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Indian Dance

Dance can be classified broadly into two categories1. Classical dance2. Folk dance

Classical Dance

According to Sangeet Natak Akademi there are 8 classical dances

Dance form State(s) of origin

Bharatanatyam Tamil Nadu

Kathak Uttar Pradesh, Rajasthan, Punjab, Delhi

Kathakali Kerala

Kuchipudi Andhra Pradesh

Manipuri Manipur

Mohiniyattam Kerala

Odissi Orissa

Sattriya Assam

1. Bharatanatyam

a. Dance from Tamil Nadub. Based on Bharat “Natya Shastra” , Bha (Bhava) + Ra (Raga) + Ta (Tal)c. Devadasi Traditiond. 2 forms developed

i. Bhagvat Natak Mela - religious formii. Kuruvanji - Non religious form more popular

e. Costumes - Sari Skirt/ Pyjama style. Most important feature is the knife plated fan shape

f. Bharata Natyam dancers wear a unique set of jewellery known as "Temple Jewellery" during the performance

g. The accompanying music is in the Carnatic style of South India.

2. Kathaka. Dance from Uttar Pradesh, originated from the word storytellerb. Its form today contains traces of temple and ritual dances, and the influence of

the bhakti movement. c. Effect of persian dance in the Mughal Erad. Three Major gharana today - Banaras, Jaipur, Lucknowe. Performed by both male and female

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f. Costumes - Male - Dhoti or Kurta Payjama Female - Lehenga - choli

3. Kathakalia. Dance - Drama from Keralab. Noted for the attractive make-up of characters, elaborate costumes, detailed

gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion.

c. Some influence from Kerala martial art named as Kalaripayattud. One of the most interesting aspects of Kathakali is its elaborate make-up code.e. Pachcha (meaning green) has green as the dominant colour and is used to

portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (kingly) nature.

f. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face.

g. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard.

h. The use of Malayalam, the local language has also helped the literature of Kathakali sound more transparent for the average audience.

i. Most of the stories from Mahabharata, Ramayana

4. Kuchipudia. Dance from Andhra Pradeshb. It shares many common elements with Bharatanatyam.c. Performed by both men and womend. important part of the dance is initial introduction by the dancer: Pravesa Daruvue. Beyond the stylistic differences of Kuchipudi and Bharatanatyam steps, there are

certain types of dances that are unique to Kuchipudi, Specifically there is the Tarangam which is unique in that plate with two diyas (small oil-burning candles) in his or her hands while balancing a "kundi" (small vessel) containing water on their head. At the end, typically, the dancer extinguishes the candles and washes his or her hands with the water from the vessel.

f. In Tarangam at times she places a pot full of water on her head and dances on the brass plate.

g. Mostly based on the life and events of Krishnah. In expressional numbers a dancer sometimes chooses to enact the role of

Satyabhama, the proud and self-assured queen of Lord Krishna, from the dance-drama Bhamakalapam.

5. Manipuria. From Manipur stateb. The cult of Radha and Krishna, particularly the raslila, is central to its themes

but the dances, unusually, incorporate the characteristic symbols (kartal or

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manjira) and double-headed drum (pung or Manipuri mridang) of sankirtan into the visual performance.

c. Manipuri dance is purely religious and its aim is a spiritual experience.d. According to the legend, the indigenous people of the Manipur valley were the

dance-expert Gandharvas mentioned in the Hindu epics like Ramayana and Mahabharata.

e. Manipuri Classical Form of dance is claimed not only to be one of the most chastest, modest, softest and mildest but the most meaningful dances of the world.

f. Manipuri dancers do not wear ankle bells to accentuate the beats tapped out by the feet, in contrast with other Indian dance forms, and the dancers' feet never strike the ground hard.

g. The musical accompaniment for Manipuri dance comes from a percussion instrument called the Pung, a singer, small cymbals, a stringed instrument called the pena and wind instrument such as a flute.

h. The lyrics used in Manipuri are usually from the classical poetry of Jayadeva, Vidyapati, Chandidas, Govindadas or Gyandas and may be in Sanskrit, Maithili, Brij Bhasha or others.

6. Mohiniyattama. Dance from Keralab. It is considered a very graceful form of dance meant to be performed as solo

recitals by women.c. The term Mohiniyattam comes from the words "Mohini" meaning a woman

who enchants onlookers and "aattam" meaning graceful and sensuous body movements. The word "Mohiniyattam" literally means "dance of the enchantress (magician)".

d. Two story behind it origini. First one Vishnu turned into Mohini to save lord Shivaii. Second one Vishnu turned into Mohini to lure the asuras (demons)

away from the amrita (nectar of immortality) obtained during the churning of the palazhi

e. The dance involves the swaying of broad hips and the gentle movements of erect posture from side to side. This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala, the land of Mohiniyattam.

f. The costume includes white sari embroidered with bright golden brocade (known as kasavu) at the edges.

7. Odissia. Dance from Odishab. It is particularly distinguished from other classical Indian dance forms by the

i. importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis

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ii. on the basic square stance known as Chauka or Chouka that symbolizes Lord Jagannath.

c. This dance is characterized by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures.

d. Odissi originate from Udayagiri district of Odisha.e. Odissi first originated as a court dance. Later, it was performed in all religious

places of Jainism as well as Buddhist monasteries.f. Odissi was initially performed in the temples as a religious offering by the

Maharis who dedicated their lives in the services of God.g. It has the closest resemblance with sculptures of the Indian temples.h. Maharis were Oriya devadasis or temple girlsi. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did

not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis.

j. Nartaki dance took place in the royal courts, where it was much cultivated before the British period.

8. Sattriyaa. Sattriya has remained a living tradition since its creation by the Assamese

Vaishnavb. Sattriya Nritya as an accompaniment to the Ankiya Nat (a form of Assamese

one-act plays devised by him), which were usually performed in the sattras, as Assam's monasteries are called.

c. The core of Sattriya Nritya has usually been mythological stories. This was an artistic way of presenting mythological teachings to the people in an accessible, immediate, and enjoyable manner.

d. Traditionally, Sattriya was performed only by bhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals.

e. The sattras had maintained certain rigid disciplines and austerities within their walls, and until the first half of the 19th century this dance style was performed in a highly ritualistic manner by male dancers alone. The classical rigidity, the strict adherence to certain principles, and the non-engagement of academic research on the dance form all contributed to the delayed recognition and acceptance of Sattriya Nritya as one of the eight classical dance forms of India. On 15 November 2000, the Sangeet Natak Akademi finally gave Sattriya Nritya its due recognition as one of the classical dance forms of India, alongside the other seven forms.

Indian Folk Dance

North East States

Nagaland

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● Most of the dance based on war like style● Mainly performed by male

Arunachal Pradesh

Wancho dance● Dance of the tribe

Khampti dance● Folk dance of khampti communities● Based on mythical stories

Buiya dance

● Dance of digaru mishmis● For prosperity and good health

Assam

Bihu dance● The Bihu is a group dance in which males and females dance together but maintain

different gender roles.● The dance is usually characterized by definite postures; movements of the hips, arms,

wrists; twirls, squats and bends but no jumps. ● Male and female dance movements are very similar, with only minor but subtle

differences.

Ankiya Nat

● Assam’s traditional theatre form ● Ankiyā means ‘act’ or ‘episode’ and Nāt means ‘drama’. Thus, Ankiyā Nāt

means a ‘one-act drama’ composed in a particular form. ● Sankaradeva created Ankiyā Nāt and wrote many popular plays as a means

of spreading and maintaining the tenets of Vaisnavism among his people. ● Like the Ramlila and Raslila of the various north Indian states, the

Bhagavata Mela of Tamil Nadu, Krishnattam of Kerala and the Prahlada Natakam of Orissa, the Ankiyā Nāt too is Vaisnavite in content and character. It is one of the oldest of its kind.

● Performances of the Ankiya Nat usually take place within the confines of the

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prayer halls or Namghar.

Tripura

Garia Dance● Based on their jhum cultivation culture● Attached to the “Garia Puja” pray for good future and for a happy harvesting season

Hai hak dance● It is performed at the end of jhum harvesting season● Adore goddess Laxmi

Lebang Boomani dance● Lebang is the name of colourful insect, which comes in search of food to hill slopes

before monsoon● By this dance people try to attract this insect so that insect come out from it hiding place

and people catch them

Mizoram

Cheraw Dance● Also known as Bamboo dance● Bamboos are used while performing this dance● This dance includes Four people. They hold two pairs of bamboos across one another

on the ground. It is most famous dance in Mizoram and a center for attraction during festive occasions in Mizoram. Similar dances are found in Far East and in the Philippines. So it is considered to have foreign origin.

● While the male dancers move these bamboo staves in rhythmic beats, the female dancers perform by stepping in and out of the bamboo blocks

Manipur

Pung Cholom

Khamba Thaibi

Lai Haroaba: festival of gods and goddesess. It is performed for the Umang-Lai (forest deity)

Bihar

Bidesia

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Jat Jatin dance

Jhumari dance

West Bengal

Lathi dance

Tusu dance

Andhra Pradesh

Perini Shivatandavam or Perini Thandavam is an ancient dance form from South India which has been revived in recent times.[1] It originated and prospered in Andhra Pradesh during the Kakatiya dynasty.[2] Perini is performed by males and it is believed that in ancient times this was performed before the soldiers set to war. Nataraja Ramakrishna was the person who revived this art form recently.

Tamil Nadu

Adiperukku (also written as Aadiperukku) is a Tamil festival celebrated on the 18th day of the Tamil month of Adi (mid-July to mid-August). In 2011, it was on August 3. The festival pays tribute to water's life-sustaining properties. For the blessing of mankind with peace, prosperity and happiness, Nature worship in the form of Amman deities are organized to shower Nature’s bountiful grace on human beings.

Jammu & Kashmir

Dumhal● dance performed by the men folk of the Wattal tribe of Kashmir on specific occasions.● The performers wear long colorful robes, tall conical caps that are studded with beads

and shells.● The party moves in a procession carrying a banner in a very ceremonial fashion. It is

dug into the ground and the men begin to dance, forming a circle.

Bhand Jashna● Festival of clowns● Mostly depicts parodies on social situations● Dance is mainly performed in village square● performed by a group of 10 to 15 artists in their traditional style accompanied by light

music for the entertainment of people● It was accompanied by Garaha, Sarangi, Rabab once as the musical instruments but

today harmonium plays an important role in its presentation.Bhand Pather is a traditional folk theatre style exhibiting combination of play and dance in a satirical style where social traditions, and evils are depicted and performed in various social and cultural functions.stories commemorating the lives of reshis (Islamic sages, or rishis) or more

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contemporary real or fictional figures are enacted. The storylines (or pathers) are often humorous and satirical, and farce is an essential component of the plays

Odisha

Chhau dance -● popular in the Indian states of Orissa, Jharkhand and West Bengal. ● Origin from the word ‘Chaya’.● There are three subgenres of the dance, based on its places of origin and development,

○ Seraikella Chhau (Jharkhand)○ Mayurbhanj Chhau (Orrisa)○ Purulia Chhau (West Bengal)

● The most prominent difference among the three subgenres is in the use of mask. While, the Seraikela and Purulia subgenres of Chhau use masks, the Mayurbhanj Chhau uses none.

● Chhahu dance is mythological based on “Ramayana” and “Mahabharta”● Men and Women both perform the dance(Chaitra parva). Initially it was only men dance

Punjab

Bhangra● Performed by male. ● It was originally danced during the harvest season, but now is a popular form of

celebration at any time such as weddings and festivals.Gidha

● Counterpart of Bhangra in femaleRajasthan

Ghoomar● This folk dance gets its name from ‘ghoomna’, the pirouetting which displays the

spectacular colors of the flowing ‘ghaghara’, the long skirt of the Rajasthani women.● It is performed by groups of women in swirling robes

Kalbelia● Performed by Kalbelia tribal (Snake charmer) in Rajasthan. Hence, the dance

movements and the costumes bear resemblance to that of the serpents.

Bhavai● Bhavai is partly entertainment and partly a ritual offering to Goddess Amba.● Bhavai is made up of two words: bhava means universe and aai is mother; together it

means mother of the universe, Amba.

