Misplaced Pages

Thiruvidaimarudur

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
#785214

63-611: Thiruvidaimarudur (also spelt as Thiruvidaimaradur or Tiruvidaimarudur ) is a panchayat town in Thanjavur district , in the Indian state of Tamil Nadu . The town is notable for its Mahalingeshwarar Temple , a Hindu shrine for Lord Shiva . Tiruvidaimarudur is located at 10°59′N 79°28′E  /  10.98°N 79.47°E  / 10.98; 79.47 . It has an average elevation of 20 m (66 ft). The 2001 Indian census recorded Thiruvidaimarudur as having

126-729: A raga . The features and rules of the raga (also known as the sanchaaraas of a raga) include how each note of the raga should be stressed, the scale of the raga, and so on. All varnams consist of lyrics, as well as swara passages, including a pallavi , an anupallavi , muktayi swaras , a charanam , and chittaswaras . Known for their complex structure, varnams are a fundamental form in Carnatic music. Varnams are practised as vocal exercises in multiple speeds by performers of Carnatic music, to help develop voice culture, and maintain proper pitch and control of rhythm. In Carnatic music concerts, varnams are often performed by musicians as

189-511: A fixed time cycle or metre, set for a particular composition, which is built from groupings of beats. Tala s have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms. Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. Tala

252-419: A form of an urban political unit comparable to a municipality . An urban centre with more than 12,000 and less than 40,000 inhabitants is classified as a nagar panchayat. The population requirement for a Town Panchayat can vary from state to state. Such councils are formed under the panchayati raj administrative system. In census data, the abbreviation T.P. is used to indicate a "town panchayat". Tamil Nadu

315-404: A hint of the song to be performed. Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original raga alapana. Niraval, usually performed by the more advanced performers, consists of singing one or two lines of text of

378-635: A long time in Sri Lanka, Carnatic music was associated with Indian immigrants, and was often derogatorily referred to as " thosai kade music" ("music from the dosa shop"), in reference to the South Indians-owned restaurants and eateries that typically played this kind of music. From the 20th century, Carnatic music gained significant popularity among certain social strata of the Sri Lankan population , who were then heavily influenced by

441-399: A population of 13,758. Males and females each constituted 50% of the population. Thiruvidaimarudur has an average literacy rate of 74%, higher than the national average of 59.5%: male literacy is 80%, and female literacy is 68%. 11% of the town's population is under 6 years of age. Thiruvidaimarudur assembly constituency is part of Mayiladuturai (Lok Sabha constituency) . Govi. Chezhiyan is

504-410: A principal performer (usually a vocalist), a melodic accompaniment (usually a violin ), a rhythm accompaniment (usually a mridangam ), and a tambura , which acts as a drone throughout the performance. Other typical instruments used in performances may include the ghatam , kanjira , morsing , venu flute, veena , and chitraveena . The greatest concentration of Carnatic musicians is to be found in

567-591: A prominent cultural movement known as the Hindu revival. Carnatic music was thus appropriated and highly promoted during the 1920s and 1930s as a cultural and identity marker of the Colombo and Jaffna bourgeoisies, and by extension of the Sri Lankan Tamils . The place given to Carnatic music in the construction of a modern Sri Lankan Tamil identity has reached significant proportions, such as its rise in

630-751: A separate sanctum ( sannidhi ) for Mookambikai (in Tamil, மூகாம்பிகை , mūkāmbikai ) with a Maha Meru (in Sanskrit, mahāmeru , meaning "great sacred mountain"). Two major temple festivals are celebrated annually at the Mahalingeswarar Temple. The first, Thaipusam (in Tamil, தைப்பூசம் , celebrated during the Tamil month of Thai [January–February]), and the second, Thirukkalyana Utsavam (in Tamil, திருக்கல்யாண உற்சவம் , tirukkaḷyāṇa uṟcavam , meaning "divine wedding festival") or Vasantha Utsavam ( vasanta utsava , meaning "spring festival"),

