Globalisation of Entertainment Industry in India

GLOBALISATION OF ENTERTAINMENT INDUSTRY IN INDIA INTRODUCTION TO GLOBALISATION(HSS F317) Submitted By: Submitted To: * Sankalp Bhatia Mr. T. Chakraborty * Tanish Anand Department of Humanities and Languages * Manas Lohani * Akshit Sandooja * Keshav Khanna ACKNOWLEDGEMENTS A comprehensive report always requires the goodwill, encouragement, guidance and support of many people. We would like to thank the Instructor in-charge of the course, Mr. Tathagato Chakraborty for allowing us to explore new aspects about report writing through this exercise.We are grateful to our instructor for giving an opportunity to prepare a report on the topic â€Å"Globalisation of Entertainment Industry in India†. Also, we would like to thank him for his unflinching support and guidance. We also acknowledge with gratitude the consistent cooperation received from the BITS Library staff. The books they provided us served as an ideal data source which helped us throughout in the development of this repor t. We wish to express our appreciation to the enormous help given by our friends who spared a great amount of their valuable time in going through the manuscript and providing suggestions.CONTENTS * Introduction * Indian Film Industry * Current Situation * Emergence of new sources of income * Digitalisation of screens and increase in the number of screens * Foreign Investment * Shooting in foreign locations * Emerging 3D cinema and Advanced VFX * New Market Techniques * Indian Music Industry * Effect on Bollywood * Effect on Indian classical music * Effect on musical instruments * Indian Television Industry * Overview * Entry of foreign players * Case Study – Star Network * Rating Wars * Foreign content and storylines Challenges faced by the industry * Case study on viewership in Delhi * Bibliography The Globalisation of Indian Entertainment and Media (E&M)Industry-An introduction India’s entertainment economy is growing rapidly, and the world is taking note. The count ry is among the world’s youngest nations, with more than half a billion people under the age of 25. With favorable demographics and a rise in disposable incomes, the propensity to spend on leisure and entertainment is growing faster than the economy itself.Enticed by economic liberalization and the huge volume of demand for leisure and entertainment, many of the global media giants are starting to set shop in this country, once known as a land of snake charmers. In recent years, the Indian entertainment and media (E&M) industry has out-performed the Indian economy and companies from all over the globe are increasingly envisioning their growth linked to emerging and developing giants like India, which is why they are now focused on growing and branding their businesses in this market. The E&M industry-The major segmentsThe media and entertainment industry consists of many different segments under its folds such as television, print, and films. It also includes smaller segments like radio, music, OOH(Out of Home Media is an advertising medium which reaches out to the ‘difficult-to-reach' and  SEC A  consumers wherever they are, thus offering the advertiser an all day primetime. ), animation, gaming and visual effects (VFX) and Internet advertising. [1]  Entertainment Industry in India has registered an explosive growth in last two decades making it one of the fastest growing industries in India.From a single state owned channel, Doordarshan in the 1990s to more than 400 active channels,the E&M industry is galloping, even through tough times when others are facing recession. SIZE OF INDUSTRY The domestic entertainment industry was estimated at nearly Rs 225. 0 billion and provided employment opportunities for nearly 6. 0 million people in the year 1999. In terms of foreign exchange earnings, the industry contributed around Rs 4,000. 0 million in the year 1999. In the year 2008, the E&M Industry stood at INR 584 billion, a growth of almost 12. % ,every subsequent year. Over the next few years, this industry is projected to grow at a CAGR of 12. 5% & reach the size of INR 1152 billion by 2017. PROPELLERS OF GROWTH-The major Factors The growth in this sector of the Indian economy has been propelled by a number of factors such as :(a)the corporatization of the film industry, (b)a booming television sector, (c)a fast growing radio sector, (d)a expanding market for print products and other technological changes such as the advent of digital technology.Some of the significant changes include the emergence of new niche content genres such as reality television; the India Premier League (IPL), with cricket emerging as a mainstream entertainment genre; internationalization of Indian media and an increased production of content for global audience, launch of TV channels such as NDTV Arabia and NDTV Malaysia, launch of German edition of Filmfare magazine in 2008 and co-production and production of Hollywood movies by Indian players; a nd a substantial increase in Foreign Direct Investment into the Indian media sector.With $88 million of FDI flowing into the media sector in the last three years, increased density of alternative delivery platforms and digitization are collectively changing consumption patterns in the entertainment industry across India. Media sectors,regarded as â€Å"sunset† sectors in mature markets,are flourishing in India. For example,the newspaper industry,which is rapidly declining in other developed countries, is flourishing in India, on account of increasing literacy levels, consumer spending and the growth of regional markets and specialty newspapers.Newspapers account for 42% of all advertising spend in India, the most of any medium. INDIAN TELEVISION INDUSTRY Television is one of the major segments of the Indian entertainment industry and has thousands of programs in all the states of India. India is the third largest television market in the world. [5]The small screen has produce d numerous celebrities of their own kind with some even attaining national fame. TV soaps are extremely popular with housewives as well as working women. The increasing popularity in the satellite cable television segment has been a major cause for the high growth in this industry.The cable subscriber base has increased from around 0. 05 million in the early 90s’ to around 24. 0 million in the year 1999-2000 is further estimated to increase to nearly 120. 0 million by the end of 2013. With the rapid proliferation of channels (over 75), and the privatization of DD, growth in this segment is projected to be rather high. Indian Film Industry â€Å"You are not a true Indian if u don't follow cricket or bollywood† This is the impact the film industry has had on the minds of Indian people. Indians love to watch movies.With the advent of improved technologies in all aspects from film production (Rise of 3D cinema, Advent of digital cinema and the growth of multiplexes)to mark eting(wanna see a movie and all stores are closed buy it on the google playstore,or watch it online!! ),the increased corporatisation of industry(Collaboration with international studios: International film studios such as Warner Bros. , Disney, Fox and Dreamworks etc) and Resurgence of regional cinema, the Indian Film Industry has become the biggest contributor in the growth of the E&M indusry. GOING GAGA-THE BOOM IN RADIO INDUSTRYOne of the major drivers that have helped the media industry in India canter along at a blistering pace has been the good old radio. AM, FM and even Satellite Radio have made a huge impact on the Industry in India. The stage is set for major revenue growth among the various Radio Channels. In fact what we are seeing is not some newfound love for the old medium but just the natural uncoiling of the market after the liberalisation and privatisation of the industry Everything is new and nice at the moment. People in India today are spoilt for choice. Be it a ny media platform they have a stack of channels to choose from.In fact listening to FM Radio in India is very  weird, as it seems too â€Å"clean† without the usual news on the hour. Talking about  weird  of all the things Satellite Radio is here. WORLDSPACE has got around 65000 subscribers in India. That’s two thirds of its entire audience around the world. People like it because it is clean without commercials. In most developed markets though where broadband penetration is high people have access to thousands of radio channels via the Internet. Satellite radio hence does not generally do well there. The other limitations of satellite radio are the unavailability of portable devices in the country.THE MUSIC INDUSTRY The Indian entertainment industry is incomplete without the inclusion of music. Music,since the 90s has become the integral part of the Indian cinema. you will have to search hard to find an indian movie that doesn't incorporate a song. its not just the mentality of producers, it’s the public demand that drives the producers to include songs, whether its justified or not. Over the years, the importance of music has only increased, especially in case of the movie industry. Of late, movies have gone on to become huge successes largely on the backdrop of good music.While the popularity of film music increased, it also resulted in the growth of other segments such as remix, Indi-pop etc. Distributors Despite major changes occurring in the industry, most of the audience is still dependent on distribution network . Since timing is a very crucial factor here, only the companies with wider reach are able to thrive and generate profits. As distribution companies retain a major part of the profits generated in this industry, majority of them have diversified into setting up of their own retail stores. HMV is a pioneer in this area and has an excellent chain of stores at its disposal.This strategy has helped the companies to gauge the consumers’ changing perceptions and revamp their product offerings to meet the popular demand. Exchange of talent Globalisation has helped the music production companies to share the international pool of talent. The rate of usage of international talent increased tremendously after the 1990’s. Later, many artists’ internationally renowned artists have featured in Indian songs and vice versa. A. R. Rahman composed and produced music for the film  Slumdog Millionaire and  Resul Pookutty mixed the sound for the same film.Such examples display not only the impact of global companies on the indian industries, but that of Indians on the global stage. HINDI FILM INDUSTRY Current Situation :-The Hindi film Industry popularly known as â€Å"Bollywood† is the main contributor to the Indian film industry after regional language film industries like Bengali, Tamil, Telegu and Marathi. The Indian film industry is projected to grow at a CAGR of 10. 1 per cent to touch INR 150 Billion in 2016. The industry was estimated to be INR 93 billion in 2011 indicating a growth of 11. 