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Gujarat

Garbha

Garbhi

Dandia ras

Gheria Ras

Gomph

Maharashtra

Koli dance● Dance of fishing community● Performed by both men and women and depict the fishing activity

Tamasha● Tamasha dance is based on famous tamasha theater of Maharashtra● Word is Persian which means “entertainment and fun”

Lavani● Performed by women● Word originate from the word Lavanya which means beauty● Dance deals with various subjects like religion, society, politics, romance etc.

Povadas● Depicting the life of Shivaji

Dhangri● Performed by shepherds of the Sholapur district who are known as dhangar● Performed to please the god and get its blessing

Uttar Pradesh

Nautanki

Raslila

Kajari

Jhora

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Himachal Pradesh

Karyala

Luddi dance

Giddha Padhun

Munjara

Charba

Karnataka

Yakshgana● Also known as bayalata(Ballet of the east)● Developed from bhagvat atra● Actors wear costumes and enact various roles. ● This combination of classical and folk elements makes yakshagana unique from any

other Indian art.● kathakali similar● done by male only● It would be considered a form of opera in western eyes.● Yakshagana is sometimes simply called aataā in Kannada and Tulu ("play"). ● Yakshagana literally means the song (gana) of a yaksha. Yakshas were an exotic tribe

mentioned in the Sanskrit literature of ancient India.

Other dances are - Huttari, Suggi, Giggi, Pad

Sarpagati● Dance based on the snake ● Kundlini power, Water, Earth, Fire, Garuda are the principle on which this dance is

performedMadhya Pradesh

Bhagoria Fest is a festival celebrated by the tribal people of an Indian state Madhya Pradesh (Originally Known as 'Malwa'). Also known as Bhagoria Haat Festival, it is one of the most amusing tribal festivals in India because during this festival, young boys and girls are allowed to elope after choosing their partners

Indian Paintings● History can be traced back to bhimbetka paintings[cave] similar to Matopos(Zimbabwe),

Altamira(Spain) and Lascaux(France)

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● Painted pottery of Indus civilisation● Guptas period - real development of Indian paintings

○ Kamasutra defines the brushes used and types of paints were used● Indian had then developed the six principles of paintings similar to China● Ajanta● Jain miniature at Gujarat and early Sultanate period show decline in this art● Under Mughals again revival of paintings

○ Abdul samad and Mir Sayad Ali○ Foreshortening - taken from Portuguese○ Akbar established Karkhana○ Indo - Islam synthesis

● Jahangir Portrait paintings developed● Birds and animals painted● Aurangzeb period saw decline in the art but regional styles developed● British rule show European influence

○ E.B. Havell wanted India to work out its own artistic salvation○ Abhanindra Nath Tagore,

Pre Historic Paintings

1. paintings and drawing are the oldest art forms and cave wall as canvas2. 3 types - human, animals and geometric and associated activities 3. regions - UP, AP, MP, KT, BH, Lakhudiyar in Kumaon regions, Kupgallu, Tekkalkota4. plants are rarely shown5. color from mixing of rock powders with bones, gums etc. 6. superimposition character

a. Bhimbetka has 20 superimpositions at many placesb.

7. Kumaon regiona. humans - stick-like forms, hand-linked dancing human figureb. animal - fox, lizardc. geo - wavy lines, rectangle-filled designs

8. Bhimbetka Paintings[MP]

a. Bold linesb. Scratched on stonec. Use of vivid red and yellow earth colour or soot black

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d. variety - daily life to sacred and royal imagese. categorized in 7 periods. 1st three are as follows :

i. Paleolithic1. linear representation2. Usually depicting large animals like bison, tiger, rhinoceros3. stick like human figures

ii. Mesolithic1. largest painting of this time2. Man and animal3. hunting scene dominated - group hunting, pointed sticks, arrows

and bows4. Smaller and they lose their proportion and naturalism5. humans

a. women - nude and clothedb. children, community dances, family life, c. hand, fist, dots from fingertips

6. Usually use of red colour7. Common themes are grazing, riding, dancing in groups

iii. Neolithic

1. Green and yellow colours2. battle scene3. men riding elephants and horses using spears, bow and arrow4. associations, settle agricultural communities5. Shiva and Ganesha images6. Flowers tree and Peacock images

Gupta age paintings

1. Ajanta2. Bagh3. Sittanavasal

Ajanta● “Fresco” or “Stucco succo” wall paintings● These murals are done in Tempera style● Surface made rough by some tool then a plaster containing cowdung or stone powder or

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rice straw used to cover the rough surface● Then use of a thin layer of lime paste● Lines of the required paintings were drawn in red or ochre(golden yellow) colour on the

surface while it was wet● Colours were made of local pigments made from minerals or plants

○ Colours used - Red, Green, Blue● Main elements of Ajanta paintings

○ Emotional Expression - hand gesture, ○ Descriptive - narrative○ Ornamental - Gandharva, Garuda, Yaksha

● Most famous paintings are of Apsara, Black Princess and Bodhisattva

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● Characteristics○ Drawings are mostly “curvaceous”, “rhythmic”, “musical”○ Expression of sentiments and emotions○ Variety of life has been shown○ Expression of emotions through hand postures○ Woman in ideal form, graceful and divine rather than physical representation○ Decoration of roofs, Pillars and windows with paintings○ Even birds and animals are shown with emotions

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Bagh Painting● River Bagh tributary of Narmada● Same Ajanta features

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●

Sittanavasal● Puddukota in Tanjore● Built by Maharaja Mahendra Varman● Jain Paintings● Resemblance with Bagh and Ajanta paintings● Mainly depicts

○ Animals, birds, flowers (Mainly lotus)○ Ghandharva and Ardha Narishwara○ pictures of elephants, buffaloes, fish, geese, Jains gathering lotuses from a pond and

dancing girls○ black, green, yellow, orange, blue, and white

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Ellora Paintings● 2 types:

● Similarity to Ajanta● Apabhramsa style

● Scene of Ramayana and Mahabharta● Mythological animals and flowers

○ Elephant in lotus pond○ Shiva as Nataraj○ Divine figures related to Jain

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Pala School● Mainly in Bengal and Bihar● Mainly manuscripts paintings on Talapatra● Most of these paintings are religious and related to Lord Buddha and mainly Vajrayana

Buddhism● Black finishing lines are sinuous● Heads are flat● In name of nature only banana and coconut paintings● Simple in composition and have feeling devotion

Apabhramsa school● Either in Mewar or Gujarat● Main characteristics

○ Bulging eye○ Double chin○ Pointed nose○ Predominant chest○ Lack of natural scenes○ Animals and birds represented like toys○ Use of bright and gold colours

Mughal School● Use of Bright colours● Accuracy in line drawing● Variety of themes● Details and Intricacies● Ornamentation● Perspective (Added by Mughal in influence of Portuguese)- 3D● showing only 3/4 of the face i.e. partial face● Realism

Babar

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Humayun● Brought two painter from Persia(Abdus samad and Mir sayed)

Akbar● fusion of all existing painting schools● 4 painters to paint - line, color filling, border, calligraphy

Jahangir● shift from persian to Indian features● more naturalistic paintings

Shahjahan● colours were highly bright● dead and harsh lines in place of soft and rhythmic lines led to artificialness

Aurangzeb

Deccani School

● During the 16th and 17th centuries were Ahmednagar, Bijapur and Golconda and hydrabad.

● In the Deccan, painting continued to develop independently of the Mughal style in the beginning. However, later in the 17th and 18th centuries it was increasingly influenced by the Mughal style.

1. Ahmednagar○ The earliest examples of the Ahmednagar painting are contained in a

volume of poems written in praise of Hussain Nizam Shah I of Ahmednagar (1553-1565) and his queen.

○ One of the illustrations depicts the king sitting on the throne and attended by a number of women. The female type appearing in the painting belongs to the northern tradition of Malwa.

○ The Choli (bodice) and long pigtails braided and ending in a tassel are the northern costume.

○ But the long scarf passing round the body is in the southern fashion.○ The colours used in the painting being rich and brilliant are different

from those used in the northern paintings. The Persian influence can be seen in the high horizon, gold sky and the landscape.

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○2. Bijapur

○ In Bijapur, painting was patronised by Ali Adil Shah I (1558-80 A.D.) and his successor Ibrahim II (1580-1627 A.D.).

○ The ladies appearing in the illustrations are tall and slender and are wearing the South Indian dress.

○ One of the miniatures illustrated here shows the "Throne of Prosperity".

○ There is influence of the Lepakshi mural painting on the female types.○ The rich colour scheme, the palm trees, animals and men and women

all belong, to the Deccani tradition. ○ The profuse use of gold colour, some flowering plants and arabesques

on the top of the throne are derived from the Persian tradition.

○3. Golconda

○ The earliest paintings identified as Golconda work are a group of five charming paintings of about 1590 A.D.

○ They show dancing girls entertaining the company. One of the miniatures illustrated shows the king in his court watching a dance performance.

○ He wears the white muslim coat with embroidered vertical band, a typical costume associated with the Golconda court. Gold colour has been lavishly used in painting the architecture, costume, jewellery and

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vessels etc.

○4. Hyderabad

○ Painting in Hyderabad started with the foundation of the Asafjhi dynasty by Mir Qamruddin Khan (Chin Qulick Khan) Nizam-ul-Mulk in 1724 A.D. Influence of the Mughal style of painting on the already existing early styles of Deccani paintings, introduced by several Mughal painters who migrated to the Deccan during the period of Aurangzeb and sought patronage there, was responsible for the development of various styles of painting in the Deccan at Hyderabad and other centres.

○ Distinctive features of the Deccani paintings of the 18th and 19th centuries are observed in the treatment of the ethnic types, costumes, jewellery, flora, fauna, landscape and colours.

○ A miniature showing a princess in the company of maids is a typical example of the Hyderabad school of painting.

○ The princess is reclining on richly furnished terrace covered with a canopy. The style of the painting is decorative. Typical characteristics of the Hyderabad painting like the rich colours, the Deccani facial types and costumes can be observed in the miniature. It belongs to the third quarter of the 18th century.

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○5. Tanjore

○ A style of painting characterised by bold drawing, techniques of shading and the use of pure and brilliant colours flourished at Tanjore in South India during the late 18th and 19th centuries.

○ One painting showing the coronation of Rama. The scene is laid under elaborately decorated arches. In the middle Rama and Sita are seated on the throne, attended by his brothers and a lady; In the left and right panels are seen rishis, courtiers and princes.

○ In the foreground are Hanuman, Sugriva who is being honoured and two other vanaras opening a box probably containing gifts.

○ The style is decorative and is marked by the use of bright colours and ornamental details. The conical crown appearing in the miniature is a typical feature of the Tanjore painting.

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Rajasthani or Rajput Paintings● Flourished under the Rajput rulers of Udaipur, Chittor, Mewar, Chavanda, Bikaner,

Jaipur, Jodhpur and Bundi● Reflected the ideas and ideologies● Tastes and emotions of rajput princes● Mainly on Hindu traditions and mythology● Courtly and feudal pride● 3 Developmental Phases

○ First Phase -

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■ End of 16th century■ Mainly from mewar■ Extremely simple and straightforward and solid background

○ Second Phase■ 17th century■ More sophisticated and poetical paintings

○ Third Phase■ 17th -18th century■ Maximum mughal influence

●

● In early phase influence of “Bhakti Andolan” and “Hindu Renassiance”● Bhagvata Purana, Geet govinda, rasikpriya, baramasa● Mainly represent

○ Radha and Krishna○ Nayak and Nayika○ Hunting scenes

● Different colours depict different themes○ Red - Fury○ Yellow - Marvel○ Brown - Erocticism

Different Region1. Ragmala Paintings

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a.b. Unique to Indian art, communicate through lines and colours which traditionally

been conveyed through soundc. Based on Ragasd. Ragmala painters followed the texts of Narada Hariballabha, Hanuman and Mesh

Karane. Muslim painters also draw paintings from Mewar and Bikanerf. It is only in India that paintings, poetry and music came together in such a unified

and independent groupings2. Mewar School

a. Udaipur and Nathdwara main centersb. Raginis were paintedc. Based on Ramayana, Bhagwad Purana, Radha and Krishnad. Secular themes like depiction of general life, battle scenes, birds and animalse. depiction of Panchtantra and Prithviraj Raso

f.3. Kishangarh

a. Kishangarh lake appear in many paintingsb. Radha and Krishna are main subjectsc. Gold has been liberally used for paintingsd. Mostly primary colour used without mixinge. Face of male and female is similar

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f. Krishna has been painted in blue to identifyg. Figures are thin with narrow eye brows and lotus petal shaped eyesh. Nihal singh was the main painter of this schooli. Painting Bani-Thani is most famous which represent Radha

j.4. Bikaner

a. love scenes from Radha Krishnab. small chin, drooping moustache, tight lipsc. clouds in circular shaped. influence of Deccan and Mughal

e.5. Kota

a. Under raja Umed Singhb. Clear influence of Mughal stylec. Mainly portraits of princes and hunting scenesd. Tiger and boar hunting are uniquee. Thick vegetation of forest treated in detailsf. Pictures are largeg. Give more importance to nature than human figures

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h.6. Bundi

a. Local vegetation painted in detailsb. Scene of pleasures c. Raga ragini and baramasa paintedd. Influence of Meware. Faces are round. Red, pink and almond colours are used for shading the facesf. Banana trees are beautifully paintedg. Sky is painted in different colours and mostly a light ribbon of red colours is

visible in the sky which is speciality of bundi style

h.

