Athletics Federation of India-Indian non governmental organisation

AFI has been under pressure for the last several years due to doping scandals. The entire 4 × 400 m women's relay that won gold in the 2010 Commonwealth Games were tested positive for anabolic steroid.

The governing body's selection process for international teams have received public criticism. PU Chitra, Ajay Kumar Saroj and Sudha Singh were excluded from the 2017 World Championships in Athletics despite being eligible for entry by the International Association of Athletics Federations (the global governing body). Chitra lodged an appeal to the Kerala High Court in July 2017, though she was ultimately excluded as the court's request for inclusion was beyond the selection cut-off date. Commentator KP Mohan believed the right decision had been made to not include Chitra and several other Asian champions, given their low international ranking at that time, though he stated the controversy could have been avoided if the AFI had made its selection criteria clear before the start of the athletics season.

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Amravati Stupa of Andhra Pradesh

Amravati Stupa is a ruined Buddhist stupa which is popularly known as the great stupa of Amravathi. This stupa, situated at the Amravathi village of Guntur district in Andhra Pradesh, was built in the period of 3rd century BCE and 250 CE. During the decline of Buddhism the Amravati Stupa was excavated under rubble. But according to an inscription of 14th century, it was rebuilt. The entire campus is currently under the supervision of the Archeological Survey of India.

Amravati sculpture, Indian sculpture that flourished in the Andhra region of southeastern India from about the 2nd century BC to the end of the 3rd century AD, during the rule of the Sātavāhana dynasty. It is known for its superb reliefs, which are among the world’s finest examples of narrative sculpture.

In addition to the ruins of the great stupa, or relic mound, at Amaravati, the style is also seen in the stupa remains at Jaggayyapeta, Nagarjunikoṇḍa, and Goli, in Andhra Pradesh state, and as far west as Ter, Maharashtra state. The style also spread to Ceylon (now Sri Lanka), as seen at Anuradhapura, and to much of Southeast Asia.

Amravati Stupa illustrates Lord Buddha in a human form and He is shown subduing an elephant. It is taller than the Sanchi stupa and has 95 ft high platforms, extending in the four cardinal directions, along with a huge circular dome. The carved panels of the stupa depict the life story of Lord Buddha. The entire stupa stands adorned with limestone reliefs and freestanding Buddha figures. With the decline of Buddhism in India, the stupa also faced neglect and got buried under rubble.

A 14th century inscription in Sri Lanka mentions that some repairs were made to the stupa. However, it were the European scholars, like Sir Walter Smith, Robert Sewell, James Burgess and Alexander Rea, who excavated the site and discovered the sculptures that once adorned the stupa, which include bas-relief medallions and paneled friezes. Presently, the stupa has been kept in the Government Museum of Chennai.

The stupa, or Mahachetiya, may have been founded in the 3rd century BC, during the time of King Ashoka, but there is no conclusive evidence for the date of its foundation. The oldest inscription from this site dates from the early centuries BC, but cannot be attributed with certainty to Ashoka. The earliest surviving architectural or sculptural remains probably date from the Maurya dynasty in the 2nd century BC. The main construction phase of Amaravati was divided into two main periods, the second phase being the expansion of the stupa in addition to the main solid earth. The mound is covered with bricks and consists of handrails (vedika) and carved plaques placed around the stupa. As elsewhere, these slabs were usually placed around the vertical lower part of the stupa, or ‘drum’ (tympanum), hence the name ‘drum slabs’. Stupas of the early period (c. 200-100 BC) had simple balustrades consisting of granite columns, plain crossbars, and coping stones. Coping stones with reliefs of youths and animals, early drum slabs, and other early fragments date from this period. Considering the size of the granite columns, the stupa must have been quite large at this time (some of which can still be seen on site from excavations). Late construction began around 1910. It lasted from 50 BC to about 250 AD. The stupa’s exterior and railings were virtually all new, with old elements reused or discarded.

These stupas are largely consistent and are generally considered to indicate what the later form of the Amaravati Stupa was or was intended to be. The early railing posts are plain granite (apparently only on the east and west sides). The crossbar was probably made of limestone. Today, numerous column stumps are placed around the pagoda. Fragments of a limestone coping have been found, in which are carved reliefs of running youths and animals, similar in style to those of Barkhat, presumably of pre-Christian age. 150-100 BC. This theme continued with the coping stone of the first stage of the later railing. The later “railing coping” (usnsa) is a long section, typically about 75–90 cm high and 20–28 cm thick, running along the top of the railing (perhaps the details are obscure). prize). Many are carved with crowded scenes, and many depict Jataka stories of the Buddha’s previous lives.

Dollu Kunitha- Folk dance of Karnataka

Dollu Kunitha provides both spectacular variety and complexity of skills in the process of demonstration. It is performed in order to please the deity of Beereshwara or Beeralingeswara, worshipped by the Kuruba Gowdas of Karnataka and Andhra Pradesh, also called Halumathasthas.

