FAIRS Goa carnival (February) –Goa

FAIRS

Goa carnival (February) –Goa

In the south – west of India, in February, as the rigour and fasting of lent approach, the residents of Goa, specially of Panaji, give vent to an exuberance and zest for life in a carnival that lasts for a week.

This carnival, rivals the best in the world. Bright colourdful costumes, masks and flitrations favour the revelers. Processions follow processions. Geniously made floats ply down the picturesque roads. And for an unforgettable week exuberance and joy find a home amidst the sandy beaches and beauty of Goa.

Urs (April / may ) – ajmer sharif

New clothes and feasts at home for friends, acquaintance and strangers. At the fairs, the wonderland of saints, fakirst and pilgrims. The endless voices in gawalishing the praise of Hazarat Khwaza Moinuddin chishti, helper of the poor. Such an environment welcomes visitors at the Urs of ajmer sharif.

The fair, like all fairs in India, is just not a commercial venture. It si a great out – Pouring of culture. All nigh – long, qawalsals, regardless of religion, sing in the mehfil and poets sprout amides the shop, above the hubbuch n the streets.

FESTIVAL / FAIRS OF INDIA

FESTIVAL / FAIRS OF INDIA

The festivals in India manifest the living force pulsating in its culture. The Indian mind carved out three categories of festivals. They are Vrata, OParva and Tyohars, the fist being essentially on oocasion to fast, the second being commemoration of the sancitity of notable events; the third as sheer celebration. Mahatma Gandhi divided these over lappings of Indian festivals in two categories as kamya and nitya, the first pre-supposing spcial  desire and the latter having no desires but love and devotion. The festivals of India enshirine and keen alive men and ideals that have left their impress on the historyof the race.A survey of festivals celebrated by various communities on different parts of the country would required a considerable volume. Therefore, the most important festivals, of india, which represent each community and almost every regionof india are being described here.

Holi (February/march) – All over India: Especially in the North

Celebrating the advent of spring men, women and children revel in throwing coloured water and powder on their friends. The most intereresting Holi celebration is the lathmar Holi at Barsana near Mathura. IN the Punjab Particularly at Anandpur Sahib, a sect of the Sikh community observes Holla Mohalla, a day after Holi, and stag mock battles with ancient weapons.

Jamshed navroz (March) – Maharashtra, Gujarat

New Year ’s Day for the parsi followers of the Fasli calendar. The celebrations, which include donning fine clothes, prayers at temples, greetings, alms – giving and feasting at home, data back to Jamshed, the legaendary king of Persia.

Gangaur (March /april) – Rajasthan

FOLK DANCES WESTERN INDIA (GUJARAT AND MAHARASHTRA)

(I)                WESTERN INDIA (GUJARAT AND MAHARASHTRA)

Rasa Nritya is considered to be the form of Rasa Leela, which Krishna used to perform when  he was leading the l ife of a ow – herd boy at gokul and vrandavan. In several Sanskrit treaties and books it is mentioned as the form of  Halli Saka Nritya of which Danda Resak, tala Rasak and Laleet Rasa were the Varieties.

Danda Rasak known as Dania Rasa is by itself very simple and is generally performed by a group of youthful people who move in a circle to measured steps, marking timeby sticks called dandias which they keep in thei hands, also sing in chorus accompanied by dhol, chmbals, zanz, flute or shahnai.

Tala and Lalit Rasaka. Similarly when the time measure is kept with clapping of hands instead of ‘sticks’, it is called “Tala Rasak”. This is also allied Garbi in Saurashtra where generally the males percolate. In Gujarat, Dandia Rasa is more popular in Saurashtra than in any other part and performed during the janmashtami and other festive occasions connected with god Krishna’s life

Matki Nritya is a lyrical variation of the Rassa Dance which departs love episodes of God Krishna during his younger days. The time beat is maintained by striking their fingers or ring on the fingers on the empty pots.

Mer Rasa.mers are a virile community which migrated to saurashtra with Jathwa rajputs soon after the fall of vlalabhis in the 8^th century A.D. they are at present founding the porbandar region of junagarh district and Baradi regionof Jamnagar District in Saurashtra. The Rasa of Mars begins is a slow tempo which warms up at the end. They strike the dandies so furiously and brings so much of verve and vigour in the bodily movements that it took more like sabre rattling in a war dance.

Thambal Chonabi a Manipuri folk dance, it is a merry social dance performed during the festival of Holi.

(II)              Western India (Gujarat and Maharashtra)

FOLK DANCES (NORTH INDIA)

(I)                 NORTH INDIA

Kalri is an occasion when the peasants in north India propitiate the Vedic God Indra and pray for then nourishment of the earth and fire and a successful harvest. Performed in raily season the dance movements follow the songs that are accompanied by the rhythmic beat of the dholuk and cymbals.

Nautanki is one of the most pouplar folk daneof Uttar Pradesh with songs recited in operative style. Acting and dance movements interpret stories connected with mythology and also modern social problems.

Ras Lila is an equally popular dance form originating in Mathura and Vrindavan in Uttar Pradesh, which are closely connected with the life of God Krishna. Fine movements, some of them being common with those of the Kathak, are most attractive. Playing the roles of the Gopies and Radha, the expression of the dancers is full of freshness and charm.

Karan is a dance to worship the holy tree marking the happy period when the harvest is over. The dance festival commences with fasting during the day.

Jhora is a community dance and is done by both men and women. All castes joining in the celebration. Dancing to a court of four or eiht beats, they stand and  bend, sit down and then prance around in a merry alternation of movement and counter movement.

