Friday, February 26, 2016

CARNATIC MUSIC (ART & ARCHITECTURE)



                                      CARNATIC MUSIC

The Tamil classic of the 2nd century A.D. titled the Silappadhikaram contains a vivid description of the music of that period. The Tolkappiyam, Kalladam and the contributions of the Saivite and Vaishnavite saints of the 7th and 8th centuries A.D. also serve as resource material for studying musical history.
It is said, that South Indian Music, as known today, flourished in Deogiri the capital city of the Yadavas in the middle ages, and that after the invasion and plunder of the city by the Muslims, the entire cultural life of the city took shelter in the Carnatic Empire of Vijayanagar under the reign of Krishnadevaraya. Thereafter, the music of South India came to be known as Carnatic Music.
In the field of practical music, South India had a succession of brilliant and prolific composers who enriched the art with thousands of compositions. After Purandaradasa, Tallapakam Annamacharya Narayana Tirtha, Bhadra-chalam Ramdasa and Kshetranja made contributions to the wealth of compositions
The birth of the Musical Trinity - Tyagaraja, Muthuswami Dikshitar and Syama Sastri - at Tiruvarur between the years 1750 to 1850 A.D. ushered in an era of dynamic development in Carnatic music.
Outstanding feature of Carnatic music is its raga system & highly developed and intricate tala system. Though clear cut demarcations in the style of musical presentation, similar to the gharanas of Hindustani music are not seen in Carnatic music, yet, we do come across different styles in rendering compositions.
The ancient musical forms like Prabandhas, etc. gradually gave away to the different musicals forms that are in use in present day music, though the basic elements of the ancient Prabandhas are still retained in the modern forms. The following musical forms offer interesting study:
·         GITAM
Gitam is the simplest type of composition. Taught to beginners of music, the gitam is very simple in construction, with an easy and melodious flow of music. 
·         SULADI 
Very much like the gitam in musical structure and arrangement, the Suladis are of a higher standard than the gitam.
·         VARNAM
The Varnam is a beautiful creation of musical craftsmanship of a high order, combining in itself all the characteristic features of the raga in which it is composed. Practice in Varnam singing helps a musician to attain mastery in presentation and command over raga, tala and bhava.
·         SVARAJATI
This is learnt after a course in gitams. More complicated than the gitas, the Svarajati paves the way for the learning of the Varnams. The theme is either devotional, heroic or amorous.
·         JATISVARAM
Very similar to the svarajati in musical structure, this form- Jatisvaram-has no sahitya or words. The piece is sung with solfa syllables only.
·         KIRTANAM
The Kirtanam had its birth about the latter half of the 14th century. It is valued for the devotional content of the sahitya. Clothed in simple music, the kirtanam abounds in Bhakti bhava. It is suited for congregational singing as well as individual presentation.
·         KRITI
The Kriti is a development from the Kirtana. It is an highly evolved musical form. The highest limit of aesthetic excellence is reached in the Kriti composition. The raga bhava is brought out in all the rich and varied colours in this form. 
·         PADA
Padas are scholarly compositions in Telegu and Tamil. Though they are composed mainly as dance forms, they are also sung in concerts, on account of their musical excellence and aesthetic appeal. The music is slow-moving and dignified.
·         JAVALI
A javali is a composition belonging to the sphere of light classical music. Sung both in concert programmes and dance concerts, the javalis are popular because of the attractive melodies in which they are composed. In contrast to the padas which portray divine love, javalis are songs which are sensuous in concept and spirit.
·         TILLANA
The Tillana, corresponding to the Tarana of Hindustani music, is a short and crisp form. It is mainly a dance form, but on account of its brisk and attractive music, it sometimes finds a place in music concerts as a conclusion piece.
·         PALLAVI 
This is the most important branch of creative music. It is in this branch of manodharma sangeeta, that the musician has ample opportunities of displaying his or her creative talents, imaginative skill, and musical intelligence.
·         TANAM 

This is a branch of raga alapana. It is raga alapana in Madhyamakala or medium speed. There is perceptible rhythm in this. The rhythmical flow of music, flowing in fascinating patterns, makes tanam singing the most captivating part of raga exposition.

MUSIC (ART AND ARCHITECTURE )

MUSIC




The two distinct styles, Hindustani and Carnatic came into vogue after the advent of the Muslims, particularly during the reign of the Mughal Emperors of Delhi. Both the systems of music received their nourishment from the same original source. Whereas the Indian music of the Northern part of India assimilated some features of the music of the Persian and Arabic musicians who adorned the courts of the Mughal rulers of Delhi, the music of the South continued to develop along its own original lines.