In all temples where deity Beereshwara presides, it is a religious practice that the major instrument Dollu be hung in the premises of the temple through a thick thread tied up to the hooks fixed in the ceiling. Every time pooja is offered to Beereshwara, as per the custom there should be an instantaneous beating of the Dollu as an accompanying act of worship. The districts of Shimoga and Chitradurga are noted for their excellence in the performance of this dance. Not only a mode of entertainment but it is also intended towards the spiritual well being of the performers and the spectators.

Dollu Kunitha performance never goes unnoticed, due to high decibel, high energy performance put forward by the troupe. Drum dance is usually performed in a circular or semi-circular fashion with drum holders beating their drums in rhythm, along with singing and accompanying music. 
Dollu Kunitha performance demands lots of stamina and endurance to be able to hold the heavy drum for hours and dance with it. Because of this only well built men used to take part in Dollu Kunitha. Of late lighter, smaller size drums are also available, which are suitable for everyone. Villagers and spectators often jump in to dance along with the Dollu Kunithâ troupe and indulge themselves.
Dollu Kunitha is a traditional dance form in Karnataka. Dollu Kunitha is high on energy and performed all over the state during major festivals and celebrations. It is a popular folk dance associated  with the worship of Sree Beeralingeshwara who is considered as a form of Lord Shiva, originated in the rituals of the Kuruba Gowda community of North Karnataka.

The dance is characterized by its energetic movements and the rhythmic beats of the drums. The performers, known as Kunitha dancers, wear colorful costumes and play the drums while dancing in unison. Dollu Kunitha has a long history in Karnataka, dating back to ancient times. The dance is believed to have originated as a form of worship for the goddess Ellamma, who is worshipped in many parts of the state.Today, Dollu Kunitha is recognized as an important cultural tradition in Karnataka and is often performed at cultural events and competitions. The dance has also gained popularity beyond the borders of the state, with performances taking place in other parts of India and even abroad.

The drums used in the performances are made out of neem or palm trees. Artisans use the bark of these trees to create large hollow drums; the left opening of the drum is covered with goat hide and the right is covered with sheep hide. This large drum is tied to the waist of the performers. Performers use a large stick and their hands to beat the drum in alternate motions. Other instruments used are the thala, jagate, and flute. There are no strict rules about the costumes of the performers. The most commonly seen costumes are tiger-patterned drapes from the upper body to the knees paired with a black dhoti. Women who perform Dollu Kunitha typically wear sarees. The performers also wear anklets to create rhythms while performing. 

Karma Folk Dance

Karma Dance is an important folk dance of Madhya Pradesh. Madhya Pradesh has a rich tradition of songs and dance. The tribal population of the state indulge themselves in a lot of traditional performances and enjoys their leisure time singing and dancing. The songs and dances form an important event of the number of fairs and festivals that are held in Madhya Pradesh. The performing arts of Madhya Pradesh are wholly traditional and are not influenced by outside traditions and cultures. They are authentic of the tribal tradition and culture of the people residing in the state. These performances still bear the charm and essence of the old tradition.

Karma dance is practiced by many aboriginal tribes like Gond tribe and Oraon tribe who mainly live in the north western part of Madhya Pradesh. These tribes also have their own form of dances many of which are not as primitive as are thought to be. Interestingly, Karma dance has many forms that are performed by many traditional tribes throughout India. In other parts of India it is also popularly known as Karma Naachis. It is performed by the tribes of Jharkhand, Chhattisgarh, Bihar, Odisha and other regions of the country. It is performed during the autumnal festival of Karma Puja. The tribal group performs this folk dance in front of Karam tree that signifies the Karam Devta, the God of Fate. The tribes believe that worshipping Karam Devta brings prosperity.

It is performed in a group. Both male and female dancers participate in this dance. The dance is practiced around the trees set up in the villages. The dance is an amalgamation of various enthusiastic steps. The dancers make two rows facing each other. The male leap forward whereas the female bend low to the ground. Together they move their feet to and fro in a perfect rhythm.

Along with the dance, the musicians play a type of drum called a ‘timki' which they place on the ground between them. The dance is graceful to observe and is performed with measured steps. The dance usually continues all through the night and is watched by scores of spectators who gather from many miles to attend the occasion. While dancing, the performers of one row sing love-songs which are then repeated by the performers of other rows.

Karma Dance, Madhya Pradesh is mainly performed by the people who belong to the Gond tribe and Oraon tribe. These tribes reside in the north western part of Madhya Pradesh.. At the onset and the end of the rainy seasons the Karma Dance, Madhya Pradesh is performed. Although the full swing of the Karma Dance in Madhya Pradesh in India can be experienced in the month of August. The dance symbolizes the start of spring. The dance is mainly performed around the trees set in the villages.