Chappell is one of the romantic dances of the Kumaon hills which is often performed at weddings and spring time. Depicting as it does the spirit of romance, dancers perform in twos, holding a mirror in one hand and a coloured handkerchief in the other had which they gracefully wave, as they advance forwards and backwards in rhythmic stepping.

FOLK DANCES

FOLK DANCES

Whereas classical dances tend to be subject to a definite order and a complicated system of gesture language, foot worked body movements, folk dance is generally muh more spontaneous. Its primary impulse in rhythm; its roots lie in religious and seasonal festivals, and hence it is often guided by songs glorifying nature, expressing traditional occupations and offering devotion to deities. The vast majority of folk dances are performed by groups of people, usually consisting of either men or women, Certain basic dance pattern exist, These have been described in medieval Sanskrit literature and consist of the Pindi (group), the thrinkhala (chain), lata (creeper) and bhedyaka (the separate movement of each daner away from the group). Even more basic is the ransack Talai – Rasa, with rhythmic clapping of hands, and the Danda-rasa, in which each dancer marks the rhythm with a pair of sticks,. Through these dances unsupported by the written word, and established by its tremendous sociological impact, customs and tradition have been established and people’s aesthetics enriched. With national consciousness for the arts growing from day – to – day, many of these beautiful expressive dances are coming to urban audiences and are being received with the enthusiasm and success they deserve. The number of folk dances in India being legion. Only a selective representation is being discussed below:

(I)                 South India

Kolattam is a dance by young girls with little lacquered sticks held in hands to celebrate the birthday of Rama. Originating from Tamil Nadu, this dance form is popular throughout India. Another variety of this dance form is popular throughout India. Another verity of this dance is known as penal kilkattam accompanied with song or chorus that speak of the trapping of the sticks in rhythm, of the twinning fate strammers, of happy youth and that of happy dance.

CLASSICAL DANCES OF INDIA (MISCELLANEOUS DANCES )

Miscellaneous dances

The major classical dance styles, as mentioned above, by no means exhaust the list of existing dance arts of India. There are interesting performances, with highly artistic values and arduously developed disciplines, surviving in different parts of the country under indigenous condition. One such system is the Chhau Dance of Mayurbhanji and Saraikala. Chua is a dance which is exclusively performed by men. Originated from seraikela, a former princely state in Orissa, now in Bihar, this dance form follows certain fundamental traditions of the classical modes. It is dedicated to the twin aspects of Shiva and Shakti. It is a dance of festival which culminates in a three- day ceremonial worship in the Shiva temple to be followed by a grand procession. They interpret mythology, sacred history, legend and nature,. The style is precise and vigorous comprising of intricate steps, jumps, quick turns, gliding walks and various gaits. The choreography is well thought out and impressive.

(I)                 Mohini attam is one  of the important forms of the classical dance tradition of Karla, presenting a perfect mode for solo performance that incorporates lasya and tandava styles. Its technique is based on the Kathakali mode, which Includes the peculiar manner of dancing with the feet and legs apart, knees greatly bent, and utilizing the rhythmic syllable words in the recitation and play of the drum, with perfect synchronization of the dancer’s feet.

CLASSICAL DANCES OF INDIA (MANIPURI)

(I              MANIPURI   

From legendary times the beautiful valley of Manipur in the far away north – eastern region of India maintained as indigenous dance style of its own know as Manipuri. The history of the Origin of this art is shrouded in Mystery, though there is plenty of evidence to show that at from very early times the people of Manipur loved dance and music and prodded themselves as the descendants of the Gandharvas. By the eighteenth Century, the Bhakti cut was deeply rooted in Manipur and, patronized by the ruling princes, it became a popular form of religion the traditional dance and music of the are came under the influence of the new cult and adjusted itself to the spirit of the times. The credit for reviving and systematizing the dance off the solid goes taking bhayachandra who became ruler of Manipur in 1764. The king’s whole hearted encouragement to music and dance finally culminated in the revival of the Manipuri dance. The poses, their variations and movements of the body in the Manipur system were candied.

It was in the early years of the twentieth century that the Manipuri captured the attention of Rabindra Nath Tagore. The mode of the dance, the melody of the music, the emotions represented and the artistic value of the performances all appealed to Tagore’s imagination in a profound sense. At Santiniketan he initiated the study and performance of Manipuri till the art was restored to its original value. That ws the beginning of the modern phase in the history of the Manipuri dance. Tagore gave his touch of vitality to Manipuri to keep it abrest of the times. He supplied themes for the dance =-dramas in Manipuri technique, and his rabindra sangeet made the dance especially charming in many respects.

CLASSICAL DANCES OF INDIA (KATHAKALI)

(I)             KATHAKALI

Kathakali is the classical dance of Kerala, with its origins in remote antiquity, and has been developed through an admixture of Dravidian and Aryan dance concepts. The Nairs of Kerala, who formed a warrior caste, practiced dance concepts. The Nairs of Kerala, who formed a warrior caste, practiced martial dances in order to perpetuate in society the memory of their raiar martial dances or order to perpetuate in society the memory of their racial equalities,. In the evolution of the Kathakali dance, the Nairs had a good eal to do. They developed its modes and techniques and made it a robust form of dance, at once masculine and skilful. The epic and the mythology supplied to themes for the dance in great abundance. Malayalam, with many Sanskrit words, became the language of the Kathakali songs. Vaishnavite devotional dance influences gradually expanded the scope and character of the Kathakali dance. There were several names applied to it according to the nature of the dance, it came to be styled as kathakali, meaning an story-play. When the deline of Kathakali was almost complete, it was the famous Malayalam poet vallathol Mahayana Menon who struggled on to revive the art at all costs. With much difficulty he procured money and finally in 1930 established an institute named Kerala Kala Mandalam. There he collected the experienced gurus of the Kathakali art, who were living in abject negligence and in oblivion, and gave them the opportunity to train up young disciples. Kathakali takes epic Mythological the opportunity to train up young disciples. Kathakali takes epic Mythological the inopportunity to train up young disciples. Kathakali takes epic mythological themes as its content and portrays them through an elaborate dramatic spectacle which is characterized by an other – worldly quality, supernatural grandeur, stylized large-sized costumes to give the impression of enlarging human proportions, and mask- like facial make – up which is governed by a complex symbolism of color, line and design, character types, such as heroes, anti-heroes, villains, demons, snags

