{"id":4802,"date":"2016-01-19T04:54:16","date_gmt":"2016-01-19T04:54:16","guid":{"rendered":"http:\/\/ignca.gov.in\/?page_id=4802"},"modified":"2017-02-16T11:45:11","modified_gmt":"2017-02-16T06:15:11","slug":"kalatarang","status":"publish","type":"page","link":"https:\/\/ignca.gov.in\/hi\/divisionss\/media-centre\/outreach\/kalatarang\/","title":{"rendered":"Kalatarang"},"content":{"rendered":"

<\/p>\n

\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
SL.<\/td>\nDVD Acc. No<\/td>\nAccession No<\/td>\nContents<\/td>\nDuration<\/td>\nDate Of Telecast<\/td>\nEpi.<\/td>\nRemarks<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDr. L.M. Singhvi-IGNCA Perspective <\/td>\n58’45"<\/td>\n29-Jan-02<\/td>\n1<\/td>\nIG-2K\/BCT-60\/001<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nHeritage of Manuscripts-An Overview <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nBy Pt. V.P. Mishra<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Navkalevara<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthis film documents the manifold rituals of selecting<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nwoods for making the icon of Lord Jaganath of Puri,<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThis celebration occurs once in nineteen year<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere- Ms. Shashi Mehta<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nDVD-79<\/td>\nDVCAM-64\/002<\/td>\nVishista-Buddha Charita-The legendary manuscripts<\/td>\n55’20"<\/td>\n31-Jan-02<\/td>\n2<\/td>\nIG-2K\/BCT-60\/002<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDr. Radha Banerjee<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Buddhist Art-Prof. Lokesh Chandra & Dr. Bachchan <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary- Hemis- Festival of Ladhak, which covers <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nmany hidden dynamics of Buddhist Belief system, <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhemmed with rituals.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Ms. Shashi Mehta<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nDVD-80<\/td>\nDVCAM-64\/003<\/td>\nVishista-Yajurveda-Dr. N.D. Sharma<\/td>\n53’30"<\/td>\n5-Feb-02<\/td>\n3<\/td>\nIG-2K\/BCT-60\/003<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Comparative Understanding of Marriage<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nrituals since Yajurveda days. A dialogue between Prof.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSashi Kumar and Pt. V.P. Misra<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Wangala-A Garo festival of Meghalaya <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nGaro people whose lineage goes back to the Tibet <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nremain a vibrant symbol of northeast India. Wangala is <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe festival of Garo people for them its time for <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncelebrations, time to rejoice; time for choosing the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nBride etc. The film never limits its documentation with<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe festivity rather approaches the life and time.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Ms. Shashi Mehta<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nDVD-81<\/td>\nDVCAM-64\/004<\/td>\nVishista-Gita Kalpa Manuscripts-Pt. V.P. Mishra<\/td>\n59’35"<\/td>\n7-Feb-02<\/td>\n4<\/td>\nIG-2K\/BCT-60\/004<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Cave Art of India-Dr. M.N. Deshpandey and <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDr. Radha Banerjee.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Murals of Kerala-This film brings out the <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhidden aesthetics of temple of Kerala, which are lesser-<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nknown heritage of India. Even the great Ravi Varma got<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ninspiration from these Murals.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Ms. Shashi Mehta.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nDVD-82<\/td>\nDVCAM-64\/005<\/td>\nVishista-Jwar Timeer Bhaskar-A Manuscript, which<\/td>\n52’25"<\/td>\n12-Feb-02<\/td>\n5<\/td>\nIG-2K\/BCT-60\/005<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ndetails the various types of fevers from the perspective <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof Ayurveda Dr. Dilip Kumar rana.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad- Understanding the body with The Perspective <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof five elements Dr. Ashok Kumar Verma and Dr. Kirti Kant<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSharma.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Folk Games of Tulunadu-This film highlights<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nlesser-known games of Southern Karnataka, which has<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ngreat social values as well.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Ms. Shashi Mehta.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nDVD-83<\/td>\nDVCAM-64\/006<\/td>\nVishista-Gayatri-Dr. Ajay Misra<\/td>\n57’15"<\/td>\n14-Feb<\/td>\n6<\/td>\nIG-2K\/BCT-60\/006<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Gayatri Kalpa- Dr. Prakash Pandey and <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDr. N.D. Sharma.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Thang-ta-Martial art of Manipur, which is a <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nforgotten chapter of our history. The film traces how even <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nin the days of British Gurus silently carried the tradition of<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nself-defense. The film highlights the various nuances of<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthis art with a touch of ritual and even tried to like with <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe belief system of this and the other world.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Ms. Shashi Mehta.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nDVD-84<\/td>\nDVCAM-64\/007<\/td>\nVishista-Vastu-Vidya Dr. Kirti Kant Sharma<\/td>\n57’15"<\/td>\n19-Feb-02<\/td>\n7<\/td>\nIG-2k\/BCT-60\/007<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Temple Architecture and the dimensions of Vastu<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nShastra Dr. M.A. Dhakey and Shri Rajesh singh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Lai Haroba-is derived from the words Lai<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nHao Loba. Shouting of Hai by the Lai or deity in happiness.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThis festival of Creation is occasioned in the month of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n April-May and lasts for some 13 days. This film covers the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nritual, the dance forms and enactment are in a way <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nrecreate the myth of creation of the Universe-Heaven, <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nEarth and life in alien all its manifestations as expressed <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nin flora, fauna and human activities.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Ms. Shashi Mehta.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nDVD-85<\/td>\nDVCAM-64\/008<\/td>\nVishista-Woman and her manifestation by Smt. Sonal <\/td>\n52’10"<\/td>\n21-Feb-02<\/td>\n8<\/td>\nIG-2K\/BCT-60\/008<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Understanding the Mysticism of Woman<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDr. Chandan Mitra and Smt. Sonal Mansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Mahakumba-(I)-The film traces the unique<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nfestival occurs every twelve years documented with the <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nperspective of ‘In Search of the Nectar’.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nDVD-86<\/td>\nDVCAM-64\/009<\/td>\nSamvad-Ramayana Tradition-the North-South Perspective<\/td>\n59’38"<\/td>\n26-Feb-02<\/td>\n9<\/td>\nIG-2k\/BCT-60\/009<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDr. Veezhi nathan, Shri Jaya Kant Sharma Smt. Sonal <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Mahakumba-(II)-<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nIn Search of the Nectar is the essence of this film document-<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nation which records the mind sets of people who go for the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nholy bath.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nDVD-87<\/td>\nDVCAM-64\/10<\/td>\nVishista-Conservation of Books\/Mss–A.P. Gakhar.<\/td>\n58’00"<\/td>\n28-Feb-02<\/td>\n10<\/td>\nIG-2K\/BCT-60\/010<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Jain Textual Tradition–Shri Vipul Shah and <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSmt. Sonal Mansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kathakali-(I)-This is a ten episode documentation<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof Kathakali highlights serveral prospective of this dancing<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n tradition encompassing the belief system, art and ritual<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\napart from theatrics.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nDVD-88<\/td>\nDVCAM-64\/011<\/td>\nSamvad- A rare glimpses of Pt. Ravi Shankar By Smt. Sonal<\/td>\n59’22"<\/td>\n5-Mar-02<\/td>\n11<\/td>\nIG-2K\/BCT-60\/11`<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kathakali-(II)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nDVD-89<\/td>\nDVCAM-64\/012<\/td>\nVishista-Razm-e-Nama.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Indian Theme in Persian literature Prof. S.H. Qashmi<\/td>\n54’43"<\/td>\n7-Mar-02<\/td>\n12<\/td>\nIG-2K\/BCT-60\/12<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nand Smt. Sonal Mansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kathakali-(III)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
