Indian Music



Indian Dance Dance can be classified broadly into two categoriesClassical danceFolk danceClassical DanceAccording to Sangeet Natak Akademi there are 8 classical dancesDance formState(s) of originBharatanatyamTamil NaduKathak HYPERLINK "" \h Uttar Pradesh, Rajasthan, Punjab, Delhi HYPERLINK "" \h Kathakali HYPERLINK "" \h KeralaKuchipudi HYPERLINK "" \h Andhra PradeshManipuri HYPERLINK "" \h ManipurMohiniyattam HYPERLINK "" \h KeralaOdissi HYPERLINK "" \h OrissaSattriya HYPERLINK "" \h Assam BharatanatyamDance from Tamil NaduBased on Bharat “Natya Shastra” , Bha (Bhava) + Ra (Raga) + Ta (Tal)Devadasi Tradition2 forms developed Bhagvat Natak Mela - religious formKuruvanji - Non religious form more popularCostumes - Sari Skirt/ Pyjama style. Most important feature is the knife plated fan shapeBharata Natyam dancers wear a unique set of jewellery known as "Temple Jewellery" during the performanceThe accompanying music is in the Carnatic style of South India.KathakDance from Uttar Pradesh, originated from the word storytellerIts form today contains traces of temple and ritual dances, and the influence of the bhakti movement. Effect of persian dance in the Mughal EraThree Major gharana today - Banaras, Jaipur, LucknowPerformed by both male and femaleCostumes - Male - Dhoti or Kurta Payjama Female - Lehenga - choli KathakaliDance - Drama from KeralaNoted 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.Some influence from Kerala martial art named as KalaripayattuOne of the most interesting aspects of Kathakali is its elaborate make-up code.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.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.Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard.The use of Malayalam, the local language has also helped the literature of Kathakali sound more transparent for the average audience.Most of the stories from Mahabharata, RamayanaKuchipudiDance from Andhra PradeshIt shares many common elements with Bharatanatyam.Performed by both men and womenimportant part of the dance is initial introduction by the dancer: Pravesa DaruvuBeyond 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.In Tarangam at times she places a pot full of water on her head and dances on the brass plate.Mostly based on the life and events of KrishnaIn 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.ManipuriFrom Manipur stateThe cult of Radha and Krishna, particularly the raslila, is central to its themes but the dances, unusually, incorporate the characteristic symbols (kartal or manjira) and double-headed drum (pung or Manipuri mridang) of sankirtan into the visual performance.Manipuri dance is purely religious and its aim is a spiritual experience.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.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.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.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.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.MohiniyattamDance from KeralaIt is considered a very graceful form of dance meant to be performed as solo recitals by women.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)".Two story behind it originFirst one Vishnu turned into Mohini to save lord ShivaSecond one Vishnu turned into Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained during the churning of the palazhiThe 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.The costume includes white sari embroidered with bright golden brocade (known as kasavu) at the edges.OdissiDance from OdishaIt is particularly distinguished from other classical Indian dance forms by theimportance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvison the basic square stance known as Chauka or Chouka that symbolizes Lord Jagannath.This dance is characterized by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures.Odissi originate from Udayagiri district of Odisha.Odissi first originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries.Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God.It has the closest resemblance with sculptures of the Indian temples.Maharis were Oriya devadasis or temple girlsOne 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.Nartaki dance took place in the royal courts, where it was much cultivated before the British period.SattriyaSattriya has remained a living tradition since its creation by the Assamese VaishnavSattriya 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.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.Traditionally, Sattriya was performed only by bhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals.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 DanceNorth East StatesNagalandMost of the dance based on war like styleMainly performed by male Arunachal PradeshWancho danceDance of the tribeKhampti danceFolk dance of khampti communitiesBased on mythical storiesBuiya danceDance of digaru mishmisFor prosperity and good healthAssamBihu danceThe 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 NatAssam’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 prayer halls or Namghar.TripuraGaria DanceBased on their jhum cultivation cultureAttached to the “Garia Puja” pray for good future and for a happy harvesting seasonHai hak danceIt is performed at the end of jhum harvesting seasonAdore goddess LaxmiLebang Boomani danceLebang is the name of colourful insect, which comes in search of food to hill slopes before monsoonBy this dance people try to attract this insect so that insect come out from it hiding place and people catch themMizoramCheraw DanceAlso known as Bamboo danceBamboos are used while performing this danceThis 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 blocksManipurPung CholomKhamba ThaibiLai Haroaba: festival of gods and goddesess. It is performed for the Umang-Lai (forest deity)BiharBidesiaJat Jatin danceJhumari danceWest BengalLathi danceTusu danceAndhra PradeshPerini 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 NaduAdiperukku (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 & KashmirDumhaldance 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 JashnaFestival of clownsMostly depicts parodies on social situationsDance 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 peopleIt 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 contemporary real or fictional figures are enacted. The storylines (or pathers) are often humorous and satirical, and