CLASSICAL DANCES OF INDIA

CLASSICAL DANCES OF INDIA

Dancing is one of the most ancient arts in Indian culture. From as early as the Vedic times, it established its root in the Indian soil, being deeply associated with religious rites, representing the supposed performances of the gods and goddesses themselves, and maintaining the divine and spiritual concepts of the race. Aesthetic values were inherent in the styles, modes and forms of dance. The religious purpose being diverse, the styles of dance were equally varied. In course of time secular dancing also came to establish itself. But as an art, it could not be taken lightly. The artists, male or female, had to undergo rigorous training to be well versed in the rules and formalities of any style of dance. The Indian classical dances aunt easy discipline, but through the ages they have retained their vigour owing to the devotion of the gurus and their disciples.

(I)              Bharat – Natyam

One of the most ancient forms of dance art is Bhyarat – Natyam, with its origins in an unbounded faith in God, and having the purpose of conveying to the human mind the virtues of purity coupled with an admiration for aesthetic values. Bharata – Natyam combined within itself poetry and music, dance and acting, in order to express itself to the outer world in its fullness. The dance flourished in Tamil Nadu, and its influence extended over a wide area of the South. During the second half of the nineteenth century when the British sway and the western influence over Tamil Nadu were complete, Bharata – Natyam passed through its most critical period. It was about to be lost an forgotten. But one of the descendants of the Tanjore brothers Meenakshi Sundaram Pillai, would not allow the art to did. He maintained the art traditions in their pure from and bequeathed them to the future.

FEATURES OF INDIAN MUSIC – HINDUSTANI AND KARNATAKA (CARNATIC) (Karnatak music)

Karnatak music

What is performed today as Karnatak music is derived most immediately from three outstanding composers of the eighteenth century, known collectively as the trinity: thyagaraja (1759 -1847); Svami Shastri (1773 – 1827) and Dikshitar (1775 – 1835). The trinity, although not themselves patronized by the courts, spent most of their lives within a few miles radius of tanjore, which became the focal point of musical patronage in the south after the fall of vijayanagar (1565). Thyagaraja is revered both as the supreme artist and a saint, and epitomizes the ideal of musicianship in the south. Most of his immediate disciples were not professional musicians but devotees and is only after the succeeding generation that professional musicians received thavagaraja’s compositions.

Karnataka performance practice tends to give greater emphasis to the actual composition than is the case for Hindustani music. The fixed and memorized composition along with its memorized variations are longer and constitute proportionately much more of a given performance than in the north.

Karnatak music include the major performance genres as well as some minor ones: the varnam as advanced etude – like composition of ten performed as the first item of a performance. The kriti, which is the classical compositional form most often associated with the eighteenth century trinity, is devotional in its musical form embodying extensive unmetered sections along with a new or borrowed compositional line characterized by rhythmic variation in the pallavi section. The regamtenam – pallaviis in principle the centerpiece of a Karnataka performance, although a kriti will often assume this role in actual practice.

FEATURES OF INDIAN MUSIC – HINDUSTANI AND KARNATAKA (CARNATIC)

FEATURES OF INDIAN MUSIC – HINDUSTANI AND KARNATAKA (CARNATIC)

Originally, in India there was only one system of music, but during the medieval period the North India came under the impact of the diverse musical influences of the Islamic world-particular Persian, which led to the division of the Indian Music into two distinct schools the Hindustani (North Indian) and Karnataka (South Indian). But the basic features in both schools of music were common. The Indian music is of two types namely marga – sangit (mystical) and Desi sangit (secular). The cause of music is pleasant soun termed in India “Nada”. Indian music is divided into “ragas” or melody – types. There are ten major “Ragas” or parent scales of which the most important are yaman, Bilawal Khamal, Bhairava, Purvis marwa, Kafi,Aswari, Bhairavi and Trodi. The major Ragas or parent sales are further sub –divided intoRagas and Raginis so that we have about 200 types of melodies. Each Raga must have five nots. One principal one (called Vadi), one second important note (called samvadi) and the rest assistant notes (called anuvadi), Ragas are sung in various speeds and some move in a certain pitch. Music has also its rhythmic ebats whih are divided into ‘tala’, ‘laya’ and ‘matra’. ‘tala’ is a complete ccle of a metrical phrase composed of a fixed number of ebeats. ‘laya’ is tempo –alow, medium, feet ‘matra’ is the smallest unit of the ‘tala’.

Thus the gamut of several notes woven into a composition may be called a ‘Raga’. The ragas can be sung without any instrumental accompaniment but generally take ‘talba’ (drim) for the purpose besides any stringed instrument. They are sung at particular seasons and time of the day or night.

Schools of Indian music.

MODERN TRENDS IN PAINTING (Nandlal Basu (born in 1883).)

Nandlal Basu (born in 1883).

