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Computer animation
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An example of computer animation which is produced in the "motion capture" technique
Computer animation is the process used for generating animated images. The more general term computer-generated imagery (CGI) encompasses both static scenes and dynamic images, while computer animation only refers to the moving images. Modern computer animation usually uses 3D computer graphics, although 2D computer graphics are still used for stylistic, low bandwidth, and faster real-time renderings. Sometimes, the target of the animation is the computer itself, but sometimes film as well.
Computer animation is essentially a digital successor to the stop motion techniques using 3D models, and traditional animation techniques using frame-by-frame animation of 2D illustrations. Computer-generated animations are more controllable than other more physically based processes, constructing miniatures for effects shots or hiring extras for crowd scenes, and because it allows the creation of images that would not be feasible using any other technology. It can also allow a single graphic artist to produce such content without the use of actors, expensive set pieces, or props. To create the illusion of movement, an image is displayed on the computer monitor and repeatedly replaced by a new image that is similar to it, but advanced slightly in time (usually at a rate of 24, 25 or 30 frames/second). This technique is identical to how the illusion of movement is achieved with television and motion pictures.
For 3D animations, objects (models) are built on the computer monitor (modeled) and 3D figures are rigged with a virtual skeleton. For 2D figure animations, separate objects (illustrations) and separate transparent layers are used with or without that virtual skeleton. Then the limbs, eyes, mouth, clothes, etc. of the figure are moved by the animator on key frames. The differences in appearance between key frames are automatically calculated by the computer in a process known as tweening or morphing. Finally, the animation is rendered.[1]
For 3D animations, all frames must be rendered after the modeling is complete. For 2D vector animations, the rendering process is the key frame illustration process, while tweened frames are rendered as needed. For pre-recorded presentations, the rendered frames are transferred to a different format or medium, like digital video. The frames may also be rendered in real time as they are presented to the end-user audience. Low bandwidth animations transmitted via the internet (e.g. Adobe Flash, X3D) often use software on the end-users computer to render in real time as an alternative to streaming or pre-loaded high bandwidth animations.
Contents
[hide]
1 Explanation
2 History
3 Animation methods
4 Modeling
5 Equipment
6 Facial animation
7 Realism
8 Films
9 Animation studios
10 Web animations
11 Detailed examples and pseudocode
12 Computer-assisted vs. computer-generated
13 See also
14 References
14.1 Citations
14.2 Works cited
15 External links
Explanation[edit]
To trick the eye and the brain into thinking they are seeing a smoothly moving object, the pictures should be drawn at around 12 frames per second or faster.[2] (A frame is one complete image.) With rates above 75-120 frames per second, no improvement in realism or smoothness is perceivable due to the way the eye and the brain both process images. At rates below 12 frames per second, most people can detect jerkiness associated with the drawing of new images that detracts from the illusion of realistic movement.[3] Conventional hand-drawn cartoon animation often uses 15 frames per second in order to save on the number of drawings needed, but this is usually accepted because of the stylized nature of cartoons. To produce more realistic imagery, computer animation demands higher frame rates.
Films seen in theaters in the United States run at 24 frames per second, which is sufficient to create the illusion of continuous movement. For high resolution, adapters are used.
History[edit]
Main article: History of computer animation
See also: Timeline of computer animation in film and television
Early digital computer animation was developed at Bell Telephone Laboratories in the 1960s by Edward E. Zajac, Frank W. Sinden, Kenneth C. Knowlton, and A. Michael Noll.[4] Other digital animation was also practiced at the Lawrence Livermore National Laboratory.[5]
In 1967, a computer animation named "Hummingbird" was created by Charles Csuri and James Shaffer [6].
In 1968, a computer animation was created, depicting a cat moving around [7].
In 1971, a computer animation called "Metadata" was created, showing various shapes [8].
An early step in the history of computer animation was the sequel to the 1973 film Westworld, a science-fiction film about a society in which robots live and work among humans.[9] The sequel, Futureworld (1976), used the 3D wire-frame imagery, which featured a computer-animated hand and face both created by University of Utah graduates Edwin Catmull and Fred Parke.[10] This imagery originally appeared in their student film A Computer Animated Hand, which they completed in 1972.[11][12]
Developments in CGI technologies are reported each year at SIGGRAPH,[13] an annual conference on computer graphics and interactive techniques that is attended by thousands of computer professionals each year.[14] Developers of computer games and 3D video cards strive to achieve the same visual quality on personal computers in real-time as is possible for CGI films and animation. With the rapid advancement of real-time rendering quality, artists began to use game engines to render non-interactive movies, which led to the art form Machinima.
The very first full length computer animated television series was ReBoot,[15] which debuted in September 1994; the series followed the adventures of characters who lived inside a computer.[16] The first feature-length computer animated film was Toy Story (1995), which was made by Pixar.[17][18][19] It followed an adventure centered around toys and their owners. This groundbreaking film was also the first of many fully computer-animated movies.[18]
Animation methods[edit]
In this .gif of a 2D Flash animation, each 'stick' of the figure is keyframed over time to create motion.
In most 3D computer animation systems, an animator creates a simplified representation of a character's anatomy, which is analogous to a skeleton or stick figure.[20] The position of each segment of the skeletal model is defined by animation variables, or Avars for short. In human and animal characters, many parts of the skeletal model correspond to the actual bones, but skeletal animation is also used to animate other things, with facial features (though other methods for facial animation exist).[21] The character "Woody" in Toy Story, for example, uses 700 Avars (100 in the face alone). The computer doesn't usually render the skeletal model directly (it is invisible), but it does use the skeletal model to compute the exact position and orientation of that certain character, which is eventually rendered into an image. Thus by changing the values of Avars over time, the animator creates motion by making the character move from frame to frame.