HINDUSTANI MUSIC
There are 10 main forms of styles of singing and compositions: Dhrupad, Dhamar, Hori, Khayal, Tappa, Chaturang, Ragasagar, Tarana, Sargam and Thumri. Nowadays Ghazals have become very popular as the 'light classical' form of music.
·         DHRUPAD
Dhrupad is the oldest and perhaps the grandest form of Hindustani vocal music.  Dhrupad is essentially a poetic form incorporated into an extended presentation style marked by precise and orderly elaboration of a raga. The exposition preceding the composed verses is called alap, and is usually the longest portion of the performance. Dhrupad is in decline since the 18th century.
·         KHAYAL
Khayal literally means ‘a stray thought’, ‘a lyric’ and  'an imagination'.
This is the most prominent genre of Hindustani vocal music depicting a romantic style of singing. Khayal is dependent to a large extent on the imagination of the performer and the improvisations he is able to incorporate. A Khayal is also composed in a particular raga and tala and has a brief text. The Khayal texts range from praise of kings or seasons, description of seasons to the pranks of Lord Krishna, divine love and sorrow of separation. 
There are six main gharanas in khayal: Delhi, Patiala, Agra, Gwalior, Kirana and Atrauli-Jaipur. Gwalior Gharana is the oldest and is also considered the mother of all other gharanas. 
·         THUMRI
Thumri originated in the Eastern part of Uttar Pradesh, mainly in Lucknow and Benares, around the 18th century AD
It is believed to have been influenced by hori, kajri and dadra. Thumri is supposed to be a romantic and erotic style of singing and is also called “the lyric of Indian classical music”. The song compositions are mostly of love, separation and devotion. Its most distinct feature is the erotic subject matter picturesquely portraying the various episodes from the lives of Lord Krishna and Radha. 
 A Thumri is usually performed as the last item of a Khayal concert. There are three main gharanas of thumri -- Benaras, Lucknow and Patiala. 
·         DADRA
 Dadra bears a close resemblance to the Thumri. The texts are as amorous as those of Thumris. The major difference is that dadras have more than one antara and are in dadra tala. Singers usually sing a dadra after a thumri.
·         DHAMAR-HORI
These compositions are similar to Dhrupad but are chiefly associated with the festival of Holi. Here the compositions are specifically in praise of Lord Krishna. This music, sung in the dhamar tala, is chiefly used in festivals like Janmashthami, Ramnavami and Holi. The compositions here describe the spring season. These compositions are mainly based on the love pranks of Radha-Krishna.
·         TAPPA
The tappa is said to have developed in the late 18th Century AD from the folk songs of camel drivers. Tappa literally means 'jump' in Persian.  They are essentially folklore of love and passion and are written in Punjabi.
·         RAGASAGAR
Ragasagar consists of different parts of musical passages in different ragas as one song composition. These compositions have 8 to 12 different ragas and the lyrics indicate the change of the ragas. The peculiarity of this style depends on how smoothly the musical passages change along with the change of ragas.
·         TARANA
Tarana is a style consisting of peculiar syllables woven into rhythmical patterns as a song. It is usually sung in faster tempo.
·         CHATURANG
Chaturang denotes four colours or a composition of a song in four parts: Fast Khayal, Tarana, Sargam and a "Paran" of Tabla or Pakhwaj.
·         GHAZAL
The ghazal is mainly a poetic form than a musical form, but it is more song-like than the thumri. The ghazal is described as the "pride of Urdu poetry". The ghazal originated in Iran in the 10th Century AD. The ghazal never exceeds 12 shers (couplets) and on an average, ghazals usually have about 7 shers. The ghazal found an opportunity to grow and develop in India around 12th Century AD when the Mughal influences came to India, and Persian gave way to Urdu as the language of poetry and literature. It developed and evolved in the courts of Golconda and Bijapur under the patronage of Muslim rulers. The 18th and 19th centuries are regarded as the golden period of the ghazal with Delhi and Lucknow being its main centres. 

INDIAN FOLK DANCES (ART AND ARCHITECTURE )

                                                 


                                                      INDIAN FOLK DANCES

1.      MATHURI (KOPPU), ANDHRA PRADESH
This dance is performed by the inhabitants of the Umji and Indravelli forest areas of Utnoor Tehsil in Adilabad district of Andhra Pradesh. It is traditionally performed during Krishna Janmashtami celebrations and the themes are taken from the Mahabharata. Though both men and women perform this dance, the pace is different. Women dance in slow rhythmic movements, while the men dance at a more vigorous pace. The Nagara is the main instrument used.
2.      BIHU, ASSAM
Bihu is one of the most colourful folk dances of India. The dance is an integral part of the Bihu Festival celebrated to mark the advent of Spring and the Assamese New Year. Bihu ushers in the sowing time and also the season of marriage. he dance has been noted for maintaining authenticity and at the same time displaying the traditional Assamese handlooms and handicrafts in their glory and beauty by the dancers.
3.      JHIJHIA, BIHAR
Jhijhia is usually performed by a group of young women dancers and portrays the offering of prayers to please the King of Gods-Lord Indra-for a good monsoon and a rich harvest. 
4.      GAUR MADIA, CHHATTISGARH
Basically performed on the occasion of marriage by Gaur Madia of Abhujmar plateau of Bastar in Chhattisgarh and is called Gaur after Bison. It may appear to be a hunt-dance with only the imitation of the frisking, jerking movements of the animals. However, a sense of ritual and deep sanctity underlies the perfect synchronization of the dance. 
5.      KAKSAR, CHHATTISGARH
Kaksar is performed by the Abhuj Maria tribes of Bastar in Chhattisgarh to seek the blessings of the village deity Kaksar for a good harvest. Performed by a group of young boys and girls dressed in their best, this dance also provides a platform to young people for choosing their life partners.
6.      CHHOLIYA, UTTARAKHAND
Prevalent in the Kumaun region of Uttarakhand, the Chholiya dance has elements of martial craft and is associated with the Kirji Kumbh celebrations; Kirji Kumbh is a poisonous flower which blossoms every 12 years. Villagers march in a procession to destroy the flower before it sheds its poison into the mountain streams.
7.      SAMAI, GOA
The metal lamps are traditional handicrafts of Goa and the Samai dance is performed with these traditional metallic lamps or deepaks. The men and women balance the samai on their heads and perform various movements. During religious gatherings the dance is performed to the accompaniment of slow singing.
8.      GARBA, GUJARAT
Garba is one of the most popular dance form of Gujarat, which is linked with the worship of “Shakti”. The word “Garbo” has originated from Sanskrit word “Garbhdeep”, an earthen pot with circular holes is popularly known as “Garbo”. The pot is the symbol of the body and the lighted lamp inside the pot signifies the divine soul. Garba is performed during Navratri and during weddings. It is essentially performed by women, dancing in circular motion clapping their hands to the beats of the Dhol.