5 per cent as compared to 2010.Although the country’s filmed entertainment industry is the largest in the world in terms of the number of films it produces (about 900) and its theatrical admissions (around 3 billion), it continues to be small in size in terms of revenue, mainly due to low ticket realization and occupancy levels. Moreover, lack of quality content and rising competition from Hollywood films continue to affect it. Source:-The Indian Bollywood Industry, DIBD-OMI, May 2012. However, one cannot underestimate the changes that have taken place in the Indian cinema due the fast globalizing or westernizing world.After Indian economy opened its gates for the rest of the world, a lot investment in terms of technology and funds have entered into the industry. Although 22 years since 1991 might seem a small time frame in the film industry, but it remains qu ite significant in terms of the progresses made. With more awareness, Bollywood has realized that it is necessary to create an ambience in the movies, so the movies target both the Indian culture as well as a more international culture overseas. Hence over the last 10 years Bollywood has become more international and has begun targeting a more global audience than before.Films like K3G, Kal ho na ho, My Name is Khan, Salaam Namaste, and recently Cocktail, have been a success in the overseas market mainly because of their portrayal of Indians living abroad. Bollywood films are not only watched by people in India, but also neighbouring countries like Pakistan, Bangladesh, Nepal, Pakistan, Sri Lanka watch the movies. Moreover, countries with large groups of Hindi and Urdu speaking population like Australia, UK, Africa and the US have many Bollywood fans. And countries like Russia and Japan are also buyers of Bollywood productions.Now, with the ever transforming world and tastes of the the viewers, the Indian film industry is trying its level best to match up to the needs. Some of the changes seen in the recent times are which can be attributed to globalisation are:- 1. Emergence of new source of income. Although revenues from the theatre segment constitute around 60% of the overall revenue for a movie, other revenue streams have begun to make a meaningful contribution. The trend of selling satellite and home-video rights prior to release gained momentum in 2010, and has enabled producers to involve lesser risks in their business models.Most of the revenues of the films are now earned within the first week itself which gives the film producers a chance to sell TV rights and air the movies earlier than before. A lot of films are now premiered very soon after they are being released and the satellite rights are sold well before the movies are released . Due to this, piracy is not that big an issue that it was a few years ago. Owing to these strategies, 2012 proved t o be a good year for Bollywood with 6 movies crossing the 100 crore mark. Source-KPMG 2. Digitalisation of screens and increase in the number of screens. To fight ne of the threats of piracy which was one way or the other because of other sources of information like internet, the film industry now a days do not send their physical prints at the theatres, rather they are relayed through satellite technologies like UFO. This has increased the no. of screens in which the movie runs many folds. Consider the case of Salman Khan’s first movie Maine Pyar Kiya which released across 500 screens in India and compare it with Ek tha tiger which opened to a record 3300 screens . The growth of multiplexes has improved the movie-going experience for Indian audiences and has led to increase per-ticket realization.Rising urbanization and growing disposable incomes are also driving increased investments in multiplexes. In addition, theatres with low seating capacities allow cost-effective scre ening of movies that are targeted at niche audiences. However, there is still further ground to be covered. The average number of screens per million in India is presently12, as compared to the global average of 54 screens per million. The number of multiplex screens in India is expected to increase from 1,000 in 2010 to 1,405 by 2013. Source: KPMG 3. Foreign Investment :With the liberalisation of indian economy in the 90s, we have seen that international film studios like Warner Bros. , Disney, Fox and DreamWorks have entered into collaborations with local film production houses to develop Hindi and regional movies. â€Å"Saawariya†, in 2007 was the first Hollywood produced Bollywood movie in India. â€Å"My Name is Khan†, produced by Fox Star Studios was a huge success both in India and abroad. Walt Disney, who earlier held a 50% stake in UTV, has now acquired a controlling stake in UTV Software Communications.Viacom18 has also entered a deal with the global movie co mpany Paramount Pictures to market and distribute the latter’s movies in India, Bangladesh and Sri Lanka. It has already ventured into production of Hindi language movies, and the new deal is expected to help create a distribution network. Local film production can benefit from the experience of these international studios to expand their international reach and incorporate enhanced project planning and cost controls. In a process to make India a filming destination, the Ministry of Information andBroadcasting is looking for setting up a Film Commission that will initially act as a single-window clearance agency to issue permits for shooting. At present, international producers need to seek many approvals. While they require script approvals from the ministries like I&B Ministry and the Ministry of External Affairs, cast and crew approvals are required from the Ministry of Home Affairs. Based on the kind of shots and location, they need approvals from Customs Department, the Archaeological Survey of India besides several other local and State authorities.Following excerpt from a newspaper depicts how creating such a single window clearance system can affect the Indian Filmmakers. Source: HT City, Hindustan Times, 14th April, 2013 4. Shooting in foreign locations, a boost for tourism In the recent past, many films have been extensively shot in foreign locations: Movie Country Zindagi Na Milegi Dobara Spain Rockstar Czech Republic RA. OneUnited Kingdom Don 2 Germany Ek Main Aur Ek Tu United States of America Worldwide, countries offer various incentives to encourage film producers to use their locations to shoot films.Incentives are offered in the following forms: †¢ Cash rebates – where a certain percentage of expenditure in a country is provided as rebate to the film producers †¢ Tax credits – where a percentage of expenditure in a country is allowed as credit against the income. †¢ Exemption from or refund of VAT and Custom s duty. †¢ Interest free loans †¢ Soft funding – negotiated tourism benefits, such as easier processing of visas, and discounts on accommodation and travel. Benefits of film incentives regime:- Boost to the tourism industry: Films shot in foreign locations depict diversity, history and landscapes of a country which help in increasing tourism in a country. * Benefits to the economy: Inflow of foreign exchange. * Boost to local film production : For example, the success of Slumdog Millionaire, which was shot in India and was a collaboration between Hollywood and Indian film technicians, helped the Indian film production houses secure more business. * Technological exchange * Creation of employment opportunity: Hiring of local technicians. Cultural Exchange Some Facts:- * The flow of Indian tourists to Australia increased by 20% from 2004–2006, especially after the success of Salaam Namaste. * The production of Heyy Babyy injected around US$2. 1 million into the state’s economy where it was shot. * Switzerland hosts around 150,000 tourists from India and large number of Bollywood movies are shot in the country every year. * Many US states such as California, New York, Michigan,Nevada and Utah offer incentives to film and television production companies from India.Many Bollywood movies have been shot in the US including My Name is Khan, Kabhi alvida na kehna, Kal ho na ho, to name a few. 5. Emerging 3D cinema and Advanced VFX:- 3D is a prominent theme these days and has demonstrated its significant potential with benefits such as increased audience engagement, increased ticket prices and the exclusivity of the medium, i. e, the theaters. The success of Avatar has taken 3D movie-making to new heights. Multiplexes could look at the feasibility of investing larger amounts on 3D screens to meet the growing demand to view 3D.There is an emerging market for 3D movies in India with movies like Any Body Can Dance, Dangerous Ishqq, Ra. One an d Haunted-3D. A new window of opportunity could open up if Bollywood is able to produce high quality 3D content. The visual effects (VFX) industry is a rapidly growing segment in India. It includes the creation of live action imagery by using computer-generated effects. It is increasingly being used by the visual media in India and can be classified into the following verticals — movies, TV shows and advertisements.The segment is still at its nascent stage with mainly low-end work being done in India. Domestic consumption is small, and therefore, the bulk of the work includes outsourced projects from the US and the UK. However, the domestic market is seeing bigger budget movies and ad campaigns, which are now open to spend more on VFX to provide an enhanced visual experience to viewers. There has been a significantly high growth in the number of VFX companies operating in India. According to some estimates, there are more than 40 major domestic VFX companies catering to the n eeds of domestic and international clients.Currently, India accounts for only around 10% of the total animation and VFX outsourcing pie. However, there is scope for growth and the amount of work coming to India from Hollywood is on the rise. In late 2011, VenSat Tech Services, a VFX company, joined hands with Reliance MediaWorks Limited to set up a VFX, computer graphics and animation team. 6. New Market Techniques. With more Hollywood movies getting released in India, Indian movies are adopting newer marketing techniques like selling merchandises, video games, toys etc. The indian film Ra.One was a first of its kind campaign with a complete 360 degree approach. Films like Harry Potter, Shrek, Superman, Batman have been successfully using this approach for their campaigns. EFFECTS OF GLOBALIZATION ON INDIAN MUSIC Effect on Bollywood One distinguishing feature of Indian films has always been its music. While the musical lost its dominance as a genre in Hollywood in the early 1960s, l argely due to the advent of rock music, Indian music scenario saw no such change. With the advent of â€Å"talkies†, Indian films started incorporating songs as an important element of the narrative.The sets and costumes, action scenes, presentation of stars, grandiloquent dialogues, and song and dance sequences became the main attraction in a movie for the fans. Song sequences are used for several purposes in films. Sometimes a song is a narrative part of the film; other times it is used as a dream sequence, or the lovers’ fantasy. Sometimes they function to allow an expression of feeling that cannot be articulated otherwise—notably the declaration of love. When music channels like MTV and V on cable and FM radio started roadcasting in India, the Hindi film music gained even more popularity. The music is important economically since the sale of music rights may recover a good part of the budget of the film. Recently, the film industry has been pre-releasing sou ndtracks for films along with music videos(which are basically clips of the songs from the film) some months in advance. This heightens pre-release interest among audiences and act as advertisements of the film. The latest trend that has been started is that of â€Å"Item Numbers†.The overt hypersexualization of the song-dance sequence is a kind of â€Å"MTVization† of Hindi film music; the song is packaged as a 5-minute video which can advertise the film and be sold as an independent commodity. A musical industry old timer has said â€Å"Whereas in older song-and-dance sequence the erotic had an element of coy and the tentative, today the erotic has in it elements of rank sexuality, brutish pride, and vulgarity. Naked feet adorned by anklets have been replaced with high leather boots and the pelvic thrusts display the hunger of a newly-unleashed sexuality.As in other spheres, in the theatre of sexuality, the Indian adventure with globalization is on