7. Jaipur(Kachchwaha)a. Use bright coloursb. No shading, less realismc. Life size pictures of Radha and Krishna were painted depicting union of devotion

and romanced. Ghaghras of women painted with dark colourse. Men wears loose Pajamas and turban studded with diamond and pearlsf. Ornamental boundary - influence of Mughal

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g.8. Jodhpur

a. Use of bright colours b. Tall masculine figures wearing triangular and pointed capsc. Women with long hair

d.9. Sekhawati

a. Known as “open art gallery of Rajasthan”b. The subject matters of these paintings vary tremendously, from mythological

stories and epics such as the Ramayana and the Mahabharata to the local legends of battles and hunts, nearly all of which has been painted over.

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c. They were hugely popular during their era, such was the demand that the skilled artists couldn't paint fast enough.

Comparison - Mughal Style V/S Rajput● Persian vs Indigenous Frescoes● Royal pomp(Ceremony and splendid display), Court vs Radha Krishna, nature● Naturalistic colors vs Bright and lively colors● Depiction of Camel, Tree, Falcon vs Peacock, Lotus, Swan● Mughal painting mainly restricted to the court while rajput painting is the painting of

PeopleDifference Between Mughal and Rajasthani Paintings –

Mughal

1. Most of the Mughal Painting depict depict imperial or feudal effects.

Rajput

1. Rajput paintings mostly represent village life, literary, love stories, folk dances and religious customs and rites.

Mughal

2. Miniature paintings, elegant manuscripts calligraphy and the borders around paintings are the specialties of this style.

Rajput

2. Rajput paintings have flow, rhythm, the melody and religious expressions.

Mughal

3. Miniature paintings sprang flourished during Mughal painting.

Rajput

3. We find wall paintings in plenty which Sprang and flourished during Rajput period.

Mughal

4. Margins around the paintings were unpressively depicted in elegant manner.

Rajput

4. No margin with leaves and flowers was given importance to the paintings.

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Mughal

5. Mostly a picture was painted jointly by three or four artists.

Rajput

5. Rajput paintings was invariably painted by the artists.

Mughal

6. The depiction of birds and animals was done with a view to recreation and amusements.

Rajput

6. The painting of birds and animals were symbolized.

Mughal

7. Portraits of females looked un-natural and disproportionate in Mughal Painting.

Rajput

7. Quite natural and proportionate depiction of female portraits are the essence of Rajasthani paintings.

Mughal

8. Painters have expressed their names in the paintings.

Rajput

8. Painters have not disclosed their identity in Rajput paintings.

Mughal

9. “Shiri-Kalam” of Iran has contributed in the origin of Mughal Art.

Rajput

9. The Ajanta caves and temples are the inspiration of Rajput paintings.

Mughal

10. Mughal painting was based on foreign art originated in Iran.

Rajput

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10. Rajput / Rajasthani paintings is totally an indigenous art and is only partially impressed by Mughal Art.

Pahari Paintings● Rajput paintings classified into two categories by Kumarswamy

○ Rajasthani Painting○ Pahari Painting

● Distance between two kingdom is short so painters move from one place to others so the paintings have influence each other

● Pahari paintings of India can be divided into two distinct categories, on the basis of their geographical range, namely:

○ Basohli and Kulu Style (Influenced by Chaurpanchasika style)○ Guler and Kangra Style (Based on cooler colors and refinement)

● The Pahari school developed and flourished during 17th-19th centuries stretching from Jammu to Almora and Garhwal, in the sub-Himalayan India, through Himachal Pradesh

● Each creating stark variations within the genre, ranging from bold intense Basohli Painting, originating from Basohli in Jammu and Kashmir, to the delicate and lyrical Kangra paintings

● Became synonymous to the style before other schools of paintings developed, which reached its pinnacle with paintings of Radha and Krishna, inspired by Jayadev's Gita Govinda

1. Basohli

a.b. Earliest Pahari paintingc. Figures have close resemblance with Jaina Kalpasutrad. Two dimensional with fish shaped eyese. Subject matter is mainly princes of region and illustration of Hindu religious books

e.g. Rasamanjari, Gita Govinda and Bhagwad Puranaf. Most of the paintings based on Krishna themeg. After Aurangzeb, get patronage from Hindu princes of the regionh. After 17th century Basohli picture began to be seen in nearby Mankot, Jammu,

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Jasrota, Chamba, Nurpur, Guler 2. Guler

a.b. Under Raja Govardhan Singh Mughal artists influenced Gulerc. Dalip Singh - started from hered. Drawing became finer and colouring more subduede. The drawing is delicate and precise. The colours which emphasize cool blues

and greens are handled with skill.3. Kangra and Kullu

a. Born in the end of 18th centuryb. Combination of Mughal and Rajasthani paintingsc. Sansar chand was the early patrond. “Love scenes” of Krishna specially painted e. After Sansar Chand death this painting saw decline and most artist move to

Kashmir and Punjabf. Graceful girls, gliding with bent heads and down skirts are drawn on curvaceous

lines, radiating the charm of eternal youthg. Colours used are symbolic to indicate their moods

h.4. Jammu

a. Similar with the Guler school

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b. “Nainsukh’s” paintings are famous with dark green, rich yellows, browns and blues. Kathak dancer painting is most famous painting

c. Majority of pictures from there are portraits of Kings, their courtiers and families

d.5. Chamba

a. Raja of Chamba married to a Basohli princess so there is influence of basohli paintings

b. Figures are short and squatc. Colours are refinedd. Pictures are nearer to wall paintings in their bold outlines

e.6. Tehri Garhwal

a. Subject matter of these paintings are Krishna legend and Ramayanab. Retain the grace of green and riches of Kangra

7. Thanka Paintinga. From Laddakhb. Use Buddhist motif and symbol of dragonc. Made in monasteriesd. Uses silk and brocade patch work

e.

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Comparison between Pahari and Rajput Paintings

Element Pahari Rajput

Origin Sub Himalayan Region Rajasthan

Style In Pahari painting main focus on nature and radha krishna life

In rajput painting influence of court scene and prince and princess painting

Influence Buddhist influence on Tanka paintings

Deccan on Bikaner

Mainly patronage by Kings Local influence wall paintings

Ragmala,Mewar and Bundi paintings has influence of Music

Oudh Painting

●● · ● Under the influence of Agra Qalam● Prospered under Bahu Begum● It differs from the Mughal paintings by its softer colors and more intimate scenes● More refined and sensitive depiction of the female form● Landscape beyond the figures received much more attention than in Agra and Delhi

Sikh Painting

●● Maharaja Ranjit Singh brought many Mughal and pahari painters

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● He encouraged portraits of his nobles in mughal style● Many unfinished miniature paintings due to the aggression of British● Some large wall paintings can be seen in the different akharas of the mahants● Several little illustrated books of the Janak Sakhis, the myths and legends of Guru

Nanak, were also painted at this time● Drawings are vigorous and life like but lacks refinement

Tanjore Glass Painting

●● Origin can be traced back to the down fall of Vijaynagar when a group of artist migrated

to Mysore and Tanjore● Picture of lord Krishna and other favourite divinites● Uses vivid colors on glass and bold outlines● Uses montage technique● Charm of folk paintings● Figures in the paintings are strong and worldly● Faces and bodies of the figures have been shown fair and healthy

Mysore school of Painting● Has the same root as the Tanjore painting● But it evolved in its unique way

●●

Tanjore School Mysore School

● Concentrated on pure decoration adorning their paintings with beads colored glass and pieces of gold

● For them composition is more important

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covered silver foil

● Had single figure occupying the canvas

● Had two or more figures, The main one shown larger than the others

● Use thick gold relief work ● Developed a softer and more refined art

● Mysore artists excelled in the art of storytelling and even incorporated calligraphy in their work.

Bazar Painting● Under the British influence Greek and Roman statues copied● Figures of Indian god with many hands and elephant head● Bazar painters painted mainly everyday life● They painted pictures of Indian servants, of courtesans dancing before British officials,

bazaar scenes●

Patua Painting● The Patua is a community found in the state of West Bengal in India. Some Patuas are

Hindus, while others are Muslims and Buddhists ● Made scroll painting and banners with religious themes taken from epics and Krishna

cult● It was promoted by nawab of Murshidabad

●Kalighat Painting

● In Calcutta near Kalighat temple● Painted on hand made paper, the flowers and plants in a naturalistic manner● Painted Durga, Shiva, Rama, Sita, Krishna and Calcutta’s day to day life● Shading which are rare to Indian paintings appear● Uses bold assertive lines and bright colours● Influenced by English print which were being sold in the market

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●Patna or Company Painting

● A number of artist fled to Murshidabad after fall of the Mughal empire● Later the attacks of Maratha, Britishers, Afghans forced them to leave for Patna● As Patna became important centre for the British they influenced these paintings● Thus this school borrowed western styles and new techniques like wash techniques of

water color● Main center of this school is Patna, Varanasi, Nepal, Murshidabad, Lucknow, Delhi,

Lahore and Pune● Social theme, general life and festivals depicted. There is no depiction of royal splendors

and romanticism like Mughal school● Portrait have one and half faces with light and shades● Paintings done on Mica as well● Number of these paintings are kept in Kudha Baksh Library, Patna and in Patna

museum

●●

Bengal School● E. B. Havell brought a new style of painting based on Indian tradition. It is known as

Bengal school● He was against forceful imposition of western art● He attracted the attention of the world towards the great traditions of Indian art and

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condemned the prejudiced and cruel criticism of Indian art by British● Under his inspiration a group of Bengal artists gave birth to a new traditional style after

copying the paintings of Mughals, Rajputs and Ajanta● They created renaissance under the guidance and leadership of Abindra Nath Tagore● This revivalist art was a revolt against the west● Subject matter of Bengal art is –

○ Historical paintings - like “Buddha and Sujata” by Abindra Nath Tagore, Akbar and Kunal by Haldar

○ Religious Paintings – Mahakali, Shiva Parvati, Krishna and Gopies○ Literary themes – Meghdoot by Haldar○ Social and daily life paintings○ Natural paintings – Birds and animals and landscape paintings

● · Characteristics○ Their approach was simplified and normal○ Colour scheme is very attractive but avoided bright and gaudy colours○ Wash techniques were used to bring harmony○ Impact of Mughal and Rajasthani schools are visible○ Lights and shades delicately shown

●

Folk Art1. Alpana

a. In Bengal drawn on auspicious occasionsb. Some geometrical designsc. Colours are home made

2. Rangolia. Mainly popular in Gujarat and Maharashtrab. Powder of white stone in used for making coloursc. Designs are made on groundd. In these designs the desire of well being is expressed by drawing flowers, leaves, e. Specially prepared on the occasion of marriage and festival

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f. Different names in different regionsg. In Gujarat it is known as “Kaloti”h. Apna in Garhwali. Aviapan in Biharj. Sanjhi and Chauk Poorna in U.P.k. Mandana in Rajasthan

3. Madhubani paintings of Mithila

a.b. Monopoly of Women artistsc. This mainly a communal activityd. Initially these paintings were drawn on walls but famine of 1967 compelled the

women to draw these paintings on cardse. From here it become famous and commercializedf. Natural colours are used and prepared indigenously (For black using burnt straw,

for white powdered rice diluted with water)g. Outline is drawn in a single flow of brushh. These paintings are done on mud walls and papersi. Subject matter of these paintings are Vishnu avtars - like Rama, Krishna and

female deities like Kali, Durga and Parvatij. Background of these paintings are detailedk. Two dimensional picturesl. Eyes are fish shaped, long pointed nose and narrow forehead

4. Manjusha Arta. From east Bihar Bhagalpur districtb. Borders are an integral part of Manjusha art. They are made in an attractive

manner and in between the borders the folk tales is described in the sequence of scenes.

c. Manjusha art is the only art form in the history of art form in India which has a sequential representation of the story and is displayed in a series. This is also called a scroll painting

d. The artistic work done in compilation with the story and its presentation in the paintings is famously known as Manjusha art.