9.      DANDIYA RAS, GUJARAT 
Ras is one of the ancient and yet most popular dance form of Gujarat. Its origin has been traced to Lord Krishna. The graceful dance of Lord Krishna with Gopis in Vrindavan is known to all as Krishnaleela. Ras is a unique synthesis of folk dance, folk art, colour and folk music. Circular movements with speed and grace are the main features of Ras. The roar of the Dhol, the colourful gorgeous costumes, speed together with vigour and gusto of dancers leaves audience spell bound.
10.  DAANG, GUJARAT
Daangis hail from South Gujarat on the border of Maharashtra. This dance is usually performed during Holi and other festivals. Daang dance centers around the social life, feasts, fairs, festivals, ceremonies and rituals connected to worship. It is vigorous, as most tribal dances are, and highly rhythmic. Interesting circular formation is created centering around the accompanists who stand in the middle of an open space. The men hold their arms round the women’s shoulders and women clasp the men by their waists. The dance builds up gradually and acquires a fast tempo in the end. The women climb on the shoulders of men and form a human pyramid. The two and three tier formation moves clockwise and anti clockwise.
11.  SIDDHI DHAMAL, GUJARAT 

The Siddhies migrated to India from Africa about 750 years ago. They settled in the coastal parts of Gujarat like Bharuch, Bhavnagar, Junagarh and Surat. They follow Muslim religion and dance to the beat of drum on the eve of the Urs of their Prophet Baba Gaur. The dancers gradually pick up tempo and get into trance breaking tossed coconut on their heads. Just like their ancestors from Africa, Siddhies are master of rhythm dancing to the tune of huge drums.
12.  GHOOMAR, HARYANA
Ghoomar is a dance performed by the girls of border areas of Rajasthan and Haryana at various festivals like Holi, Gangaur Puja and Teej. The girls form semi-circles and start singing and clapping.The dancers then form a circle and the tempo of the dance is accelerated. The movements are made by holding body weight on one foot and moving forward. as the tempo increases towards the end, the dancers whirl around in pairs. The accompanying songs are full of satire and humour and refer to contemporary events.
13.  KINNAURI NATTI, HIMACHAL PRADESH
This dance is in the veins of the Kinnauris. Their movements of the natural world around them and their music echoes the sound of the breeze blowing through forests. Important amongst the dances of the Kinauris is LOSAR SHONA CHUKSAM. It takes its name from LOSAI meaning new year. The dancers recreate movements of all the agricultural operations of sowing and reaping ogla (barley) and phaphar (a local grain). Slow movements with soft knee dips with accentuation of torso is the key step of this dance.
14.  PAIKA, JHARKHAND
‘Paika’ is a typical dance of the Munda community of Jharkhand, and thematically represents rituals connected with preparations for war. With chest blades, multi-coloured headgear, anklets, bows, arrows, spears, swords and shields the dancers enact battle scenes, symbolizing the great war of the Mundas against the British. The fast beat of the madal, along with the use of other musical instruments like dhol, nagara, shehnai, and ranbheri make Paika dance performaces truly captivating. Though performed on various occasions, the Paika dance is most readily associated with the Dussehra celebrations.
15.  ROUFF, JAMMU & KASHMIR
Rauff is the most popular dance in the Kashmir Valley and is performed by the women folk. The dance is performed during harvesting season but the most essential occasion is the month of Ramzan when every street and corner in Kashmir resounds with the Rouff songs and dance. The girls wear colourful Phirans-Kashmir cloaks and Kasaba-the head gear. The girls form two rows facing each other and putting their arms around the waist of the next dancer. They start with rhythmic movements of the feet and weave a few patterns swaying and swinging backward. Traditionally, no musical accompaniment is used with Rouff songs as they are sung while doing the daily chores. The folk instruments like noot, tumbaknari, rabab etc are used when it is performed on the stage or in some gathering.
16.  JABRO, JAMMU & KASHMIR
Jabro is a community dance of the nomadic people of Tibetan origin living in Ladakh. Jabro is performed by both men and women during Losar- the Tibetan new year celebrations- and also on other festive occasions. Because of the extreme cold, the dancers wear heavy gowns made of sheep skin, lamb skin caps and long leather shoes. Performers stand in two facing rows, holding each other’s hands, and dance gracefully with slow, gentle movements as Jabro songs are sung to the accompaniment of the Damien-a stringed guitar-like instrument and flute.

