Tourism in Ladakh

Tourism in Ladakh incorporates the tour to the entire land which unwrap the contrasts of freezing winds and burning hot sunlight. Ladakh is surrounded by the Great Himalaya Mountain Range, Kunlun Mountain Range on one side and the Karokaram Range on the other. Ladakh is the land offers overwhelming natural beauty summoning the more intense and adventurous visit that appeal the tourists. Ladakh also offers the river rafting, mountaineering and trekking. Summer is the best time to visit Ladakh as the weather during the summer remains pleasant and creates the perfect zeal to unfold and relish the beauty of Ladakh. The trekking season in Ladakh starts in June and continues till the end of September. 

Monasteries in Ladakh 
Ladakh includes the visit to the monasteries that are scattered throughout the land along with several other holy places of other religions which are relatively fewer in number. The central part of Ladakh has the greatest concentration of major Gompas or monasteries due to the royal patronage that existed in Ladakh in the previous eras. Monasteries of Phiyang Monastery, Hemis Gompa and Chemrey Monastery belong to the Namgyal dynasty period and are considered to be the places of foremost attraction during their monastic festivals. The reformist group monasteries are also well represented in central Ladakh by Thikse Monastery, Likkir Monastery, Rhidzong Monastery, Zangla Monastery and Spituk Monastery. Apart from these monasteries, there are some other monasteries which are located in Sani, Padum, Stongdey in Ladakh. 

Valleys in Ladakh 
Drass Valley known for its Brokpas, Nubra Valley, better known as the orchard of Ladakh, Rupshu Valley with its salt water lake, Shyok Valley with the river of death, Suru valley with its snowfalls, Rangdum Valley, Leh District, Kargil District, Zangla, Zanskar, Padum, Markha Valley and Shey; all are the prime attractions in Ladakh. To know more read:

http://www.indianetzone.com/4/ladakh.htm

Indian Street Food varies from region to region. The street vendors offer hot fresh, lip smacking snacks which are very filling. These foods are popular mainly because they are available at half the price of any restaurant food. Take-out food, junk food, snacks, and fast food are synonymous with street food and all of these can be purchased on the foot path without entering any building. 

North Indian Street Food 
The typical North Indian street food is Chaat -a generic name for all tangy, spicy not very nutritious delicacies. Chaats like Aloo Tikki Chaat, Fruit Chaat, Samosa Chaat and Kachori Chaat are very deliciously famous. Panipuris, Aloo Tikki, Puri-Subzi, Chola Bhatura, Kulcha Chana, Dahi Bhalla and Pindi Chana are other varieties of North Indian street food available mostly in North India. The dhaba style Punjabi Aloo Parantha is world famous street food of India. 

East Indian Street Food 
In the Eastern part of the country a typical street food is the Chop which is a version of potato patties, dipped in flour batter and again deep fried. This type of fritters is prepared with various kinds of vegetables which are popularly known as "Telebhaja". It is usually consumed as an evening snack accompanied with Jhaal muri. It is basically a mixture of puffed rice with oil, onion and spices is also very popular in Kolkata. Apart from this chop-muri combination, Ghugni, Ghoti-Garam; a spicy mixture, Aloo Kabli; typical Bengali style chaat and Kulfi are also some street foods that people crave for. The various kinds of rolls and momo are another variety of fast food found in Kolkata. 

South Indian Street Food 
In the Southern part of India, thattu dosa; a light rice-flour crepe fried in coconut oil and served with coconut chutney. Idli, dosa, vada and uthappam are the common street foods of south. Other street foods include bajji, pazhampori, bisibele bath, spicy omelettes, pork fry, and kotthu paranthas. In Tamil Nadu there is the thalluvandi, the cart in which the foods are sold are similar to Kerala's thattukada's popularly called "Kaiyendhi Bhavans". To know more read:

http://www.indianetzone.com/7/indian_street_food.htm

Pandit Uday Shankar, Indian Dancer

Pandit Uday Shankar was born on December 8, 1900 and became a world-renowned classical dancer and choreographer in India. Vishnudharmottarapurana mentions Vina tu nrtta sastrena chitrasutram sudurvidam- without the knowledge of dance the art of painting is an unattainable ideal. Uday Shankar obviously was well acquainted with this inter-relationship and inter-dependence of arts instinctively. In 1923, when the Russian ballerina Anna Pavlova, asked him to fashion dance with Indian themes, he choreographed Krishna and Radha possibly in an imaginative manner. He aligned Anna Pavlova, the greatest ballerina of the world, and started his grand sojourn of dance, looking back was not destined and rising the ladder of fame was a self willed affair. From painting to dancing he made a smooth transition. It was his graceful grandeur that made Indian a world event in the domain of dance. Liberating himself from imitative culture he transgressed the known world of cultural dance laying emphasis on seeking the essence of the cultural legacy giving it a distinct Indian identity. 