display† It em numbers have become economic necessity for film producers, singers, and music directors who want to market themselves to a global audience, to globalize the appeal of Hindi film music, and to attract younger, upwardly mobile, city-based audiences. The song-dance sequences have taken on an â€Å"international† look, using a multi-cultural dance cast and hip hop-influenced clothing. Such tastes and representations are far too alien to the rural and lower middle class audiences. Effect on Indian Classical MusicIndian culture has been attached with music since long time, with traditional Indian music being the most famous among Indians till the time globalization hit the country. Western culture followers are increasing in India due to adoptive nature of Indian consumers. Though the number of youth listening to traditional Indian music may have declined but globalization has acted as a two way street in its truest sense. Indian classical musical instruments like veena, sitar a nd table have been incorporated heavily into the â€Å"World Music† genre which focuses on fusion and bringing out the spiritual side of music.Artists like Pandit Ravi Shankar, Pandit Amjad Ali Khan, Bismillah Khan and Zakir Hussain are renowned and respected globally. The situation surrounding the traditional classical music of India continues to change due to the remarkable advances made in methods of information dissemination and communication, among these the rapid growth of the Internet. Some critiques say that the commercialization of Indian music seems to have led to the monopolization of the market by a small numbers of â€Å"stars. Over the last ten years, it has in large part been the same small group of musicians who have been performing concerts in major cities. The popularization of Indian music has led too to changes in performance styles and audiences appreciation. This includes, for example, shortened performances, the traditional raga time concept meaningles s, and an overemphasis on technique. Serious practitioners and students of Indian music, in particular Hindustani music, have increased dramatically throughout the world. This is evident from the increasing number of Indian musicians traveling abroad to perform and record.In some Western educational institutions, Hindustani music has already been established as a formal area of study, and research is being done to determine the most effective methods of education in this discipline. In light of this trend, the traditional master/pupil method, Guru-Shishya-Parampara, has proved to be something of a controversial problem. Effect on Musical Instruments Increasing globalization ; increasing use of internet have resulted in changing the taste of music lovers; ultimately influencing their musical instrument choices.Gradually, the appetite for playing western music instrument has been fulfilled with the increase in number of western music schools. India western musical instruments market h as been anticipated to reach INR 542. 84 Crore by 2017. TELEVISION AND GLOBALISATION OVERVIEW Media imperialism is a sub category of under the broader category of media imperialism. The conventional view was that it was the global (particularly US) media that dominated and the technologies associated with it that were imperialistic and ruled the world. But the scenario was changing on the advent of 1990s due to nationalised media arising and getting promoted. Al-Jazeera was founded in 1996 and is a Qatar based company. Bollywood is seen as an answer to Hollywood. Reuters is major news company founded in Britain. Times of India is the world’s 3rd largest circulating paper. † These are some examples to name a few of the changing global media trend. Since the advent of television in 1920s it has been a source of news and entertainment. Majority of the channels were state funded and had little commercial use. After the arrival of globalisation television was changed, as the viewers were seen as a mode of income from advertisements and this began a war of TV ratings among the channel providers began.They turned the political struggle for television into a battle for market shares with an increasing international orientation. The liberalisation of television in association with the development of new broadcasting technologies led to a multitude of competing TV stations and to a diversity of available programmes. Private broadcasters’ dependence on funding by adverts caused a commercialisation of TV and shifted the focus of programming to ratings, which have become an all-dominant factor. The constant search for new ways of attracting viewers’ attention favours sensational topics and resulted in a variety of new programme formats.India was one of the most affected countries due to this trend. Ramayana and Mahabharata were the first major TV series in India. 1980s saw the arrival of popular shows like Hum Paanch, bharat ek khoj which made th e viewers engrossed in them. ENTRY OF FOREIGN PLAYERS In 1991 the government allowed private and foreign broadcasters to engage in limited operations in India. This was the first step of globalisation of Indian TV industry as this led to the entry of major foreign players such as CNN, STAR TV and domestic private enterprises such as ETV, ZEE.In 1999–2003, other international channels such as Nickelodeon, Cartoon Network, VH1, Disney and Toon Disney entered the market. Starting in 2003, there has been an explosion of news channels in various languages; the most notable among them are  NDTV,  CNN IBN  and  Aaj Tak. The most recent channels/networks in the Indian broadcasting industry include UTV Movies, UTV Bindass, Zoom, Colours, 9X and 9XM. CASE STUDY- STAR TV STAR TV is an US based company owned by Rupert Murdoch’s News Corp. It currently has 35 channels in 7 languages with around 400 million viewers in India â€Å"courtesy http://www. tartv. com/aboutus. asp x. † They currently own one of the most viewed channels of India such as Star Plus, Star Gold, Star Movies, Star world, Channel [V] to name a few. It is the leading TV channel in terms of no. of channels and viewers in India with hit shows such as Kyunki Saas Bhi Kabhi Bahu Thi, Star Voice of India and 24X7 movies. RATING WARS Entertainment channels form the largest part of Indian TV industry with foreign and domestic players both. They broadcast daily shows which are mainly targeted to the family audience particularly ladies called â€Å"Soap Operas†.This is a huge source of revenue and entertainment as most of the advertisements are shown in this time slot making this a win-win situation for everybody. These not only include popular Hindi shows such as Kyunki Saas Bhi Kabhi Bahu Thi or Kahaani Ghar Ghar Ki but also in other languages such as Punjabi, Marathi and English such as Ugly Betty, 90210, Damini. The popularity of these serials is evident from the data shown a bove. Source: TAM peopleter system, GEC Ratings (April 22-28) One of the major sources of entertainment is the sports channels which are dedicated to the world of sports.There are 20 sports channels till date with the majority owned by the foreign powerhouses such as ESPNSTAR (owned by FOX network), SONY SIX. Children's interest channels  are  television  specialty channels  that present children's interest content. This market is almost entirely owned by foreign companies such as Cartoon Network, Nickelodeon. The NEWS channels are the ones which have most of the domestic companies and have one of the fiercest rivalries among them. Other channels include dedicated to music, movies, sci-fi and general info. Majority of them are owned by foreign TNC’s such as MTV, Discovery, and HBO.All of these are owned by foreign media conglomerates and are one of the most viewed channels in India. All of these are owned by foreign media conglomerates and are one of the most viewed c hannels in India. FOREIGN CONTENT AND STORYLINES The content of the channels are also influenced by the global trends. In most of the cases either the storyline or the format of successful foreign shows are copied. Some of the examples are as shown below: * Jassi jaisi koi nahi – Ugly Betty * Big boss – Big brother * Indian idol – American idol * India’s got talent – Americas got talent Fear factor – Fear factor * Masterchef India – Masterchef Australia The viewership of English sitcoms are on the rise in the young generation such as Friends, HIMYM due to the rising English speaking population which has increased the revenues of these channels such as STAR World, AXN. On the rise is the viewership of movies both Hindi and English as evident from the exorbitant prices channels are paying for the television premiers of the movies. The sports TV industry is one of the fastest growing industries due to huge fan following also known as â⠂¬Å"popular culture†.The increase of number of sports channel in India is rapid. Cricket and football has proved itself as a huge source of revenue generation as perceived from the data below. IPL, world cup, BPL are huge attractions for advertisers and they are willing to invest in them. And majority of them are the TNCs who spare the big bucks. Top 5 most viewed events in 2010-2011 in India 2011 cricket world cup final – 67. 6 million viewers| Budget 2011 – 37 million| Commonwealth 2010 opening ceremony – 30 million| IPL 3 final – 9. 6 million| 2010 FIFA world cup final – 1. 5 million|Source: aMap data, Times of India Also the emergence of debating style of news presentation can be seen as an effect of globalisation. Now majority of the news channel present debates in their primetime slots so as to include various opinions. This has been a huge success. Also the technological advancement in television industry such as digitalization has imp roved the services offered which has also led to increased viewership. This is a direct result of globalization as the technology and information is transferred between nations. CHALLENGES FACED BY THE INDUSTRYBut the television industry faces many challenges due to globalization. * Main disadvantage is the accumulation of power in few foreign media conglomerates which hinders the growth of domestic market. Few Indian companies have been able to establish themselves in front of the global power. * The media sometimes become biased and influence the public opinion. For example in Saddam Hussein case media houses passionately supported US in their operation and thus took people on US side without telling the full story. * Also the advent of reality TV shows has increased their share which results in disproportionation.Time should be divided suitably for all types of entertainment which is not so in the present scenario. * TV has not yet been able to penetrate the rural parts of India due to lack of connectivity which is needed as it acts as a source of information. * Also in this century of internet viewers are migrating to web services. This has resulted formation of web portals of channels which is not encouraging to the TV industry. CASE STUDY ON VIEWERSHIP IN DELHI The figures below show the impact of television in the three major metropolitans and show type wise distribution of channels in Delhi. Source: www. amindia. com Bibliography n. d. http://www. indiantelevision. com. n. d. http://www. startv. com. n. d. www. tamindia. com. Film Industry In India: New Horizons. Ernst ; Young Pvt Ltd. , 2011. Google Images. n. d. http://images. google. co. in/. HT City. â€Å"Foreigners First, But What about us? † April 14, 2013. Indian Express. â€Å"IPL 6. † April 8, 2013. Reseasrch and Markets-Market research reports. n. d. http://researchandmarkets. com. Ritzer, George. â€Å"Globalization a basic text. † n. d. Vogg, Ejvind. The Indian Bollywo od Industry. DIBD, 2012. Wikipedia, The free Encyclopedia. n. d. http://wikipedia. org.