Men and women both enthusiastically take part in this dance. The men and the women perform in various ways and the whole performance looks awesome. The men in the troupe leap forward whereas the women in the troupe bend low to the ground. The performers move their feet to and fro in perfect rhythm. Karma Dance of Madhya Pradesh is common to many ethnic groups of India. It is said that the Karma Dance, Madhya Pradesh is the oldest tribal dance among all tribal dances.

The instruments accompanied for the music during the Karma dance, Madhya Pradesh comprises of Thumki, the Payri, the Chhalla and Jhumki. There are many sub varieties of the Karma Dance which are as follows, The Sirki, the Jhumar, the Ghatwar, the Ektaria, the Pendehar, the Dohoari, the Lahaki and the Tegwani.This traditional dance is preformed specially during the Karma Festival held as per the Hindu month of Bhadrapada(August).

Chenda- Kind of Drum

Chenda is a kind of drum used as a percussion instrument in the state of Kerala. This is found also in Karnataka, as the Chende, but it has not developed that strong social association as the Chenda in the Malayalam area. Though the structure of the Chenda is not as refined as some of the other classes of drums such as the Pakhavaj, Mridanga or Tabla, it is the superiority of the playing technique, especially the rhythmic elaboration called Tayambakam, which sets this instrument apart.The instrument of chenda is for percussions and cylindrical in shape, which is prevalent in the Kerala state as well as in Karnataka, mostly in the region of Tulu Nadu, where it is also called as Chande.

The instrument has a cylindrical body usually made of Jackwood. It is about 50 cms length and 25 in diameter. The leather which is used for making the faces is of heifer. One side, called the left side, is a single plain parchment. However, the other side, called the right side, is a complex set of hides, six or seven in number, of decreasing diameter, glued on one another. The leather is held by a bamboo or metal hoop and the hoops on either side are connected by rope braces. The drum is suspended from the neck of the player who plays it with a pair of sticks. Though both sides can be used for playing, only one is actually beaten. Using the pair of sticks the drummer strikes only the upper parchment.

This instrument is used for playing in festivities of hindu temples and also in various art forms related to religions as accompanying instrument in kerala. For dance forms like Koodiyattam, Kathakali, Theyyam, Kannyar Kali, and in various rituals, the chenda is seen as accompanying instrument in kerala. In Yakshagana, which is a dance drama seen inKarnataka in Tulu Nadu region, this is also played. This instrument is taken to be, in traditional sense, one which will not have harmony and so known as Asura Vadyam. But still, it is among those instruments in the state of kerala, which cannot be avoided in any kind of activities related to religion.

The instrument Chenda is most commonly seen during the festival performances related to hindu temples as an accompanying instrument in various functions of the art forms, carried out in Kerala. In various dance processes of Kriyanga Pancha Vadyam or Kathakali and in the temple rituals using instruments, there is a group of musical instruments or Chenda Melam. Normally, the drum is thought of as the demonic instrument or Asura Vadyam and therefore the side on the left of this instrument is played, with right part of the drum struck only during specific instances such as when the goddess is carried into the Kathakali dance arena or in rituals related to Tantra and during Goddess Bhadrakali’s worship.

Vindhya Mountain Ranges

 

Vindhya Mountain Range is a very old mountain range in central India. It is one of seven chief holy mountain ranges in India. These hills are comparatively less rugged and smaller in size. They actually form a divide between the Indo-Gangetic plains and the Deccan region of the country. 

The Vindhya ranges of Indian mountains restrict the path of the winds making the area quite inhospitable and rough. The different slopes of the Vindhya Range are drained by the tributaries of Ganges towards the north and Narmada in the south. Theses ranges have huge sandstone reserve which was used to build Buddhist stupas at Sanchi and other temples at Khajuraho.
The Vindhya Range (also known as Vindhyachal) (pronounced [ʋɪnd̪ʱjə]) is a complex, discontinuous chain of mountain ridges, hill ranges, highlands and plateau escarpments in west-central India. 

Technically, the Vindhyas do not form a single mountain range in the geological sense. The exact extent of the Vindhyas is loosely defined, and historically, the term covered a number of distinct hill systems in central India, including the one that is now known as the Satpura Range. Today, the term principally refers to the escarpment and its hilly extensions that runs north of and roughly parallel to the Narmada River in Madhya Pradesh. Depending on the definition, the range extends up to Gujarat in the west, Uttar Pradesh and Bihar in the north, and Chhattisgarh in the east.

 

The part of Vindhya range is the highest in Amarkantak. Here the height of this mountain is 3438 feet above sea level, through Gujarat from Madhya Pradesh and Uttar Pradesh to Jharkhand and Bihar there is Vindhya mountain range.Vindhya’s shade spreads different colors in Amarkantak. Whereas in Rewa and Sidhi district also the beauty of Vindhyachal mountain is visible.
The origin of the word Vindhya is from the root ‘Vid’, the Vindhya range that came out of the underworld while ripping the earth is located in the middle of India, which divides the geographical structure of India into northern and southern parts. In this mountain, one of the 51 Shakti Peethas is considered to be the abode of Maa Vindhyavasini Devi and there is also a temple of Maa in Mirzapur. Mother Vindhyavasini had considered Vindhyachal as her home. The Vindhya Mountain has also been told in the scriptures like Ramayana, Mahabharata.

