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Bhavai Is A Genre Of Folk Dance Popular In Rajasthan
Bhavai, also known as ''Vesha'' or ''Swang'', is a popular folk theatre form of western India, especially in Gujarat. Etymology ''Bhavai'' may derive from the Sanskrit word ''Bhava'', meaning expression or emotion. It is also associated with Hindu goddess Amba. ''Bhav'' means universe and ''Aai'' means mother, so it may be also considered an art form dedicated to the Mother of the Universe, Amba. Bhavai is also known as ''Vesha'' or ''Swang'', which literally means 'get-up'. History Bhavai is believed to have originated in the 14th century. Asaita Thakar is traditionally credited for its origin. Folklore In 14th century, Ganga, daughter of Unjha headman Hema Patel, was kidnapped by Muslim subedar. Their family priest, Asaita Thakar who was a brahmin, went to subedar claiming Ganga as his daughter. To prove, subedar asked him to dine with Ganga as during those time, brahmins did not dine with lower castes. He dined with her to save her but upon return, he was outcaste b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhavai Gujrat (2)
Bhavai, also known as ''Vesha'' or ''Swang'', is a popular folk theatre form of western India, especially in Gujarat. Etymology ''Bhavai'' may derive from the Sanskrit word ''Bhava'', meaning expression or emotion. It is also associated with Hindu goddess Amba. ''Bhav'' means universe and ''Aai'' means mother, so it may be also considered an art form dedicated to the Mother of the Universe, Amba. Bhavai is also known as ''Vesha'' or ''Swang'', which literally means 'get-up'. History Bhavai is believed to have originated in the 14th century. Asaita Thakar is traditionally credited for its origin. Folklore In 14th century, Ganga, daughter of Unjha headman Hema Patel, was kidnapped by Muslim subedar. Their family priest, Asaita Thakar who was a brahmin, went to subedar claiming Ganga as his daughter. To prove, subedar asked him to dine with Ganga as during those time, brahmins did not dine with lower castes. He dined with her to save her but upon return, he was outcaste b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nayak (title)
The Nayak is a historic Indian title conferred on Sardars, who were governors of feudal states in the Middle Ages. Today it is also a surname. Nayaks are mostly Hindu and few Sikhs, who follow Hinduism and Sikhism respectively. As a surname Today, the surname ''Nayak'' is used by various castes and ethnic groups across India. Mostly they belong from forward class and mainly follows Sikhism and Hinduism. * Nayak, or Naik is a title used by Koli caste of Maharashtra. The Princely State of Jawhar was founded by a Koli Nayak Jayaba Mukne around 1300. The Maval region was known as Koli country of fifty two valleys in Maratha Empire. Each valley was controlled by a Koli Nayak and the Sirnayak, or head chief, lived at Junnar, and presided over the gotarni, or caste council. the Fort of Sinhagad was built and ruled by Koli chief Nag Nayak who resisted the Mughal Sultan Muhammad bin Tughluq for eight months. the Kolis of Maharashtra revolted against Mughal ruler Aurangzeb under t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pransukh Nayak
Pransukh Manilal Nayak (23 April 1910 – 12 March 1989) was an Indian Gujarati theatre actor, director, manager, and playwright from Gujarat, India. Born into a family of traditional theatre actors, he joined theatre troupes at a young age and rose to fame for his comic roles and female impersonations. His performances as a woman from Banaras in ''Kumali Kali'' and as Jivram Bhatt in '' Mithyabhiman'' were acclaimed. During his long career, he worked with many theatre companies and gave 22,455 performances, earning a listing in the 1989 ''Guinness Book of Records''. Early life Pransukh Nayak was born on 23 April 1910 in a village called Jagudan, which is now in Mehsana district, Gujarat, to a family of traditional Bhavai actors. His father Manilal Mulchand was a popular Bhavai actor and the people of nearby villages flocked to see his performances in ''vesha''s (acts) of '' Ramapir'' and '' Chhelbatau''. Pransukh had participated in one performance when he was around seven o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Muljibhai Nayak
Muljibhai Khushalbhai Nayak (1892–1971) was a Gujarati theatre director and actor from Gujarat, India. He was well known for his heroic and Bhavai roles. Biography Muljibhai Nayak was born in 1892 in Umta village (now in Mehsana district, Gujarat) in a family of Bhavai performers. He started his stage career at the age of six or seven for a salary of one rupee in Arya Natak Mandali. He acted in many roles including Ranuka in ''Bedhari Talwar'', Mokalkunwar in ''Chandravijay'', Nanda in ''Veervijay'' (1901) produced by Phoenix Gujarati Natak Mandali. He worked with Framji Ratanji Appu's Parsi Natak Mandali. He was trained in theatre by Amrit Keshav Nayak and in Urdu by Narayanprasad 'Betab'. He played a role of Kumud in ''Kumudsundari'' produced by Subodh Natak Mandali. He joined Deshi Natak Samaj in 1904 and later became a partner in it. In 1914, he joined Saraswati Natak Samaj for a salary of 75 rupees. His roots in folk theatre, as well as experience in conventional th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhavai Dance
