lathial
the total geographical area of village is 257. 02 hectares. lathial has a total population of 217 peoples. there are about 46 houses in lathial village. talwara is nearest town to lathial .
lathial pincode is 176058 with 32. 19005 latitude and 76. 45145 longitude .
lathial won first bangladesh national film award in best film category. see more »
according to census 2011 information the location code or village code of lathial village is 008889. lathial village is located in fatehpur tehsil of kangra district in himachal pradesh, india. it is situated 135km away from district headquarter fatehpur. fatehpur is the sub - district headquarter of lathial village. as per 2009 stats, lathial village is also a gram panchayat .
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film: lathial director: narayan ghosh mita acting: babita faruque anwar hossain rojee atm samsuzzaman obaidul haque sarkar saifuddin matin rahima khala and more .
pulin passed the entrance examination from faridpur zilla school in 1894. he attended the dhaka college and became the laboratory assistant and demonstrator while still a student at the college. from his childhood pulin was attracted to physical culture. he was a very good lathial. inspired by the success of sarala devi' s akhada in kolkata, he opened an akhara at tikatuli in 1903. [ 1 ] in 1905, he trained in fencing and lathi khela under murtaza, the famous lathial .
view google map of lathial (159) village in fatehpur (t) tehsil of kangra district in himachal pradesh, india. the data on this website is provided by google maps, a free online map service one can access and view in a web browser .
lathial was released in the year 1975, some songs of the official soundtrack are ami kokhono raja by gazi mazharul anwar, dekho dekho grambasi by gazi mazharul anwar, ghater kokil ghatey jarey by sabina yasmin, oi agune purbi by gazi mazharul anwar. listen the soundtrack online !
a lathi is basically a six to eight foot long bamboo stick tipped with a metal blunt. the lathi is used by swinging it back and forth like a sword. the metal blunt is an optional part for a lathi. it is the indian police’s most used crowd control device! when referring to the weapon itself, a lathi could be considered the world’s oldest weapon. wielding the lathi involves giving quick lethal blows to the opponent and defending opponent attacks by using the lathi as a shield. a lathial needs to be quick and precise and a good lathial must be able to fight with lathis of different lengths and thicknesses .
note: the data available with us about gps lathial school is maintained by the' national university of educational planning and administration' under the program' district information system for education 2013 - 2014'. if you' re looking for more details regarding admission / application forms, fees, school timings, vacations / holidays schedule or facilities provided, kindly visit the relevant department of the school .
lathial wrote: malampus: i play both a templar and shaman and i will have to disagree to your assesment on reactives. 1 - if the mob hits a player for 350 dmg (after the mitigation) then the reactive will only heal for 110hp' s ~ per hit. in essence the tank would sustain 200dmg ~ over what was reactively healed. templars best reactive heals for like max 180 with best spell upgrade. so if your taking 500 dmg per hit then each hit you only are healed for 180 therefore you are sustaining alot of dmg and will require intermitten heals to keep up. of course you can suppliment with stacking bov - sp and ss. but thats just like mystics stacking group ward and ward for big pulls. tiresa tira theresa
dukhu mia is a stage performer and his brother kader lathial works for matbor. dukhu beats matbor' s son mokbul for irritating banu whom he loves. matbor complains this to kader and kader beat dukhu for this. this incident becomes the reason of dispute between two brothers. dukhu leaves home at night and is found by morol in the bank of river. dukhu starts a new life there. banu waits for him and finally one night he comes to meet her. by this time, matbor sends proposal of marriage of banu and mokbul to banu' s father. kader' s wife sends the news to dukhu but he is going to claim a new river pirate. matbor is also informed about river pirate at the wedding day. he sends kader to claim it. banu and kader' s wife also leaves for the new pirate to stop marrying mokbul. dukhu and kader battles themselves to claim the pirate and all on a sudden kader hits her wife who is trying to stop them. then they stop fighting. by this time, matbor comes and scolds kader. kader killed matbor and announces the villages to own the pirate. written by mmh. wakim32 @ urltoken
dukhu mia (farooque) is a stage performer and his brother kader lathial (anwar hossain) works for matbor (obaidul haque sarkar). dukhu beats matbor' s son mokbul (a. t. m. shamsuzzaman) for irritating banu (bobita) whom he loves. matbor complains this to kader and kader beat dukhu for this. this incident becomes the reason of dispute between two brothers. dukhu leaves home at night and is found by morol (narayan chakraborty) in the bank of river. dukhu starts a new life there. banu waits for him and finally one night he comes to meet her. by this time, matbor sends proposal of marriage of banu and mokbul to banu' s father. kader' s wife (rosy samad) sends the news to dukhu but he is going to claim a new river pirate. matbor is also informed about river pirate at the wedding day. he sends kader to claim it. banu and kader' s wife also leaves for the new pirate to stop marrying mokbul. dukhu and kader battles themselves to claim the pirate and all on a sudden kader hits her wife who is trying to stop them. then they stop fighting. by this time, matbor comes and scolds kader. kader killed matbor and announces the villages to own the pirate .