Exploring More about Tamil Poets

Literature is a part of the heritage of India. Indian literature exists in varied languages. Various Indians skilled in writing have contributed in creating this part of India’s heritage in the form of stories, novels, prose, essays, etc. Tamil language literature is no exception in this regard. A noteworthy aspect of this literature is poetry written by eminent poets.The earliest Tamil literature goes back to the Sangam period. In ancient times, the assembly or academy of most learned men of Tamil land was called ‘Sangam‘ and the literature produced in these assemblies is known as the Sangam literature. The compilation of the corpus of literature was accomplished over a period of three to four centuries but there is a controversy amongst scholars regarding the exact period of the Sangams. Perhaps, the Sangam period stretched from 600 B.C.- 200 A.D. Many Tamil scholars mention about the existence of three Sangams at Madura, Kapatapuram and Northern Madura respectively. It is believed that most of the works relating to the first two Sangams dealt with music and dance. Unfortunately all the works of these two Sangams are lost, except for Tolkappiyam, which is the oldest extant grammar dating back to 500 B.C.

The literature of the third Sangam period mainly comprises of poems which are arranged in eight anthologies called Ettuttokoi and ten idylls called Pattuppattu. Ettuttokoi consists of Narrinai, Kuruntogai, Ainkurunuru, Padirruppattu, Paripadal, Kalittogai, Ahanuru and Purananuru. Pattuppattu consists of the following ten idylls by eight different authors:Tirumurugarruppadai, Porunararruppadai, Cirupanarruppadai, Pattinappalai, Kurincippattu, Nedunalvadai, Maduraikkanci, Malaipadukadam, Mullaippattu and Perumpanarruppadai. The third Sangam period also saw a collection of minor works called Padinen-kizhkkanakku which deals mainly with moral virtues. Among them, the most notable is Tiruvalluvar’s Tirukkural or Kural, which deals with philosophy and wise maxims. The Sangam literature, unlike the Rig Vedic texts, was secular in nature and revolved around the themes of various heroes and heroines. The Sangam literature provides very valuable information on the social, economic and political life of the people living in deltaic Tamil Nadu in the early Christian centuries.R. Raghava Iyengar is recognized for his critical scholarship and creative interpretation of literature from Tamil Nadu. Iyengar also explored himself as a poet. The names of some of his poems are Parikathai, Puvi Ezhupathu, Thiruvadimalai, Oru Thurai Kovai and Inkavi Thirattu. Abigna Sakuntalam Kalidasa’s Sakuntalam and Bhagavat Gita have been translated by Iyengar. Some of his edited works are Tolkappiyam and Athichoodi Uraai.

Subramanya Bharati (1882-1921 A.D.) was one of the greatest of Tamil litterateurs of the modern times. He is renowned for his patriotic and devotional songs and intense prose writings on contemporary social affairs. His Panchali Sabadam is an epic poem based on a single episode of the Mahabharata. His other great works include Kalippattu, Kannanpattu and Kuyilpattu. The other renowned Tamil poetic works of the modern times include Meyyarivu and Padal Tirattu of V.O.Chidambaram; Malarum-malaiyum and Umarkkayyam-padalkal of Desikavinayagam; Podumai Vettal, Tamiizhan Idayam and Sankoli of Kalyanasundaram; Avalum Avanum of N.K.Ramalingam; Azhakin Sirippu, Pandiyan Parisu, Tamizhiyakkam, Kudumbavilakku, etc of Bharatidasan. Durai Manickam was another important modern Tamil poet who is credited with prolific works like Aiyai, Nurasiriyam, Koyyakkani, Ensuvai Enbatu and Paviyakkottu. The other renowned poets of this period include M.L.Thangappa, Mudiyarasan, Ezhilmutalvan, N.Kanakaraja Iyer, A.Srinivasaraghavan, Kannadasan and Tamizhazhagan.

Paramartta Gurukathai written by Viramamunivar in the 18th century affords the earliest specimen in novel writing in Tamil. However, Vedanayagam Pillai (1824-1889) is credited with the writing of the first novel in Tamil, Pirataba Mudaliyarcharittiram in 1875. H.A.Krishna Pillai (1827-1900) adapted John Bunyan’s The Pilgrim’s Progress in Tamil in his Iratcanyayattirigam. The other important works of this period include Bharatam of Perundevanar, Nandarcharittirak-kirttanaikal of Gopalakrishna Bharati, Kamalambalcharittiram of Rajam Ayyar (1896), Padmavatichaittiram of Madhaviah, Menaka and Balamani of Vaduvur Duraiswamy, Ratnapurirahasyam of A.Kuppuswamy, Mannasai and Kariyadarisi of Shankara Ram.

