Current Affairs

A. PERSONALITIES AND PEOPLE 

A.1. RUKMANI DEVI ARUNDALE 

 She was an theosophist, dancer and choreographer of Bharatnatyam 

 She is considered the most important revivalist in the Indian classical dance form of Bharatnatyam from its original 'sadhir' style, prevalent amongst the temple dancers, Devadasis, she also worked for the re-establishment of traditional Indian arts and crafts.

 She was awarded the Padma Bhushan in 1956 and Sangeet Natak Akademi Fellowship in 1967. 

 Also an institution-builder who built a public cultural and educational centre known as Kalakshetra. A.2. SEHJDHARI SIKHS Who are Sehjdhari Sikhs 

 Sehjdharis are those who follow Sikhism but without being Amritdharis, or baptised. 

 They do not adopt baptismal vows of the Khalsa panth initiated by Guru Gobind Singh. 

 They might be born in Hindu, Sikh or other families but follow the Sri Guru Granth Sahib. 

 They perform ceremonies according to Sikh rites. A.3. PANCHTEERTH: B. R. AMBEDKAR

 Government will develop five places as “Panchteerth” in the honour of B R Ambedkar.

 These include Amedbkar’s birthplace in Mhow, the place in London where he stayed while studying, ‘Deeksha Bhoomi’ in Nagpur, where he took education, ‘Mahaparinirvan Sthal’ in Delhi, and ‘Chaitya Bhoomi’ in Mumbai.

B. ART FORMS DANCES 

B.1. KALAMANDALAM SATHYABHAMA 

 She was an Indian classical dancer, teacher and choreographer, known for her performances and scholarship in Mohiniyattam 

 She was awarded the Padma Shri, in 2014, for her contributions to the art and culture.

 She was well versed in Bharatanatyam, Mohiniyattam and Kathakali. 

 She is credited with purifying the Mohiniyattam form by weeding out external influences. She modified the performance techniques so that the emotive aspect of performance strictly sticks to Lasyam. Mohiniyattam 

 Mohiniyattam is the classical solo dance form of Kerala, performed by women.

 It is interpreted as the dance of ‘Mohini’, the female form taken by Vishnu to kill Bhasmasura. 

 The delicate body movements and subtle facial expressions are more feminine in nature and therefore are ideally suited for performance by women.

 The Travancore Kings structured this dance form into the present day classical format. 

 It is characterized by graceful, swaying body movements with no abrupt jerks or sudden leaps.

 Mohiniyattam lays emphasis on acting, where the dancer identifies herself with the character and sentiments existing in compositions and expresses through hand gestures and facial expressions. FOLK AND TRIBAL DANCES B.2. GOTIPUA DANCE (ODISHA) 

 Gotipua, a traditional dance form of Odissi folk in praise of Lord Jagannath. 

 Etymologically, ‘Gotipua’ in Oriya means ‘single boy’. But the dance is performed in groups. 

 This dance form is said to have originated around the beginning of the 16th Century.

 When the Mahari (Female dancers in temples) dance form started declining, the male dancers continued the tradition by dressing up as the female dancers. 

 In Gotipua, the dancers themselves sing.

 The boys are recruited to learn the dance at a very young age, and undergo training until their adolescence, when their androgynous appearances begin to change. 

B.3. PURULIA CHHAU (WEST BENGAL) 

 Chhau Dance is one of the most renowned tribal martial dances of India. The dance is performed with a Mask, which gives it the name Chau (Chhaya means mask). 

 Masks and elaborate headgear are the ornamental apparels of the Chhau dancers. The dance is an essential part of the Gajan Festival that celebrates Lord Shiva.

 The dance is themed on the stories of Ramayana and Mahabharata. 

 The dance is accompanied with loud beats and instruments like drum and marui. 

B.4. CHAAM OF SIKKIM MONASTERIES 

 Chaam is one of the forms of ritual dance of the Lamas, which features colorful masks and are held at various monasteries during the festivals. 

 Costumed Lamas with painted masks, ceremonial swords and sparkling jewels, leap and swing to the rhythm of drums, horns and music. 

 There are several types of Chaams like Singhi Chaam dedicated to the Mythical Lion,the Yak chaam dedicated to the Yaks. 

B.5. BADHAI DANCE (BUNDELKHAND) 

 Badhai is one of the popular folk dance of madhya pradesh, which is very common in bundelkhand region. 

 Badhai is performed to thank Goddess Shitala and seek her blessings. 

 This particular rhythm is known as Badhai from which this folk dance has acquired its name. 

 Animals also take part in Badhai Nritya and in many villages, mares (female horses) are seen at such performances. 

 The musical instruments used are Dhapla, Timki, Lota, Rantula & Algoja. 

B.6. PANTHI DANCE (CHHATTISGARH) 

 This dance form is a ritual of the Satnami community. The dance is very expressive in its depiction and is performed to the accompaniment of melodious songs. 

 It is mainly performed by the male dancers. The performance of this dance requires great flexibility and stamina as it involves various challenging steps. 

 The performers dance around a Jaitk-hamb set up for the occasion, to the songs eulogizing their spiritual head and reflects the Nirvana philosophies like those of Kabir, Dadu etc.

