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The Mystical Mala Sinha!"I was not as good-looking as Madhubala, all I had going for me was talent", - Mala Sinha
QUICK FACTS: Date of Birth: 1936City: Calcutta, West BengalCountry: IndiaChildren: daughter Pratibha SinhaMarital status: separatedSpouse: Nepali actor C P LohaniReligion: christianOther facts: before she came into films, Mala sang on the radioOccupation: bollywood actressDebut Film: Jog BiyogLanguages: bengali, hindi, english
"CHAND SI MEHEBOOBA." she was described as by Manoj Kumar in "HIMALAY KI GOAD MEIN". And, so was she, Mala Sinha, the Nepali Beauty who lighted up Indian film screens with her exuberant presence. Born a Nepali Christian, Mala Sinha, began her career in films during the early 1950's in Bengali films like ROSHANARA. Soon, she shifted to Mumbai. She made a not a very enviable entry with BADSHAH (1954). Then came 'EKADASHI', a mythological film. Followed by a lead in Kishore Sahu's 'HAMLET'. It was the late Geeta Bali, who took an unsure confused Mala under her wings and groomed her during Keydaar Sharma's RANGEEN RAATEIN (1956). Before becoming an actress, Mala sang regularly on the radio. However, she never sang in bollywood. If not for the Late Guru Dutt, Mala would have run the risk of being typecasted in the conventional roles. Guru Dutt put that extra glamour in her career with 'PYAASA' in 1957. From then on there was no looking back for her. She exuded sheer sensuality in PYAASA. Mala's character had negative shades as she played an ambitious woman who betrays her impoverished poet lover (Guru Dutt) for a millionaire publisher (Rehman). Mala soon rose from a promising newcomer to star with films with a biggie like Raj Kapoor: PARVARISH (1958), PHIR SUBAH HOGI (1958) and MAIN NASHE MEIN HOON (1959). In 1959, Mala had, Dev Anand's musical 'LOVE MARRIAGE' and a role in B R Chopra's DHOOL KA PHOOL, where Mala Sinha again had a dark-shaded role of a woman who abandons her illegitimate child. What is remarkable about Mala Sinha is that she was as much responsible for her hits as much as the hero's'. She yielded such star power. When she acted opposite big stars, she made sure her role was as good as theirs. If that was not always possible, she didn't mind doing smaller films with lesser names or new actor stars like Dharmendra (ANPADH), Manoj Kumar (HARIYALI AUR RASTA), Sanjay Khan (DILLAGI) and Amitabh Bachchan (SANJOG), besides doing 10 films with Biswajeet. She is even said to have refused a bimbette role in RAM AUR SHAYAM opposite a stalwart like Dilip Kumar. This ensured her a trio of hits in 1962 --- ANPADH, HARIYALI AUR RAASTA and DIL TERA DEEWANA and her career best, B R Chopra's GUMRAAH (1963). Strong, women-oriented roles were known as her forte. Yet, she was not de-glamorized. Mala looked chic in chiffon saris and butterfly blouses and when she needed to wear western tight-fitting clothes, she looked as lovely in them as she looked in a saree. Personally, the year 1966 when she acted in a Nepali Movie called "MAITIGHAR" became a turning point of her life as she got married with the hero of "MAITIGHAR", C.P. Lohani. Over the years, she was paired with Rajesh Khanna in MARYADA and she also won accolades for her moving performance as Sanjeev Kumar's grey-haired wife in ZINDAGI. She did do some character roles. KHEL in 1992 has been the last film in which this versatile actress acted in bollywood. Though, Mala Sinha has been an actress of great grade and refinances, pitted against stalwarts of her time like Meena Kumari, Nutan and Waheeda Rehman, Mala didn't get her due. A QUICK LOOK OVER HER FILMOGRAPHY: Zid (1994) :DHARMENDRA:Dharamendra Singh Deol (Hindi: धर्मेन्द्र सिंह देओल), (Punjabi: ਧਰਮਿੰਦਰ ਸਿੰਘ ਦਿਉਲ), born 8 December 1935 in Punjab, better known as Dharmendra, is an award-winning Indian Bollywood film star who has appeared in more than 200 Hindi films. In 1997 he received the Filmfare Lifetime Achievement Award for his contribution to Hindi cinema. He is also the father of actors Sunny Deol, Bobby Deol and Esha Deol. CareerDharmendra was first noticed in a Filmfare spot-the-talent contest and came to Mumbai to become an actor. He was