History of Tourism

The earliest forms of leisure tourism can be traced as far back as the Babylonian and Egyptian empires. A museum of “historic antiquities” was open to the public in the sixth century BC in Babylon, while the Egyptians held many religious festivals attracting not only the devout, but many who came to see the famous buildings and works of art in the cities. The local towns accommodated tourists by providing services such as: vendors of food and drink, guides, hawkers of souvenirs, touts and prostitutes. 

From around the same date, Greek tourists travelled to visit the sites of healing gods. Because the independent city-states of ancient Greece had no central authority to order the construction of roads, most of these tourists travelled by water, hence seaports prospered. 
The lands of the Mediterranean Sea produced a remarkable evolution in travel. People travel for trade, commerce, religious purposes, festivals, medical treatment, or education developed at an early date. 

Guidebooks became available as early as the fourth century BC, covering a vast area of destinations, i.e. Athens, Sparta and Troy. Pausanias, a Greek travel writer, produced a noted “description of Greece” between AD 160 and 180, which, in its critical evaluation of facilities and destinations, acted as a model for later writers. Advertisements, in the form of signs directing visitors to wayside inns, are also known from this period. However, under Romans rule is where international travel became first important. With no foreign borders between England and Syria, and with the seas safe from piracy due to the Roman patrols, conditions favoring travel had arrived. Roman coinage was acceptable everywhere, and Latin was the common language. Romans travelled to Sicily, Greece, Rhodes, and Troy, Egypt and from the third century AD, to the Holy Land. 

Domestic tourism also flourished within the Roman Empire. Second homes were built by the wealthy within easy travelling distance...

2000 years Before Christ, in India and Mesopotamia

Travel for trade was an important feature since the beginning of civilisation. The port at Lothal was an important centre of trade between the Indus valley civilisation and the Sumerian civilisation.

600 BC and thereafter

The earliest form of leisure tourism can be traced as far back as the Babylonian and Egyptian empires. A museum of historic antiquities was open to the public in Babylon. The Egyptians held many religious festivals that attracted the devout and many people who thronged to cities to see famous works of arts and buildings.

In India, as elsewhere, kings travelled for empire building. The Brahmins and the common people travelled for religious purposes. Thousands of Brahmins and the common folk thronged Sarnath and Sravasti to be greeted by the inscrutable smile of the Enlightened One- the Buddha.

500 BC, the Greek civilisation

The Greek tourists travelled to sites of healing gods. The Greeks also enjoyed their religious festivals that increasingly became a pursuit of pleasure, and in particular, sport. Athens had become an important site for travellers visiting the major sights such as the Parthenon. Inns were established in large towns and seaports to provide for travellers' needs. Courtesans were the principal entertainment offered.

  
This era also saw the birth of travel writing. Herodotus was the worlds' first travel writer. Guidebooks also made their appearance in the fourth century covering destinations such as Athens, Sparta and Troy. Advertisements in the way of signs directing people to inns are also known in this period.

The Roman Empire

With no foreign borders between England and Syria, and with safe seas from piracy due to Roman patrols, the conditions favouring travel had arrived. First class roads coupled with staging inns (precursors of modern motels) promoted the growth of travel. Romans travelled to Sicily, Greece, Rhodes, Troy and Egypt. From 300 AD travel to the Holy Land also became very popular. The Romans introduced their guidebooks (itineraria), listing hotels with symbols to identify quality.

Second homes were built by the rich near Rome, occupied primarily during springtime social season. The most fashionable resorts were found around Bay of Naples. Naples attracted the retired and the intellectuals, Cumae attracted the fashionable while Baiae attracted the down market tourist, becoming noted for its rowdiness, drunkenness and all- night singing.

Travel and Tourism were to never attain a similar status until the modern times.

In the Middle Ages

Travel became difficult and dangerous as people travelled for business or for a sense of obligation and duty.

Adventurers sought fame and fortune through travel. The Europeans tried to discover a sea route to India for trade purposes and in this fashion discovered America and explored parts of Africa. Strolling players and minstrels made their living by performing as they travelled. Missionaries, saints, etc. travelled to spread the sacred word.

Leisure travel in India was introduced by the Mughals. The Mughal kings built luxurious palaces and enchanting gardens at places of natural and scenic beauty (for example Jehangir travelled to Kashmir drawn by its beauty.

Travel for empire building and pilgrimage was a regular feature.

The Grand Tour

From the early seventeenth century, a new form of tourism was developed as a direct outcome of the Renaissance. Under the reign of Elizabeth 1, young men seeking positions at court were encouraged to travel to continent to finish their education. Later, it became customary for education of gentleman to be completed by a 'Grand Tour' accompanied by a tutor and lasting for three or more years. While ostensibly educational, the pleasure seeking men travelled to enjoy life and culture of Paris, Venice or Florence. By the end of eighteenth century, the custom had become institutionalised in the gentry. Gradually pleasure travel displaced educational travel. The advent of Napoleonic wars inhibited travel for around 30 years and led to the decline of the custom of the Grand Tour.

The development of the spas

The spas grew in popularity in the seventeenth century in Britain and a little later in the European Continent as awareness about the therapeutic qualities of mineral water increased. Taking the cure in the spa rapidly acquired the nature of a status symbol. The resorts changed in character as pleasure became the motivation of visits. They became an important centre of social life for the high society.

In the nineteenth century they were gradually replaced by the seaside resort.

The sun, sand and sea resorts

The sea water became associated with health benefits. The earliest visitors therefore drank it and did not bathe in it. By the early eighteenth century, small fishing resorts sprung up in England for visitors who drank and immersed themselves in sea water. With the overcrowding of inland spas, the new sea side resorts grew in popularity. The introduction of steamboat services in 19th century introduced more resorts in the circuit. The seaside resort gradually became a social meeting point

Role of the industrial revolution in promoting travel in the west

 The rapid urbanisation due to industrialisation led to mass immigration in cities. These people were lured into travel to escape their environment to places of natural beauty, often to the countryside they had come from change of routine from a physically and psychologically stressful jobs to a leisurely pace in countryside.

Highlights of travel in the nineteenth century 

·        Advent of railway initially catalysed business travel and later leisure travel. Gradually special trains were chartered to only take leisure travel to their destinations.

·        Package tours organised by entrepreneurs such as Thomas Cook.

·        The European countries indulged in a lot of business travel often to their colonies to buy raw material and sell finished goods.

·        The invention of photography acted as a status-enhancing tool and promoted overseas travel.

·        The formation of first hotel chains; pioneered by the railway companies who established great railway terminus hotels.

·        Seaside resorts began to develop different images as for day-trippers, elite, for gambling.

·        Other types of destinations-ski resorts, hill stations, mountaineering spots etc.

·        The technological development in steamships promoted travel between North America and Europe.

·        The Suez Canal opened direct sea routes to India and the Far East.

·        The cult of the guidebook followed the development of photography.