Airport in Lakshadweep

Lakshadweep is a group of islands located about 200 to 440 kilometers off the south western coast of India in the Laccadive Sea. It occupies an area of about 32 square kilometers making it the smallest union territory of India. It’s geographical features like atolls, coral reefs, banks and water body and flora and fauna have made it more suitable for the development of tourism than industries on this small island. Tourists can engage themselves in water sports activities such as scuba diving, wind surfing, snorkeling, kayaking, canoeing, water skiing, sport fishing, yachting and night-voyages on the sea. With the establishment of Agatti Aerodrome, Lakshadweep is accessible via airways.

Agatti Airport serves the Agatti Island of the Lakshadweep Union Territory. The Airport was established back in the year 1988. It is the sole airstrip in the archipelago, which lies off the west coast of India. The airport is constructed on an area of 45.9 acres of land. Agatti airport features a single runway measuring 1204 m in length and 30 m in width. The Airport terminal building can handle 150 passengers during peak hours. Navigational aids include a DME and NDB. It is managed and operated by the Airports Authority of India (AAI).The airport has direct flights from Kochi and Bangalore, and via these cities, it is also linked to most parts of the country. Air India is the main airline operating the airport. At Agatti Island airport, passengers are provided with all the basic facilities.

The only airport in Lakshadweep Islands, Agatti Aerodrome ( AGX ) is situated on Agatti Island. Agatti Aerodrome is a public airport serving Agatti Island and other islands of Lakshadweep. Operated by Airports Authority of India (AAI), Agatti Aerodrome has a 1,291 metre long asphalt runway and one passenger terminal. Agatti Aerodrome is served by only two airlines, namely Indian Airlines and Kingfisher Airlines. Both these airlines operate flights between Agatti Island and Cochin. While Kingfisher Airlines offers flights between Agatti Island and Bangalore. Agatti Island is a tiny 7 km long island and it can be easily covered on foot or by bicycle.

All about Malwa Plateau

 Malwa is a historical region of west-central India occupying a plateau of volcanic origin. Geologically, the Malwa Plateau generally refers to the volcanic upland north of the Vindhya Range. Politically and administratively, it is also synonymous with the former state of Madhya Bharat which was later merged with Madhya Pradesh. At present the historical Malwa region includes districts of western Madhya Pradesh and parts of south-eastern Rajasthan. Sometimes the definition of Malwa is extended to include the Nimar region south of the Vindhyas.

Malwa Plateau is a region in west-central northern India occupying a plateau of volcanic origin in the western part of the state of Madhya Pradeshand south-eastern parts of Rajasthan. This region of plateau had been a separate political unit from the time of the Indian tribe of Malavas until 1947, when the British Malwa Agency was fused into Madhya Bharat, also known as Malwa Union. Although political borders have fluctuated throughout the history of Malwa Plateau, the region has developed its own distinctive culture and language.

Location of Malwa Plateau
Malwa Plateau primarily includes the state of Madhya Pradesh and its districts of Dewas, Dhar, Indore, Jhabua, Mandsaur, Neemuch, Rajgarh, Ratlam, Shajapur, Ujjain, and parts of Guna and Sehore, and the Rajasthan districts of Jhalawar and parts of Banswara and Chittorgarh. Malwa is surrounded in the northeast by the Hadoti region, in the northwest by the Mewar region, in the west by the Vagad region and Gujarat. Politically and administratively, the definition of Malwa Plateau is sometimes extended to include the Nimar region south of the Vindhyas.

Although its political borders have fluctuated throughout history, the region has developed its own distinct culture, influenced by the Rajasthani, Marathi and Gujarati cultures. Several prominent people in the history of India have lived in Malwa, including the poet and dramatist Kalidasa, the author Bhartrihari, the mathematicians and astronomers Varahamihira and Brahmagupta, and the polymath king Bhoja. Ujjain had been the political, economic, and cultural capital of the region in ancient times, and Indore is now the largest city and commercial centre.

Overall, agriculture is the main occupation of the people of Malwa. The region has been one of the important producers of opium in the world. Wheat and soybeans are other important cash crops, and textiles are a major industry.Malwi is a demonym given to people from the Malwa region.