(Bose) was one of the greatest stalwarts or exponents of the Bengal revival and modern Indian painting. He was a man of deep spiritual convictions and the artist in him was molded by spiritual instincts. Mythological themes appeared in his art with the artist’s own feelings depicted in them. Historical themes were reoriented with meaningful originality and he also painter picture of the real life around. Mandalay’s art was remarkable for its bold line and simple colur work. That was the traditional mode of Indian painting, as represented at Ajanta. The masterpieces of Nandalal include Uma’s Tapasya, Natir Puja. The Buddha carrying a Lame goat, Krishna and Arjuna, Pranam, Spring, Shiva and Parvati an Gopini. Nandalal’s experiments with sketches were most successful.

Sarada Ukil (1890 – 1940) ventr\ured to open up new horizon for Indian painting while trying to revive past traditions. In depicting the human form, the depended on idealistic conceptions rather than on natural features. To him art possessed limitless horizons for new approaches, both in themes as well as in h his art emendated from his imagination. He even changed the prevailing colur technique by bringing in a more soothing and pleasant blending of colour devices and by using only black\ and white. The cardinal philosophy behind his artistic imaginative creations, he also worked on historical themes against an emotional background. He depicted the life of the Buddha in a series of pictures. These picture manifested the idealism and Mysticism of the artist’s mind. To the modern school of art, sarada’s contributions were original, appealing and valuable.

MODERN TRENDS IN PAINTING

MODERN TRENDS IN PAINTING

(I)                 Painting

When the British were busy conquering eastern India, the art of the Kangra Valley was yet in a thriving state. In the hill areas of the Punjab and Jammu, the artists retained and developed the Mughal style of painting with Hindu themes as their subject matter. In many other areas of northern India, too, the art of paining flourished during the latter half of the eighteen century. That was the time when the western influence began to penetrate into the field of art.

The company’s merchants began to procure items of India arts and Crafts. Simultaneously, the interested persons among them draw the attention of the Indian artists to the technique of water – colour painting. Gradually, the Company’s servants crated a demand for Indian paintings, painted according to their choice. Artists were required to depict Indian life and scenes but in a medium o\to the foreigner’s linking. In such circumstances, artists were required to imitate the English style of painting. Art critics found this tendency dangerous and to them it ws the beginning of the degradation of Indian art, since any imitation was suicidal.

When combined, the western technique and the Indian form brought about a synthetic style of a raw standard. In spite of the realistic approaches in art, which the new influence brought, the process of its assimilation into Indian miniature paining did not work well. But the new trend continued to assert itself for a country. During that century the British power was consolidated and English education introduced. In the general educational policy of giving India the benefits of Western learning, the Government established Art schools at Calcutta, Bombay, Madras and Lahore about the Middle of the nineteenth centry. In these schools, the western methods of art remained the basic subjects of study and were paid greater attention. To the critics, these schools did not improved art in any real sense; but on the other hand, they institutionalized art Edina commercial way. Traditional Indian painting began to decline rapidly.

ACADEMIES AND INSTITUTIONS IN THE PROMOTION OF ART AND CULTURE 7 (. Indira Gandhi national centre for Arts)

7. Indira Gandhi national centre for Arts

In keeping with the global vision of late Smt. Indira Gandhi, the conceptual plan of the Indira Gandhi national Centre for arts (IGNACA), with Headquarter in New Delhi, was drawn up to encompass all arts, specially in their dimension of mutual interdependence and inter-relationship. The IGNCA is being looked after by the Department of Arts, which is one of the five Departments of the Ministry of Human Resource Development.

The conceptual plan envisages four main divisions of the institution namely:

1.                The indira Gandhi Kala Nidhi: that is a national information system and a Data bank of the arts,     humanities, cultural heritage and a fully supported reference library of multi – media collections.

2.       The indira Gandhi kala kosha: the research and Publication division.

This division conducts a four – fold programme of the following lines:

a)      Compilation and publication of inner-disciplinary glossaries / dictionaries of technical terms in arts and crates.

b)      Publication of a long – term series of fundamental texts relating to arts.

c)       Multi –volume Encyclopedia of Arts.

ACADEMIES AND INSTITUTIONS IN THE PROMOTION OF ART AND CULTURE (Centre for cultural resources and Training)

Centre for cultural resources and Training

The centre for cultural Resources and Training was set up in 1979 as an autonomous organization fully financed by the government. The broad objective of the Centre is to revitalize the educational system by creating an understanding and awareness among the students about the plurality of regional cultures of India and integrating this knowledge with the curriculum subjects. to fulfill its objectives, the centre organizes a number of training porgrammes for the benefit of in – service teachers drawn from primary /high / higher secondary schools in different parts of the country.

The Centre is collecting resources in the form f slides, photographs, films and recordings so as to prepare educational materials. The centre took over the scheme of cultural talent search scholarship from the Department of Culture in December, 1982,. The scheme provides facilities to outstanding young children in the age group 10 -14 studying either in recognized schools or belonging to families of practicing traditional performing or other arts to develop their talent in various cultural fields laying special emphasis on rare art forms.

Zonal cultural centres.

Aims and objective: in consonance with this concept of development of culture, a new scheme for the setting up of zonal centres of culture was included in the VIIth plan for the creative development of Indian culture in the different regions and for building up a sense of cultural cohesiveness in the country. These Centres were set – up cutting across the territorial and linguistic and styles of the culture of the participating Tates but also their linkages with each other as part of the larger composite Indian culture.

Features of the zonal centres of culture

INDIAN COUNCIL OF CULTURAL RELATIONS

INDIAN COUNCIL OF CULTURAL RELATIONS

In Indian council for cultural relations (ICCR) functions as the principal agency for promoting India’s cultural relations with foreign countries. Formed in 1950s, the ICCR is a corporate body under the Ministry of External Affairs. With Headquarters at New Delhi, It has six regional offices at Bangalore, Bombay, Caucutta, Chandigarh, Madras and Varanasi. For promotion greater awareness Calcutta, Chandigarh, madras and Varanasi. For promoting greater awareness and appreciation of the Indian cultural heritage, the Council has set up cultural centres in outside India.