Tourism in the Twentieth Century

The First World War gave first hand experience of countries and aroused a sense of curiosity about international travel among less well off sector for the first time. The large scale of migration to the US meant a lot of travel across the Atlantic. Private motoring began to encourage domestic travel in Europe and the west.  The sea side resort became annual family holiday destination in Britain and increased in popularity in other countries of the west. Hotels proliferated in these destinations.

The birth of air travel and after

The wars increased interest in international travel. This interest was given the shape of mass tourism by the aviation industry. The surplus of aircrafts and growth of private airlines aided the expansion of air travel. The aircraft had become comfortable, faster and steadily cheaper for overseas travel. With the introduction of Boeing 707 jet in 1958, the age of air travel for the masses had arrived. The beginning of chartered flights boosted the package tour market and led to the establishment of organised mass tourism. The Boeing 747, a 400 seat craft, brought the cost of travel down sharply. The seaside resorts in the Mediterranean, North Africa and the Caribbean were the initial hot spots of mass tourism.

A corresponding growth in hotel industry led to the establishment of world-wide chains. Tourism also began to diversify as people began to flock alternative destinations in the 70s. Nepal and India received a throng of tourists lured by Hare Krishna movement and transcendental meditation. The beginning of individual travel in a significant volume only occurred in the 80s. Air travel also led to a continuous growth in business travel especially with the emergence of the MNCs.

Alternative tourism

Alternative tourism can be defined as ‘forms of tourism that set out to be consistent with natural, social and community values and which allow both hosts and guests to enjoy positive and worthwhile interaction and shared experiences’. It involves traveling to relatively remote, undisturbed natural areas with the objective of admiring, studying and enjoying the scenery and its wild plants and animals and cultural attributes. It also considers the conservation of the environment and sustenance and well-being of local people. Further, clients are expected to be individuals. Accommodations are locally owned and small-scale. In general, alternative tourism is an alternative to the mass standard tourism as philosophy and attitude. The main accent in these travels is the preserved natural environment, authentic atmosphere and cuisine, and local traditions. The alternative forms of tourism combine tourist products or separate tourist services, different from the mass tourism by means of supply, organization and the human resource involved. These are rural, ecotourism, adventure (biking, horseback riding, snowshoeing, ski mountaineering, rafting, diving, caving, climbing), thematic tourism – connected with the cultural and historical heritage, the esoteric, religion, wine, traditional cuisine, ethnography and traditional music and handicrafts.

Features of Alternative Tourism

- The attempted preservation, protection and enhancement of the quality of the resource base which is fundamental to tourism itself.

- The fostering and active promotion of development, in relation to additional visitor attractions and infrastructure, with roots in the specific locale and developed in ways that complement local attributes.

- The endorsement of infrastructure, hence economic growth, when and where it improves local conditions and not where it is destructive or exceeds the carrying capacity of the natural environment or the limits of the social environment whereby the quality of community life is adversely affected.

- Tourism which attempts to minimize its impact upon the environment, is ecologically sound, and avoids the negative impacts of many large-scale tourism developments undertaken in areas that have not previously been developed.

- An emphasis on not only ecological sustainability, but also cultural sustainability. That is, tourism which does not damage the culture of the host community, encouraging a respect for the cultural realities experienced by the tourists through education and organized 'encounters'.

Architecture of India : Different styles

Architecture of India India is the home of one of the most ancient civilization. The heritage of India is almost 5000 years old. Previously Hinduism was the main religion in this country but gradually comes Muslims, Buddhists, Jain and Christians and they helped this country to become the motherland of a proud heritage. India is truly a land of monuments. With this flow of civilization we can find different temples, mosque and other monuments throughout the country. The monumental heritage of India dates back to 3500 BC to 1500 BC, where one of the most extensive urban civilizations in the history of man grew up in the Valley of Indus River and its tributaries. This civilization consisted of a network of cities spread over an area of a million square miles. Mohenjo Daro and Harappa (both now in Pakistan) were the most important among several walled cities renowned for their well planned streets, covered drains, great baths. The buildings of Mohenjo Daro and Harappa are the oldest examples of subcontinental architecture. Other examples are Kalibangan at Rajasthan, Lothal in Gujrat and Ropar in Punjab. The monuments of India could be divided in few categories. HINDU ARCHITECTURE Hinduism is the oldest religion which prevailed throughout India. We can find heritage monuments of Hinduism every nuke and corner of the country. Hindu temples are mainly two types – 1. Mandap shaped and 2. Meru shaped. Mandap shaped temples are largely found in south India in which the temples are built as a tent. Meru shaped temples are mainly found in central and northern India. The temple is built in the shape of meru – the sacred mountain. The top is pointed towards to the space representing moksha. Both the types follow a basic structure which is almost same throughout India. The Parts of Temple. Gate (Gopuram):- in every temple we find four gates in four directions. The main gate always faces towards east or west. These gates are decorated with beautiful sculptures. Platform (Mandap):- it is the platform in front of the main part of the temple with numerous pillars supporting the ceiling. The doorway slab: - it is the boundary line between the platform and Garbha Griha. Garbha Griha: - it is the main part of the temple built in the center of premises. The front wall has the carved doorway and the other three walls have small windows. In the center part there is a small platform where the main statue of God is placed. It is like a small room decorated with sculptures inside. The Path: - the Garbha Griha I surrounded by path to go round it. The Top: - the top of Garbha Griha is called shikhara. Water Tank: - to wash hand and feet to refresh almost in all temples one water tank is found. BUDDHIST ARCHITECTURE The earliest monumental heritage was Buddhist stupas. A number of them were built in the Ganges valley in the northwest and the Deccan plateau, between 230 BC and 500 AD. These monuments are known as stupas, built in the memory of Lord Buddha were earlier used probably as burial tombs, but by 200 BC they had became dome shaped and letter becoming taller and more magnificent with different style and character related to its religion. Stupa is a domed mount near the summit of which is inset a chamber containing relics of Buddha. The summit was crowned with a small enclosure, Sinside which were set up fires of honorific. A sailing with one or more gates enclosed the structure and the preaching hall ‘chaitya’. Perhaps the pillar was aligned with it. The most famous ‘stupas’ are at Sanchi and at Bodh Gaya where Buddha achieved the enlightenment. In the South the ‘stupa’ at Amravati and Nagarjunkonda are more decorated. The ‘stupa’ of Surnath is of 7th century. INDO-ISLAMIC ARCHITECTURE The Muslims brought in the culture which has left a tremendous influence on India’s art and architecture. With the passage of time, a genuine Indo-Islamic style of architecture emerged. This school combined various influences - both indigenous and imported. It consists of tombs, miners, masjids, forts and palaces. Tombs are built in the memory of the Sultan and their families. The most famous of them is the Taj Mahal built by Shahjahan in the memory of Mumtaj Mahal. It is a magnificent tomb built in marble the basic structure of Islamic architecture are towering arches set in the rectangular surface, on the four sides. A huge bulk drum raised on a drum crowns the central area. Four minarets are in the four corners. The straight sides, pointed arcades of five to seven arcs are the main characteristics of miners. It is a kind of tower. The forts and palaces are the examples of luxury and grandeur. Characteristics of Muslim architecture: - the Muslim monuments are huge and show the splendid grandeur and luxury of their patron. They are mostly built in red stone which imparts solidity to the construction. Muslim architecture introduced for the first time in India the arches. The use of miners added slimness to the huge buildings. Use of gardens around the buildings added beauty. Jharokhas are again one of the main features of Muslim architecture. Jharokhas are the delicate stone nets decorated with flora or geometrical designs. The use of precious stones demonstrated their luxury inscriptions of calligraphy from Holy Quran added delicacy and decoration to the Islamic Architecture. At the beginning the Muslim architecture was purely Persian but the later constructions is influenced by Hindu architecture. The Indo-Islamic architecture is a beautiful synthesis of Persian and Hindu architecture. GOTHIC ARCHITECTURE During the British period, massive gothic architecture of the west was introduced to India. The best known British architect to work in India was Sir Edwin Lutyens, who was responsible for the master plan of New Delhi. He created an acceptable combination of mainly Mughal features and the western concepts. The Portuguese settlements at the western coast produced an architecture that was distinctly Gothic in character.

