BEGUM AKTAR

INTRODUCTION

BEGUM AKHTAR (7 October 1914 – 30 October 1974)

Akhtari Bai Faizabadi, also known as begum akhar she was a well known Indian singer ofGhazal, and Dadra, and Thumri genres of Hindustani classical music.

Early life

Begum Akhtar was born in Bada Darwaza, Town Bhadarsa, Bharatkund, Faizabad District, Uttar Pradesh. Her father, Asghar Hussain, a young lawyer who fell in love with her mother Mushtari and made her his second wife, subsequently disowned her and his twin daughters Zohra and Bibbi (Akhtar)

Career

Akhtar was barely seven when she was captivated by the music of Chandra Bai, an artist attached to a touring theatre group. However at her uncle’s insistence she was sent to train under Ustad Imdad Khan, the great sarangi exponent from Patna, and later under Ata Mohammed Khan of Patiala. Later, she travelled to Calcutta with her mother and learnt music from classical stalwarts like Mohammad Khan, Abdul Waheed Khan of Lahore, and finally she became the disciple of Ustad Jhande Khan.

Her first public performance was at the age of fifteen. The famous poetess, Sarojini Naidu, appreciated her singing during a concert which was organised in the aid of victims of the 1934 Nepal–Bihar earthquake. She cut her first disc for the Megaphone Record Company, at that time. A number of gramophone records were released carrying her ghazals, dadras, thumris, etc. She was amongst the early female singers to give public concert, and break away from singing in mehfils or private gatherings, and in time came to be known as Mallika-e-Ghazal (Queen of Ghazal).

Begum Akhtar’s good looks and sensitive voice made her an ideal candidate for a film career in her early years. When she heard great musicians like Gauhar Jaan and Malak Jan, however, she decided to forsake the glamour of the film world for a career in Indian classical music. Her supreme artistry in light classical music had its moorings in the tradition of pure classicism. She chose her repertoire in primarily classical modes: a variety of raags, ranging from simple to complex. After the advent of talkie era in India, Beghum Akhtar acted in a few Hindi movies in the 1930s. East India Film Company of Calcutta approached her to act in “King for a Day” (alias Ek Din Ka Badshah) and Nal Damayanti in 1933.

Like others of that era, she sang her songs herself in all her films. She continued acting in the following years. Subsequently Beghum Akhtar moved back to Lucknow where she was approached by the famous producer-director Mehboob Khan, as a result of which she acted in Roti which was released in 1942 and whose music was composed by maestroAnil Biswas“Roti” contained six of her ghazals but unfortunately due to some trouble between producer and director, Mehboob Khan subsequently deleted three or four ghazals from the film. All the ghazals are available on Megaphone gramophone records. Begum Akhtar, meanwhile, left Bombay and returned to Lucknow.

In 1945, Akhtaribai married a Lucknow-based barrister, Ishtiaq Ahmed Abbasi, and became known as Begum Akhtar. However, after marriage, due to her husband’s restrictions, she could not sing for almost five years and subsequently, she fell ill, that is when her return to music was prescribed as a befitting remedy, and in 1949 she returned to the recording studios. She sang three ghazals and a dadra at Lucknow All India Radio station. She wept afterwards and returned to singing in concerts, a practice that lasted until her death. Though, she sang publicly in Lucknow, except for women’s only concert in aid of the war, which was held in 1962.

Her voice matured with time, adding richness and depth. She sang ghazals and other light classical pieces, singing them in her inimitable style. She has nearly four hundred songs to her credit. She was a regular performer on All India Radio. She usually composed her own ghazals and most of her compositions were raag based. She sang the timeless Bengali classical song “Jochona Koreche .

Death

During her last concert in Ahmedabad she raised the pitch of her voice as she felt that her singing had not been as good as she had wanted it to be and she felt unwell. The additional demand and stress that she put herself under resulted in her falling ill and was rushed to the hospital.

She died on 30 October 1974 in the arms of Nilam Gamadia, her friend, who invited her to Ahmedabad, which has become her final performance.

Her tomb was built in a mango orchard within her home, ‘Pasanda Bagh’ in Thakurganj area, of Lucknow. She was buried alongside her mother, Mushtari Sahiba. However, over the years, much of the garden of lost to the growing city, and the tomb fell into disrepair.The marble graves enclosed in a red brick enclosure, were restored in 2012, along with their pietra dura style marble inlay. Attempts are on to convert her home built in 1936 in China bazaar, Lucknow into a museum.

