m.a.d. facts
m.a.d. facts
Let’s know more about our country, its art and culture. In contains loads of interesting information about the vast arts, music and culture. A country as diverse as India is symbolized by the plurality of its culture.
Let’s know more about our country, its art and culture. In contains loads of interesting information about the vast arts, music and culture. A country as diverse as India is symbolized by the plurality of its culture.
Edition 26
(15 August 2021)
Vande Mataram
‘Vande Mataram’ is the national song of India. It was written by Mr. Bankim Chandra Chattopadhyay to praise the "Mother India" on 7th November, 1875, and was published in a Bengali fiction novel ‘Anandmath’. The title 'Vande Mataram or Bande Mataram' means "I praise thee, Mother" or "I praise to thee, Mother". The term "mataram (मातारम)" in the first line means the motherland of India or the Bangamata (Mother Bengal) and Bharat Mata (Mother India). In 1870, Bankim Chandra Chattopadhyay meticulously crafted a song which would go on to assume a glorified national stature, but would be communally explosive in its entirety. Written in Bengali, the song titled Vande Mataram would not be introduced into the public sphere until the publishing of the novel, Anandamath in 1882, within the framework of which the song is woven into. But Vande Mataram would soon gain an identity synonymous with the struggle for India’s freedom, becoming an important lynchpin in the history of Indian politics. Anandamath was written in 19th century India, at a time when the country was still part of the British empire. At that time, there was widespread cultural, religious and intellectual suffocation. In the midst of this, Chattopadhyay, a respected literary figure, conceived Anandamath as a powerful literary instrument to stir nationalistic feelings within the country. Bankim Chandra Chatterjee, Chatterjee also spelled Catterji, Bengali Baṇkim Candra Caṭṭopādhyāy, (born June 26/27, 1838, near Naihati, Bengal, India—died April 8, 1894, Calcutta), Indian author, whose novels firmly established prose as a literary vehicle for the Bengali language and helped create in India a school of fiction on the European model. Bankim Chandra was a member of an orthodox Brahman family and was educated at Hooghly College, at Presidency College, Calcutta, and at the University of Calcutta, of which he was one of the first graduates. From 1858, until his retirement in 1891, he served as a deputy magistrate in the Indian civil service. Some of Bankim Chandra’s youthful compositions appeared in the newspaper Sambad Prabhakar, and in 1858 he published a volume of poems entitled Lalita O Manas. For a while he wrote in English, and his novel Rajmohan’s Wife appeared serially in Indian Field in 1864. His first notable Bengali work was the novel Durgeśnandinī, which features a Rajput hero and a Bengali heroine. In itself it is of indifferent quality, but in the philosopher Debendranath Tagore’s words, it took “the Bengali heart by storm,” and with it the Bengali novel was full born. Kapālkuṇḍalā, a love story against a gruesome background of Tantric rites, was published in 1866; and Mṛṇālinī, which was set at the time of the first Muslim invasion of Bengal, in 1869. Some facts related to Vande Mataram are :
1. Vande Matram is the national song of India, which was composed by the Bankim Chandra Chatterjee, originally in Sanskrit & Bengali.
2. He wrote Vande Mataram at Chinsurah, near the river Hooghly (near Mallik Ghat).
3. It is assumed that the concept of Vande Mataram clicked to Bankim Chandra Chattopadhyay when he was serving as a government official (a District Collector), around 1876.