13<\/td>\nDVD-90<\/td>\nDVCAM-64\/013<\/td>\nVishista-Kalighat Patuas-The singing tradition.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-The Heritage of Kalighat Painting Prof. Jyotindra<\/td>\n49’10"<\/td>\n12-Mar-02<\/td>\n13<\/td>\nIG-2K\/BCT-60\/13<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nJain and Smt. Sonal Mansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kathakali-(IV)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
14<\/td>\nDVD-91<\/td>\nDVCAM-64\/014<\/td>\nVishista-Gita Govinda-an enactment.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Many facets of Gita Govinda<\/td>\n49’10"<\/td>\n14-Mar-02<\/td>\n14<\/td>\nIG-2K\/BCT-60\/14<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDr. Sudha Gopalakrishnan and Smt. Sonal Mansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kathakali-(V)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
15<\/td>\nDVD-92<\/td>\nDVCAM-64\/015<\/td>\nVishista-Rock Art-Bhimbetka<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDrawings of Prof. Yashodhar Matpal.<\/td>\n49’10"<\/td>\n19-Mar-02<\/td>\n15<\/td>\nIG-2K\/BCT-60\/15<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Indian Rock Art Heritage<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nProf-Yashodhar Matpal and Smt. Sonal Mansingh<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kathakali-(VI)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
16<\/td>\nDVD-93<\/td>\nDVCAM-64\/016<\/td>\nVishista-Warli Paintings <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Tribal Arts-an Understanding Dr. A.K. Das<\/td>\n49’10<\/td>\n21-Mar-02<\/td>\n16<\/td>\nIG-2K\/BCT-60\/16<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nand Smt. Sonal Mansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary- Kathakali-(VII)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
17<\/td>\nDVD-94<\/td>\nDVCAM-64\/017<\/td>\nVishista-Shringar-Cosmetic Heritage<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kesh Shringar-Veena Shroff and Smt.Sonal Mansingh<\/td>\n49’10"<\/td>\n26-Mar-02<\/td>\n17<\/td>\nIG-2K\/BCT-60\/17<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Mirasans of Punjab-(I)-This film traces one of<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe unique traditions of Punjab where Muslim women <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nparticipate in Hindu Rituals of life cycle celebrations but also<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncounted as an authority of the subject. The film shows the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nharmonious aspects of two religions which has long history<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nand today Mirasanas are fading out from the social milieu.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
18<\/td>\nDVD-95<\/td>\nDVCAM-64\/018<\/td>\nSamvad-Manasarovar in vedic texts Shri C.V. Gopinath and<\/td>\n49’10"<\/td>\n28-Mar-02<\/td>\n18<\/td>\nIG-2K\/BCT-60\/18<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSmt. Sonal Mansingh.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Mirasans of Punjab Part (II)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
19<\/td>\nDVD-96<\/td>\nDVCAM-64\/019<\/td>\nVishista-Kashmiri Temple Architecture (Slides)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kashmir a land of Heritage-Dr. Shashi Shekhar<\/td>\n49’10"<\/td>\n12-Apr-02<\/td>\n19<\/td>\nIG-2K\/BCT-60\/19<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nToshkhani, Prof. Chaman Lal Sapru and Smt. Sonal Mansingh<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\njk<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nrevolves around the theme of male artists performing the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nfemale role. The Guru-Shishya tradition through different<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nakhadas is shown here.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
20<\/td>\nDVD-97<\/td>\nDVCAM-64\/020<\/td>\nSamvad-Smt. Sumati Mutatkar by Shanoo Khurana (Part-I)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nVishista-Les Hindus-Musical Instruments<\/td>\n54’50"<\/td>\n4-Apr-02<\/td>\n20<\/td>\nIG-2K\/BCT-60\/20<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Ek thee Gulab (I)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPadma Shree Gulab Bai, an exponent of Nautanki, remains<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\none of the legendary figure of this folk theatre tradition of<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nNorth India. The film captures a rare interview of Gulab Bai <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nwhen she was very sick at the conjunction of her life and<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nbeyond. The film allows a nostalgic time when Gulab Bai was <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\na sensation in the Nautanki folk theatre.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
21<\/td>\nDVD-98<\/td>\nDVCAM-64\/021<\/td>\nVishista-Shakti Shrine of Kemmannul<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Smt. Sumati Mutatkar by Shanoo Khurana (Part-II)<\/td>\n59’30"<\/td>\n9-Apr-02<\/td>\n21<\/td>\nIG-2K\/BCT-60\/21<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Ek thee Gulab (II)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
22<\/td>\nDVD-99<\/td>\nDVCAM-64\/022<\/td>\nVishista-Thousand Piller Basadi of Muda biduri (Karnataka)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Smt. Sumati Mutatkar by Shanoo Khurana (Part-III)<\/td>\n49’33"<\/td>\n11-Apr-02<\/td>\n22<\/td>\nIG-2K\/BCT-60\/22<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Mahamastikabhishakam of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nBahubali at Karkala. This film is an in house documentation. <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe film shown the traditional yet colourful rare event of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nbathing of Bahubal of Karkala. Th film highlights and records<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe great event, which takes place one in 12 years.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
23<\/td>\nDVD-100<\/td>\nDVCAM-64\/023<\/td>\nVishista-Varanga the Jain heritage site (Karnataka)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Smt. Sumati Mutatkar by Shanoo Khurana (Part-IV)<\/td>\n44’31"<\/td>\n16-Apr-02<\/td>\n23<\/td>\nIG-2K\/BCT-60\/23<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Folklore Museum of Mysore<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(Karnataka)-I. This film highlights the traditional society<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nand portrays a comparative perspective from the artifacts <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\navailable in this folklore museum and showcase the colour of<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nlife in the context of cultural continuum.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
24<\/td>\nDVD-101<\/td>\nDVCAM-64\/024<\/td>\nVishista-Jain Shrine of Venur (Karnataka)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Smt. Sumati Mutatkar by Shanoo Khurana (V)<\/td>\n54’38"<\/td>\n18-Apr-02<\/td>\n24<\/td>\nIG-2K\/BCT-60\/24<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Folklore Museum of Mysore(Karnataka)-II<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
25<\/td>\nDVD-102<\/td>\nDVCAM-64\/025<\/td>\nSamvad-Chua Soo Pong of Singapoor Ramayana<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nTroupe and Smt. Sonal Mansingh (Part-II)<\/td>\n54’38"<\/td>\n23-Apr-02<\/td>\n25<\/td>\nIG-2K\/BCT-60\/25<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Singapore Ramayana-Stage performance,Part-I<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
26<\/td>\nDVD-103<\/td>\nDVCAM-64\/026<\/td>\nSamvad-Chua Soo Pong of Signapoor Ramayana<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nTroupe and Smt. Sonal Mansingh (Part-II)<\/td>\n54’50"<\/td>\n25-Apr-02<\/td>\n26<\/td>\nIG-2K\/BCT-60\/26<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Singapore Ramayana-Stage performance Part-II<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
27<\/td>\nDVD-104<\/td>\nDVCAM-64\/027<\/td>\nSamvad-Statements of Sombati Kaewsujait of thailand<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nRamayana Troupe<\/td>\n58’24"<\/td>\n30-Apr-02<\/td>\n27<\/td>\nIG-2K\/BCT-60\/27<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Thailand Ramayana-Stage performance<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
28<\/td>\nDVD-105<\/td>\nDVCAM-64\/028<\/td>\nSamvad-Interview of Samudra of Indonesian Ramayana<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nTroupe with Shri Prakash<\/td>\n60’72"<\/td>\n30-Apr-02<\/td>\n28<\/td>\nIG-2K\/BCT-60\/28<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Indonesian Ramayana-Stage performance<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
29<\/td>\nDVD-106<\/td>\nDVCAM-64\/029<\/td>\nSamvad-Interview of Uzaw Htay of Myanmar Ramayana<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nTroupe with Shri Shiva Prakash<\/td>\n59’10"<\/td>\n7-May-02<\/td>\n29<\/td>\nIG-2K\/BCT-60\/29<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Myanmar Ramayana-Stage performance<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
30<\/td>\nDVD-107<\/td>\nDVCAM-64\/030<\/td>\nSamvad-Interview with Prieng Chhieng of combodian <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nRamayana Troupe By Shri shiva Prakash<\/td>\n57’03"<\/td>\n9-May-02<\/td>\n30<\/td>\nIG-2K\/BCT-60\/30<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Combodian Ramayana-Stage performance<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
31<\/td>\nDVD-108<\/td>\nDVCAM-64\/031<\/td>\nSamvad-Ustad Fahimuddin Khan Dagar different nuances of<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDhrupad Gayiki in his performance based interview <\/td>\n57’03"<\/td>\n14-May-02<\/td>\n31<\/td>\nIG-2K\/BCT-60\/31<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-(I) Teyyam is an unique series of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentaries which showcases different dynamics of this<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ndance tradition of Kerala. The tradition of Teyyam the <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\npreparation of body, the guru shishya parampara to the <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nlevel of enactments are covered in this series.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