Malwa became part of the Gupta Empire during the reign of Chandragupta II (375–413), also known as Vikramaditya, who conquered the region, driving out the Western Kshatrapas. The Gupta period is widely regarded as a golden age in the history of Malwa, when Ujjain served as the empire’s western capital. The astronomer Varahamihira was based in Ujjain, which emerged as a major centre of learning, especially in astronomy and mathematics. Around 500, Malwa re-emerged from the dissolving Gupta Empire as a separate kingdom; in 528, Yasodharman of Malwa defeated the Hunas, who had invaded India from the north-west.During the seventh century, the region became part of Harsha’s empire, who disputed the region with the Chalukya king Pulakesin II of Badami in the Deccan. During his reign the Buddhist pilgrim monk Xuanzang had visited India and mentions seeing a hundred Buddhist monasteries along with a same number of Deva temples of different kinds with the adherents of Pashupata Shaivism making a majority. He also states that there were two places in India that were remarkable for the great learning of the people, viz., Malwa and Magadha. The people there esteemed virtue, were of an intelligent mind and exceedingly studious.
In 756 AD Gurjara-Pratiharas advanced into Malwa.[9] In 786 the region was captured by the Rashtrakuta kings of the Deccan, and was disputed between the Rashtrakutas and the Gurjara Pratihara kings of Kannauj until the early part of the tenth century. The Emperors of the Rashtrakuta dynasty appointed the Paramara rulers as governors of Malwa.[10] From the mid-tenth century, Malwa was ruled by the Paramaras, who established a capital at Dhar. King Bhoja, who ruled from about 1010 to 1060, was known as the great polymath philosopher-king of medieval India; his extensive writings cover philosophy, poetry, medicine, architecture, construction, town planning, veterinary science, phonetics, yoga, and archery. Malwa became an intellectual centre of India, and became home to a major astronomical observatory, attracting scholars from all over India including Bhāskara II. His successors ruled until about 1305, when Malwa was conquered by the Delhi Sultanate. Malwa was several times invaded by the south Indian Western Chalukya Empire.

Traditional Dresses of Manipur

Traditional Dresses of Manipur carry their own unique characteristics. A traditional Manipuri costume for women includes a shawl called ‘Innaphi’, a ‘Phanek’ and a wrap around skirt called ‘Sarong’. A Manipuri man wears a dhoti, a jacket and a white Pagri or turban. Manipur Traditional Dresses of Manipurare very charisma, attractive, very simple and easy to wear them. The patterns and designs on the costumes are very unique and colourful. The Manipuri dress is woven with the hand in horizontal line designs. Many weaving processes are carried out by the women, and they will mainly use cotton as well as other fabric types. All North-Eastern States in India have the skill of handloom weaving, and this applies to Manipur as well.Nowadays, you get a trendier version of this attire in which modern dyes are used, some beadwork is integrated and also the usage of silk threads. All of this is being done to create a better version of this attire to fit the current world.

This is one of the most popular attire worn by Manipuri ladies. It is used to cover the torso by simply wrapping it around oneself. The Inaphi, resembles closely like a shawl and it is worn almost in the similar manner. The Manipuri textile carefully creates these dresses with bold motifs and amazingly done vivid colors. Usually, you will get Inaphi that’s semi-transparent because it’s not this costume that’s worn alone. But the vivid color pattern, finest craftsmanship, and maintenance of the poise makes this attire so beautiful and perfect.

Mayek Naibi is known to be a different version of Phaneesh and that it is worn on special days; majorly during festivals, fairs, or traditional functions of Manipur. If you look closely, it will be observed that the bottom end of this Manipuri attire is usually adorned with heavy embroidery and embellishment of studs. This gives it a wonderful design and overall look. Earlier, people used tacky colors but now things have changed and you can get better color combinations. One that fits in today’s world without looking too odd.

There are many versions of Potloi and each of them looks significantly beautiful and adorable. Women wear it on special occasions like their wedding and they have a particular set to pair with this attire. If you were to go by the culture of Manipuris; Potloi is worn only by the bride. The entire dress below the torso is created in a cylindrical shape giving it a wonderful overall look. The dress is more stitched on a belt that is simply worn to fit it.Although the invention of this dress dates back to somewhere around the 1700s, it is still in fashion and brides love wearing it. There is a huge variety in Potloi and you can have a look at the most common ones on the internet.

Traditional Dresses of Nagaland, West Bengal, Haryana

Languages of Sikkim

 Sikkim is a multi-lingual state, where people of many communities and tribes reside together. These numerous tribes have transformed the state into a delectable locale. Nepali is the most spoken language in Sikkim. However, English is also frequently used. People also speak in Hindi, one of the widely spoken languages of India. Besides these languages, there are numerous local dialects in Sikkim. Out of these dialects, Tibetan, Bhutia and Lepcha language are significant.

The Sikkimese can be broadly classified into the Lephcas, the Bhutias, the Nepalese and the plainsmen. There are other linguistic communities like Gurung, Sunwar, Mangari, Newar, Rai etc. and other plainsmen who have migrated here from other states of India. Communities, cultures, religions and customs of different hues intermingle freely here in Sikkim. In urban areas many plainsmen like the Marwaris, Biharis, Bengalis, South Indians and Punjabis.

