village. Among them the major form of theatre is Therukoothu, Kuravangi Attam and Sevaiattam. This traditional form of storytelling has started with the epic tales of Ramayana, Mahabharata and Puranas. They are a cluster of stories and incidents but still only major tales are enacted like Sita kalyanam, Draupadi Sabatham. They have made a point of registering the major characters of the tale like Rama, Sita, Laksmana, Ravana, Dasaratha, Kausalya, kaikeyi, Bharata, Sumithra, Hanuman, Sugriva in Ramayana and Krishna, the Pandavas – Yudhishthira, Bheema, Arjuna, Nakula, Sahadeva, Draupadi, Kauravas, Duryodhana, Bhishma, Karna, Dronacharya, Shakuni, Dhritrashtra, Gandhari, Kunti in Mahabarath. -
Under the Giant's Tank
UNDER THE GIANT’S TANK VILLAGE, CASTE, AND CATHOLICISM IN POSTWAR SRI LANKA Dominic Esler A thesis submitted to the Department of Anthropology, University College London, for the degree of Doctor of Philosophy. December 2019. 2 I, Dominic Esler, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 4 ABSTRACT This thesis is an investigation of the relationship between the village, caste, and Catholicism in northern Sri Lanka. Drawing on almost two years of ethnographic fieldwork in Mannar District, as well as subsequent archival research, it provides a detailed analysis not only of the postwar context but also of prewar history, with a particular focus on the nineteenth century. In this thesis, I analyse three overlapping topics. First, I problematise ‘village’ through an examination of ‘cultural’ and ‘state’ village concepts, before arguing that within the complex social diversity of the village of Marudankandal there is a numerically dominant Tamil caste group, the Kadaiyars, whose prominence is reflected both rhetorically and through the control of institutions such as the Catholic village church. From this, I turn to two central dimensions of local caste praxis. First, I offer a historical explanation for the regional prevalence of village churches controlled by single castes, which remains a key characteristic of local Catholicism today. Second, I argue that despite the lessening of certain kinds of hierarchical caste relationships in recent decades, caste identities continue to be mobilised and expressed through regional communities, some of which maintain caste associations. -
Folk Religion in the Central Himalayas (Kumaon and Garhwal)
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN(P): 2347-4564; ISSN(E): 2321-8878 Vol. 5, Issue 6, Jun 2017, 169-182 © Impact Journals FOLK RELIGION IN THE CENTRAL HIMALAYAS (KUMAON AND GARHWAL) SHIKHA PANWAR Research Scholar, Centre for Historical Studies, School of Social Sciences, Jawaharlal Nehru University, New Delhi, India ABSTRACT A Folk tradition provides the insight into the local beliefs and practices of the people. This local tradition does not rely on the written sources and instead carried through oral means and majorly revolves around the lives of the common people. The area of the study of this paper is the hilly region of Kumaon and Garhwal in the state of Uttarakhand. The paper discusses the local beliefs and practices of the Uttarakhand region. It explores the thin boundary between the local and pan-Indian and the relation in which one co-exists in the other. This paper takes a journey from the brief history of religion practiced in the region to the different cults venerated in the region. Analyzing these local cults and practices, the paper finally depicts the processes through which the folk is assimilated into the fold of mainstream Brahmanical culture. KEYWORDS: Religion, Folk, Brahmanical, Local Traditions, Pan-Indian Traditions, Kumaon, Garhwal INTRODUCTION The region of Central Himalayas stretches on the southern slope between the Great Divide and the Shivalik foothills. It is divided into four parallel zones of Tarai-Bhabhar, Lesser Himalayas, Greater Himalayas and the Trans-Himalayas (D.D. Sharma, 2009). The history of Uttarākhaṇḍa marks its beginning with the Kuṇindas. -
Curriculum Vitae P