Udaipur, a colorful town in Rajasthan happens to the hometown of an aristocratic Bengali family, where Pandit Uday Shankar was born. The ancestors of Pandit Uday Shankar belonged to Narail (in modern-day Bangladesh). Pandit Uday Shankar acquired the formal training in the art in Bombay, while he studied at the Royal College of Art in London. From his very adolescence he was conspicuously interested in magic, handling camera music stage performance of various sorts. Uday Shankar's father made himself comfortable as his mentor and advisor; he inhabited a world of Sanskrit scholarship and Indian princely states. Uday Shankar, a Bengali Brahmin, was raised in a village near Varanasi and in the princely state of Jhalawar, where his father held a series of official posts in this small Rajasthani kingdom. His education continued in Mumbai and in London, where he went to join his father in 1920. So when he sailed back to India at age of 30, after ten consecutive years in Europe and America, he had to rediscover his land. After a year he left India again, taking his family to Paris, the base for his first dance company of Indian artists, co-founded with Swiss sculptress Alice Boner. 

The creative heads noticed Pandit Uday Shankar when he created wonderful ballets based on Hindu themes like Radha-Krishna, Hindu weddings and other oriental themes for Anna. He loved to fuse the dance forms and make a blend of Eastern and Western. During the 1930s, Uday travelled across the western world along with his own troupe. His version of western theatrical techniques to Indian dance made his art massively popular both in India and the West. His brother Ravi Shankar helped him to popularize Indian classical music in the West. To know more read:

http://www.indianetzone.com/37/pandit_uday_shankar_indian_dancer.htm

Regional Theatre in India

Regional theatre in India encompasses all the regional flavour of the Indian states. The multilingual aspect of India's poetic articulation amidst Indian theatre, have been severely appreciated by people around the country. Diverse culture, varied religion and most importantly the multi-dimensional nature of Indian language has played a great role in shaping up India's rich heritage and culture. The fusion of different Indian language and the union of varied Indian traditions from different region have enriched India's ethnicity in quite a large way since the remote past. India, as a multilingual and multi religious state cannot be allied with one particular kind of trend and aspect in its theatres and dramas. This is the reason why the deep fervor of Bengali theatre has gelled well with the passion of Hindi Manipuri, Kannada and Marathi theatre and has given birth to a whole new concept of "Indian theatre". It is right after the independence of India, Indian theatre in different Indian languages and regions developed as an important element in taking theatre to the further level of maturity. 

Malayalam Theatre, Gujarati Theatre, Kannada Theatre all has its roots associated with the British rule as the seed of the contemporary drama in India was sown during that era. Bengali theatre started with an intention of private entertainment however gradually it became the weapon to illustrate the dislikes and frustration of the British imperialism in India. As an art form Bengali theatre has its roots associated with the British Raj. Although started as private entertainment in the early 19th century Bengali theatre gradually became not only an eminent art form but also started playing the major role in illustrating the discomforts of the administration of British Empire in India. The year was 1947 and the day was 15th August - Indian Independence Day. To know more read:

http://www.indianetzone.com/4/multi_lingual_regional_theatre_india.htm

Versova Beach, Mumbai

Versova Beach is a beautiful place for tourists which offer a magnificent and picturesque coastline, which is comfortably situated in Greater Mumbai in the western Indian state of Maharashtra. This beach is separated from Juhu Beach, attributable to a creek and the beautiful Arabian Sea fills the sandy coastal area with its cooling water. It is a typical fun destination, and the residents of this place are the oldest inhabitants of the place and they are the 'Kolis' - a fishingcommunity. This place welcomes tourists round the year, but September and January offers the best time for the tourists. Unlike the Marine Drive, which is guarded by tetra pods, Versova beach uses massive rocks to buffer the buildings from the waves.