32<\/td>\nDVD-109<\/td>\nDVCAM-64\/032<\/td>\nVishista-Asgari Begum-Padmashree ASGARI Begum, remains<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe first woman of her times to excel in the Dhrupad the <\/td>\n54’32"<\/td>\n16-May-02<\/td>\n32<\/td>\nIG-2K\/BCT-60\/32<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nancient Indian musical heritage. The film starts with alap <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthen touches upon her various nostalgic punctuations.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-(II)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
33<\/td>\nDVD-110<\/td>\nDVCAM-64\/033<\/td>\nVishista-Santokhba Dudhat-The octogenarian Santokba who<\/td>\n46’29"<\/td>\n21-May-02<\/td>\n33<\/td>\nIG-2K\/BCT-60\/33<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncreated 1200 meters of Mahabharata scroll is depicted here.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-(III)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
34<\/td>\nDVD-111<\/td>\nDVCAM-64\/034<\/td>\nVishista-Man and Mask-This film showcase the research work<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof IGNCA on the score of Masks. It covers the various<\/td>\n46’45"<\/td>\n23-May-02<\/td>\n34<\/td>\nIG-2K\/BCT-60\/34<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nperspective of Masks from the Standpoint of IGNCA Collections<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nand draws a panoramic view of Masks worldwide<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-(IV)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
35<\/td>\nDVD-112<\/td>\nDVCAM-64\/035<\/td>\nVishista-Bhutan, Japan Mask dance IGNCA has organized<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ninternational Mask Festival which aslo showcased Mask dance<\/td>\n44’00"<\/td>\n28-May-02<\/td>\n35<\/td>\nIG-2K\/BCT-60\/35<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ntradition of different countries. Thus here few performances <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nare shown.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-(V)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCampere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
36<\/td>\nDVD-113<\/td>\nDVCAM-64\/036<\/td>\nVishista-Indonesia & Zimbabwe mask dances are shown as<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nseries continues.<\/td>\n47’50"<\/td>\n30-May-02<\/td>\n36<\/td>\nIG-2K\/BCT-60\/36<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-VI<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
37<\/td>\nDVD-114<\/td>\nDVCAM-64\/037<\/td>\nItihas Ke Jharokey Sey-With this a new series on National<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMuseum Heritage was initiated.<\/td>\n53’26"<\/td>\n4-Jun-02<\/td>\n37<\/td>\nIG-2K\/BCT-60\/37<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nHarappan Gallery was the first episode.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-(VII)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
38<\/td>\nDVD-115<\/td>\nDVCAM-64\/038<\/td>\nItihas Ke Jharokey Sey-Archeology Sculpture of Mauryan to<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nIkshavaku period. 3rd Century B.C to 3rd Century A.D<\/td>\n53’00"<\/td>\n6-Jun-02<\/td>\n38<\/td>\nIG-2K\/BCT-60\/38<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-(VIII)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
39<\/td>\nDVD-116<\/td>\nDVCAM-64\/039<\/td>\nItihas Ke Jharokey Sey-The zenith or Golden Age of Gupta era<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ni.e. from 4th Cent. A.D. to 6 the Cent. A.D. Is shown through<\/td>\n51’32"<\/td>\n11-Jun-02<\/td>\n39<\/td>\nIG-2K\/BCT-60\/39<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nsculpture and terracotta Arts.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-(IX)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
40<\/td>\nDVD-117<\/td>\nDVCAM-64\/040<\/td>\nItihas Ke Jharokey Sey-Form 7th to 13th Century A.D. the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nart of sculpture with varying theme developed through<\/td>\n47’55"<\/td>\n13-Jun-02<\/td>\n40<\/td>\nIG-2K\/BCT-60\/40<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nout India. This episode showcased the pan- Indian<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nperspective of this movement of art.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Teyyam-(X)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
41<\/td>\nDVD-118<\/td>\nDVCAM-64\/041<\/td>\nItihas Ke Jharokey Sey-Bronze Sculpture which started in<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nHarappan civilization which was revived in 3th Century<\/td>\n53’53"<\/td>\n18-Jun-02<\/td>\n41<\/td>\nIG-2K\/BCT-60\/41<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nB.C. Then onward the Art in Bronze got a detailed treatment<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nespecially in South India. Which ran parallel to theosophical<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ntrend and rituals. Thus this episode highlights these aspects<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof Bronze encompassing the art of making Bronze icon to the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nencoded symbolism.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-The fisherman’s folk-dance of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMaharashtara-(Koli)-I-This documentary highlights the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nlife-style rituals and singing traditional dance of Koli people.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
42<\/td>\nDVD-119<\/td>\nDVCAM-64\/042<\/td>\nItihas Ke Jharokey Sey-This episode showcased the Buddha<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nArt in sculpture and in other modes. The aasthi Kalash to<\/td>\n54’21"<\/td>\n20-Jun-02<\/td>\n42<\/td>\nIG-2K\/BCT-60\/42<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe world of Thanka and Dunhung painting are discussed<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhere. In this episode we have also showcased the IGNCA<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nendeavour as well.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-The fisherman’s folk dance of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMaharashtra-(KOLI)-II<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
43<\/td>\nDVD-120<\/td>\nDVCAM-64\/043<\/td>\nItihas Key Jharokey Sey-Arms & Armours, This episode <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nshowcased the heritage.<\/td>\n55’00"<\/td>\n25-Jun-02<\/td>\n43<\/td>\nIG-2K\/BCT-60\/43<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Sat Sur-(I)-This film traces Indian musical<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ntradition through a journey of Gharanas with special <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhighlights of Kawal Baccha Gharana.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
44<\/td>\nDVD-121<\/td>\nDVCAM-64\/044<\/td>\nItihas Key Jharokey Sey-The treasure of Miniature Paintings<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nkept in National Museum is shown in this film. The highlight<\/td>\n57’29"<\/td>\n27-Jun-02<\/td>\n44<\/td>\nIG-2K\/BCT-60\/44<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nand evolution of Pahari School. Rajasthani School, Mughal<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSchool and finally Deccani Miniature are discussed with<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ndifferent dynamics of style, theme and colour treatments.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Sat sur-II<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
45<\/td>\nDVD-122<\/td>\nDVCAM-64\/045<\/td>\nItihas Ke Jharokey Sey-Journey of Indian Coinages National<\/td>\n55’45"<\/td>\n2-Jul-02<\/td>\n45<\/td>\nIG-2K\/BCT-60\/45<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMuseum has a rare collection of Coins from 6th century B.C.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nto 19th Century A.D. The evolution and movement of coins<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nin different era are show here which in actual sense <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nre-constructed the History of India.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Sat Sur-III<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
46<\/td>\nDVD-123<\/td>\nDVCAM-64\/046<\/td>\nItihas Ke Jharokey Sey-National Museum has tremendous<\/td>\n48’50"<\/td>\n7\/4\/2002<\/td>\n46<\/td>\nIG-2K\/BCT-60\/46<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncollection of manuscripts which ranges from Sharda script<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nto the Nagri script apart from exclusive speciments of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPersian and Arabic scripts. This episode dedicate to the <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\naspect of Manuscript heritage of India.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Behind the Mask-this film traces the Mask<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nheritage of North East India with special references to the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nmask making and rituals which envelopes the whole<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ntradition of traditional people.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
47<\/td>\nDVD-124<\/td>\nDVCAM-64\/047<\/td>\nItihas Ke Jharokey Sey-Textile Heritage of India is show-cased<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhere. The dynamics of cotton and silk weaving and painting<\/td>\n49’00"<\/td>\n9-Jul-02<\/td>\n47<\/td>\nIG-2K\/BCT-60\/47<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nare talked about. The tradition of Baluchari and Patola saree<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhamba rumals will be shown. This episode would<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nalso highlight the Zari tradition as well.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kesar Saga-(I) The folktale of Laddakh<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nunderstood through oral tradition.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
48<\/td>\nDVD-125<\/td>\nDVCAM-64\/048<\/td>\nItihas Ke Jharokey Sey-The journey of this episode will be<\/td>\n48’15"<\/td>\n11\/7\/2002<\/td>\n48<\/td>\nIG-2K\/BCT-60\/48<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthrough the Anthropological Gallery of National Museum.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe tribal of the North East like of Arunachal, Nagaland, <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMeghalaya will be focused. The costume to the level of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ntheir creativity will be hlighted .<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kesar Saga-(II) The folktale of Laddakh<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nunderstood through oral tradition.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
