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Chakri is one of the most popular types of traditional music played in Jammu & Kashmir. Chakri is a responsorial song form with instrumental parts, and it is played with instruments like the harmonium, the rubab, the. Listen to Abida Parveen Songs Online on Gaana.com. Find hit new songs by Abida Parveen and download Abida Parveen mp3 songs and music album collections online via Gaana+. Name: Rupe - E-mail: [email protected]: Location: London, UK: Comments: An American based organisation will publish a Punjabi dictionary in East Punjab with updates. Below using Anmolipi are some of my contrabutions: Please. Culture of Jammu and Kashmir - Informative & researched article on Culture of Jammu and Kashmir from Indianetzone, the largest free encyclopedia on India. Commissioning of programmes on DD Urdu The following proposals, submitted by various producers, for commissioning for DD-Urdu Channel, are being taken up, as of now, for production. These have been shortlisted on the. Apologia. This rejoinder is not meant to hurt anyone. Its modest aim is to express a dissenting view. I may state that that I have the deepest personal regard for the excellent work that Safir Sahib has undertaken to promote Punjabi Literature and Culture. Rejoinder. These comments are in reference to an essay entitled Shiv Kumar Batalvi (1. Life and Poetry written jointly by Mr Safir Rammah and Mr Manu Sharma for IJPS Volume 9, Number 2, July- December 2. The authors begin by claiming to write . You further puport to . I must salute the authors’ courage in attempting to undertake such an enormous responsibility as manifest in the introductory agenda of intent. And now let me share, in all honesty, my sense of profound dismay at what I have just finished reading. Ms Kashyap has internalised Shiv’s work to a degree where it begins to in itself appear as an independent creative act while at the same time also retaining the resonant core of the original work. But that is my view and I do believe it is a fairly complex one to be dismissed quite simply as either a Marxist vituperation (since I am nowhere near being a Marxist of any hue) or a case of the pseudo- Modernist’s cry of . I do believe that it is possible to cogently argue from the positions of cultural historiography, literary histories and even aesthetics to show how overrated his reputation as a poet is. But once again this is not to detract from his significance as a performative icon in the public arena. To put him without any reflective effort alongside of the Sufi saints of Punjabi literature is, to put it mildly, unjust. They do give an indication, however, that one should not expect any conventionally objective or seriously ideological or even idea- oriented discussion about Shiv Batalvi’s work in what is to follow. There is a hazy aestheticist insistence but the parametres of such aestheticism remain to the very end ill- defined and woefully underdeveloped. This is indeed a very facile reading of the period whose turbulence went a long way in changing the cultural histories and art practice on the sub- continent. In fact towards the end, the writer duo makes a bold and blatantly wrong formulation when they assert : “At a time when many of his contemporaries were looking towards the western and, in particular, the progressive literature from around the world to learn new techniques of writing poetry, Shiv Kumar Batalvi took his inspirations from the classical literature of his own land.” Shiv Batalvi’s inspiration from classical literature of his own land was nowhere near as profound as that of Dr Harbhajan Singh, Dr Jaswant Singh Neki or even Tara Singh Kaamil. It may be brought within the knowledge of the learned scholars, Mr Rammah and Mr Sharma, that the sixities in India meant many things – Vietnam, for one; the break- up of the Communist Party; the rise of the ultra- left Naxal movement – none of these had anything to do with western societies, either at a primary or a secondary level. Nehruvian model of India’s leap into the temples of modernity was greatly inspiring for some and was blindly lapped up by a number of poets, photographers and filmmakers. The lead India took in establishing the movement of non- aligned countries under the collective leadership of Nehru, Tito and President Nasser and its avowed adherence to Anti- nuclear and pacifist ideology also resulted in the production of a lot of literary and