This is an upmarket neighbourhood in the Andheri area of northern Mumbai. It was part of the Portuguese empire up to 1739, when the Portuguese lost this part of their empire to the Marathas. During ancient ages, Versova was amongst the most significant ports which were utilized for port-side transactions. 

Travellers can indulge in some leisure activities at Versova Beach like playing water sports. Snorkelling is an interesting option as much as purchasing some fresh fishes from this beach, or spending time in some horse or donkey rides along the shores and watching the local fishermen catch fishes from the sea. The beach can be safely termed as a photographer's paradise, including the famous festivals which are observed here like the 'Coconut Day'. One can practise swimming, cycling, jogging and all kinds of physical exercise in this beautiful Indian beach.To know more read:

http://www.indianetzone.com/58/versova_beach.htm

East Indian Dances, Indian Regional Dance, Indian Dances

East Indian Dances comprise of an eye-catching combination of classical, folk and tribal dance forms that replicate the history of the region spanning over a time frame of hundred years. As a result of developing over several eras, the dances of eastern India have been catalysed by various factors. 

East Indian Dances are the outcome of several religious inspirations, cultural expressions, as well as entertainment. Eastern India; coloured by the rainbow of cultural and linguistic characteristics; even thrives to be a standalone barricaded by the shadow lines of historical influences intermingled with the existing traditions of the land. Eastern India had been the historical centre of the Kalinga, Sunga and Pala empires, who had the monopoly of the political reigns to their kitty. The states also experienced the rule of Mughals and then the British empires that influenced the culture, music and tradition of eastern India a lot. Thus the major dances that emerged as the popular dance forms of the region include several folk and tribal dances along with classical dance forms. Some of the East Indian Dances are as follows: 

Chhau Dance: Chhau Dance is one of the most renowned tribal martial dances of India. The dance is known as Seraikella Chhau in Jharkhand, Mayurbhanj Chhau in Odisha and Purulia Chhau in West Bengal. Since the dance is supposed to have originated in the Purulia district of Bengal, it is known as such in the state. Chhau masks have mainly human features slightly modified to suggest what they are portraying. The performer's face being expressionless, the dancer's body communicates the total exciting and psychological tensions of a character. His feet have a sign language; his toes are lively, functional, and expressive, like those of animal. 

Gaudiya Nritya: The Gaudiya Nritya is a classical Bengali Dance form, performed with drama, history, poetry, colour and music. It’s an antique classical dance form originated in West Bengal, it’s mostly a temple art meant for spiritual expression. To know more read:

http://www.indianetzone.com/40/east_indian_dances.htm

Agra Gharana, Hindustani Classical Music

As a khayal gharana,the Agra gharana took shape during the course of the 19th century, through the grand-disciples and descendants of Shyamrang. Of all the known khayal styles, it is the Agra singers who proudly parade their dhrupadic roots and influences most in their renditions. There are some rather outstanding features of this gayaki most of which are typical to the Agra gharana. The gharana adopts a kind of voice production which relies on a flatter version of the vowel sound "a"', which makes its music agreeable to rhythmic variations and is best suited for a deep masculine voice. Emphasis is laid on bold, full-throated and robust voice production, and singing in the lower register (mandra) is favoured. Keeping in tune with its dhrupadic origins, the singers use broad and powerful ornamentations (gamaks), extensive glides (meends), and resonant articulations of notes. As with the Gwalior gharana, the Agra singers accentuate the importance of the bandish and its methodical exposition. Singers following Faiyaz Khan's style resort to the dhrupadic nom tom alaap before singing the bandish. The singers of this gharana are also great masters over laya-kari or the rhythmic component. In fact, laya-kari is the lasting foundation on which the singers build the edifice of the bandish. In the hands of the best exponents, the dialogue between the singer and the tabla player often turns a dramatic event. Their tihais are eagerly awaited, as are their nifty ways of arriving at the same, by building up anticipation within the listener.