Ethnic Tourism

Ethnic tourism is "travel motivated by search for the first hand, authentic and sometimes intimate contact with people whose ethnic and /or cultural background is different from the tourists". Ethnic tourists are driven by the desire to see something different where curiosity is the ultimate factor. The travelers choose to experience first hand the practices of another culture, and may involve performances, presentations and attractions portraying or presented by indigenous communities. In a broader perspective, it includes cultural, heritage, anthropological, tribal, village and similar forms of tourism. Ethnic tourism, if properly planned and managed, can be promoted as sustainable form of tourism and can be utilized as a tool for the preservation and conservation of culture and heritage as well as poverty alleviation. India, rich with its cultural diversity, grand heritage and inimitable history, is a world famous cultural tourism destination. The focal point of India's attractiveness as a destination is it's diverse ethnicity.

Pilgrimage Tourism in India

India is a vast country, peopled with diverse and ancient civilizations, and its religious geography is highly complex. Over 80% of India's population practices Hinduism, the ancient indigenous religion of India which has a wide variety of forms and expressions. Muslims, concentrated mainly in north India, constitute about 10% of the Indian population. Other significant religious groups in India include Sikhs, Jains, and Christians. Buddhism is almost extinct in the land of its birth, but many exiled Tibetan Buddhists now make their home in India, including His Holiness the Dalai Lama. India's famed spirituality has made it a popular destination for spiritually-inclined travelers. The process of racial and cultural mixture that began in India 5000-10,000 years ago has been continuous into historical times. Although isolated from the rest of Asia by oceans on three sides and impassable mountain ranges to the north, India has experienced a near-constant influx of differing cultural influences, coming by way of the northwest and the southeast. India in the third millennium BC was inhabited in the tropical south by a people called the Dravidians, in the central and northeastern regions by aboriginal hill and forest tribes, and in the northwest by the highly advanced Indus Valley civilization known as the Harappan culture. The Harappan culture possessed a sophisticated religion called Vedism, which worshipped powerful gods such as Indra, the god of rain; Agni, the god of fire; and Surya, the sun god. During the millennia of the Harappan culture the religion of Vedism developed an increasingly complex form with esoteric rituals and magical chants, and these were later codified in the sacred Hindu texts known as the Vedas. The religion identified as Hinduism did not actually appear until the centuries preceding the Christian era. Hinduism is an aggregation of the religious beliefs and practices deriving from the Vedism. Adding to and further enriching this mix were the concurrently developing religions of Jainism and Buddhism. Indian culture has thus developed a fascinating collection of religious beliefs and customs.

The practice of pilgrimage in India is so deeply embedded in the cultural psyche and the number of pilgrimage sites is so large that the entire subcontinent may actually be regarded as one grand and continuous sacred space. Following the Vedic period the practice of pilgrimage seems to have become quite common, as is evident from sections of the great epic, the Mahabharata (350 BC), which mentions more than 300 sacred sites spanning the sub-continent. Hindus call the sacred places to which they travel tirthas, and the action of going on a pilgrimage tirtha-yatra. The Sanskrit word tirtha means river ford, steps to a river, or place of pilgrimage. In India all temples are considered sacred places and thus religious visitors to the temples may be described as pilgrims. For the purpose of our discussion, however, for a temple to be considered a true pilgrimage shrine it must have a long-term history of attracting pilgrims from a geographic area beyond its immediate region. Given this condition, the number of pilgrimage sites in India is still extremely large.

The primary intention of a pilgrim's visit to a holy site is to receive the darshan of the deity resident in the temple's inner sanctum or open-air shrine. The word darshan, difficult to translate into English, generally means the pilgrim having a sight and/or experience of the deity.

Some Religious sites of India:

Dwarka; Krishna temple of Dwarkadhish

Somnath; Shiva Jyotir linga temple

Ujjain; Mahakaleswar Jyotir linga Shiva temple

Sanchi; Buddhist stupa

Ajanta caves; 29 Buddhist, Hindu, Jain sacred caves

Ellora; Buddhist, Hindu, Jain caves and Grineshwar Jyotir linga

Mt. Abu; Jain temples

Pushkar; Brahma temple,

Ajmer; Shrine of Mu’in al-din Chishti

Amritsar; Hari Mandir

Govindval; Sikh temple

Anandpur Sahib Sikh temple

Vaishno Devi; cave of Kali, Lakshmi and Saraswati

Amarnath; Shiva cave

Leh; Buddhist monasteries

Kurukshetra; Brahma Sarovara

Devprayag; Raghunath Vishnu temple

Rishikesh; Laksman Jhula, Neela Kantha Mahadeva temple

Haridwar; Hari-ki-Pairi Ghat, numerous temples

Joshimath; Vasudeva temple

Badrinath; Badrinath temple and nearby five Badri temples

Kedarnath; Jyotir Linga Shiva temple

Yamnotri; source of holy Yamuna river

Gangotri; Goddess Ganga temple

Vrindavan; numerous beautiful Krishna temples

Allahabad; Sangam Bath river site

Varanasi / Banaras; numerous temples, ghats and pilgrimage circuits

Saranath; Buddhist holy place

Kushinagar; Holy site where Buddha passed away

Gaya; Vishnupada temple

Bodh Gaya; Site where Buddha attained enlightenment

Rajagriha / Rajgir; Vulture Peak Buddhist site

Parsanath; Jain temple

Baidyanath; Shiva Jyotir linga

Tarakeswar; Tarakanath temple

Navadip; Dhameswara Shri Chaitanya temple

Tarapith; Shakti Pitha temple

Calcutta; Kalighat temple and Dakshineshwar

Gauhati; Kamakhya Shakti temple

Puri; Jaganath temple

Tirupati; Govindaraja and Padmavathi temples

Tiruvanamalai; Mt. Arunachala and Tiruvanamalai temple

Swamimalai temple (near Kumbakonam)