It is traditionally accepted that the Lepchas are the autochthonous tribe of Sikkim. After them came the Bhutias, from Tibet, followed by the Nepalese and finally the Indian business community from the plains. However, before one goes into the ethnic composition of Sikkim, it needs to be said that the Sikkimese, irrespective of the tribe, class or community they belong to, are essentially simple folk. Like most hill-tribes, the Sikkimese are thus far relatively untouched by consumerism. Cliched though it may sound, the Sikkimese truly exemplify how different communities can exemplify how different communities can coexist in peace and mutual.

Sikkim is a multi-lingual state, where people of many communities reside harmoniously. Nepali can be termed as the most spoken language in Sikkim. However, English is also frequently used, though it is mainly spoken in municipal areas. Hindi, the national language of India, is also spoken at many places in the state. Besides these languages, there are numerous local dialects in Sikkim. Out of these dialects, Tibetan, Bhutia and Lepcha language are significant.

Lepcha language is generally spoken by the Lepchas, though the dialect is not used to a great extent in Sikkim. The Bhutias commonly speak ‘Sikkimese’ language and the dialect dominates the state in minority. The Nepalese, being in majority, dominates the major part of Sikkim with their dialect. The people, who migrated from Tibet, have joined the hoard of Lepchas and Bhutias; yet old people speak the language. English is used especially for official matters; nonetheless Hindi is spoken and understood by the maximum number of people.

All about Indian Musicians

 Indian Musicians are very diverse and comprises of extremely talented individuals who are good at their respective domains of music, be it singing or playing an Indian or western instrument. Indian Music is considered to be one of the oldest musical traditions in the world. The origins of Indian Music system dates back to the Vedas. Concerning the origins and development of Indian Classical music, many legendary musicians have grown up. Some of them have gone a long way in showing the importance that music has essential Indian Culture.
Indian Classical Instruments undoubtedly justify the quote above and the magic hands which let these rhythms out are the legends who have not only carved their names in the golden history of Indian Classical Musicians of all times but also popularised it globally.Indian Classical Musicians have created an aura, enriched the world of music and provided solace to the hearts through their soulful music. They have created an everlasting impact on the hearts of their audience who have only felt the music connecting with them with their eyes closed.

Notable Indian Musicians

A huge number of Indian Musicians have made it big on the global map and also have even been featured on Hollywood movies. A lot of Indian Musicians have received awards from countries around the world. Some of the noted Indian Musicians are as follows:
Ustad Ali Akbar Khan – This famous Hindustani classical musician played a great role in popularizing the classical music all over the world. He was famous for his brilliant compositions and his knowledge of the Sarod. He was awarded the Padma Vibhushan in the year 1989.
Dr. M.S. Subbalakshmi – Dr. M.S. Subbalakshmi was acknowledged as ‘The Nightingale of Carnatic Music’. She was famous for rendering devotional songs. She was the recipient of Padma Bhushan award in 1954 and Padma Vibhushan award in 1975 followed by many more awards.
Pandit Hariprasad Chaurasia – A classicist Pandit Hariprasad Chaurasia is an internationally celebrated Flutist and Composer. His legacy as a flute player has been recognized by many governments worldwide. In the year 1984, in acknowledgement of his stupendous contribution to music, he was conferred the National Award of the Sangeet Natak Academy.
Pandit Bhimsen Joshi – A vocal enchanter Pandit Bhimsen Joshi is acknowledged as the leading light and descendant of the Kirana Gharana. He was awarded the Sangeet Natak Akademi Award by Sangeet Natak Akademi in 1998 and Bharat Ratna in 2008.
K.S. Chitra – K.S. Chitra is known as the “Nightingale of South India” and also regarded as the builder of distinguishing honour as a playback singer. She has own the unique distinction of being the first female singer in the history of South Indian film playback singing to be honoured by all the four southern state governments as the best playback singer.

More articles on Indian Musicians

 

Dr. L. Subramaniam  

• 

Lalgudi Jayaraman  

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Ananda Shankar  

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Aruna Sayeeram  

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Raju Ananthaswamy  

• 

Alauddin Sarkar  

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Hamida Sarkar  

• 

Abdul Jabbar  

• 

Dwijen Mukhopadhyay  

Pandya Dynasty

 The Pandya kingdom was the second important kingdom in south India during this period. It occupied the region of modern districts of Tirunelveli, Ramnad, and Madurai in Tamil Nadu.

The Pandyan kingdom was an ancient Tamil state in South India of unknown antiquity. Pandyas were one of the three ancient Tamil kingdoms (Chola and Chera being the other two) that ruled the Tamil country from pre-historic times until end of the fifteenth century. They ruled initially from Korkai, a seaport on the southern-most tip of the Indian peninsula, and in later times moved to Madurai. Pandyas entered their golden age under Jatavarman Sundara Pandyan (c. 1251) who expanded their empire into Telugu country and invaded Sri Lanka to conquer the northern half of the island. Their territory included present-day Kerela. They also had extensive trade links with the Southeast Asian maritime empires of Srivijaya and their successors. The Pandyas excelled in both trade and literature. They controlled the pearl fisheries along the South Indian coast, between Sri Lanka and India, which produced some of the finest pearls known in the ancient world. Tradition holds that the legendary Sangam were held in Madurai under their patronage. Some of the Sangam poets became kings of Pandya.