17.  VEERBHADRA, KARNATAKA
The exotic cultural tradition of Veerbhadra was brought to Karnataka by the South Indian rulers. This ritual is equally popular in some parts of Karnataka. Veerbhadra is performed on Chaitra Purnima and the Dhalo festival. The person enacting the role of Veerbhadra is dressed in a warrior’s costume. He wields swords as he dances. According to legend, Veerbhadra is supposed to get possessed by a divine spirit. The invocation of Veerbhadra is recited in Kannada even today.
18.  DHOLU KUNITHA, KARNATAKA
Dholu Kunitha is a drum dance performed by the men folk of the shepherd community known as Kurubas. This dance is noted for its powerful drumming and vigorous dancing which is replete with acrobatic elements. The dancers during the course of performance make attractive formations of all sorts. It provides both spectacular variety and complexity of skills in the process of demonstration. The high pitch of tala, tappadi, trumpets, gong and flute reinforce the rich vibrations of dholu. This dance is popular in some parts of north and south Karnataka.
19.  OPPANA, KERALA
This is a bridal dance performed by Muslim girls of North Kerala and Lakshadweep on wedding occasions. There are separate dancers for the bride and bridegroom. Brides and grooms are mentally prepared for marriage and the nuptial night by their close friend through a sequence of dance and music. This is an occasion of great celebration and merriment and all arrive attired in gorgeous costumes.
20.  PURULIA CHHAU, WEST BENGAL
Chhau dance of Purulia in West Bengal is one of the most vibrant and colourful folk art forms. Emanating from martial practice, Purulia Chhau is a vigorous form of dance-drama drawing its themes from the two great Indian epics, Ramayana and Mahabharata. Masks and elaborate head gears are the ornamental apparels of the Chhau dancers. The dance commences with an invocation of Lord Ganesha before movements begin as per the story. In Chhau dance, the fight between good and evil always culminates in the triumph of good over destructive evil. Powerful movements, immense concentration, the dazzling costumes, the rhythmic drum beating and the shehnai characterize the Chhau dance form. This dance is popular in Jharkhand also.
21.  BADHAI, MADHYA PRADESH
A typical folk dance of Madhya Pradesh, Badhai is performed to thank Goddess Sheetala for safeguarding people from natural calamities and ailments and to seek her blessings on happy occasions like weddings and childbirth. Accompanied by folk musical instruments, the performers dance gracefully to a rhythm, creating a lively and a colourful spectacle.  This particular rhythm is known as Badhai from which this folk dance has acquired its name. Animals also take part in Badhai Nritya and in many villages, mares (female horses) are seen at such performances.
22.  BAREDI, MADHYA PRADESH
It is closely related to the cattle-farm culture of the country, especially of the Bundelkhand region(MP). The Baredi folk songs and folk dances are presented during the fortnight commencing from Deepawali (Kartik Amawasya) to Kartik Poornima. They wear a typical attractive dress specially meant for this occasion. One of the performers with a rhythm sings two lines from the poem called Baredi and the other participants present a vigorous and sprightly performance, the Baredi dance. This dance is presented with a worship of Govardhan Parvat. It is believed that the Lord Krishna himself participated in these Baredi dances alongwith his gwal mates.
23.  RAEE, MADHYA PRADESH
Raee dance is popular in Bundelkhand regions of Madhya Pradesh and Uttar Pradesh. This dance originated during ancient times for celebrations when the armed forces returned victorious after war. This dance was performed in merriment celebrating victory. Danced throughout the year, it conveys the spirit of joy and exuberance of the people of Bundelkhand. It is primarily, a female dance, where the dancers with veils on their faces, move their feet and whirl body in rhythm to the accompaniment of vocal and instrumental music. Algoza, mridanga and dhapali are the main musical instruments used in this dance.
24.  LAVANI, MAHARASHTRA
Traditionally an integral part of the Tamasha folk theatre of Maharashtra, Lavani is the most popular and best known folk dance form of the state. Although, there is no restriction regarding the choice of themes for a Lavani performance, this art form is at its best when dealing with themes of bravery, pathos, love and devotion, Music, poetry, dance and drama intermingle with such perfection in the rendering of Lavani, that it is almost impossible to separate their various components.
25.  DHOL CHOLOM, MANIPUR
‘Dhol Cholom’, traditional folk dance of Manipur, is performed usually on religious occasions to the accompaniment of songs and dhol (large drum)-the most important component of this dance form. Usually performed during the Yaoshand festival (or the festival of colours), the dance expresses love and creativity, with an intricate interplay of dhols and fireplay. Dhol Cholom belongs to the Manipur sankirtan traditions.
26.  LEZIM, MAHARASHTRA
The traditional Lezim dance is performed by the artistes on religious and social events. Specially it is having base in a Akhada (Martial Art) tradition of Maharashtra. It is performed in every corner of Maharashtra. This Lezim Dance includes Ghuti Lezim, Ghoongroo Lezim, Dakhani Lezim and Palita Lezim. This dance is occasionally performed in Madhya Pradesh and Gujarat also. The instruments used in this dance are dhol, tasha and jhanj etc.
27.  LEWATANA, MEGHALAYA
Lewatana is a folk song and dance of Hajong tribe of Meghalaya. Hajongs observe various festivities of the Hindus. The Lewatana is usually performed by the Hajong during the Diwali festival. In this dance, the young men and women form a group and while dancing and singing various folk songs, they compare man with nature.


28.  CHERAW, MIZORAM
Cheraw is a lively and a uniquely attractive traditional dance of Mizoram. Performed on all festive occasions, it is also known as the Bamboo Dance, as bamboo forms an integral part of this folk form. Two long bamboo staves are kept crosswise and horizontally, parallel to ground and the male dancers clap the staves, resultantly producing a sharp sound setting the rhythm for the dance. The female dancers, on the other hand, attired in colourful traditional costumes-puanchei, kawrchei, vakira and thinna-step in and out from between bamboo beats with tremendous skill and precise timing, maintaining all the while their elegant poise. In addition to the musical pattern created by the clapping of bamboo staves, drums and gongs are also used for effect.
29.  GOTIPUA, ODISHA
Gotipuas, the young boys dressed up as girls sing devotional love songs of Radha-Krishna and perform Gotipua dance. In the present form, the Gotipua dance is more precise and systematic in its conception. The repertoire of the dance includes vandana-prayer to God or Guru, sarigama-a pure dance number, abhinaya-enactment of a song, and Bandhya Nritya-rhythms of acrobatic postures, a unique presentation where Gotipuas dance and compose themselves in different acrobatic yogic postures creating the images of Radha-Krishna. Musical accompaniment is provided by mardala-a pakhawaj, gini-small cymbals, harmonium, violin and flute.
30.  RANAPPA CHADDHAIYA, ODISHA
Ranappa dance is popular in the coastal areas of Ganjam district of Odisha. This is a martial art form of dance where the dancers walk and dance on sticks (Ranappa) with special gestures on rhythms of drums. This is an imitation of mock fight. This is something unique, the dancers exhibit their skills in balance on sticks. Chaddaiya is a part of the famous ‘Danda Nata’ of Odisha. Performed in the month of Chaitra, it is associated with the worship of Shiva and akin to the Mayurbhanj Chhau. The dedicated worshipers participate in the dance holding a ‘Danda’ (Pole) and a ‘Pasa’ (Knot) symbolic of a devout Shaivite, they dance vigorously to the accompaniment of drums and ‘Mohri’ displaying various elements of martial practices.
31.  BHANGRA, PUNJAB
Bhangra is the most popular folk dance of Punjab, performed by men on festive occasions, at weddings and fairs and to celebrate Baisakhi or the harvest festival. Dressed in brightly coloured plumed turbans, traditional tehmats, kurtas and waistcoats, the dancers perform to the robust rhythms of dhols, bolis-typically rustic Punjabi folk songs and other traditional instruments. Energetic and infectiously lively, Bhangra is a spectacular dance, the popularity of which has crossed the borders of Punjab.