49<\/td>\nDVD-126<\/td>\nDVCAM-64\/049<\/td>\nVishista-Golden Treasure-(Manuscript Mission Report) This<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncovers the subject of Mss. From the standpoint of Mission<\/td>\n52’30"<\/td>\n16-Jul-02<\/td>\n49<\/td>\nIG-2K\/BCT-60\/49<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nand also covered the endeavour of IGNCA in the context<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof Mss. Mission.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kesar Saga-III<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
50<\/td>\nDVD-127<\/td>\nDVCAM-64\/050<\/td>\n50the Episode: Recapitulation of Vishista, Samvad, Itihas ke<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nJharokey Sey and Documentaries covered under Kala Nidhi<\/td>\n52’30"<\/td>\n18-Jul-02<\/td>\n50<\/td>\nIG-2K\/BCT-60\/50<\/td>\n<\/tr>\n
51<\/td>\nDVD-128<\/td>\nDVCAM-64\/051<\/td>\nVedic Chanting-(Sholapur)<\/td>\n57’55"<\/td>\n23-Jul-02<\/td>\n51<\/td>\nIG-2K\/BCT-60\/51<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Folklore Museum of Mysore-III<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Parvathi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
52<\/td>\nDVD-129<\/td>\nDVCAM-64\/052<\/td>\nVedic Chanting-(Honavar & Gokarna)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-The Legacy of Tana Bhagat<\/td>\n57’27"<\/td>\n25-Jul-02<\/td>\n52<\/td>\nIG-2K\/BCT-60\/52<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nTana Bhagat was a leader of tribal society of Jharkhand and<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhe led the satyagraha movement and Voiced against Socio-<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPolitical oppression.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Parvathi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
53<\/td>\nDVD-130<\/td>\nDVCAM-64\/053<\/td>\nVedic Chanting-(Trichur)<\/td>\n55’07"<\/td>\n30-Jul-02<\/td>\n53<\/td>\nIG-2K\/BCT-60\/53<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Kadka<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThis documentary focuses on the Sufi song tradition which<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nis regularly sang in the Gareeb Nawaz Dargha of Ajmer.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Parvathi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
54<\/td>\nDVD-131<\/td>\nDVCAM-64\/054<\/td>\nVisista-Vadakkunnathar Temple at Trissur<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nVedic chanting (Trichy)<\/td>\n56’09"<\/td>\n1-Aug-02<\/td>\n54<\/td>\nIG-2K\/BCT-60\/54<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Yelhou Jagoi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe dancing tradition of Lai Haroba of Manipur is showcased<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhere. This traditional dance addressed the cosmic concept<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof creation.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Parvathi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
55<\/td>\nDVD-132<\/td>\nDVCAM-64\/055<\/td>\nVisista-Paintings of K.R. Subbanna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n55’45"<\/td>\n6-Aug<\/td>\n55<\/td>\nIG-2K\/BCT-60\/55<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nK.R. Subbanna and Parvathi Kumar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Mudiyettu & Kalamezhuthum<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPattum-(I)-This film focuses on folk art tradition of Kerala<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nwhich has its mythology, dance and sangeet.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
56<\/td>\nDVD-133<\/td>\nDVCAM-64\/056<\/td>\nVisista-Painting of G.R. Iranna<\/td>\n49’07"<\/td>\n8-Aug-02<\/td>\n56<\/td>\nIG-2K\/BCT-60\/56<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nG.R. Iranna and parvathi Kumar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Mudiyettu & Kalamezhuthum<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPattum-(II)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
57<\/td>\nDVD-134<\/td>\nDVCAM-64\/057<\/td>\nVisista-Paintings of Sukhvinder Singh<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n52’40"<\/td>\n13-Aug-02<\/td>\n57<\/td>\nIG-2K\/BCT-60\/57<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSukhvinder singh and Parvathi Kumar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Maha Kumbhabhishekam-(I)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKumbhaabhisekam ceremony remains a sacred ritual held in<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\na periodic interval of 12 Years. This ceremony has many <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ninner dynamics as with elaborate rituals like the sacred<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nwater the pot or Kumbham, the sacrificial pit kundam, the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nvibrating mantra links this great ceremony.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Parvathi Kumar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
58<\/td>\nDVD-135<\/td>\nDVCAM-64\/058<\/td>\nVishista-Independence day special<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Smt. Sonal Mansingh & Dr. L.M. Singhvi<\/td>\n49’23"<\/td>\n15-Aug-02<\/td>\n58<\/td>\nIG-2K\/BCT-60\/58<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-The Legacy of Tana Bhagat-(II)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nTana Bhagat was leader of tribal society of Jharkhand and<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhe led the satyagraha movement and Voiced against <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSocio-political oppression.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
59<\/td>\nDVD-136<\/td>\nDVCAM-64\/059<\/td>\nVishista-Independence day special-II<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Smt. Sonal Mansingh & Dr. L.M. Singhvi<\/td>\n54’20"<\/td>\n20-Aug-02<\/td>\n59<\/td>\nIG-2K\/BCT-60\/059<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Behind the Mask-(II) This film traces the Mask<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nheritage of North East India with special references to the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nmask making and rituals which envelopes the whole tradition<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof traditional people.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
60<\/td>\nDVD-137<\/td>\nDVCAM-64\/060<\/td>\nVishista-Paintings of Kishor Shinde<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n58’40"<\/td>\n22-Aug-02<\/td>\n60<\/td>\nIG-2K\/BCT-60\/60<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKishor Shinde and Parvathi Kumar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Maha Kumbhabhishekam-(II)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKumbhaabhisekam ceremony remains a sacred ritual held<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nin a periodic interval of 12 Years. The Ceremony has many<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ninner dynamics as with elaborate rituals like the sacred water<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe pot or Kumbham, the sacrificial pit kundam, the vibrating<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nmantra links this great ceremony.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Parvathi Kumar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
61<\/td>\nDVD-138<\/td>\nDVCAM-64\/061<\/td>\nVishista-Paintings of Neeraj Goswami<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n56’10"<\/td>\n27-Aug-02<\/td>\n61<\/td>\nIG-2K\/BCT-60\/61<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nNeeraj Goswami and Suparna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Todas-(I)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri. Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
62<\/td>\nDVD-139<\/td>\nDVCAM-64\/062<\/td>\nVishista-Paintings of Dattatraya Apte<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n54’40"<\/td>\n29-Aug-02<\/td>\n62<\/td>\nIG-2K\/BCT-60\/62<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDattatraya Apte and Suparna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Todas-(II)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
63<\/td>\nDVD-140<\/td>\nDVCAM-184\/063<\/td>\nVishista-Drawing & Sculpture of Tutu Pattnaik<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n60’55"<\/td>\n3-Sep-02<\/td>\n63<\/td>\nIG-2K\/BCT-60\/63<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nTutu Pattnaik and Suparna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Cham dance of Arunachal Pradesh<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
64<\/td>\nDVD-141<\/td>\nDVCAM-184\/063<\/td>\nVishista-Paintings of Kavita Nayar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n56’55"<\/td>\n5-Sep-02<\/td>\n64<\/td>\nIG-2K\/BCT-60\/64<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKavita Nayar and Suparna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Raja Deen Dayal<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
65<\/td>\nDVD-142<\/td>\n "<\/td>\nVishista-sculpture & Drawing of Parmod K. Mann<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n55’33"<\/td>\n10-Sep-02<\/td>\n65<\/td>\nIG-2K\/BCT-60\/65<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nAbhimanue V.G. and suparna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Balivadam (Kutiyatam)-I<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
66<\/td>\nDVD-143<\/td>\nDVCAM-184\/064<\/td>\nVishista-Paintings of Probir Gupta<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n59’40"<\/td>\n12-Sep-02<\/td>\n66<\/td>\nIG-2K\/BCT-60\/66<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nProbir Gupta and Suparna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Balivadam (Kutiyatam)-II<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
67<\/td>\nDVD-144<\/td>\n "<\/td>\nVishista-Paintings of Abhimanue V.G. <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n56’20"<\/td>\n17-Sep-02<\/td>\n67<\/td>\nIG-2K\/BCT-60\/67<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nAbhimanue V.G. and Suparna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Pandivani-I<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
