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Religions Cultural Hampi Dance Utsav Organized during the month of October and November, Hampi festival is one of the major tourist attractions of Karnataka, a southern state of India. The festival, which features an scintillating performances of dance, drama and music, is organized amidst the rocks and ruins that date back to hundreds of years. The village of Hampi, situated near Vijaynagar, is filled with the enchanting music, dance and drama, when the Hampi festival is held. The Government of Karnataka organizes the festival every year. Puppet shows, fireworks and spectacular processions are some of the highlights of this festival. Mamallapuram Utsav Apart from its temples that represent the architectural beauty of the ancient India, Mahabalipuram, a small city in Tamil Nadu, is also famous for its vibrant Mamallapuram Dance Festival. Indian classical dances including Bharatanatyam, Kuchipudi, Kathak, Mohiniattam, Odissi and Kathakali are performed in this festival, which is held annually, during the months of January and February. Apart from the classical dances, folk dances are also performed in the festival. The cultural event is promoted by the Tamil Nadu Tourism Department. The four-week dance festival has evolved as one of the major cultural attractions of the southern state of India. Nishagandhi Festival Nishagandhi Dance Festival popularly known as Nishagandhi Nritya Utsav is celebrated twice a year, once in the month of October-November and then in the month of March-April in the Nishagandhi Theatre, in Kanakunnu palace compound, in the city of Trivandrum or Thiruvananthapuram, Kerala. This festival is about a week long and witnesses participation from artisans all over the country. The artists who are keen on promoting the diverse Indian heritage are an integral part of the Nishagandhi Dance Festival as this festival provides them platform to reach to a wider section of audience. The Nishagandhi Dance Festival is organized by the Kerala Tourism Development Corporation. It is also at times co-hosted by other states. West Bengal and Rajasthan have recently co-hosted this celebration. Natyanjali Utsav Natyanjali Dance Festival is held every year during the months of February and March in the Prakara of the Chidambram temples in the city of Chidambram in Tamil Nadu. It is a five day festival which begins on the auspicious occasion of Mahashivratri. This dance festival is dedicated to the Lord of Dances and the Cosmic Dancer, Lord Natraja. The Natyanjali dance festival exhibits the rich dance culture of India and its amalgamation with the devotional feeling of religion. The Natyanjali Dance Festival or Natyanjali Nritya Utsav is jointly organized by The Department of Tourism, Government of Tamil Nadu, The Ministry of Tourism, Government of India and The Natyanjali Trust, Chidambaram. Organized in the famous 1000-year old temple of Chidambram, this dance festival has an aura of artistic and religious amalgamation, which makes this festival special in every regard. Taj Mahotsav Taj Mahotsav is one of the most cherished cultural festivals of India, admired by the foreigners and locals alike. Held every year, between February and March, it is a ten day feast of classical dances, folk art and light music. This grand carnival takes place in Shilpgram, a place located very close to the Taj Mahal, Agra. Taj Mahotsav is an ode to the rich cultural heritage of Uttar Pradesh. This special Mahotsav is organized by Uttar Pradesh Tourism. It is one of the major attractions for tourists and draws thousands of visitors to Agra every year, from India as well as abroad.