outstanding films filmmakers of bangladesh have produced many outstanding feature films. some of these films are based on historic events and patriotic themes while others deal with real life situations. most remarkable feature films of bangladesh are asia (1960) of fateh lohani, kakhono asheni (1961), kancher deyal (1963), sangam (1964), anwara (1966) and jiban thekey neya (1970) of zahir raihan, surya snan (1962), je nadi maru pathey (1961) and dharapat (1964) of salahuddin, anek diner chena (1964), nawab sirajuddowla (1967), soye nadia jagey pani (1967) and abar tora manush ha (1973) of khan ataur rahman, e desh tomar amar (1959) of ehtesham, sutarang (1964), kagajer nawka (1966), ayna o abashista (1967), arunodoyer agnishakkhi (1972), bashundhara (1977) and dumurer phul (1978) of shubash dutta, tanha (1962) and charitraheen (1976) of baby islam, nadi o nari (1965) of sadeque khan, shahid titumir (1968) of ibne mijan, dhire bahey meghna (1973), surya kanya (1975), shimana periyei (1977), rupali saikat (1979), mohana (1982) and parinita (1986) of alamgir kabir, ora egaro jan (1972), sangram (1973), debdas (1982), chandranath (1984), shubhada (1986) and hangar nadi grenade (1998) of chashi nazrul islam, nayan moni (1975), golapi ekhan treney (1979) and bhat dey (1983) of amjad hossain, megher anek rang (1976) of harunur rashid, alor michhil (1974) and lathial (1976) of mita, surya dighal badi (1979) of seikh niamat ali and masihuddin, shaker dahan (1985) of seikh niamat ali, ashikhita (1978) and chhutir ghanta (1989) of azizur rahman, nolok (1978) of shibli sadique, titas ekti nadir nam (1973) of hrittik ghatak, palanka (1976) of rajen tarafdar, lalan fakir (1973) and lal shabujer pala of syed hasan imam, sareng bou (1978) of abdullah al mamun, suprabhat (1976) of kabir anwar, lal kajal (1983) of matin rahman, pension (1985) of rafiqul bari chowdhury, shankha nil karagar (1974) of mostafizur rahman, aguner parash mani (1995) of humayun ahmad, poka makader ghar bashati (1996) of akhtaruzzaman, and dukhai (1997) of morshedul islam .
croatia can deal with kane after' stopping messi' 4 more boys rescued from thai cave now pilgrims can conduct medical test at pvt hospitals 33. 95 lakh cases under trial in courts bangladeshi among 4 killed in saudi arabia checkpoint shootout bgb - bgp conference begins 100 kg mangoes sent to turkish president as gift cabinet okays draft of jatiya krishi niti nirbhaya case: indian top court upholds death penalty for rapists order on khaleda’s review petitions july 12
dhaka, sept 13: noted actor anwar hossain died at square hospital in the capital after thursday midnight (inna lillahe wa inna ilaihe rajewn). the ailing actor anwar hossain was admitted to square hospital on august 20 last. since then he had been undergoing treatment there .
the first namaj - e - janaza of anwar hossain will be held at baitul mokarram national mosque and the second on fdc premises. he will be buried at mirpur intellectuals grave .
meanwhile, president abdul hamid, prime minister sheikh hasina and opposition chief khaleda zia expressed profound shock and sorrow at death of one of the most celebrated bengali film actors anwar hossain .
the octogenarian actor, who did not appear in films due to his old - age complications and severe asthma, was diagnosed with stones in his gall bladder and gastrological problem as well. prime minister sheikh hasina on thursday visited ailing anwar hossain at the city’s square hospital. the prime minister went to the hospital in the afternoon to see the health condition of anwar hossain and also gave a cheque of tk 10 lakh to the family members of the ailing actor. anwar hossain dedicated his life for bangla cinema. in his long acting career of over four decades, the seasoned actor appeared in many challenging roles in about 500 movies .
