A PROJECT REPORT

ON

SPIC MACAY

AT

Prestige Institute of Management

Submitted to

Jiwaji University

Gwalior

For the partial fulfillment of the award of Master of Business Administration Integrated

2018-2023

Submitted By

MUNENDRA CHAUHAN

PRESTIGE INSTITUTE OF MANAGEMENT, GWALIOR

(M.P.)
 DECLARATION

I MUNENDRA CHAUHAN Student of MBA Integrated 4th Semester of Prestige

Institute of management Gwalior hereby declare that the report entitled “Spic
Macay” is submitted by me in the line of partial fulfillment of course objectives
for the master of Business Administration Integrated Degree.

I assure that is the result of my own efforts and that any other institute for the
award of any degree or diploma has not submitted it.

DATE: MUNENDRA CHAUHAN

 CERTIFICATE

This is to certify that, MUNENDRA CHAUHAN Student of MBA Integrated 4 th

Semester of Prestige Institute of Management Gwalior, has successfully completed
this Report “Spic Macay” under my direct supervision and guidance.

Dr. ABHAY SINGH CHAUHAN

 ACKNOWLEDGEMENT

I, MUNENDRA CHAUHAN with sincere gratitude to Dr. ABHAY SINGH

CHAUHAN who gave me the opportunity to work under the guidance on the
report entitled “Spic Macay”

I grateful to The Director of the Institute Dr. S. S. Bhakar, Faculty Members and
other friends for their valuable suggestion in the execution of report preparation.

I am also thankful to coordinator MBA Integrated mentor Ms Rishita Sengar and

other staff that guided and helped me very kindly at each and every step whenever
required.

I also acknowledge & convey thanks to the library staff, computer department
PIMG for their kind and valuable support.

MUNENDRA CHAUHAN
 Table of Content

S.No Topic Page No.

1 Introduction 1-4

2 Introduction of KATHHAK (SPIC MACAY) 5-6

3 PIMG (15/01/2019) 7-9

4 Rajasthani Folk Dance 10-12

5 The Sufi route concert of peace 12-13

6 OBJECTIVES 13

7 Eight Folk Dances: 14

8 Music and dance 14-16

9 17
SWOT Analysis

10 18-19
Conclusion

11 20
Reference

Introduction
The Society for the Promotion of Indian Classical Music And Culture Amongst
Youth(SPIC MACAY) is a voluntary youth movement which promotes intangible
aspects of Indian cultural heritage by promoting Indian classical music, classical
dance, folk music, yoga, meditation, crafts and other aspects of Indian culture; it is
a movement with chapters in over 300 towns all over the world. SPIC MACAY
was established by Dr. Kiran Seth in 1977 at IIT Delhi.

Kiran Seth, a young graduate from IIT Kharagpur, was studying for his doctorate
at the Columbia University, New York, when he chanced to attend
a Dhrupad concert by Ustad Nasir Aminuddin Dagar and Ustad Zia Fariddudin
Dagar at the Brooklyn Academy of Music, New York City.

On his return to India in 1976, he started teaching and doing research work at IIT
Delhi, where he got together with students and started SPIC MACAY in 1977. and
its first concert by Dagar Brothers was held at IIT Delhi on March 28, 1978.

Some of its major activities include: FEST series, VIRASAT series, National

Conventions for students and teachers, National School Intensives, Music in the
Park, the SPIC MACAY Scholarship Programmed, heritage walks, talks by
eminent thinkers, yoga and meditation camps, screening of classic cinema etc.
SPIC MACAY organizes thousands of programs every year and makes the living
heritage of India accessible to its youth. SPIC MACAY chapters run by students
have also come up in many countries outside of India such as the USA, UK,
Australia, Hong Kong, Middle-east etc.

SPIC MACAY is a non-political nationwide voluntary movement which organizes

all the Indian cultural activities inside school and college campuses throughout the
world to make students more aware about Indian and world heritage. This initiative
makes education more holistic and meaningful as it highlights all that is abstract,
subtle, inspiring and mystical in the world teaching one to look within oneself.
SPIC MACAY runs on the energy of volunteers who come from all walks of life -
students, teachers, housewives, professional and retired people, young and
old. Nishkam Seva is a key aspect of the movement.

PIMG (15/01/2019)

Prestige institute of management in collaboration with the Spic Macay (Society for
the Promotion of Indian Classical Music and Culture Amongst Youth) has
organized various events in the institute for promotion of Indian art and culture
amongst college students.