693-485: A song repeatedly, but with a series of melodic improvised elaborations. Although niraval consists of extempore melodic variations, generally, the original patterns of duration are maintained; each word in the lines of text stay set within their original place ( idam ) in the tala cycle. The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed. The improvised elaborations are made with

SECTION 10

#1732787032786

756-438: A system called the melakarta , which groups them according to the kinds of notes that they have. There are seventy-two melakarta ragas , thirty six of whose madhyama ( subdominant ) is shuddha ( perfect fourth from the tonic), the remaining thirty-six of whose madhyama (subdominant) is prati (an augmented fourth from the tonic). The ragas are grouped into sets of six, called chakras ("wheels", though actually segments in

819-405: A total of 108 tala s. Improvisation in raga is the soul of Indian classical music – an essential aspect. " Manodharma Sangeetam " or " kalpana Sangeetam " ("music of imagination") as it is known in Carnatic music, embraces several varieties of improvisation. The main traditional forms of improvisation in Carnatic music consist of the following: An alapana, sometimes also called ragam,

882-590: A type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency. Svara s also refer to the solfege of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani sargam : sa- re -ga-ma-pa- dha -ni or Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names shadja , rishabha , gandhara , madhyama , panchama , dhaivata and nishada . Unlike other music systems, every member of

945-542: A verse at the end of the charana , called the madhyamakāla . It is sung immediately after the charana , but at double speed. There are many composers in Carnatic music. Purandara Dasa (1484–1564) is referred to as the Pitamaha (the father or grandfather) of Carnatic music as he formulated the basic lessons in teaching Carnatic music, and in honour of his significant contribution to Carnatic music. He structured graded exercises known as Swaravalis and Alankaras , and at

1008-427: A view of outlining the raga, the tempo, and the theme of the composition. Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables). Like niraval, kalpanaswaras are sung to end on a particular swara in the raga of the melody and at a specific place ( idam ) in the tala cycle. Kalpanaswaras have a somewhat predictable rhythmical structure;

1071-720: A year. On occasion, the waters of the Cauvery River enable a fourth harvest. Tiruvidaimarudur (also known as madhyārjunam ) is located on the banks of the Virasolanar River . It is home to the Mahalingeswarar Temple , where the deity Shiva is worshipped as Mahalingeswara Swami (in Sanskrit, mahā-lingeśvara svāmi , meaning "the great lord of the lingam"), represented by a lingam known as jothimayalingam (in Tamil, ஜோதிமயலிங்கம் , jōthimaya liṅgam , meaning "lingam of radiant light"). The goddess of

1134-505: Is a stub . You can help Misplaced Pages by expanding it . Carnatic music Traditional Carnatic music or Karnataka Sangita (known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the Dravidian languages ) is a system of music commonly associated with South India , including the modern Indian states of Andhra Pradesh , Karnataka , Kerala , Tamil Nadu and portions of east and south Telangana and southern Odisha . It

1197-722: Is adept in tala, attains liberation ( moksha ) without doubt"). Contemporray Carnatic music is based on musical concepts (including svara , raga , and tala ) that were described in detail in several ancient works, particularly the Bharata 's Natya Shastra and Cilappatikaram by Ilango Adigal . Owing to Persian and Islamic influences in North India from the 12th century onwards, Indian classical music began to diverge into two distinct styles — Hindustani music and Carnatic music. Commentaries and other works, such as Sharngadeva 's Sangita Ratnakara , further elaborated on

1260-416: Is constantly increasing. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki ). Like Hindustani music , Carnatic music rests on two main elements: rāga , the modes or melodic formulae, and tāḷa , the rhythmic cycles. Today, Carnatic music

1323-473: Is formed with three basic parts (called anga s) which are laghu , dhrtam , and anudhrtam , though complex talas may have other parts like plutam , guru , and kaakapaadam . There are seven basic tala groups which can be formed from the laghu , dhrtam , and anudhrtam : A laghu has five variants (called jaathi s) based on the counting pattern. Five jaathis times seven tala groups gives thirty-five basic tala s, although use of other anga s results in