There are several methods for generating the Avar values to obtain realistic motion. Traditionally, animators manipulate the Avars directly.[22] Rather than set Avars for every frame, they usually set Avars at strategic points (frames) in time and let the computer interpolate or tween between them in a process called keyframing. Keyframing puts control in the hands of the animator and has roots in hand-drawn traditional animation.[23]
In contrast, a newer method called motion capture makes use of live action footage.[24] When computer animation is driven by motion capture, a real performer acts out the scene as if they were the character to be animated.[25] His/her motion is recorded to a computer using video cameras and markers and that performance is then applied to the animated character.[26]
Each method has its advantages and as of 2007, games and films are using either or both of these methods in productions. Keyframe animation can produce motions that would be difficult or impossible to act out, while motion capture can reproduce the subtleties of a particular actor.[27] For example, in the 2006 film Pirates of the Caribbean: Dead Man's Chest, Bill Nighy provided the performance for the character Davy Jones. Even though Nighy doesn't appear in the movie himself, the movie benefited from his performance by recording the nuances of his body language, posture, facial expressions, etc. Thus motion capture is appropriate in situations where believable, realistic behavior and action is required, but the types of characters required exceed what can be done throughout the conventional costuming.
Modeling[edit]
3D computer animation combines 3D models of objects and programmed or hand "keyframed" movement. These models are constructed out of geometrical vertices, faces, and edges in a 3D coordinate system. Objects are sculpted much like real clay or plaster, working from general forms to specific details with various sculpting tools. Unless a 3D model is intended to be a solid color, it must be painted with "textures" for realism. A bone/joint animation system is set up to deform the CGI model (e.g., to make a humanoid model walk). In a process known as rigging, the virtual marionette is given various controllers and handles for controlling movement.[28] Animation data can be created using motion capture, or keyframing by a human animator, or a combination of the two.[29]
3D models rigged for animation may contain thousands of control points — for example, "Woody" from Toy Story uses 700 specialized animation controllers. Rhythm and Hues Studios labored for two years to create Aslan in the movie The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, which had about 1,851 controllers (742 in the face alone). In the 2004 film The Day After Tomorrow, designers had to design forces of extreme weather with the help of video references and accurate meteorological facts. For the 2005 remake of King Kong, actor Andy Serkis was used to help designers pinpoint the gorilla's prime location in the shots and used his expressions to model "human" characteristics onto the creature. Serkis had earlier provided the voice and performance for Gollum in J. R. R. Tolkien's The Lord of the Rings trilogy.
Equipment[edit]
A ray-traced 3-D model of a jack inside a cube, and the jack alone below.
Computer animation can be created with a computer and an animation software. Some impressive animation can be achieved even with basic programs; however, the rendering can take a lot of time on an ordinary home computer.[30] Professional animators of movies, television and video games could make photorealistic animation with high detail. This level of quality for movie animation would take hundreds of years to create on a home computer. Instead, many powerful workstation computers are used.[31] Graphics workstation computers use two to four processors, and they are a lot more powerful than an actual home computer and are specialized for rendering. A large number of workstations (known as a "render farm") are networked together to effectively act as a giant computer.[32] The result is a computer-animated movie that can be completed in about one to five years (however, this process is not composed solely of rendering). A workstation typically costs $2,000-16,000 with the more expensive stations being able to render much faster due to the more technologically-advanced hardware that they contain. Professionals also use digital movie cameras, motion/performance capture, bluescreens, film editing software, props, and other tools used for movie animation.
Facial animation[edit]
Main article: Computer facial animation
The realistic modeling of human facial features is both one of the most challenging and sought after elements in computer-generated imagery. Computer facial animation is a highly complex field where models typically include a very large number of animation variables.[33] Historically speaking, the first SIGGRAPH tutorials on State of the art in Facial Animation in 1989 and 1990 proved to be a turning point in the field by bringing together and consolidating multiple research elements and sparked interest among a number of researchers.[34]
The Facial Action Coding System (with 46 "action units", "lip bite" or "squint"), which had been developed in 1976, became a popular basis for many systems.[35] As early as 2001, MPEG-4 included 68 Face Animation Parameters (FAPs) for lips, jaws, etc., and the field has made significant progress since then and the use of facial microexpression has increased.[35][36]
In some cases, an affective space, the PAD emotional state model, can be used to assign specific emotions to the faces of avatars.[37] In this approach, the PAD model is used as a high level emotional space and the lower level space is the MPEG-4 Facial Animation Parameters (FAP). A mid-level Partial Expression Parameters (PEP) space is then used to in a two-level structure – the PAD-PEP mapping and the PEP-FAP translation model.[38]
Realism[edit]
Realism in computer animation can mean making each frame look photorealistic, in the sense that the scene is rendered to resemble a photograph or make the characters' animation believable and lifelike.[39] Computer animation can also be realistic with or without the photorealistic rendering.[40]
One of the greatest challenges in computer animation has been creating human characters that look and move with the highest degree of realism. Part of the difficulty in making pleasing, realistic human characters is the uncanny valley, the concept where the human audience (up to a point) tends to have an increasingly negative, emotional response as a human replica looks and acts more and more human. Films that have attempted photorealistic human characters, such as The Polar Express,[41][42][43] Beowulf,[44] and A Christmas Carol[45][46] have been criticized as "creepy" and "disconcerting".
The goal of computer animation is not always to emulate live action as closely as possible, so many animated films instead feature characters who are anthropomorphic animals, fantasy creatures and characters, superheroes, or otherwise have non-realistic, cartoon-like proportions.[47] Computer animation can also be tailored to mimic or substitute for other kinds of animation, traditional stop-motion animation (as shown in Flushed Away or The Lego Movie). Some of the long-standing basic principles of animation, like squash & stretch, call for movement that is not strictly realistic, and such principles still see widespread application in computer animation.[48]
Films[edit]
Play media
CGI film made using Machinima
CGI short films have been produced as independent animation since 1976.[49] An early example of an animated feature film to incorporate CGI animation was the 1983 Japanese anime film Golgo 13: The Professional.[50] The popularity of computer animation (especially in the field of special effects) skyrocketed during the modern era of U.S. animation.[51] The first completely computer-animated movie was Toy Story (1995), but VeggieTales is the first American fully 3D computer animated series sold directly (made in 1993); its success inspired other animation series, such as ReBoot in 1994.