As a khayal gharana,the Agra gharana took shape during the course of the 19th century, through the grand-disciples and descendants of Shyamrang. Of all the known khayal styles, it is the Agra singers who proudly parade their dhrupadic roots and influences most in their renditions. There are some rather outstanding features of this gayaki most of which are typical to the Agra gharana. The gharana adopts a kind of voice production which relies on a flatter version of the vowel sound "a"', which makes its music agreeable to rhythmic variations and is best suited for a deep masculine voice. Emphasis is laid on bold, full-throated and robust voice production, and singing in the lower register (mandra) is favoured. Keeping in tune with its dhrupadic origins, the singers use broad and powerful ornamentations (gamaks), extensive glides (meends), and resonant articulations of notes. As with the Gwalior gharana, the Agra singers accentuate the importance of the bandish and its methodical exposition. Singers following Faiyaz Khan's style resort to the dhrupadic nom tom alaap before singing the bandish. The singers of this gharana are also great masters over laya-kari or the rhythmic component. In fact, laya-kari is the lasting foundation on which the singers build the edifice of the bandish. In the hands of the best exponents, the dialogue between the singer and the tabla player often turns a dramatic event. Their tihais are eagerly awaited, as are their nifty ways of arriving at the same, by building up anticipation within the listener.  To know more read:

http://www.indianetzone.com/27/agra_gharana_khayal_indian_music.htm

Coins Of Contemporary India

New coins were issued in independent India in 1950. The coins followed the earlier Indo-English coins in respect of their value, weight, metal and fabric. Gradually the designs and patterns of the coins changed significantly to eliminate the vestiges of foreign domination. The new designs were introduced which incorporated the symbols representing India's past glory and the hopes and aspirations for the future. Thus, these coins can easily be considered the first stepping stone to the contemporary coinage system in India. 

The coins of independent India included image of the Lion Capital of Asoka's Pillar at Sarnath, the symbol of non violence and peace, which the Indian republic had adopted as its insignia. The superscription 'Government of India' took the place of the name of the king. On the reverse side of the coins of rupee, half rupee and quarter rupee denominations, a new motif, a pair of ears of wheat, was placed on the two sides of the English numerals showing the value of the coin. The coins also bore the value in Hindi and below in English and the date below. The rupee coins were security-edged, whereas the half rupee and quarter rupee coins had a milled edge. The reverse sides of two annas, one anna and half anna were embellished with the figure of a bull, adapted from the base of the Lion Capital. The reverse side of the pice coin of this time contained the figure of horse. The rupee, half rupee and quarter rupee were made in pure nickel, the two annas, one anna and half anna were made in cupro-nickel and the pice was made of bronze. 

The metric or decimal system was introduced in 1957 in India. Under the new system, the Rupee retained its original value but instead of being divided into 64 pice, it was divided into 100 units that were termed as 'Paisa' and it became the primary unit of Indian currency. Even today the same system is followed by the contemporary coins in India.With the introduction of the metric coinage, the earlier familiar equivalents of half rupee and quarter rupee were retained in their original round shape and in pure nickel with the new designations 50 paise and 25 paise respectively. During this time, new denominational coins of 10, 5 and 2 paisa were introduced in cupro-nickel and one paisa in bronze. The modified coins of independent India bore the word 'India' in English and 'Bharat' in Hindi on the right and left of the Asokan pillar-capital respectively, replacing the Government of India. The reverse side of the coin was designed as the obverse side with a slight change of the word 'rupaya' instead of 'ek rupaya' in Hindi and the ears of wheat was replaced by the ears of corn. Now the value in English numerals was placed in the centre in bold letters and the denominations were mentioned in two forms. To know more read:

http://www.indianetzone.com/42/coins_contemporary_india.htm

Indian Holy Cities

Indian Holy Cities are places where people go to worship their revered deities. People consider a particular place as holy because of the presence of a particular temple. Most of the cities that are considered holy find reference in the sacred Indian Epics of different religious communities. A large number of pilgrims throng to the holy cities to offer prayers to their sacred deities. Indian Holy Cities are places where geography and history are so closely linked. Every holy city may have a history to tell. 

Haridwar 
Haridwar is one of the holy cities of Hindus situated in the Haridwar District of Uttarakhand. The word 'hari' means God and 'dwar' means gate. Therefore Haridwar means the Gateway to God. It is said that devas have left their footprints in the place. According to the Hindu Mythology, Haridwar is one among the four sites where drops of Amrita (elixir of immortality) spilled over from the pitcher which was carried away by the celestial bird Garuda, the vehicle of Lord Vishnu. 