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e.5. Pichwai Paintings

a.b. From Rajasthan Nathdwarac. Ritual temple artd. Favourite themes are Krishna, Radha and Gopiese. Paintings are done on rough handspun cloth

6. Phad Paintingsa. From Rajasthan Bhilwara regionb. Scroll paintings on which religious and heroic tales are paintedc. This style of painting is traditionally done on a long piece of cloth, known as

phad. The narratives of the folk deities of Rajasthan, mostly of Pabuji and Devnarayan are depicted on the phads.

d. “Joshi” a class is the main painter of this art

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e. 7. Patachitra Paintings

a. From Odishab. Done on cloth coated with a paste to give it a leathery finishc. The word is derived from the Sanskrit word patta meaning 'canvas' and chitra

meaning 'picture'.d. Raghurajpur in Puri district has the largest number of chitrakars, painters.e. Depict religious themes - stories from the Ramayana, Mahabharata, Krishna Lila

and incarnations of Lord Vishnu. But the most popular depiction is that of Lord Jagannath.

f. Earthen and stone colours are used for these paintings

g.8. Kalamkari Paintings (Bhery impaurtent-daddu’s guess)

a. From Andhra Pradeshb. Qualam-kari (qalam meaning pen and kari, work)c. Done on cotton textile using Indigo and vegetable coloursd. There are two distinctive styles of kalamkari art in India -

i. Srikalahasti style 1. The Srikalahasti style of Kalamkari, wherein the "kalam" or pen is

used for free hand drawing of the subject and filling in the colours, is entirely hand worked.

2. This style flowered around temples and their patronage and so

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had an almost religious identity - scrolls, temple hangings, chariot banners and the like, depicted deities and scenes taken from the great Hindu epics - Ramayana. Mahabarata, Puranas and the mythological classics.

3. More flourished ii. Machalipatnam style of art.

1. The second has a distinct Islamic influence, what with the Qutub Shahi rulers being behind developing the style. The Islamic form involves work with the pen as well as engraved wooded blocks.

2. The primary motifs were floral butas, mihrab of the mosques, the famed tree of life (cypress tree) and animals mentioned in the Quran and in Sufi writings.

3. Threat of extintion (Recent article in TOI- http://articles.timesofindia.indiatimes.com/2012-01-20/hyderabad/30646611_1_srikalahasti-qutub-shahi-fine-art)

4.9. Warli Paintings

a. From Maharasthra b. Tribal paintingc. Paint on the wall with white colour from rice pasted. Simpicity of the pattern is a distinctive feature

e.

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Puppetry● String Puppet

○ Most ancient puppet○ Controlled by strings and puppet have joined limbs that give them flexibility○ Practiced in Rajasthan, Odisha, Maharashtra, Karnataka, Tamil nadu and Assam○ Rajasthan -

■ Known as “Kathputli”■ Made of wood and stuffed rags■ These puppets are legless and are draped in long skirts

○ Odisha ■ Known as “Sakhi Kundhei”■ Domination of folk songs over dialogues■ Themes mainly Radha-Krishna and Ramayana

○ Karnataka■ Known as “Gombe-atta”■ Puppets are highly stylized and resembled a costumed Yakshgana■ Most versatile

○ Tamilnadu■ Known as “Bommalatam”■ Largest and heaviest of all traditional string puppet■ Most popular in Thanjavur district■ Some puppet are 4.5 feet long and weigh around 10 kg■ The plays are based on episodes from epics

● Rod Puppet○ Supported and manipulated by rods○ Puppets are large and attached to bamboo sticks which in turn are tied to waist

of puppeteer○ Mainly famous in West Bengal and Odisha○ The Orissa Rod puppets are much smaller in size, usually about twelve

to eighteen inches. They also have mostly three joints, but the hands are tied to strings instead of rods. Thus elements of rod and string puppets are combined in this form of puppetry. The technique of manipulation is somewhat different. The Orissa rod-puppeteers squat on the ground behind a screen and manipulate.

○ Putul Nautch, West Bengal■ They are carved from wood and follow the various artistic styles

of a particular region. In Nadia district of West Bengal, rod-puppets used to be of human size like the Bunraku puppets of Japan. This form is now almost extinct. The Bengal rod-puppets, which survive are about 3 to 4 feet in height and are costumed like the actors of Jatra, a traditional theatre form prevalent in the State. These puppets have mostly three joints. The heads, supported by the main rod, is joined at the neck and both hands attached to rods are joined at the shoulders.

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○ Yampuri, Bihar■ The traditional Rod puppet of Bihar is known as Yampuri. These

puppets are made of wood. Unlike the traditional Rod puppets of West Bengal and Orissa, these puppets are in one piece and have no joints. As these puppets have no joints, the manipulation is different from other Rod puppets and requires greater dexterity.

● Glove Puppet○ Odisha, Kerala, Uttar Pradesh and West Bengal○ Puppeteer wears a glove○ Thumb and middle finger control the arms ○ Index finger control the head○ In Odisha it is known as “Kundehi-nacha” ○ In Kerala it is known as “Pava kali or pava kathakali”, “Pavakoothu”

● Shadow Puppet○ Mainly practised in Odhisha, Andhra Pradesh○ In Odisha Known as “Ravanchhaya” - shadow of Ravana○ Flat leather figures are tightly pressed on translucent screen with a strong source

of light focusing from behind○ Togalu Gombeyatta, Karnataka

■ These puppets are mostly small in size. The puppets however differ in size according to their social status, for instance, large size for kings and religious characters and smaller size for common people or servants.

○ Tholu Bommalata, Andhra Pradesh■ Tholu Bommalata, Andhra Pradesh's shadow theatre has the

richest and strongest tradition. The puppets are large in size and have jointed waist, shoulders, elbows and knees. They are coloured on both sides. Hence, these puppets throw coloured shadows on the screen. The music is dominantly influenced by the classical music of the region and the theme of the puppet plays are drawn from the Ramayana, Mahabharata and Puranas.

○

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Art Cinema ● First Indian talkie movie Alam Ara“ directed by “Ardeshir Irani” released in 1931● First International film festival of India held in 1952● Big turning point in Indian cinema with the arrival of “Satyajit Ray” with his film “Pather

Panchali” in 1955● New Wave Cinema (Parallel cinema)

○ Satyajit Ray, Ritwik Ghatak and Mrinal Sen were the founding fathers ○ In south it is mainly originated in Karnataka and Kerala○ Pattabhi Rama Reddy “Samskara” and Gopalkrishnana’s “Swayamvaram”○ They show reality of India○ Away from star system and they differ in content and form from commercial

cinema○ Often funded by NFDC○ No romantic escapism or glossy portrayal○ Do not use modern dance, music and charismitic stars○ Shyam Benegal , Mrinal Sen, Govind Nilhani, Ketan Mehta

Indian Music● Mainly influenced by Bharat Natyashastra and later by Brihadeshi● Indian music is classified by Ragas● Two main styles of Indian music

○ Carnatic Music○ Hindustani Music

● Basic element of Indian music is Raga, Tala● Raga

○ Made from Sa, Re, Ga, Ma, Pa, Dha, Ni○ A raga uses a series of five or more musical notes upon which a melody is

constructed.○ However, it is important to remember that the way the notes are approached and

rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves.

○ In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.

○ Indian classical music is always set in a rāga.○ Rāginī is a term for the "feminine" counterpart or "wife" to a rāga. The rāga-rāgini

scheme from about the 14th century aligned 6 "male" rāgas with 6 "wives."○ Mainly six Ragas

i. Rag Bahraviii. Rag Shriiii. Rag Deepak

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iv. Rag Meghv. Rag Hindolavi. Rag Malkos

● Hindustani Music○ Style of North India○ Amir Khusro had greatly influenced this style[Khilji time]

i. He created the qawwali genre, which fuses Persian melody and beat on a title dhrupad like structure. A number of instruments (such as the sitar and tabla) were also introduced in his time.

○ Originated from Vedic system but now have enough influence of Persian tradition and folk tradition

○ An aspect of Hindustani music going back to Sufi times is the tradition of religious neutrality: Muslim ustads may sing compositions in praise of Hindu deities, and vice versa.

○ Much of the musical forms innovated by these pioneers merged with the Hindu tradition, composed in the popular language of the people (as opposed to Sanskrit) in the work of composers like Kabir or Nanak.

○ Development of Gharana System: After the dissolution of the Mughal empire, the patronage of music continued in smaller princely kingdoms like Lucknow, Patiala, and Banaras, giving rise to the diversity of styles that is today known as gharanas.

○ In modern era due to several drawbacks of Guru-Shishya parampara new traditions emerged in the Hindustani Music system

i. Vishnu Digambar Paluskar emerged as a talented musician and organizer despite having been blinded at age 12. His books on music, as well as the Gandharva Mahavidyalaya music school that he opened in Lahore in 1901, helped foster a movement away from the closed gharana system.

ii. Vishnu Narayan Bhatkhande recognized the many rifts that had appeared in the structure of Indian classical music. He undertook extensive research visits to a large number of gharanas, Hindustani as well as Carnatic, collecting and comparing compositions.

○ There are mainly two music formsi. Anibadha (Open)ii. Nibadha (Close)

○ The major vocal forms or styles associated with Hindustani classical music are dhrupad, khyal, and tarana. Other forms(semi-classical) include dhamar, trivat, chaiti, kajari, tappa, tap-khyal, ashtapadis, thumri, dadra, ghazal and bhajan; these are folk or semi-classical or light classical styles, as they often do not adhere to the rigorous rules of classical music.

i. Dhrupad● Oldest vocal style traced back to Sama Veda● Earlier confined to temples● Dhrupad music is primarily devotional in theme and content. It

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contains recitals in praise of particular deities.● It is performed with a tambura and a pakhawaj as instrumental

accompaniments.● Traditionally performed by male singers● In Mughal era Tansen and in recent time Dagar family

ii. Dhamar● Lighter version of Dhrupad and it arose in Mathura● Mainly song at the occasion of Holi● Describes the play of Lord Krishna

iii. Thumri● Thumri is a semi-classical vocal form said to have begun in

Uttar Pradesh with the court of Nawab Wajid Ali Shah● There are three types of thumri: poorab ang, Lucknavi and

Punjabi thumri.● Lyrical in approach● Romantic words, aim to create atmosphere of romance

iv. Tappa● Tappa is a form of Indian semi-classical vocal music whose

specialty is its rolling pace based on fast, subtle, knotty construction.

● Its tunes are melodious, sweet and depict the emotional outbursts of a lover. Tappas were sung mostly by songstresses, known as Baigees, in royal courts

● Developed from the camel riders of North West● Composed in Punjab but now it is getting extinct

v. Tarana● Taranas are medium- to fast-paced songs that are used to

convey a mood of elation(Great happiness and exhilaration) and are usually performed towards the end of a concert.

● No meaningful words used (to, tum, tara, etc.)● Main emphasis on rhythm● Imitates Persian and Arabic words

vi. Khayal● Khyal is a Hindustani form of vocal music, adopted from medieval

Persian music and based on Dhrupad.● Khyal, literally meaning "thought" or "imagination" in Hindi-Urdu, is

unusual as it is based on improvising and expressing emotion● A Khyal is a two- to eight-line lyric set to a melody. The lyric is

of an emotional account possibly from poetic observation.● Khyals are also popular for depicting the emotions between two

lovers, situations of ethological significance in Hinduism and Islam, or other situations evoking intense feelings.

● Amir Khusrau created the style ● Important Gharanas for Khayal system

○ Gwalior Gharana – Oldest most comprehensive gharana also known as “Mother

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of all gharana”○ Agra Gharana / Rangeela Gharana – Founded by Haji Sujan Khan○ Jaipur – Atroli Gharna – Associated with singer Alladiya Khan○ Kirana Gharna – Modern and becoming popular. It is known for its tunefulness.