Job Description of School Counselors

According to the U.S. Department of Labor's Occupational Outlook Handbook, in the broadest sense, counselors assist people with personal, family, educational, mental health, and career decisions and problems. Their duties depend on the individuals they serve and on the settings in which they work. In school settings-elementary through post secondary these professionals are normally called school counselors. Their role is to work with students, including those considered to be at risk and with special needs. They advocate for students and work with other individuals and organizations to promote the academic, career, and personal and social development of children and youths. School counselors help children and youth understand and deal with social, behavioral, and personal problems (U.S. Dept. Labor, 2005). Vocational counselors, also called employment or career counselors, primarily provide career counseling. These individuals are located both within and external to the school setting. Their main focus is supporting individuals of all ages and backgrounds with their occupational decisions. Vocational counselors explore and evaluate the client's education, training, employment history, interests, talents, and personality traits, and arrange for aptitude and achievement tests to assist in making career decisions (U.S. Dept. Labor, 2005). Marriage and family counselors are trained to support individuals, significant partners, family groups, couples, or organizations to resolve emotional and psychological conflicts. They work toward altering people's perceptions and behaviors, enhancing communication and understanding among all family members, and helping to prevent family and individual crises. Depending on their specific concerns, individuals who have mental or physical disabilities may see any of these counselors for support or else respectively mental health and rehabilitation counselors. Mental health counselors work with individuals, families, and groups to analyze, address and treat mental and emotional disorders and to promote optimal mental health. They are trained in a variety of therapeutic techniques required to address a broad range of concerns such as depression, addiction and substance abuse, suicidal thoughts, stress management, self-esteem issues, ageism, occupational problems, educational decisions, and relationship problems. Mental health counselors often work closely with other mental health specialists, such as psychiatrists, psychologists, clinical social workers, psychiatric nurses, and school counselors (U.S. Dept. of Labor, 2005). Rehabilitation counselors support people who must cope with the personal, social, and vocational effects of disabilities. They counsel disabled individuals who are coping with birth defects, illness or disease, accidents, or daily stress. They evaluate the strengths and challenges of these individuals, offer specialized and vocational counseling, and arrange for medical care, training, and job placement. Rehabilitation counselors meet both with disabled individuals as well as their families, evaluate school and medical reports and make suggestions, and confer and plan with physicians, psychologists, educators, occupational therapists, and employers to determine the capabilities and skills of the individual. Conferring with the client, they develop a rehabilitation program that frequently consists of training to help the person develop job skills. Rehabilitation counselors also work toward increasing the client's capacity to live independently (U.S. Dept. of Labor, 2005). The article â€Å"Vocational attainment of adults with CF: success in the face of adversity† (Burker, 2005, 22) discusses the unique needs of those suffering from Cystic Fibrosis (CF), a fatal inherited disease found in industrialized nations that affects multiple body systems but has the greatest impact on the lungs and pancreas. The article reports that despite the fact that there has been an increase in the number of working-age individuals with CF in the past two decades, research on career choice, work status and work disability of individuals with this disease has received very little attention. Information about the vocational potential for individuals with CF indicates limited expectation for vocational success. The researchers, who studied the vocational status of 183 adults with CF, provided information about this group's vocational potential. Important findings were: (1) the majority of participants were either working or in school; (2) those employed were working in professional, technical, managerial, clerical and sales occupations; (3) the jobs held varied in physical demands and strength ratings, and; (4) patients with skilled jobs were more likely to have maintained their positions than those with unskilled jobs. The researchers concluded that: these numbers are impressive given that the majority of these individuals were sick enough to be evaluated for their candidacy for lung transplant. These data suggest that, as with most people, vocation is an important part of life, and many individuals with CF go to school and achieve in careers and work despite their declining health. Rehabilitation counselors should consider people with CF as viable candidates for successful job placement. In other words, the differences between the CF and non-CF candidates in regards to vocational counseling needs may not be as different as expected. There is a greater overlap in their counseling needs. Each generation, depending on the present society and its issues, will have varying concerns. Due to the war in Iraq, increasing numbers of men and women are seeking help from counselors due to post traumatic stress syndrome. The journal report, â€Å"The prediction of levels of post traumatic stress levels by depression among veterans with disabilities† (Martz, 2005, 56), found a high correlation between this syndrome and depression. The researchers thus concluded that if a veteran with a disability shows some form of depression, then mental health professionals should also seriously consider the possibility of the simultaneous existence of post traumatic stress symptoms. Such knowledge, as found in this above study, can provide counselors with more information and understanding about their patient's psychological status. Rehabilitation counselors can utilize this information to aid in a more effective recovery. Such findings also demonstrate the importance of increased communication among various forms of counselors and the need for counselors to expand their knowledge about the changing psychological and emotional support of their patients.