32.  GIDDHA, PUNJAB
Giddha is the favourite dance of Punjab in which women dance at weddings, at the time of birth of a child, the Teej festival and other happy occasions. The dance consists of singing, clapping, enacting the Boli as well as pure dance. The dancers form a circle and participating in pairs, take turns to come centre stage and perform a Boli. Towards the end of the Boli they dance vigorously in sheer abandon, while those in the circle sing and clap in unison. The refrain is sung 3-4 times, then the performers withdraw to be replaced by another pair and a new Boli. The Boli deals with the day–to–day life situations of rural folk. Giddha is accompanied by the dholak (drum) or gharah (earthen pot).
33.  KALBELIA, RAJASTHAN
This fascinating dance is performed by the women of the nomadic Kalbelia community whose primary occupation is rearing snakes and trading in snake venom. On festive occasions, as traditional songs are sung to the plaintive notes of the ‘been’ and the ‘daf’, the dancers belonging to the ‘Nath’ sect dressed in their traditional black swirling skirts perform this dance. The dance highlights the unparalleled virtuosity of the dancers often reminiscent of the graceful and supple movements of the snake.
34.  CHAKRI, RAJASTHAN
The Chakri dance is performed by the women of the Kanjar community of Rajasthan. The dancers whirl around in circles in colourful skirts appearing like spinning tops thus deriving its name Chakri, which means moving in circles, or spinning. Usually performed at weddings and on festive occasions, Chakri is accompanied by the rhythm of daph, manjira and nagara. Most famous Chakari dancers come from Baran Kola district in Hadauti area of Rajasthan but is popular in district of Kota and Bundi also.
35.  TAMANG SELO, SIKKIM
Tamang Selo is a Sikkimese folk dance of the Tamang community. It is also known as Damphu as it is performed to the accompaniment of a native musical instrument called damphu. Usually performed during Dasain or Dussehra, it depicts the colourful lifestyle of the hill people, amply reflected through their lavish festive celebration and dances full of fun and vigour. Tamang Selo is performed by traditionally attired young men and women.
36.  KAVADI, TAMIL NADU
This dance was supposed to be performed by a giant named Idumban - with a pole slung across his shoulder. At the two ends of the pole he was supposed to carry the favourite hills of Muruga, the popular deity of Tamil Nadu. The carrying of Kavadi by pilgrims is symbolic of Idumban with the hillocks poised on the pole. There are several kinds of Kavadis. Under the spell of the hypnotic music provided by the drums, nadaswaram and thavil, the devotees proceed to the shrine by singing the song "Kavadi Chindu" with quick and vigorous movements. The Kavadi is never touched by the dancer while dancing.
37.  KADAGAM, TAMIL NADU
A folk dance of Tamil Nadu, Kadagam originated as a ritual dedicated to the worship of Mariamman, the Goddess of rain and health. The ritual is performed during the month of August when the idol of Mariamman is carried in procession. A ritual pot filled with water is adorned with beautiful decorations, several feet high, and is carried by the priest. The colourfully attired performers carry decorated vessels vertically on their heads and dance to the tune of nagaswaram, thavil, muni, udukkai and pambai and also perform acrobatic feats as they follow the procession. The Kadagam dance is very popular in Tamil Nadu, Puducherry, Karnataka and Andhra Pradesh.
38.  HOZAGIRI, TRIPURA
Hozagiri dance is the most popular and spectacular dance of the Reang community of Tripura. The occasions in which Reang women perform Hozagiri are known as Mailuma and Maiktah, signifying the festival of new harvest and worship of Lakshmi, the goddess of wealth and prosperity. The Reangs believe that when the goddess is pleased by entertaining with dance and songs, she blesses them with bumper crops. Thus, the theme of this dance is mostly connected with cultivation. Standing on the pitcher, they move the metal plates while dancing on it while keeping the bottle on the head atop which is a oil lamp alight or pick up a flower from the ground bowing their body back. All along the dance they twist their waist with much finesse.
39.  DBOBIA, UTTAR PRADESH
The Dhobia dance is performed on the occasion of birth, marriages and festivals like Dusshehra and Holi, The dance is popular among the dhobi (Washermen) community of eastern Uttar Pradesh in which only male dancers participate. The dance is basically in the form of a dance-drama. It usually begins with the recital of a couplet in praise of the Almighty. Amongst the dancers, one person wearing a royal costume enters the arena riding a dummy horse followed by other dancers. The group of musicians also stand behind the dancers playing their instruments. The dance begins with the music provided by drums, cymbals and ghunghroos which are tied on waist and ankles. A traditional wind instrument, called ransingha, which is the centre of attraction plays a significant role in boosting up the tempo of the dancers. Hori, Kajri, Chaiti, Kaharwa, Lachari, Thumari, Dadra and Nirgun songs are adopted in Dhobia dance. The dance is accompanied by Bhojpuri and Awadhi folk songs.

NOTE: Source from net. Not Created by me. 

Thursday, February 25, 2016

NOTICE

Hi all,
          This is Prakash, what ever I have posted is not completely mine, I have made contribution but only a part and please don't criticize me for that. I have taken information from various websites and have jotted down to make the articles clear and precise. Thank you :)

Wednesday, February 24, 2016

Right To Information Act 2005 For IAS (Paper IV)

Right To Information Act 2005
What makes Right To Information Act 2005 special is its power and practicality to seek and get information from government authorities. The law also promoted transparency and accountability in public authorities.