Developed by Abdul Wahid Khan and Abdul Karim Khan●

ii. Qawali, Dadra, Nazam, Kasida and Ghazal● Qawali is a gift of sufi movement, Amir Khusrao;is a form of Sufi

devotional music popular in South Asia, particularly in the Punjab and Sindh regions of Pakistan, Hyderabad, Delhi and other parts of India;harmonium, tabla,dholak, sarangi, clapping.

● Dadra is a light classical vocal form in Hindustani classical music, mostly performed in Agra and in Bundelkhand region. It was originally accompanied by dadra tala (from where the term for the genre was borrowed), but later dadra compositions are often found in other light talas

● Nazam is like Ode in English poetry, a nazam is a poem with irregular metre where idea put forth is more important than the rhythm. Therefore it is considered most powerful Urdu poetry

● Ghazal is an Urdu poem with regular metre. Each verse in a Ghazal has distinct entity and has no connection between them

● Kasida It is a term of abuse in Urdu poetry and refers to poems composed in blind praise of the patrons. This style declined after independence as princely states declined.

● Instruments in Hindustani Music○ Shehnai, Bansurai, Surani(Himachal Pradesh), Mohuri (Madhya

Pradesh) ,Karna(Rajasthan), Pungi (Rajasthan), Khung(Manipur), Singa(Odisha and Madhya Pradesh)

○ Tabla, Pakhawaj○ Tanpura, Sitar, Sarod, Sarangi, Kamaicha(Rajasthan), Rabab(J&K),Ravan

Hattha(Rajasthan), Dilruba, Morchi, Algoza● Personality of Hindustani Music

○ V. D Paluskari. Composed Raghupati Raghav Raja Ramii. Founder of Gandharv Mahavidhyalayaiii. Systemized music on scientific basis iv. Pointed that muslims are not responsible for decline of Hindustani music

● Rabindra Sangeet○ A new style in Bengali music evolved by Rabindra Nath Tagore○ This was fusion of Hindustani music and Bengali folk music

● Carnatic Music○ The main emphasis in Carnatic music is on vocal music; most compositions are

written to be sung, and even when played on instruments, they are meant to be performed in a singing style

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○ In contrast to Hindustani music of the northern part of India, Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. Nearly every rendition of a Carnatic music composition is different and unique as it embodies elements of the composer's vision, as well as the musician's interpretation

○ Singer need to understand composer’s intention.○ Closed form of carnatic music

i. Kriti ● Most popular, means creation or to sing. It has three sections

○ Pallavi○ Anupallavi○ Charan

ii. Javali● Love lighter composition

iii. Padam● Love theme, Slower in tempo

iv. Tilana● In it rhythm is more important than words

○ Instrumentsi. Nadaswaram, Fluteii. Mridangam, Ghatam, Khanjira, Edakka(Kerala), Chenda(Kerala),

Thavil(Tamil Nadu)iii. Tambura, Veena, Gottuvandhyam

○ Main Personalities(Trinity of Carnetic Music)i. Shyama Shastriii. Thyagaraja iii. Muthuswami Dikshitar

● Comparison between Hindustani and Carnatic Music○ Carnatic music is said to have originated in the Karnataka region of south India.

On the other hand Hindustani music is said to have originated in several parts of northern and western India in different times.

○ While Carnatic music is sung and performed in only one style, there are various styles of singing and performing in Hindustani music. Each school of is called a ‘gharana’.

○ Carnatic taught through written composition while Hindustani taught through Oral method

○ Hindustani Music is emotional while carnatic music is more intellectual and spiritual

○ Hindustani music has influence of Arab, Afghan and Persian and Carnatic music is totally indigenous and canonized

○ The number of ragas used in Carnatic music is more when compared to the fewer ragas used in Hindustani music.

○ Chief source for Hindustani music is the Sangita ratnakara of Sarangadeva. On

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the other hand Carnatic music flourished mainly due to the efforts of Saint Purandaradasa and the Carnatic music trinity comprising of Saint Tyagaraja, Muthuswami Dikshitar and Syama Sastri.

○ Both the types of music differ in terms of the instruments used in the playing of music as well. While both types of music use instruments such as violin and flute, Hindustani music extensively employs the use of Tabla (a kind of drum or a percussion instrument), Sarangi (a stringed instrument), Santoor, Sitar, Clarinet and the like. On the other hand Carnatic music extensively employs the use of musical instruments such as Veena (a stringed instrument), Mridangam (a percussion instrument), Gottuvadyam, Mandolin, Violin, Flute, Jalatarangam and the like.

○ Similarity –i. Both share important common features like Svara(Pitch), Raga(Melody)

and Tala(metre)

● Devotional Music○ North India

i. Bhajanii. Keertaniii. Abhanga-kirana gharana

○ South Indiai. Tevaramii. Tiruvasangamiii. Tiruppugazhiv. Deva Nama

● Institutional Support to Music● Music Festivals

http://www.culturopedia.com

Institutions Related to the Culture● ASI

○ The Archaeological Survey of India (ASI) functions as an attached office of the Department of Culture, Ministry of Culture.

○ It was established in 1861 with the primary tasks of conservation, preservation and maintenance of the centrally protected monuments and sites.

○ Functions■ maintenance, conservation and preservation of Centrally protected

monuments and sites; ■ carrying out archaeological explorations and excavations;■ chemical preservation of monuments and antiquarian remains;

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■ architectural survey of monuments;■ bringing out archaeological publications;■ carrying out archaeological expeditions abroad (both excavations and

conservation)■ carrying out underwater archaeology.

● Asiatic Society○ Asiatic Society, Calcutta was founded in 1784 by the eminent Indologist Sir

William Jones (1746-1794) with the objective of inquiring into the history, science, arts and literature of Asia.

○ This institution has contributed to the growth of literary and scientific activities in the country.

○ The Society provided the model for all other Asiatic Societies in other parts of the world.

○ The Government of India declared the Society as an institution of national importance in 1984.

○ The Society is one of the leading centres of Indology in the world. It has undertaken the Encyclopaedia Asiatica Project in eight volumes.

● CCRT○ The Centre for Cultural Resources and Training (CCRT) was set up as an

autonomous organisation by the Government of India in May 1979. ○ The Centre is under the administrative control of Department of Culture. ○ It has its headquarters in New Delhi and two regional centres at Udaipur and

Hyderabad. ○ The broad objective of the CCRT is to link education with culture and awaken

the consciousness of the students about the significance of culture. ○ The CCRT conducts a variety of training programmes for in-service teachers,

which helps them in gaining a deeper understanding of the philosophy and aesthetics of the Indian culture and heritage.

○ It has also organises academic programmes on Indian art and culture for foreign teachers and students.

○ The CCRT implements the Cultural Talent Search Scholarship Scheme. It has also instituted CCRT Teachers Award, which is given every year to selected teachers in recognition of the outstanding work done by them in the field of education and culture.

● Indira Gandhi National Centre for arts○ The Indira Gandhi National Centre for the Arts (IGNCA) was established as an

autonomous Trust in memory of Smt Indira Gandhi, former Prime Minister. ○ It is conceptualised as a centre devoted to the study and experience of all the art

forms. ○ It seeks to place the arts within the context of the natural environment

through diverse programme of research, publication, training, creative activities and performance.

○ The Centre is implementing the project of strengthening the national facility for interactive multi-media documentation of cultural resources with UNDP

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assistance.○ The institute has five divisions that are autonomous in structure but interlocked

in programming. ○ The Kalanidhi is a major repository of reference material relating to humanities

and the arts and has an outstanding reference library and cultural archives with access to multimedia databases and information systems.

○ The Kala Kosa is division that deals with research work on and publications of works on art and related subjects.

○ The Janapada Sampada undertakes to build a core collection of material and documentation on folk and tribal arts and crafts. The lifestyle studies are the main programmes of the Janapada Sampada division. It consists of Loka Parampara, which revolves around a community, and the Ksetra Sampada, which revolves around the region.

○ The Kala Darsana aims to provide a forum for interdisciplinary seminars, exhibitions and performances on unified themes and concepts. It provides the venue and forum for facilitating a creative dialogue amongst cultures, disciplines, levels of society and diverse arts.

○ The Sutradhara gives administrative, managerial and organisational support to all the other division. It is the nodal administrative division that serves as central coordinator of programmes.

● Lalit Kala Academy○ The Lalit Kala Akademi (National Akademi of Fine Arts) was established by the

Government of India at New Delhi in 1954 to promote and propagate understanding of Indian art, both within and outside the country.

○ The Akademi promotes study and research in painting, sculpture, architecture and other applied arts.

○ It promotes cooperation among art associations and encourages exchange of ideas between various schools of art.

○ The Akademi organises a Rashtriya Kala Mela (National Exhibition of Art) every year and Triennale India, an international exhibition, once in three years.

○ Three to four special exhibitions are organised every year with some concept involving known and eminent artists of India. The Akademi gives 10 national awards, each of Rs 25000, to the outstanding artists participating in the National Exhibition of Art.

○ The Akademi honours eminent artists and art historians every year by electing them as fellows of the Akademi.

○ The Akademi regularly participates in International Biennales and Triennales abroad and also organises exhibitions of works of art from other countries to propagate Indian art outside.

○ It also sponsors exchange of artists with other countries under the various Cultural Exchange Programmes (CEPs).

● Sahitya Kala Academy○ A National Academy of Letters, the Sahitya Akademi was established by the

Government of India in March 1954 to foster and coordinate literary activity in the

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Indian languages. ○ It was registered as a Society in 1956. Sahitya Akademi has a written

constitution to guide and shape the modalities of its functions. ○ The Akademi has recognised 22 languages and gives awards for creative

writing and for distinguished contribution to literature. ○ The Akademi publishes books in 22 languages including translations of Award-

winning works, monographs on the great pioneers of Indian literatures, anthologies of fiction, Who’s Who of Indian Writers and Encyclopaedia of Indian Literature.

○ Sahitya Akademi holds regional, national and international seminars every year on various topics in literature, literary history and aesthetics.

○ Besides, it organises a series of programmes, such as Meet the Author, Kavisandhi, Kathasandhi, Asmita, Mulakat, Men and Books, Through My Window, Loka, The Many Voices Avishkar, Antaral and Literary Forum.

○ The Akademi regularly holds Translation Workshops and organises a Festival of Letters annually.

● Sangeet Natak Academy○ Sangeet Natak Akademi is the national academy of music, dance and drama,

which was set up in 1953 to promote performing arts in collaboration with states and voluntary organisations.

○ It seeks increased public appreciation of these art forms through sponsorship, research and dissemination.

○ It holds seminars and festivals, presents awards to outstanding performing artistes, gives financial assistance for theatre productions, extends financial assistance to teachers and grants scholarships to students.

○ It operates a scheme of inter-state exchange of troupes to promote national and cultural integration through regional festivals and bringing rare art forms of the regions to the fore.

○ The Akademi has set up a special unit for surveying and documenting various theatrical, musical and dance forms in the country.

○ Its disc and tape unit has the largest collection of Indian classical, folk and tribal music, dance and theatre items.

○ The Sangeet Natak Akademi runs three zonal institutions for training in dance, Kathak Kendra, New Delhi, Jawaharlal Nehru Manipuri Dance Academy, Imphal and the Rabindra Rangashala.

○ It gives subsidy for publication of books in various Indian languages and English on music, dance and drama and, confers awards and fellowships to distinguished artists and scholars.

● Spic Macay○ The Society for the Promotion of Indian Classical Music And Culture

Amongst Youth, often known by its initials (SPIC MACAY), is a voluntary youth movement which promotes Indian classical music, Indian classical dance, and other aspects of Indian culture

○ It is also a movement with chapters in over 300 towns and cities all over the

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world.○ SPIC MACAY was established by Dr. Kiran Seth in 1977 at IIT Delhi○ It seeks to foster the exchange of traditional Indian values and to generate

awareness of the cultural traditions and heritage of India. ○ In order to achieve its goals, SPICMACAY organizes concerts, lectures,

demonstrations, informal discussions, and seminars. These are hosted by local chapters of the organization.

● National Archives of India○ National Archives of India (NAI) is the premier organised record repository in

Asia. Formerly known as 'Imperial Record Department', it was established on 11 March 1891 as an attached office of the Department of Culture.