farce is an essential component of the playsOdishaChhau 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 dancePunjabBhangraPerformed 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.GidhaCounterpart of Bhangra in femaleRajasthanGhoomarThis 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 KalbeliaPerformed by Kalbelia tribal (Snake charmer) in Rajasthan. Hence, the dance movements and the costumes bear resemblance to that of the serpents. BhavaiBhavai 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.GujaratGarbhaGarbhiDandia rasGheria RasGomphMaharashtraKoli danceDance of fishing communityPerformed by both men and women and depict the fishing activityTamashaTamasha dance is based on famous tamasha theater of MaharashtraWord is Persian which means “entertainment and fun”LavaniPerformed by womenWord originate from the word Lavanya which means beautyDance deals with various subjects like religion, society, politics, romance etc.PovadasDepicting the life of ShivajiDhangriPerformed by shepherds of the Sholapur district who are known as dhangarPerformed to please the god and get its blessingUttar PradeshNautankiRaslilaKajariJhoraHimachal Pradesh KaryalaLuddi danceGiddha PadhunMunjaraCharbaKarnatakaYakshganaAlso known as bayalata(Ballet of the east)Developed from bhagvat atraActors wear costumes and enact various roles. This combination of classical and folk elements makes yakshagana unique from any other Indian art.kathakali similardone by male onlyIt 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 SarpagatiDance based on the snake Kundlini power, Water, Earth, Fire, Garuda are the principle on which this dance is performedMadhya PradeshBhagoria 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 partnersIndian PaintingsHistory can be traced back to bhimbetka paintings[cave] similar to Matopos(Zimbabwe), Altamira(Spain) and Lascaux(France)Painted pottery of Indus civilisationGuptas period - real development of Indian paintingsKamasutra defines the brushes used and types of paints were usedIndian had then developed the six principles of paintings similar to ChinaAjantaJain miniature at Gujarat and early Sultanate period show decline in this artUnder Mughals again revival of paintingsAbdul samad and Mir Sayad AliForeshortening - taken from PortugueseAkbar established KarkhanaIndo - Islam synthesisJahangir Portrait paintings developedBirds and animals paintedAurangzeb period saw decline in the art but regional styles developedBritish rule show European influenceE.B. Havell wanted India to work out its own artistic salvationAbhanindra Nath Tagore, Pre Historic Paintingspaintings and drawing are the oldest art forms and cave wall as canvas3 types - human, animals and geometric and associated activities regions - UP, AP, MP, KT, BH, Lakhudiyar in Kumaon regions, Kupgallu, Tekkalkotaplants are rarely showncolor from mixing of rock powders with bones, gums etc. superimposition characterBhimbetka has 20 superimpositions at many placesKumaon regionhumans - stick-like forms, hand-linked dancing human figureanimal - fox, lizardgeo - wavy lines, rectangle-filled designsBhimbetka Paintings[MP]Bold linesScratched on stoneUse of vivid red and yellow earth colour or soot blackvariety - daily life to sacred and royal imagescategorized in 7 periods. 1st three are as follows : Paleolithiclinear representationUsually depicting large animals like bison, tiger, rhinocerosstick like human figuresMesolithiclargest painting of this timeMan and animalhunting scene dominated - group hunting, pointed sticks, arrows and bowsSmaller and they lose their proportion and naturalismhumanswomen - nude and clothedchildren, community dances, family life, hand, fist, dots from fingertipsUsually use of red colourCommon themes are grazing, riding, dancing in groupsNeolithicGreen and yellow coloursbattle scenemen riding elephants and horses using spears, bow and arrowassociations, settle agricultural communitiesShiva and Ganesha imagesFlowers tree and Peacock imagesGupta age paintings AjantaBaghSittanavasalAjanta“Fresco” or “Stucco succo” wall paintingsThese murals are done in Tempera styleSurface made rough by some tool then a plaster containing cowdung or stone powder or rice straw used to cover the rough surfaceThen use of a thin layer of lime pasteLines of the required paintings were drawn in red or ochre(golden yellow) colour on the surface while it was wetColours were made of local pigments made from minerals or plantsColours used - Red, Green, BlueMain elements of Ajanta paintingsEmotional Expression - hand gesture, Descriptive - narrativeOrnamental - Gandharva, Garuda, YakshaMost famous paintings are of Apsara, Black Princess and Bodhisattva CharacteristicsDrawings are mostly “curvaceous”, “rhythmic”, “musical”Expression of sentiments and emotionsVariety of life has been shownExpression of emotions through hand posturesWoman in ideal form, graceful and divine rather than physical representationDecoration of roofs, Pillars and windows with paintingsEven birds and animals are shown with emotionsBagh PaintingRiver Bagh tributary of NarmadaSame Ajanta featuresSittanavasalPuddukota in TanjoreBuilt by Maharaja Mahendra VarmanJain PaintingsResemblance with Bagh and Ajanta paintingsMainly depictsAnimals, birds, flowers (Mainly lotus)Ghandharva and Ardha Narishwarapictures of elephants, buffaloes, fish, geese, Jains gathering lotuses from a pond and dancing girlsblack, green, yellow, orange, blue, and whiteEllora Paintings2 types:Similarity to AjantaApabhramsa styleScene of Ramayana and MahabhartaMythological animals and flowersElephant in lotus pondShiva as NatarajDivine figures related to JainPala SchoolMainly in Bengal and BiharMainly manuscripts paintings on TalapatraMost of these paintings are religious and related to Lord Buddha and mainly Vajrayana BuddhismBlack finishing lines are sinuousHeads are flatIn name of nature only banana and coconut paintingsSimple in composition and have feeling devotionApabhramsa schoolEither in Mewar or GujaratMain characteristicsBulging eyeDouble chinPointed nosePredominant chestLack of natural scenesAnimals and birds represented like toysUse of bright and gold coloursMughal SchoolUse of Bright coloursAccuracy in line drawingVariety of themesDetails and IntricaciesOrnamentationPerspective (Added by Mughal in influence of Portuguese)- 3Dshowing only 3/4 of the face i.e. partial faceRealismBabarHumayunBrought two painter from Persia(Abdus samad