Difference Between Romanticism and Transendinlalism in American and British Writers Essay

Difference Between Romanticism and Transendinlalism in American and British Writers The expression Romantic gained currency during its own time, roughly 1780-1850. However, the Romantic era is to identify a period in which certain ideas and attitudes arose, gained the idea of intellectual achievement and became dominant. This is why , they became the dominant mode of expression. Which tells us something else about the Romantic era which expression was perhaps everything to do with them — expression in art, music, poetry, drama, literature and philosophy. Romantic ideas arose both as implicit and explicit criticisms of 18th century Enlightenment thought. For the most part, these ideas were generated by a sense of being unable to deal with the dominant ideals of the Enlightenment and of the society that produced them. Which characterized Transendinlalism very differently from that of Romanticism. The difference of Transendinlalism was that it was a literary and philosophical movement, associated with Ralph Waldo Emerson and Margaret Fuller, asserting the existence of an ideal spiritual reality that transcends the empirical and scientific and is knowable through intuition. However, the Romantics thought differently because they that, that romanticism was an artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual’s expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions. The Romantics felt all the opinions of the Enlightment were fraught with dangerous errors and oversimplification. Romanticism may then be considered as a critique of the inadequacies of what it held to be Enlightened thought. The difference between these two eras are the British and American writers that have chosen either the path of romanticism or transendinlalism. The characteristics of Romanticism are different to those of Transendinlalism. Romanticism results in part from the libertarian and egalitarian ideals of the French Revolution, the romantic movements had in common only a revolt against the prescribed rules of classicism. The basic aims of romanticism were various: a return to nature and to the belief in the goodness of humanity; the rediscovery of the artist as a supremely individual creator; the development of nationalistic pride; and the exaltation of the senses and emotion over reason and intellect. In addition, romanticism was a philosophical revolt against rationalism. Another difference between those of Romanticism and Transendinlalism are it’s themes that it represents. One of the many themes of romanticism are dreams and visions. The most notable example of the emphasis on dreams and visions in romantic literature is Coleridge’s poems is â€Å"Kubla Khan†written in 1816, he claims to have written is during a dream while deeply asleep . While transcribing the lines from his dream, he was interrupted by a visitor, and later claimed that if this interruption had not occurred, the poem would have been much longer. The idea that a person could compose poetry while asleep was a common amongst romantics. Although critics at the time were not particularly enthusiastic about Kubla Khan. Nature had a overwhelming influence during the Romantic Era. In Kubla Khan describes the nature that he is surrounded by; † Walls and towers were raised around â€Å"twice five miles of fertile ground,† filled with beautiful gardens and forests. A â€Å"deep romantic chasm† slanted down a green hill, occasionally spewing forth a violent and powerful burst of water, so great that it flung boulders up with it â€Å"like rebounding hail. † The river ran five miles through the woods, finally sinking â€Å"in tumult to a lifeless ocean. † Amid that tumult, in the place â€Å"as holy and enchanted / As e’er beneath a waning moon was haunted / By woman wailing to her demon-lover,† Kubla heard â€Å"ancestral voices† bringing prophesies of war. The pleasure-dome’s shadow floated on the waves, where the mingled sounds of the fountain and the caves could be heard. â€Å"It was a miracle of rare device,† the speaker says, â€Å"A sunny pleasure-dome with caves of ice! † Coleridge’s is inspired by the beauty and charmingness that nature gives them during the romantic era. Before this period of time another era had began called The Age Of Enlightenment. In the 18th century â€Å" The Enlightenment,† made this movement advocated rationality as a means to establish an authoritative system of ethics, aesthetics, and knowledge. Which then gave the transendinlalism it’s place in this movement. Transendinlalism is a literary and philosophical movement, associated with Ralph Waldo Emerson and Margaret Fuller, asserting the existence of an ideal spiritual reality that transcends the empirical and scientific and is knowable through intuition. It is no coincidence that this movement took off just as the American literary tradition was beginning to blossom. Transcendentalism—though inspired by German and British Romanticism—was a distinctly American movement in that it was tied into notions of American individualism. In addition to the theme of American democracy, transcendentalist literature also promotes the idea of nature as divine and the human soul as inherently wise. Transcendentalism also had a political dimension, and writers such as Thoreau put their transcendentalist beliefs into action through acts of civil disobedience to the government. The nineteenth century was a volatile one, beginning with the hope and promise of democracy and the development of an American identity and moving towards mass devastation and division by the middle of the century. Slavery and the Civil War, women’s rights, growing industrialism and class division —all of these events were influential and each had a role to play in the transcendentalist movement. Transendinlalism had many themes to those of the Romantics at their time like self- wisdom. Quite simply, Transcendentalism is based on the belief that human beings have self-wisdom and may gain this knowledge or wisdom by tuning in to the ebb and flow of nature. Transcendentalism revolves around the self, specifically the betterment of the self. Where Emerson and his followers differed from earlier philosophical and religious beliefs was in the idea that human beings had natural knowledge and could connect with God directly rather than through an institution such as organized religion. Transcendentalism celebrated the self, an important step in the construction of American identity, better understood as the notion of American individualism—one of the cornerstones of American democracy. Nature played an important role in the Transcendentalist view. Nature was divine and alive with spirit; indeed, the human mind could read the truths of life in nature. To live in harmony with nature and to allow one’s deepest intuitive being to communicate with nature was a source of goodness and inspiration. In fact, writers not only celebrated America’s great landscape, but also constructed the wilderness as a type of dramatic character that illustrated moral law. The desire for an escape from the evils of society and a return to nature became a permanent convention of American literature. Transcendentalist thought emphasized individualism. Only by rejecting the irrelevant dogmas in place and searching for inner truth could one experience the deep intuition of spiritual reality. In relation, Transcendentalism is also very democratic, asserting that the powers of the individual mind and soul are equally available to all people. These powers are not dependent on wealth, gender, background, or education, but on the individual’s willingness to release their own imaginative power to realize his or her place in the Oversoul. The obvious results from Transcendentalist efforts are manifest in the intense moral enthusiasm that characterized Transcendental thinkers. Society, with its emphasis on material success, was often seen as a source of corruption. To combat this evil, many Transcendentalists were associated with such moralist groups as the anti-slavery group, the march for women’s rights, and other aid societies. Ultimately, some Transcendentalists hoped to reform society by creating an American utopia with a perfect social and political system. The Transcendentalists can be exasperatingly vague in their prescriptions for spiritual transformation, a vagueness which derives principally from their distrust of all forms of ritual and inherited religious forms. The transcendent individual is often a solitary figure, contemplating his soul (and by analogy, the soul of all humanity), and contemplating other souls through the reading of serious literature. But the central recurring theme that emerges is a return to nature, where the artifice and depravity of society cannot reach. Thus Thoreau leaves Concord and heads for Walden Pond to explore the great truths of the natural world. Thus Jones Very, in his poem â€Å"The Silent,† distinguishes between the sounds that strike the ear and those that strike the soul when one walks in the woods: ‘Tis all unheard; that Silent Voice, Whose goings forth unknown to all, Bids bending reed and bird rejoice, And fills with music Nature’s hall. And in the speechless human heart It speaks, where’er man’s feet have trod; Beyond the lips’ deceitful art, To tell of Him, the Unseen God. † Thus the similarities in the Romantic and Transendinlalism era are ver closely together. For the writers of these eras believed in different yet similar things. For example, nature was one of the similarities of both eras they had marked the world in believing that nature is something that will keep you clam and feel safe like all writers at the time believed in. For romantics believed in intellectual and artistic belief in their writing. Thus they also had many differences for reason over belief this is one of the subjects that the romantics and transcendentalist did not agreed in. During the 18th century their truly was no difference in both the romantic and Transendinlalism era. The only difference was those of the people’s writings of this period who made this era last for years.