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film, feature in the 1990s, on an average, 80 feature films were released in bangladesh. investment in film industry was also colossal and everyday, more than a million people viewed pictures in about 1, 500 cinema halls of the country. innumerable directors, artists, technicians and workers are involved in this industry. with the assistance of the government, the film development corporation (fdc) and the film archive were set up earlier and funds were provided in grants and awards. a few films of bangladesh have received awards and appreciation in international fairs, festivals and competitions. the film industry of bangladesh had attained its own identity during it long journey of over 50 years .
the history of films is not very old. over 100 years ago, on 28 december of 1895, two brothers, auguste lumiere (1862 - 1954) and louis lumiere (1864 - 1948), arranged the first successful commercial bioscope show. just after six months of this event, a representative of the lumiere brothers held a demonstration of the bioscope show in watson hotel of bombay on 7 july 1896. bioscopes became familiar in calcutta towards the end of that year. the weekly dhaka prakash published a news on the first bioscope show in dhaka held on 17 april 1898 in crown theatre (now extinct) at patuatuli of dhaka sadarghat area. the show was organised by the bedford bioscope company .
hira lal sen (1866 - 1917) of bogjuri village in manikganj district formed the first bioscope company in calcutta in 1898 and named it the royal bioscope company. hira lal was also the producer of the first film of undivided india. he filmed episodes from dramas like sita ram, ali baba, dol lila, bhramar, and hariraj budha and showed them in february 1901 at the classic theatre of calcutta. he also produced documentary films, advertisement pictures and newsreels .
the first complete feature film (silent) of the sub - continent, raja harish chandra, was released in 1913. its director was dadabhai falke. in calcutta the madan theatre company began to produce the first bangla silent movie bilwa mangal in 1916. it was released on 8 november 1919. though jatish banerjee (rustamji dutiwalla, according to many) was the director of this film, the famous director - producer of a later period, priya nath ganguli, son of the manager of the dhaka nawab estate, was the key person behind the screen. in 1921, dhirendra nath ganguli, the deputy collector of barisal, produced a film in calcutta named bilat ferat (the man who returned from england) and himself acted in the film .
in 1927 - 28, a group of young men of the nawab family of dhaka took the initiative to produce films. they produced sukumari, a silent movie of four reels. the film was directed by ambuj prasanna gupta, a prominent drama worker and an instructor in physical education of jagannath college. in the film, khaja nasrullah played the role of the hero and syed abdus sobhan acted as the heroine .
after the success of sukumari, the young men of the nawab family set up dhaka east bengal cinematograph company and produced a full - length silent movie titled the last kiss directed by ambuj gupta. khaja azad did the camera work. khaja ajmal, khaja adil, khaja akmol, khaja shahed, khaja nasrullah and shailen roy alias tona babu acted in different roles in the film. the actresses were lolita alias buri (heroine), charu bala, deba bala alias devi and harimati. the first three of these actresses were picked up from brothels. the director himself composed the bangla and english subtitles of the film and andalib shadani of the university of dhaka composed the urdu subtitles. in 1931, the last kiss was released in mukul (now azad) cinema hall. distinguished historian dr ramesh chandra majumdar, professor of dhaka university, inaugurated the premier show of the film .
after 1947, when dhaka became a new centre of cultural activities and many persons and institutions tried to produce, and distribute films and setup studios. the government of pakistan asked nazir ahmed, a radio personality, to produce a documentary film. accordingly, he produced in our midst, the first documentary film made in east pakistan, in collaboration with the experts of calcutta .
on 3 april 1957, the east pakistan film development corporation (epfdc) was set up with the passage of a bill in the east pakistan provincial legislative assembly. the establishment of fdc laid the foundation of the film industry in the province. after the facilities of fdc were set up, films have been released regularly every year since 1959. before this date, cinema halls of the province used to show only films imported from india, west pakistan, usa, united kingdom, russia, italy and other countries. following the establishment of the fdc, some more studios like, popular studio (pagla), bari studio (tejturi bazar), and bengal studio (tikatuli) were set up .