signed by Arjun Hingorani for the film Dil Bhi Tera, Hum Bhi Tere (1960). His first major hit film was Phool Aur Paththar. Due to a scene in which he took off his shirt, Dharmendra became known as the "He-Man" of Bollywood. At the start of his career he was usually cast as a romantic hero and later as action movies became more popular, he took on action hero roles. Perhaps the most memorable of these was his role in the 1975 blockbuster film Sholay, where he was teamed with Amitabh Bachchan. He starred with several prominent leading ladies at the beginning of his career, including Nutan and Meena Kumari. Dharmendra also starred in many comedy films, most notably Chupke Chupke. Before Chupke Chupke Dharmendra had worked in Satyakam with Hrishikesh Mukherjee, which he produced as well. At the peak of his career, he was voted amongst the seven most handsome men in the world. After Phool Aur Paththar was declared a hit, he became known as the 'He-Man' of the Hindi film industry. Throughout the 1980s and 1990s he continued to appear in many more films playing leading roles or supporting roles. His 2007 films Metro and Apne were both successful at the box office. In the latter, he appears with both his sons, Sunny and Bobby for the first time. His other recent release was Johnny Gaddaar, where he played a villainous role. He has also periodically done films in his native tongue of Punjabi, starring in Do Sher (1974), Dukh Bhanjan Tera Naam (1974), Teri Meri Ik Jindri (1975), Putt Jattan De (1982) and Qurbani Jatt Di (1990). Over 60 of his films have gone on to be golden jubilee hits. Personal life
Awards and recognitions
Sadhana
She known as the style icon and trendsetter, during her erra, Sadhana was a perfect mix of impeccable style, awesome talent and radiant beauty. She ruled the 60's with those kohl highlighted expressive eyes and the most charming smile which exuded innocence. Sadhana was born in 1941,in Karachi , and named after her father's favourite Bengali actress Sadhana Bose. In 1960 she made her debut with India's first Sindhi film. Her debut was soon followed by S Mukherjee's LOVE IN SIMLA (1960) with Joy Mukherjee. This was a super hit and Sadhana an ardent new comer was declared the overnight sensation and went on to become the most sought after star actress after consecutive hits. She delivered almost 19 silver jubilee hits out of 28 films she acted in. Some of her most memorable movies - that set the box office ablaze - were PARAKH (1960), HUM DONO (1961), ASLI NAQLI (1962), EK MUSAFIR, EK HASINA (1962), PREM PATRA (1962), MERE MEHBOOB (1963), RAJKUMAR (1964), WOH KAUN THI (1964), WAQT (1965), ARZOO (1966), MERA SAAYA (1966), EK PHOOL DO MAALI (1969), INTEQAM (1969). Sadhana essayed author backed roles and was mostly identified with suspense thrillers .The transparency of emotions that she conveyed was mostly through those magnetic eyes. Many melodious songs have been picturised with her emoting them in Lata's magical voice like, 'O sajana barkha bahar' and 'tere mera pyar amar'. Because of her immense popularity, Sadhana had the privilege of working with the biggest co-stars of the day - Rajender Kumar, Raj Kapoor, Rajesh Khanna, Dev Anand, Shammi Kapoor and Raj Kumar. In 1966, she married her maiden director R K Nayar. With her flair for style, she became popular as a youth icon. Her fringe haircut in HUM DONO became the hottest hairstyle for young women and the Muslim-style tight churidar-kurtas she wore in WAQT too became a rage that lasted quite a few years. Who is to forget the chirupy syrupy Sadhana in Jhumka Gira re or the mystery woman behind the veil in MERE MEHEBOOB? Sadhana looked awesome in whatever she was dressed in. she carried off anything with a timeless beauty and a charming smile, that was hers. She looked convincing as a rustic village belle and also as the sophisticated woman. She completed the mystery dream woman look as the veiled heroine in MERE MEHEBOOB. Sadhana excelled as a dear tomboy too. Sadhana could captivate without being glamorised like in ASLI NAQLI where she looks vulnerable yet formidable in crisp cotton sarees and hair tied in a bun minus her trademark fringe. It was not just style that carried this actress but the élan and talent with which she crafted her style. She mesmerised the audience with a far away feel in MERA SAAYA. Thyroid struck Sadhana, and she lost her empire in no time. She was replaced from major movies like AROUND THE WORLD (1967) with Raj Kapoor and SANGHARSH (1968) with Dilip Kumar. However she made a comeback after her medical treatment in Boston and even managed successful movies like INTEQAM and EK PHOOL DO MAALI. After a astounding comeback, Sadhana retired from the lights but left behind a shine that still speaks of her. Suraiyya