other art work. The left’s disillusionment with the left- of- centre but largely centrist politics of the Congress was the focus of another strong literary drive. India’s colossal defeat at the hand of the Chinese resulted in the first definitive signs of the souring of the post- Independence romance. The unprecedented famines, the rise of coalition politics were other significant indicators. In fact, it will very interesting to know what kind of film songs was Shiv Kumar singing while being a popular crooner in his college. This is also the period when Eliot, Richards and Leavis are decisively banished from the field of literary criticism in Punjab. The new avatars on the horizon were all non- anglo- saxon savants such as Roland Barthes, Claude Levi- Strauss, Jacques Lacan, Michel Foucault, A- J Greimas, and later Derrida, Lyotard, Baudrillard. For the Marxists, the focus had similarly shifted from the classical Marxist positions to those of the Frankfurt School, Benjamin, Brecht, Della Volpe, Louis Althusser. The theoretically well- aligned critiques of Shiv Batalvi’s poetry are not as easy to ridicule as those the writers of this essay have tried to mimic. For instance, sentences such as “for some his poetry is an unwelcome distraction from the true goal of poetry as a tool to identify and expose the fault lines in the society and people’s reaction to them” are nothing short of trivialising the issue of critical discourse. We need to respect the history of our own critical discourse a little more than the writers of this essay seem inclined to. For instance, the earliest and genuinely indigenous modernist poet of the Punjabi language, Harnam, had absolutely no grounding in literary or cultural theory. He was as ill or well read as Shiv Batalvi was and started his poetic career with some highlycharged lyrics in the late 5. However, there were two problems with him: He could not sing to save his life. And, he looked like an understudy of a bantamweight wrestler. But he too drank heavily. But, then, amongst the Punjabi writers in East Punjab who didn’t? Like the Bengali novelist Kamal Mazumdar, Harnam apparently severed an active linkage with what is passed off as the “authentic Punjab”, even if the river Jehlum never deserted his creative conscience. He declared Mohammad Ali, the boxex Pele and Maradonna, the footballers and even actress Rajshree to be his inspirations while openly making fun of the Urdu poetry. Once in a while, he would drop his defenses and speak of both Prof Puran Singh and Guru Nanak with irreverent passion. It was far far too complex culturally for me to exhaustively sum it up here. This is what the French thinker Andre Bazin has described as the “mummy complex”. In their attempt to apotheosize Shiv Batalvi right from the tender age of 7 to 1. I am surprised that the writers have not invoked celestial configurations to herald the birth of a seer and a saint. And I am not getting into smaller issues of wrong translations of raas- dhaaris or the misspellings of shaidaai or shudaai and innumerable sic sentences. For instance, Shiv Batalvi is reported to have “extensively studied Punjabi, Hindi, Urdu and English literature. The fact remains, however, that all such claims about Shiv’s knowledge of English literature are not only exaggerated but largely unsubstantiated. The same holds true for his so- called . It all depends upon who the certifier is. But let me also point out that, apart from Shiv Batalvi, there were at least two other Punjabi poets who could hold an audience of thousands into a mesmerized silence. These were the sarkari poet, the late Inderjit Singh Tulsi (the man who penned Beshak mandir masjid tordo for Raj Kapur’s Bobby) and the revolutionary Sant Ram Udasi (the authentic people’s bard who could sing his ballads at times for a gathering of 5. All three could sing and all three had their constituencies. Although Shiv’s poetry may be in the folk idiom, his constituency today is largely urban middle- clas; Rajkavi Inderjit Singh Tulsi had become resigned to his own success and chosen a path where he would earn lots of money and be forgotten; Sant Ram Udasi remained a poor bard till the very end and was murdered while travelling to Maharashtra. Needless to say that Sant Ram Udasi’s constituency is the subaltern and the unlettered, marginalised, deprived human being. I wonder if it would be right to say that sant Ram’s imagery springs from the kind of functional physicality