Bhavai is a genre of folk dance popular in Rajasthan state in northern India. The male or female performers balance a number of earthen pots or brass/metal pitchers as they dance nimbly, pirouetting and then swaying with the soles of their feet perched on the top of a glass bottles, on the edge of the sword, on the rim of a brass/metal ''thali'' (plate) and on the broken glass during the performance. The first Bhavai Dancer of India was Mrs. Krishna Vyas Chhangani, who was born in Jodhpur (Rajasthan). The Dance form consists of veiled women dancers balancing up to 22 brass/metal pitchers on their head with lit the fire up to 9 pitchers as they dance nimbly, pirouetting and then swaying with the soles of their feet perched on the top of a glass or on the edge of the sword. There is a sense of cutting-edge suspense and nail-biting acts in the dance. The accompaniment to the dance is provided by the male performers singing melodious songs and playing a number of musical instrum ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, with no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sarangi
The sārangī is a bowed, short-necked string instrument played in traditional music from South Asia – Punjabi folk music, Rajasthani folk music, and Boro folk music (there known as the ''serja'') – in Pakistan, India and Bangladesh. It is said to most resemble the sound of the human voice through its ability to imitate vocal ornaments such as ''gamaks'' (shakes) and ''meends'' (sliding movements). The sarangi (Nepali) is a different instrument, traditional to Nepal. History Sarangi derives its name from the bow of Lord Vishnu and probably as it is played with a bow it is named sarangi. According to some musicians, the word ''sarangi'' is a combination of two words: ''seh'' ('three' in Persian) and ''rangi'' ('coloured' in Persian) or Persian ''sad-rangi'', ''sad'' for 'hundred' in Persian ('hundred coloured) corrupted as ''sarangi''. The term ''seh-rangi'' represents the three melody strings. However, the most common folk etymology is that ''sarangi'' is derived from ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jhanjha
Jhanjha was Shilahara ruler of north Konkan branch from 910 CE – 930 CE. Vappuvanna was followed by Jhanjha . He is mentioned by Al-Masudi as ruling over Samur (i.e., Chaul in the Kolaba district) in 916 CE. He was a very devout Shaiva. He is said to have built twelve temples of Shiva and named them after himself. According to an unpublished copper-plate in the possession of Pandit Bhagwanlal, Jhanjha had a daughter named Lasthiyavva who was married to Bhillam, the fourth king of the Chandor .(Dept. Gazetteer: 2002) See also * Shilahara References * Bhandarkar R.G. (1957): Early History of Deccan, Sushil Gupta (I) Pvt Ltd, Calcutta. * Fleet J.F. (1896): The Dynasties of the Kanarese District of The Bombay Presidency, Written for the Bombay Gazetteer. * Department of Gazetteer, Govt of Maharashtra (2002): Itihaas : Prachin Kal, Khand -1 (Marathi) * Department of Gazetteer, Govt of Maharashtra (1960): Kolhapur District Gazetteer * Department of Gazetteer, Govt of Maharashtra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pakhawaj
The pakhavaj is a barrel-shaped, two-headed drum, originating from the Indian subcontinent, the oldest version of double sided drums and its descendants are mridangam of Southern India and kendang of Maritime Southeast Asia and other South Asian double-headed drums. Its older forms were made with clay. It is the percussion instrument most commonly used in the dhrupad style of Indian classical music and less often used as a rhythm accompaniment for various other sub-forms of music and dance performances (e.g. kathak, odissi, marathi). It has a low, mellow tone that is quite rich in harmonics. The sides of the pakhawaj are made with animal skin (often goat, cow skin). The pakhavaj players place the instrument horizontally in front of themselves as they sit on the floor with legs crossed. The players may sometimes place a cushion under the narrower treble face to lift it slightly. A right-handed person places the larger bass-skin on the left side and the treble skin on the right. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindi
Hindi (Devanāgarī: or , ), or more precisely Modern Standard Hindi (Devanagari: ), is an Indo-Aryan language spoken chiefly in the Hindi Belt region encompassing parts of northern, central, eastern, and western India. Hindi has been described as a standardised and Sanskritised register of the Hindustani language, which itself is based primarily on the Khariboli dialect of Delhi and neighbouring areas of North India. Hindi, written in the Devanagari script, is one of the two official languages of the Government of India, along with English. It is an official language in nine states and three union territories and an additional official language in three other states. Hindi is also one of the 22 scheduled languages of the Republic of India. Hindi is the '' lingua franca'' of the Hindi Belt. It is also spoken, to a lesser extent, in other parts of India (usually in a simplified or pidginised variety such as Bazaar Hindustani or Haflong Hindi). Outside India, several ot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brahmana
The Brahmanas (; Sanskrit: , ''Brāhmaṇam'') are Vedic śruti works attached to the Samhitas (hymns and mantras) of the Rig, Sama, Yajur, and Atharva Vedas. They are a secondary layer or classification of Sanskrit texts embedded within each Veda, which explain and instruct on the performance of Vedic rituals (in which the related Samhitas are recited). In addition to explaining the symbolism and meaning of the Samhitas, Brahmana literature also expounds scientific knowledge of the Vedic Period, including observational astronomy and, particularly in relation to altar construction, geometry. Divergent in nature, some Brahmanas also contain mystical and philosophical material that constitutes Aranyakas and Upanishads. Each Veda has one or more of its own Brahmanas, and each Brahmana is generally associated with a particular Shakha or Vedic school. Less than twenty Brahmanas are currently extant, as most have been lost or destroyed. Dating of the final codification of the ''B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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