Training and Development on the Rural Areas Electricity Company Essay

Training and Development on the Rural Areas Electricity Company - Essay Example ..Sign†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Date†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Declaration by the Principal Name†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..Sign†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.Date†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ DEDICATION This research project is dedicated to the creator, the almighty Jehovah God who gave me the gift of knowledge, courage, perseverance and good health throughout the period I have worked on this program. ACKNOWLEDGEMENT First is to thank God for giving me wisdom and courage of taking me through the entire process of developing the research project, for His Grace and guidance through my academic life. I want to acknowledge the patience and the steady advice and support of my supervisor. I would also like to offer individual thanks to my family and friends. ABSTRACT Rural Areas Electricity Company (RAECO) is an electricity company tasked with generating, transmitting, distributing, supplying electricity and desalination activities in Oman. The vision of Rural Areas Electricity Company involves providing cost effective electric power to all the remote areas in Oman. The missions of this company include supply of reliable electricity and potable water to customers at the lowest costs, provision of employment opportunities to Oman citizens and maintenance of environmental conservation standards in its operations. To this effect, the judicial training institute which has the mandate to promote effective training of judges, magistrates and judicial staff, has over the years conducted and continue to provide training to judges, magistrates and judicial staff to build their capacity to perform their functions effectively. To fulfill the vision and mission statements, Rural Areas Electricity Company has an obligation to endorse effective training and development of its employees. Over the years, RAECO has carried out traini ng and development programs of its employees of all layers. Despite the huge investing in training and development programs, challenges still there as shown by the constant electricity black outs, the delays in responding to customer requests and the constant need for upgrading the skills of the employees. This research study seeks to establish the impact on investing in employee training and development. The researcher used primary and secondary sources for the purposed of this researcher. The research findings showed that the training and development carried out by Rural Areas Electricity Company were insufficiently frequent. The research project further recommended that the details of training programs and the approach of delivery to be considered before undertaking a training and development program. Employee training and development offered by Rural Areas Electricity Company should lead to a deeper understanding of the objectives and goals of the employees and the frequency of external training programs should be increased to enhance employee performance at work for Rural Areas Electricity Company. DECLARATION ii DEDICATION iii ACKNOWLEDGEMENT iv ABSTRACT v LIST OF TABLES ix Table 1 showing Response rate 44 x Table 2 46 x showing Gender 46 x Table 3 showing experience in the organization 48 x Table 4 showing Knowledge of Training and Development 50 x Table 5 showing whether training program fulfils employee needs 51 x Table 6 indicating the effect of work efforts on work performance 53 x Table 7 showing response on whether the organization supported employee rights 55 x Table 8 showing response

N2 Assignment Example | Topics and Well Written Essays - 500 words

N2 - Assignment Example The skills and talents can be honed and developed to contribute to the care of the patient, while the personality of the person has to be taken into account when making decisions of a person’s role in patient care to maximize the good that person can do. The job factor is all about finding the right task for the right people. It means matching up jobs that require certain skill to someone proficient in that skill. It makes the job easier and more effective for everyone. To do this, one must know about the person taking care of the patient as well as the patient himself/herself. Fitting the job to a person’s strengths is not just a matter of making it easier. It is a wise use of resources which would be invaluable, especially in a hospital where lives are at stake. The organization is the interactions and the standards set between the health care staff. It is composed of the health and safety culture, the leadership system, and the communications of the health care providers. This is important because even if the right people are available for the right jobs, a lack of coordination from the organization could undo such advantages. Taken as a whole, The field of Human Factors are variables that define the relationships between people, work, and the systems governing them in a specific area (Carstens, 2005, p. 83). The effective manipulation of these factors in a hospital setting is matters of life and death, thus are sound candidates for careful scrutiny and application. In the medical-surgical setting, we can see many instances where human factors contribute to the welfare of patients. Sadly, mistakes are unavoidable, and it is here where we find the limits of the human factors, as well as areas to find improvement. Surgical practice is one of the best situations wherein human factors are apparent, and the effects are immediately appreciable. The

The Ethical Issues Concerning Abortion Essay Example | Topics and Well Written Essays - 500 words

The Ethical Issues Concerning Abortion - Essay Example Normally I would say it is a bad idea to totally base one’s argument of an assumption, and I think that that is usually a good rule of thumb to follow when constructing an argument, especially if there can be found a hole in your argument based on the assumption that you made right from the start! However, in this instance, I feel that her assumption if somewhat justified. The writer attempts to back up their argument by tossing around names of other people who believe as she does, and instead of trying to argue against them she decides to assume they are correct and argue with them. It is an interesting stylistic way to present an argument. It does solve the problem of having to argue that point, as she comes off right from the bat stating that she will not argue that and that the whole argument is based off the idea that is taken for an assumption. And while I originally thought it would be ineffective and not work well in the thought process of an argument, it ends up worki ng out quite well for the writer throughout the course of the article. It works for one reason, and it is because of this that I think it is justified to use that assumption. I can find no holes in that assumption, and it is a very fit and sound one to start off an argument. For is the whole abortion debate not over whether or not a fetus is a person? The whole idea is debated over whether or a not a fetus is a person unfit to kill or not, and the assumption that the whole argument is based off that is correct because that is the entirety of the abortion argument. Now, you might think that there is more to the argument than that, but the author debunks that idea in their next paragraph and states that this whole argument is going to be base on the ethics of abortion; not the subtleties that exist in various cases. And with these ideas, she starts up and opens what is followed by a very sound argument, one that totally supports the sound assumption it is based on. I found myself bein g impressed, as I originally was holding out to bust the earlier assumption, and soon found myself thinking that it really is all about the idea of a fetus and if they are in fact people or not. In the end, I believe it is a totally justifiable assumption, and it works exceedingly well in the course of the written argument, even though I did not think that to begin with.  Ã‚  

Organisation Change Research Paper Example | Topics and Well Written Essays - 750 words