Animation studios[edit]
Main article: List of animation studios
The examples and perspective in this section deal primarily with the United States and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (May 2018) (Learn how and when to remove this template message)
Some notable producers of computer-animated feature films include:
Animal Logic – Films include Happy Feet (2006), Walking with Dinosaurs (2013) and The Lego Movie (2014)
Blue Sky Studios – Films include Ice Age (2002), Rio (2011), The Peanuts Movie (2015)
DreamWorks Animation – Films include Shrek (2001), Kung Fu Panda (2008), How to Train Your Dragon (2010)
Illumination Entertainment — Films include Despicable Me (2010), Minions (2015), The Secret Life of Pets (2016), Sing (2016)
Industrial Light & Magic – Films include Rango (2011) and Strange Magic (2015)
Pacific Data Images – Films include Antz (1998), Shrek (2001)
* Pixar Animation Studios – Films include Toy Story (1995), A Bug's Life (1998), Finding Nemo (2003), Cars (2006)

Reel FX Animation Studios – Films include Free Birds (2013) and The Book of Life (2014)
Sony Pictures Animation – Films include Cloudy with a Chance of Meatballs (2009), The Smurfs (2011), Hotel Transylvania (2012)
Sony Pictures Imageworks – Films include The Angry Birds Movie (2016)
Walt Disney Animation Studios – Films include Tangled (2010), Wreck-It Ralph (2012), Frozen (2013)
Warner Animation Group – Films include The Lego Movie (2014), and Storks (2016)
Triggerfish Animation Studios – Films include Zambezia (film) (2013), Khumba (2014)
Web animations[edit]
The popularity of websites that allow members to upload their own movies for others to view has created a growing community of amateur computer animators.[52] With utilities and programs often included free with modern operating systems, many users can make their own animated movies and shorts. Several free and open source animation software applications exist as well. The ease at which these animations can be distributed has attracted professional animation talent also. Companies such as PowToon and GoAnimate attempt to bridged the gap by giving amateurs access to professional animations as clip art.
The oldest (most backward compatible) web-based animations are in the animated GIF format, which can be uploaded and seen on the web easily.[53] However, the raster graphics format of GIF animations slows the download and frame rate, especially with larger screen sizes. The growing demand for higher quality web-based animations was met by a vector graphics alternative that relied on the use of a plugin. For decades, Flash animations were the most popular format, until the web development community abandoned support for the Flash player plugin. Web browsers on mobile devices and mobile operating systems never fully supported the Flash plugin.
By this time, internet bandwidth and download speeds increased, making raster graphic animations more convenient. Some of the more complex vector graphic animations had a slower frame rate due to complex rendering than some of the raster graphic alternatives. Many of the GIF and Flash animations were already converted to digital video formats, which were compatible with mobile devices and reduced file sizes via video compression technology. However, compatibility was still problematic as some of the popular video formats such as Apple's QuickTime and Microsoft Silverlight required plugins. YouTube, the most popular video viewing website, was also relying on the Flash plugin to deliver digital video in the Flash Video format.
The latest alternatives are HTML5 compatible animations. Technologies such as JavaScript and CSS animations made sequencing the movement of images in HTML5 web pages more convenient. SVG animations offered a vector graphic alternative to the original Flash graphic format, SmartSketch. YouTube offers an HTML5 alternative for digital video. APNG (Animated PNG) offered a raster graphic alternative to animated GIF files that enables multi-level transparency not available in GIFs
See also: Comparison of HTML5 and Flash
Detailed examples and pseudocode[edit]
In 2D computer animation, moving objects are often referred to as "sprites." A sprite is an image that has a location associated with it. The location of the sprite is changed slightly, between each displayed frame, to make the sprite appear to move.[54] The following pseudocode makes a sprite move from left to right:
var int x := 0, y := screenHeight / 2; while x < screenWidth drawBackground() drawSpriteAtXY (x, y) // draw on top of the background x := x + 5 // move to the right

Computer animation uses different techniques to produce animations. Most frequently, sophisticated mathematics is used to manipulate complex three-dimensional polygons, apply "textures", lighting and other effects to the polygons and finally rendering the complete image. A sophisticated graphical user interface may be used to create the animation and arrange its choreography. Another technique called constructive solid geometry defines objects by conducting boolean operations on regular shapes, and has the advantage that animations may be accurately produced at any resolution.
Computer-assisted vs. computer-generated[edit]
To animate means, figuratively, to "give life to". There are two basic methods that animators commonly use to accomplish this.
Computer-assisted animation is usually classed as two-dimensional (2D) animation. Drawings either hand drawn (pencil to paper) or interactively drawn (on the computer) using different assisting appliances and are positioned into specific software packages. Within the software package, the creator places drawings into different key frames which fundamentally create an outline of the most important movements.[55] The computer then fills in the "in-between frames", a process commonly known as Tweening.[56] Computer-assisted animation employs new technologies to produce content faster than is possible with traditional animation, while still retaining the stylistic elements of traditionally drawn characters or objects.[57]
Three examples of films produced using computer-assisted animation are Beauty and the Beast, The Road to El Dorado and Tarzan.
Computer-generated animation is known as three-dimensional (3D) animation. Creators design an object or character with an X, a Y and a Z axis. No pencil-to-paper drawings create the way computer generated animation works. The object or character created will then be taken into a software, key framing and tweening are also carried out in computer generated animation but are also a lot of techniques used that do not relate to traditional animation. Animators can break physical laws by using mathematical algorithms to cheat, mass, force and gravity rulings. Fundamentally, time scale and quality could be said to be a preferred way to produce animation as they are two major things that are enhanced by using computer generated animation. Another positive aspect of CGA is the fact one can create a flock of creatures to act independently when created as a group. An animal's fur can be programmed to wave in the wind and lie flat when it rains instead of programming each strand of hair separately.[57]
A few examples of computer-generated animation movies are Toy Story, Frozen, and Shrek.