○ It is the official custodian of all non-current records of permanent value of the Government of India and its predecessor bodies.

○ It has four regional repositories at Bhopal, Bhubaneswar, Jaipur and Pondicherry.

○ National Archives of India is actively involved in accessioning of public records, preparation of reference media, evolving records management programmes, imparting training in the field of archives administration and records management and promoting archival consciousness in the country.

○ It provides financial assistance to state archives, voluntary organisations and other custodial institutions.

○ It also conducts one-year diploma course in archival studies and a number of short-term certificate courses.

● National Cultural Council● Bharat Mahotsav● Kalakshetra

○ Kalakshetra literally means a 'Holy place of Arts'. ○ It was started in 1936 by Rukmini Devi Arundale as a cultural academy for

preservation of traditional values in Indian art, especially in the field of dance and music.

○ The Government of India took over the management of Kalakshetra by a Presidential Ordinance issued on 29th September 1993 and declared it an institution of National importance.

○ The order was later replaced by an Act of Parliament namely the Kalakshetra Foundation Act (No.6 of 1994).

○ Since then the Kalakshetra Foundation has been functioning as an autonomous body under the Department of Culture.

○ The Centre is modeled on the concept of a 'gurukul', where music, dancing, painting and crafts are taught to students of both sexes from India and other parts of the world.

○ Special cultural programmes are arranged to help the students in appreciating true art and the rich cultural heritage of India.

○ The curriculum of the dance students includes classes on dance theory, which is based on the work Abhinaya Darpana, and selected portions of other ancient

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texts on art and literature. ○ Music is a subsidiary for all dance students. The art of Indian make-up, traditional

costumes and theatre craft are learnt gradually by the advanced and post graduate students through participation in the various Kalakshetra productions. Kalakshetra produces and presents many dance-dramas as part of its efforts to make available to the public the best of Indian classical arts.

● National Drama School○ The National School of Drama (NSD) is one of the foremost theatre training

institutions in the world, set up by Sangeet Natak Akademi in 1959. ○ In 1975, it became an autonomous organisation, financed entirely by

Department of Culture. ○ Several eminent actors, directors, script-writers, designers and technicians of

theatre, films and television are the products of NSD. ○ In NSD the students are exposed to a systematic and practical performing

experience of Sanskrit drama, modern Indian drama, traditional Indian theatre forms, Asian drama and western drama.

○ Experts in each of these fields interact with the students to broaden their horizons of talent.

○ The students also go to different regional centres to gain a first hand experience of the traditional theatre forms.

○ The School has a Repertory Company and Theatre-In-Education Company in Delhi and a Regional Resource-cum-Research Centre at Bangalore.

Indian Theatre● Koodiyatam or Koothiyattam

○ Word derived from “kurd” meaning to play○ Assumed that it is introduced in India by Aryans○ Oldest existing classical drama in the world○ From Kerala○ Most prominent survivor which has elements of Sanskrit theatre○ Never captured the public imagination due to its rigidity○ Limited to only temples○ Only family tradition is the reason behind the survival of this art○ Kottu is considered more liberal form of this drama from○ Performed by Chakyars(Men) and Nangiars(Women) community○ Included in UNESCO list

● Folk Theatre○ Evolved in 15th and 16th century○ More closer to the society, so it is more popular art form○ Used regional language and traditions○ Initial phase it is more religious and devotional but later they become more

secular and based on local issues, legends and stories○ Can be divided into two categories

■ Ritual theatre

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■ Theatre of entertainment○ Mostly the local theatre vocal and narrative in nature i.e. singing and recitation

based ramlila, mahabharata○ Also rich in the ballad singing tradition

■ Pabuji ki phad (Rajasthan)■ Nupipaalaa (Manipur)

○ South indian forms more focus on dance like kathakali, krishnaattam in Kerala also known as dance drama

○ In north india main focus on singing like swang,nautanki○ Jatra of Bengal, Tamasha of Maharashtra and Bhavai of Gujarat mainly focus on

the dialogue part and execution, latter two also focus on comedy and satire○ Puppet show also has its own nature

● Some theatre forms of India○ Bhand Pather

■ The traditional theatre form of Kashmir■ unique combination of dance, music and acting. ■ Satire, wit and parody are preferred for inducing laughter■ Since the actors of Bhand Pather are mainly from the farming

community, the impact of their way of living, ideals and sensitivity is discernible.

○ Swang■ Mainly music-based, from Haryana-UP ■ Gradually, prose too, played its role in the dialogues. ■ The softness of emotions, accomplishment of rasa alongwith the

development of character can be seen in this theatre form. ■ The two important styles of Swang are from Rohtak and Hathras. In the

style belonging to Rohtak, the language used is Haryanvi (Bangru) and in Hathras, it is Brajbhasha.

○ Nautanki■ Usually associated with Uttar Pradesh. ■ The most popular centres of this traditional theatre form are Kanpur,

Lucknow and Hathras. ■ The meters used in the verses are: Doha, Chaubola, Chhappai, Behar-e-

tabeel. ■ There was a time when only men acted in Nautanki but nowadays,

women have also started taking part in the performances. ■ Among those remembered with reverence is Gulab Bai of Kanpur. She

gave a new dimension to this old theatre form.○ Raasleela

■ Based exclusively on Lord Krishna legends in UP (Brajbhasha)■ it is believed that Nand Das wrote the initial plays based on the life of

Krishna. ■ In this theatre form the dialogues in prose combined beautifully with

songs and scenes from Krishna's pranks.

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○ Bhavai ■ Traditional theatre form of Gujarat. ■ The centers of this form are Kutch and Kathiawar. ■ The instruments used in Bhavai are: bhungal, tabla, flute, pakhaawaj,

rabaab, sarangi, manjeera, etc. ■ In Bhavai, there is a rare synthesis of devotional and romantic

sentiments.○ Jatra

■ Fairs in honour of gods, or religious rituals and ceremonies have within their framework musical plays

■ This form was born and nurtured in Bengal. ■ Krishna Jatra became popular due to Chaitanya's influence. ■ Later, however, worldly love stories too, found a place in Jatra. ■ The earlier form of Jatra has been musical. Dialogues were added at later

stage. ■ The actors themselves describe the change of scene, the place of action,

etc..○ Maach

■ Traditional theatre form of Madhya Pradesh. ■ The term Maach is used for the stage itself as also for the play. ■ In this theatre form songs are given prominence in between the

dialogues.■ The term for dialogue in this form is bol and rhyme in narration is termed

vanag. ■ The tunes of this theatre form are known as rangat.

○ Bhaona■ presentation of the Ankia Naat of Assam. ■ In Bhaona cultural glimpses of Assam, Bengal Orissa, Mathura and

Vrindavan can be seen. ■ The Sutradhaar, or narrator begins the story, first in Sanskrit and then in

either Brajboli or Assamese.○ Tamasha

■ Traditional folk theatre form of Maharashtra.■ It has evolved from the folk forms such as Gondhal, Jagran and Kirtan.■ Unlike other theatre forms, in Tamaasha the female actress is the chief

exponent of dance movements in the play. She is known as Murki.■ Classical music, footwork at lightning-speed, and vivid gestures make it

possible to portray all the emotions through dance.○ Dashavatar

■ most developed theatre form of the Konkan and Goa regions. ■ The performers personify the ten incarnations of Lord Vishnu-the god of

preservation and creativity. ■ The ten incarnations are Matsya (fish), Kurma (tortoise), Varaha (boar),

Narsimha (lion-man), Vaman (dwarf), Parashuram, Rama, Krishna (or

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Balram), Buddha and Kalki. Apart from stylized make-up, the Dashavatar performers wear masks of wood and papier mache.

○ Krishnattam■ folk theatre of Kerala, came into existence in the middle of 17th century

A.D. under the patronage of King Manavada of Calicut. ■ Krishnattam is a cycle of eight plays performed for eight consecutive

days. ■ The plays are Avataram, Kaliamandana, Rasa krida, kamasavadha,

Swayamvaram, Bana Yudham, Vivida Vadham, and Swargarohana. ■ The episodes are based on the theme of Lord Krishna - his birth,

childhood pranks and various deeds depicting victory of good over evil.○ Mudiyettu

■ Traditional folk theatre form of Kerala is celebrated in the month of Vrischikam (November-December).

■ It is usually performed only in the Kali temples of Kerala, as an oblation to the Goddess.

■ It depicts the triumph of goddess Bhadrakali over the asura Darika. ■ The seven characters in Mudiyettu-Shiva, Narada, Darika, Danavendra,

Bhadrakali, Kooli and Koimbidar (Nandikeshvara) are all heavily made-up.

○ Theyyam■ Traditional and extremely popular folk theatre form of Kerala. ■ The word 'Theyyam' is derived from the Sanskrit word 'Daivam' meaning

God. Hence it is called God's dance. ■ The tradition of worshipping of spirits of ancestors, folk heroes, and

deities of various diseases and ailments can be traced back to ancient times in South India.

■ Theyyam is performed by various castes to appease and worship these spirits.

■ One of the distinguishing features of Theyyam is the colourful costume and awe-inspiring headgears (mudi) nearly 5 to 6 feet high made of are canut splices, bamboos, leaf sheaths of arecanut and wooden planks and dyed into different strong colours using turmeric, wax and arac.

○ Koodiyaattam■ one of the oldest traditional theatre forms of Kerala, is based on Sanskrit

theatre traditions. ■ The characters of this theatre form are: Chakyaar or actor, Naambiyaar,

the instrumentalists and Naangyaar, those taking on women's roles. ■ The Sutradhar or narrator and the Vidushak or jesters are the

protagonists. It is the Vidushak alone who delivers the dialogues.■ Emphasis on hand gestures and eye movements makes this dance and

theatre form unique.○ Yakshagaana

■ traditional theatre form of Karnataka, is based on mythological stories

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and Puranas. ■ The most popular episodes are from the Mahabharata i.e. Draupadi

swayamvar, Subhadra vivah, Abhimanyu vadh, Karna-Arjun yuddh and from Ramayana i.e. Raajyaabhishek, Lav-kush Yuddh, Baali-Sugreeva yuddha and Panchavati.

○ Therukoothu■ Most popular form of folk drama of Tamil Nadu, literally means "street

play". ■ It is mostly performed at the time of annual temple festivals of

Mariamman (Rain goddess) to achieve rich harvest. ■ At the core of the extensive repertoire of Therukoothu there is a cycle of

eight plays based on the life of Draupadi. ■ Kattiakaran, the Sutradhara of the Therukoothu performance, gives the

gist of the play to the audience and Komali entertains the audience with his buffoonery.

○ Villu Pattu■ Literally means “bow songs”(bow and arrow)■ From Tamilnadu■ Stories of Ramayana, Mahabharata and Purana performed in this

○ Powada - Now onwards narrative forms■ From Maharashtra■ First available powada written in Marathi on Shivaji killing Afzhal Khan■ Kept alive by the folk singers of Maharashtra

○ Pandavani■ From Chhattisgarh and Madhya Pradesh■ Story telling form■ Developed in the form of telling the story of five Pandavas. Tijan Bai

○ Daskathia or Chhaiti Ghoda■ Narrative form of theatre in Odisha■ Devotee narrates a story dramatically using a musical instrument named

as Kathia○ Gondhal

■ From Maharashtra■ Narrative form of theatre

○ Garoda■ From Gujarat narrative drama form

○ Kariyila■ Most interesting and popular form from Himachal Pradesh■ Performed mostly after Deepawali■ Use of local musical instruments and folklores

○ Khyal■ From Rajasthan

○ Oja-Pali■ From Assam story telling drama form

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■ Associated with the worship of the serpent goddess○ Kuruvanji

■ From Tamilnadu■ Non religeous form of Bharatanatyam;more popular■ Performed in the dance ballet form with Bharatanatyam technique

○ Bayalata■ From Karnataka■ Derived its form from religious rituals■ All folk performance are part of a ritual festival conducted in the name of

local deity○ Shadow Theatre

■ Talk about shadow puppetry from○ Tolubommalata

■ Andhra Pradesh shadow theatre■ Puppet often large size made of the skin of goat■ The skin once dried become translucent

Festivals of IndiaAll India Festivals

● Hindu○ Maha Kumbh Mela (Haridwar, Nashik, Allahabad, Ujjain)○ Basant Panchami○ Shivarati○ Raksha Bandhan○ Dusheara○ Diwali○ Holi○ Ramnavami○ Janmastami○ Skaranti/Pongal○ Nagpanchami

● Muslim○ Id-ul-fitr

■ It comes at the end of the holy month of Ramadan (Ramazan). It is the culmination of a month-long period of fasting,

■ It is known as 'Eid-ul-Fitr', because every Muslim is expected to give 'Fitrah', which is a sort of charity or alms, on behalf of himself and his family.