and Mir sayed)Akbarfusion of all existing painting schools4 painters to paint - line, color filling, border, calligraphyJahangirshift from persian to Indian featuresmore naturalistic paintingsShahjahancolours were highly brightdead and harsh lines in place of soft and rhythmic lines led to artificialnessAurangzebDeccani SchoolDuring 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.AhmednagarThe 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.BijapurIn 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.GolcondaThe 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 vessels etc.HyderabadPainting 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.TanjoreA 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.Rajasthani or Rajput PaintingsFlourished under the Rajput rulers of Udaipur, Chittor, Mewar, Chavanda, Bikaner, Jaipur, Jodhpur and BundiReflected the ideas and ideologiesTastes and emotions of rajput princesMainly on Hindu traditions and mythologyCourtly and feudal pride3 Developmental PhasesFirst Phase - End of 16th centuryMainly from mewarExtremely simple and straightforward and solid backgroundSecond Phase17th centuryMore sophisticated and poetical paintingsThird Phase17th -18th centuryMaximum mughal influence In early phase influence of “Bhakti Andolan” and “Hindu Renassiance”Bhagvata Purana, Geet govinda, rasikpriya, baramasaMainly representRadha and KrishnaNayak and NayikaHunting scenesDifferent colours depict different themesRed - FuryYellow - MarvelBrown - ErocticismDifferent RegionRagmala PaintingsUnique to Indian art, communicate through lines and colours which traditionally been conveyed through soundBased on RagasRagmala painters followed the texts of Narada Hariballabha, Hanuman and Mesh KaranMuslim painters also draw paintings from Mewar and BikanerIt is only in India that paintings, poetry and music came together in such a unified and independent groupingsMewar SchoolUdaipur and Nathdwara main centersRaginis were paintedBased on Ramayana, Bhagwad Purana, Radha and KrishnaSecular themes like depiction of general life, battle scenes, birds and animalsdepiction of Panchtantra and Prithviraj RasoKishangarhKishangarh lake appear in many paintingsRadha and Krishna are main subjectsGold has been liberally used for paintingsMostly primary colour used without mixingFace of male and female is similarKrishna has been painted in blue to identifyFigures are thin with narrow eye brows and lotus petal shaped eyesNihal singh was the main painter of this schoolPainting Bani-Thani is most famous which represent RadhaBikanerlove scenes from Radha Krishnasmall chin, drooping moustache, tight lipsclouds in circular shapeinfluence of Deccan and MughalKotaUnder raja Umed SinghClear influence of Mughal styleMainly portraits of princes and hunting scenesTiger and boar hunting are uniqueThick vegetation of forest treated in detailsPictures are largeGive more importance to nature than human figuresBundiLocal vegetation painted in detailsScene of pleasures Raga ragini and baramasa paintedInfluence of MewarFaces are round. Red, pink and almond colours are used for shading the facesBanana trees are beautifully paintedSky is painted in different colours and mostly a light ribbon of red colours is visible in the sky which is speciality of bundi styleJaipur(Kachchwaha)Use bright coloursNo shading, less realismLife size pictures of Radha and Krishna were painted depicting union of devotion and romanceGhaghras of women painted with dark coloursMen wears loose Pajamas and turban studded with diamond and pearlsOrnamental boundary - influence of MughalJodhpurUse of bright colours Tall masculine figures wearing triangular and pointed capsWomen with long hairSekhawatiKnown as “open art gallery of Rajasthan”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.They were hugely popular during their era, such was the demand that the skilled artists couldn't paint fast parison - Mughal Style V/S RajputPersian vs Indigenous FrescoesRoyal pomp(Ceremony and splendid display), Court vs Radha Krishna, natureNaturalistic colors vs Bright and lively colorsDepiction of Camel, Tree, Falcon vs Peacock, Lotus, SwanMughal painting mainly restricted to the court while rajput painting is the painting of PeopleDifference Between Mughal and Rajasthani Paintings –Mughal1. Most of the Mughal Painting depict depict imperial or feudal effects.Rajput1. Rajput paintings mostly represent village life, literary, love stories, folk dances and religious customs and rites.Mughal2. Miniature paintings, elegant manuscripts calligraphy and the borders around paintings are the specialties of this style.Rajput2. Rajput paintings have flow, rhythm, the melody and religious expressions.Mughal3. Miniature paintings sprang flourished during Mughal painting.Rajput3. We find wall paintings in plenty which Sprang and flourished during Rajput period.Mughal4. Margins around the paintings were unpressively depicted in elegant manner.Rajput4. No margin with leaves and flowers was given importance to the paintings.Mughal5. Mostly a picture was painted jointly by three or four artists.Rajput5. Rajput paintings was invariably painted by the artists.Mughal6. The depiction of birds and animals was done with a view to recreation and amusements.Rajput6. The painting of birds and animals were symbolized.Mughal7. Portraits of females looked un-natural and disproportionate in Mughal Painting.Rajput7. Quite natural and proportionate depiction of female portraits are the essence of Rajasthani paintings.Mughal8. Painters have expressed their names in the paintings.Rajput8. Painters have not disclosed their identity in Rajput paintings.Mughal9. “Shiri-Kalam” of Iran has contributed in the origin of Mughal Art.Rajput9. The Ajanta caves and temples are the inspiration of Rajput paintings.Mughal10. Mughal painting was based on foreign art originated in Iran.Rajput10. Rajput / Rajasthani paintings is totally an indigenous art and is only partially impressed by Mughal Art.Pahari PaintingsRajput paintings classified into two categories by KumarswamyRajasthani PaintingPahari PaintingDistance between two kingdom is short so painters move from one place to others so the paintings have influence each otherPahari 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 PradeshEach 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 paintingsBecame 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 GovindaBasohliEarliest Pahari