Varanasi 
As per Jain mythology, places around Varanasi Is related to the birth of four Tirthankars, namely Parshav, Suparshav, Chandraprabhu and Shreas. This makes Varanasi an important pilgrimage and attracts numerous Jain devotees. Digambar and Shwetambar are the two main Jain temples standing adjacent to each other and are dedicated to Lord Parshvanatha, the 23rd Tirthankar. The architecture of these temples is a treat to the eyes. 

Ajmer 
Ajmer is one of the most pious destinations for Muslims. The mortal remains of Khwaja Muinuddin Chisti were buried in the Dargah Sharif, situated in Ajmer, which forms the centre of Islamic religious faith. It is believed that the wishes of a pure heart are always fulfilled in this place. The enchanting quwwali programs organized here during the popular annual Urs festival are also a point of attraction for the tourists all over the world. To know more read:

http://www.indianetzone.com/4/hindu_holy_cities.htm

Konark Beach, Puri District, Odisha

Konark Beach is located in Puri district of Odisha. This beach is considered one of the most beautiful beaches in India because of its long stretch of clean sparkling sand and tranquil ambience. Konark Beach is an ideal tourist destination and offers numerable pilgrimage spots which are located close to this serene beach. Various ancient temples in its vicinity are a rich reflection of Puri's architectural grandiose. 

Pilgrimage Tourism in Konark Beach 
At a distance of ten kilometres from Konark Beach, the Ramchandi Temple is situated. Konark Beach offers great view for sunrise and sunset and also great opportunities for fishing. The famous Sun Temple is situated at a distance of three kilometres from the beach. It is more calm and quiet than the beach in Puri and is ideal for sunbath. 

Sun Temple or Konark Temple 
The Sun Temple at Konark is an incredulous combination of Orissan temple architecture and one of the most renowned global architecture. Located on the seashore of Puri, Orissa, this temple is dedicated to Lord Surya or the Sun God. It is based at a distance of nearly 65 km from Bhubaneshwar and is made of beautiful black stone. 

Leisure Tourism in Konark Beach 
The only Leisure Tourism in Konark Beach is the Konark Festival. Konark Festival is held every year in the month of December, during the first five days of the month. During this colourful event, dancers perform classical dance forms near the Sun Temple, under an open-air stage. 

Adventure Tourism in Konark Beach 
Adventurous tourists can try their luck at fishing near the Konark Beach, or enjoy a sun bath on the beach which overlooks the ocean. During the occasion of 'Magha Saptami', tourists from the entire country throng Konark Beach in order to take a dip in the sacred waters. It is the ideal place for coastal treks. To know more read:

http://www.indianetzone.com/17/konark_beach.htm

Indian Redstarts, Indian Birds

The Indian Subcontinent provides suitable habitats to various species of birds for residing and nesting. Redstarts are no exception in this regard. Various species of redstarts have been recorded in different parts of India. These redstarts are described below:

Black Redstart 
Some of the states in India where Black Redstart has been recorded are Maharashtra, Haryana, Punjab, and Himachal Pradesh. Male and female Black Redstarts differ in terms of physical features. The adult male is identified as a bird with dark grey or black upperparts and orange-red lower parts. More specifically, the bird has blackish head, breast and wings. The belly, undertail, lower rump and tail are orange-red in appearance. The two central tail feathers of the bird are dark red-brown in color. The female counterpart is identified as a grey-brown bird, but its lower rump and tail are orange-red in colour. One-year-old male is similar to female, but blacker. The length of a Black Redstart ranges from 13 to 15 cm and its weight ranges from 12 to 20 g.

Plumbeous Water Redstart 
Male and female Plumbeous Water Redstarts differ in terms of physical features. Male Redstart can be described as a slate blue bird with a rusty red tail. Its female counterpart can be identified in terms of a pale grey color on the body and a white colored rump. This bird has a length of about 14 centimeters. The male bird has an average weight of about 22 grams, whereas the female bird has an average weight of about 18.8 grams. To know more read:

http://www.indianetzone.com/79/indian_redstarts.htm

Forms of Indian Classical Dances

Forms of Indian classical dances are numerous, and were classified by the Hindu masters as of two kinds, 'Margi' and 'Desi'. The artistic composition of movement and its classification into various types of action is carefully described in the 'Natyashastra' of Bharata Muni. There are three main components elucidated in this ancient treatise. The first one is 'Natya' or actions that belong to the drama. Expressive movements of the body which are accompanied by facial expression and governed by rules of rhythm are called 'Nritya' or dancing. Nritta refers simply to movements of the limbs, and does not involve facial expression.

