Ragaang : An Unique Perspective of Hindustani Classical Music

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Portfolio: The gateway to Industry

 

As we know Portfolio is one of the most essential part of the career but most of the students and the new comers are unaware about the portfolio and the the process of designing the best portfolio as per their profession. 

In this chapter, I wish to go beyond the music curriculum and wanna discuss the importance of Portfolio and the process of designing portfolio in Performing Arts- especially in Music, Dance and Drama. 

Portfolio: A systematic collection of profile or a work that showcases an individual's skills, performance, awards -achievements, and experiences in music, dance and drama is called a portfolio. It serves as a demonstration of one's abilities and is often used to present oneself to potential employers, clients, educational institutions, or collaborators. Resume, CV and Portfolio are the showcase where individual present the data or the collection of overall achievements i.e Personal detail, Educational qualification, experiences etc. are presented in documents form. CV and Resume are generally common to all profession, a overview, concise and summery of education, work, experiences and achievement. It can be usually of 3-5 pages length as per the requirement. CV and Resume can be use as overview and outlook of ones overall information in brief where no audio-video-print/ artwork/ music/dance/drama performance are mentioned only in bullet data form but in portfolio, the same information are illustrated in extensive way with audio-video reference of performance/ paper/magazine cutting/ news reference/coverage, photographs of performances,  awards, conferences, subject expert and the detail elaboration of the composition and artwork, literature, script, and more. 

How to Create organised Portfolio

Portfolio should be organised and must cover all the achievements, skill sets that required as per the profession you are seeking to work in the industry. 

will be updated in shortly 

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SWOT ANALYSIS OF MUSIC EDUCATION

 Music education is an instrument that is very operational in transforming the style and impact of education in higher education it has the aim of empowering the cultural values as well as cognitive development in student who opt for music curriculum in higher studies. The SWOT analysis of Music Education is to study the strength, weaknesses, opportunities, and threats for Music Education at the university level. It is evident that the universities have rushed to implement this program, resulting in syllabuses that do not fulfil the goals of the NEP-2020 for making recommendations for such programs thus the focus of the analysis is from the perspective of the Education department or Education faculties that include music education as an essential component of the curriculum.

Read full paper :-  link attached https://www.researchgate.net/publication/361107914_SWOT_ANALYSIS_OF_MUSIC_EDUCATION

https://www.researchgate.net/publication/361107914_SWOT_ANALYSIS_OF_MUSIC_EDUCATION

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Saang Tradition in Haryana: A Cultural and Artistic Exploration of Pandit Lakhmichand's Performance

 Saang Tradition in Haryana: A Cultural and Artistic Exploration of Pandit Lakhmichand's Performance

Geeta Mattu¹, Kumar Sargam²

http://swarsindhu.pratibha-spandan.org

Abstract:

The research provides a concise overview of its focus and objectives, centered around acknowledging Pandit Lakhmichand's significant contributions to Haryana's folk music tradition known as "Saang." It highlights Saang as a vibrant reflection of Haryana's culture, utilizing historical and mythological stories, theatrical elements, and societal values to enrich its musical expressions. The present work specifically emphasizes Pandit Lakhmichand's role as a spontaneous poet who infused Saangs with captivating romantic and religious themes, thereby adding depth and richness to the tradition. Moreover, the research's scope includes shedding light on Pandit Lakhmichand's artistic journey, influences, and commitment to social reform activities. It also mentions the examination of Saang performances' characteristics and elements, such as stage setup, lighting, musical instruments, costumes, and makeup, which are integral to understanding the essence of Saang. Overall, the research sets the stage for a comprehensive exploration of the Saang tradition in Haryana, with a specific focus on Pandit Lakhmichand's contributions and the unique elements that define Saang performances. It promises to offer valuable insights into the cultural, social, and religious aspects of Haryana's folk music landscape.