different streams have been noticed in the history of films of bangladesh. the films produced in the 1950s and early 1960s reflect a conception of a beautiful and pure life. later, producers began to make films in urdu or films based on folk tales for commercial reasons. chanda, produced in urdu by ehtesham and rupban based on folklore and produced by salahuddin, represent those two distinct streams .
the history based nawab sirajuddowla (1967) of khan ataur rahman and mass movement based jiban thekey neya (1970) of zahir raihan were produced during a period when east pakistan was in a politically volatile situation. the war of liberation inspired producers to make films of a new type. zahir raihan produced the first film of the new series. during the liberation war, he made and produced stop genocide and some short films. alamgir kabir produced a short film titled liberation fighters. after the independence, chashi nazrul islam made the first full - length film ora egaro jan in 1972 on the liberation war .
films of the early 1970s contained scenes of fighting, suspense, cheap romance and sex, as well as dances and songs, and farcical humour. many local films imitated ideas and episodes from foreign films, all with commercial purposes. the trend continued till 1990s, when the film industry started facing competition from movies offered by satellite tv channels .
organisations of film industries in bangladesh include private sector institutions like the chalachitra sangsad created in 1963, and the dhaka film institute (1969), and public sector establishments such as the bangladesh film institute (1978), the film archive (1978), the national film awards and grant fund (1975) .
present situation although the film industry of the country is now producing more films per year than it did in the past, there has been little qualitative improvement. the country produced only one film in 1956. in the 1960s, the number of films released per year averaged 20, which rose to 90 in the 1990s. the condition of the industry in the country, however, is far from satisfactory. use of vcr and vcd and increased access to satellite tv channels, home screening, and computer cds are making films available at home. people, especially educated ones, now avoid going to cinema halls. to draw general public to cinema halls, many film producers are now making films with outrageous stories and scenes of violence, sexuality, and tomfoolery. films with good plots and artistic excellence suitable for export to foreign market have become very rare .
the cost of producing films has increased manifold at present. due to technical reasons, black and white films are not produced now. the money required in making an average quality colour film of 14 thousand feet is about tk 6. 5 million. nevertheless, viewing film is still the most accessible and a cheap form of recreation for many .
remarkable commercial films are chanda (1962) and chandni (1991) of ehtesham, rupban (1995) of salahuddin, mala (1965) of mostafiz, sat bhai champa (1968) of dilip shom, arun barun kiran mala (1968) of khan ataur rahman, mlian (1964) of rahman, abujh man (1972) and maina - mati (1969) of kazi jahir, eto tuku asha (1969) of mita, rang baj (1973) of jahirul huq, challenge (1983) of aj mintu, keyamat thekey keyamat (1992) of sohanur rahman sohan, beder meye josna (1989) of tozammel huq bakul, dost - dushman (1977) of dewan nazrul, omar sharif (1980) of delwar jahan jhantu, sawdagar (1981) of f kabir chowdhury, veja chokh (1987) of shibli sadiq, tomakey chai (1996) and nayan mani (1998) of matin rahman, gunahgar (1978) of sohel rana, bishwa premik (1996) of shahidul islam khokon, sagarika (1998) of badal khondoker and ranga bou (1998) of mohammad hossain .
noted film personalities famous director producers of feature films during the pre - independence period include abdul jabbar khan, fateh lohani, ehtesham, salahuddin, mahiuddin, zahir raihan, khan ataur rahman, baby islam, sadeque khan, subhas dutta, and kamal ahmed. some of them produced excellent films after the independence also. other leading producers and directors were alamgir kabir, amjad hossain, chashi nazrul islam, abdus samad, sheikh niamat ali, badal rahman, shibli sadiq, kazi hayat, matin rahman and morshedul islam. famous actors and actresses include fateh lohani, khan ataur rahman, purnima sen, sumita, inam ahmad, kazi khaleque, binoy biswas, narayan chakravarty, mehfuz, anwar hossain, saifuddin, rahman, sabnam, rosy, sujata, ajim, razzaque, kabari, shaokat akbar, anwara, shabana, suchanda, babita, rozina, khalil, ashish kumar loha and sucharita .