68<\/td>\nDVD-145<\/td>\n "<\/td>\nVishista-Paintings of Prithpal Singh Sehdave "Ladi"<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-Kala aur Kalakar<\/td>\n60’55"<\/td>\n19-Sep-02<\/td>\n68<\/td>\nIG-2K\/BCT-60\/68<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPrithpal Singh Sehdave "Ladi" and Suparna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Pandivani-II<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
69<\/td>\nDVD-146<\/td>\nDVCAM-184\/065<\/td>\nVishista-Sculpture of K.R. Radhakrishnan<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamvad-K.R. Radhakrishnan and suparna<\/td>\n50’25"<\/td>\n24-Sep-02<\/td>\n69<\/td>\nIG-2K\/BCT-60\/69<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Instruments of Kerala-I<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
70<\/td>\nDVD-147<\/td>\nDVCAM-184\/065<\/td>\nVishista-September 11, America under attack-photographs<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nby Kamal Sharma<\/td>\n50’48"<\/td>\n27-Sep-02<\/td>\n70<\/td>\nIG-2K\/BCT-60\/70<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Instruments of Kerala-II<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
71<\/td>\nDVD-148<\/td>\n<\/td>\nVishista-Workshop on Humpi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nDocumentary-Banam Santhal-I<\/td>\n51’30"<\/td>\n1-Oct-02<\/td>\n71<\/td>\nIG-2K\/BCT-60\/71<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
72<\/td>\nDVD-149<\/td>\nDVCAM-184\/66<\/td>\nVishista & Samvad- Pt. Rajiv Taranath by Dr. M.R. Gautam<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Banam Santhal-II<\/td>\n58’50"<\/td>\n3-Oct-02<\/td>\n72<\/td>\nIG-2K\/BCT-60\/72<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
73<\/td>\nDVD-150<\/td>\n"<\/td>\nSamvad-Uma Sharma by Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Mother Goddess-I<\/td>\n52’35"<\/td>\n8-Oct-02<\/td>\n73<\/td>\nIG-2K\/BCT-60\/73<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
74<\/td>\nDVD-151<\/td>\n "<\/td>\nSamvad-Prof. G.C. Tripathi and Dr. N.D. Sharma<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Mother Goddess-II<\/td>\n52’13"<\/td>\n10-Oct-02<\/td>\n74<\/td>\nIG-2K\/BCT-60\/74<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
75<\/td>\nDVD-152<\/td>\nDVCAM-184\/067<\/td>\nSamvad-Shri Purushothama Billimale by Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nVishista-Mysore Dussehra<\/td>\n55’52"<\/td>\n15-Oct-02<\/td>\n75<\/td>\nIG-2K\/BCT-60\/75<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Tabu Chos Khor-I<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
76<\/td>\nDVD-153<\/td>\nDVCAM-184\/067<\/td>\nSamvad-Shri Yusuf Arrackal by Dr. Suresh<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nVishista-Painting of Yusuf Arrackal<\/td>\n57’15<\/td>\n17-Oct-02<\/td>\n76<\/td>\nIG-2K\/BCT-60\/76<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Tabu Chos Khor-II<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
77<\/td>\nDVD-154<\/td>\n"<\/td>\nVishista-Symposium: Folklore, Public Space and Civil Society<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Tabu Chos Khor-III<\/td>\n59’59"<\/td>\n22-Oct.-02<\/td>\n77<\/td>\nIG-2K\/BCT-60\/77<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav Chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
78<\/td>\nDVD-155<\/td>\nDVCAM-184\/068<\/td>\nSamvad-Prof Jawaharlal Handoo by Dr. Y.A. Sudhakar Reddy<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Bhikhari Thakkur and Bidesia<\/td>\n53’46"<\/td>\n24-Oct-02<\/td>\n78<\/td>\nIG-2K\/BCT-60\/78<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
79<\/td>\nDVD-156<\/td>\n"<\/td>\nSamvad-Dr. Lokendra Arambam and Athrongla Sangatam<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary- Gabar Ghee Chor<\/td>\n53’28"<\/td>\n29-Oct-02<\/td>\n79<\/td>\nIG-2K\/BCT-60\/79<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
80<\/td>\nDVD-157<\/td>\n"<\/td>\nSamvad-Dr. Susan S. Wadley and Dr. M.D. Muthukumar Swamy<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Beti Beehawa<\/td>\n58’00"<\/td>\n31-Oct.-02<\/td>\n80<\/td>\nIG-2K\/BCT-60\/80<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
81<\/td>\nDVD-158<\/td>\nDVCAM-184\/069<\/td>\nVishista-The Vedic Tradition of India<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Bidesia<\/td>\n55’03"<\/td>\n5-Nov-02<\/td>\n81<\/td>\nIG-2K\/BCT-60\/82<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
82<\/td>\nDVD-159<\/td>\n<\/td>\nVishista-The Vedic Tradition of India<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nDocumentary- Gopi Bhat ki tamasha<\/td>\n59’04"<\/td>\n7-Nov-02<\/td>\n82<\/td>\nIG-2K\/BCT-60\/83<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Shri Abhinav chaturvedi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
83<\/td>\nDVD-160<\/td>\n<\/td>\nSamvad-Dr. M.R. Gautam by Pt. Rajiv Taranath<\/td>\n51’40"<\/td>\n12-Nov-02<\/td>\n83<\/td>\nIG-2K\/BCT-60\/84<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nDocumentary-Winning of friends<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
84<\/td>\nDVD-161<\/td>\nDVCAM-64\/070<\/td>\nSamvad-Prof Alan Jabbour by Roam Chatterjee<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-The faces of God<\/td>\n59’19"<\/td>\n14-Nov-02<\/td>\n84<\/td>\nIG-2K\/BCT-60\/85<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
85<\/td>\nDVD-162<\/td>\nDVCAM-64\/071<\/td>\nVishista-Pandarika Vitthalotsava<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nA cultural festival organised by IGNCA Bangalore Centre<\/td>\n59’35"<\/td>\n19-Nov-02<\/td>\n85<\/td>\nIG-2K\/BCT-60\/86<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
86<\/td>\nDVD-163<\/td>\nDVCAM-184\/072<\/td>\nVishista-Malana (A lost utopia in the Himalaya)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa Chadda Baijnath<\/td>\n51’00"<\/td>\n26-Nov-02<\/td>\n87<\/td>\nIG-2K\/BCT-60\/87<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Time<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
87<\/td>\nDVD-164<\/td>\n<\/td>\nVishista-Fahimuddin Khan Dagar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nDocumentary-Urumi (Fighting for Survival)<\/td>\n60’45"<\/td>\n28-Nov-02<\/td>\n88<\/td>\nIG-2K\/BCT-60\/88<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-smt. Suparnaa Chadda Bai<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
88<\/td>\nDVD-165<\/td>\n<\/td>\nVishista-Smt. Sonal Mansing presents. Nayika<\/td>\n51’55"<\/td>\n3-Dec-02<\/td>\n89<\/td>\nIG-2K\/BCT-60\/89<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nThe Woman in Odissi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
89<\/td>\nDVD-166<\/td>\nDVCAM-64\/073<\/td>\nVishista-Fahimuddin Khan Dagar<\/td>\n57’15"<\/td>\n5-Dec-02<\/td>\n90<\/td>\nIG-2K\/BCT-60\/90<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Hampi-The world Heritage-(I)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
90<\/td>\nDVD-167<\/td>\nDVCAM-184\/074<\/td>\nVishista-Nat. Sankirtana (Nupa Khubak Isei)-I<\/td>\n55’35"<\/td>\n10-Dec-02<\/td>\n91<\/td>\nIG-2K\/BCT-60\/91<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Hampi-The World Heritage-(II)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
91<\/td>\nDVD-168<\/td>\n"<\/td>\nVishista-Nat. Sankirtana (Nupa Khubak Isei)-II<\/td>\n52’00"<\/td>\n12-Dec-02<\/td>\n92<\/td>\nIG-2K\/BCT-60\/92<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Hampi-The World Heritage-(III)<\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
92<\/td>\nDVD-169<\/td>\nDVCAM-184\/074<\/td>\nVishista-Gita Govindam-I <\/td>\n56’13"<\/td>\n17-Dec-02<\/td>\n93<\/td>\nIG-2K\/BCT-60\/93<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n( A dance poem by Kalakshetra, Madras)<\/td>\n <\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Hampi-The World Heritage-(IV)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
93<\/td>\nDVD-170<\/td>\nDVCAM-184\/075<\/td>\nVishista-Gita Govindam-II<\/td>\n00’00"<\/td>\n19-Dec-02<\/td>\n94<\/td>\nIG-2K\/BCT-60\/94<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n( A dance poem by Kalakshetra, Madras)<\/td>\n <\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Hampi-The World Heritage-(V)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
94<\/td>\nDVD-171<\/td>\n<\/td>\nVishista-Merry Christmas<\/td>\n53’30"<\/td>\n24-Dec-02<\/td>\n95<\/td>\nIG-2K\/BCT-60\/95<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nDocumentary-Hampi-The world Heritage-(VI)<\/td>\n <\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
95<\/td>\nDVD-172<\/td>\n<\/td>\nVishista-Hastakshar-The Aesthetic Signature 13th Dec.<\/td>\n59’55"<\/td>\n26-Dec-02<\/td>\n96<\/td>\nIG-2K\/BCT-60\/96<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nDocumentary-Nat sankirtana-Nityai Dhumel<\/td>\n <\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
96<\/td>\nDVD-173<\/td>\nDVCAM-184\/076<\/td>\nVishista-Nat sankirtana-Nityai Dhumel<\/td>\n53’30"<\/td>\n31-Dec-02<\/td>\n97<\/td>\nIG-2K\/BCT-60\/97<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Shravana Belagola Chapter-I<\/td>\n <\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe Jain Heritage Site<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
97<\/td>\nDVD-174<\/td>\n"<\/td>\nVishista-Nat Sankirtana-Goura Dhumel<\/td>\n53’30"<\/td>\n26-Dec-05<\/td>\n98<\/td>\nIG-2K\/BCT-60\/98<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhh<\/td>\n <\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(The Jain Heritage Site )<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
98<\/td>\nDVD-175<\/td>\n"<\/td>\nVishista-Nat Sankirtana-Vaasak<\/td>\n52’30"<\/td>\n2-Jan-03<\/td>\n99<\/td>\nIG-2K\/BCT-60\/99<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary-Shravana Belagola Chapter-III<\/td>\n <\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n( The Jain Heritage Site )<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCompere-Smt. Suparnaa chadda Baijnath<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
99<\/td>\nDVD-176<\/td>\nDVCAM-184\/077<\/td>\nVishista-Journy of Kalatarang – The Making of 100 Episode<\/td>\n55’00"<\/td>\n7-Jan-03<\/td>\n100<\/td>\nIG-2K\/BCT-60\/100<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncompere- Smt. Suparnaa Chadda Baijnath<\/td>\n <\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nCredit caption for Kalatarnag commentary for show reel<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
100<\/td>\nDVD-177<\/td>\n<\/td>\nNagamandala-Naga worship in Dakshina Kannada<\/td>\n47’00"<\/td>\n<\/td>\n101<\/td>\nIG-2K\/BCT-60\/101<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\n(Naga agrarian celebration in vogue in South Karnataka<\/td>\n <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhas been documented fully.)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