Amongst her disciples include Shanti Hiranand, who herself later received Padma Shri and wrote, a biography Begum Akhtar: The Story of My Ammi (2005). Art critic, S. Kalidas directed a documentary on her titled, Hai Akhtari.

Hindi films

• Naseeb Ka Chakkar
• Roti | Anna Sahab Mainka
• Panna Dai| Gyan Dutt
• Dana Pani | Mohan Junior
• Ehsaan

Filmography

• Mumtaz Beghum (1934)
• Jawaani Ka Nasha (1935)
• King for a Day (1933, director : Raaj Hans)
• Ameena (1934, director : -)
• Roop Kumari (1934, director : Madan)
• Naseeb Ka Chakkar (1936, director : Pesi Karani)
• AnaarBala (1940, director : A M Khan)
• Roti(1942, director : Maadhav Kaale)
• Jalsaghar(1958; director: Satyajit Ray)

Awards and recognition

• 1968: Padma Shri
• 1972: Sangeet Natak Akademi Award
• 1975: Padma Bhushan(posthumously)
• Sangeet Natak Akademi Awardfor vocal music
• title of Mallika-e-Ghazal(Queen of Ghazals).

Bibliography

• In Memory of Begum Akhtar, by Shahid Ali Agha. US Inter Culture Associates, 1979.
• Begum Akhtar: The Queen of Ghazal, by Sutapa Mukherjee. Rupa & Co, 2005,ISBN 81-7167-985-4.
• Begum Akhtar: The Story of My Ammi, by Shanti Hiranand. Published by Viva Books, 2005.ISBN 81-309-0172-2.
• Begum Akhtar: Love’s Own Voice, by S. Kalidas. 2009.

Beghum Akhtar

SHARE THIS:

MY EXPERIENCE OF B.ED FROM STARTING TO END OF THESE SEMESTER :

SELF INTRODUCTION:

NAME :                        RITU 

PROGRAMME:                           B.ED.

AGE:                                              20  YEAR OLD

COLLEGE:                                    VARUN DHAKA INSTITUTE OF TECHNOLOGY

SEMESTER:                                 FIRST

ORIENTATION DAY

MY EXPERIENCE:

When i came in this college to took admission i meet to the principal of this college after talk to him i took admission in this course. After this my first day of college means my orientation day was come. We meet that day with our classmates and our collage staff. Then our college was started and we came regularly to college but there is one thing which we did not understand that was the rules of the college which we never follow. Here we learn more things like how we want to organize any celebration in school or college. How we Want to maintain discipline in school or college how we can do any work in proper way one big thing, which we learn here is how to keep patient . Here we all students learn more things as a pupil teachers like school related activities, and importance of group work. In this college i have some bad experiences and some good experiences because everything have two sides one is good and one is bad like coins Overall I have great experience from V.D.I.T.

THIS WAS SOME MY EXPERIENCE RELATED,B.ED.

YOU CAN SEE IN THIS VIDEO MY JOURNEY OF  B.ED:

multiple child

    INTRODUCTION

A seminar on ’multiple childhoods in India’ was held in our college on 4 September 2015.The class was divided into groups and each group was given a particular topic which were as follows:

1.children belonging to high class society.

2.children belonging to middle class society

3.children belonging to lower class society.

4.differntly abled children.

5.children with learning disabilities

6.juveline children

7.orphan children

8.survivors of child abusement

9.child labour

10.children with single parent

·        OBJECTIVE

The objective was to make us understand the lives of Indian children growing up in different backgrounds and vastly different circumstances .Whether belonging to any class .the children have to be nurtured and cared.

·        DESCRIPTION

1.CHILDREN BELONGING TO HIGH CLASS SOCIETY

These children have high socio-economic status.They have better facilities of education,medical care still they face many problems like obesity,lack of time and love from parents etc.

2.CHILDREN BELONGING TO MIDDLE CLASS SOCIETY

These children have socio-economic status lying between high and lower classes.They perform well in academics .sometimes they feel pressure from parents and teachers to fulfill their expectations.

3.CHILDREN BELONGING TO LOWER CLASS SOCIETY

They have very limited or no facilities of education,medical care and nutrition.

4.DIFFERENTLY ABLED CHILDREN

The children who are phyasically or mentally retarded are called differently abled children.Some children faced depressed while some others face challenges bravely and adjust in the situations .They are able to perform well in different fields.