film awards a good number of feature films have been awarded prizes at home and abroad for creativity, aesthetic form and content, and for screenplays that reflect the realities of life and society. jago hua savera (urdu) was the first feature film to receive international award. directed by aj kardar and based on life of the fishermen, this film got the second prize in the moscow international film festival in 1959. in different competitions, the film received 11 awards in all. the film was shown in homer theatre and film institute of london, flaherty foundation of usa, and in the seminar of south california university in 1959. in the same year, the film was sent on invitation to participate in the oscar competition in the foreign language department. tanha another leading feature film directed by baby islam was awarded in beirut film festival in 1962. in 1965, sutarang directed by subhas dutta received the second prize in the asian film festival held at frankfurt .
in 1967, ayna o abashista of subhash dutta received a prize in the moscow film festival. in 1968, abirbhab of subhash dutta got the prize of the queen of combodia in a film festival held at phnom penh. in the international film festival held in moscow in 1979, dumurer phul of subhash dutta got special award in the children' s section. in 1980, surya dighal badi directed by mahiuddin shaker and sheikh niamat ali got the third prize in the 29th international film festival held at mannheim of germany. the catholic and the protestant jury committee also rewarded the picture for its human appeal. the federation of international films associations also awarded a prize to surya dighal badi. in 1986, dahan directed by sheikh niamat ali got an award in the karlovy vary film festival .
chitrakash, a weekly newspaper of dhaka, first introduced film awards in east pakistan in 1959. the government of pakistan introduced the president' s medal in 1960. in that year asia directed by fateh lohani received the president award as the best film. the award was later discontinued. the pakistan film festival was held at dhaka in august 1965. prizes awarded in the festival were for best production, direction, story, screenplay, dialogue, music, photography, acting, editing and composition of songs. that year kacher deyal, written, produced and directed by zahir raihan, was awarded as the best film. the film was also given award for best dialogue (zahir raihan), editing (enamul huq), sound recording (m a jahur), music direction (khan ataur rahman), acting in the main female role (sumita) and also in a special female role (asia ali). others given awards were khan ataur rahman (for composing music in surya snan), salahuddin (for screenplay of surya snan), syed hasan imam (actor in anek diner chena), subhash dutta (side role in talash and milan), rahman (certificate of honour for good acting in milan) .
the government of bangladesh introduced the annual national film awards in 1975, which include cash money, certificate of appreciation, and a trophy. at the beginning, prizes were awarded in 19 categories, but their number was raised to 21 categories in 1992. the categories included the best film of the year, direction, story, screenplay, dialogue, song, best actor and actress in the main role, best actor and actress in the side role, music director, singer (male and female), camera work (black and white and colour), editing, sound recording, art direction and child artist. an award was also given to the best short film of the year .
bangladesh film producers association introduced film awards in 1991. moreover, other associations and non - government organisations have also introduced film awards and are giving prizes in different categories. [ anupam hayat ]
this page was last modified on 13 october 2014, at 12: 20 .
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. this film was awarded with 6 different categories including best film, best director, best actor, best supporting actor, best supporting actress, best art director .
the music of this film was directed by satya saha and lyrics were penned by moniruzzaman monir and gazi mazharul anwar. abdul jabbar, sabina yasmin, syed abdul hadi, khondoker faruque ahmed and mohammad ali siddique sang in this film .
this page was last edited on 17 december 2017, at 21: 53 .
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pulin came from a middle class bengali hindu family. though they held landed property they were mostly service holders. his father was an advocate at the sub - divisional court in madaripur. one of his uncles was a deputy magistrate while another was munsif. pulin was born to naba kumar das in the village of lonesingh, in the district of shariatpur in the year 1877. [ 1 ]
in september, 1906, bipin chandra pal and pramatha nath mitra took a tour of the newly created province of eastern bengal and assam. [ 2 ] the latter, while delivering his speech, asked them to come forward who were willing to sacrifice their lives for their country and pulin had stepped forward. [ 2 ] subsequently, he was nominated to organize the dhaka chapter of the anushilan samiti. in october, [ 3 ] pulin founded the dhaka chapter with 80 young men .
pulin was a remarkable organizer and the samiti soon had over 500 branches in the province .
pulin founded the national school in dhaka. it was basically built as a training ground for raising a revolutionary force. in the beginning the students were trained with lathis and wooden swords. afterwards they were groomed with daggers and finally with pistols and revolvers .
pulin masterminded the plot to eliminate basil copleston allen, the erstwhile district magistrate of dhaka. on 23 december 1907, when mr. allen was on his way back to england, he was shot through his body at the goalundo railway station but he narrowly escaped with his life. [ 4 ] a few days after the incident a gang of around 400 muslim rioters attacked pulin at his residence chanting anti - hindu slogans. he staved off the rioters bravely with barely a handful of his associates .