 Traditional folk instruments are used which comprise of Mridanga and Jhaanj, drums are used occasionally. 8 www.visionias.in 

B.7. DOLLU KUNITHA DANCE (KARNATAKA)

 Dollu Kunitha is a popular drum dance of Karnataka. 

 The songs used in this dance usually have religious and battle fervour. 

 Large drums are adorned with coloured clothes and hang around the necks of men.

 The main emphasis is on quick and light movement of the feet and legs. 

 Dollu Kunitha forms a part of the ritualistic dances of the dodavāsīs of Karnataka. 

B.8. PUNGCHOLOM (MANIPUR) 

 It is derived from martial arts and also the traditional Maibi Jagoi dance. It’s a tradition practiced since the seventeenth century. 

 The traditional costume consists of turbans,dhothis and a necklace made of tulsi seeds. 

 It is supposed to represent Brahma,Vishnu and Shiva and is believed to give positive energy to practitioners. 

 It is performed in Manipur during weddings , temple functions and even funerals. 

 A pung, (Manipuri name for Drum) ,hangs around each dancer’s neck. The dancers jump and swirl high in the air once the dance progresses. 

B.9. SINGHI CHAM (THE SNOW LION DANCE’ OF SIKKIM)

 It is a masked dance of Sikkim, depicting snow lion – the cultural symbol of the state. 

 The dancers are attired as snow lions, the guardian deity of the land as decreed by Guru Padamsambhava. 

 He is revered as the teacher who first spread the word of Buddha in Bhutan, Sikkim, Tibet etc. 

 The dance performed in autumn is also a tribute to mount Khan-Chen Dzongpa, or the Kanchenjunga, worshipped in the land. The mountain is believed to resemble the legendary snow lion.

 B.10. CHERAW (BAMBOO DANCE OF MIZORAM) 

 It is believed that the dance had existed way back in the 1st Century A.D., while the Mizos were still somewhere in the Yunan Province of China, before their migration into present Mizoram. 

 Some tribes living in South East Asia have similar dances in one form or other with different names. 

 Men sitting face to face on the ground tap long pairs of horizontal and cross bamboo staves open and close in rhythmic beats. 

 Girls in colorful Mizo costumes of 'Puanchei', 'Kawrchei'. Vakiria' and 'Thihna' dance in and out between the beats of bamboo. 

 This dance is now performed in almost all festive occasions. Gongs and drums are used to accompany the dance. 

B.11. THAPETTA GULLU (ANDHRA PRADESH ) 

 This is the dance form of the Srikakulam district of Andhra Pradesh. 

 In this dance more than ten persons participate, singing songs in the praise of the local goddess. 

 The dancers use drums, which are hung around their necks to produce varied rhythms. 

 Tinkling bells around the waist form a distinctive part of the dancers’ costumes. 

 Only men perform this dance traditionally 

 The themes and the subjects are taken from the Ramayana and Mahabharata 

B.12. RAUF (J&K)

 It is one of the most popular traditional dances of Kashmir. 

 This beautiful dance form graces all the festive occasions, especially Id and Ramzan days. 

 The dance is performed by a group of women facing each other lined up in two lines and dressed in beautiful costumes. 

 The dance has simple footwork which also called as Chakri in local language.

 The dance is often performed in Spring season to celebrate good weather. 

B.13. MAYUR DANCE (U.P.) 

 It is a dance popular in the Braj region of Uttar Pradesh.

 The Mayur or peacock dance is created from an episode in the love lore of Radha and Krishna.

 Radha, pining for Krishna after a brief separation, decides to console herself by the sight of peacocks.

 He eventually yields to Radha's entreaties and himself appears in the guise of a peacock to dance with his beloved. B.14. RATHWA TRIBAL DANCE (GUJARAT) 

 The Rathwas, who dwell in Rath-Vistar, the hilly area of the southeastern part of Gujarat state, perform the Rathwa ni Gher dance on the occasion of Holi also known as Kavant festival. 

 The Gher (dance with music) performances begin on Dhulendi, which is, literally, 'the day of flying coloured dust'. 

 Both men and women perform the Gher together, in groups of 20 to 25. 

 Of all Rathwa dances performed on various occasions linked with the cycle of seasons, Rathwa ni Gher stands out as exquisite, colourful and spectacular. 10 www.visionias.in 

 B.15. JAGOR FOLK DANCE 

 A dance drama of Goa based on no continuous plot or narrative 

 Performed jointly by the Hindus and Christians

 To offer prayer to deity to protect the village from the river water. It is faith that it averts natural calamities and quarrels among themselves. 

 Literal meaning of Jagor is “jagran”. The strong belief is that the night long performance, awakens the deities once a year and they continue to remain awake throughout the year guarding the village. 

 Perni Jagor is the ancient mask dance – drama of Goa, performed by Perni families, using well crafted and painted wooden masks, depicting various animals, birds, super natural power, deities, demons and social characters. 

 The performance is accompanied by Goan folk instruments like Nagara/Dobe, Ghumat, Madale etc.