Tradition and the Individual Dancer
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Annual Report 2014 - 2015 Ministry of Culture Government of India
ANNUAL REPORT 2014 - 2015 MINISTRY OF CULTURE GOVERNMENT OF INDIA Annual Report 2014-15 1 Ministry of Culture 2 Detail from Rani ki Vav, Patan, Gujarat, A World Heritage Site Annual Report 2014-15 CONTENTS 1. Ministry of Culture - An Overview – 5 2. Tangible Cultural Heritage 2.1 Archaeological Survey of India – 11 2.2 Museums – 28 2.2a National Museum – 28 2.2b National Gallery of Modern Art – 31 2.2c Indian Museum – 37 2.2d Victoria Memorial Hall – 39 2.2e Salar Jung Museum – 41 2.2f Allahabad Museum – 44 2.2g National Council of Science Museum – 46 2.3 Capacity Building in Museum related activities – 50 2.3a National Museum Institute of History of Art, Conservation and Museology – 50 2.3.b National Research Laboratory for conservation of Cultural Property – 51 2.4 National Culture Fund (NCF) – 54 2.5 International Cultural Relations (ICR) – 57 2.6 UNESCO Matters – 59 2.7 National Missions – 61 2.7a National Mission on Monuments and Antiquities – 61 2.7b National Mission for Manuscripts – 61 2.7c National Mission on Libraries – 64 2.7d National Mission on Gandhi Heritage Sites – 65 3. Intangible Cultural Heritage 3.1 National School of Drama – 69 3.2 Indira Gandhi National Centre for the Arts – 72 3.3 Akademies – 75 3.3a Sahitya Akademi – 75 3.3b Lalit Kala Akademi – 77 3.3c Sangeet Natak Akademi – 81 3.4 Centre for Cultural Resources and Training – 85 3.5 Kalakshetra Foundation – 90 3.6 Zonal cultural Centres – 94 3.6a North Zone Cultural Centre – 95 3.6b Eastern Zonal Cultural Centre – 95 3.6c South Zone Cultural Centre – 96 3.6d West Zone Cultural Centre – 97 3.6e South Central Zone Cultural Centre – 98 3.6f North Central Zone Cultural Centre – 98 3.6g North East Zone Cultural Centre – 99 Detail from Rani ki Vav, Patan, Gujarat, A World Heritage Site 3 Ministry of Culture 4. -
New and Bestselling Titles Sociology 2016-2017
New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint. -
Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali -
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 -
(Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr. -
Bharatanatyam: Eroticism, Devotion, and a Return to Tradition
BHARATANATYAM: EROTICISM, DEVOTION, AND A RETURN TO TRADITION A THESIS Presented to The Faculty of the Department of Religion In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Taylor Steine May/2016 Page 1! of 34! Abstract The classical Indian dance style of Bharatanatyam evolved out of the sadir dance of the devadāsīs. Through the colonial period, the dance style underwent major changes and continues to evolve today. This paper aims to examine the elements of eroticism and devotion within both the sadir dance style and the contemporary Bharatanatyam. The erotic is viewed as a religious path to devotion and salvation in the Hindu religion and I will analyze why this eroticism is seen as religious and what makes it so vital to understanding and connecting with the divine, especially through the embodied practices of religious dance. Introduction Bharatanatyam is an Indian dance style that evolved from the sadir dance of devadāsīs. Sadir has been popular since roughly the 6th century. The original sadir dance form most likely originated in the area of Tamil Nadu in southern India and was used in part for temple rituals. Because of this connection to the ancient sadir dance, Bharatanatyam has historic traditional value. It began as a dance style performed in temples as ritual devotion to the gods. This original form of the style performed by the devadāsīs was inherently religious, as devadāsīs were women employed by the temple specifically to perform religious texts for the deities and for devotees. Because some sadir pieces were dances based on poems about kings and not deities, secularism does have a place in the dance form. -
Group Housing
LIST OF ALLOTED PROPERTIES DEPARTMENT NAME- GROUP HOUSING S# RID PROPERTY NO. APPLICANT NAME AREA 1 60244956 29/1013 SEEMA KAPUR 2,000 2 60191186 25/K-056 CAPT VINOD KUMAR, SAROJ KUMAR 128 3 60232381 61/E-12/3008/RG DINESH KUMAR GARG & SEEMA GARG 154 4 60117917 21/B-036 SUDESH SINGH 200 5 60036547 25/G-033 SUBHASH CH CHOPRA & SHWETA CHOPRA 124 6 60234038 33/146/RV GEETA RANI & ASHOK KUMAR GARG 200 7 60006053 37/1608 ATEET IMPEX PVT. LTD. 55 8 39000209 93A/1473 ATS VI MADHU BALA 163 9 60233999 93A/01/1983/ATS NAMRATA KAPOOR 163 10 39000200 93A/0672/ATS ASHOK SOOD SOOD 0 11 39000208 93A/1453 /14/AT AMIT CHIBBA 163 12 39000218 93A/2174/ATS ARUN YADAV YADAV YADAV 163 13 39000229 93A/P-251/P2/AT MAMTA SAHNI 260 14 39000203 93A/0781/ATS SHASHANK SINGH SINGH 139 15 39000210 93A/1622/ATS RAJEEV KUMAR 0 16 39000220 93A/6-GF-2/ATS SUNEEL GALGOTIA GALGOTIA 228 17 60232078 93A/P-381/ATS PURNIMA GANDHI & MS SHAFALI GA 200 18 60233531 93A/001-262/ATS ATUULL METHA 260 19 39000207 93A/0984/ATS GR RAVINDRA KUMAR TYAGI 163 20 39000212 93A/1834/ATS GR VIJAY AGARWAL 0 21 39000213 93A/2012/1 ATS KUNWAR ADITYA PRAKASH SINGH 139 22 39000211 93A/1652/01/ATS J R MALHOTRA, MRS TEJI MALHOTRA, ADITYA 139 MALHOTRA 23 39000214 93A/2051/ATS SHASHI MADAN VARTI MADAN 139 24 39000202 93A/0761/ATS GR PAWAN JOSHI 139 25 39000223 93A/F-104/ATS RAJESH CHATURVEDI 113 26 60237850 93A/1952/03 RAJIV TOMAR 139 27 39000215 93A/2074 ATS UMA JAITLY 163 28 60237921 93A/722/01 DINESH JOSHI 139 29 60237832 93A/1762/01 SURESH RAINA & RUHI RAINA 139 30 39000217 93A/2152/ATS CHANDER KANTA -