See also[edit]
Animation portal
Computer graphics portal
Animation
Animation database
Autodesk
Avar (animation variable)
Computer-generated imagery (CGI)
New York Institute of Technology Computer Graphics Lab
Computer representation of surfaces
Hand-Over
Humanoid animation
List of animation studios
List of computer-animated films
List of computer-animated television series
Medical animation
Morph target animation
Machinima (recording video from games and virtual worlds)
Motion capture
Procedural animation
Ray tracing
Rich Representation Language
Skeletal animation
Timeline of computer animation in film and television
Virtual artifact
Wire-frame model
12 basic principles of animation
References[edit]
Citations[edit]
Jump up ^ Sito 2013, p. 232.
Jump up ^ Masson 1999, p. 148.
Jump up ^ Parent 2012, pp. 100–101, 255.
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Jump up ^ Sito 2013, pp. 97–98.
Jump up ^ Sito 2013, pp. 95–97.
Jump up ^ Sito 2013, p. 188.
Jump up ^ Masson 1999, p. 430.
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^ Jump up to: a b Masson 1999, p. 302.
Jump up ^ "Our Story", Pixar, 1986-2013. Retrieved on 2013-02-15. "The Pixar Timeline, 1979 to Present". Pixar. Archived from the original on 2015-09-05.
Jump up ^ Parent 2012, pp. 193–196.
Jump up ^ Parent 2012, pp. 324–326.
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Jump up ^ Masson 1999, p. 226.
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Jump up ^ Beane 2012, p. 2-15.
Jump up ^ Masson 1999, p. 158.
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Jump up ^ Sito 2013, p. 195.
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Jump up ^ Parke & Waters 2008, p. xi.
^ Jump up to: a b Magnenat Thalmann & Thalmann 2004, p. 122.
Jump up ^ Pereira & Ebrahimi 2002, p. 404.
Jump up ^ Pereira & Ebrahimi 2002, pp. 60–61.
Jump up ^ Paiva, Prada & Picard 2007, pp. 24–33.
Jump up ^ Masson 1999, pp. 160–161.
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Jump up ^ Zacharek, Stephanie (2004-11-10). "The Polar Express". Salon. Retrieved 2015-06-08.
Jump up ^ Herman, Barbara (2013-10-30). "The 10 Scariest Movies and Why They Creep Us Out". Newsweek. Retrieved 2015-06-08.
Jump up ^ Clinton, Paul (2004-11-10). "Review: 'Polar Express' a creepy ride". CNN. Retrieved 2015-06-08.
Jump up ^ Digital Actors in ‘Beowulf’ Are Just Uncanny – New York Times, November 14, 2007
Jump up ^ Neumaier, Joe (November 5, 2009). "Blah, humbug! 'A Christmas Carol's 3-D spin on Dickens well done in parts but lacks spirit". New York Daily News. Retrieved October 10, 2015.
Jump up ^ Williams, Mary Elizabeth (November 5, 2009). "Disney's 'A Christmas Carol': Bah, humbug!". Salon.com. Archived from the original on January 11, 2010. Retrieved October 10, 2015.
Jump up ^ Sito 2013, p. 7.
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Jump up ^ Beck, Jerry (2005). The Animated Movie Guide. Chicago Review Press. p. 216. ISBN 1569762228.
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^ Jump up to: a b Roos, Dave (2013). "How Computer Animation Works". HowStuffWorks. Retrieved 2013-02-15.
Works cited[edit]
Library resources about
Computer animation
Resources in your library
Resources in other libraries
Beane, Andy (2012). 3D Animation Essentials. Indianapolis, Indiana: John Wiley & Sons. ISBN 978-1-118-14748-1.
Kuperberg, Marcia (2002). A Guide to Computer Animation: For TV, Games, Multimedia and Web. Focal Press. ISBN 0-240-51671-0.
Magnenat Thalmann, Nadia; Thalmann, Daniel (2004). Handbook of Virtual Humans. Wiley Publishing. ISBN 0-470-02316-3.
Masson, Terrence (1999). CG 101: A Computer Graphics Industry Reference. Digital Fauxtography Inc. ISBN 0-7357-0046-X.
Means, Sean P. (December 28, 2011). "Pixar founder's Utah-made Hand added to National Film Registry". The Salt Lake Tribune. Retrieved January 8, 2012.
Paiva, Ana; Prada, Rui; Picard, Rosalind W. (2007). "Facial Expression Synthesis using PAD Emotional Parameters for a Chinese Expressive Avatar". Affective computing and intelligent interaction. Springer Science+Business Media. ISBN 3-540-74888-1.
Parent, Rick (2012). Computer Animation: Algorithms and Techniques. Ohio: Elsevier. ISBN 978-0-12-415842-9.
Pereira, Fernando C. N.; Ebrahimi, Touradj (2002). The MPEG-4 Book. New Jersey: IMSC Press. ISBN 0-13-061621-4.
Parke, Frederic I.; Waters, Keith (2008). Computer Facial Animation (2nd ed.). Massachusetts: A.K. Peters, Ltd. ISBN 1-56881-448-8.
Sito, Tom (2013). Moving Innovation: A History of Computer Animation. Massachusetts: MIT Press. ISBN 978-0-262-01909-5.
External links[edit]
Wikimedia Commons has media related to Computer animation.
Galería 3D, Half a century of 3D Computer Animations (1962-2002)
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Red Hot Chilli Pipers
From Wikipedia, the free encyclopedia
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Not to be confused with Red Hot Chili Peppers.