The ICCR regularly invites distinguished scholars, artistes, wirers and intellectuals from abroad to meet their counterparts in India and to participate in symposia and to lecture on different subjects. It also sends Indian scholars and performing artistes to travel abroad to present the spirit of India’s culture and the richness of its diversity before international audiences. Consequent upon the Council taking over additional work from the Department of culture. The performing delegations from abroad are invited to   perform in India under the bilateral cultural exchange programmer.

Apart from organizing various foreign film festivals the ICCFR organizes exhibitions on foreign art and sculpture, handicrafts and graphics, etc. in India. The Council sends vesting professors to collaborate in the teaching and research programmes of foreign universities relating to Indian studies and Indian languages. The Azad Memorial lecture was instituted by the ICCR in 1958 – 1958).additionally, the council also administers the Jawaharlal Nehru Award for the promotion of peace and international understanding instituted by the government In 1964.

ACADEMIES AND INSTITUTIONS IN THE PROMOTION OF ART AND CULTURE (SANGEET NATAK AKADEMI)

SANGEET NATAK AKADEMI

Inaugurated in 1953, it functions through a General council, an executive Board, A finance committee and other standing or ado committee. Which the General council or th Executive Board may appoint. The main objective of the Akademi is to foster and develop Indian dance, drama (including films) an music and to promote through them the cultural unity of the country. The main task of the Akademi for the present is to conduct survey and research in the existing art –forms found in various parts

So  the country. To record and film them as a part of our cultural heritage, to  publish or to encourage publication of material bout them to develop and popularize these arts by organizing and sponsoring seminars and festivals and by establishing institutions, and to give awards to famous artists for music, fork and classical dance, drama and films.

To achieve its objective and executive its programmed the akademi has been organizing national music festival since 1954, National dance Fl of all classical and traditional dances and modern ballets, has been giving financial National Awards to eminent vocalists and instrumentalists of n\both North Indian and Caryatid music as well as classical deciders every year. It has been awarding Running trophy every year to the best troop participating in the annual folk Dance festival held in Delhi on the occasion of Republic Day annual for Dance Festival held in Delhi on the occasion of Republic Day celebrations. It is trying trod build up a library of Indian music and has set up a committee to compel a dictionary of technical terms in Indian music, dance and drama. Efforts are being made to encourage, popularize and develop community singing in the country. Tile various state governments have established regional academies to record and collect folk music and dance of their respective areas.

ACADEMIES AND INSTITUTIONS IN THE PROMOTION OF ART AND CULTURE( sahitya akademy)

ACADEMIES AND INSTITUTIONS IN THE PROMOTION OF ART AND CULTURE

Under the inspirations of shri Jawaharlal Nehru, attempts warmed by the Government of India to revive and develop traditional arts and culture. With that end in view, three academies were established in 1945 – (I) sahitya academy or national academy of letters; (2) sangeet Natak academy or academy of Music, dance and drama: and (3) lalit kala academic or academy of fine arts.

 (I) sahitya akademy

Inaugurated on 12^th March, 1954h, it functions as an autonomous organization. It is a national organization to work actively for the development of Indian literature, to see high lite5rary standards, to foster and co-ordinate literary activities in all the Indian languages and to promote through them all he cultural unity of the country . the supreme authority of the academy vest in the General council consisting of 67 members. There are nominees of the central as well as state Governments in the Central council. The activities of the Academy are to publish a national biography of contemporary works of literary merit in Indian languages, to sponsor publication of standard works on the history and development of modern Indian literature, to translate Indian books of real merits and wide appeal in different languages , to enquire into the difficulties experienced by Indian writers, to give awards to outstanding books published in India languages, to publish a six – monthly Bulletin giving an account of the Academy’s activities as well as works of l literary merits in Indian languages, etc.

Some of the other functions of the Akademy are publication of works on literary history and criticism, books of reference like bibliographies and biographies and works in Devanagari and other Indian script and popularization of the study of literature among the people. The academy has regional offices at Bombay, Calcutta and Madras.

INDIA SINCE INDEPENDENCE: CULTURAL POLICY OF THE GOVERNMENT OF INDIA

INDIA SINCE INDEPENDENCE: CULTURAL POLICY OF THE GOVERNMENT OF INDIA

When India became independent, the task before her was to realize and deepen the national unity for which Gandhiji dedicated his life and also to preserve the richness of its diversity. Considering the stupendous problems before the nation, it has to be conceded that a fair measure of success has been achieved in fulfilling the two – fold task. In less than two decades of freedom India had attained a degree of unity that had never before been achieved in her long history. A conscious attempt has been made to forge this u unity at the cultural s well as political levels. The integration of ‘native states’ into the Indian nation, the establishment of the three central academies of literature, music and fine arts the acceptance of Hindi as the national language, the recognition of the unifying role of English – these are only some of the steps in the direction of cultural consolidation. What is more important behind these practical steps is the deep love of the Indian people for their common heritage, consciousness of their unity which has manifested itself in moments of crisis and their will to advance as a nation.

The richness and diversity of regional cultures has bound opportunities for self – expression. The reorganization of states on linguistic and cultural lines has been an extremely significant step in this direction. The important point is that, by the large, the Indian people have not looked   upon diversity as an evil to be shunned. On the contrary, they have with increasing knowledge of the innumerable folk forms and regional traditions, come to regard it as a treasure to be cherished.

It was fortunate for India that in her hour of freedom the mantle of leadership fell on the shoulders of a man like Jawaharlal Nehru. Not only did Nehru love Indian culture, deeply but he was also like Tagore, completely imbued with the ideal of unity in diversity. This is borne out not only by the books he wrote but also by his speeches which were collectively published under the significant title. “The Unity of India”. Nehru carried to the remotest corners of this land the massager of confidence and taught the common man to take pride in his own culture.