101<\/td>\nDVD-178<\/td>\n<\/td>\nFrom Piety to Plenty- A film on Dharmastala<\/td>\n56’59"<\/td>\n<\/td>\n102<\/td>\nIG-2K\/BCT-60\/102<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nDharamasthala is one of the oldest tirtha of Dakshina<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKarnataka. The film captures the sacred corridor involving<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe pulses of socio-religious belief system .<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nWisdom frozen in time-In search of treasure–Guwahati<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nUnder the directions of Hon’ble Prime Minister Shri Atal<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nBihari Vajpayeeji. The National manuscript Mission was<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nlaunched and IGNCA is its nodal agency under the <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMinistry of Culture. Towards this we have documented <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nscores of manuscript libraries to showcase the contents<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof our manuscripts heritage. The Journey stars with <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nGuwahati and we have covered Kamaroop Anusandhan <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSamiti and narayani Handiqui Historical Institue which <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhave hundreds of year old Bhurjapatra. The film highlights <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe eco-friendliness of Bhurjapatra and talks in length<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nabout how to upkeep the heritage.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
102<\/td>\nDVD-179<\/td>\nDVCAM-64\/078<\/td>\ni) Colour temperature of other time-Mysore painting-Chapter-I<\/td>\n53’33"<\/td>\n<\/td>\n103<\/td>\nIG-2K\/BCT-60\/103<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe film deals with archaic yet world famous Mysore<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\npainting. It touches upon the pulses of creativity and<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncovers the whole process.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) Wisdom frozen in time. In search of treasure\u2026.Guwahati<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nIn this programme we have addressed the manuscript kept in<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n Guwahati University Library and try to highlight the various <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n themes.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
103<\/td>\nDVD-180<\/td>\nDVCAM-64\/079<\/td>\ni) colour temperature of other time-Mysore Paintings-Chapter-II<\/td>\n59’37"<\/td>\n<\/td>\n104<\/td>\nIG-2K\/BCT-60\/104<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe film highlights the age old collections of Mysore paintings <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n and covers even those which were shown in international <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n expositions.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) Wisdom frozen in time. In search of treasure\u2026\u2026<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nBhubaneswar<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe manuscripts of Orissa is the focus of this programme.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe illustrated traditional manuscripts encompass wide<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nrange of space which are presented in this episode.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
104<\/td>\nDVD-181<\/td>\nDVCAM-184\/080<\/td>\n(i) Play of Art with play of cards-Ganjifa<\/td>\n<\/td>\n<\/td>\n105<\/td>\nIG-2K\/BCT-60\/105<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nGanjifa or the playing cards, which has come to India from <\/td>\n50’15"<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nmiddle-east during Moghul era is being traced here.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThis film covers the various types of Ganjifa which not<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nonly manifested but incorporated the traditional art<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof the different parts of India.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) Wisdom frozen in time. In search of treasure\u2026.Kolkata<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe manuscript which are kept in Asiatic Society, Vanga<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSahitya Parishat and Sanskrit Sahitya Parishat are covered<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nboth from the view of content and preservation.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
105<\/td>\nDVD-182<\/td>\n<\/td>\nThe Talking rocks of Badami<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nThe film on Badami traces the human kinds romanced<\/td>\n51’29"<\/td>\n<\/td>\n106<\/td>\nIG-2K\/BCT-60\/106<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nwith stone culture during Badami Chalukaya period. Out<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof the rock mountains, ancient sculptures have carved<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nout five majour cave temples which unifies many<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nbelieves and showcase the excellence of temple<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\narchitecture. The mega documentary incorporates the <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhistorical analysis apart from highlighting the creativity<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof 4th – 5th century AD.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
106<\/td>\nDVD-183<\/td>\nDVCAM-184\/080<\/td>\n(i) Cradle of Indian Architecture- Aihole<\/td>\n<\/td>\n<\/td>\n107<\/td>\nIG-2K\/BCT-60\/107<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nAihole remain a space where temple architecture <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nexperiments started and reached its zenith. This <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDocumentary is created and well posites with expert<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nanalysis from Historians.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) Wisdom frozen in time. In search of treasure\u2026.Chennai.<\/td>\n52’59"<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe textual tradition of Tamil Nadu remains the cultural <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncontinuam, the heritage of manuscripts from different<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMaths and private collections are kept in this<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKuppuswamy Shastri Research Institute.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
107<\/td>\nDVD-184<\/td>\nDVCAM-184\/081<\/td>\nSecred Excelleance-Pattadakal Temples<\/td>\n48’25"<\/td>\n<\/td>\n108<\/td>\nIG-2K\/BCT-60\/108<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPattadakal remains the historical ground where temple<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncollections excelled of the time which starts from <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nAihole and Badami. This is a world heritage site.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) Wisdom frozen in time. In search of treasure .. Chennai.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe Government Oriental Manuscript Library situated in<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nChennai highlights collection of manuscripts since the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nBritish. The programme focus is on the collection, theme<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nand collecting catalogue.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
108<\/td>\nDVD-185<\/td>\n<\/td>\n(i) Echoes of the past-Bijapur-Chapter-I<\/td>\n47’39"<\/td>\n<\/td>\n109<\/td>\nIG-2K\/BCT-60\/109<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nThe film has documented the architectural wonder<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nacoustic of the world Golgumbaz apart from other<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nmonuments of Adil Shahi dynasty who was better know<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nas Jagadguru Brhadisvara.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) Wisdom frozen is time . In search of treasure..Mysore<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe programme focus on the huge collection and variety<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof manuscripts in the Oriental Research Institute of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMysore.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
109<\/td>\nDVD-186<\/td>\nDVCAM-184\/081<\/td>\n(i) Echoes of the past – Bijapur-Chapter-II<\/td>\n58’27"<\/td>\n<\/td>\n110<\/td>\nIG-2K\/BCT-60\/110<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nwe have documented the well known Bijapur Museum<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nwhich traces from Prehistory to Adil Shahi dynasty.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) Wisdom frozen in time. In search of treasure\u2026MELUKOTE.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThis film shown the manuscript treasures of Karnataka<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nregion collected and preserved by Academy of Sanskrit<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nResearch.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
110<\/td>\nDVD-187<\/td>\nDVCAM-64\/082<\/td>\n(i) A Journey through time-Tamil university museum<\/td>\n47’40"<\/td>\n<\/td>\n111<\/td>\nIG-2K\/BCT-60\/111<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe film links people from various time within the <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ndynamics of the folk tradition. The highlight of the film<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nis to trace the bygone era even the implements like<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthree in the Board Games, which once enthused the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nregality.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) Wisdom frozen in time. In search of treasure.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nA dialogue with K. V. Sharma, a pioneer in manuscript<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nstudies unveils the potential of manuscript heritage<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof India and talks about the scientific In our old <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nmanuscripts.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