Curriculum Vitae P. Thilagavathi P. Thilagavathi Born on 13th September 1990 First woman co-founder of a Kattaikkuttu Theatre company Sri Krishna Kattaikkuttu Company Thilaga is a founder-member of one of the highest paid Kattaikkuttu companies, with highly acclaimed performances and a fan base across Tamilnadu. P. Thilagavathy Kattaikkuttu Actress “Kattaikkuttu as an art form has been D.O.B 13.09.1990, the ex clusive property of men for Fathers Name: P. Palani centuries; that history has been rewritten by Thilagavathi” V.Neelakandan, Kunkumam magazine, 1 Feb 2016 Wind Dancers Thilaga is a part of the NGO, Wind Dancers Trust; an NGO which works using the arts for social transformation. She designs projects using Kattaikkuttu in the domain of education, empowerment and gender equality. BACKGROUND Kattaikkuttu is a traditional form of Indian theatre, which has been the exclusive domain of male performers only. Thilagavathi, born in 1990, trained under Thiru Perungattur Rajagopalan at the Kattaikkuttu Gurukulam, a unique theatre school founded by him and his wife Thirumathi Hanne M. De Bruin in Kanchipuram District. In 2010, Thilagavathi graduated from the Kattaikkuttu Gurukulam as the first-ever Pictures from top to bottom: female Kattiakkuttu performer, therefore breaking the stereotype that Arjuna (Abhimanyu), this theatre-form is in the domain of men only. She worked as an Make-up, Gypsy Woman Assistant teacher at the Kattaikkuttu Gurukulam till 2013. She then joined (Kuravanchi), Surpanakai (RamaRavana), and Duryodhana [Subhadra Kalyanam]_ Curriculum Vitae P. Thilagavathi the NGO Pudiyador in April, 2013 as a Kattaikkuttu teacher and office staff. In 2014 she founded Sri Krishna Kattaikkuttu Company along with 5 co-artists. -
Moorthy Palani
Curriculum Vitae Moorthy Palani Moorthy Palani Born on 20th May, 1993 Co-founder of Sri Krishna Kattaikkuttu Theatre company Sri Krishna Kattaikkuttu Company Founder-member of one of the highest paid Kattaikkuttu companies, Moorthy is a highly acclaimed performer for both comedic and heroic roles, with a huge fan base. Moorthy is one of the youngest recipients of the Ramachandra Kavirayar award for upcoming Kattaikuttu artists, 2016, given by Kalai Elakkiya Valarchi Arakkattalai association, Chennai Katradi Moorthy is a part of the Katradi initiative of the NGO, Wind Dancers Trust. He facilitates projects for underprivileged youth using Kattaikkuttu in the domain of education, empowerment and social transformation. BACKGROUND Kattaikkuttu is a traditional form of Tamil dance-theatre performed all night long with stories from the great Indian epics Ramayana, Mahabharata and more. Moorthy born in 1993, trained under Thiru Perungattur Rajagopalan at the Kattaikkuttu Gurukulam, a unique theatre school founded by him and his wife Thirumathi Hanne M. De Bruin in Kanchipuram District. In 2010, Moorthy graduated from the Kattaikkuttu Pictures from top to bottom: Gurukulam as the first Kattaikkuttu performer. He worked as an assistant Sakuni (Pakatai tukil), teacher at the Kattaikkuttu Gurukulam until 2014. Kattiyakaran (Kuravanchi), Duryodhanan (Pakatai Tukil), Dharman (Rajasuyagan), Kattiyakaran [Narrator-Clown) Curriculum Vitae Moorthy Palani In 2014 he founded Sri Krishna Kattaikkuttu Company along with five co-artists. In 2015, he joined the NGO Katradi as a design team member and facilitator to use Kattaikkuttu for empathy based social transformation. He has facilitated many workshops on gender, sex abuse, substance abuse and worked on Tamil literacy all using Kattaikkuttu. -
DISCOVER INDIA PROGRAM 2018 Table of Contents
KATTAIKKUTTU: An Art thr ough Time DISCOVER INDIA PROGRAM 2018 Table of Contents Sr. Particulars Page No Number 1 Acknowledgements 2 Abstract 3 List of Images, List of Boxes 4 Chapter 1: Introduction 1.1 Social and Historical Context 1.2 History and Mission of the Sangam 1.3 Research Question 1.4 Methodology 5 Chapter 2: Literature Review 2.1 Ritual and Performance 2.2 Gender and Performance 2.3 Aspect of Kattaikkuttu 2.4 Kattaikkuttu and Caste 2.5 The Kattaikkuttu Sangam 2.6 Naming of the Art Form 2.7 Transitions in the Tradition 2.8 Gaps in the Literature 6 Chapter 3: Kattaikkuttu Sangam (Gurukulam) as a Case-Study for the Art Form 3.1 Why the Kattaikkuttu Sangam as our field of research? 3.2 History of the institution 3.3 Theatre education: What it is and why it’s beneficial? 3.4 Parents and the Sangam 3.5 How the Sangam initiates Social Change i 3.6 Financing the Institution 3.7 Sangam as a troupe and difference from other troupes 7 Chapter 4: Socio-Cultural Transitions and Transformations 4.1 Caste and Kattaikkuttu 4.2 Gender and Kattaikkuttu 4.3 Performance 8 Chapter 5: Oral Histories • Tamilarasi • Selva • Adhinarayan Bharati 9 Chapter 6: Conclusion 10 References 11 Glossary ii CERTIFICATE This is to certify that the work incorporated in this report entitled “Kattaikkuttu: An Art through Time” submitted by the undersigned Research Team was carried out under my mentorship. Such material as has been obtained from other sources has been duly acknowledged. Sr.