Rameshvaram; Sri Ramananthaswami temple

Madurai area; temples of Minakshi

Kanya Kumari; Kumari Amman goddess temple

Trivandrum; Sri Padmanabhaswami Vishnu temple

Sravanabelagola; Gomateswara Jain shrine

Mysore; shrine of Baba Qalander Shah

Gokarna; Mahaballeswara Shiva temple and Ganapati Ganesh temple

Pandharpur; Vitthala Krishna temple

Bhimshankar; Shiva Jyotir linga

New Delhi; Islamic shrines of Kwaja Nizamuddin Aulia

Khajuraho; Jain and Hindu temples

Udipi; Krishna temple

Amarkantak; hill top temples and source of Narmada river

Gangasagarar / Sagar Island; Kapil Muni temple

Medical Tourism

Medical tourism or health tourism is a term initially coined by travel agencies and the mass media to describe the rapidly-growing practice of traveling across international borders to obtain health care. Such services typically include elective procedures as well as complex specialized surgeries such as joint replacement (knee/hip), cardiac surgery, dental surgery and cosmetic surgeries. However, virtually every type of health care, including psychiatry, alternative treatments, and convalescent care is also available. Over 50 countries have identified medical tourism as a national industry. However, accreditation and other measures of quality vary widely across the globe, and there are risks and ethical issues that make this method of accessing medical care controversial. Also, some destinations may become hazardous for medical tourists to contemplate. The concept of medical tourism is not a new one. The first recorded instance of medical tourism dates back thousands of years to when Greek pilgrims traveled from all over the Mediterranean to the small territory in the Saronic Gulf called Epidauria. This territory was the sanctuary of the healing god Asklepios. Epidauria became the original travel destination for medical tourism. Spa towns and sanitariums may be considered an early form of medical tourism. In eighteenth century England, for example, medtrotters visited spas because they were places with supposedly health-giving mineral waters, treating diseases from gout to liver disorders and bronchitis. India’s medical tourism sector is expected to experience an annual growth rate of 30%, making it a Rs. 9,500-crore industry by 2015. Estimates of the value of medical tourism to India go as high as $2 billion a year by 2012. Advantages for medical tourists include reduced costs, the availability of latest medical technologies and a growing compliance on international quality standards, as well as the fact that foreigners are less likely to face language barriers in India. The Indian government is taking steps to address infrastructure issues that hinder the country's growth in medical tourism. Most estimates claim treatment costs in India start at around a tenth of the price of comparable treatment in America or Britain. The most popular treatments sought in India by medical tourists are alternative medicine, bone-marrow transplant, cardiac bypass, eye surgery and hip replacement. India is known in particular for heart surgery, hip resurfacing and other areas of advanced medicine. The south Indian city of Chennai has been declared India's Health Capital, as it nets in 45% of health tourists from abroad and 30-40% of domestic health tourists. Ministry of Tourism, Govt. of India is planning to extend its Market Development Assistance (MDA) scheme to cover Joint Commission International (JCI) and National Accreditation Board of Hospitals (NABH) certified hospitals. A policy announcement of this effect is likely soon. India is quickly becoming a hub for medical tourists seeking quality healthcare at an affordable cost. Nearly 4,50,000 foreigners sought medical treatment in India last year with Singapore not too far behind and Thailand in the lead with over a million medical tourists. As the Indian healthcare delivery system strives to match international standards the Indian healthcare industry will be able to tap into a substantial portion of the medical tourism market. Already 13 Indian hospitals have been accredited by the Joint Commission International (JCI). Accreditation and compliance with quality expectations are important since they provide tourists with confidence that the services are meeting international standards. Reduced costs, access to the latest medical technology, growing compliance to international quality standards and ease of communication all work towards India’s advantage. It is not uncommon to see citizens of other nations seek high quality medical care in the US over the past several decades; however in recent times the pattern seems to be reversing. As healthcare costs in the US are rising, price sensitivity is soaring and people are looking at medical value travel as a viable alternative option. In the past the growth potential of the medical travel industry in India has been hindered by capacity and infrastructure constraints but that situation is now changing with strong economic progress in India as well as in other developing nations. With more and more hospitals receiving JCI accreditations outside the US, concerns on safety and quality of care are becoming less of an issue for those choosing to travel for medical treatment at an affordable cost. The combined cost of travel and treatment in India is still a fraction of the amount spent on just medical treatment alone in many western countries. In order to attract foreign patients many Indian hospitals are promoting their international quality of healthcare delivery by turning to international accreditation agencies to standardize their protocols and obtain the required approvals on safety and quality of care.

Gharanas of Indian Classical Music

Literally translated a gharana basically means a family. The style of that gharana means the style initiated by a particular family of musicians By and large the nomenclature of the gharana or style is related to the city/town in which the initiating musician resided such as Rampur, Gwalior, Patiala Kirana, etc. On the other hand when a particular musician added an outstanding dimension to a perticular style of Vocal music, instrumental music or Dance, then his gharana is known by his name. E.g. lmdadkhanj or Vilayatkhni gharana or Pandit Ravishankarji’s style of sitar playing, etc. In essence, a gharana is established through the medium of specialization. Any musical performance can be divided into the “matter” of music (what you play) and the “manner” of playing (how you play). The emotional content establishes certain amount of specialization to distinguish one gharana from the other. Kirana is basically ‘Bhakti or ‘Shanta’ rasa oriented, Patiala could be ‘Shringar’ rasa based, and Agra could be ‘Vira’ rasa based and so on. It would not be appropriate to say that a gharana projects only one basic rasa - In fact, the rendition is not oriented only to a particular rasa and utilizes the elements of several rasa-s while emphasizing one basic rasa. The importance and therefore the length of different stages of raga presentation i.e., alap, bandish, tan-s, etc., could be governed by the undercurrent of the basic rasa that the particular gharana emphasizes. Both in Agra gharana and Patiala gharana the alap form is relatively shorter. Gharana-s like Jaipur, Patiala, Agra, etc., gives significant importance and emphasis to the tan portion of a presentation Specific raga-s becomes favourites of different gharanas depending upon their mood. Over the period, raga-s like Darbari, Abhogi,, etc., are favourites of Kirana gharana musicians while intricate raga-s like Sawani, Goud-Maihar, Nat, etc., are favoured by the Jaipur gharana musicians. But this is not a basic or fundamental evaluation. A Supplementary of specialization in using the technique of voice production could be the manner in which the fluidity and the ornamental phrases like Murki-s etc. are relied upon by the Performing musicians belonging to different gharana-s. These remarks are no doubt related to Vocal music traditions of Gharanas. But the same remarks with slight modifications can be applied to instrumental music forms as well. Major Styles of sitar playing definitely express their own and individual approach, resulting into specialised renditions.