Chhau dances

Spic Macay along with PIMG organized Chau dances, (Puruliya, West Bengal) on
15/1/2019 with an intention to make the students aware about the tribal dances of
three adjoining states, Bengal, Bihar and Orissa. the performance consisted of Folk
Music & Dance and was performed by the Rajak Dance Group, the costumes
varied between the styles, with Purulia and Serakeilla using masks to identify the
character. The stories enacted by Chhau dancers included those from the Hindu
epics the Ramayana and the Mahabharata, the Puranas and other Indian literature.
The performance took place at the stage area in the ground, and all the students
present in the institute on that day were part of it. the event was coordinated by Dr.
Nandan Velankar and the student coordinators were Mr. Harsh Agarwal and Miss.
Mansi Jain.
Rajasthani Folk Dance

Spic Macay in collaboration with PIMG organized a rajasthani folk music and dance
performance on 15/01/2019. The performance was given by Bhongar Khan & Group where the
group played various musical instruments and females performed kalbelia dance. The main
purpose of this performance was to bring students close to the traditional Indian dance forms.
The performance was held in the dome area and the event was organized by Dr. Nandan
Velankar. The student coordinators of the event were, Mr. harsh Agarwal, Miss. Mansi Jain,
Miss Mansi Chauhan, Mr. Shivam Sharma, Miss. Kirti Savita and Mr. Rohit.

The Sufi route concert of peace

Spic Macay in collaboration with PIMG

organized a Sufi music concert on 15/01/2019. The performance was given by The
group ChaarYaar which consist of four musicians – namely, the elderly composer,
vocalist and poet Madan Gopal Singh; the ace guitarist, banjo and oud player
Deepak Castelino; the young and soulful sarod player Pritam Ghosal and a highly
regarded multiple percussionist Amjad Khan. The performance was intended to
create a sense of awareness about sufi music amongst the students. The event was
coordinated by Dr. Nandan Velankar and the student coordinators included Mr.
harsh Agarwal, Miss. Mansi Jain, Miss Mansi Chauhan, Mr. Shivam Sharma,
Miss. Somya Senger, Miss Lovely Rohira, Mr. Prateek Saini and Mr. Raghvendra
Pratap Singh.

Our Classical Performing Arts ur

Classical Performing Arts
Originating from the temples and
moving into the royal courts, Indian
classical music and dance were
performed basically in the presence of
rasiks people who were knowledgeable and could thus enjoy the performance at a
different level. These people had a profound understanding of the heritage and its
associated symbols and myths. The dancer could therefore quickly rise above the
mere storyline, while the musician could use the structure of the raga and the
words of the composition to move into the abstract, subtle, inspiring and mystical
domains. In the process they would take their audience along to larger and lesser
extents, depending on the innate potential of both the performer and the rasiks.
Children were taken to these performances so that with the passage of time, they
would understand and be impacted by the depth of such presentations. Each art
form was developed not to provide mere entertainment but to act as a medium to
pass on the best of our heritage to newer generations. After the independence of the
country when the royal patronage for the arts stopped, the artistes moved on to the
stage and had to rely on the popular mass for support. However, times were
changing. The joint family system had crumbled and there was great ambition
amongst the masses to be materially ‘successful’. In the little free time that people
got away from their worldly pursuits, they wanted to be entertained. Television,
Hollywood and Bollywood, films and the internet largely took over. This left the
new generation Indians bereft of an understanding of our great heritage. Classical
music and dance had to become much more literal and entertaining in order to be
accepted. Greater emphasis was placed on attire and the manner of presentation.
The look of the bottle started counting more than its contents. The result is that
programmed now have become more entertaining and less elevating. New
experiments like fusion, mostly without a solid grounding in the basic form, have
contributed to a lack of depth in the presentations. Technique in many cases has
taken over, the casualty being the losing of rooh (the soul). The means have
become ends in themselves. SPIC MACAY has often been credited with
introducing the Chintan 10 format to present Indian classical art forms in a
comprehensive manner in front of today’s youth, who have little or no
understanding of it. The meanings of the basic mudras and bhavas and the structure
of the ragas had to be explained. This change in presentation has been instrumental
in popularizing our art forms amongst the youth. However, in the process, depth in
the performances has been lost. Many great artistes have believed in not talking
while performing, leaving the more mundane part for others to execute. According
to them, one could not go inward and outward at the same time. To give our
artistes a chance to undertake this inward journey and thereby take us along too,
organizations like SPIC MACAY have a very important role to play. If we can
transform the atmosphere of the concert hall to that of a place of worship, we could
achieve this objective. A clean environment, audience seated in the baithak style
with footwear neatly arranged outside, no cellular phones permitted inside the hall,
no movement and conversation during performances, no flash photography and no
clapping during a performance would go a long way in creating the ambience
conducive for touching the highest heights, both by the artists and the rasiks .
Chintan 11 Faith and Patience and Patience Deep and abstract concepts often offer
little scope for logical explanation. Their understanding comes through flashes of
intuition developed over time. There is the story of a young Chinese lad who went
to a master to learn about Jade. He was told that he would be taught provided he
was very patient, to which the boy agreed. Every morning a stone was placed in his
hands and till sunset he was told stories of different aspects of life. Several years
passed. One day when a different stone was placed in his hand, he beamed and told
the Master, “This is not Jade!” For him to have arrived at this point of learning, it
took tremendous faith and patience. Another example is that of a shishya who went
to a guru to learn classical music. The guru old him that for ten years he would
have to practice only one note ‘Sa’ after which he would begin teaching him.
These little stories point out the importance of finding a right learning point,
investing complete faith in it and developing the patience to stick on till the end. It
is easy to start something, but to carry it on through its ups and downs till
completion is tough. More so when the goals are not very tangible, this is the case
with most things of depth. To end, there is another small story. A little girl was
explaining the difference between classical and popular music as she saw it. She
said popular music is like a sparkler that burns brightly and beautifully but for only
a few seconds; classical music on the other hand is like an incense that takes time
to reach you, but fills up the whole room with its aroma lasting for many hours.
Please do not leave the room before the fragrance reaches you. You will never
know what you missed! Chintan 12 Passing Chits to Artists assing Chits to Artists
“Please sing raga Hansadhwani”, cried out someone from the audience to an artiste
in a concert. Increasingly, during concerts, people are making such requests to the
artiste. What they do not understand is that classical music is not a request based
system. Its basic difference lies in the fact that its character is elevating in nature. It
does have an entertaining facet but when this takes on prominence, the difference
between the classical and the popular becomes very thin. A true classical musician
must rise to the highest height within himself first the audience will be uplifted
automatically. If he has to play to the audience’s taste, both can be entertained but
neither can get the true taste of the classical domain. The late Ustad Nasir
Aminudin Dagar once said that the tanpura tells a true artiste what to sing next. It
is indeed jarring if this delicate communication is broken by someone from the
audience through a written or a verbal request. A great artiste will almost always
give a great performance, but for him to rise above the level of a concert, a bit of
help from the audience is also required. Keeping quiet, not moving, not passing
chits to the artists would go a long way. Chintan 13 Nishkama Karma Newton’s
third law of motion states that for every action, there is an equal and opposite
reaction. Conversely, there is the law of “nishkama karma” it says that for every
action in which there is no embedded expectation, there is a reaction that is far
greater than the action. This comes from a source other than that which is being
acted upon. Newton’s third law can be experimentally proved while the law of
“nishkama karma” can be proven experientially. Check out things through
experience. It is a very powerful mechanism for validating the truth. Do put in ten
percent of your time and money on something from which you don’t expect
anything and watch the beautiful result. Chintan 14 Voluntary Spirit voluntary
Spirit When we engage ourselves in voluntary work without expecting any tangible
benefit, we benefit in an intangible manner. This is something we have forgotten
today. Taking is in, giving is out. When we take, it affects those from whom we are
taking, making them also wanting to take.