Keywords: Saang tradition, Haryana folk music, Cultural exploration, Performance elements

Introduction

Haryana's vibrant culture and tradition are vividly portrayed through the art form known as 'Saang' (Attri, 2023). The form of Saang that is seen today has a rich history hidden behind it, going back many years (Kumar, 2010). Haryana's Saang tradition is influenced by various folk theater styles from neighboring regions, such as the Bhanda Pathar of Kashmir, Nakkal of Punjab, Khyal of Rajasthan, Nautanki of Uttar Pradesh, and Ras of Bihar and Bengal. Haryanvi songs are primarily based on the principles of melody and emphasize the essence of music. These are pure form of folk theater with strong connections to ordinary people. The stories available in history, mythology, or legends are presented to the audience in their respective style, language, and manner. It is for people of all ages and social backgrounds and represents a powerful tool for social commentary and education (Bhan, 1996).

Nowadays, Saang can be considered a complete form of Bhakti or Nautanki. The exact origin of the word 'Saang' is not certain, but it is believed to be derived from ‘Swang.’ The common meaning of Swang is to imitate the behavior, emotions, etc., of someone or something. Songs are the lifeline of Haryanvi Saangs. The intricacies of Saangs are woven with the art of musical instruments. It is the magic of ragas that makes them come alive. In Haryana's religious songs, one can immediately see the essence of religious and moral values. Such songs inspire people to engage in virtuous deeds, leaving behind sinful actions. ‘Sang’ was respected in society. Along with musicians, during the time of saints and ascetics, it also became known by other names like ‘swang’ or ‘sangit.’ Through sāngs, one can understand the social, economic, religious, and cultural aspects of any community using it. Sāng provides insights into society's beliefs, customs, traditions, culture, and social values (Gupta, 2005).

Methodology:

The research gives a deep look into the music and folk culture of contemporary Haryana. Many different sources of information are utilized to understand the research thoroughly with various data analysis, interview social studies during the field visit. Primary data sources of the study was questionnaire, interview and filed observation and live performance of the Saang during the period of filed visit in Umbala, Zind, Kurukshetra and other places of Haryana. Secondary sources of the data were extracted from archive of Akashvani, YouTube, Blogs, Websites, Books and Library. The research work also presents the author's comprehension of folk music and music studies. The research is built on a solid knowledge base to analyze and study the subject more effectively and precisely. The Methodology used in the research was historical method, descriptive method and field visit and survey method. Methodology of data analysis was based on both qualitative and quantitative method. 

Artistic Exploration of Pandit Lakhmichand

a. Life and legacy

Pandit Lakhmichand was a spontaneous poet. Whenever he sang a particular Saang, he never sang it in the same way twice. Each time he sang, it was in a new form. He added such a unique flavor of romance to the art of Saang that people compared it to the nectar, prompting them to savor its taste like honeybees. Dividing Pandit Lakhmichand's songs into different categories is challenging because there is no Saang by him where romantic and religious sentiments do not intermingle seamlessly.

His songs often blend heroic and humorous rasas (emotions) elements and feature instances of wit and humor, making it difficult to compartmentalize them into distinct categories. To learn the art of acting, he resided for a few days with Shri Chand Saangi, a resident of Hadipur, Haryana, who had a Saang troupe. For six months, he served his guru with unwavering dedication and reverence, and following this continuous practice, he returned home as proficient in the art of singing. The sweetness of his voice captivated young Lakhmichand's heart in such a way that upon their first meeting, he immediately considered Shri Manasinh as his guru (Sharma, 2006).In 1924, when Pandit Lakhmichand created his Saang, the songs that the public had previously witnessed were the ones they saw again with remarkable transformations in Lakhmichand's Saang. This led them to appreciate his artistry anew. In the sāng ‘Puranmal,’ composed by Pandit Lakhmichand and Pandit Vyas Ji, the main goal of both poets is to depict the practice of polyandry in society. Their close friend once said about them, ‘The one who understands Lakhmichand only as a singer is truly wise.’ Their perspective was always directed towards social reform activities. They directed the earnings from their songs towards charitable work. In Saangs, dance and acting are the primary means of expression. The nuances of Saang performances are enhanced through the expressions and movements of dance. The gestures and postures of dance make Saang's performances more attractive and emotionally resonant. In Saangs, there is also a subtle touch of humor, and its representation is carried out by the comedian, known as the ‘Nakli’ in the Saang tradition. During religious and social festivals, whether in temple courtyards, village gatherings, or small open stages, this style has been an essential means of entertainment for generations. These performances not only included love stories but also depicted contemporary social characters and behaviors. The credit for taking Saang to the pinnacle of popularity is attributed to Pandit Lakhmichand. He endeavored to embed Saang in the hearts of the Haryanvi people. Therefore, his contribution will always be remembered (Kumar, 2002).