Gwalior Gharana (founder Ustad Hassu Khan, Ustad Haddu Khan) Most authorities agree that this is the oldest of the khayal gharana-s. The gharana is well-known for its full repertoire as the followers of this school are taught and know a rich collection of composition-types. Bada and chota khayal, thumri, tappa, tarana, bhajan, have been enumerated. The only omission seems to be the dhrupad. In each song-type, singers are also expected to know a reasonably large number of compositions. The gharana concentrates on aam or known raga-s, that is, those which are in general circulation and may not easily be described as rare. However, it is also suggested that the gharana has many rare raga-s in its repertoire but it tends to treat them more as varieties of some known raga than as independent entities

Jaipur Gharana (founder Ustad Abdul Karim Khan, Ustad Aladiya Khan) Jaipur gharana is well-known for its penchant for rare raga-s. However in the majority of the cases these ragas are rendered with great authority and sureness of touch. It is, therefore, inevitable that the music made by the gharana is replete with intricate patterns. Its music moves more due to the high intellectual content than emotive quality. It may be on account of its dhrupad-orientation but the gharana seems to concentrate on khayal alone. There does not appear to be any room for forms such as thumri, tarana, sadra, tapkhayal, and ashtapadi in its repertoire. However, in spite of its single-minded devotion to khayal, the gharana does not lack variety because of its amazingly large store of rare raga-s.

Agra Gharana (founder Haji Sujan Khan, Ustad Gagghe Khuda Baksh) Agra was an important part of the Braj Bhumi, the land of Shri Krishna and the Bhakti and Sufi saints like Sur Das, Raskhan and others. Sujan Singh Tomar, was the founder of the Agra Gharana of music. He composed seven hundred Dhrupad songs with their Ragas. The members of his family and his successors became famous as the Dhrupadye or the singers of Dhrupad. The Kheyal is another technique of the North Indian Music in which the Agra Gharana excelled. The Agra Gharana of music was continued by the sons and grandsons and the numerous disciples of Sujan Khan. The gharana adopts a kind of voice-production which relies on a flatter variation of the vowel-sound 'a'. The gharana enjoys a rich repertoire of composition-types and bada khayal chota kliayal, dhrupad, dhamar, sadra, thumri, tarana can easily be enumerated.

Kirana Gharana (founder abdul Karim Khan, Ustad Abdul Wahid Khan) The fourth major gharana of khayal is of recent origin, but neither in impact nor in spread is it less effective than the other three. The main feature it exhibits is a melodious use of voice with a kind of 'o' vowel sound imposed on it throughout the alap-s. This rounded articulation obviously makes the singers' voices more resonant, an acoustic fact of some importance. To sustain resonance in singing, the gharana falls back on a profuse use of bol-alap-s, that is, it uses words for elaborating melodic ideas. It is common experience that to vocalize with consonants rather than vowels is easier as well as more effective in many cases, because the former requires less breath and, hence, is easier to control.

Benaras Gharana (founder Pandit Gopal Sharma) Benaras thumri is usually equated to the bol banav thumri. The gharana borrows many features of folk songs of the areas adjoining Uttar Pradesh. The Benaras thumri is sung in tala-s, such as deepchandi, dadra, and addha, which are also commonly used by other gharana-s. However, the Benaras treatment is full of poise and restraint, and the tempo is slightly slower. The raga-s too are common to many gharana-s but the treatment in the Benaras school is more serious in keeping with the general tenor of music made.

Lucknow Gharana The gharana presents thumri-s full of delicacy and intricate embellishments. Associations of the gliarana with the art of court-dancing have certainly helped in creating a form full of the suggestion of movement, gestures, and grace. In comparison to the Benaras thumri, the Lucknow version or interpretation is more explicit in its eroticism. Possibly, the ghazal tradition as developed in the Awadh court is the source of this feature. A very distinctive contribution of the gharana is the evolution of the bandish-ki-thumri. It is a composition-type sung usually in a fast-paced teentala and an association with the dance patterns and tabla compositions accompanying it are detectable.

Patiala Gharana (founder Ustad Fateh Ali Khan) The Patiala gharana, though of comparatively recent origin, has made its mark on the musical scene early and in many ways. The chief feature of the thumri in the school is its incorporation of the tappa ang (tappa aspect) from the Punjab region. Thus, the gharana immediately makes its presence felt as a fresh departure from the khayal-dominated Benaras and the dance-oriented Lucknow thumri-s. These thumri-s dazzle on account of their imaginative and extremely swift movements. Of equal importance is the intricacy of tonal patterns - a special mark of tappa. The Patiala thumri is also influenced by folk tunes of the region, which are in Pahadi, and its multiple varieties. The descending and lyrical tonal patterns associated with the Heer songs of the region are known for their moving quality and Patiala thumri has certainly benefited from this regional source.

Some other Gharanas are:- Delhi Gharana, Indore Gharana, Ramdasi Gharana, Rampur Gharana, Bishnupur Gharana, Lahore Gharana, Dagar Gharana etc.

Classical Dances of India...

Classical Dances of India Indian dances are an ancient art form whose beginning can be traced to 'Natya Veda'. It is based on Natya Veda. Bharat has explained in detail the art of dance in Natya Shastra. Initially, the object of dance was only spiritual elevation and the performance was only to worship the God. Such dances were called 'Margi' dance. Additionally, another dance style was also common, called 'Desi' which was for public entertainment. 'Margi' and 'Desi' dances have evolved into today's classical dance forms.

Kathak Dance KATHAK is a word of Sanskrit language and it literally means story or story teller, one who reads aloud "Puranas' i.e. "Kathakar" or "Kathavachak". It is from the word Katha the word 'Kathak' developed. Learned people have said 'One who tells story is called Kathak'. It is evident that the dance Kathak relates to story (Katha) and the tradition of the story telling is quite ancient. In fact, this dance form has its origin to the period of Lord Rama. The storytellers who followed this style were called Kushilava and later on were called "Kathak'. Similarly, the story of Lord Krishna i.e. "Bhagvata" was narrated in the temples through songs and dances.

In the medieval age, when large scale destruction of temples took place, these story tellers lost their shelter and began to scatter and found refuge in the courts of Kings or Nawabs and started creating dances according to their respective tastes to establish themselves in the court, they innovated to create extraordinary effects. It is also believed that in the Muslim age, Kathak had to be totally transformed. Hindu culture was destroyed and Kathak had to absorb the court's show and sense of pleasure. In this age, Kathak style of dance emerged as a means of entertainment and sensual pleasure. In this age the "King" replaced the Lord and "Devdasis" became "Saki'. The dance imbibed Muslim literature, Ragas and Beats and poems like Ghazals. The three houses of Kathak i.e. Lucknow, Jaipur and Banares were founded.

During the declining phase of Muslim rule, Nawab Wajid Ali Shah and thereafter Nawab Rampur, Raja Chakradhar Singh etc. made their contribution to keep this dance form alive but generally during the European age, this dance form almost became extinct. However, during last few decades, the attitude of society towards Kathak has undergone a change and with the establishment of music institutes, the image of Kathak has improved. As a result, boys and girls of cultured families were attracted to this dance form.

Kathak is the classical dance form of Northern India. In the performance of Kathak, the artists enjoy a lot of freedom usually not available in other dance forms. Each Kathak dancer begins the dance in his or her unique way and organizes the performance according to his preference. Women usually wear Lehnga Choli and Dupatta while performing Kathak. Male dancers wear Churidar Paijama, Kurta and Angarkha and tie a Dupatta in the waist.