From singing she moved on to acting. Her stint in acting began when she played young Mumtaz Mahal in Prakash Pictures' TAJ MAHAL. First she started as a supporting actress. She played as a supporting star in ANMOL GHADI (1946) and DARD (1947) soon she was asked to play lead roles. During her initial years of acting she acted opposite great stalwarts like K L Saigal in TADBIR (1945), OMAR KHAIYYAM (1946) and PARWANA (1947). Suraiyya reached the peak of her acting career in the late forties. 1948-49 witnessed her in PYAR KI JEET(1948), BADI BAHEN(1949) and DILLAGI(1949). At that point of time she was the highest paid actress in the industry. In Sohrab Modi's MIRZA GHALIB she played the role of the married Ghalib's lover. It was her best performance ever. Pandit Jawaharlal Nehru praised her for that emotionally charged performance. He said that she with her performance had brought Ghalib to life. It is said that she was so beautiful that she was responsible for traffic jams in Mumbai. Yester year's evergreen star Dev Anand was also one of the victims of her beauty. Dev Anand's proposal of marriage to Suraiyya was rejected by her grandmother. This resulted in Dev Anand marrying his co-star Kalpana Karthik. And Suraiyya remained single till she breathed her last. After this she returned to films, but in vain. She had lost that magic. Suraiyya did not rise higher as a singer and an actress. She acted RUSTOM SOHRAB in 1963 and SHAMA in 1961. All these films did not make much news. RUTOM SOHRAB was her last film then on she never acted. She led a lonesome life and became a distant memory to all. The star of the 40's and 50's died recently at her Marine Drive flat. Dharmendra's Career
Dharmendra, dashing 'n' macho, has spelled magic in Hindi films for above three decades (1960s, 1970s and Born as Dharam Singh Deol in 1935 in Phagwara, Punjab, he was a lover of Hindi films right from his childhood age. He would travel miles to see films. Describing his enthusiasm for films, Dharmjee once stated, "I watched DILLAGI (1949) starring Suraiya at least 40 times." He was a passionate movie buff. Before stepping in films, he had joined an American drilling company but soon realized his potential for films and instead of wasting his talent with this job, he decided to pursue with the film career. He knew he was not a common man but an actor and just needed a platform to showcase his skills. Eventually, Dharmendra explored it by participating in the Filmfare spot the talent contest for acting. But when he gave a screen test, a director suggested him to play hockey instead of joining the world of stars since his body structure was heavily muscular and was not for film type. Dharmendra was upset with the harsh comment of the director. Fortunately for him, there was producer Arjun Hingorani who noticed the hidden talent of the actor and signed him for his film DIL BHI TERA HUM BHI TERE (1960). The fee he received for this dream job, was Rs. 51 and a daily breakfast with tea and toast at a local restaurant. His debut venture unfortunately went unnoticed and fell flat at the box office making him much worried about his future in showbiz. But he did not lose his hope and accepted even heroine-dominated films in early sixties. BANDINI (with Nutan), ANPADH (with Mala Sinha) and MAIN BHI LADKI HOON (with Meena Kumari) gave him a bit of stand in film world. He also signed a film, AAYE MILAN KI BELA, as the second lead hero. With him, superstar Rajendra Kumar played the main hero and Saira Bano the leading heroine. Then the movies, HAQEEQAT, KAJAL and MAMTA came his way making him a busy