that Shiv’s largely static and distantiated imagery does not. I am just wondering and not passing a judgement. It is quite clear that both balwant Gargi and Kartar singh Duggal had absolutely no time or taste for the likes of Sant Ram Udasi. Their judgement, to that extent, is inadequately based upon knowledge of how the folk idiom functioned on ground. I am raising this issue because it has been raised by the writer- duo have taken special pain to underline the importance of folk idiom etc in the effective dissemination and communication of their work to the people at large. How do we ignore a Sant Ram Udasi and pedestalize a Shiv Batalvi? Furthemore we have to realize that their recitation needs to be further qualified as recitation in tarannum. It should be understood that, even if it opens up a window for irresolvable misunderstandings, that the people who swooned over Shiv’s performances would qualitatively respond in much the same way listening to utterly spurious stuff from a Pankaj Udhas and ilk and that the college girls hysterical demanding the recital of a certain poem were not always moved by the reasons of poeticity. He was cruelly fetishized by them and bandied around as an object worthy of possession. This is were he was encouraged to drown himself in alchoholic stupor. Given his poetic sensitivity, there was no way he would encouraged an ordinary and normal relationship with them. In Punjab, we suffer from selective amnesia when it comes to the consumption of alchohol and resist every attempt at stating “how much is too much”. The kind of adulation Shiv enjoyed is unparalleled in the history of recent literatures of the world and he was nowhere near as harshly attacked as say, Mohan Singh or Harbhajan Singh by the ultra- leftists. And, Shiv wasn’t a weakling in any conceivable sense of the term. It was a move consciously encouraged and supported by a number of his influential and well- connected friends. There is no way Shiv would have survived in a State Bank job where he was more of an absentee employee if he did not have support at the highest level. Culture of Jammu and Kashmir Culture of Jammu and Kashmir depicts the rich art and architecture and the culture of medieval era, which is now the epitome. The culture of Jammu and Kashmir is distinct and diverse, encompassing the various habits and lifestyles of the people inhabiting the regions of Jammu, Kashmir and Ladakh. In winter it is made of wool and in summer of cotton. There is very little difference between the pheran worn by men and women. A pyjama of the loose type is generally worn under the pheran and this is all the dress of an average villager. The women wear a skull cap surrounded by a fillet of red colour in the case of Muslim and a fillet of white cloth in the case of Pandit women. A shawl or a white 'chaddar' thrown gracefully over the head and shoulders, more as a protection from the sun than to hide the features, completes their headgear. Men wear turbans as a sign of respectability and affluence. Among certain classes, women can also be seen wearing the graceful saree and Salwar whereas the men wear coat and trousers. Cuisine of Jammu and Kashmir. The staple food of Jammu and Kashmir is rice. Kashmiri Pulao is one of the popular dishes here. They take plenty of vegetables but the favourite dish is the hak or karam sag. In the cities mutton is consumed in large quantities but in the villages it is still a luxury reserved only for festive occasions. Although they are the inhabitants of a cold country, the people of Jammu and Kashmir abhor the use of intoxicating drinks. The traditional green tea with spices and almond known as Kawa is consumed during the winters of Kashmir. Kashmiri Pulao is a common dish for Kashmiri vegetarians. Also spices, curd and condiments are common ingredients of Kashmiri cuisine. Muslims abstain from asafoetida (hing) and curds and Kashmiri Pandits abstain from using onions and garlic in their meals. Phirni is a sweet delicacy of Jammu and Kashmir. Amongst Kashmiri beverages, 'Kahwah' and 'Noon Chai' or 'Sheer Chai' (Chai meaning tea) are significant. The inhabitants of the state of Jammu and Kashmir are heavy drinkers and the tradition of serving and drinking tea can be traced back to ancient times. The Kashmiri cuisine comprises several other lip- smacking food items which are quite popular in the state. After the advent of Islam, Kashmiri music may have been influenced by Iranian