in early 1908, pulin organized the sensational barrah dacoity. the audacious dacoity was committed in broad daylight by a group of revolutionaries at the residence of the zamindar of barrah, under the nawabganj police station in the district of dhaka. the fund was used for buying arms and ammunition .
in 1908 he was arrested along with bhupesh chandra nag, shyam sundar chakravarti, krishna kumar mitra, subodh mallick and ashwini dutta and interred in montgomery jail. after his release from jail in 1910, he began to rejuvenate the revolutionary activities. around this time the dhaka group began to operate independently of the kolkata group. after the demise of pramatha nath mitra, the two bodies separated .
in july, 1910, pulin was arrested again along with 46 other revolutionaries on charges of sedition. later another 44 revolutionaries were arrested. this came to be known as the dhaka conspiracy case. after the trial pulin was awarded lifelong imprisonment. he was transferred to the cellular jail where he found himself in the company of revolutionaries like hem chandra das, barindra kumar ghosh and vinayak savarkar .
after the war pulin' s term was reduced and he was released from jail in 1918 but kept in house arrest for another year. in 1919, when he was totally released, he once again tried to revive the activities of the samiti. the organization had been banned and its members were scattered here and there, and there was only a lukewarm response. at the nagpur congress and later at kolkata, the majority of the surviving revolutionaries accepted in principle the leadership of mohandas gandhi and decided to support the non - cooperation movement. pulin, however, remained a steadfast and declined to comprise with ideals and refused to accept the leadership of mohandas gandhi. as the samiti was then a banned outfit, he founded the bharat sevak sangh in 1920 to carry on the revolutionary activities. under the patronage of barrister s. r. das he publishes two periodicals hak katha and swaraj through which he began to spread the revolutionary ideas. he began to criticize the congress policy of non - violence. the samiti continued to exist in secrecy, however, his differences with the samiti began to surface. he severed all his links with the samiti, dissolved bharat sevak sangha and retired from active politics in 1922 .
in 1928, he founded the bangiya byayam samiti, at mechhuabazar in kolkata. it was an institute of physical culture and effectively an akhada where he began to train young men in stick wielding, swordplay and wrestling .
he came under the influence of a yogi and the feeling of non - attachment grew in him. he married & had three sons & two daughters. after that time till date bangiya byayam samiti was successfully run by his second son sourendra till date 2005. presently his grand sons biswaranjan & manishranjan are seeking professional & governmental help to rebuild the ideals of pulinbihari. at that time swami satyananda giri and his friends used to frequent his place and hold satsangs at a nearby cottage. [ 5 ]
the university of calcutta has a special endowment medal named after him, called the pulin bihari das smriti padak .
sengupta, s. (ed .) (1988). samsad bangali charitabhidhan (in bengali), calcutta: sahitya samsad, pp. 288
sekhar bandyopadhyay. from plassey to partition: a history of modern india. orient blackswan. p. 260. isbn 81 - 250 - 2596 - 0 .
yoga niketan. a collection of biographies of 4 kriya yoga gurus by swami satyananda giri. iuniverse .
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looking to workout but don' t want to join the mundane - ness of a gym? take on a martial arts course and connect yourself to some of our ancient forms of physical fitness. scroll down to see some of the martial art forms that are taken seriously and taught across schools in india .
often known as the ‘mother of all martial arts’, this 3000 - year old art form originating from kerala, draws inspiration from the raw power and sinuous strength of majestic animal forms - the lion, tiger, elephant, wild boar, snake and crocodile. it has lately emerged in a new avatar as a source of inspiration for self - expression in dance forms - both traditional and contemporary, in theater, in fitness and in movies too !
a traditional stick - martial art form from south india, the word ‘silam’ (in tamil) stands for hills and ‘mambam’ (the marhat word for bamboo) stands for bamboo from the hills; these sticks are usually found on the hills in that particular region. the salient parts of it are the very well - structured techniques, deeply articulated to each other, a lot of footwork, the fluency of play, and some fighting strategies .
originating from the state of punjab, gatka was developed as a self - defense mechanism by the sikhs. it was a battle technique created by the sikh warriors during the martial period of the great sikh gurus. it is a style of stick fighting between two or more practitioners, with wooden sticks (called soti) intended to simulate swords. in gatka, the
stick
and
farri
are also used to substitute the sword and shield respectively for practice and safety purposes. gatka is a unique art form to defend and display fighting skills and exercise self - control, which is the best part of this time - tested martial art .