paintingFigures have close resemblance with Jaina KalpasutraTwo dimensional with fish shaped eyesSubject matter is mainly princes of region and illustration of Hindu religious books e.g. Rasamanjari, Gita Govinda and Bhagwad PuranaMost of the paintings based on Krishna themeAfter Aurangzeb, get patronage from Hindu princes of the regionAfter 17th century Basohli picture began to be seen in nearby Mankot, Jammu, Jasrota, Chamba, Nurpur, Guler GulerUnder Raja Govardhan Singh Mughal artists influenced GulerDalip Singh - started from hereDrawing became finer and colouring more subduedThe drawing is delicate and precise. The colours which emphasize cool blues and greens are handled with skill.Kangra and KulluBorn in the end of 18th centuryCombination of Mughal and Rajasthani paintingsSansar chand was the early patron“Love scenes” of Krishna specially painted After Sansar Chand death this painting saw decline and most artist move to Kashmir and PunjabGraceful girls, gliding with bent heads and down skirts are drawn on curvaceous lines, radiating the charm of eternal youthColours used are symbolic to indicate their moodsJammuSimilar with the Guler school“Nainsukh’s” paintings are famous with dark green, rich yellows, browns and blues. Kathak dancer painting is most famous paintingMajority of pictures from there are portraits of Kings, their courtiers and families ChambaRaja of Chamba married to a Basohli princess so there is influence of basohli paintingsFigures are short and squatColours are refinedPictures are nearer to wall paintings in their bold outlinesTehri GarhwalSubject matter of these paintings are Krishna legend and RamayanaRetain the grace of green and riches of KangraThanka PaintingFrom LaddakhUse Buddhist motif and symbol of dragonMade in monasteriesUses silk and brocade patch workComparison between Pahari and Rajput PaintingsElementPahariRajputOriginSub Himalayan RegionRajasthanStyleIn Pahari painting main focus on nature and radha krishna lifeIn rajput painting influence of court scene and prince and princess paintingInfluenceBuddhist influence on Tanka paintingsDeccan on BikanerMainly patronage by Kings Local influence wall paintingsRagmala,Mewar and Bundi paintings has influence of MusicOudh Painting· Under the influence of Agra QalamProspered under Bahu BegumIt differs from the Mughal paintings by its softer colors and more intimate scenesMore refined and sensitive depiction of the female formLandscape beyond the figures received much more attention than in Agra and DelhiSikh PaintingMaharaja Ranjit Singh brought many Mughal and pahari paintersHe encouraged portraits of his nobles in mughal styleMany unfinished miniature paintings due to the aggression of BritishSome large wall paintings can be seen in the different akharas of the mahantsSeveral little illustrated books of the Janak Sakhis, the myths and legends of Guru Nanak, were also painted at this timeDrawings are vigorous and life like but lacks refinementTanjore Glass PaintingOrigin can be traced back to the down fall of Vijaynagar when a group of artist migrated to Mysore and TanjorePicture of lord Krishna and other favourite divinitesUses vivid colors on glass and bold outlinesUses montage techniqueCharm of folk paintingsFigures in the paintings are strong and worldlyFaces and bodies of the figures have been shown fair and healthy Mysore school of PaintingHas the same root as the Tanjore paintingBut it evolved in its unique wayTanjore SchoolMysore SchoolConcentrated on pure decoration adorning their paintings with beads colored glass and pieces of gold covered silver foilFor them composition is more importantHad single figure occupying the canvasHad two or more figures, The main one shown larger than the othersUse thick gold relief workDeveloped a softer and more refined artMysore artists excelled in the art of storytelling and even incorporated calligraphy in their work. Bazar PaintingUnder the British influence Greek and Roman statues copiedFigures of Indian god with many hands and elephant headBazar painters painted mainly everyday lifeThey painted pictures of Indian servants, of courtesans dancing before British officials, bazaar scenesPatua PaintingThe 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 cultIt was promoted by nawab of MurshidabadKalighat PaintingIn Calcutta near Kalighat templePainted on hand made paper, the flowers and plants in a naturalistic mannerPainted Durga, Shiva, Rama, Sita, Krishna and Calcutta’s day to day lifeShading which are rare to Indian paintings appearUses bold assertive lines and bright coloursInfluenced by English print which were being sold in the marketPatna or Company PaintingA number of artist fled to Murshidabad after fall of the Mughal empireLater the attacks of Maratha, Britishers, Afghans forced them to leave for PatnaAs Patna became important centre for the British they influenced these paintingsThus this school borrowed western styles and new techniques like wash techniques of water colorMain center of this school is Patna, Varanasi, Nepal, Murshidabad, Lucknow, Delhi, Lahore and PuneSocial theme, general life and festivals depicted. There is no depiction of royal splendors and romanticism like Mughal schoolPortrait have one and half faces with light and shadesPaintings done on Mica as wellNumber of these paintings are kept in Kudha Baksh Library, Patna and in Patna museumBengal SchoolE. B. Havell brought a new style of painting based on Indian tradition. It is known as Bengal schoolHe was against forceful imposition of western artHe attracted the attention of the world towards the great traditions of Indian art and condemned the prejudiced and cruel criticism of Indian art by BritishUnder his inspiration a group of Bengal artists gave birth to a new traditional style after copying the paintings of Mughals, Rajputs and AjantaThey created renaissance under the guidance and leadership of Abindra Nath TagoreThis revivalist art was a revolt against the westSubject matter of Bengal art is –Historical paintings - like “Buddha and Sujata” by Abindra Nath Tagore, Akbar and Kunal by HaldarReligious Paintings – Mahakali, Shiva Parvati, Krishna and GopiesLiterary themes – Meghdoot by HaldarSocial and daily life paintingsNatural paintings – Birds and animals and landscape paintings· CharacteristicsTheir approach was simplified and normalColour scheme is very attractive but avoided bright and gaudy coloursWash techniques were used to bring harmonyImpact of