INDIAN INFLUENCE ON THE WESTERN CULTURE AND CIVILIZATION

INDIAN INFLUENCE ON THE WESTERN CULTURE AND CIVILIZATION

The above account makes one feel that in the modern age the West has profoundly influenced the course of Indian civilization and India has been overwhelmingly dominated by the west. It is a fact that India witnessed reawakening due to the impact of the west. But India also influenced considerably the western outlook in many ways.

A group of orient lists encouraged the first regular study of Indian culture. The three Englishmen, Sir Charles Wilkins, Sir Williams Jones an Colebrook ‘aimed at a union of Hindu and European learning’ and had done at a good deal to introduce the ancient Sanskrit classics to the western world. 

Wilkins was the first European to translate the Gita, William Jones founded in 1785 the Asiatic society of Bengal. It was under the patronage of this society that authoritative translation of many Indian Sanskrit classics were published and they have reverberated the fame of the Indian culture throughout the whispering galleries of Europe”. William Jones was the first to declare to the west ‘that Sanskrit was the most scientific language and contained words common both to Latin and Greek language’. Thus, it was he who laid the foundations of the science of comparative philology and paved the path for evolution of the theory of max Muller. In the first quarter of the nineteenth century H.T Colebrook translated the largest number of Sanskrit works. But Germany was the first country in Europe to discover the Hidden treasures of Sanskrit literature and German scholars endeavored hard to bring into light several Sanskrit texts. To the German scholars Schopenhauer the Upanishads came as a new revolution. The Indian poets influenced the German writer and poets for example the influence of Kalidasa’s “meghdoota” (The cloud Messenger) on the ‘Maria Stuart’ of Schiller is most distinct. The famous German poet Goethe had lavishly admired Kailas’s Sanskrit drama ‘Shakuntala’ and he has modeled his prologue to Faust on the prologue of this particular drama. Later on another German scholar Max Muller had completed and published the translation of the text of the Rig-Veda after strenuous labor of thirty years. The famous American writer and thinker Emerson, poet Walt

THE IMPACT OF WEST OF INDIAN CULTURE ( Western civilization and Indian society, Indian religion, philosophy and the western culture and civilization, Indian fine arts and the west)

(I)            Western civilization and Indian society

We are witnessing a silent revolution in Indian society due to the impact of the west. On one side there ws a group of conservatives and reactionaries who warned the people of the insidious encroachments by the west. This group of conservatives and reactionaries also persuaded the people loudly to follow old traditions and customs and maintain social solidity. On the other side there was the group of progressive. They focused the attention of the people on the major social evils like the untounchability, inequality, backwardness of women, child=-marriage, parda system, illiteracy, polygamy, divas system, etc. and induced people to accept good thing of the west. This has aroused our social consciousness and helped in the growth of middle classes.

On account of the impact of the western civilization and cultural our moral ideas are changed beyond recognition. Our manners and methods, dress and diet, modes of though and ways of living reveal western traces. The caste system which has been the bed rock of Hindu society for centuries together is itself collapsing; its rigidity is slackened. Many social evils are disappearing fast. A new view of life and conduct has b.een introduced in India by the west.

(II)          Indian religion, philosophy and the western culture and civilization

THE IMPACT OF WEST OF INDIAN CULTURE ( Western influence in education, The impact of the west on the vernacular literature.)

THE IMPACT OF WEST OF INDIAN CULTURE

The Christian sea-powers in India brought with them western civilization and culture in the country. It not only introduced many new elements into the Indian cauldron but also disturbed the existing disposition of various forces in Indian society like the last stone which starts an avalanche; a process of change began but it has not yet ended and its future no one could yet foresee.

In the closing years of the eighteenth century channels of Indian culture were getting dry. The culture of the country had become moribund, decadent and effete. The creative spirit had disappeared in fine arts, literature, science, philosophy and religion. India needed a violent shock and a rude challenge to remedy the state of affairs. This was provided by the people of the Western countries and their culture.

It was in the closing years of the eighteenth century that western civilization and culture challenged all old values and beliefs of India Consequently old rites and rituals, customs and tradition, crumbled. India was literally in the melting pot. When the edifice of Indian culture was collapsing the western culture attempted to super – impose its structure on Indian soil. It changed the vision and revolutionized those who came into contact with it. Its immediate result was the indiscriminate imitation and adoption of western mode of life and habits. Fortunately this process was quickly arrested by the forces of the Indian socio- religious reform movement of the 19^th century which has been already discussed in the chapter on Modern India.

(I)            Western influence in education

FEATURES OF THE INDIAN RENAISSANCE( GROWTH OF INDIAN VERNACULAR LITERATURE, Growth of scientific research of discovering India’s Past, Fine arts)

(I)                 GROWTH OF INDIAN VERNACULAR LITERATURE

A significant feature of the renaissance was the rapid growth of India’s vernacular literatures. At first there was the flowering of certain versatile genius and it was followed by the phenomenal growth of the vernacular, literatures Bengal took the lead in this sphere. They formed a kind of seed-bed for the future creative genius, accomplished persons of the critical ability and appreciative temper. All these writers were a prelude to the rise of Rabindranath Tagore who has contributed to all aspects of culture and literature, prose, poetry, drama, novel, essay, short story, music, painting, dancing etc. They introduced new styles, new technique and secularized the themes bin the realm of prose.