 Dancing is again divided into two kinds known as 'Tandava' and 'Lasya'. The Tandava dance is characterized by intense excitement, the heroic mood (Vir) and the touch of wrath. It also expresses cosmic activity, the divine conquest of evil or the attainment of bliss. It is performed by both sexes. Tandava dancing joined to vocal music often forms a prelude to a certain type of dramatic presentation. Lasya dancing includes amorous expression and graceful movement of the limbs. It is danced by women and their consorts. The 'Ras Leela' of Lord Krishna with the 'Gopis' of Vrindavan is of the Lasya kind. 'Laghu' dancing is performed by raising the heels slightly and alternately beating them on the floor. 

The most popular forms of classical dances practised in India involve Manipuri Dance, Bharata Natyam Dance, Odissi and several others, being widely prevalent in their patron states. 

Bharata Natyam Classical Dance 
Bharata Natyam is a well acclaimed classical dance which is the 19th and 20th century modifications of the dance-form called 'Sadir' practised by 'Devadasis' or temple dancers. It is quite popular and widely patronised in Tamil Nadu, particularly appreciated for its tender elegance, sculptural 'mudras' and poses, and also its natural grace. Lord Shiva is believed to be the God of Bharata Natyam. 

Kathak Classical Dance 
Kathak is one the most famous classical dances which is influenced by temple dances, the 'Bhakti Movement', central Asian dance and Persian dances which were often displayed in the Mughal courts. The nomadic storytellers who were known as 'Kathakars' are the ancestors of this dance form while Kathak is obtained from Sanskrit term 'katha' implying 'story'. It belongs to the 'gharana' of Varanasi, Jaipur and Lucknow, which can be traced to the courts of Nawab of Awadh, Kachwaha Rajput rulers, etc. To know  more read:

http://www.indianetzone.com/59/forms_indian_classical_dances.htm

 

Manipuri Dancers, Indian Classical Dances

Manipuri Dance is the classical dance from the Manipur region in the North East. The Manipuri dancers are the great personalities who have supported this dance form in gaining a distinct structure whilst echoing the sheer aura of antiquity. The Manipuri dancers with their immense creativity have made a difference to Bishnupriya Manipuri society in the fields of dance and performing arts. Because of its ecological location, the people of Manipur have been protected from outside controls, and this region has been capable to keep hold of its unique traditional culture. 

The Manipuri dance is among the major classical dance forms of India, particularly noted for themes based on ‘Vaishnavism’ and stunning execution of ‘Ras Lila’, dance dramas based on love between Radha and Krishna. 

Manipuri dancers’ main expression is devotional in character and is solely connected to Hindu Deities Radha and Krishna. The delicate steps, slow and gracious movements and the exquisite appeal of the Manipuri dancers offered this genre of dance form a distinct character. Manipuri as a dance style gradually became popular even outside the native. Guru Naba Kumar is one of the famous Manipuri dancers who went to  Ahmadabad to teach Manipuri dance in 1928. Soon, Guru Bipin Singha popularized this particular dance form in Mumbai. Amongst his pupils, most well known Manipuri dancers are the Jhaveri sisters, Suverna, Nayana, Darshana and Ranjana. Apart from them other famous Manipuri dancers are Bhimavati Devi who is the daughter of Guru Bipin Singha. 

Manipuri dance is still regarded as the medium of worship and enjoyment and a door to the divine. From the religious point of view and from the artistic angle of vision, Manipuri dancers are some of the personalities who therefore practice the most modest, chestiest, softest and mildest and also the most meaningful dances of the world. The most courteous aspect of Manipuri culture is that, the Manipuri dancers has retained the ancient ritual based dances and folk dances along with the later developed classical Manipuri dance style. Among the classical categories, Manipuri dancers extensively popularized 'Ras Leela', a highly evolved dance drama, usually choreographed on 'Vaishnavite Padavalis'. Besides, these dance styles, the Manipuri dancers poised for many more manifestations of the song, dance and martial arts culture that is fundamental to the people of Manipur. With the passing decades, Manipuri dance have been greatly categorized into various other forms and styles. The Manipuri dancers have done great justice to all the Manipuri dance styles both nationally and internationally. They have introduced innovative dance styles like Gouralila, Thang Ta, Nupi Pala, Dhop Kirtan, Ipom and so on. 