Salient Features of Right To Information Act 2005

·         Replaced Freedom of Information Act 2002.
·         Jammu and Kashmir has separate Right To Information Act – RTI 2009.
·         RTI relaxes restrictions placed by Official Secrets Act 1923.
·         3 Levels – Public Information Officer, First Appellate Authority, Central Information Commission(CIC).
·         Time period for Public Information Officer : Expeditiously or within30 days from the date of receipt by public authority.
·         Maximum time gap for 1st appeal : 30 days since limit of supply of information is expired.
·         Time period for Appellate Authority : Within 30 days or in exceptional cases 45 days from the date of receipt by public authority.
·         Maximum time gap for 2nd appeal : 90 days since limit of supply of information is expired.
·         RTI act also asks for computerization and proactively publish information.
·         Bodies applicable under RTI : Constitutional bodies at center and state ( Legislature, Executive, Judiciary), bodies/NGOs owned/financed by government, privatized public utility companies.
·         Bodies excluded under RTI : Central Intelligence and Security Agencies, agencies of state specified through notification. The exclusion is not absolute.
·         Central Information Commission shall consist of : 1 Chief Information Commissioner and upto 10 Central Information Commissioners.
·         The Chief Information Commissioner shall hold office for a term of five years from the date on which he enters upon his office and shall not be eligible for reappointment.
·         31 sections and 6 chapters in the act.