■ Historically speaking, the month of Ramazan is associated with two important victories of Prophet Muhammad - the battle of Badr and the conquest of Makkah.

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○ Id-ul-adha/Bakar-id/Id-ul-joha■ Eid-ul-Adha, Eid-ul-Zuha or Bakrid is celebrated on the tenth day of

Dhul-hijja, the twelfth month in the Muslim calendar. ■ The Id-ul-Azha commemorates the ordeal of Prophet Ibrahim, who

was commanded at his ripe old age by Allah to sacrifice his only son Ismail, who was dearest to him.

■ Prophet Ibrahim decided to sacrifice the life of his son Ismail in deference to the wishes of Allah.

■ Since then, a ram or bakra is sacrificed in the name of Allah. The sacrificial meat is distributed and partaken of after the Eid prayers. The Eid is also the time when many Muslims undertake the pilgrimage of Haj to Makkah. The specific day of the Eid marks the culmination of the Haj rituals at the Mina valley, located about 6 Kms from Makkah.

○ Muharram■ Muharram is not a festival in the celebratory sense as it mourns the

Karbala tragedy when Imam Hussain, the grandson of Prophet Muhammad, was martyred

■ It is observed on the tenth day of Muharram, the first month of the Muslim calendar. During Muharram, taziyas (bamboo and paper replicas of the martyr's tomb) processions as well as green alams (standards of Hazrat Imam Hussain's army) made of silver, copper and brass, are carried through city streets, accompanied by young men beating their breasts in collective sorrow.

■ On the tenth day, known as Yaum-Al-Ashura, the processions carrying the taziyas and alams terminate in open spaces where the taziyas are buried. People generally wear black clothes on the Yaum-Al-Ashura.

■ Muharram is observed as mourning largely in the Indian sub-continent, mainly by members of the Shia community of Muslims.

■ Major Islamic events have happened on Yaum-Al-Ashura, the tenth day of Muharram. It is believed that on this day Adam was created and entered the Paradise, Prophet Ibrahim (Abraham) was born, Prophet Isa (Jesus) was raised to the heavens and the people of Prophet Moosa (Moses) obtained freedom from the tyranny of Firaun (Pharoah).

○ Shab-E-Barat■ According to belief, the destinies of men for the coming year are

recorded on this night. All over India, Muslims stay awake all night, reciting the holy Quran.

■ People also visit the graves of their dead ones to pay their obeisance. However, these customs are not practised anywhere outside the Indian sub-continent.

○ Shab-e-Qadr or the Lailat-ul-Qadr ■ A very blessed night which occurs on one of the odd nights during the

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last ten days of the holy month of Ramadan.■ It was during this night that the Holy Quran began to be revealed to

Prophet Mohammed. ■ These odd nights, therefore, are known as Lailat-ul-Qadr or the Nights of

Power, during which night vigils are observed and extra prayers are offered.

○ Shab-e-Meraj ■ Symbolises the night during which Prophet Muhammad journeyed to

Baitul Muqqadas or Masjid-e-Aqsa at Jerusalem and thereafter to the skies on a horse-like animal called Burraq (which travels with the speed of light) and saw the paradise and the hell and met the other Prophets there.

■ In Baitul Muqqadas, the Prophet led in prayer, all the earlier Prophets who were gathered for the occasion (in their Barzakm or transitional and transcendental bodies). From there, he was raised to the heavens where he again met and conversed with different Prophets.

○ Urs-death anniversary of sufi saints○ Rabi-Ul-awwal○ Id-I-Milad

■ Prophet Muhammad (pbuh) was born on the twelfth day of Rabi-ul-Awwal,

■ Muslims celebrate this occasion as Milad-un-Nabi (translated: birth of the prophet) or Mawlid by holding functions and gatherings throughout the month of Rabi Awwal.

■ In India, a public holiday is declared to mark this occasion. The holy relic of the Prophet are displayed in Jammu and Kashmir state of India at Hazratbal shrine, on the outskirts of Srinagar, after the morning prayers. 'Shab-khawani' night-long prayers are held at the Hazrat bal shrine Which is attended by thousands of people

○ Barawafat■ The death anniversary of Prophet Muhammad (pbuh) also falls on

the twelfth day of Rabi-ul-Awwal.■ This occasion is also observed in some parts of Indian sub-continent as

'Barawafat'. The word 'barah' stands for the twelve days of the Prophet's sickness.

■ Elegies or marsiyas are sung in memory of the last days of the Prophet. In Lucknow, the Barawafat is notable for the Madh-e-Sahaba processions taken out by the Sunni Muslims.

● Christian○ Christmas○ Good Friday○ Easter

● Sikh○ Guru Parb

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■ Anniversaries associated with the lives of the Sikh Gurus are referred to as Gurpurabs (festivals). The birth anniversary of each of the ten gurus of the Khalsa Pantha is celebrated as Gurpurab. Of these the important ones are the birthdays of Guru Nanak and Guru Gobind Singh and the martyrdom days of Guru Arjun Dev and Guru Teg Bahadur.

■ The birth anniversary of Guru Nanak or Guru Nanak's jayanti, which falls in the months of October-November, is enthusiastically celebrated by Sikhs as guru parb.

■ Akhand pathas, community feasts, kar seva and religious processions form part of the festivities. Gurpurabs mark the culmination of Prabhat Pheris, the early morning religious procession which goes around the localities singing shabads (hymns).

○ Vaishakhi○ Holla Mohalla -

■ Sikh festival is celebrated every year in the month of March, a day after Holi.

■ Hola "Mohalla" derives its name from Punjabi word “Mohalla” implies an organized Procession in the form of an army column accompanied by war drums and standard-bearers, and proceeding to a given location or moving in state from one Gurdwara to another.

■ The festival was started by the tenth Sikh Guru – Guru Gobind Singh who had tried to gather Sikhs for military exercises and mock battles after Holi. This has now become a traditional annual festival of Sikhs held at Anandpur Sahib and Kiratpur Sahib in Punjab.

■ The festival also marks the New Year as per lunar Nanakshahi calendar of Sikhs. It is celebrated over three days and it retains the character of fun and joy of Holi which concludes a day before.

● Buddhist Festival○ Tseschu

■ To commemorate the birth of Padmasambhava. ■ The day is also said to mark the victory of Lamaism over Shamanism

and other religious practices which were considered base in pre-Buddhist Tibet and its adjoining lands.

■ The festival symbolises the strength of good over evil, knowledge over ignorance and virtue over vice.

○ Losar■ It is the New Year Festival of the Mahayana Buddhists, generally

known as Sonam Losar in Sikkim.■ The festival is generally celebrated over seven days as a thanksgiving

feast by the farmers. ■ There is great merriment and revelry as people thank the gods and pay

homage to their ancestors for providing abundant food. ■ An important ritual of this festival is called Meto that involves lighting of

three bundles of willow and juniper branches and making special

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offerings to appease the deity. ■ Animals like goats are sacrificed but not before intoxicating them with

a local beer called chang. ■ This is followed by a rite called Mesol in which male members of a family

visit the crematoria to honour the ancestors.● Other Festivals

○ Khordad Sal○ Jamshed Navroz

■ New Year, for the fall of Parsis, the first day or Roj Hormuzd the first month or Mah Fravardin of Shehanshai calendar

■ Traditionally, Navroz marks the end of winter and the beginning of a new year.

■ On this day, hundreds of Zoroastrians to pay obeisance Khorshed and Meher Yazads (the two divine beings, who will chair the sun), three times during the day .

■ People greet by the Zor Hama - united in strength, and visit the Temple of Fire.

○ Gahambara○ Mahavir Jayanti○ Buddha Jayanti○ Cheti Chand

■ It is the name given to the Sindhi New Year which is celebrated every year in March-April to mark the birth anniversary of Jhulelal

■ who is considered by the Sindhis to be the reincarnation of Lord Varuna or the God of Water.

■ Water has a special significance for Sindhis because centuries ago Sindhi merchants used to traverse through the waters by ships carrying their cargo to far-off lands.

○ Thadri ■ celebrated to signify the birth of Yoga-Maya, the sister of Lord Krishna. ■ On this day, the merry-makers play card games, as they believe that

life is also a game where success and failure should be taken in one's own stride.

· Regional Festivals● Kashmir

a. Nau roz – New Yearb. Jaitha Ashtami –

■ 8th day of jaitha offer of Kheer at Khir Bhavani templec. Mela Hemis Gompa - Similar to Losar

■ Celebrate the birthday of “Padmasambhava” the founder of lamaism

■ Richest and biggest monastery of Laddakh, Festival held at 10th day of 5th Buddhist month

■ Lamas dance wearing masks

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■ Masked dancers simulate a combat between good and evild. Khichri Amavasya

■ Lord of Yaksha invited on this day■ Kichri place on roof top

● Punjab & Haryanaa. Lohri

■ Marks the end of winter■ Agriculture festival■ Bonfires and songs mark the occassion

b. Tikka or Bhaiya Dhuj■ On day following Diwali

● Uttarakhand a. Ramman

● Part of Unesco Intangible list added in 2009● Garhwal Region● Performed in courtyard of temple● Religious festival in honour Bhumiyal Devta, a local divinity ● Each caste and occupational group has a distinct role● Combining theatre, music, historical reconstructions, and

traditional oral and written tales● Himachal Pradesh

a. Minjar Mela■ Held at Chamba■ People gather at cliff top overlooking river Ravi■ Everyone throws “minjar”(silk/silver fassel)■ Symbolic sacrifice to river goddess believed to avert all calamities

b. Jawalamukhi Fair■ At Kangara Valley■ Goddess of Volcano worshipped in the form of inflammable gas

c. Renuka■ Four day fair■ It is believed that Parasuram visit his mother at Sirmaur Lake

at this occasion● Delhi

a. Christian Mela■ At Maharuli■ A service is held in the little Church of St. Johns built early in the

20th centuryb. Sair-e-Gul Faroshan

■ Festival of flowers for Hindus and Muslims■ Pankha decorated with tinsel and flowers are carried throughout

Maharauli■ Fire dancers lead the procession■ All participant go to Dargah of Khwaja Saheb and Then to Jog

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Maya templec. Urs Hazrat Nizam-Ud-Din

■ At the tomb of Hazrat Nizam-Ud-din■ Water of sacred tank posses healing properties■ Musharias and Qawalis are organised

● Uttar Pradesha. Car(Rath) Festival at Mathura

■ At Sri Rangji temple at Brindavan■ Rath carry the temple deity Vishnu and Lakshmi

b. Van Yatra■ Around Govardhan mountain■ Ras lila is performed

c. Kans ka mela■ To commemorate the destruction of Kans by Krishna■ Fair is held at Mathura and Fatehpur Sikri

● Bihara. Chhath

■ Celebrated in veneration(fear of god) of the sun god■ After 6 days of fasting- penance, go to the nearest river and offer

oblation to sun god● Jharkhand

a. Sarhul■ Festival of flowers■ Sal flowers brought to the place of worship■ The village headman propitiate(appease) all gods of Mundas

b. Karama Festival● Orrisa

a. Rath Yatra■ At Puri■ Jagannath the incarnation of Vishnu, his brother Balabhadra and

their sister Subhadra are placed on colossal chariots■ Pulled by hundred of devotees■ After a stay of 7 days at Gundicha the deities carried back to their

temple● Bengal

a. Gangasagar Melab. Ramkrishna Utsavc. Dol Purnima

● Rajasthana. Gangaurb. Teejc. Urs at Ajmer Sharifd. Camel Festival

● Gujarat & Maharashtra

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a. Gudi Padva?b. Dev Diwali?c. Gahambara?d. Tarnetar Fair?e. Ganesh Chaturthi

● Goaa. Zatra at Cansaulimb. The feast of St. Francis Xavierc. The carnival

● Andhra Pradesh & Tamil Nadua. Pongalb. Fire Walking festivalc. Teppam

● Karnatakaa. Kargab. The feast of St. Philomenac. The Great head Anointing ceremony at Sravanbelagola