Red Hot Chilli Pipers
Red Hot Chilli Pipers logo
Background information
Origin
Scotland
Genres
Celtic Rock
Years active
2002–present
Labels
REL Records Ltd
Associated acts
Stuart Cassells, The Scott Wood Band, Dougie McCance
Website
www.redhotchillipipers.co.uk
Members
Kevin MacDonald
Willie Armstrong
Deirdre Brennan
Chris Judge
Steven Black
Dougie McCance
Grant Cassidy
Marco Coffolla
Mike Berrich
Tyler Fry
Gregor Kincaid
David Ross
Gary O'Hagen
Paul Jennings
Alan McGeoch
Ben Holloway
Jay Hepburn
Harry Richards
Ian Thomson
Craig Munro
Kyle Howie
Andrew Low
Past members
Scott Wood
Steven Graham
Gregor James McPhie
Nick Hawryliw
Stuart Cassells
Ryan Butler
Kyle Warren
Alex Kosak
Malcolm McEwan
Red Hot Chilli Pipers are an ensemble consisting of pipers, guitarists, keyboards and drummers formed in Scotland in 2002. They entered and won the BBC talent show When Will I Be Famous?[1] in 2007. Their name is a play on the American band the Red Hot Chili Peppers.
In 2004, the group appeared on the main stage at T in the Park with the headline band, the rock group The Darkness. They appeared on BBC Radio 1 on the Greg James show in July 2013[2] and The Radio 1 Breakfast Show with Nick Grimshaw in 2014.[3]
The band currently[when?] has Grant Cassidy – an 8 time world champion snare drummer.
Contents
[hide]
1 History
2 Discography
3 Tours and performances
3.1 When Will I Be Famous
3.2 After TV appearance
4 Musicianship
5 Former members
6 Awards and nominations
6.1 Scottish Live Act of the Year
6.2 BBC's 'When Will I Be Famous'
7 References
8 External links
History[edit]
Since their formation the Red Hot Chilli Pipers have combined guitars, keyboards, drums and their bagpipes to create 'bagrock' sound. The Red Hot Chilli Pipers perform a fusion of traditional pipe tunes and contemporary pieces. Notable covers performed have included "We Will Rock You" by Queen, "Clocks" by Coldplay and "Smoke on the Water" by Deep Purple as well as "Chasing Cars" by Snow Patrol, "Don't Stop Believing" by Journey. Their biggest hit to date is of course the platinum selling and award winning Jazz Badger.
The band has released 6 studio albums as of 2016, of which their first, their 2005 release The Red Hot Chilli Pipers, was the least successful. Their 2007 album Bagrock to the Masses went platinum in Scotland and silver in Great Britain. Their third album and first live album, Blast Live (2008), went triple platinum in Scotland. Their fourth release Music for the Kilted Generation, however, is The Red Hot Chilli Pipers' best International record, reaching Number 2 on the US Amazon Chart.[4] and was only held off of the top spot due to Adele's record-breaking album, 21.
Their album titled Music for the Kilted Generation, is a parody of Music for the Jilted Generation by The Prodigy.
The band signed a contract in December 2012 for a new album to be released in 2013, including tracks from bands like Coldplay and Journey. Breathe was released in July 2013 on CD and iTunes.
The group appears on the soundtrack of How to Train Your Dragon 2.[5]
Discography[edit]
2005 – The Red Hot Chilli Pipers
2007 – Bagrock to the Masses
2008 – Blast Live
2010 – Music for the Kilted Generation
2012 – Braveheart
2013 – Breathe
2014 – Live at the Lake 2014
2016 – Octane[6]
Tours and performances[edit]
Red Hot Chilli Pipers in Koblenz 2011
Red Hot Chilli Pipers - Wacken Open Air 2016
The group's highest profile performance's have been on the Main Stage at T in the Park in 2004 where they performed alongside The Darkness, and in 2014 when they performed on the Main Stage again in their own right.
When Will I Be Famous[edit]
In 2007, the Red Hot Chilli Pipers appeared on the BBC show When Will I be Famous?[7] hosted by Graham Norton. The band were in the episode and competed against seven others. The eight contestants were paired into a head-to-head showdown in which the winner would be decided by 101 preregistered viewers who were dubbed the "Armchair Judges". The four winners of these head-to-heads would then compete against each other in the second show with the winner being decided by an open public phone vote. In their first head-to-head showdown, The Red Hot Chilli Pipers were pitted against the "Stringfever", a four-member string quartet. The Red Hot Chilli Pipers won the head-to-head 51-50 and went on to win the weekly prize of ten thousand pounds.
After TV appearance[edit]
In 2010, The Red Hot Chilli Pipers completed an 11-date sold-out tour of Scotland, as well as an 11-week tour of Germany and a 7-week tour of America. They also toured Saudi Arabia, Malaysia, India and most of Europe. They performed concerts in New York and Beijing as well as at the Hebridean Celtic Festival in Stornoway.
Musicianship[edit]
With a total of 4 degrees from the Royal Conservatoire of Scotland, many of the band members past & present have competed at the highest level of bagpiping and drumming for many years. Founder and Former Musical Director Cassells received 'BBC Radio Scotland Young Traditional Musician of the Year' in 2005 and became the first person ever to attain a degree in bagpipes[8] from the Royal Conservatoire of Scotland (Formerly the Royal Scottish Academy of Music and Drama). The snare drummer and percussionist, Grant Cassidy is an 8 time Juvenile Solo World Drumming Champion and in 2016 placed 7th in the adult section of the World Solo Drumming Championships held in Glasgow, Scotland.