star altogether who was doing many a films at that time...most of them with Meena Kumari. PHOOL AUR PATHAR (1966) opposite Meena Kumari proved a super hit making more room for the actor in the stardom. A sensitive side of Dharmendra's personality was seen in Hrishikesh Mukherjee's flick ANUPAMA (1966) with Sharmila Tagore. In the era of seventies, Dharamjee decided to do the films laced with action. Following, he acted in a revenge drama, JEEVAN MRITYU (1970). After being paired with Kumari, Asha Parekh and Sharmila Tagore, Dharmendra now turned towards the dream girl Hema Malini. This romantic pair bagged seven straight successes, SHARAFAT, TUM HASEEN MAIN JAWAN, NAYA ZAMANA, RAJA JANI, SEETA AUR GEETA, JUGNU AND DOST. Then the biggest hit SHOLAY (1975) took the two high in fame. Their off-screen love affair was by then on every body's tongue. Soon they got married and Hema happensto be his second wife. In SHOLAY, Dharmendra's co-star was none other than Big B (Amitabh Bachchan). This pair was liked much by the audiences and the critics alike. They also gave another hit, RAM BALRAM. After SHOLAY, his comedy was in heavy demand. And the songs like, "Koi Haseena Jab Rooth Jati Hai Tu (SHOLAY)" and "Main Jat Yamla Pagla Deewana (PARTIGIYA)" in which his comic performances revealed his talent for this genre hit the jackpot exceptionally. His fun-filled acting in the movie, CHUPKE SE showcased his true expertise in this department. In the late seventies and early eighties, Dharmjee oozed out as a comic-romantic and an action hero. He showed his versatility by delivering all performances with much ease and brilliance. Films like GHULAMI (1985), BATWARA (1989) and HATHYAR (1989) made him much noticeable amongst his contemporaries. Dharmendra launched his sons Sunny Deol in BETAB (1983" and Bobby Deol in BARSAAT (1995). Today both are rated amongst the biggies in movies world with their dashing personalities and good-headed acting skills. His daughter from Heema Malini, Esha Deol has also started her career in films some years back with the movie, KOI MERE DIL SE POOCHAY. In Dharmjee's career, some of his movies did well and some fell flat straightly and some went as averages. Except SHOLAY...unfortunately for him, no name comes in mind, which might have hit the box office with much oomph. He has never won any major award in his entire showbiz life. Way back in 1997, Filmfare awarded him "The Lifetime Achievement Award" for his boisterous performances in his career. One thing makes Dharmendra unique is that his movies are lively and forever fresh providing the viewers long lasting joys. Dharmendra...a name that should always be praised whenever Hindi cinema is discussed. SANKARA'S LIFE
SankarAcArya ashThottaram Birth and childhood: Sankara was born to the nambUdiri brAhmaNa couple, Sivaguru and AryAmbA, in a little village called kAlaDi in Kerala. The couple had remained childless for a long time, and prayed for children at the vaDakkunnAthan (VRshAcala) temple in nearby Trichur. Siva is said to have appeared to the couple in a dream and promised them a choice of one son who would be short-lived but the most brilliant philosopher of his day, or many sons who would be mediocre at best. The couple opted for a brilliant, but short-lived son, and so Sankara was born. Sankara lost his father when quite young, and his mother performed his upanayana ceremonies with the help of her relatives. Sankara excelled in all branches of traditional vaidIka learning. A few miracles are reported about the young Sankara. As a brahmacArin, he went about collecting alms from families in the village. A lady who was herself extremely poor, but did not want to send away the boy empty-handed, gave him the last piece of Amla fruit she had at home. Sankara, sensing the abject poverty of the lady, composed a hymn (kanakadhArA stavam) to SrI, the goddess of wealth, right at her doorstep. As a result, a shower of golden Amlas rewarded the lady for her piety. On another occasion, Sankara is said to have re-routed the course of the pUrNA river, so that his old mother would not have to walk a long distance to the river for her daily ablutions. sam.nyAsa: Sankara was filled