SECTION 20

#1732787032786

1386-399: Is integral to Ragam Tanam Pallavi. Originally developed for the veena, it consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc. Ragam, Tanam, and Pallavi are the principal long form in concerts, and is a composite form of improvisation. As the name suggests, it consists of raga alapana, tanam, and a pallavi line. Set to a slow-paced tala , the pallavi line

1449-538: Is observed in the Tamil month of Vaigasi (May). Other significant festivals include the 63 Nayanmar Ula (in Tamil, நாயன்மார் உலா , a procession honouring the 63 Shaivite saints) and Arudra Darisanam ( ārdrā darśana , meaning "sacred sight of Lord Shiva on the Ārdra star day"), similar to the celebration in Chidambaram . The temple is also known for its 27 star lingas, the idol of the prince Ammani Ammal (in Tamil, அம்மணி அம்மாள் , meaning "beloved mother"), and

1512-426: Is often composed by the performer. Through niraval, the performer manipulates the pallavi line in complex melodic and rhythmic ways. The niraval is followed by kalpanaswarams. Tani Avartanam refers to the extended solo that is played by the percussionists in a concert, and is usually played after the main composition in a concert. The percussionist displays the full range of his skills and rhythmic imagination during

1575-494: Is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda . (The other two are Hindustani music and Odissi music .) The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style. Although there are stylistic differences,

1638-458: Is presented by musicians in concerts or recordings, either vocally or through instruments. Carnatic music itself developed around musical works or compositions of phenomenal composers (see below). Śruti commonly refers to musical pitch. It is the approximate equivalent of a tonic (or less precisely a key) in Western music; it is the note from which all the others are derived. It is also used in

1701-443: Is the exposition of a raga or tone – a slow improvisation with no rhythm, where the raga acts as the basis of embellishment. In performing alapana, performers consider each raga as an object that has beginnings and endings and consists somehow of sequences of thought. The performer will explore the ragam and touch on its various nuances, singing in the lower octaves first, then gradually moving up to higher octaves, while giving

1764-471: Is the head of Nagar Panchayat. The NAC members of the Nagar are elected the several wards of the nagar panchayat on the basis of adult franchise for a term of five years. One third of the seats are reserved for scheduled castes, scheduled tribes, backward classes and women. The Councillors or Ward Members are chosen by direct election from electoral wards in the nagar panchayat. Alongside the elected officials,

1827-401: Is traditionally taught according to the system formulated by Purandara Dasa . This involves sarali swaras (graded exercises), alankaras (exercises based on the seven talas), geetams or simple songs, and Swarajatis . After the student has reached a certain standard, varnams are taught and later, the student learns kritis . It typically takes several years of learning before a student

1890-423: Is usually only one variant of each note present. The exceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in the arohanam ) and another descending (in the avarohanam ). A raga in Carnatic music prescribes a set of rules for building a melody – very similar to the Western concept of mode . It specifies rules for movements up ( aarohanam ) and down ( avarohanam ),

1953-430: The divya prabandham , thevaram and ugabhoga are often performed similarly, however, these forms can also have a set melody and rhythm like the devaranama , javali , padam , thillana and thiruppugazh forms. The most common and significant forms in Carnatic music are the varnam and the kriti (or kirtanam ). Varnams are short metric pieces which encapsulate the main features and requirements of

Thiruvidaimarudur - Misplaced Pages Continue

2016-670: The Chitra prakaram ( citra-prākāra , meaning "painted enclosure" or precincts of the temple), which is adorned with extensive paintings. Additionally, there are several charitable trusts associated with the temple, one of which is the Pachaiyappa Mudaliar Arakattalai ( பச்சையப்ப முதலியார் அறக்கட்டளை ). Tiruvidaimarudur is the birthplace of the Hindu Saint Pattinathar - in the medieval period - whose lyrics are renowned for realizing self in