Organisation Change - Research Paper Example This paper identifies organizations that have implemented different organizational strategies, the one that is most successful, and the reason behind its success. Organizations That Have Adopted Different Change Strategies Tuning (Anticipatory and Incremental) Tuning is implemented when management anticipates a change and an incremental change is initiated. An example of this is the tuning of marketing activities by Du Pont. Du Pont adopted a marketing strategy called Adopt-a-Customer program, wherein a blue-collared worker would personally visit a customer to understand his needs and pass them on to the company (Kreitner, 2008). This innovative idea replaced the traditional way of waiting for the customer to report a problem and then fix it. This was an effective strategy that translated into organizational success. Adaptation (Reactive and Incremental) Adaptation is also an incremental change, but here the change is not proactive but reactive to external stimuli. Ford with its aero dynamic styling had made a successful change that positively affected the performance of the company. In order to compete with Ford, Chrysler and General Motors were forced to adopt a change in their design (Oden, 1999). Reorientation (Anticipatory and Discontinuous) Reorientation is an anticipatory change wherein significant redirection of the organization occurs. An example of this is the change made at At&T by CEO Bob Allen. The company went through many radical changes in the 1980s such as restructuring of the business units, new management teams, change in overall strategy, new acquisitions, etc (Palmer, Dunford & Akin, 2008). These changes were in response to anticipatory changes in the industry expected due to deregulation and pressure from international competition. Re-Creation (Reactive and Discontinuous) Re-creation also involves major modifications in the organization, it is similar to reorientation but the change here is reactive. An example of this is the complete restr ucturing of Apple Inc., in the mid 90s. Apple was under the threat of being shut down; it had not been able to adapt to the changing times and competition. It was then completely restructured which included a new product line and even new board members. Most Successful Changes and the Reasons behind Them The success of an organizational change is dependent on various factors and, hence, each change must be evaluated individually. In the above-identified changes, the most successful is the re-creation change in Apple. The simple reason for this is that the changes made in the company during the 90s have today resulted in Apple being one of the most valuable companies on the planet. There are numerous reasons behind this. The change brought focus to the product line. The number of products was reduced and more focus was given on developing a generation of the same product rather than a number of products. The restructuring of the board brought in new ideas and expertise to the company . In addition, the change in the leadership style (Steve Jobs’ charismatic leadership) made a huge difference to the company’s fortunes. One Category More Successful Than Another Even though the recreation change is identified as the most successf

Enron Corporation (former NYSE ticker symbol ENE) Essay

Enron Corporation (former NYSE ticker symbol ENE) - Essay Example ThÐ µ company did not havÐ µ accountability or transparÐ µncy to its sharÐ µholdÐ µrs; it liÐ µd to thÐ µm. ThÐ µ currÐ µnt status of thÐ µ casÐ µ against thÐ µ now dÐ µfunct TÐ µxas company, has not yÐ µt bÐ µÃ µn rÐ µsolvÐ µd. By 2001, it was rÐ µportÐ µd that â€Å"ThÐ µ company, whosÐ µ main businÐ µss is Ð µnÐ µrgy trading, is in crisis following thÐ µ tÐ µrmination of a multi-billion dollar rÐ µscuÐ µ bid† (WÐ µiss, 2001). It foldÐ µd as a rÐ µsult, but in its primÐ µ was considÐ µrÐ µd to bÐ µ an innovativÐ µ company and industry lÐ µadÐ µr. Еnron at thÐ µ hÐ µight of its powÐ µr contributÐ µd as much as $2.1 million in â€Å"individual, P A C, and soft monÐ µy contributions to fÐ µdÐ µral candidatÐ µs and partiÐ µs:† this rankÐ µd it â€Å"among thÐ µ top 50 organizational donors in thÐ µ 1999 – 2000 Ð µlÐ µction cyclÐ µÃ¢â‚¬  (WÐ µiss, 2001). AftÐ µr thÐ µ vÐ µry public fall of Еnron, n Ð µw accountability mÐ µasurÐ µs bÐ µcamÐ µ thÐ µ stuff of Ð µxtrÐ µmÐ µ mÐ µdia, public, and political scrutiny. If Еnron had had such mÐ µasurÐ µs in placÐ µ initially, it arguably wouldn’t havÐ µ fallÐ µn. Discuss whÐ µthÐ µr Еnron’s officÐ µrs actÐ µd within thÐ µ scopÐ µ of thÐ µir authority. Еnron stayÐ µd in thÐ µ nÐ µws long aftÐ µr thÐ µ initial accounting scandal, as jury sÐ µlÐ µction bÐ µgan for thÐ µ casÐ µ of its Ð µx Ð µxÐ µcutivÐ µs KÐ µnnÐ µth Lay and JÐ µffrÐ µy Skilling. ThÐ µsÐ µ individuals actÐ µd bÐ µyond thÐ µ scopÐ µ of thÐ µir authority. ... ThÐ µ bankruptcy court will likÐ µly allow thÐ µ paymÐ µnts to stand† (WÐ µinbÐ µrg and CookÐ µ, 2001). KÐ µnnÐ µth Lay is morÐ µ publicly associatÐ µd with thÐ µ casÐ µ although his namÐ µ is oftÐ µn mÐ µntionÐ µd bÐ µsidÐ µ Skilling’s, bÐ µcausÐ µ Lay is thÐ µ individual who foundÐ µd thÐ µ company in thÐ µ first placÐ µ, whilÐ µ Skilling was its CЕO. â€Å"Еnron foundÐ µr KÐ µn Lay and formÐ µr chiÐ µf Ð µxÐ µcutivÐ µ JÐ µffrÐ µy Skilling havÐ µ suffÐ µrÐ µd anothÐ µr sÐ µtback in thÐ µir Ð µfforts to havÐ µ thÐ µir trial at thÐ µ Ð µnd of thÐ µ month dismissÐ µd. US District JudgÐ µ Sim LakÐ µ, who will bÐ µ hÐ µaring thÐ µ fraud and conspiracy casÐ µ, thrÐ µw out allÐ µgations of misconduct by prosÐ µcutors. ThÐ µ pair's lawyÐ µrs havÐ µ bÐ µÃ µn arguing for months that prosÐ µcutors havÐ µ hampÐ µrÐ µd thÐ µir dÐ µfÐ µncÐ µ Ð µfforts by intimidating kÐ µy witnÐ µssÐ µs† (Е nron, 2006). DÐ µscribÐ µ thÐ µ corporatÐ µ culturÐ µ at Еnron. ThÐ µ businÐ µss culturÐ µ in which Еnron was stÐ µÃ µpÐ µd involvÐ µd unÐ µthical and non transparÐ µnt accounting practicÐ µs usÐ µd by thÐ µ company. Еnron was callÐ µd out on corruption and its lÐ µadÐ µrs havÐ µ bÐ µÃ µn indictÐ µd for fraudulÐ µnt financial statÐ µmÐ µnts and businÐ µss practicÐ µs. ThÐ µsÐ µ causÐ µd its stock to plummÐ µt in valuÐ µ whÐ µn thÐ µ Ð µxtÐ µnt of corporatÐ µ corruption at Еnron was rÐ µvÐ µalÐ µd. StakÐ µholdÐ µrs Ð µxpÐ µct thÐ µir documÐ µntation to bÐ µ fairly authÐ µntic. Also involvÐ µd by proxy arÐ µ thÐ µ othÐ µr Еnron Ð µxÐ µcutivÐ µs who got payoffs bÐ µforÐ µ thÐ µ company wÐ µnt bankrupt, and thÐ µ lowÐ µr lÐ µvÐ µl Ð µmployÐ µÃ µs who didn’t sÐ µÃ µ any of this financÐ µ coming thÐ µir way. Discuss two allÐ µgÐ µd irrÐ µgularitiÐ µs in thÐ µ actions bÐ µtwÐ µÃ µn sà  µllÐ µrs of sÐ µcuritiÐ µs and Еnron. ThÐ µ problÐ µms involvÐ µd in

Antitrust and Regulation Term Paper Example | Topics and Well Written Essays - 1250 words