As regards the different Indian Vernacular literatures it is a matter of great pride that the works of centuries have been crowd into a few decades in the evolution of modern literatures of India. Before the Renaissance all the Vernacular literatures dealt with religious subjects. Mythological or heroic narratives figures very much. Expression was through poems and songs. The Renaissance provided a strong stimulus to the imaginative and nationalist writings to various languages. All branches of literature were developed considerably. As a result of the Renaissance Indian languages have become both Simpler and harder at the same time for the expression of modern thought both simpler and harder at the same time for expression of modern thought.

Various aspects of vernacular literature were changed and improved considerably. The Indian drama has been completely transformed since the middle of the nineteenth century. It is from the west that they have taken the art of criticism in the realm of literature. It the Indian press has considerably popularized the vernacular literatures, the study of the Western literature has secularized them.

FEATURES OF THE INDIAN RENAISSANCE (Socio – religious Movements, Recovery of Indian history, The recovery of India’s ancient literature.)

FEATURES OF THE INDIAN RENAISSANCE

(I)                 Socio – religious Movements

In the beginning Renaissance led to the repudiation of Indian values and slavish imitation of all that the west stood for. It seems that the influence of the west in all spheres of life has ben so overwhelming that Indians lost their own and became “sedulous apes”. Such a state of things roused in due course a strong reaction. Consequently a spirit of revival commenced and everything savoring of the past was supported whole – heartily, welcomed warmly and honored enthusiastically. It was a defensive mechanism against extreme reaction. It was symbolized in the religious messages of Dayannand Saraswati, Ramakrishna paramahansa and Vivekananda. It may be designated as the ‘revivalists group’. Between the two movements arose a new one. It sought compromise between the two. It was led by Raja Ram Mohan Roy and propagated Rabindranath Tagore, Dr. Annie Besant and Ramakrishna Mission. This ‘Middle group’ aimed to assimilate the best and enduring features of European culture with those of Indian without elimination or discarding the essential ingredients of the Indian culture and civilization.

But the first decades of the twentieth century witnessed the birth of another unique spiritual movement in India. It was led by Shri Aurobindo. It interpreted Indian Renaissance as the rebirth of the soul of India into a new body of enthusiasm and energy, a new form of its innate and ancient sprit.

On account of these religious movements “there arose in the period a number of reformers, teachers, saints and scholars who have purified Hinduism by denouncing some of its later accretions, separate its essentials from non – essentials, confirmed its ancient truths by their own experience and have been carried its message to Europe and America.

(II)               Recovery of Indian history

INDIAN RENAISSANCE AND CULTURAL RESURGENCE

INDIAN RENAISSANCE AND CULTURAL RESURGENCE

Renaissance or reawakening marks the nineteenth century of Indian History. “Indian Renaissance was an attempt towards the rejuvenation of Indian cultural life that put on a new garb without completely being a drift rom old moorings”. The rapid evolution of modern India is but an aspect of the Indian Renaissance that commenced in the Nineteenth century. This Renaissance has profoundly starred the Indian soul to its vestry depths and produced far – reaching remarkable changes is several spheres of Indian life. In India Renaissance was followed by reformation movements all over the country. It paved the path for national regeneration. During the latter half of the nineteenth century many spheres of the Indian life were permeated with the spirit of renaissance and reformation. The spirit of re-awakening, revival and recreation spread from sphere to sphere of national life. It affected profoundly society, religion, literature, industries, crafts and politics.

The Indian Renaissance was at first on Intellectual awakening and profoundly influenced our literature education though and art; in the next succeeding generation, it became a moral force and reformed Indian society and religion; and in the third generation from its commencement it has brought about the economic modernization of India and ultimately the political emancipation. 

THE COMING OF THE EUROPEANS AND THE RISE OF CULTURAL AWAKENING.

THE COMING OF THE EUROPEANS AND THE RISE OF CULTURAL AWAKENING.  

   

In 1498-99, a Christian naval power, the Portuguese, with its base in Europe entered the Indian waters after the arrival of Vasco de Gama at Calicut. Though the so – called Portuguese empire faded away after the advent of other India. They made some contribution to the cultural life of India.  They have enriched Indian vocabulary and medical science to some extent. The introduction of printing press, European architecture, Christianity and the establishment of seminaries for the training of Indian priests at Verapoly and at Goa are notable contributions of the Portuguese.

The east India Company of Britain was established in 1600 for trade with East. France also entered the fray with the establishment of the French East India Company in 1664. The former acquired a settlement on the Madras cost. This ws followed by England’s regular fight for supremacy in India.

A notable achievement of the British rule was in the field of arts. In 1860 Alexander Cunningham was appointed the first Director of archaeology and later of Ferguson wrote his famous work describing the magnificent architecture monuments of India. These two factors paved the path for revival of Indian interest in arts, \. The appointment of Dr. Hutch as first eminent epigraphist to the Government of India was the beginning of the great work of reclamation of Indian History. The deciphering of the scripts of ancient Indian\ and the official search for old inscriptions and documents all over the country and their publication provided India the first corpus of course – material from which her history was constructed. City soon created among Indians a historical sense, a pride in their achievements and nationality. Panikkar observes that “even the revival of Sanskrit studies on Modern lines in India is due largely to the activities of the British Government and the scholars patronized by them. The Queen’s college at Varanasi was the first serious attempt to teach Sanskrit in a systematic way to young India”.

