Orissa Examination Results, +2 Arts (Regular) Annual Result - 2008,12th Arts Exam Result,Council of Higher Secondary Education

Orissa Examination Results

+2 Arts (Regular) Annual Result - 2008

Orissa Examination Results
+2 Arts (Regular) Annual Result - 2008
Announced on 9th June at 9:00 Hrs

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Bagha Jatin

Bagha Jatin

Freedom Fighters of India

Name : Bagha Jatin
Real name : Jatindra Nath Mukherjee
Date of birth : 6 December 1879
Date of Death : 10 September 1915
Place of birth : Kayagram, Kushtia District, Bangladesh
Place of death : Balasore, Orissa, India
Movement: Indian Independence movement, Indo-German Conspiracy


Abbas Tyabji | Ambika Chakrobarty | Aravinda Ackroyd Ghosh | Ashfaqulla Khan | Bal Gangadhar Tilak | Bagha Jatin | Barindra Kumar Ghosh | Badal Gupta | Benoy Basu | Bhagat Singh | Bhogaraju Pattabhi Sitaramayya | Bipin Chandra Pal | Dr. B.R. Ambedkar | Chandrasekhar Azad | Chittaranjan Das | C. Rajagopalachari | Dadabhai Naoroji | Dinesh Gupta | Feroze Gandhi | Ganesh Vasudev Mavlankar | Govind Ballabh Pant | Gopal Krishna Gokhale | Gopinath Bordoloi | Hakim Ajmal Khan | Indira Gandhi | Jawaharlal Nehru | Jayaprakash Narayan | Jivatram Kripalani | Khudiram Bose | Khan Abdul Ghaffar Khan | Krishna Menon | Kulapati K.M.Munshi | Lal Bahadur Shastri | Lala Lajpat Rai | Liaquat Ali Khan | Maulana Mohammad Ali | Maulana Abul Kalam Azad | Mahadev Desai | Mahadeo Govind Ranade | Madan Lal Dhingra | Mohandas Karamchand Gandhi | Motilal Nehru | Mohanlal Pandya | Mukhtar Ahmed Ansari | Muhammad Ali Jinnah | Muhammad Iqbal | Pandit Madan Mohan Malaviya | Purushottam Das Tandon | Rabindranath Tagore | Dr. Rajendra Prasad | Ram Manohar Lohia | Sardar Vallabhbhai Patel | Sardul Singh Caveeshar | Shivaram Rajguru | Srinivasa Iyengar | Subhas Chandra Bose | Surendranath Banerjea | Surya Sen | Tej Bahadur Sapru | Vinoba Bhave | Dr. Zakir Husain


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Sun Temple

Monuments In India - Sun Temple

Konark is a village located in Puri district, Orissa. The Sun Temple built in the 13th century brought fame to this village. The temple is dedicated to 'Sun God' and so it is shaped as the chariot of the Sun. The excellent style of temple architecture in Orissa is displayed in the construction of this temple. There are six stone carved wheels each on either side of the chariot. Seven horses carved on stones are shown pulling the chariot. Huge iron bars support the roof in the interior. The tower (gopura) on the garbhagriha was completely broken due to destruction. The exterior of this temple is ornamented with beautiful carvings and sculpture. The Sun temple is one of the outstanding examples of temple architecture in India.

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Folk Dances Of India - East

Bihu : Bihu is the most popular folk-dance of Assam and is enjoyed by all, be they young and old. Bihu is celebrated to mark the beginning of the spring festival, sometime in mid April.This festival is called the Rongali Bihu.Essentially a festival meant to celebrate the agricultural season, it is celebrated through Bihu dance accompanied by wild and lusty beats of the dhol (drum), pepa (buffalo hornpipe), gogona (a string reed attached to a bamboo piece at the end), takka (a portion of bamboo split to form a clapper) and Bihu songs woven round the theme of love. The most common formation in this dance is the circle or parallel rows. The Bihu dance demonstrates, through song and dance, the soul of the Assamese at its richest. The festival and the dance continue for about a month.
This dance is performed by young men and girls who gather in the open and dance together in separate groups of men and women. A tourist on a visit to Assam, during the harvest season, can witness the Bihu dance is almost every nook and corner of the Brahmaputra vally.

Naga Dance : Naga dance is a popular dance of tribals of Nagaland. Each tribe of the Nagas has its distinct style of performing this dance. The Nagas live in Manipur, Tripura, Nagaland, Mizoram, Arunachal Pradesh, Meghalaya and Assam.The Nagas, blessed with high cheekbones, almond eyes, sparkling teeth, carrying bronze shields sheathed in bear skin and decorated spears, perform their dance with vigour.