For more detail : please visit and find the paper on ...

 Swar Sindhu: National Peer-Reviewed/Refereed Journal of Music

A UGC CARE listed Journal
ISSN 2320–7175 (O) | Volume 12, Issue 01, January-June, 2024
http://swarsindhu.pratibha-spandan.org © The Author(s) 2024

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Manipuri Dance and Raas Leela Painting

Manipuri Dance and Raas Leela Painting

Soibam Monica Chanu¹, Kumar Sargam²

http://swarsindhu.pratibha-spandan.org

Abstract:

This study delves into the dynamic evolution of Manipuri dance and Raas Leela painting, two quintessential art forms originating from Manipur, India. Over the passage of time, these art forms have undergone significant transformations influenced by various socio-cultural factors. The primary objective of this research is to meticulously examine these changes, discern the underlying factors responsible for them, and illuminate their profound implications on the preservation and advancement of Manipuri cultural heritage. The central research question at the heart of this study revolves around understanding how Manipuri dance and Raas Leela painting have adeptly navigated the path of modernity while retaining their intrinsic traditional essence. The Methodology used in the research was historical method, descriptive method and field visit and survey method. Methodology of data analysis was based on qualitative research.

                        The study unearthed several noteworthy findings and ongoing trends in the contemporary period. Notably, it sheds light on the significant theme of "Adaptation to Modernity" in the realms of Manipuri dance, music, and Raas Leela painting. It also explores the profound impacts of "Globalization and Fusion," the intricate "Challenges in Transmission," and the nuanced dilemmas of "Commercialization versus Authenticity." These thematic areas collectively unravel the changing landscape of classical arts and dance in Manipur.

             

Keywords: Manipuri Dance, Meitei, Painting, Culture, Changes 

Introduction:

Manipur is an Indian state having a rich heritage and culture of its own where Manipuri dance (Manipuri Jagoi) showcases the identity of Manipur people to the world. It is a widely popular form of Manipur Dance famous around the globe. Manipuri Jagoi here specifically means Rass Leela. It is a form of Indian Classical dance, a blend of uniqueness of gesture and hand movements with song and drama that depicts the love and affection of Lord Krishna with Radha and the Gopis in the form of Rass Leela. With the rise of Vaishnavism in Manipur, Raas Leela became one of the most prominent parts of festivals in this state. The main theme of the classical dance is based on the Rass (love and affection) of Lord Krishna and Gopis in the bank of the Yamuna in Vrindavan. Today Raas Leela has become an integral part of Manipuri culture and widely spread all over the globe and also become a favourite form of classical dance amongst all.

At Masimpur village of Sinhat District in 1919 was mesmerized by its beauty, when great Poet Rabindranath Tagore encountered this form and regain the popularity (Devi, 2013). Afterwards he brought the Raas Leela to Vishwabharti Santiniketan and made the students there learn this dance form. Later on Raas Leela began to be performed on various stages at different places across India.

For more detail : please visit and find the paper on ...

 Swar Sindhu: National Peer-Reviewed/Refereed Journal of Music

A UGC CARE listed Journal
ISSN 2320–7175 (O) | Volume 12, Issue 01, January-June, 2024
http://swarsindhu.pratibha-spandan.org © The Author(s) 2024

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