Music Sangeet Natak Akademi, the apex body in the field of performing arts in the country, was set up in 1953 for the preservation and promotion of the vast intangible heritage of India’s diverse culture expressed in forms of music, dance and drama. The management of the Akademi vests in its General Council. The Chairman of the Akademi is appointed by the President of India for a term of five years. The functions of the Akademi are set down in the Akademi’s Memorandum of Association, adopted at its registration as a society on 11 September 1961. The registered office of the Akademi is at Rabindra Bhavan, 35 Feroze Shah Road, New Delhi. Sangeet Natak Akademi is an autonomous body of the Ministry of Culture, Government of India.  Sangeet Natak Akademi now has three constituent units, two of these being dance-teaching institutions: the Jawaharlal Nehru Manipur Dance Academy (JNMDA) at Imphal, and Kathak Kendra in Delhi. JNMDA has its origin in the Manipur Dance College established by the Government of India in April 1954. Funded by the Akademi since its inception, it became a constituent unit of the Akademi in 1957. Similarly Kathak Kendra is one of the leading teaching institutions in Kathak dance.  Located in Delhi, it offers courses at various levels in Kathak dance and in vocal music and Pakhawaj.  Besides the constituent units, the Akademi presently has five centres: Dance Bharatanatyam, Tamil Nadu (Southern India) Bharatanatyam of Tamil Nadu in southern India has grown out of the art of dancers dedicated to temples, and was earlier known as Sadir or Dasi Attam. It is the first of India’s traditional dances to be refashioned as a theatre art and to be exhibited widely both at home and abroad. Bharatanatyam rests on principles of performance and an aesthetics set down in classics such as Bharata’s Natyashastra. It has a rich repertoire of songs in Telugu, Tamil and Sanskrit. The present-day format of a Bharatanatyam recital, as well as a valuable part of its musical compositions, were created by the famed ‘Tanjore Quartet’ of the nineteenth century: the brothers Ponniah, Chinnaiah, Sivanandam and Vadivelu. Bharatanatyam has a highly evolved language of Nritta, abstract dance, and Nritya which unfolds the narrative. The themes have a wide range spanning human and divine love, and are generally classed under the rubric of shringara (romantic love) and Bhakti (devotion). The music of Bharatanatyam belongs to the Carnatic system of southern India. The musicians accompanying a dance recital include at least one vocalist, a Mridangam (drum)-player, and a flutist or violinist or Veena (lute)-player. The group also includes a Nattuvanar, or dance conductor, who recites the dance syllables as he plays a pair of small bronze cymbals. Manipuri Dance, Manipur (North-eastern India) Manipuri dance, evolved in Manipur in north-eastern India, is anchored in the Vaishnava faith of the Meiteis, or people of the Manipur valley. The temples of Manipur are still among the principal staging venues of the dance. Therefore the predominant theme of Manipuri dance is devotion, and the rich lore of Radha and Krishna lends it episodic content. Over a period of centuries, the traditional art has gone through various stages of development to become the sophisticated theatre art it is today. Manipuri dance is introverted and restrained compared to most other dances of India – the artist never establishes eye contact with the audience. The movements are circular and continuous, each merging into the other. Mudras or hand-gestures are subtly absorbed in the flow of the movement overall. The facial expression is subdued and never exaggerated. These features are evident even in the more vigorous masculine dances. Jagoi and cholom are the two main divisions in Manipur’s dance, the one gentle and the other vigorous, corresponding to the lasya and tandava elements described in Sanskrit literature. They constitute independent streams and an artist spends a lifetime perfecting any form within the spectrum. The jagoi element is predominant in Ras Leela and similar votive performances. In such dances the legs are bent and the knees held close together. This helps the feet land softly on the ground and lends a floating swing to the movements. The footwork is never audible as in several other dances of India, where it is often used to mark the rhythm. The Pung, a drum, and flute are the principal instruments used in Manipuri dance. Kathak (Northern India) Kathak is the principal dance of northern India, and is widely practised in Uttar Pradesh, Rajasthan, Delhi, Madhya Pradesh, and even parts of western and eastern India today. It is believed to be connected with the narrative art of Kathakaras or story-tellers who have expounded the scriptures, the epics Ramayana and Mahabharata, and puranic literature to the lay masses since ancient times. Expanding and refining its movement and vocabulary of expression, this art possibly transited to a courtly milieu in medieval India, and achieved its finest flowering under Mughal rule. Later, in the nineteenth century, the princely courts at Lucknow, Jaipur, Raigarh, and other places emerged as leading centres of Kathak dance. During the twentieth century, as training and practice of Kathak increasingly received the support of public institutions, choreographic work involving groups of dancers has claimed more space in Kathak