All the Naga tribes have their particular harvest dances, though the most common in the Naga dance. The characteristic feature of the Naga dance is that the dancer dances in an erect posture with movements of the legs. There is a marked restricted use of the torso and the shoulders.

Another dance, the Khamba Lim is pefomed by two groups of men and women and who stand in two rows. This gives us an insight into the inborn reticence of these people.War dances and other dances belonging to distinctive tribes constitute a major art form of Nagaland. In colourful costumes and jewellery, the dancers go through an amazing set of mock-war motion that could prove very dangerous, if one is a little careless. Festivals, marriages, harvests, or other moments of joy are occasions for the Nagas to burst into dance. And a sense of fun and frolic pervades the atmosphere when the Nagas dance.

Hazagiri : This is a dance by the Riangs of Tnpura, held to invoke the blessings of the Goddess Hazagiri, for a good harvest. Goddess Hazagiri is a form of Lakshmi (the Hindu Goddess of wealth). The ceremonies begin with the worship of nine gods and culminate in the worship of the Goddess Hazagiri. The dance begins with women dancing slowly (often with pots on their heads), joined later by men. The dance concludes on an ecstatic note in a fast tempo.

Bamboo Dance: The most colourful and distinctive dance of the people of Mizoram is called the Cheraw. Long bamboo staves are used for this dance, which is why it is called the Bamboo Dance. This is a dance that requires skill and an alert mind.

Nongkrem : The Nongkrem dance of Meghalaya is performed in autumn at Smit, the cultural center of the Khasi Hills. It is performed to commemorate the evolution of the Khasi tribe.

Thang-ta : The kings of Manipur used to encourage the martial arts, through which evolved a variety of combat exercises which later evolved into dances. One of the most thrilling of the dances is the Thang-ta, performed by young men with swords and shields. The drum is the chief musical accompaniment in this dance.

Karma (Munda) : The traditional dance of Bihar gets its name fromthe Karma tree, that is supposed to embody fortune and good luck. The ceremony starts with the planting of trees. Dancers, both men and women, form circles around the tree and dance with their arms around each other's waists.

Ponung : Among the Adis in Arunachal Pradesh, dance had evolved almost into an art form mainly for entertainment and recreation. The 'Ponung' dance of the Adis is performed by teams of young girls in perfect rhythmic unison. Similar group dances in colourful costumes are performed by the Nishis and the Tagins of Upper and Lower Subansin Districts.

Brita or Vrita : One of the most important folk dances of Bengal, it is an invocational dance performed by the barren -women of Bengal who –worship in gratitude for their wish being fulfilled. Quite often, this dance is performed after a recovery from a contagious disease.

Hurka Baul : The Hurka Baul from West Bengal is performed during the cultivation of paddy and maize. After preliminary rituals, the dance is performed in different fields. The dance derives its name from Hurka, the drum which constitutes the only musical accompaniment, and Baul, the sons. The singer narrates a story of battle and heroic deeds and the performers enter from two opposite sides and enact the stories in a series of crisp movements.

Kali Nach : This dance is performed in honour of the Goddess Kali. Here, the performer wears a mask, purified by mantras, dances with a sword and when worked up can give prophetic answers.

Ghanta Patua : For the month of Chaitra, the village streets in Orissa reverberate with the sound of Ghanta (brass song). The Ghanta is played by Ghanta Patuas in accompaniment to their dance on stilts. Ghanta Patuas are non-Brahmin servants of the deities. The dance is closely associated with the worship of the Mother Goddess who has numerous names including Sarala, Hingula,Charchika, Bhagavati, Mangala and Chandi.One of the Ghanta Patuas dresses himself as a female with a black cloth tied on the head. He places the Ghata decorated with flowers and coloured threads on his head and then performs with the Ghata on his head. He also displays a variety of Yogic postures. The Dhol and Ghanta are the accompanying instruments.

Paik : This martial art dance from Orissa is masculine, vigorous, highly structured and full of dignity. The dancers stand facing each other on rows wearing tight dhotis, colourful turbans and holding large shields and swords. In the first phase of the performance, the dancers approach each other slowly, their stance and movements recalling fencing positions. Gradually, the tempo increases and the mock battle begins with mighty jumps and swords being struck.