music. The musical instrument Santoor used in Kashmir was invented in Iran. Other musical instruments include Nagara, Dukra and Sitar. Many Raaga or Mukams of Kashmiri music arc present in Persian i. Mukam Duga, Mukam/Nawa and Singha. In the same manner many Persian words are present in Kashmiri Talas i. Sol ha, Neamdor Chapandoz etc. Besides, Sufiana music, Chakri and Rouff are other forms of Kashmiri music. Rabab is popular folk music of Kashmir. In Dogra Pahari area of Jammu valley 'Geetru' is performed at the time of festivals like rural weddings and other social festivals. Rouff is also a conventional dance performed by the women of the Kashmir region. Sad songs are sung where these female dancers incorporate aesthetic dance movements. Rouff is performed mainly during Ramzan and Id. The masked dance festivals of Ladakh enthral the tourists. In Uttar Behni area of Jammu valley, Chaitre Chaudash is famous. Bahu Mela is a significant festival observed at the premises of Kali temple in Jammu's Bahu Fort. In Purmandal city of Jammu valley, Purmandal Mela is celebrated in the month of February or March to signify the occasion of wedding of Lord Shiva and goddess Parvati. Dressed in colourful attires the people visit the places like Panjbhaktar Temple,Peer Khoh cave temple and the Ranbireshwar Temple. Apart from these festivals, the culture of Jammu and Kashmir incorporates all the other important festivals of India. These include Baisakhi, Lohri, Jhiri Mela, Navaratri Festival and others. Literature of Jammu and Kashmir. Kashmir has rendered a valuable contribution to Indian literature. Kalhana and Bilhana are well remembered for their historical works. The former wrote Rajatarangini which throws a flood of light not only on the history of Kashmir but also on the history of India. Bilhana's Vikramankadava Charita is concerned with the history of South India. Charaka and Koka studied medicine and sex respectively. Vamana, Nammata, Anandavardhana, Ruyaka, Kuntala, Abhinavagupta are noted for literary criticism. Similarly, Mankha, Kshemenidra, Matrigupta, Shilhana, Jhalhana, Shivaswamin and Somadeva were eminent Kashmiri writers. This is due to its antiquity which may well go back to the Vedic period. According to a high authority, Kashmiri is of a Dardic or Sinha source, both of which are Aryan languages. Kashmiri has been influenced by Persian and Sanskrit language considerably. Other important languages include Pashto, Gojri, Balti, Urdu, Pahari and Ladakhi. Woven carpets, silk carpets, rugs, woollen shawls, Pottery and kurtas are beautifully embroidered. Well- decorated traditional boats are made of wood and they are called 'Shikaras'. Thus, the culture of Kashmir is a composite one, a synthetic pattern with unity in diversity. As, Azad Kashmir is governed by the Government of Pakistan, the culture here easily transports to the India governed Jammu and Kashmir. Pakistan bears many similarities and resemblances to Northern Punjab (Potohari) culture in Punjab province. Many natives of Pakistani Kashmir speak Potwari and the Pahari languages, which are dialects of the larger Punjabi language. The Pothohar Plateau in Punjab and western Kashmir is an extension of Punjabi culture. The people speak languages that are similar to various Punjabi dialects of India.
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Trade will be able to offer a 1- 5 year warranty on all CLP products. I don’t own any broken Canon products that would be eligible for this program, how can I still enroll? I’d check Craigslist/e. Bay and purchase a broken Canon point and shoot. That camera should be eligible for exchange as part of this program. Please note that the quality of the camera you purchase does not yield a higher discount. An old Point and Shoot will yield the same discount as a broken Canon 5d Mark II. How is my camera shipped? Standard shipping is Fed. Ex Ground. If you are in a hurry, you will have the option of either 2nd Day shipping for an additional charge of $2. Next Business Day shipping for an additional charge of $3. Shipment will be “Signature Required” (You will be warned that Fed. Ex will NOT leave it at your door if no one is home). Shipping cutoff is around noon Eastern, so if you order early morning and there are no credit issues to hold you order, chances are your camera will ship the same day. Are Lenses or Flashes available? Reports have came in where people are able to purchase one additional refurbished lens, and one refurbished Speedlight from the following list with the same discount. Please note, this is only available with the purchase of a Canon camera body. EF 1. 