111<\/td>\nDVD-188<\/td>\nDVCAM-64\/083<\/td>\nCreativity at work-Thanjavur<\/td>\n57’40"<\/td>\n<\/td>\n112<\/td>\nIG-2K\/BCT-60\/112<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(i)Thanjavur remains a space where culture and creativity<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nexist together. The highlight of the film is the grandeur <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof Thanjavur paintings, the process of world famous plate<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nmaking and the skills incorporating art and science of<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nVeena making.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) A spiritual Halt-Mahakoota<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThis film highlights a lesser known yet archaic thirtha-<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMahakoota, which links sub sects of the Shaivism to the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nlevel of Tantra and Shakti.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
112<\/td>\nDVD-189<\/td>\nDVCAM-184\/084<\/td>\n(i) Measuring the sky-A journey to the Brhadisvara temple<\/td>\n54’54"<\/td>\n<\/td>\n113<\/td>\nIG-2K\/BCT-60\/113<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nBrhadisvara, a Shiva temple of 15th-16th century houses<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe grandeur of architecture and scientific amalgamation.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe film highlights the rare Mahakumbhabishekam to<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nvarious iconographical analysis of this temple complex.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n(ii) Wisdom frozen in time. In search of treasure\u2026.Thanjavur<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nWe have documented the world famous Saraswati Mahal<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nLibrary which has millions of rare manuscripts including<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPalm leaves from all over the Southern Region. The film<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ntalks about understanding the preservation and conservation<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof this rare manuscripts for posterity.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
113<\/td>\nDVD-190<\/td>\n<\/td>\nBadaguthittu Yakshagana- This film showcases the theatre<\/td>\n47’05"<\/td>\n<\/td>\n114<\/td>\nIG-2K\/BCT-60\/114<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nart from of coastal region of Karnataka. The Bhima <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nHadimba episode is portrayed in this film with its own<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nqnique colour and flavour.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
114<\/td>\nDVD-191<\/td>\n<\/td>\nKudiyattam- Kudiyattam is one of the most ancient<\/td>\n<\/td>\n<\/td>\n115<\/td>\nIG-2K\/BCT-60\/115<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\ntheatrical traditions of Kerala. The film revolves around<\/td>\n52’40"<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nstaging of human emotions, which elaborate facial and<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nbodily expressions. This sanskrit play allows us to <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nunderstand the intangible heritage of South India in <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ngeneral , Kerala in particular.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
115<\/td>\nDVD-192<\/td>\nDVCAM-64\/085<\/td>\nKrishnanattam- Krishnanatham is Kerala’s stage art to<\/td>\n51’00"<\/td>\n<\/td>\n116<\/td>\nIG-2K\/BCT-60\/116<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nshowcase the Krishna Bhava and Bhakti movement in <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nclassical tradition. The flim uniquely portrays the theme<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof Krishna Leela with mythological punctuation.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
116<\/td>\nDVD-193<\/td>\nDVCAM-64\/086<\/td>\nKathakali- This film showcase a short piece from Kalyana<\/td>\n57’14"<\/td>\n<\/td>\n117<\/td>\nIG-2K\/BCT-60\/117<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nSaughandhikm where Bhima goes in search of divine <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nflowers as per the desire of his consort Dhraupadi.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nOn his way he meets Hanuman and gets blessings.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe character of Hanuman of the mythological epic<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nRamayana has come with play of Mahabharata. This<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nstyle has its own historicity as Kathakkali originated in<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nearly 17th century and was introduced by Raja Kottarkra<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThus Kathakkali, which means story through actions,<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nremains a cultural continuum of India.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
117<\/td>\nDVD-194<\/td>\nDVCAM-64\/087<\/td>\nKuchipudi Bhagavatamelam- It is another type of<\/td>\n58’57"<\/td>\n<\/td>\n118<\/td>\nIG-2K\/BCT-60\/118<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nYakshagana originated in Andhra Pradesh. With time it <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhas changed its drama and dance aspects. The story<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nhighlights the Krishna perspective of Indian tradition and<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nlinks with Satyabhama episode.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
118<\/td>\nDVD-195<\/td>\nDVCAM-64\/088<\/td>\nTeru-K-Koothu- This play depicts the Panchali Sapathan.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nHere one can notice the multiple role of Kattaikkaram<\/td>\n58’40"<\/td>\n<\/td>\n119<\/td>\nIG-2K\/BCT-60\/119<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nas Sutradhar. The story line revolves the insult by<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDushasana and the reaction of Pandavas. However, the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nfolk element depicts Draupadi as mother and remains <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe focus of this play. This is one of the most famous <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ntraditional stage art forms of Tamil Nadu.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
119<\/td>\nDVD-196<\/td>\nDVCAM-64\/089<\/td>\nChindu Yakshagana & Mohiniattam- This edition of <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKalatarang consists of the segments-I) Chindu Yakshagana<\/td>\n1 hr 05sec<\/td>\n<\/td>\n120<\/td>\nIG-2K\/BCT-60\/120<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nand ii) Mohiniatta. This episode of Rangollasa highlights<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nChindu Yakshagana of Andhra Pradesh. The theme <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nrevolves around Cenchu Lakshmi and Adi Lakshmi and<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nNarasimha. Mohiniattam is a programme based on the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ninterview of Dr. Kana Rele, an eminent personality<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nof Mohiniattam.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
120<\/td>\nDVD-197<\/td>\nDVCAM-64\/090<\/td>\nSri Krishna Paarijaatha- Sri Krishna Paarijaatha of North<\/td>\n52’15"<\/td>\n<\/td>\n121<\/td>\nIG-2K\/BCT-60\/121<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKarnataka evolved during 2nd half of 19th century and<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nrouted through Kuchipudi and Yakshagana. The episode<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nrevolves around Styabhama, Narada and the gift of<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPaarijaatha to Rukmini. However, Krishna remains <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncentral figure.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
121<\/td>\nDVD-198<\/td>\nDVCAM-64\/091<\/td>\nDoddaata- The Doddaata, the theatre tradition of <\/td>\n48’45"<\/td>\n<\/td>\n122<\/td>\nIG-2K\/BCT-60\/122<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKarnataka resembles Moodalapaya. Thus the Yakshagana<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nelement is prominent here. The theme is "Kamadahana<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPrasanga". Here Devendra narrates that Tarakasura is<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncreating lot of trouble to all, so desired Shiva’s<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nintervention and the episode highlights how Manmata<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nwas destroyed by Shiva’s third eye.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
122<\/td>\nDVD-199<\/td>\nDVCAM-184\/092<\/td>\nTenkuthittu Yakshagana- This is a play of Yakshaghana<\/td>\n59’13<\/td>\n<\/td>\n123<\/td>\nIG-2K\/BCT-60\/123<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nstyle more popular in South Karnataka and known as<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThenkuthittu. The theme revolves around Ramayana<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nepisode wherein Rama and Ravana’s army are face to face.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
123<\/td>\nDVD-200<\/td>\n<\/td>\nSannaata- The play is based on real life story called <\/td>\n58’35"<\/td>\n<\/td>\n124<\/td>\nIG-2K\/BCT-60\/124<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nSangyabalya. This folk representation of Karnataka with<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nsimple theme and direct meaning dialogue create a witty<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nconversation in the play.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