Bharat Natyam Bharat Natyam is a popular classical dance form of South India. It is related to Devdasis. For the beautiful expression and artistic presentation of Bharat Natyam, much credit goes to Devdasis. The teachers of Bharat Natyam called Nattuvan were considered to be acharyas.

Being naturally religious, in southern provinces Bharat Natyam was popularised by Devdasis in temples. These Devdasis could be divided into three categories: - Rajdasi, Devdasi & Swadasi Bharat Natyam is considered famous for its spectacular speed and expressions through body movements.The presentation of the dance can be divided into following seven sequential stages: 1. Allaripu 2. Jethiswaram 3. Shabdam 4. Varnam 5. Padam 6. Tillana 7. Shlokam Costume of Bharat Natyam: The dancers wear tight dhoti in which an attractive dhoti with pleats is joined in the centre; which at the time of foot work spreads like peacock feathers between the legs. Patka and kamarbandh add further attraction to the costume. Men usually wear a Patka and Kanthi (a type of necklace) while women wear choli and special garlands.

Kathakali This dance is particularly popular in Kerala state of South India. It has a beautiful combination of music, story and emoting. In this dance form, 'emoting' has dominance. The dance features stories of Ramayana, Mahabharat or any other mythological story. The actor playing the role comes on the stage and enacts according to the story while in the back ground, musical compositions are played to explain the Bhavas.

Kathakali dance is characterised with the dominance of 'Tandava' element and Veerta (Bravery), Adbhut (spectacular) and Shant (peace) rasas are also established. The body movements are complex and the number of mudras also is many more than those found in other classical dance form. In this style of dance, the Abhinay part is important. The dance begins with a prayer to God sung from behind the screen. Thereafter, the instrumentalists play together and in the same beat the dancers come on the stage and emote according to their roles through body movements.

Costume of Kathakali: In this dance costume designing and make up are of great importance. Characters wear tight jacket and colourful Ghaghara (long skirt) which remains blown. They also wear a crown according to the role whose halo may stretch upto their feet. The colour of the face is according to the role. The faces of gods are green, that of demons, red or black. Women and other minor actors have natural coloured face. The decoration and make up is according to Abhinaya.

Manipuri Dance There is folklore related to this dance that once when the Gopies were engaged in dancing with Krishna in 'Maharaas' the Natraj Shiva sought permission to witness the same. Krishna permitted him to watch the performance but only with his back facing the dancers but Shiva was so enchanted with the dance that he forgot his promise and hiding himself watched the dance. He then returned to his abode in Himalaya and decided to perform the 'Raas' with his wife Parvati. For performing 'Raas', Shiva chose a place. Sheshnag (the king of serpents) lit up this area with the 'mani' in his hood and since then the region is known as 'Manipur'.

The dance having been influenced by 'Maharaas' describes mostly the playful acts of Krishna. This dance is usually performed by girls but men are not barred from performing it. In the Manipuri dances four types of Raaslilas are performed i.e. Vasant Raas (Raas of spring season), Maharaas (Raas of full moon day), Kunj Raas (Raas of tree clusters) and Nitya Raas (Eternal Raas). This dance has a preponderance of 'Lasya' and the footwork, eyebrow movements, hand postures and body postures all imbibe 'Lasya'.

Costume: The costume of Manipuri dance is extremely, attractive and colourful. The women dancers wear a costume called 'Pulloi' A loose lehanga of bright satin or silk is worn which is called 'coomin'. It is adorned with motifs made with glass and Jari which is covered by transparent silk or peshwan. To blow the 'coomin' near the knees, bamboo sticks are placed inside in a circular form. The face of the dancer is covered with transparent silk. The hairs are raised and then tied in a knot. The shape of the knot is according to the type of Raas. The Gopis usually wear costume of red colour while Radha wears green colour.

Kuchipudi The history of Kuchipudi dance is quite old but it was recognised as a classical dance much later. Its origin is placed around 2nd century BC. Since the dance evolved in the Kuchipudi region of Andhra Pradesh, it is known as Kuchipudi dance. It is a traditional dance drama which bears distinct influence of Vaishnav sect. This dance form is also influenced by oddissi and Bharat Natyam dance styles.

The dance is usually performed in the following manner:

(a) Poorvarang: This is akin to Bhoomi puja followed by prayers to Venkateshwar.

(b) Bhamakalapam: In this stage which the dance is performed based on a story line.

(c) Shabdam: In this stage a "word' is expressed by emoting in various manners.

(d) Dashavatar: In this stage all the ten incarnations of Lord Vishnu are described.

(e) Rama Pattabhishek: In this stage the story of Rama-right from his birth to ascendancy on the throne is described through the medium of dance.

(f) Tillana: In this stage dance is performed through "Tillana" which is pure beats and laya. (g) Tarangam: Tarangam are the poems composed by Narayan Tirtha describing the childhood acts of Lord Krishna. In the end there is spectacular exhibition of 'Layakari' and 'body movements' which is performed by the dancer while standing in a Thali (plate)

Costume:—the women wear sari and blouse and use waist band. Women also wear an ornamental belt in the waist and arm bands, tika and necklace. Men usually wear a dhoti, waistband and Dupatta.

Oddissi Dance Oddissi is one of the oldest classical dance forms of India. It was born in the temple of Lord Jagannath in Puri in oddissa which was always the centre of art, literature and culture in the Eastern India. The dance evolved through devdasis in the temple. It is a solo dance conforming to the roles of 'Natya Shastra' and 'Shilp Shashtra' and is performed in the following six stages :

1. The dance begins with bowing to earth and prayer to' Vighnaraj' by singing 'Mangalacharan'.

2. The next stage is 'Batunritya' initially performed at slow pace then speeded up gradually.

3. After Batunritya, prayers are offered to the Lord which are taken from Sanskrit literature.

4. Next stage is called 'Pallavi' in which hand gestures are demonstrated according to music.

5. Next stage is 'Abhinaya' which is similar to 'Padam' in Bharat Natyam or Thumri in Kathak. Expression through eyes is of much importance in 'Abhinaya'.

6. The performance is concluded with 'Tarjan' which is somewhat similar to Tarana of Kathak or Tillana of Bharatnatyam.

Costume: The women wear silk sari with a 'Lang' whose spread hangs in the front. They wear a waistband of silver; most of the ornaments are made of silver the hairs are arranged in a round knot and adorned with buds of pearls.

Mohiniattam According to some folklore, Lord Vishnu first performed 'Mohini' dance on the shores of Kerala and the same dance is popular in Kerala in some or other form and is known as 'Mohiniattam'. The origin of this dance form is attributed to the devdasis of Tamilnadu combining with the Nagyars of Kerala. While the dance of devdasis had a preponderance of Lasya, the Nagyars were skilled in emoting through facial expressions and combination of the two skills led to development of Mohiniattam style of dance in the temples. In this dance there is a distinct importance of court songs and music. The dance is performed in the following sequence.