Pandya dynasty was the longest ruling dynasty in Indian history. The accurate ancestry of the Pandya kings, however, has not been yet recognized. Pandyas ruled from Korkai, a sea port, and shifted later to Madurai. Pandya Empire of the south is deemed to have been founded five to six centuries before Christian era. The early Pandyan Dynasty weakened due to invasion of the Kalabhras. They revived under Kadungon in the sixth century who forced the Kalabhras out of the region and ruled from Madurai. With the rise of the Cholas dynasty they declined again in the ninth century.The later Pandyas of 1150 AD -1350 AD resurged under the rule of Maravman Sundara Pandyan I and Jatavarman Sundara Pandyan I. Both these rulers extended their empire to Telugu regions, Kalinga and Sri Lanka. Many rulers of the Pandya dynasty have been mentioned in the Sangam literature also.

Origin of Pandya Dynasty

The word “Pandya” has its derivation from the Tamil word “Pandi” which means bull. Bull is considered as a sign of masculinity and valour. In Sangam Literature, however, Pandya means ‘old country.’

The Pandyan kingdom was an ancient Tamil state in South India of unknown antiquity. Pandyas were one of the three ancient Tamil kingdoms (Chola and Chera being the other two) that ruled the Tamil country from pre-historic times until end of the fifteenth century. They ruled initially from Korkai, a seaport on the southern-most tip of the Indian peninsula, and in later times moved to Madurai. Pandyas entered their golden age under Jatavarman Sundara Pandyan (c. 1251) who expanded their empire into Telugu country and invaded Sri Lanka to conquer the northern half of the island. Their territory included present-day Kerela. They also had extensive trade links with the Southeast Asian maritime empires of Srivijaya and their successors. The Pandyas excelled in both trade and literature. They controlled the pearl fisheries along the South Indian coast, between Sri Lanka and India, which produced some of the finest pearls known in the ancient world. Tradition holds that the legendary Sangam were held in Madurai under their patronage. Some of the Sangam poets became kings of Pandya.

All about Babul Tree

Babul (Acacia nilotica (L.) Willd. ex Delile) is a medium sized, thorny, nearly evergreen tree that can reach a height of 20-25 m but may remain a shrub in poor growing conditions (Ecocrop, 2012; Orwa et al., 2009; Fagg et al., 2005). The trunk is short, thick (1 m in diameter) and cylindrical, covered with grey bark. The crown may be flattened or rounded. The root system depends on the growing conditions and subspecies: a deep taproot in dry conditions and extensive lateral roots in flooded conditions. The leaves are 5-15 cm long, alternate and compound with 7 to 36 pairs of elliptical, 1.5-7 mm long x 0.5-2 mm broad, grey-green, hairy leaflets. Flowers are sweetly scented and bright to golden yellow in colour. The fruits are linear, flattened, narrow indehiscent pods, 4-22 cm long and 1-2 cm broad, dark-brown to grey in colour and glabrous or velvety. The pods contain 8 to 15 elliptical, flattened bean-shaped dark seeds (Orwa et al., 2009; Cook et al., 2005; Fagg et al., 2005). There are two groups of Acacia nilotica subspecies. The first group (nilotica, tomentosa, cupressiformis, indica) consists of tall riverine trees that grow in seasonally flooded areas. Their pods have a characteristic “necklace” shape with constrictions between the seeds. The second group (adstringens, kraussiana, leiocarpa, subalata) grows in drier areas and has straight-edged pods (Ndoye-Ndir et al., 2008).

Tooth-Brushing
The tender twig of the Babul Tree is used as a toothbrush in south-east Africa, Pakistan and India.

Medicinal Uses
The leaves, bark, gum and pods of the Babul Tree are used for medicinal purposes. The tender growing tops and leaves are used as a douche in cases of gonorrhoea, dropsy and leucorrhoea. Pulp of leaves, decoction of bark and the gum are prescribed in diarrhoea, dysentery and diabetes. A paste made of the burnt leaves with coconut oil makes a very efficacious ointment in cases of itch. The leaves and the gum are used for gargling for relaxing sore throat and spongy gums. Decoction of leaves is also used as wash for bleeding ulcers and wounds.

Description of Babul Tree
In the interiors and waterless regions, the Babul Tree is one of those very few trees that is able to find adequate nourishment and attains an average height of 5 m to 20 m. The Babul Tree is a slow growing species but is moderately long-lived and preferably grows in sandy or sterile regions, with the climate dry during the greater part of the year. The species can withstand extremely dry environments and can also endure floods.