124<\/td>\nDVD-201<\/td>\n<\/td>\nMelattur Bhagavata Mela- This enactment highlights the<\/td>\n1hr 00Min<\/td>\n<\/td>\n125<\/td>\nIG-2K\/BCT-60\/125<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\ntheme where King Bhisma and his wife desire that Krishna<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nshould be chosen as a groom for daughter Rukmini. This<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nstyle of theatrics is 17th century migration of Kuchipudi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nBhagwada Mela to Thanjavur. Tamil Nadu.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
125<\/td>\nDVD-202<\/td>\nDVCAM-184\/093<\/td>\nChitrakala Parishat & Tamil University Thanjore<\/td>\n56 Min<\/td>\n<\/td>\n126<\/td>\nIG-2K\/BCT-60\/126<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ni) Chitrakala Parishat<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nChitrakala Parishat is a center for art and creativity. At one<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nlevel art and heritage are upkept in those galleries with<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nvarieties of their creative pulses. The collections ranges<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nthe pan Indian dimension and also houses the folk <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ntraditions be in bell metal to the level of leather<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\npuppetry with varied punctuations of traditional<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nstorylines. On the other hand this space is utilized to <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\neducate modern artists and they are trained within the<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nbroader parenthesis ethnic aesthetics and modernity<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nwhere east and west meets harmoniously.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Wisdom Frozen in time. In search of treasure-Thanjore<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nTamil University Thanjore.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nThe textual tradition of Tamil Nadu remains the cultural <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\ncontinuum, the heritage of manuscripts from different<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMaths and private collections are kept in this University<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nLibrary.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
126<\/td>\nDVD-203<\/td>\n<\/td>\ni) Ganga – Kalanidhi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nii) Ramlila Showreel – Vishisht<\/td>\n58’03"<\/td>\n<\/td>\n127<\/td>\nIG-2K\/BCT-60\/485<\/td>\n<\/tr>\n
127<\/td>\nDVD-204<\/td>\n<\/td>\ni) Gurukul – Om shanti Dhama (Kalaidhi)<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n"<\/td>\nii) Ramlila- Tarika Vadh<\/td>\n57’21"<\/td>\n<\/td>\n128<\/td>\nIG-2K\/BCT-60\/486<\/td>\n<\/tr>\n
128<\/td>\nDVD-205<\/td>\nDVCAM-184\/094<\/td>\ni) Ramlila – Ahilya Uddhar – Vishisht<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) In Search of Indian Genius – Kalanidhi<\/td>\n58’50"<\/td>\n<\/td>\n129<\/td>\nIG-2K\/BCT-60\/487<\/td>\n<\/tr>\n
129<\/td>\nDVD-206<\/td>\n"<\/td>\ni) Ramlila – Ashok Vatika- Vishisht<\/td>\n58’30"<\/td>\n<\/td>\n130<\/td>\nIG-2K\/BCT-60\/488<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Sanjhi – Kalanidhi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
130<\/td>\nDVD-207<\/td>\n"<\/td>\ni) Ramlila- Seeta Swayamvar Part- I- Vishisht<\/td>\n58’30"<\/td>\n<\/td>\n131<\/td>\nIG-2K\/BCT-60\/489<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Kaal – Kalanidhi<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
131<\/td>\nDVD-208<\/td>\nDVCAM-184\/095<\/td>\ni) Ramlila – Seeta Swayamvar Part-II- Vishisht<\/td>\n58’52"<\/td>\n<\/td>\n132<\/td>\nIG-2K\/BCT-60\/490<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) An insight – Indian Diaspora – Samvad<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
132<\/td>\nDVD-209<\/td>\n"<\/td>\ni) Ramlila- Laxman Parshuram Samvad – Vishisht<\/td>\n59’15"<\/td>\n<\/td>\n133<\/td>\nIG-2K\/BCT-60\/491<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Zohra Unmasks Part-I-Samvad<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
133<\/td>\nDVD-210<\/td>\n"<\/td>\ni) Ramlila – Kaikayee Antardwand – Vishisht<\/td>\n58’35"<\/td>\n<\/td>\n134<\/td>\nIG-2K\/BCT-60\/492<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Zohra Unmasks Part-II- Samvad<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
134<\/td>\nDVD-211<\/td>\nDVCAM-184\/096<\/td>\ni) Ramlila- Manthra – Vishisht<\/td>\n58’32"<\/td>\n<\/td>\n135<\/td>\nIG-2K\/BCT-60\/493<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Interview with Mulk Raj Anand – Samvad<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
135<\/td>\nDVD-212<\/td>\n"<\/td>\ni) Ramlila Kaikayee Dashrath Samvad – Vishisht<\/td>\n58’30"<\/td>\n<\/td>\n136<\/td>\nIG-2K\/BCT-60\/494<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Interview with Damyanti Joshi – Samvad<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
136<\/td>\nDVD-213<\/td>\n"<\/td>\ni) Ramlila – Ram Pitra Vakya Paripalak – Vishisht<\/td>\n58’48"<\/td>\n<\/td>\n137<\/td>\nIG-2K\/BCT-60\/495<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Interview with Dr. K.S. Karanth – Samvad<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
137<\/td>\nDVD-214<\/td>\nDVCAM-64\/097<\/td>\ni) Ramlila – Ram Vanyatra – Vishisht<\/td>\n59’27"<\/td>\n<\/td>\n138<\/td>\nIG-2K\/BCT-60\/496<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Reflections – B. C. Sanyal – Samvad<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
138<\/td>\nDVD-215<\/td>\nDVCAM-64\/098<\/td>\ni) Ramlila – Dasrath Maran – Vishisht<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Interview with Bhishma Sahani – Samvad<\/td>\n56’32"<\/td>\n<\/td>\n139<\/td>\nIG-2K\/BCT-60\/497<\/td>\n<\/tr>\n
139<\/td>\nDVD-216<\/td>\nDVCAM-64\/099<\/td>\ni) Ramlila (Bharat Milap) – Vishisht and Interview <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Interview with Sitara Devi – Samvad<\/td>\n59’40"<\/td>\n<\/td>\n140<\/td>\nIG-2K\/BCT-60\/498<\/td>\n<\/tr>\n
140<\/td>\nDVD-217<\/td>\nDVCAM-64\/100<\/td>\ni) Ramlila (Sita Haran) – Vishisht<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Interview with Ann Marie Schimmel – Samvad<\/td>\n58’53"<\/td>\n<\/td>\n141<\/td>\nIG-2K\/BCT-60\/499<\/td>\n<\/tr>\n
141<\/td>\nDVD-218<\/td>\nDVCAM-64\/101<\/td>\ni) Ramlila (Lanka Dahan) – Vishisht and<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n Interview with Prof. Maxwell – Samvad<\/td>\n57’51"<\/td>\n<\/td>\n142<\/td>\nIG-2K\/BCT-60\/500<\/td>\n<\/tr>\n
142<\/td>\nDVD-219<\/td>\nDVCAM-64\/102<\/td>\ni) Ramlila (Ravana Vadh) – Vishisht<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Interview with Prof. V.N. Mishra – Samvad<\/td>\n57’32"<\/td>\n<\/td>\n143<\/td>\nIG-2K\/BCT-60\/501<\/td>\n<\/tr>\n
143<\/td>\nDVD-220<\/td>\nDVCAM-64\/103<\/td>\ni) Ramlila Ramnagar Part-I-Vishisht <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Interview with Prof. Mahesh Mishra – Samvad<\/td>\n58’30"<\/td>\n<\/td>\n144<\/td>\nIG-2K\/BCT-60\/502<\/td>\n<\/tr>\n
144<\/td>\nDVD-221<\/td>\nDVCAM-64\/104<\/td>\ni) Ramlila Ramnagar Part-II – Vishisht<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nii) Interview with Elizabeth Brunner (Moments and<\/td>\n59’30"<\/td>\n<\/td>\n145<\/td>\nIG-2K\/BCT-60\/503<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nMemories)- Samvad<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
145<\/td>\nDVD-222<\/td>\nDVCAM-64\/105<\/td>\ni) In Search of Human Heart – Kalanidhi & Prakriti – Vishisht<\/td>\n58’22"<\/td>\n<\/td>\n146<\/td>\nIG-2K\/BCT-60\/504<\/td>\n<\/tr>\n
146<\/td>\nDVD-223<\/td>\nDVCAM-64\/106<\/td>\nBhil paintings ( Image & Imagination)- Kalanidhi<\/td>\n57’35"<\/td>\n<\/td>\n147<\/td>\nIG-2K\/BCT-60\/505<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nManuscripts Overview – Vishisht<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
147<\/td>\nDVD-224<\/td>\nDVCAM-64\/107<\/td>\nWomen Priestess of Lepeha – Kalanidhi and Manuscripts<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDigitization – vishisht<\/td>\n55’17"<\/td>\n<\/td>\n148<\/td>\nIG-2K\/BCT-60\/506<\/td>\n<\/tr>\n
148<\/td>\nDVD-225<\/td>\nDVCAM-64\/108<\/td>\nJourney of Bhikunis- Kalanidhi and Manuscript Library,<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nKolkata- Vishisht<\/td>\n58’07"<\/td>\n<\/td>\n149<\/td>\nIG-2K\/BCT-60\/507<\/td>\n<\/tr>\n
149<\/td>\nDVD-226<\/td>\nDVCAM-64\/109<\/td>\nRecollection of Satyagrahi- Kalanidhi and Ghramar Geet<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nPart-I Vishisht<\/td>\n57’20"<\/td>\n<\/td>\n150<\/td>\nIG-2K\/BCT-60\/508<\/td>\n<\/tr>\n
150<\/td>\nDVD-227<\/td>\nDVCAM-64\/110<\/td>\nBrahmvadi Part-I- Kalanidhi and Bhramar <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nGeet Part-II- Vishisht<\/td>\n58’18"<\/td>\n<\/td>\n151<\/td>\nIG-2K\/BCT-60\/509<\/td>\n<\/tr>\n
151<\/td>\nDVD-228<\/td>\nDVCAM-64\/111<\/td>\nBrahmvadini Part-II- Kalanidhi and IGNCA and Indian<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\nDiaspora – Vishisht<\/td>\n52’58<\/td>\n<\/td>\n152<\/td>\nIG-2K\/BCT-60\/510<\/td>\n<\/tr>\n<\/table><\/div>\n<\/div>\n

<\/p>","protected":false},"excerpt":{"rendered":"

SL. DVD Acc. No Accession No Contents Duration Date Of Telecast Epi. Remarks Dr. L.M. Singhvi-IGNCA Perspective 58’45" 29-Jan-02 1 IG-2K\/BCT-60\/001 Heritage of Manuscripts-An Overview By Pt. V.P. Mishra Documentary-Navkalevara this film documents the manifold rituals of selecting woods for making the icon of Lord Jaganath of Puri, This celebration occurs once in nineteen year … Kalatarang<\/span> →<\/span> \u0915\u094b \u092a\u0922\u093c\u0928\u093e \u091c\u093e\u0930\u0940 \u0930\u0916\u0947\u0902<\/a><\/p>\n","protected":false},"author":50279,"featured_media":0,"parent":396,"menu_order":0,"comment_status":"open","ping_status":"open","template":"template-1.php","meta":{"footnotes":""},"class_list":["post-4802","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/4802","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/users\/50279"}],"replies":[{"embeddable":true,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/comments?post=4802"}],"version-history":[{"count":0,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/4802\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/396"}],"wp:attachment":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/media?parent=4802"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}