Cultural heritage, sustainability and innovation in South Indian art music

2018 ◽  
pp. 238-257
Author(s):  
Lara Pearson
1981 ◽  
Vol 44 (3) ◽  
pp. 481-508
Author(s):  
D. R. Widdess

Detailed information about the rhythmic organization of Indian art-music in the pre-Muslim period is provided by three Sanskrit treatises: the Nātyaśāstra attributed to Bharata (compiled before the fifth century A.D.: hereafter cited as BhNS); the Dattilam of Dattila (DD; of similar date); and the Saṅgītaratnākara of Śārṅgadeva (SSR; written between 1210 and 1247). The system of rhythm described in these texts differs in many respects from the tālasystems of modern North and South Indian music. It is therefore of the greatest interest to find, albeit in a comparatively late source (c. 1100), examples of melodies from the pre-Muslim period preserved in notation, which appear to exemplify the early Indian rhythmic system, and from which it is possible to draw conclusions about the relationship between tala and melody.


Author(s):  
Anshuli Shukla

Since prehistoric times, colors have been the mainstay of painting. The role of colors in painting reveals charm and beauty. Generally, nature is a mine of colors. According to scientists, colors originate from sunlight, which combines colors. The combination of colors is visible in many styles under Indian art such as Ajanta style, Pal style, Apabhramsa style, Rajasthani style, Mughal style, Deccan style, Pahari style etc. Similarly, painting of Kerala also plays a special role in the context of painting colors of South Indian states. In which first of all the pictures painted in the cavity temples come. प्रागैतिहासिक काल से ही चित्रकला में रंगों का मुख्य स्थान रहा है। चित्रकला में रंगों की भूमिका आकर्षण एवं सुन्दरता को प्रकट करती है। सामान्यतः प्रकृति रंगों की खान है। वैज्ञानिकों के अनुसार, रंगों की उत्पत्ति सूर्य के प्रकाश से हुयी है जिसमें रंगों का समावेश मिलता है। रंगों का संयोजन भारतीय कला के अन्तर्गत कई शैलियों जैसे-अजन्ता शैली, पाल शैली, अपभ्रंश शैली, राजस्थानी शैली, मुगल शैली, दक्खन शैली, पहाड़ी शैली आदि में दृष्टव्य है। इसी प्रकार दक्षिण भारतीय राज्यों की चित्रकला रंगों के परिप्रेक्ष्य में केरल की चित्रकला भी विशेष भूमिका रखती है। जिसमें सर्वप्रथम गुहा मन्दिरों में चित्रित भिŸिा-चित्र आते हैं।


2019 ◽  
Vol 145 (1) ◽  
pp. 597-603 ◽  
Author(s):  
H. G. Ranjani ◽  
Ajay Srinivasamurthy ◽  
Deepak Paramashivan ◽  
Thippur V. Sreenivas

Author(s):  
Christopher J. Renz

Beginning in 1960, William Blase Schauer, a Dominican friar of the Province of the Most Holy Name of Jesus, developed innovative ideas for telling a story to disengaged college students of the fundamental relationship between Catholic worship (Mass and domestic rituals) and its cultural heritage—its rich tradition of art, music, and theater. Using the themes of symbol, season, and heritage, he capitalized on the catechetical nature of the liturgy in order to draw them back more deeply into their Catholic faith. With initial success in Las Cruces, he transferred the “experiment” to Santa Fe where it achieved national success in educating clergy and parish leaders about Catholic liturgy and culture.


Artibus Asiae ◽  
1965 ◽  
Vol 27 (3) ◽  
pp. 265
Author(s):  
R. Nagaswamy
Keyword(s):  

2020 ◽  
Vol 9 (1) ◽  
pp. 33
Author(s):  
Aulia Putra ◽  
Syeilendra Syeilendra

AbstractThis writing aims to reveal about preservation as the cultural heritage of the Nagari Simpang Tonang community. The research in this thesis uses a qualitative method approach, in the form of qualitative descriptive. The results of the study are describing cultural phenomena regarding the preservation of Ronggeng Nagari Simpang Tonang arts. Data collection is done by direct observation techniques, with the approach of observation, interviews, recording and recording and using documentation and literature study. The preservation of Ronggeng's art now depends on the willingness, effort and efforts of local artists. It means that the life and death of Ronggeng art lies in the hands of artists. Local artists are the only people who are responsible and responsible today for the preservation of Ronggeng art. Whereas the public only wants to be a loyal audience. If the number of artists decreases and at one time all of them are no longer physically able to activate or they have died, it can be predicted Ronggeng art will be extinct in Nagari Simpang Tonang. Therefore, Ronggeng's art today is very dependent on the efforts and efforts of artists in their activitiesboth formally and informally.Keywords: Art, Music, Ronggeng, Culture


2016 ◽  
Vol 1 (2) ◽  
pp. 139
Author(s):  
Ratu Ratna Korompot ◽  
Nurul Miqat

Legal instruments that can be used to protect music Kakula as traditional cultural heritage namely Intellectual Property Rights, in this case the rules relating to Copyright can be used as a basis for the protection of traditional musical art music Kakula. Copyright law provisions can be used as a basis for protecting cultural works are included in the scope of knowledge of art and literature. Kakula is a traditional musical instrument which is the traditional cultural heritage which is always used at events such as marriage ritual, the coronation of noble titles or formal occasions regions. The approach method in use is normative and normative anthropology, which takes secondary data and primary data through interviews with the parties relating to the cultural resources in the city of Palu, Donggala, and Sigi. As a result of the research after proposed in 2015, in 2016 coincided Kakula has been proposed to register as one of the Objects of Folklore.


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