musti - yuddha is an unarmed martial art form from varanasi (benares) in north india. similar to southeast asian kickboxing styles, it makes use of punches, kicks, knees and elbow strikes and head buttes, although punches tend to dominate. matches were once held regularly in varanasi but were eventually banned because of the fights which often broke out among the boxers supporters. illegal bouts continued but became rare by the 1960s .
this is a traditional martial art from manipur. the art of sword and spear, this martial art form integrates various external weapons - the sword, spear, dagger, etc. - with the internal practice of physical control through soft movements coordinated with the rhythms of breathing. it is part of the great heroic tradition of manipur. the proper name for thang - ta is huyen lallong (
method of safe - guarding
). the heart of thang - ta is the sword. there are literally hundreds of different sword drills for training the basic strokes and stepping patterns .
originally from maharashtra, this is a weapon - based martial art form. it owes its development to the geographic conditions of the state (hills, caves and valleys). a very ancient form of art, it saw its emergence during the maratha dynasty. over the years as firearms got introduced, it started to lose its prominence. but the british often said, a few maratha soldiers always preferred to carry their sword rather than the guns .
kusti is india' s traditional wrestling art form, on soil. this ancient sport used to hold great importance in indian societies of the past; its popularity over the recent years however, has dwindled tremendously. at present, kusti is only practiced in a handful places around india and kolhapur is one city where kusti seems to be thriving! the sport is as popular as ever in the villages that surround the city. when matches are held, as many as 20, 000 spectators attend. it is common for rural families to send boys to kolhapur' s thalims or akharas - traditional wrestling schools. there, the young men dedicate themselves entirely to the sport .
jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
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i dont think its fair to directly compare wards to what the other priest class' s get. we get a slow, and that flat out lowers the number of chances a mob has to hit its target period. there is no better way to lower a mobs dps than to lowers its attack speed. its a proactive way to heal... .: smileyhappy: its pretty powerful, and should be taken into account when comparing it to what other priest class' s get. message edited by karmik23 on 12 - 17 - 2004 05: 42 pm
karmik23 wrote: i dont think its fair to directly compare wards to what the other priest class' s get. we get a slow, and that flat out lowers the number of chances a mob has to hit its target period. there is no better way to lower a mobs dps than to lowers its attack speed. its a proactive way to heal... .: smileyhappy: its pretty powerful, and should be taken into account when comparing it to what other priest class' s get. message edited by karmik23 on 12 - 17 - 2004 05: 42 pm
well, no it shouldn' t. not entirely anyway. the only way a heal will fail is if it fizzles or is interrupted. if the spell casts, you will heal your target for the amount the spell allows .
when you start considering the combination of slow + ward, you are in pretty subjective territory. do i believe that slow + ward is comparable, or even superior to healing? sure do. but, and it' s important to note this, you have no guarantee that your slow will not be resisted. now, when you look at the guarantee that ac will mitigate damage, and the guarantee that a heal spell will heal for xx amount of damage when it is cast, how exactly does slow + ward compare? if you are unable to get your first slow to stick to the mob you are fighting, you are already behind the game. sometimes, i have cast up to 3 slows, all resisted .
secondly, up until level 35, all of our slow spells are single target only. which is fine in many many of the 1 - 2 mob encounters we find in our lower levels. but i have been spending a fair amount of time in re lately, and when we fight the 4 - bajillion mob encounters (linked, or accidental
) i can tell you it' s pretty unfeasible to try and debuff the mobs. you' re better off just spamming ward. which, i will point out, works ok for the most part. however, given the fact that numerically our wards seem to protect for = or less damage than other heal spells, which get to factor in the guarantee of ac mitigation, i do feel like we don' t get a comparable ability to heal .
i know some mystics have said that they feel they do fine keeping their party alive. in truth, i feel like i do an ok job myself. but the numbers others have crunched don' t play out to be that fair between the 3 classes. i would be fine if they didn' t want to give wards ac mitigation... if they did something to address the discrepancy. maybe move down the aoe slow spell to level 30. or perhaps give us a timed spell we can cast on our tank that channels a debuff through the ward, making a debuff (slow, lower str, etc) proc through the ward every time it is struck. as it stands now though, i don' t feel good about every time our party wants to fight hordes of mobs and i am a sole healer (and let' s not turn this into a 1 vs. 2 healer group debate right now, that' s a different issue: smileywink :) .