4. Jadunath Bhattacharya was asked to set a tune for this poem just after it was written
5. It was adopted on January 24, 1950, by providing it equal status with national anthem Jana Gana Mana.
6. It is taken from the novel Anand Math published in 1882.
7. It was sung for the first time at the congress session at Calcutta in 1896.
8. It is formed for the proclamation of Mother Land. It played a vital role in the Indian independence movement.
9. The original Vande Mataram comprises of 6 stanzas.
10. It was translated in prose by Shri Aurobindo in Karmayogin on 20 November 1909
Edition 24
(15 July 2021)
Medieval period: Persian influence
During the Mughal rule in India, Indian Classical music emerged as two separate traditions - North Indian Hindustani and the south Indian Carnatic, mainly because of the Islamic influence. The Hindustani system may be thought as a mixture of traditional Indian musical concepts and Persian performance practice. Many new musical forms like Khayal and Ghazal. The advent of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India caused considerable cultural interchange. Increasingly, musicians received patronage in the courts of the new rulers, who in their turn, started taking increasing interest in local music forms. While the initial generations may have been rooted in cultural traditions outside India, they gradually adopted many aspects from their kingdoms which retained the traditional Hindu culture. This helped spur the fusion of Hindu and Muslim ideas to bring forth new forms of musical synthesis like qawwali and khyal.The most influential musician of the Delhi Sultanate period was Amir Khusrau (1253–1325), sometimes called the father of modern Hindustani classical music.[4] A composer in Persian, Turkish, Arabic, as well as Braj Bhasha, he is credited with systematizing many aspects of Hindustani music, and also introducing several ragas such as Yaman Kalyan, Zeelaf and Sarpada. He created the qawwali genre, which fuses Persian melody and beat on a dhrupad like structure. A number of instruments (such as the sitar and tabla) were also introduced in his time.Amir Khusrau is sometimes credited with the origins of the khyal form, but the record of his compositions do not appear to support this. The compositions by the court musician Sadarang in the court of Muhammad Shah bear a closer affinity to the modern khyal. They suggest that while khyal already existed in some form, Sadarang may have been the father of modern khyal.
Persian music influenced in India
Persian music influenced in India. Persian music is the music of Persia and Persian language countries: musiqi, the science and art of music, and muzik, the sound and performance of music. Many Ustads, or professional musicians, have learned North Indian classical music in India, and some of them were Indian descendants who moved from India to the royal court in and they use the Hindustani musical theories and terminology, for example raga (melodic form) and tala (rhythmic cycle).
Edition 22
(15 June 2021)
Kalighat Painting
Kalighat painting or Kalighat Pat originated in the 19th century in West Bengal, India, in the vicinity of Kalighat Kali Temple, Kalighat, Calcutta, India, and from being items of souvenir taken by the visitors to the Kali temple, the paintings over a period of time developed as a distinct school of Indian painting. Kalighat Kali Temple is a Hindu temple in Kalighat, Kolkata, West Bengal, India dedicated to the Hindu goddess Kali. It is one of the 51 Shakti Peethas. Kalighat was a Ghat sacred to Kali on the old course of the Hooghly river in the city of Kolkata. According to legend, Lord Shiva, the god of dance and destruction, was deep in meditation on Mount Kailasha when he received news of the death of his consort, Sati, an avatar (or human manifestation) of the goddess Kali. He wandered for days with her body draped across his shoulders and his inconsolable grief threatened to ruin the earth. Lord Vishnu, the Preserver, was called upon to intervene. To relieve Shiva's burden, he shattered Sati's body into 51 pieces. The little toe of Sati's right foot was said to have fallen at the site of the Hooghly River, and from this point on the area became associated with the goddess Kali. By the 1690s, when it became part of the city of Kolkata, it was already known as the sacred realm of Kali or Kalikshetra. The moorings (ghat in Bengali) on the bank of the Hooghly River were known to pilgrims as Kalighat, and there was perhaps an early version of a temple at the spot in the 17th and 18th centuries. By the early 19th century, the temple was a popular destination for local people, pilgrims and interested European visitors. The late artist Jamini Roy is among some of the most acclaimed painters who have been influenced by the distinctive style. Today, Kalighat paintings appear in museums and galleries across the globe, from the Victoria Memorial Hall in Kolkata to the Naprstek Museum in Prague. In what was dubbed the “Oriental school” of Kalighat painting, predominant themes shone a spotlight on religious figures and scenes from sacred texts, from goddesses Durga and Lakshmi, to the characters of Rama and Sita in the ancient epic poem of Ramayana. In contrast to the linear narrative style of the scrolls, Kalighat paintings depict a single scene with graphic, simplified forms and often satirical, contemporary content. As cheaper wood prints and then machine-printed images became more desirable to tourists visiting Kolkata, Kalighat painting declined. Characterized by bright colours and bold outlines.