● Keralaa. Poorumb. Onam

● Assama. Boghali Bihub. Bohaag or Rongali bihuc. Kangali Bihu

● Tripuraa. Karchi Puja

■ Term ”Kerchi Puja” means the worship of the earth■ Observed in the month of July in Agartala in temple of

Chathurdash Devtab. Ker Puja

■ The guardian deity of Vastu devta is ker■ Foe the welfare of masses and protect them from any calamities

and also from any external aggressionc. Garia Puja

■ On the occasion of Kali wins over Mahisasur■ Immersion of idols of shakti in the river

d. Ashokastami fair■ Celebrated in the month of March/April at Unakoti Teertha in the

Kalisahar sub division■ Many rock cut images of local deities can be seen on the wall of

Unakoti hills and are worshiped by thousand devotees● Meghalaya

a. Behdienkhlamb. Shud suk Mynsiem

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c. Wangalad. Pomblang Nongkrem

● Manipura. Heikru hitongba

■ It is regarded a festival of joy with little religious significance along a 16 meter long boat

■ Boat race is the integral part of this festival■ Vishnu payer before the starting of boat race

b. Rass lilac. Yaooshang(Dol Jatra)

■ Festival started from the full moon day of the Phalgun month and continue for five days

■ Male and female give many cultural performances specially “Thabal Chongba” dance

d. Lai – Haraoba■ Festival represents the worship of conventional deities and

ancestors■ It is observed in the month of May to revere the local deity

Umang Thai■ Display the events of creation, 12 events■ This festival is also the ripe time for performing the “Laipon”

dance, which symbolize the birth of Gode. Kang(Rath Jatra)

■ Same as Bengalf. Cheiraboa

■ Celebrated in the month of April■ Welcome the New Year■ On the special day the locals of the state climb the nearby

hilltops, which embodies the rise of human civilization to greater heights

■ Equal participation of Hindu and Muslims● Sikkim

a. Pang Lhabsolb. Echney Chaamsc. Saga dawn

● Mizorama. Their festivals are connected with the Jhum cultivation.

■ Min kut – Maize festival■ Pawl kut – Rice harvest■ Chapchar Kut – cutting of bamboo for jhum cultivation after

spring● Nagaland

a. Moatsu■ Celebrated by “Ao tribe”

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■ Rites and rituals are performed by Nagas■ After the sowing is over the Nagas observe Moatsu songs■ The festivals also involve a celebration of “Sangpangtu”, where

a big fire is lit and men and women dance around itb. Tsungrem mong

■ Ao tribe festival■ Just after the sowing of Millet■ Special thanks giving festival for good yield of crops

c. Nazu■ Pochury tribe■ 10 day long festival where men and women participate in many

cultural eventsd. Sekrenyi

■ Angamis tribe■ Also known as Phousyni■ Religious rites and rituals performed■ Best part of the festival is “Thekra Hie” where the youth of village

gather and sing traditional song throughout daye. Tuluni

■ Festival of Sumi Nagasf. Yemshe

■ Celebrated by Pochury tribe in month of October■ Arrival of the new harvest is welcomed■ The arrival of the festival first announced by the village

spokesman and after that first rituals performed■ Two parts of the festival Big Yemshe and Small Yemshe■ Big Yemshe is preparation of all village by cleaning whole village

by youth■ Small Yemshe is the purification of the house and a ritual

g. Arunachal Pradesh■ Reh Festival■ Losar■ Tamladu■ Khan■ Mopin■ Mol

Indian HandicraftHandloom and Handicrafet

● Bloc Painting● Resist Painting- Jaisalmer● Tie and Dye painting- Bandhej(Rajasthan), Bandhini (Gujarat), Shikara, Chandokini, Bagh

(Garden)● Batik Painting-

○ Vibrant colour

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○ Wax se cover karke fir dye karte hai● Spray Painting● Pochampalli from Andhra Pradesh

○ Mainly in Sarees○ Handlooms and Mechanical Looms○ Different clothes used

● Kota Doria○ 200 years○ Coarse plain fabric○ Colourful threads○ Flowers, golden threads used in border○ Rajasthan and Thrivandrum

● Jamdani○ Muslin Cloth○ Pehle bahut famous tha- british le jaate the○ Embroidery aur floral pattern banate hai○ Panna-hajar famous

● Maheshwari○ Cotton, silk mix○ Gold, jari work○ Madhya Pradesh○ Very light isliye summers mein use hota

● Chanderi● Ikkat

○ Gujarat, Andhra Pradesh, Orissa● Paithani

○ Satvahana era○ Handwoven pure silk○ Pallu aur border par kaafi accha style use hota hai○ Peacocks, star circle use hota hai

● Jamawars○ Kashmir○ Mughals laaye the○ Woolen fabric○ Flora and fauna ko dikhate hai○ Booty work○ Almost 50 colours used

● Balucherry○ Royal life style○ Saree border○ Pleasure board with love birds○ Murshidabad

● Broackade○ Intricate pattern

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○ Base colour and various colour○ Golden and silver threads bhi use hota hai○ South india mein bhi bahut use hota hai

● Chicken Curry○ Muslin use hota hai○ Lucnkow○ Present weaver use siphon (chiffon)

● Phulkari- Punjab ka hai○ Animals, pots, human figures○ Chope- Bridal○ Vari ka bag- Fertility

Many dances and singing styles :

PANDAVANI:

● a form of narration of the epic Mahabharata, focusing on particular episodes for elaboration popular in Chhattisgarh, neighbouring tribal areas of Odisha, Andhra Pradesh.

● The narrator sings the story and enters into religious discourse addressed to the audience, using mime and dance movements. Two or three musicians accompany the main performer.

● The musical instruments accompanying the artist are the tabla, and cymbals called manjira.

● Traditionally, Pandavani was performed only by men. Since the 1980s, women have also presented Pandavani.

● 2 styles: Vedamati i.e. sitting style and Kapalik i.e. standing style with gestures● Teejan Bai is foremost exponent

THANG-TA:

● Thang-ta or huyen lallong is a weapon-based Indian martial art created by the Meitei of Manipur. In the Manipuri language, thang means sword and ta means spear

● can be practiced in three different ways: ritual, demonstration and combat.

LAI HARAOBA:

● Lai Haraoba is a Manipuri festival, and is associated with Meiteis, celebrated to please traditional deities.

● The festival is in part a recollection of the creation stories played the deities with the first origin of this universe and evolution of the plants and animals

● Translated, Lai Haraoba means "merry making of the Gods.● There are six major types of Lai Haraoba.

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○ Kanglei (Imphal) Haraoba, Chakpa Haraoba, Andro Haraoba, Sekmai Haraoba, Moirang Haraoba, Kakching Haraoba

CHHOLIYA:

● a dance form practised in the Kumaun region of Uttarakhand. It is basically a sword dance accompanying a marriage procession but now it is performed on many auspicious occasions

JHUMUR:

● mainly by the Santhal and Nagpuri communities● Jenana Jhumur

○ a traditional dance of the women of the Jharkhand region performed mainly during the period of cultivation in the rainy season.

○ Actually, there is no fixed season for this beautiful dance form, it is performed throughout the year, to mark all happy occasions and festivities.

● Mardani Jhumur○ The men of the Nagpuri community and Southern cultures perform the Mardani

Jhumur dance after the harvest.○ The musical accompaniments include the Shenai, Dhol, Kara, Nakara, Jhanj and

Kartal.○ Like the Paika Dance, the Mardana Jhumur Dance is also a semi martial art

form. The dance movements and the accompanying music are martial in character and the mood of the dance is that of the Veera (valorous).

○ Occasionally one or two female dancers known as nachnis join in this dance with the men

KABUI NAGA DANCE:

● During the Gang-Ngai festival, the Kabuis(westerns hills tribes of Manipur) perform a series of dances in different stylized forms, accompanied by the sound of heavy drums and high-pitched songs.

● The boys wield sharp weapons (daos) in their hands and move around in circles along with girls dressed in traditional costumes.

MAND:

● is the famous style of folk singing in Rajasthan well recognized in classical circles● neither accepted as a full-fledged Raga nor is it reckoned among the freely rendered folk

songs.● It is very near the Thumri or the Ghazal.● The famous Rajasthani song Kesariya Balam is in the Mand style.

RAGINI:

● a collection of folk songs in haryana is known as `raginis'. there are various folk singing

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style prevalent in haryana like gharwa, gyan, jhoolana, patka, rasia and chaupaia. these styles differ from each other in the way they are sung and performed by folk singers of different areas of the state.

NAQQAL:

● Singing style by a community in Punjab, part of bigger community Bhand

PULIKALI:

● On the fourth day of Onam celebrations (Nalaam Onam) in Kerala, performers painted like tigers and hunters in bright yellow, red, and black dance to the beats of instruments like Udukku and Thakil.

● Literal meaning of Pulikali is the 'play of the tigers' hence the performance revolve around the theme of tiger hunting.

KOLKALI Dance (Lakshadweep)● The word ‘Kol’ means stick and since this particular dance is performed with sticks,

hence it is known as Kolkali.● Only men can participate in this dance form as women are not allowed to take part.● The dancers make pairs, which move in circles following the rhythm produced by the

sticks. The sticks are hold by the dancers in hands and are used as props while dancing.● Though beginning at a slow pace, the dance slowly gathers speed, thereby reaching the

height of passion, ultimately.● Folk songs accompany this particular dance form.

PARICHAKALI Dance (Lakshadweep)● Paricha means a shield and the dancers also happen to perform the dance with the help

of shields and swords; hence the name Parichakali.● This particular dance form is a kind of martial art form resembling fighting and hence the

swords and shields serve as the props. Made out of soft wood, the swords along with the dance aims at enacting and honoring bravery without wounding anybody.

● The common themes around which the dance revolves include freedom struggle, warriors, wars etc. Starting with a slow soft dance, the dance finally culminates into a highly strong and energetic dance.

● There are songs accompanying the dancers in this folk dance of India.

BAGURUMBA

● is a folk dance of Assam performed by the Bodos.● It is the usually practiced during Bwisagu, a festival of the Bodos in the Bishuba

Sankranti or Mid-April.● The Bagurumba dance is also called “butterfly dance” because this attractive folk dance

of the Bodo tribe of Assam, resembles the movement of birds and butterflies. Then

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young people reverentially bow down to their parents and elders.GHUMRA:

● is a folk dance of the Kalahandi district of Orissa.● It is named after the main musical instrument, a pitcher-shaped drum called the ghumra,

which is tied around each dancer’s neck.● The dancers play on the drum while dancing. It is performed to the accompaniment of

songs, the content of which is varied, ranging from stories of hunting to everyday joys and sorrows of the people. The dancers execute intricate movements, jumps and pirouettes in a fast tempo.

● The Ghumra is popular in Bolangir, Sambalpur and Cuttack. With love as its main theme, the ghumra is a common dance at social functions such as marriages.

● The Saora tribes and other aboriginal tribes mostly perform this dance.

BAJASHAL:

● folk dance performed in Western Odisha

HOZAGIRI:

● performed by Reangs in Tripura● While the themes of the dances remain almost the same as the other tribes, the dance

form of the Reang community is quite different from the others.● The movement of the hands and the upper part of the body is somewhat restricted,

whereas the movement from the waist to the feet creates a wonderful wave. The dancer stands on an earthen pitcher with a bottle on her head. A lighted lamp is balanced on the bottle. The Reang dancers bend and twist the lower parts of their bodies in a rhythmic fashion, without disturbing the bottle and the lighted diya.

● This dance is performed during a festival celebrated annually in the month of April, just before the selection of a site for Jhum, to pray to ‘Mainuma’ the Goddess of Wealth. The Reangs believe that if the Goddess is pleased with the singing and dancing, she will bless them with bumper crops.

BOHADA Festival

● a mask festival of the tribes in Thane and Nasik district, which is held for three days.● Bohada, which means procession, displays mask characters that depict tribal concept of

creation and their role in sustaining their life.● It is celebrated every year during the month of May● The purpose of Bohada is to show gratitude to the Village Goddess (Gaon Devi)

including all other Gods and Goddesses.

SIDDI DHAMAL:

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● a unique dance form of the Siddi community of Gujarat.● Earlier, this dance was limited to the tribals and locals of Gujarat, but today, Dhamal is

known the world over.● reflects the Siddis’ passion for hunting.

BOHURA GODHANI:

● Bihar

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