A History of Legal and Moral Regulation of Temple Dance in India
Naveiñ Reet: Nordic Journal of Law and Social Research (NNJLSR) No.6 2015, pp. 131-148 Dancing Through Laws: A History of Legal and Moral Regulation of Temple Dance in India Stine Simonsen Puri Introduction In 1947, in the state of Tamil Nadu in South India, an Act was passed, “The Tamil Nadu Devadasis (Prevention of Dedication) Act,” which among other things banned the dancing of women in front of Hindu temples. The Act was to target prostitution among the so-called devadasis that were working as performers within and beyond Hindu temples, and who, according to custom also were ritually married or dedicated to temple gods. The Act was the culmination of decades of public and legal debates centred on devadasis, who had come to symbolize what was considered a degenerated position of women within Hindu society. Concurrent with this debate, the dance of the devadasis which had developed through centuries was revived and reconfigured among the Indian upper class; and eventually declared one of Indian national dances, called bharatanatyam (which can translate as Indian dance). Today, while parts of the devadasi tradition have been banned, bharatanatyam is a popular activity for young girls and women among the urban middle and upper classes in all parts of India. The aim of this article is to examine moral boundaries tied to the female moving body in India. I do so by looking into the ways in which the regulation of a certain kind of dancers has framed the moral boundaries for contemporary young bharatanatyam dancers. A focus on legal and moral interventions in dance highlights the contested role of the female body in terms of gender roles, religious ideology, and moral economy. -
1481186712P4M12TEXT.Pdf
PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 12 Pioneers Of Kathak 1930-1950 Pioneers are those who show the path not attempted before. They lead us to light to the new ways of doing something. These are people with vision to fulfill a mission and they are given divine support by history and circumstances to do so. Thus, pioneers are people, ordinary in appearance but with special abilities and mind backed by hard work. Once a form that was long forgotten and got known and established as Kathak, many stars of other forms, most notably Bharatanatyam and Kathakali did much to learn and promote Kathak and help it reach national acclaim. In this, Bharatanatyam trained Ram Gopal, Kathakali trained Uday Shankar and pioneers in films like Menaka and Sadhona Bose took this form further and can be called pioneers, in addition to the generation that followed their example. It would not be wrong to call Uday Shankar a cult figure of the early part of the 20th century. He was a showman, a creator of magical spectacles and a dancer par excellence. He was not a trained dancer, so his movements flowed from the heart. He 1 created the Indian ballet scene because nothing like it existed before. Originally a painter, on his museum visits to delve into books, Uday got fascinated with pictures of sculptures of Hindu gods and goddesses in varied poses. He began imitating the poses. Although unfamiliar with dance techniques, the images provided inspiration to translate into dance movement. -
The Sixth String of Vilayat Khan
Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration. -
Vijayashri Vittal
Vijayashri Vittal Born and raised in a family of musicians, Vijayashri Vittal started her musical training from her grandmother, Krishnaveni and her father, Vidwan Vittal Ramamurthy, an internationally acclaimed violinist and under the tutelage of Vidwan SP Ramh. Currently she is undergoing advanced training from world renowned vocalist, Vidushi Bombay Jayashri. Her journey in Bharatanatyam also began at the same time under the able tutelage of Vidwan Vijay Madhavan, disciple of Padmashri Chitra Visweswaran. Vijayashri was truly blessed to perform her Bharatanatyam arangetram in 2008 in the gracious presence of legendary Padmabhushan Lalgudi Jayaraman Sir. Her rigorous training under great gurus like Bombay Jayashri and Vijay Madhavan has opened avenues for her to groom herself not only as a performing artiste, but also as a teacher and creative collaborator, thus making her a multifaceted artist. Vijayashri regularly performs charity concerts in old age homes and for differently abled children through the Bhoomika Trust. As part of the Hitham Trust and Swami Dayananda Educational Trust (SDET), she teaches music to around 300 underprivileged children in Manjakudi and Tiruvarur, villages in South India. She strongly believes that music has the power to heal people. She has been working with children in the autistic spectrum using Carnatic music. Every year, she joins hands with her family and plays a vital role in conducting the ‘Karunbithil Shibira’ at their ancestral home in Nidle, Dharmasthala. Vijayashri has given many vocal and Bharatanatyam performances in the December Music Festival, Chennai and other reputed venues in India. She has had the privilege to travel around the world with her Guru and has also given solo performances at few major cities abroad. -
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.