Mughal and Rajasthani schools are visibleLights and shades delicately shownFolk ArtAlpanaIn Bengal drawn on auspicious occasionsSome geometrical designsColours are home madeRangoliMainly popular in Gujarat and MaharashtraPowder of white stone in used for making coloursDesigns are made on groundIn these designs the desire of well being is expressed by drawing flowers, leaves, Specially prepared on the occasion of marriage and festivalDifferent names in different regionsIn Gujarat it is known as “Kaloti”Apna in GarhwalAviapan in BiharSanjhi and Chauk Poorna in U.P.Mandana in RajasthanMadhubani paintings of MithilaMonopoly of Women artistsThis mainly a communal activityInitially these paintings were drawn on walls but famine of 1967 compelled the women to draw these paintings on cardsFrom here it become famous and commercializedNatural colours are used and prepared indigenously (For black using burnt straw, for white powdered rice diluted with water)Outline is drawn in a single flow of brushThese paintings are done on mud walls and papersSubject matter of these paintings are Vishnu avtars - like Rama, Krishna and female deities like Kali, Durga and ParvatiBackground of these paintings are detailedTwo dimensional picturesEyes are fish shaped, long pointed nose and narrow foreheadManjusha ArtFrom east Bihar Bhagalpur districtBorders 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.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 paintingThe artistic work done in compilation with the story and its presentation in the paintings is famously known as Manjusha art.Pichwai PaintingsFrom Rajasthan NathdwaraRitual temple artFavourite themes are Krishna, Radha and GopiesPaintings are done on rough handspun clothPhad PaintingsFrom Rajasthan Bhilwara regionScroll paintings on which religious and heroic tales are paintedThis 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.“Joshi” a class is the main painter of this art Patachitra PaintingsFrom OdishaDone on cloth coated with a paste to give it a leathery finishThe word is derived from the Sanskrit word patta meaning 'canvas' and chitra meaning 'picture'.Raghurajpur in Puri district has the largest number of chitrakars, painters.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. Earthen and stone colours are used for these paintingsKalamkari Paintings (Bhery impaurtent-daddu’s guess)From Andhra PradeshQualam-kari (qalam meaning pen and kari, work)Done on cotton textile using Indigo and vegetable coloursThere are two distinctive styles of kalamkari art in India - Srikalahasti style 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. This style flowered around temples and their patronage and so 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. More flourished Machalipatnam style of art. 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.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.Threat of extintion (Recent article in TOI- )Warli PaintingsFrom Maharasthra Tribal paintingPaint on the wall with white colour from rice pasteSimpicity of the pattern is a distinctive featurePuppetryString PuppetMost ancient puppetControlled by strings and puppet have joined limbs that give them flexibilityPracticed in Rajasthan, Odisha, Maharashtra, Karnataka, Tamil nadu and AssamRajasthan - Known as “Kathputli”Made of wood and stuffed ragsThese puppets are legless and are draped in long skirtsOdisha Known as “Sakhi Kundhei”Domination of folk songs over dialoguesThemes mainly Radha-Krishna and RamayanaKarnatakaKnown as “Gombe-atta”Puppets are highly stylized and resembled a costumed YakshganaMost versatile TamilnaduKnown as “Bommalatam”Largest and heaviest of all traditional string puppetMost popular in Thanjavur districtSome puppet are 4.5 feet long and weigh around 10 kgThe plays are based on episodes from epicsRod PuppetSupported and manipulated by rodsPuppets are large and attached to bamboo sticks which in turn are tied to waist of puppeteerMainly famous in West Bengal and OdishaThe 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 BengalThey 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.Yampuri, BiharThe 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 PuppetOdisha, Kerala, Uttar Pradesh and West BengalPuppeteer wears a gloveThumb and middle finger control the arms Index finger control the headIn Odisha it is known as “Kundehi-nacha” In Kerala it is known as “Pava kali or pava kathakali”, “Pavakoothu”Shadow PuppetMainly practised in Odhisha, Andhra PradeshIn Odisha Known as “Ravanchhaya” - shadow of RavanaFlat leather figures are tightly pressed on translucent screen with a strong source of light focusing from behindTogalu 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 PradeshTholu 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.Art Cinema First Indian talkie movie Alam Ara“ directed by “Ardeshir Irani” released in 1931First International film festival of India held in 1952Big turning point in Indian cinema with the arrival of “Satyajit Ray” with his film “Pather Panchali” in 1955New Wave Cinema (Parallel cinema)Satyajit Ray, Ritwik Ghatak and Mrinal Sen were the founding fathers In south it is mainly originated in Karnataka and KeralaPattabhi Rama Reddy “Samskara” and Gopalkrishnana’s “Swayamvaram”They show reality of IndiaAway from star system and they differ in content and form from commercial cinemaOften funded by NFDCNo romantic escapism or glossy portrayalDo not use modern dance, music and charismitic starsShyam Benegal , Mrinal Sen, Govind Nilhani, Ketan MehtaIndian MusicMainly influenced by Bharat Natyashastra and later by BrihadeshiIndian music is classified by RagasTwo main styles of Indian musicCarnatic MusicHindustani MusicBasic element of Indian music is Raga, TalaRagaMade from Sa, Re, Ga, Ma, Pa, Dha, NiA 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 RagasRag BahraviRag ShriRag DeepakRag MeghRag HindolaRag MalkosHindustani MusicStyle of North IndiaAmir Khusro had greatly influenced this style[Khilji time]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 traditionAn 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 systemVishnu 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.