5.CHILDEN WITH LEARNING DISABILITIES

The children facing problem of dyslexia,diagraphia,dicalculia come under this category.

6.JUVENILE CHILDREN

The children who indulge in crimes and anti-social activities are called juvenile children.

7.ORPHANS

The children whose both the parents have died or the parents have abandoned the child ,are called orphans.

8.SURVIVORS OF CHILD ABUSEMENT

The children who have sufferd harassment , violence ,neglect are called survivors of child abusement.

9.CHILD LABOUR

The children who work as labourers in factories,shops,industries etc. are called child labours.

10.SINGLE PARENT CHILD

The child having only one parent (father or mother) are called as single parent child.

·        REMARKS

The seminar reflected upon the lifestyle . ethics ,behavior of different claases of children.Teachers and parents play a very important role in dealing with the children.They should guide,motivate and support children and help them in solving their problems.

taare jameen par

TARE ZAMEEN PAR

TARE ZAMEEN PAR

                     

Director :             Aamir KhaN
Cast       :             Aamir Khan,
Tanay Chheda,
Darsheel Safary,
Tisca Chopra

INTRODUCTION:

Taare Zameen Par isn’t one of those films that merely entertains, but also enlightens. Taare Zameen Par is one film that makes you peep into a child’s mind and how some parents, in their pursuit to make them ‘stronger’ academically, forget that there’s hitherto untapped talent that needs to be nourished and encouraged.

SUMMARY :

Ishaan Nandkishore Awasthi (Darsheel Safary) is an eight-year-old boy who dislikes school and fails every test or exam. He finds all subjects difficult, and is belittled and berated by his teachers and classmates. But Ishaan’s internal world is rich with wonders that he is unable to convey to others, magical lands filled with colour and animated animals. He is an artist whose talent is unrecognised.

Ishaan’s father, Nandkishore Awasthi (Vipin Sharma), is a successful executive who expects his children to excel. His mother, housewife Maya Awasthi (Tisca Chopra), is frustrated by her inability to educate her son. Ishaan’s elder brother, Yohaan (Sachet Engineer), is an exemplary scholar and athlete, which Ishaan is frequently reminded of.

After receiving a particularly poor academic report, Ishaan’s parents send him to a boarding school. There he sinks into a state of fear and depression, despite being befriended by Rajan (Tanay Chheda), physically disabled and one of the top students in his class.

Ishaan’s situation changes when a new art teacher, Ram Shankar Nikumbh (Aamir Khan), joins the school’s faculty. An instructor at the Tulips School for young children with developmental disabilities, Nikumbh’s teaching style is markedly different from that of his strict predecessor, and he quickly observes that Ishaan is unhappy and contributes little to class activities. He reviews Ishaan’s work and concludes that his academic shortcomings are indicative of dyslexia.

On his day off, Nikumbh sets off to Mumbai, to visit Ishaan’s parents. Nikumbh is surprised to learn that Ishaan is passionate about painting, and shows great talent in art. Nikumbh then asks Mr Awasthi as to why he sent Ishaan to a boarding school. Mr Awasthi replies that Ishaan was an ill mannered boy and was a poor student. Nikumbh shows Ishaan’s mother her son’s notebooks and gives an analysis of the script. Nikumbh deduces that Ishaan has severe difficulty in understanding letters and words. Mr Awasthi tries to dismiss it as a mere excuse for Ishaan’s laziness. Nikumbh demonstrates what Ishaan experiences every day at school. He states that Ishaan has dyslexia as well as he may be having other conditions, which make him a difficult child.

Mr Awasthi bluntly categorises it as mental retardation, but Nikumbh criticizes him. Nikumbh argues that Ishaan is an above average child and processes information differently. He further states that Mr Awasthi failed to understand Ishaan and as a result the latter is facing low self-esteem and no longer paints.

Nikumbh returns, and subsequently brings up the topic of dyslexia in class, and offers a list of famous people who were dyslexic. Later, Nikumbh reveals to Ishaan, that he too is a dyslexic and faced problems similar to Ishaan. Nikumbh then visits the school’s principal and obtains his permission to become Ishaan’s tutor. He attempts to improve Ishaan’s reading and writing by using remedial techniques developed by dyslexia specialists; Ishaan soon develops an interest in language and mathematics, and his grades improve.

