Which folk dance has made a world record by entering the Guinness Book of World Records as the largest folk dance in the world? ?->(Show Answer!)

1. Which folk dance has made a world record by entering the Guinness Book of World Records as the largest folk dance in the world?

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MCQ-> Read the following passage to answer the given question Some words have been printed in bold to help you to locate them while answering some of the questions. We tend to be harsh on our bureaucracy,but nowhere do citizens enjoy dealing with their government. They do it because they have to. But that doesn’t mean that the experience has to be dismal. Now there is a new wind blowing through government departments around the world, which could takes some of the pain away. In the next five years it may well transform not only the way public services are delivered but also the fundamental relationship between government and citizens. Not surprisingly, it is the Internet that is behind it. After e-commerce and e-business the next revolution may be e-governance. Examples abound. The municipality of Phoenix, Arizona, allows its citizens to renew their car registrations, pay traffic fines, replace lost identity cards etc. online without having to stand in endless queues in a grubby municipal office. The municipality is happy because it saves $5 a transaction it costs only $1.60 to do it across the counter. In Chile people routinely submit their income tax returns over the Internet Which has increased transparency, drastically reduced the time taken and the number of errors and litigation with the tax department. Both taxpayers and the revenue department are happier. The furthest ahead not surprisingly is the small, rich and entrepreneurial civil service of singapore which allows citizens to do more functions online than any other As in many private companies the purchasing and buying of Singapore’s government departments is now on the Web and cost benefits come through more competitive bidding easy access to global suppliers and time saved by online processing of orders. They can post their catalogues on their sites, bid for contracts submit in voices and check their payments status over the Net. The most useful idea for Indians municipalities is Gov Works a private sector site that collects local taxes fines and utility bills for 3,600 municipalities across the United States. It is citizen's site which provides information on government jobs, tenders, etc .The most ambitious is the British government, which has targeted to convert 100 per cent of its transactions with its citizens to the Internet by 2005. Cynics in India will say, 'Oh, e-government will never work in India. We are so poor and we dont have computers but they are wrong. There are many experiments afoot in India as well Citizens in Andhra Pradesh can download government forms and applications on the net without having bribe clerks.In many district land records are online and this had created transparency Similary, in Dhar district to Madhya Pradesh villagers have begun to file applications for land transfers and follow their progress on the net. In seventy village in the Kolhapur and Sangli districts in Maharashtra Internet booths have come up where farmers daily check the markets rates of agricultural commodities in Marathi along with data on agriculture schemes information on crop technology. When to spray and plant the crops and buds and railway timetables. They also find vocational guidance on jobs, applications for ration cards kerosene/gas burners and land records extracts with details of landownership. Sam pitroda’s World Tel, Reliance Industries and the Tamil Nadu government are jointly laying 3,000 km of optic fibre cables to create a, Tamil Network which will offers ration cards schools college and hospital admission forms land records and pension records. If successful World Tel will expand the network to Gujarat, Karnataka and West Bengal. In kerala all the villages are getting linked online to the district headquarters allowing citizens to compare the development properties of their village with other villagers in the state. Many are still skeptical of the real impact because so few Indians have computers. The answer lies in interactive cable T.V and in Internet kiosks, Although India has only five million computers and thirty-eight million telephones it has thirty four million homes with cable TV and these are growing eight percent a year By 2005 most cable homes will have access to the Internet from many of the 700,000 local STD/PCO booths. Internet usage may be low today, but it is bound to grow rapidly in the future, and e-government in India may not be a dream.According to the passage which country has the most ambitious plan for e-governance ?
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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?
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