with the spirit of renunciation early in his life. Getting married and settling to the life of a householder was never part of his goal in life, though his mother was anxious to see him as a gRhastha. Once when he was swimming in the river, a crocodile caught hold of his leg. Sankara sensed that he was destined to die at that moment, and decided to directly enter the fourth ASrama of sam.nyAsa right then. This kind of renunciation is called Apat sam.nyAsa. The crocodile released him when he thus mentally decided to renounce the world, and Sankara decided to regularize his decision by going to an accomplished guru. To comfort his anxious mother, he promised that he would return at the moment of her death, to conduct her funeral rites, notwithstanding the fact that he would be a sannyAsI then. Sankara then traveled far and wide in search of a worthy guru who would initiate him and regularize his vow of sam.nyAsa, till he came to the banks of the river narmadA in central India. Here was the ASrama of govinda bhagavatpAda, the disciple of gauDapAda, the famous author of the mANDUkya kArikAs. Sankara was accepted as a disciple by govinda, who initiated him into the paramahamsa order of sam.nyAsa, the highest kind of renunciation. Seeing the intellectual acumen of his disciple, govinda commanded Sankara to expound the philosophy of vedAnta through commentaries on the principal upanishads, the brahmasUtras and the gItA. Sankara took leave of his guru and traveled to various holy places in India, composing his commentaries in the meantime. At this time he was barely a teenager. He attracted many disciples around him, prominent among whom was sanandana, who was later to be called padmapAda. In this period, Sankara wrote commentaries on bAdarAyaNa's brahmasUtras, the various upanishads and the bhagavad gItA. These commentaries, called bhAshyas, stand at the pinnacle of Indian philosophical writing, and have triggered a long tradition of sub-commentaries known as vArttikas, TIkAs and TippaNis. He also commented upon the adhyAtma-paTala of the Apastamba sUtras, and on vyAsa's bhAshya to patanjali's yogasUtras. In addition to these commentarial texts, Sankara wrote independent treatises called prakaraNa granthas, including the upadeSasAhasrI, Atmabodha, etc. In addition to writing his own commentaries, Sankara sought out leaders of other schools, in order to engage them in debate. As per the accepted philosophical tradition in India, such debates helped to establish a new philosopher, and also to win disciples and converts from other schools. It was also traditional for the loser in the debate to become a disciple of the winner. Thus Sankara debated with Buddhist philosophers, with followers of sAm.khya and with pUrva mImAm.sakas, the followers of vedic ritualism, and proved more than capable in defeating all his opponents in debate. Sankara then sought out kumArila bhaTTa, the foremost proponent of the pUrva mImAm.sA in his age, but bhaTTa was on his deathbed and directed Sankara to viSvarUpa, his disciple. viSvarUpa is sometimes identified with maNDana miSra. Sankara's debate with viSvarUpa was unique. The referee at the debate was viSvarUpa's wife, bhAratI, who was herself very well-learned, and regarded as an incarnation of Goddess sarasvatI. At stake was a whole way of life. The agreement was that if viSvarUpa won, Sankara would consent to marriage and the life of a householder, whereas if Sankara won, viSvarUpa would renounce all his wealth and possessions and become a sannyAsI disciple of Sankara. The debate is said to have lasted for whole weeks, till in the end, viSvarUpa had to concede defeat and become a sannyAsI. bhAratI was a fair judge, but before declaring Sankara as the winner, she challenged Sankara with questions about kAmaSAstra, which he knew nothing about. Sankara therefore requested some time, during which, using the subtle yogic process called parakAya-praveSa, he entered the body of a dying king and experienced the art of love with the queens. Returning to viSvarUpa's home, he answered all of bhAratI's questions, after which viSvarUpa was ordained as a sannyAsI by the name of sureSvara. He was to become the most celebrated