By Dr. Y.S. Rawat, Director, Gujarat State Department of Archaeology.

• Photographs
• Poster (JPG)
• Abstract for the talk (PDF)

Odissi dance recital by Ms Madhavi Mudgal and disciples

• Photographs of Odissi dance recital by Ms Madhavi Mudgal and disciples

25th April 2014 – Project ‘Mausam’ — talk on ‘The Coastal Sites: Possible Port Towns of the Harappan Period in Gujarat’ by Dr. Y.S. Rawat, Director, Gujarat State Department of Archaeology.    Venue: Conference Room I, India International Centre (IIC),New Delhi   at 06:30PM.   For information about future talks and events, please contactmausamproject@gmail.com .

GEETIKA NARANG ABBASI & ANANDANA KAPUR | 52 min | English, Hindi

Born into a society obsessed with marriages, a young girl, a not-so-young man and an NRI couple are compelled by tradition to look for matches via classifieds, matchmaking bureaus and websites. Confronted with innumerable criteria that determine who is acceptable and who isn’t, they question themselves and their choices. As they introspect, the melee of the matchmaking industry continues. At every turn, there are service providers who are ready to snoop, style and solicit potentials on their behalf. The Film is a light-hearted chronicle of this predicament that almost every Indian faces.

for more details visit http://www.psbt.org/directors/332

• Photographs of Inauguration

• Photographs of Conference 25th April 2014

• Photographs of Conference 26th April 2014
  

• InvitationConcept Note (PDF)

Obsession : The wild one, Wild Pigeons: The heart break free By Ismat Chughtai translated by Tahira Naqvi.

Time:

4.00 p.m. onwards Mini Rongali Mela

6.30 p.m. – Cultural Programme – Manasrobin (Popular Singer from Assam) followed by Bihu dance.

Schedule :-
18.4.2014 (Friday) Dr.S.Sowmya Vocal, Parur M.S.Ananthakrishnan Violin, Poongulam Subramaniam – Mridangam

19.4.2014 (Saturday) Kunnakudi Balamurali Krishna- Vocal, Parur M.S.Ananthakrishnan – Violin, Poongulam Subramaniam – Mridangam

20.4.2014 (Sunday) Priya Venkataraman – Bharatanatyam

18.4.2014 > View Photographs

19.4.2014 > View Photographs

20.4.2014 > View Photographs

Karaga Tradition and Feminism by Dr. M. Sumithra

• Invitation

To understand a monument in its totality i.e its architecture, its iconography and its living tradition a project was undertaken by IGNCA about two decades ago. The film highlights the challenges faced by the IGNCA researchers, scholars, documentation teams and collaborators in achieving the dream-project.

know about  Brhadīśvara Temple Multimedia project

The five day workshop on Natyasastra was organised by World Dance Alliance –Karnataka Chapter from 9th April to 13th April, 2014. This workshop was conducted by the renowned Scholar, Musicologist, Sanskritist and Dance expert DR. Pappu Venugopala Rao from Chennai.

• Photo

‘HASE a traditional folk art reflect the joy of life’ well known historian Prof. S. Settar said at inauguration function of 2 days’ workshop at Indira Gandhi National Centre for the Arts South Regional Centre, Bangalore.

‘Madhubani and Tajore’ art forms have gained popularity world wise, however it is an antrorising fact that HASE art which is native of Karnataka has not received the recognition and popularity. This art work usually made by the rural folk women’s.

• Photo

Manifesting The Faith’
Time: 3pm, duration 52mts.

Director: – B.S Rawat Duration-46 Minutes04 Second
Produced by IGNCA

The film pans the snow – capped mountains of Himalaya to zoom in and captures the glimpses of Gaumukh Glaciers, from where Ganga emerges to create riverine civilization along her traverse of 2500 kms. before merging in Bay of Bengal. It explores the Ganga Icon in her two abodes, in Gangotri during summer, and 25 kms downhill, at Mukhba or Mukhimath, where she travels down after Deepawali.

The film captures the journey of Ganga Icon in her palanquin from Mukhba on the penultimate day before the Gangotri Temple opens on auspicious day of Akhayatritiya. The IGNCA’s camera team trekked 25 kms to document various rituals, oral myths and socio – religious nuances that have been in vogue for several millennia. It highlights how village God Someshwar-devta comes to Mukhba to offer his reverence as now Ganga Icon goes to Annapurna temple in the tapoobhumi of Markandya Muni’s Ashram. Then the palanquin goes to Durga Siddha Peetha for Ganga’s second halt. Thereafter she journeys through rock boulders and pugdandis, foot tracks to reach Jangla, a mythological station before reaching Kopang an ITBP camp. The procession now moves on to Bhairon Ghati, where the temple opens up to welcome Gangaji for the night halt. Then on Akshyatritiya, Gangaji’s yatra to reach Gangotri for its much celebrated opening. The film thus records the pada – yatra journey on foot, of Gangaji, explores the oral tradition of Semwals, the priests of Ganga Devi, highlights the relation of nature with the Prashad benediction of Gangotri, covers the ritual of opening of the Kapat, door, of Ganga Temple at Gangotri, Ganga icon returns to Mukhba in the same manner after Deepawali Day every year.

Abstract: In descriptive grammar the word substantive denotes a class of words primarily noun as ‘substances’ i.e. names of persons, places, things etc. Substantive verb on the other hand can be defined as set of verbs that denotes an affirmation or existence in opposite to negative verb that denotes negation. In Bengali as like many other languages of the world there is a superfluity of substantive verbs. In Bengali the three main substantive verbs are [hɔ/ ho] ‘to be’ , [ach] ‘is/are’ and [thak] ‘to remain’. Among these three verbs the second one is a defective verb in Bengali. Because the verb root [ach] is not conjugated in all tenses and moods. The verb [ach] has no future form in Bengali and it is neither conjugated in imperative mood. The scope of this paper is to show their use in syntactic level in Bengali where these verbs does not always have the role of substantive verb because of shift of semantic connotation.

Video Clip