Towards the end of the school year Nikumbh organises an art fair for the staff and students. The competition is judged by artist Lalita Lajmi. Ishaan, with his strikingly creative style, is declared the winner and Nikumbh, who paints Ishaan’s portrait, the runner-up. The principal announces that Nikumbh has been hired as the school’s permanent art teacher. When Ishaan’s parents meet his teachers on the last day of school they are left speechless by the transformation they see in him. Overcome with emotion, Ishaan’s father thanks Nikumbh. As Ishaan is getting into the car to leave with his parents for summer vacations, he turns around and runs toward Nikumbh. The film ends with a freeze frame shot of Nikumbh tossing Ishaan into the air.

Here we can see the main character of the film ishaan avasthi is facing a problem which is dyslexia. And his parent dont want to accept them and thats why they behave with ishaan as a normal kid. ishan’s father behave with him very strictly. He pressurised him to give best result as his elder brother thats why he always give negative reinforcement to ishaan.

ROLE OF PARENTS:

parents of this type of child should have to accept their child and they should give so much love and care of their special child. They should try to understand their problems or situations. they should have to fullfill their needs according to child’s problem like physically and mentaly.

ROLE OF TEACHERS:

In this film we can see how the teachers behave with ishaan,they behave very roudly and punished all the time. They always insulting him for his all mistakes.

https://www.youtube.com/watch?v=_xgza0cMYJw

working in group

Working in group

Introduction

Raksha Bandhan is one of the most popular festivals celebrated in India. This festival is also called as Rakhi Poornima. On the occasion of Raksha Bandhan sisters generally apply tilak to the forehead of their brothers, tie the sacred thread called Rakhi to the wrist of their brothers and do aarti and pray for their good health & long life. This thread, which represents love and sublime sentiments, is called “Raksha Bandhan” means a ‘bond of protection’.

Date & Time

27^th August 2015; 1pm to 3pm

Propose

Worked as team as direction by Principal Sir and teachers

Preparation

We are 5 girls in our team. Every girl has done their work. Like someone prepared rakhi and some girls has design PUJA KI THALI. 

Competition

There are 11 groups who were in this competition. And in the last winner will be announced by our Principal Sir.

Co- Operation

The girls of our group were very co-operative and supportive. They did their job brilliantly.

Partiality

In V.D.I.T. there is no partiality between boys and girls. Everyone one has participated in this competition.

Remark

Some group has spent too much for this competition, which is wrong. Our principal instruct us that we do buy things for making rakhi; we have to create our rakhi with waste materials which easily available in our home.

Suggestion

As the picture given below; we can make beautiful rakhi (which one got 1^st prize in this competition) without buying expensive decorative things so that we do not waste our money.

Observation of Accident Scene

After a person has gone down, they will be in a confused and scared state. They probably don't know what happened when they went down. They may be confused, frantic, etc., and often the only thing on their mind will be their bike. It is important to reassure them and to make sure they will not try to move or get to their bike. Slider suggests something on the order of, 'You've been in a motorcycle accident. It is important that you do not try to move.' Tell them the ambulance is coming (assuming someone has been sent to get one!).

Be careful what you say around the victim, even if they are unconscious. Hearing works in the unconscious state and if you say something like, 'Boy, is this dude messed up bad! Maybe we shouldn't call an ambulance after all!', it's going to register at some level with the person and can do nothing but harm. How you say things will be important as what you say; keep (or at least sound) calm and it will reduce the panic of everyone else present.

The person with the most training (first aid, CPR, etc.) attends directly to the victim. Assuming the victim is lying on the ground, this person should sit behind their head and should stabilize his or her head to avoid unnecessary movement (i.e. hold their head still). Assume the person has a back/neck injury and any unnecessary movement could risk paralysis.

It is very dangerous to remove someone's helmet if they have some type of cervical/back injury. The only time it should be removed is if the airway is blocked and cannot be cleared with the helmet on or if it is necessary to perform CPR.

After there has been a quick evaluation of the number of injured people and just the most preliminary guess of seriousness, someone has to be sent to get an ambulance. Remember that an ambulance can only support one truly injured person.

It is important to remember that a lot of the injuries that don't look serious to us could very well be life-threatening and injuries that look fatal are relatively minor. Slider had some pictures of someone with an arm partially ripped off and some scratches on their chest. The scratches were potentially more threatening to the life of the victim than the arm was. Don't get fancy with the initial seriousness evaluation. If you can't tell, assume it's Urgent!