Section 8 deals with information exempted under the purview of this act.
Jurisdiction of RTI Act- 2005
 Section-1(2): It extends to the whole of India except the State of Jammu and Kashmir. Definition
Section- 2 (a): "Appropriate Government" means in relation to a public authority which is established, constituted, owned, controlled or substantially financed by funds provided directly or indirectly:
(i)                 By the Central Government or the Union territory administration, the Central Government;
(ii)               By the State Government, the State Government.
Section- 2 (c): "Central Public Information Officer" means the Central Public Information Officer designated under sub-section
(1)   and includes a Central Assistant Public Information Officer designated as such under sub-section (2) of section 5.
Section- 2 (e): "Competent Authority" means:
(i)                 The Speaker in the case of the House of the People or the Legislative Assembly of a State or a Union territory having such Assembly and the Chairman in the case of the Council of States or Legislative Council of a State;
(ii)               The Chief Justice of India in the case of the Supreme Court;
(iii)             The Chief Justice of the High Court in the case of a High Court;
 (iv)       The President or the Governor, as the case may be, in the case of other authorities established or constituted by or under the Constitution;
(iv)             The administrator appointed under article 239 of the Constitution;
Section- 2 (f): "Information" means any material in any form, including Records, Documents, Memos, e-mails, Opinions, Advices, Press releases, Circulars, Orders, Logbooks, Contracts, Reports, Papers, Samples, Models, Data material held in any electronic form and information relating to any private body which can be accessed by a Public Authority under any other law for the time being in force.
 Section- 2 (h): "Public Authority" means any authority or body or institution of selfgovernment established or constituted:
 a. By or under the Constitution,
b. By any other law made by Parliament;
c. By any other law made by State Legislature;
d. By notification issued or order made by the appropriate Government It also includes any:
(i)                 Body owned, controlled or substantially financed;
(ii)                Non-Government Organisation substantially financed directly or indirectly by funds provided by the appropriate Government.
 Section- 2 (i): "Record" includes:
(a) Any document, manuscript and file;
 (b) Any microfilm, microfiche and facsimile copy of a document;
(c) Any reproduction of image or images embodied in such microfilm (whether enlarged or not); and
(d) Any other material produced by a computer or any other device.
Section- 2(j): "Right to Information" means the right to information accessible under this Act which is held by or under the control of any public authority and includes the right to:
(i)                 Inspection of work, Documents, Records;
(ii)                Taking notes, Extracts or Certified copies of documents or records;
(iii)              Taking certified samples of material;
(iv)              Obtaining information in the form of Diskettes, Floppies, Tapes, Video cassettes or in any other electronic mode or through printouts where such information is stored in a computer or in any other device.
(v)               Section- 2(n): "Third Party" means a person other than the citizen making a request for information and includes a Public Authority.
Responsibilities of Public Authority
 Section- 4(1) (a): Every Public Authority shall maintain all its records duly catalogued and indexed in a manner and the form which facilitates the Right to Information under this Act and ensure that all records that are appropriate to be computerised are, within a reasonable time and subject to the availability of resources, computerised and connected through a network all over the country on different systems so that access to such records is facilitated.
Section- 4 (1) (b): Public Authority shall publish the following information within 120 (One Hundred and Twenty) days from the enactment of this Act:
(i)                 The particulars of its organisation, functions and duties;
(ii)                 The powers and duties of its officers and employees;
(iii)              The procedure followed in the decision making process, including channels of supervision and accountability;
(iv)              The norms set by it for the discharge of its functions;
(v)                The rules, regulations, instructions, manuals and records, held by it or under its control or used by its employees for discharging its functions;
(vi)              A statement of the categories of documents that are held by it or under its control;
(vii)            The particulars of any arrangement that exists for consultation with, or representation by, the members of the public in relation to the formulation of its policy or implementation thereof;
(viii)          A statement of the boards, councils, committees and other bodies consisting of two or more persons constituted as its part or for the purpose of its advice, and as to whether meetings of those boards, councils, committees and other bodies are open to the public, or the minutes of such meetings are accessible for public;
(ix)              A directory of its officers and employees;
(x)                The monthly remuneration received by each of its officers and employees, including the system of compensation as provided in its regulations;
(xi)              The budget allocated to each of its agency, indicating the particulars of all plans, proposed expenditures and reports on disbursements made;
(xii)            The manner of execution of subsidy programmes, including the amounts allocated and the details of beneficiaries of such programmes;
(xiii)          Particulars of recipients of concessions, permits or authorisations granted by it;
(xiv)          Details in respect of the information, available to or held by it, reduced in an electronic form;
(xv)            The particulars of facilities available to citizens for obtaining information, including the working hours of a library or reading room, if maintained for public use;
(xvi)          The names, designations and other particulars of the Public Information Officers;
Section- 4(1) (c): Public Authority shall publish all relevant facts while formulating important policies or announcing the decisions which affect public.
Section- 4(1) (d): Public Authority should provide reasons for its administrative or quasijudicial decisions to affected persons.
Section- 4 (2): It shall be a constant endeavour of every Public Authority to take steps in accordance with the requirements of clause (b) of sub-section (1) of section- 4 to provide as much information suo motu to the public at regular intervals through various means of communications, including internet, so that the public have minimum resort to the use of this Act to obtain information.
Section- 5 (1): Every Public Authority shall, within 100 (One Hundred) days of the enactment of this Act (July 15, 2005), designate as many officers as the Central Public Information Officers or State Public Information Officers, as the case may be, in all administrative units or offices under it as may be necessary to provide information to persons requesting for the information under this Act.
Section- 5 (2): Without prejudice to the provisions of sub-section (1) of Section-5, every Public Authority shall designate an officer, within One Hundred days of the enactment of this Act, at each sub-divisional level or other sub-district level as a Central Assistant Public Information Officer or a State Assistant Public Information Officer, as the case may be, to receive the applications for information or appeals under this Act for forwarding the same forthwith to the Central Public Information Officer or the State Public Information Officer or senior officer specified under sub-section (1) of section 19 or the Central Information Commission or the State Information Commission, as the case may be. Provided that where an application for information or appeal is given to a Central Assistant Public Information Officer or a State Assistant Public Information Officer, as the case may be, a period of 05 (Five) days shall be added in computing the period for response specified under sub-section (1) of Section 7.
Responsibilities of Public Information Officer Section- 5 (3): Every Central Public Information Officer or State Public Information Officer, as the case may be, shall deal with requests from persons seeking information and render reasonable assistance to the persons seeking such information.
Section- 6 (1): A person, who desires to obtain any information under this Act, shall make a request in writing or through electronic means in English or Hindi or in the official language of the area in which the application is being made, accompanying such fee as may be prescribed specifying the particulars of the information sought by him or her to: (a) The Central Public Information Officer or State Public Information Officer, as the case may be, of the concerned Public Authority; (b) The Central Assistant Public Information Officer or State Assistant Public Information Officer, as the case may be.
Provided that where such request cannot be made in writing, the Central Public Information Officer or State Public Information Officer, as the case may be, shall render all reasonable assistance to the person making the request orally to reduce the same in writing.
Cause of Information
Section- 6 (2): An applicant making request for information shall not be required to give any reason for requesting the information or any other personal details except those that may be necessary for contacting him/her.
Transfer of Application to another Public Authority
Section- 6 (3): Where an application is made to a Public Authority requesting for information:
(i)                 Which is held by another public authority; or
(ii)                The subject matter of which is more closely connected with the functions of another Public Authority
The Public Authority, to which such application is made, shall transfer the application or such part of it as may be appropriate to that other Public Authority and inform the applicant immediately about such transfer.
Such application shall be transferred within 05 (Five) days from the date of receipt of the application.
Time limit for the supply of information
Section- 7 (1): Subject to the proviso to sub-section (2) of section 5 or the proviso to subsection (3) of section 6, the Central Public Information Officer or State Public Information Officer, as the case may be, on receipt of a request under section 6 shall, as expeditiously as possible, and in any case within 30 (Thirty) days of the receipt of the request, either provide the information on payment of such fee as may be prescribed or reject the request for any of the reasons specified in sections 8 and 9. If the sought information concerns the life or liberty of a person, in that case information shall be provided within 48 (Forty-Eight) hours of the receipt of the request.
Section- 7 (2): If the Central Public Information Officer or State Public Information Officer, as the case may be, fails to give decision on the request for information within the period specified under section 7(1), the Central Public Information Officer or State Public Information Officer, as the case may be, shall be deemed to have refused the request.
Assistance to disabled persons
 Section- 7 (4): Where access to the record or a part thereof is required to be provided under this Act and the person to whom access is to be provided is sensorily disabled, the Central Public Information Officer or State Public Information Officer, as the case may be, shall provide assistance to enable access to the information, including providing such assistance as may be appropriate for the inspection.
Charges for Information
 Section- 7 (5): Where access to information is to be provided in the printed or in any electronic format, the applicant shall, subject to the provisions of sub-section (6), pay such fee as may be prescribed
The fee prescribed under sub-section (1) of section 6 and sub-sections (1) and (5) of section 7 shall be reasonable and no such fee shall be charged from the persons who are of below poverty line as may be determined by the appropriate Government.
Supply of information free of cost
Section- 7 (6): Notwithstanding anything contained in sub-section (5) of section- 5, the person making request for the information shall be provided the information free of charge where a public authority fails to comply with the time limits specified in sub-section (1).
Reason to rejection
Section- 7 (8): Where a request has been rejected under sub-section (1) of Section- 7, the Central Public Information Officer or State Public Information Officer, as the case may be, shall communicate to the person making the request,
(i)                 The reasons for such rejection;
(ii)                 The period within which an appeal against such rejection may be preferred; and
(iii)              The particulars of the Appellate Authority.
Form of supplied information
Section 7 (9): Information shall ordinarily be provided in the form in which it is sought unless it would disproportionately divert the resources of the Public Authority or would be detrimental to the safety or preservation of the record in question.
Non disclosure of information
Section- 8 (1): Notwithstanding anything contained in this Act, there shall be no obligation to give any citizen,
(i)                 Information, disclosure of which would prejudicially affect the sovereignty and integrity of India, the security, strategic, scientific or economic interests of the State, relation with foreign State or lead to incitement of an offence;
(ii)                Information which has been expressly forbidden to be published by any court of law or tribunal or the disclosure of which may constitute contempt of court;
(iii)             Information, the disclosure of which would cause a breach of privilege of Parliament or the State Legislature;
(iv)              Information including commercial confidence, trade secrets or intellectual property, the disclosure of which would harm the competitive position of a third party, unless the competent authority is satisfied that larger public interest warrants the disclosure of such information;
(v)               Information available to a person in his fiduciary relationship, unless the competent authority is satisfied that the larger public interest warrants the disclosure of such information;
(vi)              Information received in confidence from foreign Government;
(vii)           Information, the disclosure of which would endanger the life or physical safety of any person or identify the source of information or assistance given in confidence for law enforcement or security purposes;
(viii)         Information which would impede the process of investigation or apprehension or prosecution of offenders;
(ix)              Cabinet papers including records of deliberations of the Council of Ministers, Secretaries and other officers.
Provided that the decisions of Council of Ministers, the reasons thereof, and the material on the basis of which the decisions were taken shall be made public after the decision has been taken, and the matter is complete, or over.
Those matters which come under the exemptions specified in this section shall not be disclosed.
(x)               Information which relates to personal information and the disclosure of which has no     
relationship to any public activity or interest, or which would cause unwarranted invasion of the privacy of the individual unless the Central Public Information Officer or the State Public Information Officer or the Appellate Authority, as the case may be, is satisfied that the larger public interest justifies the disclosure of such information.