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 formsAnibadha (Open)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.DhrupadOldest vocal style traced back to Sama VedaEarlier confined to templesDhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities.It is performed with a tambura and a pakhawaj as instrumental accompaniments.Traditionally performed by male singersIn Mughal era Tansen and in recent time Dagar familyDhamarLighter version of Dhrupad and it arose in MathuraMainly song at the occasion of HoliDescribes the play of Lord KrishnaThumriThumri is a semi-classical vocal form said to have begun in Uttar Pradesh with the court of Nawab Wajid Ali ShahThere are three types of thumri: poorab ang, Lucknavi and Punjabi thumri.Lyrical in approachRomantic words, aim to create atmosphere of romanceTappaTappa 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 courtsDeveloped from the camel riders of North WestComposed in Punjab but now it is getting extinctTaranaTaranas 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 rhythmImitates Persian and Arabic wordsKhayalKhyal 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 emotionA 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 systemGwalior Gharana – Oldest most comprehensive gharana also known as “Mother of all gharana”Agra Gharana / Rangeela Gharana – Founded by Haji Sujan KhanJaipur – Atroli Gharna – Associated with singer Alladiya KhanKirana Gharna – Modern and becoming popular. It is known for its tunefulness. Developed by Abdul Wahid Khan and Abdul Karim KhanQawali, Dadra, Nazam, Kasida and GhazalQawali 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 talasNazam 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 poetryGhazal is an Urdu poem with regular metre. Each verse in a Ghazal has distinct entity and has no connection between themKasida 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 MusicShehnai, Bansurai, Surani(Himachal Pradesh), Mohuri (Madhya Pradesh) ,Karna(Rajasthan), Pungi (Rajasthan), Khung(Manipur), Singa(Odisha and Madhya Pradesh)Tabla, PakhawajTanpura, Sitar, Sarod, Sarangi, Kamaicha(Rajasthan), Rabab(J&K),Ravan Hattha(Rajasthan), Dilruba, Morchi, AlgozaPersonality of Hindustani MusicV. D PaluskarComposed Raghupati Raghav Raja RamFounder of Gandharv MahavidhyalayaSystemized music on scientific basis Pointed that muslims are not responsible for decline of Hindustani musicRabindra SangeetA new style in Bengali music evolved by Rabindra Nath TagoreThis was fusion of Hindustani music and Bengali folk musicCarnatic MusicThe 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 styleIn 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 interpretationSinger need to understand composer’s intention.Closed form of carnatic musicKriti Most popular, means creation or to sing. It has three sectionsPallaviAnupallaviCharanJavaliLove lighter compositionPadamLove theme, Slower in tempoTilanaIn it rhythm is more important than wordsInstrumentsNadaswaram, FluteMridangam, Ghatam, Khanjira, Edakka(Kerala), Chenda(Kerala), Thavil(Tamil Nadu)Tambura, Veena, GottuvandhyamMain Personalities(Trinity of Carnetic Music)Shyama ShastriThyagaraja Muthuswami DikshitarComparison between Hindustani and Carnatic MusicCarnatic 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 methodHindustani Music is emotional while carnatic music is more intellectual and spiritualHindustani music has influence of Arab, Afghan and Persian and Carnatic music is totally indigenous and canonizedThe 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 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 – Both share important common features like Svara(Pitch), Raga(Melody) and Tala(metre)Devotional MusicNorth IndiaBhajanKeertanAbhanga-kirana gharanaSouth IndiaTevaramTiruvasangamTiruppugazhDeva NamaInstitutional Support to MusicMusic Festivals Related to the CultureASIThe 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. Functionsmaintenance, conservation and preservation of Centrally protected monuments and sites; carrying out archaeological explorations and excavations;chemical preservation of monuments and antiquarian remains; architectural survey of monuments;bringing out archaeological publications;carrying out archaeological expeditions abroad (both excavations and conservation)carrying out underwater archaeology.Asiatic SocietyAsiatic 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. CCRTThe 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 artsThe 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 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 AcademyThe 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 AcademyA 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 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 AcademySangeet 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 MacayThe 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 cultureIt is also a movement with chapters in over 300 towns and cities all over the world.SPIC MACAY was established by Dr. Kiran Seth in 1977 at IIT DelhiIt 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 IndiaNational 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 CouncilBharat MahotsavKalakshetraKalakshetra 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 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 SchoolThe 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 TheatreKoodiyatam or KoothiyattamWord derived from “kurd” meaning to playAssumed that it is introduced in India by AryansOldest existing classical drama in the worldFrom KeralaMost prominent survivor which has elements of Sanskrit theatreNever captured the public imagination due to its rigidityLimited to only templesOnly family tradition is the reason behind the survival of this artKottu is considered more liberal form of this drama fromPerformed by Chakyars(Men) and Nangiars(Women) communityIncluded in UNESCO listFolk TheatreEvolved in 15th and 16th centuryMore closer to the society, so it is more popular art formUsed regional language and traditionsInitial phase it is more religious and devotional but later they become more secular and based on local issues, legends and storiesCan be divided into two categoriesRitual theatreTheatre of entertainmentMostly the local theatre vocal and narrative in nature i.e. singing and recitation based ramlila, mahabharataAlso rich in the ballad singing traditionPabuji ki phad (Rajasthan)Nupipaalaa (Manipur)South indian forms more focus on dance like kathakali, krishnaattam in Kerala also known as dance dramaIn north india main focus on singing like swang,nautankiJatra of Bengal, Tamasha of Maharashtra and Bhavai of Gujarat mainly focus on the dialogue part and execution, latter two also focus on comedy and satirePuppet show also has its own natureSome theatre forms of IndiaBhand PatherThe traditional theatre form of Kashmirunique combination of dance, music and acting. Satire, wit and parody are preferred for inducing laughterSince the actors of Bhand Pather are mainly from the farming community, the impact of their way of living, ideals and sensitivity is discernible.SwangMainly 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.NautankiUsually 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.RaasleelaBased 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.