The scenario of Manipuri dance could not have been as graceful as it is today, without the immense involvement of the talented Manipuri dancers like Guru Bipin Singha, Guru Nileshwar Mukherjee, Guru Senarik Rajkumar, Guru Chandrakanta Singha, Guru Nilmadhab Mukharjee, Guru Haricharan Singha, Kalabati Devi, Preeti Patel and Tamanna Rahman.To know more read:

http://www.indianetzone.com/41/manipuri_dancers.htm

Satyajit Ray, Indian Movie Director

Satyajit Ray, son of Sukumar Ray, was a one man army who changed the very way in which people looked at Indian cinema. Satyajit Ray and genius are two sides of the same coin. There were several international films that had widely influenced Satyajit Ray. His self proclamations establish that he was greatly affected by the Bicycle Thief, which actually inspired him to make films. And closer home it was Rabindranath Tagore. 

Satyajit Ray as a Filmmaker 
Satyajit Ray as a filmmaker entered the filmdom with Pather Panchali in 1955. But long before this Satyajit Ray had established the first film society in Kolkata in 1947. Today Pather Panchali is considered a masterpiece in world cinema but upon its release the film was a super flop. 

To describe Satyajit Ray just as a director would be understatement for his forte. Apart from being donning the mantle of a director Satyajit Ray was involved with the films as a producer, screenplay writer, composer, dialogue writer and even as a designer. There are few films which had left an indelible mark on Ray's mind and one of them is Bicycle Thief. This film reinstated Satyajit Ray's belief that realist films can still be made. Today he is considered one of the pioneer neo realist Indian directors. 

Pather Panchali has been immortalized in the history of world cinema. The making of the film is equally interesting. It had been a long journey for Satyajit Ray to finish his first film. He gathered young talented technicians to make Pather Panchali. From 1950s Satyajit Ray had constantly struggling to make the film and his painstaking efforts finally paid off when in 1955 the film was well received by the film aficionados. Commercially the film was a flop but it catapulted Satyajit Ray to the arena of world cinema. The master had finally arrived in Indian cinema! 

He made a sequel to Pather Panchali, Aporajito. This was also his second film. The last part of Pather Panchali was Apur Sansar. The Apu Trilogy is seen as one of the finest works of Satyajit Ray. Ray then went onto make a number of films in Bengali. Most of his films bagged honours in the International Film Festivals. Today India is a known name in international filmdom. This recognition is due to stalwarts like Satyajit Ray. To know more read:

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Andhra Natyam, Indian Classical Dance

Andhra Natyam is a form of classical dance that originated in the southern part of India, in the Indian state of Andhra Pradesh. This dance form has a long and rich history of 2000 years, but it got lost during the rule of Mughals and British Empire. But fortunately the dance form came to be revived in the 20th century. However, as a result of strong grammatical and structural resemblance to Kuchipudi and Bharatanatyam, this dance form is often considered as a mixture of both. 

Origin of Andhra Natyam 

The Andhra Natyam dance form has been derived from numerous classical dance forms and has close similarities with Kuchipudi and Bharatanatyam, including the older dance styles like Dasiattam, Kacherittam, Chinnamelam. It can be said that this dance form actually originated from temples, but it is also performed by courtesans known as Kalavantulu in Telugu, and also in open-air public performances well-known as Kalopam are a part of Andhra Natyam. 

About Andhra Natyam 
The classical dance of southern India is mainly divided into two major categories. They are Natya Melamu and Nattuva Melamu. While the former is performed by men, the latter is performed solo by women. Dance forms like Mohiniattam, Odissi and Bharatnatyam follow the tradition of Nattuva Melamu tradition. The Kuchipudi dance style follows the Natya Melamu tradition. 

Nattuva Melamu is a dance style which is greatly performed by the women flocks and is mainly adapted in a classical dance form which is called Andhra Natyam. Though the name sounds to be new, but the history of this dance goes back a long way, and is as old as the Telugu culture itself. To know more read:

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