Edition 20
(15 May 2021)
Pattachitra Painting
India had always been known as the land that portrayed cultural and traditional vibrancy through its conventional arts and crafts. One of the most famous arts in India is Pattachitra.Pattachitra is a general term for traditional, cloth-based scroll painting, based in the eastern Indian states of Odisha and West Bengal. Pattachitra artform is known for its intricate details as well as mythological narratives and folktales inscribed in it.Pattachitra is known for its excellent play of colour.The 'Pattachitra' resemble the old murals, especially religious centres of Puri, Konark and Bhubaneshwar region, dating back to the 5th century BC. The best work is found in and around Puri, especially in the village of Raghurajpur.
Bihu Dance
The Bihu dance is an indigenous folk dance from the Indian state of Assam related to the Bihu festival and an important part of Assamese culture. Performed in a group, the Bihu dancers are usually young men and women, and the dancing style is characterized by brisk steps, and rapid hand movements. The traditional costume of dancers is colorful and centred round the red colour theme, signifying joy and vigour. According to scholars, the Bihu dance has its origin in ancient fertility cults that was associated with increasing the fertility of the demographic as well as the land. Traditionally, local farming communities performed the dance outdoors, in fields, groves, forests or on the banks of rivers, especially under the fig tree. The dance begins with the performers, young men and women, slowly walking into the performance space. The men then start playing musical instruments, like drums (particularly the double-headed dhol), horn-pipes and flutes while the women place their hands on their backs with their palms facing outwards, forming an inverted triangular shape.
The Bihu dance takes its name from the Bohag Bihu festival (also called Rangali Bihu), the national festival of Assam which celebrates the Assamese New Year. The festival takes place during mid-April. The Bihu dance is meant to celebrate and emulate the seasonal spirit, celebrating fertility and passion. In earlier times, Bihu dance served principally as a courtship dance. The Bihu dance's association with fertility refers to both human fertility, through the erotic nature of the dance, as well as to the fertility of nature, meaning the celebration of spring and the welcoming of the life-giving spring rain. The use of instruments such as drums and horn-pipes is believed to replicate the sound of rain and thunder, as a way of invoking actual precipitation.
Edition 18
(15 April 2021)
Thanjavur Painting
Folk dances and plays in India retain significance in rural areas as the expression of the daily work and rituals of village communities. Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka, Rasaka, Dand Rasaka and Charchari. The Natya Shastra includes group dances of women as a preliminary dance performed in prelude to a drama. India has numerous folk dances. Every state has its own folk dance forms like Bihu and Bagurumba in Assam, Garba, Gagari (dance), Ghodakhund & Dandiya in Gujarat, Nati in Himachal Pradesh, Bedara Vesha, Dollu Kunitha in Karnataka, Thirayattam and Theyyam in Kerala, Dalkhai in Odisha, Bhangra & Giddha in Punjab, Kalbelia, Ghoomar, Rasiya in Rajasthan, Perini Dance in Telangana, Chholiya dance in Uttarakhand and likewise for each state and smaller regions in it. Lavani, and Lezim, and Koli dance is most popular dance in Maharashtra.
Tribal Dances in India are inspired by the tribal folklore. Each ethnic group has its own distinct combination of myths, legends, tales, proverbs, riddles, ballads, folk songs, folk dance, and folk music. The dancers do not necessarily fall rigidly into the category of "tribal". However, these forms of dance closely depict their life, social relationships, work and religious affiliations. They represent the rich culture and customs of their native lands through intricate movements of their bodies. A wide variation can be observed in the intensity of these dances. Some involve very slight movement with a more groovy edge to it, while others involve elevated and vigorous involvement of limbs.
Kathakali Dance
Kathakali is the most well known dance drama from the south Indian state of Kerala. The word Kathakali literally means "Story-Play". It is known for its large, elaborate makeup and costumes. The elaborate costumes of Kathakali have become the most recognised icon for Kerala. Kathakali Dance originated in the state of Kerala between the 16th and 17th centuries, around the same time as Shakespeare. The Kalluvazhi Chitta style being performed by these dancers was born on the stage at the now-closed Kathakali school at Olappamanna Mana in Vellinezhi, almost 200 years ago. The kathakali is attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. There are numerous kinds of costume in ‘Kathakali’ Dance. These are: ‘Sathwika’ (the hero), ‘Kathi’ (the villain), ‘Minukku’ (females) and ‘Thatti’. These essential divisions are subdivided in a way which is very famous to ‘Malayali’ (Keralite) audiences. Each character is right away recognisable by their characteristic makeup and costume. The ‘Sathwika’ characters or the hero put on diverse attires as compared to the evil characters. The ‘Pachcha’ characters generally dress in a jacket of purple, blue or yellow colour. The red-beards wear a red jacket and the white-beards wear a white jacket. Costumes and Make Up in Kathakali conserve its masculine aspect in its essential vigour. Strong ‘Malayan’ and ‘Tibetan’ influences are recognized in the decorations of the actors. ‘Kathakali’ Dance form is noted for its ancient costumes and grand headgears. The costumes used are heavy, intricate, elaborate and colourful. They transform the actor mentally and physically to portray a particular character. The costume is the most characteristic feature of ‘Kathakali’ Dance. The beautiful costumes of the ‘Kathakali’ dancers are the essence of the entire performance.