First stage commences with 'Cholketu' in which the Lord is worshipped with prayers. It is followed by Taliswar Varnanam, Padm and Tillana. The dance is concluded with shlokam in a very interesting style. The shlokam are devotional in nature. Costume: The female dancer usually wears a white sari with a broad red border. The sari is kept upto the calves. Hairs are tied into a bun on the left side above the temple and further adorned with fresh fragrant flowers.

Indian Classical Music

The origins of Indian classical music can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. The Samaveda, one of the four Vedas, describes music at length. The Samaveda was created out of Rigveda so that its hymns could be sung as Samagana; this style evolved into jatis and eventually into ragas. Indian classical music has its origins as a meditation tool for attaining self realization. All different forms of these melodies (ragas) are believed to affect various "chakras" (energy centers, or "moods") in the path of the Kundalini. However, there is little mention of these esoteric beliefs in Bharat's Natyashastra, the first treatise laying down the fundamental principles of drama, dance and music. Indian classical music has one of the most complex and complete musical systems ever developed. Like Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are Sa Re Ga Ma Pa Dha Ni Sa. Indian classical music is monophonic in nature and based around a single melody line which is played over a fixed drone. The performance is based melodically on particular ragas and rhythmically on talas. Notation System Indian music is traditionally practice oriented and does not employ notations as the primary media of instruction/understanding/transmission. The rules of Indian music and compositions themselves are taught from a guru to a shishya, in person. Various Indian music schools followed notations and classifications (see Melakarta and thaat); however, the notation is regarded as a matter of taste and is not standardized. Thus there is no universal system of notation for the rest of the world to study Indian music. Scholars of Europe in the seventeenth and eighteenth century were enamoured by Indian music and with no facility to record the sound they explored for some existing system that might express sounds in the composition. There were pointers to an ancient notation system which scholars had also translated into Persian; still, the complexity of Indian classical music could not be expressed in writing. Though some western scholars did record compositions in the staff notation system, Indian musicians have used a system created by Bhatkhande in the 20th century. Though more accurate, this relies on Devanagari script rather than symbols and hence is cumbersome at times. A new notation system has been proposed which uses symbols and offers instantaneous comprehension like Staff notation system. It is with standardization of a notation system that hitherto unknown compositions would see the light of day. Hindustani music Players of the tabla, a type of drum, usually keep the rhythm in Hindustani music. Another common instrument is the stringed tanpura, which is played at a steady tone (a drone) throughout the performance of the raga. This task traditionally falls to a student of the soloist, a task which might seem monotonous but is, in fact, an honour and a rare opportunity for the student who gets it. Other instruments for accompaniment include the sarangi and the harmonium. The prime themes of Hindustani music are romantic love, nature, and devotionals. Yet, Indian classical music is independent of such themes. To sing a raga any poetic phrase appropriate for the raga may be chosen and the raga would not suffer. In Hindustani music, the performance usually begins with a slow elaboration of the raga, known as alap. This can range from very long (30-40 minutes) to very short (2-3 minutes) depending on the style and preference of the musician. Once the raga is established, the ornamentation around the mode begins to become rhythmical, gradually speeding up. This section is called the drut or jor. Finally, the percussionist joins in and the tala is introduced. There is a significant amount of Persian influence in Hindustani music, in terms of both the instruments and the style of presentation. Carnatic music Carnatic music tends to be significantly more structured than Hindustani music; examples of this are the logical classification of ragas into melakarthas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. The opening piece is called a varnam, and is a warm-up for the musicians. A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and thaalams (the ornamentation, equivalent to the jor). This is intermixed with hymns called krithis. This is followed by the pallavi or theme from the raga. Carnatic pieces can also have notated, lyrical poems that are reproduced as such, possibly with embellishments and treatments as per the performer's ideology; these basic pieces are called compositions and are popular among those who appreciate Carnatic (especially vocal) music. Compositions usually have amble flexibility in them so as to foster creativity: it is commonplace to have same composition sung in different ways by different performers. Carnatic music is similar to Hindustani music in that it is improvised (see musical improvisation). Primary themes include worship, descriptions of temples, philosophy, nayaka-nayaki themes and patriotic songs. Tyagaraja (1759-1847), Muthuswami Dikshitar (1776-1827) and Syama Sastri (1762-1827) are known as the Trinity of Carnatic music, while Purandara Dasa (1480-1564) is often called the father of Carnatic music.

Performing Arts of India

Music Love, humor, pathos, anger, heroism, terror, disgust, wonder and serenity are the Nava Rasa’s or nine basic emotions which are fundamental to all Indian aesthetics. The Raga, or musical mode, forms the basis of the entire musical event. The Raga is essentially an aesthetic rendering of the seven musical notes and each Raga is said to have a specific flavor and mood. Tala is what binds music together. It is essentially a fixed time cycle for each rendition and repeats itself after completion of each cycle. Tala makes possible a lot of improvisations between beats and allows complex variations between each cycle. With the help of the Raga, Tala and the infinite shrutis or microtones, Indian musicians create a variety of feelings. The melodious sounds of a musical rendition can evoke the innermost emotions and moods of the audience, connoisseurs and non-connoisseurs alike. Today, the Indian Musical tradition has two dominant strains: the Carnatic or South Indian music and the Hindustani or North Indian music. The Northern school of Indian Music can boast of names like Amir Khusro (13th century) and Miyan Tansen who lived in the court of the Mughal Emperor Akbar in the 16th century. The great musicians of the Southern style include Venkatamakhi (17th century), Thyagaraja and Shyama Shastri. All Indian musicians belong to a particular gharana (house) or school. Each gharana has its own traditions and manner of rendition and these styles are fiercely guarded and maintained. Some of the well-known gharanas are those of Delhi, Agra, Gwalior and Jaipur.