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.JatraFairs 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.Bhaonapresentation 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.TamashaTraditional 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 Balram), Buddha and Kalki. Apart from stylized make-up, the Dashavatar performers wear masks of wood and papier mache.Krishnattamfolk 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.MudiyettuTraditional 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.TheyyamTraditional 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.Koodiyaattamone 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 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.TherukoothuMost 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 PattuLiterally means “bow songs”(bow and arrow)From TamilnaduStories of Ramayana, Mahabharata and Purana performed in thisPowada - Now onwards narrative formsFrom MaharashtraFirst available powada written in Marathi on Shivaji killing Afzhal KhanKept alive by the folk singers of MaharashtraPandavaniFrom Chhattisgarh and Madhya PradeshStory telling formDeveloped in the form of telling the story of five Pandavas. Tijan BaiDaskathia or Chhaiti GhodaNarrative form of theatre in OdishaDevotee narrates a story dramatically using a musical instrument named as KathiaGondhalFrom MaharashtraNarrative form of theatre GarodaFrom Gujarat narrative drama formKariyilaMost interesting and popular form from Himachal PradeshPerformed mostly after DeepawaliUse of local musical instruments and folklores KhyalFrom RajasthanOja-PaliFrom Assam story telling drama formAssociated with the worship of the serpent goddessKuruvanjiFrom TamilnaduNon religeous form of Bharatanatyam;more popularPerformed in the dance ballet form with Bharatanatyam techniqueBayalataFrom KarnatakaDerived its form from religious ritualsAll folk performance are part of a ritual festival conducted in the name of local deityShadow TheatreTalk about shadow puppetry fromTolubommalataAndhra Pradesh shadow theatrePuppet often large size made of the skin of goatThe skin once dried become translucent Festivals of IndiaAll India FestivalsHinduMaha Kumbh Mela(Haridwar, Nashik, Allahabad, Ujjain)Basant PanchamiShivaratiRaksha BandhanDushearaDiwaliHoliRamnavamiJanmastamiSkaranti/PongalNagpanchamiMuslimId-ul-fitrIt 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.Id-ul-adha/Bakar-id/Id-ul-johaEid-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.MuharramMuharram 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 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 saintsRabi-Ul-awwalId-I-MiladProphet 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 peopleBarawafatThe 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.ChristianChristmasGood FridayEasterSikhGuru ParbAnniversaries 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).VaishakhiHolla 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 FestivalTseschu 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.LosarIt 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 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 FestivalsKhordad SalJamshed NavrozNew Year, for the fall of Parsis, the first day or Roj Hormuzd the first month or Mah Fravardin of Shehanshai calendarTraditionally, 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.GahambaraMahavir JayantiBuddha JayantiCheti ChandIt 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 FestivalsKashmirNau roz – New YearJaitha Ashtami –8th day of jaitha offer of Kheer at Khir Bhavani templeMela Hemis Gompa - Similar to LosarCelebrate the birthday of “Padmasambhava” the founder of lamaismRichest and biggest monastery of Laddakh, Festival held at 10th day of 5th Buddhist monthLamas dance wearing masksMasked dancers simulate a combat between good and evilKhichri AmavasyaLord of Yaksha invited on this dayKichri place on roof topPunjab & HaryanaLohriMarks the end of winterAgriculture festivalBonfires and songs mark the occassionTikka or Bhaiya DhujOn day following DiwaliUttarakhand a. RammanPart of Unesco Intangible list added in 2009Garhwal RegionPerformed in courtyard of templeReligious festival in honour Bhumiyal Devta, a local divinity Each caste and occupational group has a distinct roleCombining theatre, music, historical reconstructions, and traditional oral and written talesHimachal PradeshMinjar MelaHeld at ChambaPeople gather at cliff top overlooking river RaviEveryone throws “minjar”(silk/silver fassel)Symbolic sacrifice to river goddess believed to avert all calamitiesJawalamukhi FairAt Kangara ValleyGoddess of Volcano worshipped in the form of inflammable gasRenukaFour day fairIt is believed that Parasuram visit his mother at Sirmaur Lake at this occasionDelhiChristian MelaAt MaharuliA service is held in the little Church of St. Johns built early in the 20th centurySair-e-Gul FaroshanFestival of flowers for Hindus and MuslimsPankha decorated with tinsel and flowers are carried throughout MaharauliFire dancers lead the processionAll participant go to Dargah of Khwaja Saheb and Then to Jog Maya templeUrs Hazrat Nizam-Ud-DinAt the tomb of Hazrat Nizam-Ud-dinWater of sacred tank posses healing propertiesMusharias and Qawalis are organisedUttar PradeshCar(Rath) Festival at MathuraAt Sri Rangji temple at BrindavanRath carry the temple deity Vishnu and LakshmiVan YatraAround Govardhan mountainRas lila is performedKans ka melaTo commemorate the destruction of Kans by KrishnaFair is held at Mathura and Fatehpur SikriBiharChhathCelebrated in veneration(fear of god) of the sun godAfter 6 days of fasting- penance, go to the nearest river and offer oblation to sun godJharkhandSarhulFestival of flowersSal flowers brought to the place of worshipThe village headman propitiate(appease) all gods of MundasKarama