Edition 16
(15 March 2021)
Folk and tribal dance forms
Folk dances and plays in India retain significance in rural areas as the expression of the daily work and rituals of village communities. Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka, Rasaka, Dand Rasaka and Charchari. The Natya Shastra includes group dances of women as a preliminary dance performed in prelude to a drama. India has numerous folk dances. Every state has its own folk dance forms like Bihu and Bagurumba in Assam, Garba, Gagari (dance), Ghodakhund & Dandiya in Gujarat, Nati in Himachal Pradesh, Bedara Vesha, Dollu Kunitha in Karnataka, Thirayattam and Theyyam in Kerala, Dalkhai in Odisha, Bhangra & Giddha in Punjab, Kalbelia, Ghoomar, Rasiya in Rajasthan, Perini Dance in Telangana, Chholiya dance in Uttarakhand and likewise for each state and smaller regions in it. Lavani, and Lezim, and Koli dance is most popular dance in Maharashtra.
Tribal Dances in India are inspired by the tribal folklore. Each ethnic group has its own distinct combination of myths, legends, tales, proverbs, riddles, ballads, folk songs, folk dance, and folk music. The dancers do not necessarily fall rigidly into the category of "tribal". However, these forms of dance closely depict their life, social relationships, work and religious affiliations. They represent the rich culture and customs of their native lands through intricate movements of their bodies. A wide variation can be observed in the intensity of these dances. Some involve very slight movement with a more groovy edge to it, while others involve elevated and vigorous involvement of limbs.
Sangeet Natak in Marathi language literally means Musical Drama. As the name suggests, this form of drama combines prose as well as poetry in form of songs to convey the story. In a manner, they are very much similar to Musicals. Sangeet Natakas played a vital role in the development of Marathi theater and thus the Marathi cinema as well as Indian film industry. Sangeet Natak start with praise of Lord Natraja which is called as Naandi or Mangalaacharan or Suchakpad usually the famous one "Panchatunda Nararundamaldhar" from Sangeet Shakuntal. They are popular for use of Indian classical music. The "Dramatic Music" is called Natya Sangeet, one of the two popular forms of vocal arts in Maharashtra and surrounding states. The other is Bhavageet. The new trend of Sangeet Natakas caught up with the popularity quite quickly. With British Raj then existing in India, Sangeet Natakas were compared with the Operas and thus local Marathi Indians found synonymous recreation. In the blooming times, Sangeet Natakas were mainly based on mythological stories of Mahabharata or Ramayana which would hence easily connect with the masses. They did not cover the complete epics but were limited to only small stories in them. With popularity & success, experimentation started on stage with abandoning mythological themes and bringing social issues to audiences. Sangeet Sharada, for example, by portraying the feelings of a teenage girl to be married to a widower in his late seventies, brought out a social message. Few dramas, like Kichak Vadh, even agitated the British rulers to the extent that they were banned. Kichak Vadh compared the Britishers with Kichak, an evil character from Mahabharata who tried to dishonour Draupadi. Draupadi was then synonymous with the oppressed common Indian masses.
Edition 14
(15 February 2021)
India had always been known as the land that portrayed cultural and traditional vibrancy through its conventional arts and crafts.
India has one of the world’s largest collections of songs, music, dance, theatre, folk traditions, performing arts, rites and rituals, paintings and writings. One of the most famous arts in India is the Kalamkari.
Kalamkari literally means, “pen-art”. These paintings are either hand painted or block printed on cotton fabric. Only natural dyes are used in kalamkari. Motifs drawn in Kalamkari spans from flowers, peacock, paisleys to divine characters of Hindu epics like Mahabharata and Ramayana.