Importance

1. It is necessary to not injury of injured people and give CPR to badly injured people it can save lift.
2. It also important the casualty count, so that ambulance will ready to tackle the situation. 

Suggestions

1. Don't getter chow near the victim
2. Don't just go from there, Do help others if possible.

Iconic Character of Kabir Das

It is considered that the great poet, Saint Kabir Das, was born in the month of Jyestha on Purnima in the year 1440. That’s why Saint Kabir Das Jayanti or birthday anniversary is celebrated every year with great enthusiasm by his followers and lovers on the Purnima of May or June (Hindi month of Jyestha).

Born: Uncertain (either 1398 or 1440 CE)

Died: Uncertain (either 1448 or 1518 CE)

Biography of Kabir Das

Kabir Das, a mystical poet and great Saint of India, was born in the year 1440 and died in the year 1518. According to the Islam the meaning of the Kabir is The Great. Kabir Panth is the huge religious community which identifies the Kabir as the originator of the Sant Mat sects.

The members of Kabir Panth are known as the Kabir panthis who had extended all over the over north and central India. Some of the great writings of the Kabir Das are Bijak, Kabir Granthawali, Anurag Sagar, Sakhi Granth etc. It is clearly not known about his birth parents but it is noted that he has been grew up by the very poor family of Muslim weavers. He was very spiritual person and became a great Sadhu. He got fame all over the world because of his influential traditions and culture.

It is considered that he got all his spiritual training from his Guru named, Ramananda, in his early childhood. One day, he became a well known disciple of the Guru Ramananda. The house of the Kabir Das has accommodated students and scholars for living and studying his great works.

There is no clue of the birth parent of the Kabir Das but it is considered that he was cared by a Muslim family. He was founded in Lehartara, a small town in Varanasi by the Niru and Nima (his care taker parents). His parents were extremely poor and uneducated but they very heartily adopted the little baby and trained him about their own business. He lived the balanced life of a simple house holder and a mystic.

Kabir Das Teaching

It is considered that he got his spiritual training came from the Ramananda, guru of the Sant Kabir. In the starting Ramananda was not agreeing to accept Kabir Das as his disciple. Once upon a time, Sant Kabir Das had lie down on the ladders of the pond and reading the mantra of Rama-Rama, in the early morning Ramananda was going for taking bath and Kabir come down below his feet. Ramananda felt guilty for that activity and then Ramananda was forced to accept him as his disciple. It is believed that Kabir’s family is still living in the Kabir Chaura in Varanasi.

Philosophies

Sant Kabir was prejudiced by the existing religious mood of that time like Hinduism, Tantrism as well as the personal devotionalism mixed with the imageless God of Islam. Kabir Das is the first Indian saint who has coordinated the Hinduism and Islam by giving a universal path which could be followed by both Hindus and Muslims. According to him every life has relationship with two spiritual principles (Jivatma and Paramatma). His view about the moksha that, it is the process of uniting these two divine principles.

His great writing Bijak has huge a collection of poems which makes clear the Kabir’s general view of the spirituality. Kabir’s Hindi was a dialect, simple like his philosophies. He simply followed the oneness in the God. He has always rejected the murti pujan in Hinduism and shown the clear confidence in bhakti and Sufi ideas.

His Poetry

He had composed the poems in a concise and simple style resonating the admire for factual guru. After being an illiterate he had written his poems in Hindi mixing with Avadhi, Braj, and Bhojpuri. He was insulted by some people but he never attended.

Historical well:

A historical well is here at the Kabir Math, the water of which is considered as mixed with the Amrit Ras of his Sadhana. It was first guessed by the great Pandit Sarvanand from the south India. He came here for arguing with the Kabir and felt thirsty. He drunk water and ask for address of Kabir from the kamali. Kamali told him the address but in but in the form of dohe of Kabir Das.

Kabir ka ghar sikher par, jahan silhili gal.

Pav na tikai pipil ka, pandit lade bal.

He went to the Kabir for arguing but Kabir never accepted to argue and given Sarvanand a written of accepting defeat. Sarvanand returned his home and showed that paper of defeat to his mother and suddenly he saw that the statement was opposite. He was greatly influenced by that truth and again returned to the Kashi to the Kabir Math and became the disciple of the Kabir das. He was influenced by such a great level that he never touched any book in his rest life. Later, Sarvanand became famous as Acharya Surtigopal Sahab. He became the head of the Kabir Math after Kabir.