2079-816: The Trinity of Carnatic music include Sripadaraja , Vyasatirtha , Kanakadasa , Vadiraja Tirtha , Arunachala Kavi , Annamacharya , Narayana Theertha , Vijaya Dasa , Jagannatha Dasa , Gopala Dasa , Bhadrachala Ramadas , Sadasiva Brahmendra and Oottukkadu Venkata Kavi . Other composers are Swathi Thirunal , Gopalakrishna Bharathi , Neelakanta Sivan , Patnam Subramania Iyer , Mysore Vasudevachar , Koteeswara Iyer , Muthiah Bhagavathar , Subramania Bharathiyar , Kalyani Varadarajan , M. Balamuralikrishna and Papanasam Sivan . The compositions of these composers are rendered frequently by artists of today. Composers of Carnatic music were often inspired by religious devotion and were usually scholars proficient in one or more of

2142-492: The kriti (or kirtanam) – a form developed between the 14th and 20th centuries by composers such as Purandara Dasa , and the Trinity of Carnatic music . Carnatic music is also usually taught and learned through compositions. Telugu language predominates in the evolution of Carnatic music. Most Carnatic compositions are in Telugu and Sanskrit. Carnatic music is usually performed by a small ensemble of musicians, consisting of

2205-441: The scale of which notes should figure more and which notes should be used more sparingly, which notes may be sung with gamaka (ornamentation), which phrases should be used or avoided, and so on. In effect, it is a series of obligatory musical events which must be observed, either absolutely or with a particular frequency. In Carnatic music, the sampoorna ragas (those with all seven notes in their scales) are classified into

2268-513: The veena as an accompaniment to vocal recitations. References to Indian classical music are made in many ancient texts, including epics like the Ramayana and the Mahabharata . The Yajnavalkya Smriti states, " vīṇāvādana tattvajñaḥ śrutijātiviśāradaḥ tālajñaścāprayāsena mokṣamārgaṃ niyacchati" (The one who is well versed in veena , one who has the knowledge of srutis and one who

2331-497: The "father ( pitamaha ) of Carnatic music", formulated the system that is commonly used for the teaching of Carnatic music. Venkatamakhin invented and authored the formula for the melakarta system of raga classification in his Sanskrit work, the Chaturdandi Prakasika (1660 AD). Govindacharya is known for expanding the melakarta system into the sampurna raga scheme – the system that is in common use today. By

2394-657: The 16th century, Indian classical music split into two styles: Hindustani in the North and Karnataka (later called Carnatic) in the South. The term "Karnataka" music originated from the Vijayanagara Empire, historically known as the Karnataka Empire. The British later influenced the change in name to "Carnatic" music, and the term is only about 150–200 years old. In the 18th and 19th centuries, Carnatic music

2457-562: The 18th century, South Indian immigrant communities abroad increased, especially in Southeast Asia and Sri Lanka . Communities such as the Nattukottai Chettiars participate in the extension of the Carnatic cultural scene abroad, thanks to their rich patronage activity. Carnatic music artists therefore perform abroad among South Indian communities who request their coming, in order to enliven local community life. For

2520-491: The Carnatic music repertoire. The performance of the Sanskrit sloka , Tamil viruttam , Kannada Ugabhoga and Telugu padyamu or sisapadya forms are particularly unique. Though these forms consist of lyric-based verses , musicians improvise raga phrases in free rhythm, like an alapana , so both the sound value, and the meaning of the text, guide the musician through elaborate melodic improvisations. Forms such as

2583-603: The Tamil Saiva tradition of Hinduism. It is also the birthplace of the Carnatic music flautist T. R. Mahalingam . The family of Amar Singh , who was deposed from the throne of Thanjavur in 1798, resides here. Panchayat town A nagar panchayat ( transl.  'town council' ) or town panchayat or Notified Area Council (NAC) in India is a settlement in transition from rural to urban and therefore

Thiruvidaimarudur - Misplaced Pages Continue

2646-408: The basic elements of śruti (the relative musical pitch), svara (the musical sound of a single note), rāga (the mode or melodic formulae), and tala (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially

2709-546: The city of Chennai . Various Carnatic music festivals are held throughout India and abroad, including the Madras Music Season , which has been considered to be one of the world's largest cultural events. Like all art forms in Indian culture , Indian classical music is believed to be a divine art form which originated from the devas and devis ( Hindu gods and goddesses), and is venerated as symbolic of nāda brāhman . Ancient treatises also describe

2772-544: The connection of the origin of the svaras , or notes, to the sounds of animals and birds and man's effort to simulate these sounds through a keen sense of observation and perception. The Samaveda , which is believed to have laid the foundation for Indian classical music, consists of hymns from the Rigveda , set to musical tunes which would be sung using three to seven musical notes during Vedic yajnas . The Yajurveda , which mainly consists of sacrificial formulae, mentions

2835-444: The conventional representation) grouped according to the supertonic and mediant scale degrees. There is a system known as the katapayadi sankhya to determine the names of melakarta raga s. Raga s may be divided into two classes: janaka raga s (i.e. melakarta or parent ragas) and janya raga s (descendant ragas of a particular janaka raga). Janya ragas are themselves subclassified into various categories. Tala refers to

2898-526: The current MLA of Thiruvidaimaruthur assembly constituency and the current MP of Mayiladuthurai Lok Sabha constituency S. Ramalingam is from Thiruvidaimaruthur. Located about 9 km (5.6 mi) north-east of the temple city of Kumbakonam and serves as one of the Taluk headquarters in the Tanjore District . The region is known for its fertile soil, allowing farmers to harvest crops three times

2961-445: The curricula of most Jaffna colleges, where it gradually replaced from the mid-1930s the teaching of Western classical music , or its high esteem among the upper social classes of Colombo and Jaffna, where the learning of Carnatic music among young women is expected as a sign of good education. Many people have travelled to India for improving their skills, and the flow of students to India from Sri Lanka or of Sri Lankan Tamil origin

3024-436: The languages Kannada , Malayalam , Sanskrit , Tamil , or Telugu . They usually included a signature, called a mudra , in their compositions. For example, all songs by Tyāgarāja (who composed in Sanskrit and Telugu) have the word Tyagaraja in them, all songs by Muttuswāmi Dīkṣitar (who composed in Sanskrit and Maṇipravāl̥am) have the words Guruguha in them; songs by Śyāma Śāstri (who composed in Sanskrit and Telugu) have

3087-404: The late 19th century, the city of Madras (now known as Chennai) emerged as the locus for Carnatic music. With the dissolution of the erstwhile princely states and the Indian independence movement reaching its conclusion in 1947, Carnatic music went through a radical shift in patronage into an art of the masses with ticketed performances organised by private institutions called sabhās . From

3150-585: The musical concepts found in Indian classical music. By the 16th and 17th centuries, there was a clear demarcation between Carnatic and Hindustani music; Carnatic music remained relatively unaffected by Persian and Arabic influences. It was at this time that Carnatic music flourished in Vijayanagara , while the Vijayanagara Empire reached its greatest extent. Purandara Dasa , who is known as

3213-714: The musical element itself. This poses a special challenge for the musicians because rendering this music does not involve just playing or singing the correct musical notes; the musicians are expected to understand what was conveyed by the composer in various languages, and sing musical phrases that act to create the effect that was intended by the composer in his/her composition. There are many types/forms of compositions. Geethams and swarajatis (which have their own peculiar composition structures) are principally meant to serve as basic learning exercises. Compositions more commonly associated with Indian classical dance and Indian devotional music have also been increasingly used in

SECTION 50

#1732787032786

3276-423: The musician's interpretation. A Carnatic composition really has two elements, one being the musical element, the other being what is conveyed in the composition. It is probably because of this fact that most Carnatic music compositions are composed for singing. In addition to the rich musical experience, each composition brings out the knowledge and personality of the composer, and hence the words are as important as