disciple of Sankara, writing vArttikas to Sankara's bhAshyas on the yajurveda upanishads, in addition to his own independent texts on various subjects. Establishment of maThas: Sankara continued to travel with his disciples all over the land, all the while composing philosophical treatises and engaging opponents in debate. It is said that none of his opponents could ever match his intellectual prowess and the debates always ended with Sankara's victory. No doubt this is true, given the unrivaled respect and popularity that Sankara's philosophical system enjoys to this day. In the course of his travels, Sankara stayed for a long time at the site of the old ASrama of the Rshis vibhAndaka and RshyaSRnga, in the place known as SRngagiri (Sringeri). Some texts mention that Sankara stayed at Sringeri for twelve years. A hermitage grew around him here, which soon developed into a famous maTha (monastery). sureSvara, the disciple whom he had won after long debate, was installed as the head of this new ASrama. Similar maThas were established in the pilgrim centers of Puri, Dvaraka and Joshimath near Badrinath, and padmapAda, hastAmalaka and troTaka were placed in charge of them. These are known as the AmnAya maThas, and they continue to function today. Their heads have also come to be known as SankarAcAryas, in honor of their founder, and revered as jagadgurus, or teachers of the world. Sankara also organized the community of ekadaNDI monks into the sampradAya of daSanAmI sannyAsins, and affiliated them with the four maThas that he established. Meanwhile, Sankara heard that his mother was dying, and decided to visit her. Remembering his promise to her, he performed her funeral rites. His ritualistic relatives would not permit him to do the rites himself, as he was a sannyAsI, but Sankara overrode their objections, and built a pyre himself and cremated his mother in her own backyard. After this, he resumed his travels, visiting many holy places, reviving pUjAs at temples that had fallen into neglect, establishing SrI yantras at devI temples as in Kancipuram, and composing many devotional hymns. Ascension of the sarvajnapITha: In the course of his travels, Sankara reached Kashmir. Here was a temple dedicated to SAradA (sarasvatI), the goddess of learning, which housed the sarvajnapITha, the Throne of Omniscience. It was a tradition for philosophers to visit the place and engage in debate. The victorious one would be allowed to ascend the sarvajnapITha. It is said that no philosopher from the southern region had ever ascended the pITha, till Sankara visited Kashmir and defeated all the others there. He then ascended the sarvajnapITha with the blessings of Goddess SAradA. (A few centuries later, rAmAnuja, the teacher of viSishTAdvaita, would visit the same sarvajnapITha in search of the baudhAyana vRtti. However, a variant tradition places the sarvajnapITha in the south Indian city of Kancipuram.) Sankara was reaching the age of 32 now. He had expounded the vedAnta philosophy through his writings; he had attracted many intelligent disciples to him, who could carry on the vedAntic tradition; and he had established monastic centers for them in the form of maThas. His had been a short, but eventful life. He retired to the Himalayas and disappeared inside a cave near Kedarnath. This cave is traditionally pointed out as the site of his samAdhi. Other variant traditions place Sankara's last days at Karavirpitham or at Mahur in Maharashtra, Trichur in Kerala or Kancipuram in Tamil Nadu. It is a measure of SankarAcArya's widespread fame that such conflicting traditions have arisen around his name. True to the traditions of sam.nyAsA, Sankara was a peripatetic monk, who traveled the length and breadth of the country in his short lifetime. His fame spread so far and wide, that various legends are recounted about him from different parts of India. The true sannyAsI that he was, he lived completely untouched by the fabric of society. So much so that even the location of kAlaDi, his birth-place, remained generally unknown for a long time. The credit of identifying this village in Kerala goes to one of his 19th-century successors at Sringeri, SrI saccidAnanda