Music and dance

Highly cultivated classical music and dance with its own distinct style is part of the cultural
tradition of Rajasthan. The music is uncomplicated and songs depict day-to-day relationships and
chores, more often focused around fetching water from wells or ponds.

The Ghoomar dance from Jodhpur and Kalbeliya dance of Jaisalmer have gained international

recognition. Folk music is a vital part of Rajasthani culture. Kathputali, Bhopa, Chang, Teratali,
Ghindar, Kachchhighori, Tejaji,parth dance etc. are the examples of the traditional Rajasthani
culture. Folk songs are commonly ballads which relate heroic deeds and love stories; and
religious or devotional songs known as bhajans and banis (often accompanied by musical
instruments like dholak, sitar, sarangi etc.) are also sung.

Kanhaiya Geet also sung in major areas of east rajasthani belt in the collectiong manner as a best
source of entertainment in the rural areas. A third factor that distinguishes one local group from
another has to do with the availability of talented leadership. One dynamic and sensitive leader
can make a great difference in shaping the attitudes and habits that develop as a dance
community grows. An insensitive leader can lead a group directly into some of the problems that
we have discussed. These factors—the size and degree of isolation of the group and the quality
of the leadership—make a difference in the extent to which problems such as center set
syndrome, prebooking, and elitism emerge in a group, and they make a difference in the extent to
which new dancers and leaders develop within the community. Every local dance group has its
own strengths and weaknesses, and the issues that we have discussed are not equally applicable
to them all.
The local differences discussed above exhibit elements of the distinction between "community
dance" and "dance community" to which we alluded earlier. Recall that the term "community
dance" refers to a dance event enjoyed by a group of people for whom the dance is but one of
many shared activities; the term "dance community" refers to a group of people whose primary
association with one another is at the dance. The distinction is not clear cut, but is rather a
continuum with the two kinds of dance communities as its poles. This difference may be viewed
against a cross section of contemporary dance events, or it may be viewed as a change through
time.

Conclusion
A value-based education, which involves the absorption of aesthetics and
spirituality in an increasingly technical, mundane and competitive world. a
priceless cultural heritage rooted in what is essentially indian. spic macay seeks to
conserve and promote an awareness of the rich and heterogeneous cultural tapestry
of this country and their deeper and subtler values amongst the youth. the need for
a more inspired perspective in a world bombarded by too much information. a
unique feature of the heritage of india is its inbuilt characteristic of introspection
and a philosophy that transcends mere intellectualism all that is beautiful, lofty and
wholesome, of the sensitive, kind and gentle human being who is inspired, and in
turn, inspires.

REFERENCE
http://www.knowafest.com/college-fests/events/2019/09/2014-spandan-2019-prestige-
institute-management-law-it-fest-gwalior

https://www.hellotravel.com/events/spandan

https://prestigegwl.org/all_upcoming_events.php