practice. Kathak’s thematic content today straddles various worlds, even though the lore of Krishna still has a special place in its repertoire. Kathak is characterized stylistically by its footwork and pirouettes, and is pre-eminently a dance of rhythm-play. A recital opens with an amad and moves on to that, Gat Nikas, paran and tatkar, segments that offer scope for dance to varying rhythms and tempos, and both abstract and expressive dance. The music of traditional Kathak consists of the Thumri and other lyrical song-forms, and the essential musical instruments are the Tabla, Pakhawaj, and Sarangi. The sitar and other plucked strings are also associated with Kathak performed today. The Thumri is a popular genre of Hindustani music characterized by a lyricism that gives expression to various shades of romantic

Tangible Heritage Intangible Culture Heritage Culture plays an important role in the development of any nation. It represents a set of shared attitudes, values, goals and practices. Culture and creativity manifest themselves in almost all economic, social and other activities. A country as diverse as India is symbolized by the plurality of its culture. Article 29 of the Constitution of India, 1950 forebears the dictum of Unity in Diversity to which this ancient civilization adheres to: “…Any section of the citizens residing in the territory of India or any part thereof having a distinct language, script or culture of its own shall have the right to conserve the same”. Article 29 (2) of the Constitution of India speaks of Cultural and Educational Rights also refer to the protection of interests of minorities: “…No citizen shall be denied admission into any educational institution maintained by the State or receiving aid out of State funds on grounds only of religion, race, caste, language or any of them”. The plurality and multiplicity of the Indian Culture is evident to the whole World as India has one of the world’s largest collections of songs, music, dance, theatre, folk traditions, performing arts, rites and rituals, languages, dialects, paintings and writings that are known, as the ‘Intangible Cultural Heritage’ (ICH) of humanity. Thus, on this premise was born the philosophy and the concept of having academies of national importance. The year 1950 was a milestone to an epoch-making decade in India’s history, since that was the year India declared itself as a sovereign republic. The Planning Commission of India was set up on 15 March 1950. This Commission in its very first plan envisaged that culture is integral to the Planning process as a whole. That it is intrinsic to the concept of planned national development. With every subsequent Plan periods, the Government of India founded a number of institutions that determined its cultural policy and also thereby determined, for several other agencies, the dominant paradigms for the ‘arts & culture’ field as a whole. Among the major ones are the Indian Council of Cultural Relations (1950), the Sangeet Natak Akademi (1953), the National Museum, the Sahitya Akademi, the National Gallery of Modern Art and the Lalit Kala Akademi (all set up in 1954, following a Parliamentary Resolution initiated by India’s first Prime Minister, Jawaharlal Nehru and first Education Minister, Maulana Azad), the Film Institute of India (1959), the National School of Drama (1959) and the National Institute of Design (1961). The role of these cultural institutions fits mainly within a very different concept of cultural nationalism. In brief, national cultural policy, as guided by the Planning Commission of India, in the period right after Independence adhered to the following five definitional criteria: Based on these guiding principles Government of India has formulated and undertaken several measures to take care of the development of Tangible/Intangible Arts of the State. After ratification of the Convention of Safeguarding of the Intangible Cultural Heritage in 2005, Government has placed further serious efforts through its various agencies, Semi-Government agencies, and Regional Government agencies, NGOs that support the elements of Intangible Cultural Heritage by various ways for their growth, sustenance, further visibility, and development. The intangible cultural heritage constitutes a set of living and constantly recreated practices, knowledge and representations enabling individuals and communities, at all levels, to express their broad conception through systems of values and ethical standards. The following multi-pronged system has been delineated to safeguard the Intangible cultural heritage of India:

National Gallery of Modern Art, New Delhi The National Gallery of Modern Art (NGMA), founded in 1954, is the only institution of its kind in the country representing evolution and pictorial transformation in visual arts over the last more than 150 years. NGMA functions as a subordinate office under the superintendence and administrative control of the Ministry of Culture. The main objectives of the NGMA are to create an understanding and sensibility among the Indian public towards the visual and plastic arts in general and to promote the development of contemporary Indian art in particular. In 2009, NGMA inaugurated the opening of its New Extension Wing at New Delhi which increased its display spaces by more than 6 times. Salar Jung Museum, Hyderabad The Salar Jung Museum of Hyderabad is a repository of the artistic achievements of diverse European, Asian and Far Eastern countries of the world. The major portion of this collection was acquired by Nawab Mir Yousuf Ali Khan popularly known as Salar Jung III. The zeal for acquiring art objects continued as a family tradition for three generations of Salar Jungs. In 1914, Salar Jung III, after having relinquished the post of Prime Minister to H.E.H., the Nizam VII, Nawab Mir Osman Ali Khan, devoted rest of his entire life in collecting and enriching the treasures of art and literature till he lived. The precious and rare art objects collected by him for a period of over forty years, find place in the portals of the Salar Jung Museum, as rare to very rare pieces of art. After the demise of Salar Jung-III, the vast collection of precious art objects and his Library which were housed in “Dewan-Deodi” the ancestral palace of the Salar Jungs, the desirability of organizing a Museum out of the Nawab’s collection dawned quite soon and Sri M.K. Velodi, the then Chief Civil Administrator of the Hyderabad State approached Dr.James Cousins a well known art critic, to organize the various objects of art and curios which were lying scattered in different palaces of Salar Jung III to form a Museum. With a view to perpetuate the name of Salar Jung as a world renowned art connoisseur, the Salar Jung Museum was brought in to existence and was opened to the public by Pandit Jawaharlal Nehru, the then Prime Minister of India on 16th December, 1951. However, the administration of the Museum continued to be vested in the Salar Jung Estate Committee till 1958. Thereafter, the heirs of Salar Jung Bahadur graciously agreed to donate the entire collection to the Government of India through a Compromise Deed based on a High Court Decree on 26th December l958. The Museum continued to be administered directly by the Government of India till 1961. Through an Act of Parliament (Act of 26 of 1961) the Salar Jung Museum with its Library was declared to be an Institution of National Importance. The administration was entrusted to an Autonomous Board of Trustees with the Governor of Andhra Pradesh as its Ex-officio Chairman and ten other members representing the Government of India, the State of Andhra Pradesh, Osmania University and one from the family of Salar Jungs. The Museum has a magnificent global collection of art objects and antiques not only of Indian origin, but mostly from countries Western, a sizable collection hails from Middle Eastern and Far Eastern origins. In 2000 AD, under museum expansion programme two more buildings were added on either side of existing central building. Basing on the nature of collections, the Western /European collections were displayed in the Western Block and Eastern collections in the Eastern block. Mixed collection including Children’s section, Rebecca, Musical clock, Jade, Ivory etc., galleries were located in the central building. A rich reference library which contains reference books, large collection of rare manuscripts etc. is also located the in the central building. Thus, this Museum has become popular, not only as a place of interest but also as an institution for education. Victoria Memorial Hall, Kolkata The Victoria Memorial Hall (VMH), Kolkata, was founded principally through the efforts of Viceroy Lord Curzon, as a period museum in memory of Queen Victoria. Its foundation stone was laid in 1906 and the 57-acre campus was formally opened to the public in 1921. The VMH was declared an institution of National importance by the Government of India Act of 1935. The VMH’s objective is to be the premier period museum in the world on Indo-British history in the eighteenth, nineteenth and twentieth centuries. On a local level, it seeks to function as the premier museum, art gallery, research library, and cultural space in the city of Kolkata. It has been widely hailed as the finest specimen of Indo-British architecture in India, and called the ‘Taj of the Raj’. The VMH is currently the most-visited museum in India and one of the top museums in the world in terms of footfall. It’s rapidly rising global stature as a top tourist destination in India is indicated by the award of a Tripadvisor Certificate of Excellence in 2015, and of Lonely Planet ‘Top Choice’ and ‘Fodor’s ratings, accolades coveted by most museums of the world. The VMH collection has 28,394 artefacts, many of which are displayed in nine galleries that showcase historic paintings in oil and watercolour, sketches and drawings, aquatints, lithographs, photographs, rare books and manuscripts, stamps and postal stationery, coins and medals, arms and armour, sculptures, costumes, personal relics. Etc National Council of Science Museums (NCSM) National Council of Science Museums (NCSM), an autonomous organization under the Ministry of Culture, Government of India is engaged in developing a Culture of Science and innovation through its nationwide network of science museums/centers. NCSM is the implementing agency for the Scheme for Promotion of Culture of Science (SPoCS) of the Ministry of Culture, Government of India. Under this scheme, it establishes science cities, science centers, and Innovation Hubs to provide a platform to nurture creativity and innovation, especially among young individuals. NCSM is also engaged in

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