The information which cannot be denied to the Parliament or a State Legislature shall not be denied to any person.
Section- 9: Without prejudice to the provisions of section 8, a Central Public Information Officer or a State Public Information Officer, as the case may be, may reject a request for information where such a request for providing access would involve an infringement of copyright subsisting in a person other than the State.
Role of Central/State Information Commission
Section- 18 (1): Subject to the provisions of this Act, it shall be the duty of the Central Information Commission or State Information Commission, as the case may be, to receive and inquire into a complaint from any person,
 a. Who has been unable to submit a request to a Central Public Information Officer or State Public Information Officer, as the case may be, either by reason that no such officer has been appointed under this Act, or because the Central Assistant Public Information Officer or State Assistant Public Information Officer, as the case may be, has refused to accept his or her application for information or appeal under this Act for forwarding the same to the Central Public Information Officer or State Public Information Officer or Senior officer (First Appellate Authority) specified in sub- section (1) of section 19 or the Central Information Commission or the State Information Commission, as the case may be.
b. Who has been refused access to any information requested under this Act;
 c. Who has not been given a response to a request for information or access to information within the time limit specified under this Act;
d. Who has been required to pay an amount of fee which he or she considers unreasonable;
e. Who believes that he or she has been given incomplete, misleading or false information under this Act; and
First Appeal
Section- 19 (1): Any person who, does not receive a decision within the time specified in sub-section (1) or clause (a) of sub-section (3) of section 7, or is aggrieved by a decision of the Central Public Information Officer or State Public Information Officer, as the case may be, may within thirty days from the expiry of such period or from the receipt of such a decision prefer an appeal to such officer who is senior in rank to the Central Public Information Officer or State Public Information Officer as the case may be, in each Public Authority. Provided that such officer may admit the appeal after the expiry of the period of thirty days if he or she is satisfied that the appellant was prevented by sufficient cause from filing the appeal in time.
Second Appeal
Section- 19 (3): A second appeal against the decision under sub-section (1) of Section- 19 shall lie within 90 (Ninety) days from the date on which the decision should have been made or was actually received, with the Central Information Commission or the State Information Commission. Provided that the Central Information Commission or the State Information Commission, as the case may be, may admit the appeal after the expiry of the period of 90 (Ninety) days if it is satisfied that the appellant was prevented by sufficient cause from filing the appeal in time.
 Time limit for decision on First and Second Appeal
 Section- 19 (6): An appeal under section 19 (1) or section 19 (2) shall be disposed of within 30 (thirty) days of the receipt of the appeal or within such extended period not exceeding a total of 45 (forty-five) days from the date of filing thereof, as the case may be, for reasons to be recorded in writing.
Affect of CIC/SIC judgment
Section- 19 (7): The decision of the Central Information Commission or State Information Commission, as the case may be, shall be binding.
Section- 19 (8): In its decision, the Central Information Commission or State Information Commission, as the case may be, has the power to:
 (a) Require the Public Authority to take any such steps as may be necessary to secure compliance with the provisions of this Act, including:
 (i) By providing access to information, if so requested, in a particular form;
 (ii) By appointing a Central Public Information Officer or State Public Information Officer, as the case may be;
 (iii)         By publishing certain information or categories of information;
(iv)              By making necessary changes to its practices in relation to the maintenance, management and destruction of records;
(v)                By enhancing the provision of training on the Right to Information for its officials;
(vi)              By providing it with an annual report in compliance with clause (b) of sub-section (1) of section 4;
(b) Require the Public Authority to compensate the complainant for any loss or other detriment suffered;
(c) Impose any of the penalties provided under this Act;
 (d) Reject the application
Penalty on Public Information Officer
Section- 20 (1): Where the Central Information Commission or the State Information Commission, as the case may be, at the time of deciding any complaint or appeal is of the opinion that the Central Public Information Officer or the State Public Information Officer, as the case may be, has, without any reasonable cause, refused to receive an application for information or has not furnished information within the time specified under sub-section (1) of section 7 or malafidely denied the request for information or knowingly given incorrect, incomplete or misleading information or destroyed information which was the subject of the request or obstructed in any manner in furnishing the information, it shall impose a penalty of Rs 250 (Two Hundred and Fifty) each day till application is received or information is furnished, so however, the total amount of such penalty shall not exceed twenty-five thousand rupees.

The burden of proving that he acted reasonably and diligently shall be on the Central Public Information Officer or the State Public Information Officer, as the case may be.