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RELIGIOUS BELIEF AND ETHICAL VALUES OF RIGVEDA
It is really gratifying to note that the culture developed on the basis of the Vedas has evolved into a massive reservoir of humanistic culture. The term Veda signifies the deep repository of knowledge handed down from generation to generation since time immemorial. These Vedas stood not only the test of scrutiny by the knowledgeable authorities but also of time. Despite all political conquests, economic upheavals, social transformations and cultural deviations, the Vedas have survived hitherto because of the humanistic culture engendered by them. References can be made in this connection to A.L. Bhasam’s book The wonder that was India and R.T.H. Griffith’s RigVeda (The oldest divine book). The Vedas are quite distinct from other religious literature in terms of concepts, structure, content and application. The Arya Samaj has always insisted on treating the Vedas as a philosophical and divine matter. European philosophers and scholars are greatly in acceptance of the Vedas too and hold the same in high esteem Celebrated western scholars such as Max Muller, Oldenberg, Wilson, Griffith etc. tried to delve into the vast expanse of the religious-cultural endowment of the Vedas.
Rhythm Incarnate, Tribute to Shanti Bardhan
In Contemporary India Classical Dance Became Extinct, Except In South India, Where Bharat Natyam Was Still Performed In The Temples By Deva Dasis, And In Eastern India, Specially In Orissa And Manipur, Where Odissi, Chou And Manipuri Were In Active Practice. Shanti Bardhan, Younger Colleague Of Udai Shankar, Initiated Synthesis Of Gesture Language Of The Ancient Classical Style With The Rhythm Of Folk Dances And Free Movements Of Kurt Joos, In A New Style In Which He Composed India Immortal Dance And Drama. After The Success Of This Free Style Ballet, He Brought Together A Troupe Of Young Female And Male Students And Choreographed Dance Dramas Based On Panchatantra And Other Stories. These Dance Dramas Moved The Initiated And The Native Among On Lookers In Various Parts Of India To Appreciation Of Dance Itself.
The Singing Line
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Wanted Cultured Ladies Only!
Wanted Cultured Ladies Only! maps out the early culture of cinema stardom in India from its emergence in the silent era to the decade after Indian independence in the mid-twentieth century. Neepa Majumdar combines readings of specific films and stars with an analysis of the historical and cultural configurations that gave rise to distinctly Indian notions of celebrity. She argues that discussions of early cinematic stardom in India must be placed in the context of the general legitimizing discourse of colonial "improvement" that marked other civic and cultural spheres as well, and that "vernacular modernist" anxieties over the New Woman had limited resonance here. Rather, it was through emphatically nationalist discourses that Indian cinema found its model for modern female identities. Considering questions of spectatorship, gossip, popularity, and the dominance of a star-based production system, Majumdar details the rise of film stars such as Sulochana, Fearless Nadia, Lata Mangeshkar, and Nargis.
Cassette Culture
In Cassette Culture, Peter Manuel tells how a new mass medium—the portable cassette player—caused a major upheaval in popular culture in the world's second-largest country. The advent of cassette technology in the 1980s transformed India's popular music industry from the virtual monopoly of a single multinational LP manufacturer to a free-for-all among hundreds of local cassette producers. The result was a revolution in the quantity, quality, and variety of Indian popular music and its patterns of dissemination and consumption. Manuel shows that the cassette revolution, however, has brought new contradictions and problems to Indian culture. While inexpensive cassettes revitalized local s...
Singing Line
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Civic Affairs
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