ok, so that post makes no sense... clerics can add more hp than a shaman can. . so more hp is the clerics equal to slows as a
proactive heal
with wards not taking into account ac it makes them effectively more and more useless the better your group is. a ward shouldn' t be as effective for a caster as it is a tank. a cleric' s reactive heal makes sense, it lasts longer on a tank than a caster because the tank takes less damage per hit. me at 1800 ac sometimes gets the ward' s complete damage taken off in 1 hit... . so i that case i might as well go for very light armor with power / hp stats than using medium armor with alot more ac. titus
i have to totally disagree with the above post infact i don' t believe the mystic class needs twinking at all. i' v alreay done every part of runneye including the two instances that comprise of runnyeye b. the mystic is far mor effective healer then the druid and shouldn' t be more effective then a cleric. the only thing i would do to our class is increase our debuffs if anything. the wards nulifying the ac on the target is fine becaue ur giving that toon an extra xx amount of hit points in essence. well i also miss haste but oh well this is a new game and needs new tactics adjust your playing to best fit the game not complain about what this and that do .
karmik23 wrote: its pretty powerful, and should be taken into account when comparing it to what other priest class' s get .
i might consider it powerful if slow affected skill attacks, but it doesn' t. and skill usage makes up a very large portion of npc dps .
as an example, here' s the result of me fighting an even con l25 crab. the only spell i used was heal .
here' s a log of me against another l25 crab, where i maintained keening haze adept i on the crab .
as you can see, the' normal' attack rate went from 3. 75 to 4. 35 seconds per attack, a whopping 16% slow. the special attack rate (wild swing, crush, etc) decreased from 9. 23 to 8. 39 seconds per attack .
i don' t want to hear any speeches about statistical samples, etc. it' s clear that' special' attacks aren' t slowed, and make up a large portion of npc damage. it' s no wonder i feel like my adept 1 keening haze is absolutely worthless. i won' t even get into discussing the boredom involved with spamming wards .
runneye is nice and all but that doesn' t have jack to do with effectiveness of wards. balance is the key here. i' ve not notice a difference in instant heals between myself and a cleric. . and there shouldn' t be sense the priests should be balanced. lets take for example a reactive heal vs. ward these should be balanced so lets use 500 as a nice round number (ward being 500hp worth and reactive heal being 500hp worth) you would think this is balanced... aye to the naked eye it is... . but, lets take a. . 35 ^ ^ mob... it does a barage for 500 hp. this hits the tank (2200ac) for lets say 350. . the reactive heal then heals for 350 and is still there for another 150 hp of damage. . so lets say the mob has to do 250 raw damage to equal that 150 damage with 2200 ac. so this example tells us that the reactive heal of 500 wears off at 750 raw damage on a 2200ac tank lets take that same mob with same damage with a shaman casts ward on tank... mob does 500 raw damage. . ward absorbs all 500 damage and disappears then mob hits for 250 raw damage. . now that the ward is off the tank mitigates damage to 150... with this you see that the balance is off because at the end of the ward / reactive heal cleric has nothing to do but recast reactive heal shammy has to heal tank for 150 hp then re - ward this is about as useful as the grp rez and aqueous spirit spells. titus
tarllac wrote: the wards nulifying the ac on the target is fine becaue ur giving that toon an extra xx amount of hit points in essence. well i also miss haste but oh well this is a new game and needs new tactics adjust your playing to best fit the game not complain about what this and that do.
lathial ( bengali : লাঠিয়াল ) is a bangladeshi film directed by narayan ghosh mita . the film is the first recipient of national film awards . this film was awarded with 6 different categories including best film , best director , best actor , best supporting actor , best supporting actress , best art director . 
lathial (bengali: লাঠিয়াল) is a bangladeshi film directed by narayan ghosh mita. the film is the first recipient of national film awards. this film was awarded with 6 different categories including best film, best director, best actor, best supporting actor, best supporting actress, best art director.
lathial (bengali: লাঠিয়াল) is a bangladeshi film directed by narayan ghosh mita. the film is the first recipient of national film awards. this film was awarded with 6 different categories including best film, best director, best actor, best supporting actor, best supporting actress, best art director.