Eminent Indian Kathak dancer who is still described as the “Kathak queen” passed away on November 25, 2014? ?->(Show Answer!)

1. Eminent Indian Kathak dancer who is still described as the “Kathak queen” passed away on November 25, 2014?

Answer: Sitara Devi.

Reply

Comments

Tags

Show Similar Question And Answers

QA->Eminent Indian Kathak dancer who is still described as the “Kathak queen” passed away on November 25, 2014?....

QA->Renowned Crime novelist who was referred as queen of crime fiction and well-known for her series of detective novels starring the policeman and poet Adam Dalgliesh, passed away on November 27, 2014?....

QA->Malayalam film actor and still-photographer who was an integral part in projects of ace directors such as Adoor Gopalakrishnan, Aravindan and John Abraham, passed away on December 25, 2014?....

QA->Which world renowned Russian ballet dancer, who is considered to be one of the greatest ballerinas of the 20th century, passed away on May 2?....

QA->The eminent journalist and formerly media advisor of IndiraGandhi, who passed away in 2014 December-....

MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
...

MCQ-> Read the following passage carefully and answer the question given below it.Certain words/phrase have-been printed in the bold to help you locate them while answering some of the questions. King Hutamasan felt he had everything in the world not only due to his riches and his noble knights but because of his beautiful queen Rani Matsya The rays of the sun were put to shame with the iridescent light that Matsya illuminated with her beauty and brains At the right hand of the king she was known to sit and aid him in all his judicial probes You could not escape her deep-set eyes when you committed a crime as she always knew the and the culprit Her generosity preceded her reputation in the kingdom and her hands were always full to give people in the kingdom revered her because if she passed by she always gave to the compassionate and poor Far away from the kingly palace lived a man named Raman with only ends to his poverty as he had lost all his land to the landlord,His age enabled him little towards manual labour and so begging was the only alternative to salvage his wife and children Every morning he went door to door for some work food or money.The kindness of people always got him enough to take home But Raman was a little self centered His world began with him first followed by his family and the rest So he would eat and drink to his delight and return home with whatever he found excess This routine followed and he never let anyone discover his interest as he always put on a long face when he reached home. One day as he was relishing the bowl of rice he had just received from a humble home he heard that Rani Matsya was to pass from the very place he was standing Her generosity had reached his ears and he knew if he pulled a long face and showed how poor he was she would hand him a bag full of gold coins enough for the rest of his life enough to buy food and supplies for his family.He thought he could keep some coins for himself and only reveal a few to his wife so he can fulfill his own wishes. He ran to the chariot of the Rani and begged her soldiers to allow him to speak to the queen Listening to the arguments outside Rani Matsya opened the curtains of her chariot and asked Raman what he wanted Raman went on his knees and praised the queen I have heard you are most generous and most chaste show this beggar some charity Rani narrowed her brows and asked Raman what he could give her in return Surprised by such a question Raman looked at his bowl full of rice With spite in him he just picked up a few grains of rice and gave it to the queen Rani Matsya counted the 5 grains and looked at his bowl full of rice and said you shall be given what is due to you Saying this the chariot galloped away Raman abused her under his breath This he never thought would happen How could she ask him for something in return when she hadn’t given him anything ? Irked with anger he stormed home and gave his wife the bowl of rice Just then he saw a sack at the enterence His wife said some men had come and kept it there He opened it to find it full of rice He put his hand inside and caught hold of a hard metal only to discover it was a gold coin Elated he upturned the sack to find 5 gold coins in exact for the five rice grains If only I had given my entire bowl thought Raman I would have had a sack full of gold.According to the passage which of the following is definitely true about Rani Matsya ? (A)She was beautiful (B)She was intelligent (C)She was kind...

MCQ-> Read the data given below and answer the questions based on it. There were 3 sections namely A, B, and C in a test. Out of three sections, 33 students passed in Section A. 34 students passed in Section B and 32 passed in Section C. 10 students passed in Section A and Section B. 9 passed in Section B and Section C, 8 passed in Section A and Section C. The number of students who passed each section alone was equal and was 21 for each section.The ratio of the number of students passed in one or more of the sections to the number of students who passed in Section 7 A alone is:
...