STAGES IN THE EVOLUTION OF INDIAN CULTURE (THE MUGHALS AND THE GROWTH OF A COMPOSITE CULTURE)

THE MUGHALS AND THE GROWTH OF A COMPOSITE CULTURE

One redeeming feature in this age was the continuity of the process of Hindu –Muslim synthesis and amicable; contact between the members to the two communities. Consequently the spirit of synthesis and mutual harmony led to the growth of a new synthesized culture which was neither purely Hindu nor entirely growth of a new synthesized culture which was neither purely hind nor entirely Muslim, but a happy fusion of the best elements of the two. Akbar’s reign is religious synthesis was displayed in Akbar’s religious policy of appeasement and the Din –E-IIIahi. In the realm of art the persona and Indian styles of architecture – mingled happily and its excellence was exhibited in the magnificent buildings of Akbar and Shanjahan. Similarly, the mughal painting displays the peoples into a cohesive social unity led to the Hindu – Muslim synthesis in dress, diet, etiquette and modes of living.

Literature could not escape the happy fusion of the two cultures. Vocabulary of the various Indian regional languages – Hindi, Bengali, Marathi, Gujarati, etc. was arrived with Persian and Arabic words. There was a fee exchange of views between the two communities and both freely participated in other’s function. As panikkar remarks, the dress, manners, social amenities and festivals which the Mughals introduced in India ceased to be foreign and were accepted by the people.

The Mughals were patrons of literature and gave considerable impetus to its development in different branches. Persian was considerable patronized by the Mughal Emperors and monumental works in Persian were composed under the liberal patronage of the Mughals. The sixteenth and the seventeenth centuries witnessed the fruition of knowledge and talents of the Hindus. These two centuries are also known as “the Augustan Age of the Hindustani literature”.

STAGES IN THE EVOLUTION OF INDIAN CULTURE (RELIGIOUS REVIVAL AND THE BHAKTI CULT)

RELIGIOUS REVIVAL AND THE BHAKTI CULT

Besides this, impact of Islam or Hinduism produced important consequences. Islam gives the message of universal brotherhood, introduces equality in society, rejects caste system and untouchability, is opposed to idol-worship and teaches oneness of god. In due course, these ideas began to have a conscious or unconscious effect upon the philosophical Hindu mind and fostered the growth of liberal movements under some saints and preachers who have come to be known in history as religious reformers. They denounced ido- worship and the caste system, preached the fundamental equality and basic oneness of all religions and the unity of godhead, advocated the m9onotheistic faith, protested against the domination of the priestly class, opposed the complicated, elaborate and excessive ritualism and formalities of religious and emphasized simple devotion, faith and puritan life4 as the means of deliverance or salvation for all persons.

The medieval saint reformers not only emancipated the masses from the social and religious tyranny but also contributed substantially to the cultural evolution of the country. The cardinal doctrine which they emphasized was that God is the God of Hindus as well as Muslims, of Brahmans as well as Candelas, and that before Him all are equal. In fact, they preached the simp0le religion of love and complete surrender to an imminent Being who rescued His true and sincere devotees from their miserable plight.

STAGES IN THE EVOLUTION OF INDIAN CULTURE (THE INDO – ISLAMIC CULTURE)

THE INDO – ISLAMIC CULTURE

The sultanate and Mughal periods witnessed the closed contact of two different and distinct cultures – the Hindu and the Muslim or Islamic. Hence the Hindu and the Muslim cultural ingredients coalesced to form a new cultural life.

During the three hundred years of the rule of the sultans of Delhi, the interaction between the Hindu and Islamic cultures was mostly confined to the prosperous cities and well – to – do upper classes but the Mughal period witnessed a remarkable Hindu – Muslim synthesis. The mutual intercourse between the two communities influenced the culture of both.

Inspite of the fundamental differences between Hindus and Muslimism there began to flow a congenial current of mutual harmony, cooperation and toleration in different spheres of life in course of time. They willingly offered themselves for mutual exchange of ideas. If the Hindu religious leaders and saints endeavored to synthesize Hindu – Muslim thoughts, the Sufi sect of the Muslims, their writers and poets adopted Hindu doctrines and followed many of their traditions, Famous Muslim Scholars and saints began to lab our for the dissemination of the ideas of Islamic philosophy and mysticism in India, and it has been proved that one of the sources of Muslim Mysticism was Indian. The healthy spirit of Mutual toleration found expression in the growing veneration of the Hindus for the Muslim saints, particularly of the mystic school, and a corresponding Muslim practiced of venerating Hindu saints which ultimately led to the common worship of Satrapy (the true saint). The Hindus offered sweets with great pleasure on the tombs of Muslim pars and saints and listened with reverence to the recitations of the Quaran.

STAGES IN THE EVOLUTION OF INDIAN CULTURE (THE POST – GUPTA AGE (600 – 1200 A.D.))

THE POST – GUPTA AGE (600 – 1200 A.D.)

After the collapse of the Gupta – empire northern Indian again became a congeries of small states. Many petty kingdoms arose on the ruins of the Gupta empire and disintegration followed in the course of next fifty years; but under harsha of kannauj (606 647) these disintegrated units were again brought under the central authority. He was a great lover and patron of learning and a religious and charitable man. Himself a poet and dramatist and the author of three plays, he extended state patronage to men of letters like bana, the author of harshacharita and kadambari, and jayasena, a man of encyclopedic learning. His court was famous for philosophers, poets, dramatists and painters. He later on adopted Buddhism whose cause he served in many ways.

In his time the learned Chinese scholar and monk, Hiuen Tsang, visited India in 630 A.D. and remained here till 643 A.D. and has given us a fairly elaborated account of the religious, social and economic conditions of India in those days.

The Buddhist monasteries were not only the strong – holds of religion but also of education. The university of Nalanda which reached its high water – mark during this period was an educational centre of international fame. In addition to Nalanda, Textile and Ujjain were other centers of learning: the former was renowned for its medical school and the later for its secular learning including mathematics and astronomy. The death of harsha was a signal for general mathematics and astronomy. The death of harsha was a signal for general disruption and disintegration of his empire and India again lost her political unity.