7- 4. 0 f. 4 LEF 2. L ISEF 2. 8- 1. 35 f. ISEF 5. 0mm f. 1. EF 5. 0mm f. 1. 8. EF 7. 0- 2. 00 f. L IS USM IIEF 7. 0- 3. Non- L)EF 7. 5- 3. EF 8. 5mm f. 1. 8. EFS 1. 0- 2. 2 f. EFS 1. 8- 1. 35 f. ISEFS 1. 8- 2. 00 f. ISEFS 5. 5- 2. 50 f. ISEF 2x Extender IISpeedlight 4. EXIIThese prices are set at 2. It is believed that each of these purchases qualify towards your 3 item limit. How long will this program last? No one has any idea. Canon started this program in 2. Articles like this are likely only shortening its life however, so act quickly. Can I check availability of cameras without calling? Of course you can. Simply go to the Refurbished store on Canon’s website to check the availability of the products they have. Am I limited to the amount of times I can use this program? Yes. You may only enroll into this program a total of 3 times. Is this program available to people outside the US? How do films work? A thaumatrope - a type of optical illusion - makes two images. For example a picture of a cage and a picture of a lion will. What you need: Thaumatrope template - draw your own or download the one in the. Questacon - . tricky pictures (pdf). Make your own optical illusion to show how movies work! Use the thaumatrope template from Questacon - tricky pictures or draw your own. Scissors. Black pen or coloured felt tips. Skewer (you could use a pencil or a straw instead)Sellotape. Pen. How to: Use the thaumatrope template from Questacon - . You can use any pictures that. How about having hair and a smile on one side, and a. Cut out the template and fold it in half, with the pictures on. Tape the skewer inside the template, with one end of the skewer. What became of it: Most pairs of thaumatrope images were pictures that did not imply motion, such as running animals or dancing people.Thaumatrope The Thaumatrope or “wonder turner” was invented by John Ayrton Paris in 1826. It is considered the first motion picture device. Thaumatrope template - Google zoeken. Explore Thaumatrope Pictures, Voor Thaumatrope and more! Thaumatrope The Thaumatrope is a Victorian toy constructed from a simple disk or card featuring a different picture on each side and attached to two pieces of string. Explore Laurel Notley's board 'thaumatropes' on Pinterest, the world's catalogue of ideas. Tape the template together, with a picture showing on either. Hold the stick between your hands and twist it slowly. The. template will flip from one picture to the other. Speed up the. twisting. What do you notice? Try this with other pictures! What else would you like to put in. What's happening? You've made a thaumatrope! When you twist the skewer in your. This is a type of optical. When you look at images, your brain remembers them for a. In films, there are 2. Your brain puts all those images together as a. Gage R& R Study in Excel . QI Macros Makes Gage R& R Studies as Easy as 1- 2- 3! The QI Macros Gage R& R Template for Excel Contains: Click on the above links for more detailed explanations and screen shots. See screen shots of the primary Gage R& R Study template below. Gage R&R template used as part of a measurement system analysis to repeatability and. Using the Gage R&R Template. For both Average and Range or ANOVA. Gage R&R (Gage Repeatability and Reproducibility). There are two downloads related to Gage R&R: ANOVA Gage R&R Spreadsheet with Graphs; GR&R Training Slides. Gage R&R (ANOVA) with Graphical Analysis. Normal Probability Plot. Project Charter Template.Generates a second ANOVA table. Gage R&R Study - ANOVA Method. Gage Studies for Continuous Data Gage R&R. Gage Studies for Continuous Data. Gage R&R’s are critical components of any continuous improvement program. Be the first to review “Gage R&R Template” Cancel reply. Gage R&R studies traditionally arrange measurements by part and by. This plot is the graphical analog of the F-test for an interaction term in the ANOVA table. Create a Gage R&R (Crossed) Worksheet. The following Gage R&R Study Report is produced: The first ANOVA table shows. Statistical Solutions. Gage R&R - Includes Gage R&R planning. Gage repeatability and reproducibility (R&R). Variable Gage R&R sheet page 1. Template will advise whether the MSA is acceptable and whether the gage. |
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