Former members[edit]
On 23 September 2011, founder and frontman Stuart Cassells, left the band. Stuart decided that, after almost ten years, it was time to pursue new goals and opportunities. Cassells said, "I have had some absolutely amazing times in the band and I would never have imagined the success we’ve had. I want to thank all the great musicians I’ve had the pleasure of performing with and I’m excited about the new chapter in my life". Prior to leaving, Stuart had been struggling with 'focal hand dystonia', more commonly known as writer's cramp since 2008. Speaking to The Daily Record on the subject, Cassells said, "My left hand refused to stay on the chanter. It was like my left hand wasn't my own, it wouldn't stay still, like someone else was controlling it. I knew in my head how I wanted to play but I couldn't because my hands would curl right up and tense up and move involuntarily. They weren't doing what they were supposed to do. The brain was sending far too many signals to my hands." Stuart tried various treatments throughout this period, including surgery to release a trapped nerve, physiotherapy and botox injections into his arm to relax the muscles. In efforts to help him play the bagpipes, he had McCallum Bagpipes manufacture him a custom chanter that uses flute keys to cover the holes instead of requiring the player to cover them. However, he was still unable to play them and left the band. It is hoped that he will recover and rejoin the band. A recent World Pipe Band Championship winner with the Field Marshal Montgomery Pipe Band, Kyle Warren, replaced him.[9][10]
Awards and nominations[edit]
Scottish Live Act of the Year[edit]
Year
Nominee/work
Award
Result
2007 Red Hot Chilli Pipers Scottish Live Act of the Year Won
2010 Red Hot Chilli Pipers Scottish Live Act of the Year Won
BBC's 'When Will I Be Famous'[edit]
Winners 2007
References[edit]
Jump up ^ Gavin Cumine (31 May 2008), "Bagrock with the Red Hot Chilli Pipers: it's a total blast", The Times
Jump up ^ James, Greg (9 July 2013). "Here We Go Again..." BBC. Retrieved 14 September 2013.
Jump up ^ "Red Hot Chilli Pipers cover Avicii's Wake Me Up". BBC. 1 February 2014.
Jump up ^ Taylor, David (7 August 2012). "Red Hot Chilli Pipers No2 in US chart – Daily Record". Daily Record.
Jump up ^ Composer John Powell talks How To Train Your Dragon 2
Jump up ^ "Red Hot Chilli Pipers - Product Categories CDs". Retrieved 29 October 2016.
Jump up ^ Anon (March 2007). "BBC – When Will I Be Famous? – Contestants". BBC. Retrieved 20 July 2013.
Jump up ^ Anon (2013). "Royal Conservatoire Graduates". rsamd.ac.uk. Archived from the original on 23 December 2012. Retrieved 20 July 2013.
Jump up ^ Anon (23 September 2011). "Stuart Cassells leaves Red Hot Chilli Pipers". The College of Piping. Archived from the original on 16 January 2014. Retrieved 14 September 2013.
Jump up ^ Coventry, Laura (9 August 2010). "Medical condition almost cost me my career, says Red Hot Chilli Piper founder Stuart Cassells – Daily Record". Daily Record. Glasgow. ISSN 0956-8069. OCLC 500344244. Retrieved 20 July 2013.
External links[edit]
Official website
Authority control
MusicBrainz: 5d341431-7002-4dcf-9da8-1d25f5bd0ed7
Retrieved from "https://en.wikipedia.org/w/index.php?title=Red_Hot_Chilli_Pipers&oldid=839506666"
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Rani Gaidinliu
From Wikipedia, the free encyclopedia
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Rani Gaidinliu
A painting of Gaidinliu
Born
(1915-01-26)26 January 1915
Nungkao, Manipur, British India
Died
17 February 1993(1993-02-17) (aged 78)
Longkao, Manipur, India
Nationality
Indian
Other names
Gaidiliu
Occupation
Spiritual and political leader of the Zeliangrong Nagas
Known for
Armed resistance against the British Raj
Gaidinliu (1915–1993) was a Naga spiritual and political leader who led a revolt against British rule in India.[1] At the age of 13, she joined the Heraka religious movement of her cousin Haipou Jadonang. The movement later turned into a political movement seeking to drive out the British from Manipur and the surrounding Naga areas. Within the Heraka faith, she came to be considered an incarnation of the Goddess Cherachamdinliu.[2] Gaidinliu was arrested in 1932 at the age of 16, and was sentenced to life imprisonment by the British rulers. Jawaharlal Nehru met her at Shillong Jail in 1937, and promised to pursue her release. Nehru gave her the title of "Rani" ("Queen"), and she gained local popularity as Rani Gaidinliu.
She was released in 1947 after India's independence, and continued to work for the upliftment of her people. An advocate of the ancestral Naga religious practices, she staunchly resisted the conversion of Nagas to Christianity. She was honoured as a freedom fighter and was awarded a Padma Bhushan by the Government of India.
Contents
[hide]
1 Early life
2 As Haipou Jadonang's disciple
3 Rebellion and incarceration
4 Life in independent India
5 Death
6 Legacy
7 References
Early life[edit]
Gaidinliu was born on 26 January 1915 at Nungkao (or Longkao) village in the present-day Tousem sub-division of Tamenglong District, Manipur. She was from the Rongmei tribe (also known as Kabui). She was the fifth of eight children, including six sisters and a younger brother, born to Lothonang Pamei and Kachaklenliu.[3] The family belonged to the ruling clan of the village.[4] She did not have a formal education due to the lack of schools in the area.[5]
As Haipou Jadonang's disciple[edit]
In 1927, when she was just 13, Gaidinliu joined the Heraka movement of her cousin Haipou Jadonang, who had emerged as a prominent local leader. Jadonang's movement was a revival of the Naga tribal religion. It also aimed to end the British rule and establish the self-rule of the Nagas (Naga Raj). It attracted a number of followers from the Zeliangrong tribes (the Zeme, Liangmai and Rongmei). With the arrival of guns from Cachar, it turned into an armed rebellion against the British policies of forced labour and ruthless oppression.
Persuaded by Jadonang's ideology and principles, Gaidinliu became his disciple and a part of his movement against the British. In three years, by the age of 16, she became a leader of guerrilla forces fighting against the British rulers.