FestivalOrrisaRath YatraAt PuriJagannath the incarnation of Vishnu, his brother Balabhadra and their sister Subhadra are placed on colossal chariotsPulled by hundred of devoteesAfter a stay of 7 days at Gundicha the deities carried back to their templeBengalGangasagar MelaRamkrishna UtsavDol PurnimaRajasthanGangaurTeejUrs at Ajmer SharifCamel FestivalGujarat & MaharashtraGudi Padva?Dev Diwali?Gahambara?Tarnetar Fair?Ganesh ChaturthiGoaZatra at CansaulimThe feast of St. Francis XavierThe carnivalAndhra Pradesh & Tamil NaduPongalFire Walking festivalTeppamKarnatakaKargaThe feast of St. PhilomenaThe Great head Anointing ceremony at SravanbelagolaKeralaPoorumOnamAssamBoghali BihuBohaag or Rongali bihuKangali BihuTripuraKarchi PujaTerm ”Kerchi Puja” means the worship of the earthObserved in the month of July in Agartala in temple of Chathurdash DevtaKer PujaThe guardian deity of Vastu devta is kerFoe the welfare of masses and protect them from any calamities and also from any external aggressionGaria PujaOn the occasion of Kali wins over MahisasurImmersion of idols of shakti in the riverAshokastami fairCelebrated in the month of March/April at Unakoti Teertha in the Kalisahar sub divisionMany rock cut images of local deities can be seen on the wall of Unakoti hills and are worshiped by thousand devoteesMeghalayaBehdienkhlamShud suk MynsiemWangalaPomblang NongkremManipurHeikru hitongbaIt is regarded a festival of joy with little religious significance along a 16 meter long boatBoat race is the integral part of this festivalVishnu payer before the starting of boat raceRass lilaYaooshang(Dol Jatra)Festival started from the full moon day of the Phalgun month and continue for five daysMale and female give many cultural performances specially “Thabal Chongba” danceLai – HaraobaFestival represents the worship of conventional deities and ancestorsIt is observed in the month of May to revere the local deity Umang ThaiDisplay the events of creation, 12 eventsThis festival is also the ripe time for performing the “Laipon” dance, which symbolize the birth of GodKang(Rath Jatra)Same as BengalCheiraboaCelebrated in the month of AprilWelcome the New YearOn the special day the locals of the state climb the nearby hilltops, which embodies the rise of human civilization to greater heightsEqual participation of Hindu and MuslimsSikkimPang LhabsolEchney ChaamsSaga dawnMizoramTheir festivals are connected with the Jhum cultivation.Min kut – Maize festivalPawl kut – Rice harvestChapchar Kut – cutting of bamboo for jhum cultivation after springNagalandMoatsuCelebrated by “Ao tribe”Rites and rituals are performed by NagasAfter the sowing is over the Nagas observe Moatsu songsThe festivals also involve a celebration of “Sangpangtu”, where a big fire is lit and men and women dance around itTsungrem mongAo tribe festivalJust after the sowing of MilletSpecial thanks giving festival for good yield of cropsNazuPochury tribe10 day long festival where men and women participate in many cultural eventsSekrenyiAngamis tribeAlso known as PhousyniReligious rites and rituals performedBest part of the festival is “Thekra Hie” where the youth of village gather and sing traditional song throughout dayTuluniFestival of Sumi NagasYemsheCelebrated by Pochury tribe in month of OctoberArrival of the new harvest is welcomedThe arrival of the festival first announced by the village spokesman and after that first rituals performedTwo parts of the festival Big Yemshe and Small YemsheBig Yemshe is preparation of all village by cleaning whole village by youthSmall Yemshe is the purification of the house and a ritualArunachal PradeshReh FestivalLosarTamladuKhanMopinMolIndian HandicraftHandloom and HandicrafetBloc PaintingResist Painting- JaisalmerTie and Dye painting- Bandhej(Rajasthan), Bandhini (Gujarat), Shikara, Chandokini, Bagh (Garden)Batik Painting-Vibrant colourWax se cover karke fir dye karte haiSpray PaintingPochampalli from Andhra PradeshMainly in SareesHandlooms and Mechanical LoomsDifferent clothes usedKota Doria200 yearsCoarse plain fabricColourful threadsFlowers, golden threads used in borderRajasthan and ThrivandrumJamdaniMuslin ClothPehle bahut famous tha- british le jaate theEmbroidery aur floral pattern banate haiPanna-hajar famousMaheshwariCotton, silk mixGold, jari workMadhya PradeshVery light isliye summers mein use hotaChanderiIkkatGujarat, Andhra Pradesh, OrissaPaithaniSatvahana eraHandwoven pure silkPallu aur border par kaafi accha style use hota haiPeacocks, star circle use hota haiJamawarsKashmirMughals laaye theWoolen fabricFlora and fauna ko dikhate haiBooty workAlmost 50 colours usedBalucherryRoyal life styleSaree borderPleasure board with love birdsMurshidabadBroackadeIntricate patternBase colour and various colourGolden and silver threads bhi use hota haiSouth india mein bhi bahut use hota haiChicken CurryMuslin use hota haiLucnkowPresent weaver use siphon (chiffon)Phulkari- Punjab ka haiAnimals, pots, human figuresChope- BridalVari ka bag- FertilityMany 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 gesturesTeejan Bai is foremost exponentTHANG-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 spearcan 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 animalsTranslated, Lai Haraoba means "merry making of the Gods.There are six major types of Lai Haraoba.Kanglei (Imphal) Haraoba, Chakpa Haraoba, Andro Haraoba, Sekmai Haraoba, Moirang Haraoba, Kakching HaraobaCHHOLIYA: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 occasionsJHUMUR:mainly by the Santhal and Nagpuri communitiesJenana Jhumura 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 JhumurThe 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 menKABUI 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 circlesneither 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 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 BhandPULIKALI: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.BAGURUMBAis 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 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 OdishaHOZAGIRI:performed by Reangs in TripuraWhile 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 Festivala 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 MayThe purpose of Bohada is to show gratitude to the Village Goddess (Gaon Devi) including all other Gods and Goddesses.SIDDI DHAMAL: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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