Dalkhai : The Dalkhai dance is performed in some of the tribes in the Sambalpur district of Orissa. The dance is vigorous and is accompanied by a set of particular musical instruments, played by men, of which the drummers often join the dance. Another version of this dance is the Chain Ghorha, performed by a community of fisher-folk.

classical dances

BHARATA NATYAM    KATHAKALI   KATHAK    MANIPURI    KUCHIPUDI    ODISSI    MOHINI ATTAM   
Folk dances


BHANGRA    DHUMAL    ROUF    LAMA DANCE    PANGI DANCES    LOSAR SHONA CHUKSAM    RAAS   GIDDA    DHAMYAL    DUPH    LAHOOR    DHURANG     MALI DANCE     TERA TALI

BIHU    NAGA DANCE    HAZAGIRI    BAMBOO DANCE    NONGKREM    THANG-TA    KARMA    PONUNG    BRITA OR VRITA    HURKA BAUL    KALI NACH    GANTA PATUA    PAIK   DALKHAI

GENDI     BHAGORIYA    JAWAR     GARBA     DANDIYA     KALA    DINDI    MANDO

DOLLU KUNITHA DANDARIA    KARAGAM    KUMMI    KUTTIYATTAM    
PADAVANI   KOLAM    LAVA    NICOBARESE


Musical Instruments

DANCES OF INDIA - ODISSI

Odissi, is a popular dance form of Orissa the lies on the eastern coast of India. This area is studded with caves and temples. The walls of Rani-Gumpha cave at Udayagiri are adorned with sculpture of a dancer accompanied by musicians performing in front of a king. It is assumed that the roots of this performing art had their genesis in 2nd century AD According to the local inhabitants, Lord Shiva and his son Ganesh taught dance to a beautiful apsara (dancer from heaven) called Manirambha. Shiva was found portrayed as Nataraja in the postures of tandava dance in parasurameswar temple. They also believe that sometime between 2nd century BC and 2nd century AD Sage Bharata taught the dance to Sage Attahas, who taught it to the maharis-the temple dances of Orissa or Odhradesh as it was called then. Poet Jayadeva wrote a beautiful Sanskrit poem called Gita-Govinda, that is about the love of Radha for Sri Krishna and her desire to be united with him. Radha became central during the Chaitanya era from 16th century onwards. The neo-Vaisnavism of this period created the right environment for development of the dance tradition.
The maharis lived as servants of the deity, Lord Jagannath and on support from the temple funds. Maharis were the only ones to be permitted into the inner shrine of the temple. Then there were the nachunis who danced in the royal court. Finally there were gotipusa or young boys who were trained in gymnastics and performed before the public. With the advent of British, the maharis faded out of the picture and the nachunis too disappeared. only gotipuas survived and from them the Odissi dance style developed. Some artistes even revived the dying art of Odissi by looking at sculptures carved on walls of temples and by studying the treatise, Abhinaya Chandrika.

Odissi has emerged as a sculpturesque dance style in which the head, bust and torso move in soft flowing movements to express specific moods and emotions. The basic chawka position is a half-sitting posture used constantly by the dancer. The form is curvaceous, based on the tribhang or division of body into three parts-head, bust and torso. The mudras and expressions and similar to those of Bharatanatyam. The dance is replete with love for Sri Krishna, the eighth incarnation of Load Vishnu.

Odissi is divided into nritta (pure dance) and abhinaya (ecpressional dance). In a classical Odissi performance, the invocatory dance is called mangalacharan. The dancer enters carrying flowers to place before the image of Lord Jagannath on the stage or the dancer can begin her performance with bhoomi pranam. Sanskrit slokas are recited in praise of Ganesh, Saraswati and Vishnu. Mangalacharan is performed with the hands joined in anjali in front of the heart in greeting. This includes movement in eight directions to cover the stage and concludes with trikhandi pranam, hands held aloft to the gods,the guru and the rasikas (the audience). The recital continues with vatu nrittya, which paints the entire gamut of Odissi nritta. The instruments used in Odissi are the mardala (drum), the manjira (cymbals), the flute and the violin. The dancer wears the typical Oriya sari and silver jewellery.

The legendary figure in Odissi dance is Guru Kelucharan Mohapatra, Who with his disciple, the late Sanjukta Panigrahi contributed to the establishment of this style.

classical dances

BHARATA NATYAM    KATHAKALI   KATHAK    MANIPURI    KUCHIPUDI    ODISSI    MOHINI ATTAM   
Folk dances


BHANGRA    DHUMAL    ROUF    LAMA DANCE    PANGI DANCES    LOSAR SHONA CHUKSAM    RAAS   GIDDA    DHAMYAL    DUPH    LAHOOR    DHURANG     MALI DANCE     TERA TALI

BIHU    NAGA DANCE    HAZAGIRI    BAMBOO DANCE    NONGKREM    THANG-TA    KARMA    PONUNG    BRITA OR VRITA    HURKA BAUL    KALI NACH    GANTA PATUA    PAIK   DALKHAI

GENDI     BHAGORIYA    JAWAR     GARBA     DANDIYA     KALA    DINDI    MANDO

DOLLU KUNITHA DANDARIA    KARAGAM    KUMMI    KUTTIYATTAM    
PADAVANI   KOLAM    LAVA    NICOBARESE


Musical Instruments