Rebellion and incarceration[edit]
After Jadonang was arrested and hanged by the British in 1931, Gaidinliu emerged as his spiritual and political heir.[6]
She openly rebelled against the British rule, exhorting the Zeliangrong people not to pay taxes. She received donations from the local Nagas, many of whom also joined her as volunteers. The British authorities launched a manhunt for her. She evaded arrest by the police, moving across villages in what are now Assam, Nagaland and Manipur. The Governor of Assam dispatched the 3rd and 4th battalions of the Assam Rifles against her, under the supervision of the Naga Hills Deputy Commissioner JP Mills. Monetary rewards were declared for information leading to her arrest: this included a declaration that any village providing information on her whereabouts will get a 10-year tax break. Her forces engaged the Assam Rifles in armed conflicts in the North Cachar Hills (16 February 1932) and the Hangrum village (18 March 1932).
In October 1932, Gaidinliu moved to the Pulomi village, where her followers started building a wooden fortress. While the fortress was under construction, an Assam Rifles contingent headed by Captain MacDonald launched a surprise attack on the village on 17 October 1932. Gaidinliu, along with her followers, was arrested without any resistance near the Kenoma village. Gaidinliu denied that she had any role in the attack on the Hangrum post of the Assam Rifles or the construction of the fort.[2] In December 1932, her followers from the Leng and the Bopungwemi villages murdered the Kuki chowkidar (watchman) of the Lakema Inspection Bungalow in the Naga Hills, suspecting him to be the informer who led to her arrest. Gaidinliu was taken to Imphal, where she was convicted on the charges of murder and abetment of murder after a 10-month trial. She was sentenced to life imprisonment by the Political Agent's Court for abetment of murder.[7] Most of her associates were either executed or jailed.[5]
From 1933 to 1947 she served time at the Guwahati, Shillong, Aizawl and Tura jails. Many rebels proclaimed her and Jadonang to be their inspiration in refusing to pay taxes to the British. However, her movement declined after the last of her followers, Dikeo and Ramjo, were arrested in 1933. Jawaharlal Nehru met her at the Shillong Jail in 1937 and he promised to pursue her release. His statement, published in the Hindustan Times, described Gaidinliu as a daughter of the hills and he gave her the title 'Rani' or Queen of her people. Nehru wrote to the British MP Lady Astor to do something for the release of Rani Gaidinliu but the Secretary of State for India rejected her request stating that trouble may rise again if Rani was released.
Life in independent India[edit]
After the Interim Government of India was set up in 1946, Rani Gaidinliu was released on Prime Minister Nehru's orders from Tura jail, having spent 14 years in various prisons. She continued to work for the upliftment of her people after her release. She stayed at Vimrap village of Tuensang with her younger brother Marang till 1952. In 1952, she was finally allowed to move back to her native village of Longkao. In 1953, Prime Minister Nehru visited Imphal where Rani Gaidinliu met and conveyed to him the gratitude and goodwill of her people. Later she met Nehru in Delhi to discuss the development and welfare of Zeliangrong people.
Gaidinliu was opposed to the Naga National Council (NNC) insurgents, who advocated secessionism from India. Instead, she campaigned for a separate Zeliangrong territory within the Union of India.[2]:147 The rebel Naga leaders criticized Gaidinliu’s movement for the integration of Zeliangrong tribes under one administrative unit. They were also opposed to her working for the revival of the traditional Naga religion of animism or Heraka. The NNC leaders considered her actions an obstacle to their own movement. The Baptist leaders deemed the Heraka revival movement anti-Christian and she was warned of serious consequences if she were not to change her stand. In order to defend the Heraka culture and to strengthen her position, she went underground in 1960.[8] She organized a private army of about a thousand men equipped rifles to defend and press for her demand for a single Zeliangrong district. In response to Phizo's declaration of the "Naga Federal Government", she set up her own quasi-administration named the "Zeliangrong Government of Rani Party". In 1964, the overground Zeliangrong leaders in consultation with underground leaders led by Rani Gaidinliu, demanded "a separate Zeliangrong Administrative Unit or Political Unit" within the Union of India. On 29 January 1965, her followers kidnapped and killed nine Naga rebels from the Ngulong village of the Kohima district, causing great uproar.[citation needed]
In 1966, after six years of hard underground life in old age, under an agreement with the Government of India, Rani Gaidinliu came out from her jungle hideout to work for the betterment of her people through peaceful, democratic and non-violent means. She went to Kohima on 20 January 1966, and met the Prime Minister Lal Bahadur Shastri in Delhi on 21 February 1966, demanding the creation of a separate Zeliangrong administrative unit. On 24 September 320 of her followers surrendered at Henima. Some of them were absorbed into the Nagaland Armed Police.
During her stay at Kohima, she was conferred "Tamrapatra Freedom Fighter Award" in 1972, the Padma Bhushan (1982)[9] and the Vivekananda Seva Award (1983).
Death[edit]
In 1991, Gaidinliu returned to her birthplace Longkao, where she died on 17 February 1993 at the age of 78.[10][11]
The Governor of Manipur, Chintamani Panigrahi, the Home Secretary of Nagaland, officials from Manipur and many people from all parts of the North Eastern region attended her funeral at her native village. In Imphal, the Chief Minister of Manipur R.K. Dorendro Singh, Deputy Chief Minister, Rishang Keishing and others paid floral tributes and a general holiday was declared by the State Government.
Rani Gaidinliu was also conferred the Birsa Munda Award posthumously. The Government of India issued a postal stamp in her honour in 1996.[5][12]The Government of India issued a commemorative coin in her honour in 2015.[13]
Legacy[edit]
Because of the Heraka movement's hostility towards Christianity, Gaidinliu's heroics were not acknowledged highly among the Nagas, most of whom had converted to Christianity by the 1960s. The Naga nationalist groups don't recognize her either, because she was considered close to the Government of India. When the Hindu nationalist Sangh Parivar aligned with the Heraka movement in the 1970s, the perception that she was a promoter of Hinduism grew stronger among the Christian Nagas.[14]
In 2015, when the Central government and T. R. Zeliang's state government decided to construct a Gaidinliu memorial hall, several civil society organizations in the Nagaland state opposed the move.[15]
References[edit]
Jump up ^ Kusumlata Nayyar (2002). Rani Gaidinliu. Ocean Books. ISBN 978-81-88322-09-1. Retrieved 12 June 2013.