SivAbhinava nRsimha bhAratI. Similarly, the credit of renovating Sankara's samAdhi-sthala near Kedarnath, goes to SrI abhinava saccidAnanda tIrtha, his 20th-century successor at Dvaraka. Birju Maharaj ProfileBorn: February 4, 1937Achievement: Well-known exponent of Kathak; Recipient of Sangeet Natak Academy Award, Padma Vibhushan, Kalidas Samman, Soviet Land Nehru Award, SNA Award, Sangam Kala Award.Pandit Birju Maharaj is a legendary Kathak dancer. He belongs an illustrious family of dance masters of the Lucknow gharana. His two uncles Shambu and Lacchu Maharaj, and his father Acchan Maharaj were all well-known Kathak dancers. Apart from Kathak, Pandit Birju Maharaj is also an accomplished vocalist.Pandit Birju Maharaj alias Brij |
She was a child prodigy and went on to become a great singer and a star. Suraiyya Jamal Sheikh was born in the year 1929. Without any formal training in singing she started singing career at a very young age. The then famous music director Naushad heard her on the AIR and offered her a song in the film SHARDA (1942). It is said that this child prodigy had to stand on the stool to reach the microphone. 
1980s). Being a symbol of masculinity in Hindi cinema, he not only won the hearts of the audiences but also enthralled the queens of filmdom. Dharmendra, the man with sex appeal, was a fine-looking hero in his time. 
Mohan Nath Mishra was born on February 4, 1937. He took training in Kathak under the guidance of his father, Achchan Maharaj and uncles Lacchu Maharaj and Shambhu Maharaj. Birju Maharaj gave his first performance at the young age of seven at Lucknow and after that there was no looking back.
Uday Shankar was also a choreographer and he made ballets themed on the life history of Radha-Krishna, Hindu marriages and so on for Anna. Shankar later toured the entire West along with his troupe in the 1930s. His fluxing of western dancing techniques with Indian ones made his art hugely popular among both Indian and the western audiences. So while he popularized Indian dance in the west, his brother Ravi did the same to Indian instrumental music.
Read on to know more about the impressive biography of Rukmini Devi Arundale, who went to later marry well-known British Theosophist Dr. George Arundale. This too was alienation from the traditional Indian customs and there was a huge public outcry over it. But she faced it all with a brave heart. The course of her life history took a major turn when Rukmini Devi Arundale was drawn towards the Theosophical Movement as a follower of social activist Dr Annie Besant.
she had set up her foothold in this industry and earned a name for herself. Her name appeared in the list of leading dancers of India and she has strived hard to maintain that position till date. She has been giving wonderful performances for the past four decades. She also has made an immense contribution in popularizing the Kuchipudi dance. Her dance performances brought international recognition to classical folk dances of India.
Not only she has committed herself to the dancing field, but also made an incredible contribution in bringing a smile on the faces of millions of people. Sonal Mansingh is the first Indian dancer to have been honored with Padma Vibhushan, the second highest civilian award in the year 2003. Due to her great thoughts and opinions, sometimes, she is also called a philosopher.
grandfather always advocated for the equality of women.
Shovana Narayan has given an entirely new dimension to dancing. She is an accomplished dancer, whose facial expressions complements her dance and makes her performance simply outstanding. Her choreographic works have not only been well acclaimed in India, but are also highly praised overseas. Read on to know the complete life history of Shovana Narayan.
She began her career, when she was only fifteen years old. She took up the acting assignment to play the role of Draupadi in Peter Brook's film "The Mahabharata". Apart from being a professional dancer, she is also a social activist. During the 2002 riots of Gujarat, she raised her voice and spoke against the role played by the Narendra Modi government. She is an epitome of boldness and courage.