MCQ-> Choose the best answer for each question.The production of histories of India has become very frequent in recent years and may well call for some explanation. Why so many and why this one in particular? The reason is a two-fold one: changes in the Indian scene requiring a re-interpretation of the facts and changes in attitudes of historians about the essential elements of Indian history. These two considerations are in addition to the normal fact of fresh information, whether in the form of archeological discoveries throwing fresh light on an obscure period or culture, or the revelations caused by the opening of archives or the release of private papers. The changes in the Indian scene are too obvious to need emphasis. Only two generations ago British rule seemed to most Indian as well as British observers likely to extend into an indefinite future; now there is a teenage generation which knows nothing of it. Changes in the attitudes of historians have occurred everywhere, changes in attitudes to the content of the subject as well as to particular countries, but in India there have been some special features. Prior to the British, Indian historiographers were mostly Muslims, who relied, as in the case of Sayyid Ghulam Hussain, on their own recollection of events and on information from friends and men of affairs. Only a few like Abu’l Fazl had access to official papers. These were personal narratives of events, varying in value with the nature of the writer. The early British writers were officials. In the 18th century they were concerned with some aspect of Company policy, or like Robert Orme in his Military Transactions gave a straight narrative in what was essentially a continuation of the Muslim tradition. In the early 119th century the writers were still, with two notable exceptions, officials, but they were now engaged in chronicling, in varying moods of zest, pride, and awe, the rise of the British power in India to supremacy. The two exceptions were James Mill, with his critical attitude to the Company and John Marchman, the Baptist missionary. But they, like the officials, were anglo-centric in their attitude, so that the history of modern India in their hands came to be the history of the rise of the British in India.The official school dominated the writing of Indian history until we get the first professional historian’s approach. Ramsay Muir and P. E. Roberts in England and H. H. Dodwell in India. Then Indian historians trained in the English school joined in, of whom the most distinguished was Sir Jadunath Sarkar and the other notable writers: Surendranath Sen, Dr Radhakumud Mukherji, and Professor Nilakanta Sastri. They, it may be said, restored India to Indian history, but their bias was mainly political. Finally have come the nationalists who range from those who can find nothing good or true in the British to sophisticated historical philosophers like K. M. Panikker.Along the types of historians with their varying bias have gone changes in the attitude to the content of Indian history. Here Indian historians have been influenced both by their local situation and by changes of thought elsewhere. It is this field that this work can claim some attention since it seeks to break new ground, or perhaps to deepen a freshly turned furrow in the field of Indian history. The early official historians were content with the glamour and drama of political history from Plassey to the Mutiny, from Dupleix to the Sikhs. But when the raj was settled down, glamour departed from politics, and they turned to the less glorious but more solid ground of administration. Not how India was conquered but how it was governed was the theme of this school of historians. It found its archpriest in H. H. Dodwell, its priestess in Dame Lilian Penson, and its chief shrine in the Volume VI of the Cambridge History of India. Meanwhile, in Britain other currents were moving, which led historical study into the economic and social fields. R. C. Dutt entered the first of these currents with his Economic History of India to be followed more recently by the whole group of Indian economic historians. W. E. Moreland extended these studies to the Mughal Period. Social history is now being increasingly studied and there is also of course a school of nationalist historians who see modern Indian history in terms of the rise and the fulfillment of the national movement.All these approaches have value, but all share in the quality of being compartmental. It is not enough to remove political history from its pedestal of being the only kind of history worth having if it is merely to put other types of history in its place. Too exclusive an attention to economic, social, or administrative history can be as sterile and misleading as too much concentration on politics. A whole subject needs a whole treatment for understanding. A historian must dissect his subject into its elements and then fuse them together again into an integrated whole. The true history of a country must contain all the features just cited but must present them as parts of a single consistent theme.Which of the following may be the closest in meaning to the statement ‘restored India to Indian history’?
...

MCQ->On which date in November is definitely Anjan’s father’s birthday ? I. Anjan correctly remembers that his father’s birthday is before twenty second November but after fourteenth November. II. Anjan’s brother correctly remembers that their father’s birthday is after nineteenth November but before twenty-eighth November....