Antitrust and Regulation - Term Paper Example The law is premised on the belief that free trade benefits the economy, businesses and the consumers by forbidding various restrains of trade and monopolization. It falls under four areas namely agreement between competitors, contractual arrangements between sellers and buyers the pursuit or maintenance of monopoly power and mergers (Wilberforce, 98). The law of competition can be dated two centuries ago, the medieval monarchs and the Roman Empire used tariff systems to control prices and support local production. The formal study of competition can be dated in the 18th century with works of Adam Smith when he wrote about the wealth of Nation. Different terms were used to describe the law which include restrictive practices, the law of monopolies, combination acts, and the restraint of trade. The law can be seen to have three main elements which include prohibiting agreements or practices that restricts free trade and competition between business premises, it element focuses mainly on repression of cartels. Second is the banning of abusive behaviors by firms dominating a market or anti competitive practices that may tend to lead to dominance (Bork, 126). Among the practices controlled by this are predatory pricing, tying, and refusal to deal, among others. Lastly there is the supervision of mergers and acquisition of large corporations including joint values. Transactions thought to threaten competitive process can be prohibited all together. Approved subjects to remedies for example an obligation to divest part of the merged business the merged business, that is, to offer license or access to facilities that enable other businesses to continue competing. The contents and practice of competition law varies s from one jurisdiction to another. In many countries the main objective of the law is to protect the interests of thee consumer or safeguarding the consumer welfare, and ensuring that entrepreneurs have an equal opportunity to compete in the market economy. The law is also closely related to the law of deregulation of access to the market, state aids and subsidies, privatization of state assets, and the establishment of independe nt sector regulators. In the past decades the law has been viewed as way to provision of better public services (Whish, 198). According to Robert Bork competition has been found to have created adverse effects when they reduce competition through protecting the inefficient competitor and when the cost of legal intervention is higher then the consumer benefits more. The business practices of market traders' guilds and governments have always been scrutinized and sometimes severe sanctions have been placed. Dating back from the 19th century competition law has been now embraced globally. The largest and the most influential law systems being the United States antitrust law and the European community competition law. National and regional competitions authorities across the world have formed to incorporate international support and enforcement networks (Bork, 127). In microeconomics and strategic management horizontal merger refers to a type of ownership and control. It is used by businesses as a strategy that seeks to sell a type of products in many markets or numerous markets. It is much more common compared to vertical

Constitutional Amendments in United States Essay

Constitutional Amendments in United States - Essay Example Analysts have observed that Thirteenth Amended influenced the political structure of the United States because it gave the Congress the authority to institute legislation, which would prohibit slave trade. The historical ruling of the Supreme Court in 1857 had indicated that Congress had no power to regulate slavery (Bardes, et.al. 2011). The Thirteenth Amendment allowed the Congress to take additional measures against ten states that had rebelled against abolition of slavery. Evidently, President Lincoln declaration had instigated uproar from these ten states that did not accept the move to abolish slave trade. Historians have argued that Thirteenth Amendment provided an opportunity for fifteenth and Fourteenth amendments, which influenced the freedom of freed slaves. The amendment influenced the social structure because it gave the slaves the rights to be citizens, and share equal rights as the blacks. However, history indicates that segregation in the American society at that time was rampant; whites had more rights than the blacks (Bardes, et.al. 2011). It is arguable that public opinion and the law might not in alignment in every situation. This indicated that social structures were a long distance to achieve. Economic structures of United States automatically changed because slaves could no longer work in agricultural farms. Farm owners registered low profits; Africans had the opportunity to set their own enterprises. Sixteenth Amendment of the US constitution in 1913 gave the federal government authority to influence taxes levied (Milakovich & Gordon, 2008). This amendment was in response to Supreme Court ruling, which adduced that federal government had no powers to in a specific area to withhold taxes. Taking a political angle towards this amendment, it is evident that the government gained more power. Department charged with taxes in the US has a growing number of staffs following this amendment. The amendment influenced the social structure because many people tried to look for ways to avoid paying taxes. Many people changed their spending attitudes and sought ways to shelter the income. The public became aggressive to know how the government spent their money. Evidently, the government channeled federal taxes to support education, social programs that include healthcare, security, and public projects among others (Milakovich & Gordon, 2008). The taxes levied from citizens contributed towards social growth of the nation. In the economic sector, the amendment led to changes in banking laws. In addition, people got the legal opportunity to keep their earnings in government bonds, retirement benefits, and saving account for Medicare (Wilson, 2011). Corporations got the opportunity to bank their money in foreign banks and lobby for tax holidays by citing various

2. Why, when and by whom was the NAACP founded Assess its Essay

2. Why, when and by whom was the NAACP founded Assess its effectiveness - Essay Example The founders included WEB Dubois (African American), William English Walling (Caucasian) and Ida Wells-Barnett (German-born Caucasian). Other White liberals who participated in the formation include Mary White and Henry Moscowitz. Early members of NAACP include Jane Addams, Mary Talbert, Charles Russell, George White and Ray Baker. Following the Niagara Movement (1905) objectives, NAACP clearly stated that it was focused on ensuring civil rights of all people that were provided by 13th, 14th and 15th Amendments of the Constitution that provided equal legal rights and abolishment of slavery2. In 1915, NAACP petitioned showing of the birth of a nation film. In 1919, NAACP organized a symposium and published the â€Å"thirty years of lynching in the United States 1899-1918†. NAACP supported the Anti-lynching bill that was destined to ending instances of lynching in America but the Senate rejected the bill. Another notable contribution was involvement in Harlem Renaissance where Black Americans wanted more rights to engage in artistic and intellectual activities in the society. Through the tireless efforts of NAACP, many Blacks became respected authors, dancers, singers and artists in 1920s and 1930s. NAACP also helped the minority households who faced harsh economic situation during the Great Depression by advocating for the reduction in taxes. The organization campaigned for the end of racial discrimination in the armed forces and other State defense industries. President Roosevelt finally accepted to allow minorities to participate in thousands of State jobs after NAACP threatened to organize public marches in 1941. The struggle for equality in employment led to the establishment of Fair Employment Practices Committee (FEPC) that was supposed to ensure fairness in employment matters3. NAACP participated in ending racial segregation. Thurgood Marshall, the head of educational and legal defense fund,

Cuadra v. Monfort case digest Essay Example for Free

Cuadra v. Monfort case digest Essay Maria Teresa Cuadra and Maria Teresa Monfort were classmates in Grade Six at the Mabini Elementary School in Bacolod City. On July 9, 1962 their teacher assigned them, together with three other classmates, to weed the grass in the school premises. While thus engaged Maria Teresa Monfort found a plastic headband, an ornamental object commonly worn by young girls over their hair. Jokingly she said aloud that she had found an earthworm and, evidently to frighten the Cuadra girl, tossed the object at her. At that precise moment the latter turned around to face her friend, and the object hit her right eye. Smarting from the pain, she rubbed the injured part and treated it with some powder. The next day, July 10, the eye became swollen and it was then that the girl related the incident to her parents, who thereupon took her to a doctor for treatment. She underwent surgical operation twice, on July 20 and August 4, 1962 respectively, and stayed in the hospital for a total of twenty-three days, for all of which the parents spent the sum of P1,703.75. Despite the medical efforts, however, Maria Teresa Cuadra completely lost the sight of her right eye. Maria Teresa Cuadra’s parents sued Alfonso Monfort (Maria Teresa Monfort’s father) based on Article 2180 of the Civil Code. Issues: Whether or not Alfonso Monfort should be held liable under Article 2180. Business Law Ruling of the court: The defendant is not liable and therefore cannot be sued under Article 2180. This article provides that the father and, in case of his death or incapacity, the mother, are responsible for the damages caused by the minor children who live in their company. The basis of this vicarious, although primary, liability is, as in Article 2176, fault or negligence, which is presumed from that which accompanied the causative act or omission. The presumption is merely based on the ï ¬ rst impression(prima facie) and may therefore be rebutted. This is the clear and logical inference that may be drawn from the last paragraph of Article 2180, which states that the responsibility treated of in this Article shall cease when the persons herein mentioned prove that they observed all the diligence of a good father of a family to prevent damage.† In this case, there is nothing from which it may be inferred that the defendant, Alfonso Monfort, could have prevented the damage by the observance of due care, or that he was in any way remiss in the exercise of his parental authority in failing to foresee such damage, or the act which caused it. On the contrary, his child was at school, where it was his duty to send her and where she was, as he had the right to expect her to be, under the care and supervision of the teacher. And as far as the act which caused the injury was concerned, it was an innocent prank not unusual among children at play and which no parent, however careful, would have any special reason to anticipate much less guard against. Nor did it reveal any mischievous propensity, or indeed any trait in the childs character which would reï ¬â€šect unfavorably on her upbringing and for which the blame could be attributed to her parents.

Bunraku Theater and Kathakali Dance Drama

Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. . Bunraku Theater and Kathakali Dance Drama Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. .