Read this biography to learn more about Har Gobind Khorana, who became a citizen of the United States of America in the year 1966. In present times, he's residing at Cambridge in Massachusetts, United States as a part of the MIT Chemistry faculty. Har Gobind Khorana was also the first to produce oligonucleotides, which is chains of nucleotides. He was also the first person to segregate DNA ligase, an enzyme that connects sections of DNA together.
Dr Bhatnagar was knighted by the British Government in the year 1941 as an award for his research in science, whereas, on 18 March 1943 he was selected as fellow of the Royal Society. Though his area of interest included emulsions, colloids, and industrial chemistry, but his primary contributions were in the spheres of magneto-chemistry. He also made a melodious kulgeet i.e. University song, which is still sung with great pride before any function in his university.
Srinivasa Aiyangar Ramanujan was born on December 22, 1887 in Erode, Tamil Nadu. His father worked in Kumbakonam as a clerk in a cloth merchant's shop. At the of five Ramanujan went to primary school in Kumbakonam. In 1898 at age 10, he entered the Town High School in Kumbakonam. At the age of eleven he was lent books on advanced trigonometry written by S. L. Loney by two lodgers at his home who studied at the Government college. He mastered them by the age of thirteen. Ramanujan was a bright student, winning academic prizes in high school.
University of Madras gave Ramanujan a scholarship in May 1913 for two years and, in 1914, Hardy brought Ramanujan to Trinity College, Cambridge, to begin an extraordinary collaboration. Right from the start Ramanujan's collaboration with Hardy led to important results. In a joint paper with Hardy, Ramanujan gave an asymptotic formula for p(n). It had the remarkable property that it appeared to give the correct value of p(n), and this was later proved by Rademacher.
Read on further about the biography of Birbal Sahni, who received his education at the Government College University of Lahore and later from Punjab University. He attended the Emmanuel College at Cambridge in the year 1914. And after this, he pursued further studies under Professor A.C. Seward and was given the D.Sc. degree from London University in the year 1919. Birbal Sahni then came back to his native country India to work as the professor of Botany at the highly esteemed Banaras Hindu University at the holy city of Varanasi.
APJ Abdul Kalam was born on 15 October 1931 at the South Indian state of Tamil Nadu and received honorary doctorates from about 30 universities globally. In the year 1981, the Government of India presented him the nation's highest civilian honor, the Padma Bhushan and then again, the Padma Vibhushan in 1990 and the Bharat Ratna in 1997. Before Kalam, there have been only two presidents - Sarvepalli Radhakrishnan and Zakir Hussain - to have received the Bharat Ratna before bring appointed to the highest office in India.
Anil Kakodkar was born on 11 November 1943 in the Barawani village located in the present day Indian state of Madhya Pradesh. He's the son of Mrs Kamala Kakodkar & Mr. P. Kakodkar, both of whom happen to be Gandhian freedom fighters. His early education happened here and at Khargoan. After this, Anil Kakodkar went away to Bombay to pursue his post-matriculation studies. He graduated from the Ruparel College there.
Vikram Ambalal Sarabhai was born on August 12, 1919 at Ahmedabad in an affluent family of progressive industrialists. He was one of eight children of Ambalal and Sarla Devi. He had his early education in a private school, “Retreat” run by his parents on Montessori lines. Some of the great men of India such as Gurudev Rabindranath, J. Krishna Murthi, Motilal Nehru, V. S. Shrinivasa Shastri, Jawaharlal Nehru, Sarojini Naidu, Maulana Azad, C. F. Andrews, C. V. Raman et al. used to stay with the Sarabhai family when they visited Ahmedabad. Mahatma Gandhi also once stayed at their house while recovering from an illness. Visits by such great men greatly influenced Vikram Sarabhai.
The year 1957-1958 was designated as International Geo-physical year (IGY). The Indian program for the IGY had been one of the most significant ventures of Sarabhai. It exposed him to the new vistas of space science with the launching in 1957 of Sputnik-I. Subsequently, the Indian National Committee for Space Research was created, of which Vikram Sarabhai became Chairman.
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