Dance Using the body as a medium of communication, the expression of dance is perhaps the most intricate and developed, yet easily understood art form. Dance in India has seeped into several other realms like poetry, sculpture, architecture, literature, music and theatre. The earliest archaeological evidence is a beautiful statuette of a dancing girl, dated around 6000 B.C. Bharata's Natya Shastra (believed to be penned between second century B.C. and second century A.D.) is the earliest available treatise on dramaturgy. All forms of Indian classical dances owe allegiance to Natya Shastra, regarded as the fifth Veda. It is said that Brahma, the Creator, created Natya, taking literature from the Rig Veda, song from the Sama Veda, expression from the Yajur Veda and aesthetic experience from the Atharva Veda. It also contains deliberations on the different kind of postures, the mudras or hand formations and their meanings. All dance forms are thus structured around the nine rasas or emotions, hasya (happiness), krodha (anger), bhibatsa (disgust), bhaya (fear), shoka (sorrow), vira (courage), karuna (compassion), adbhuta (wonder) and shanta (serenity). Theater India has a longest and richest tradition in theatre. Origin of Indian theatre is closely related to the ancient rituals and seasonal festivities of the country. The traditional account in Natya Shastra gives a divine origin to Indian Theatre According to legend, when the world passed from the Golden Age to Silver Age, and people became addicted to sensual pleasures, and jealousy, anger, desire and greed filled their hearts. God Indra, with the rest of the gods, approached Brahma, the Creator of the Universe, and begged for a mode of recreation accessible to all classes of society. Brahma acceded to this request and decided to compose a fifth Veda on Natya. From the four Vedas he extracted the four elements of speech, song, mime and sentiment and thus created Natyaveda, the holy book of dramaturgy. He asked Indra to pass the book to those of the Gods who are skillful, learned, free from stage fright and given to hard work. As Indra pleaded the gods' inability to enact the play, Brahma looked to Bharata and revealed the fifth Veda to him by God Brahma himself. Thus, when the dramatic art was well comprehended, the first drama was enacted on the auspicious occasion of Indra's Banner Day. The Natya Shastra legend indicates an intimate relation between the idea of dancing and dramatic representation. Dance has an important role in the birth of Indian theatre. As dance is a function of life, even from the primitive to the most cultured community, drama finds a semi-religious origin from the art of dancing. Film On July 7, 1896, an agent who had brought equipment and films from France first showed his moving pictures in Bombay. That was an important day in the social and cultural history of the Indian people. The first Indian-made feature film (3700 feet long) was released in 1913. It was made by Dadasaheb Phalke and was called Raja Harishchandra. Based on a story from the Mahabharata it was a stirring film concerned with honor, sacrifice and mighty deeds. From then on many "mythologicals" were made and took India by storm. Phalke's company alone produced about a hundred films. What little remains of Indian silent cinema up to 1931 barely fills six video-cassettes in the National Film Archives of India, but it is remarkable for the way traditional "theatrical" framing (static characters, faced front on by the camera) is animated by a considerable investment in location shooting, both in natural surroundings and in the city. This is evident not only in Raja Harishchandra, but also in historical-cum-stunt films such as Diler Jigar/Gallant Hearts (SS Agarwal; 1931) and Gulaminu Patan/The Fall of Slavery (SS Agarwal; 1931), and in the international co-productions directed by Himansu Rai and the German Franz Osten. Among these, Light of Asia (1925), about the Buddha, and Shiraz (1928), about the origins of the Taj Mahal, referred to as 'Romances from India' by their producers, render "India" as a startling, exotic assemblage: scenes of ancient and medieval court life, attended by the ritual of courtly gesture, and by spectacular processions of elephants and camels, are juxtaposed with a glittering naturalism.

SNAKE BOAT RACE

The annual Snake boat races are a thrilling festival event held in Alappuzha, Kerala, India, just before the festival of Onam in August or September every year. These annual races feature many classes of boats, but the most spectacular event is the race between the giant Snake Boats or Chundanvallams at the annual races or Vallamkalis held on the Punnamada Backwaters at Alappuzha. The annual Snake Boat races festival held in Alappuzha, Kerala, India, is a thrilling event where giant Snake Boats compete for the prestigious Nehru Trophy. The Prime Minister of India, Jawaharlal Nehru, gave the trophy to the people of Alappuzha after his visit to Kerala in 1952. As Nehru arrived in Alappuzha, he was given a grand welcome, along the backwaters with hundreds of boats including swift-moving Snake Boats. As Nehru saw a demonstration of the rowers' prowess, he suggested an annual race be held and donated the Nehru Trophy to be given to the winning team. The Nehru Trophy has a silver replica of a Snake Boat set on a base. The annual Snake Boat races festival is an exciting event held in a celebratory atmosphere.

Snake Boat Festival Celebration in Kerala: Snake Boat races festivals are held in many venues in Kerala, India, but the races in Alappuzha are the best known. Teams of rowers compete for the Nehru Trophy. The Snake Boats or Chundanvallams, can seat up to 100 people. The rowers pull with all their might, sitting two in row along the length of the Snake Boat. The boats float low in the water and have a long curving stern. The prow is pointed in shape or may have a decorative knob at the end. The prow rides low in the water with the length of the Snake Boat extending behind it. Apart from rowers, the Snake boat carries a cox, and leaders who maintain the rhythm of rowing through chants, songs and exclamations. You can see the amazing Snake Boats of Kerala on Kerala tours with Kerala Backwater. The excitement of the Snake Boat Races has to be experienced to be appreciated. The snake boat races at Alappuzha have become a popular attraction for international travelers.

Kite Festival

The festival is held on the day of Makar Sankranti, i.e., 14th January every year at Jodhpur in Rajasthan and Ahmedabad in Gujarat. Makar Sankranti or Uttarayan is Hindu festival that is observed to mark the end of the chilly months of winters with the movement of sun into the northern hemisphere. This is the season when the skies are clear and the breeze seems pleasant making every body in a jubilant mood.

Ahmedabad In Gujarat, Makar Sankranti is celebrated as the kite-flying day. Kite-flying day in Gujarat is an extraordinary day, unlike at other places. Ahmedabad, Gujarat's premier city, leads the way in the celebration of Uttarayani, and is the venue of the International Kite Festival.The International Kite Flying Festival in Ahmedabad begins with the break of the dawn and continues all through the day without and intervals or breaks. The enthusiasm of the people is worth noting as they compete with each other in kite flying and shouting in excitement. The same passion continues even after dusk and nightfall when illuminated box kites can be seen in the sky. They can be found in series strung in on line and are known ad 'Tukkals'. Local kite flying festivals are held in other cities as well but International Kite Festival in Ahmedabad witnesses a large gathering of participants and observers from all over Indian and world. If you want to quench you curiosity about the history o kites and kite flying, you can learn all this and much more at the Museum in Ahmedabad, which very concisely yet colorfully traced the history of kites and beginning of kite flying. From dawn to dusk, people of all ages fly kites rejoicing in the spirit of the day. The blue January sky is enlivened by kites of different colours and hues. Kites soar in the sky, their lines moving as if alive. Crowded rooftops, fun-loving rivalry to outdo each other, and delicious Gujarati feast are the hall-marks of the day. A tremendous variety of kites are seen with friends, neighbours and total strangers indulging in kite fights. The nights see the arrival of the illuminated box kites, often in a series strung on one line, to be launched into the sky. Known as Tukkals, these kites add a touch of splendour to the dark sky.

Jodhpur The three-day International Kite Flying Festival in Jodhpur is held at the Polo Ground. The sky looks absolutely beautiful with kites in myriad hues, designs and shapes of the kites being flown in the air. The Air Force helicopters release colorful kites from the sky while school children release colorful air balloons. The festival is divided into two sections, namely, the Fighter Kite Competition and the Display Flying. The kite flyers compete with each other displaying their skills in order to win the Fighter Kite Competition while the other calmly fly the kite exhibiting their beautiful kites for the Display Flying. The prestigious trophies are awarded to the winners of both the categories and every participant is offered dinner at an exotic venue. The Grand Finale of the International kite Flying Festival in Jodhpur is held in the extant lawns of the Umaid Bhawan Palace. The finals of the Fighter Kite competition and Display Flying are followed by the prize distribution ceremony, thanks-giving ceremony and farewell dinner with the Maharaja of Jodhpur. The festival is attended and participated by a large number of people from India and abroad.