3339-470: The opening item – acting as a warm up for the musicians, and as a means of grabbing the attention of the audience. Carnatic songs (kritis) are varied in structure and style, but generally consist of three units: This kind of song is called a keerthanam or a kriti . There are other possible structures for a kriti , which may in addition include swara passages named chittaswara . A chittaswara consists only of notes, and has no words. Still others have

3402-595: The same time, introduced the Raga Mayamalavagowla as the first scale to be learnt by beginners. He also composed Gitas (simple songs) for novice students. The contemporaries Tyagaraja (1767– 1847), Muthuswami Dikshitar , (1776–1835) and Syama Sastri , (1762–1827) are regarded as the Trinity of Carnatic music because of the quality of Syama Sastri's compositions, the varieties of compositions of Muthuswami Dikshitar, and Tyagaraja's prolific output in composing kritis . Prominent composers prior to

3465-408: The sense of graded pitches in an octave . While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, the number that can be distinguished by auditory perception is twenty-two (although over the years, several of them have converged). In this sense, while sruti is determined by auditory perception, it is also an expression in the listener's mind. Svara refers to

3528-559: The solfege (called a swara ) has three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and the dominant ), which have only one form; and madhyama (the subdominant ), which has two forms. A 7th century stone inscription in Kudumiyan Malai in Tamil Nadu shows vowel changes to solfege symbols with ra, ri, ru etc. to denote the higher quarter-tones. In one scale, or raga , there

3591-409: The solo, which may take from two to twenty minutes. In contrast to Hindustani music of the northern part of India, Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. Nearly every rendition of a Carnatic music composition is different and unique as it embodies elements of the composer's vision, as well as

3654-575: The state government appoints officers to facilitate the administration and functioning of Nagar Panchayats. Such as chief executive officer or Secretary, Superintendents, Engineers, Health Inspectors, etc. These officers are appointed based on specific rules and regulations set by the state government. The structure and the functions of the nagar panchayat are decided by the state government. Each Indian state has its own management directorate for panchayat towns. This article about government in India

3717-418: The swaras are sung to end on the samam (the first beat of the rhythmical cycle). The swaras can also be sung at the same speed or double the speed of the melody that is being sung, though some artists sing triple-speed phrases too. Kalpanaswaram is the most elementary type of improvisation, usually taught before any other form of improvisation. Tanam is one of the most important forms of improvisation, and

3780-587: The temple is Brihad Sundara Gujambal ( perunala mamulai ammai ). The lingam is “believed to be the focal point for the seven consorts of Shiva.” The temple’s Nandi , one of the largest in the district, is notable for not being carved from a single stone, which is why it does not surpass the weight of the Nandi at the Brihadeeswarar Temple in Thanjavur, despite being larger in size. There is also

3843-605: The words Ś yāma Kr̥ṣṇa in them; all songs by Purandaradasa (who composed in Kannada and Sanskrit) have the words Purandara Vitthala ; while Gopalakrishna Bharathi (who composed in Tamil) used the signature Gopalakrishnan in his compositions. Papanasam Sivan, who has been hailed as the Tamil Tyagaraja of Carnatic music, composed in Tamil and Sanskrit, and used the signature Ramadasan in his compositions. Carnatic music

SECTION 60

#1732787032786

3906-629: Was mainly patronised by the local kings of the Kingdom of Mysore , Kingdom of Travancore , and the Maratha rulers of Tanjore . Some of the royalty of the kingdoms of Mysore and Travancore were themselves noted composers and proficient in playing musical instruments, such as the veena , rudra veena , violin , ghatam , venu , mridangam , nadaswaram , and swarabat . Some famous court-musicians proficient in music were Veene Sheshanna (1852–1926) and Veene Subbanna (1861–1939), among others. During

3969-443: Was the first state to introduce the panchayat town as an intermediate step between rural villages and urban local bodies (ULB). The structure and the functions of the nagar panchayat are decided by the state government. Each Nagar Panchayat has a committee consisting of a chairperson or president with ward members. Membership consists of a minimum of ten elected ward members and three nominated members. The Chairperson or President

#785214