This art form flourished under the rule of the Golconda Sultanate. It was first developed and evolved at Machilipatnam in Andhra Pradesh but its popularity soon spread to the other states. As far as the popular belief goes, in olden days, groups of artisans, musicians and singers known as chitrakattis would travel from village to village and narrate tales of Hindu mythology. As time passed, they even started illustrating these stories on canvas and thus Kalamkari was born.
Khayal dance is one folk dance in Rajasthan that has been holding its place among the other dances. Though this dance is quite old, it has still not lost his charm and is widely practiced with fervor across the state of Rajasthan by the Bhawai men. There are reference to the Khayal dance as early as the 16th century – so that makes it clear what a long and varied history this dance has – which makes it one of the very few folk dances that date back to such a long time. In the 16th century and even until much later, the Jats only practiced this dance. Though initially the common understanding is that the Jats were responsible for having brought the Khayal dance into existence, now it is performed by the people of the tribe called Bhawai and today they are the ones who are performing this even after so many years. The Khayal Dance uses themes taken from folklore and legend. They are performed exclusively by men, are characterized by the powerful body movements of the performers, and include mime and chanting. Percussion and stringed instruments accompany the The performance of Khayal dance is greatly influenced by the epics of Ramayana and Mahabharata. Through this dance drama, the performers aim to educate the society about the story of the great gods and the justice they provided. It also aspires to educate the people about the significance of being good to others, being helpful to others, not hurting others and always following the path of righteousness. The Khayal dance also tries to better the society by highlighting various social issues through its performance.
Edition 12
(15 January 2021)
The art of Madhubani paintings is a traditional fashion of paintings developed in the Mithila region, in the villages of Jitwarpur and Ranti, near the city of Madhubani. Literally, the word Madhubani means "honey forest". The origins of Madhubani paintings are quite unknown. However, it is believed that King Janak, ruler of Mithila Kingdom in the 8th or 7th century BCE, had asked to develop these paintings in order to capture the moments of his daughter Sita's wedding to Prince Rama (of the Hindu epic – Ramayana). Mithila painting or Bhitti Chitra was discovered in 1934 when a massive earthquake hit Bihar. Madhubani paintings mostly depict people and their association with nature and scenes and deities from the ancient epics. Natural objects like the sun, the moon, and religious plants like Tulsi are also widely painted, along with scenes from the royal court and social events like weddings. These paintings were usually created by women on walls and floors of homes during festivals, ceremonies or special occasions. Having originated in the Mithila region in Bihar, this form of painting, also known as Mithila art, has been in practice in areas around Bihar and Nepal.
The Marathi people, also rendered as Marathi’s or Maharashtrian, are an ethno linguistic who speak Marathi, an Indo-Aryan language as their native language. Some of the dances in Marathi Culture include Dhangari Gaja, Folk Dances, Koli Dance, Lavani Dance, Povadas Dance and Tamasha. Music includes Classical, Carnatic, Odissi, Hindustani, Folk, Borgeet, Baul, Bhajan, Shyama Sangeet, Ramprasadi and Rabindra Sangeet. Marathi people celebrate a number of festivals throughout the year. These include Gudi Padwa, Ram Navami, Hanuman Jayanti, Narali Pournima, Mangala Gaur, Janmashtami, Ganeshotsav, Kojagiri, Diwali, Khandoba Festival (Champa Shashthi), Makar Sankranti, Shivaratri and Holi. Cuisine includes mild and spicy dishes. Distinctly Maharashtrian dishes include ukdiche modak, aluchi patal bhaji, Kande pohe and Thalipeeth .Meat was traditionally used sparsely or only by the well off until recently, because of economic conditions and culture. Traditional clothes for Maharashtrian males include the dhoti, also known as Dhotar, and pheta, while a choli and nine-yard saree locally known as Nauwari saadi or Lugda is for women. Traditional clothing is famous in rural areas while traditional people from cities also wear these clothing. In Marathi Culture a majority of people of all castes worship as family deity either one or two of the following Gods: (1) The Mother—goddess. (2) Shiva (3) Khandoba. The fourth God is Vithoba. He is worshipped and revered by most Marathi people but he is not the family deity of many families.