^ Jump up to: a b c Arkotong Longkumer (4 May 2010). Reform, Identity and Narratives of Belonging: The Heraka Movement in Northeast India. Continuum International Publishing Group. pp. 162–176. ISBN 978-0-8264-3970-3. Retrieved 12 June 2013.
Jump up ^ Rani Gaidinliu - the true freedom fighter, India-north-east.com
Jump up ^ 97th birth anniversary of Rani Gaidinliu observed. Assam Tribune, 30 January 2012.
^ Jump up to: a b c The Rani Of The Nagas by Pritam Sengupta. Outlook, 22 August 2005.
Jump up ^ S. S. Shashi (1996). Encyclopaedia Indica: India, Pakistan, Bangladesh. Anmol Publications. p. 1270. ISBN 978-81-7041-859-7. Retrieved 12 June 2013.
Jump up ^ History Of the Frontier Areas Bordering On Assam 1883-1941 by Sir Robert Reid, page 86.
Jump up ^ Amit Kumar Nag (1976). Rani Gaidinliu: A Study of the Jadonang Movement of the Nagas. Tribal Mirror Publications. p. 18. Retrieved 12 June 2013.
Jump up ^ "Padma Awards" (PDF). Ministry of Home Affairs, Government of India. 2015. Retrieved 21 July 2015.
Jump up ^ Rani Gaidinliu. Eastern Panorama.
Jump up ^ Remembering Rani Gaidinliu and her legacy
Jump up ^ Rulers & Royalty on Stamps
Jump up ^ Commemorative Coin
Jump up ^ Rahul Karmakar (2015-06-14). "Rani Gaidinliu: A Naga queen and BJP's spin machine". Hindustan Times.
Jump up ^ Prasanta Mazumdar (2015-08-23). "Nagaland Outfit Joins Chorus Against Rani Memorial". Indian Express.
[hide]
v
t
e
Padma Bhushan award recipients (1980–1989)
1980
Sunil Gavaskar
1981
Vainu Bappu
Prafulla Desai
A. P. J. Abdul Kalam
Gopinath Mohanty
Amritlal Nagar
Mrinal Sen
Avabai Bomanji Wadia
1982
Jasbir Singh Bajaj
Sundaram Balachander
Gottipati Brahmaiah
Rani Gaidinliu
Khadim Hussain Khan
Stella Kramrisch
Jal Minocher Mehta
Grace Morley
Syed Zahoor Qasim
Kamal Ranadive
P. N. Pattabhirama Sastri
Jhabarmal Sharma
Ajit Ram Verma
1983
Richard Attenborough
Doraiswamy Iyengar
V. G. Jog
K. Sankaran Nair
Prem Nazir
Swraj Paul, Baron Paul
Rajkumar
K. G. Ramanathan
Kershasp Tehmurasp Satarawala
Subodh Chandra Sengupta
Adi M. Sethna
Arun Kumar Sharma
Benudhar Sharma
Bhalindra Singh
Umrao Singh
1984
Horace Alexander
Michael Ferreira
Sivaji Ganesan
Jnan Prakash Ghosh
Kotha Satchidananda Murthy
Hosur Narasimhaiah
Sripada Pinakapani
Ishwari Prasad
B. C. Sanyal
Marie Seton
Archana Sharma
Obaid Siddiqi
Natwar Singh
Ganda Singh
Vijay Tendulkar
Baldev Upadhyaya
1985
Durga Das Basu
Shiba P. Chatterjee
Virender Lal Chopra
Gurbaksh Singh Dhillon
Santidev Ghosh
Bhimsen Joshi
Sadat Abul Masud
Kalanidhi Narayanan
Bernard Peters
Thakazhi Sivasankara Pillai
Gopala Ramanujam
S. Ramaseshan
Amarjit Singh
Tribhuvandas Luhar
Gurbachan Singh Talib
Bhalchandra Udgaonkar
Srinivasan Varadarajan
1986
Pushpa Mittra Bhargava
Ela Bhatt
Manohar Lal Chibber
Aminuddin Dagar
V. Krishnamurthy
Jean Riboud
Sidney Dillon Ripley
Rajeev Sethi
Martand Singh
Badri Nath Tandon
Gulshan Lal Tandon
R. K. Trivedi
1987
Balamani Amma
Kishori Amonkar
Nikhil Banerjee
Roddam Narasimha
R. D. Pradhan
Annada Shankar Ray
Julio Ribeiro
Man Mohan Sharma
Farokh Udwadia
Mohammad Yunus
1988
19th Kushok Bakula Rinpoche
Ram Prakash Bambah
Kartar Singh Duggal
Ashok Sekhar Ganguly
Abid Hussain
Shreyans Prasad Jain
Kelucharan Mohapatra
Bal Ram Nanda
Akkineni Nageswara Rao
Pratury Trirumala Rao
Renuka Ray
B. V. Sreekantan
Satya Pal Wahi
1989
Fenner Brockway, Baron Brockway
Banoo Jehangir Coyaji
Girija Devi
Kattingeri Krishna Hebbar
Girilal Jain
Anna Rajam Malhotra
M. V. Mathur
Ashesh Prosad Mitra
Russi Mody
Suresh Shankar Nadkarni
Narinder Singh Randhawa
Yoshio Sakurauchi
Lakshman Singh
Prakash Narain Tandon
# Posthumous conferral
1954–1959
1960–1969
1970–1979
1980–1989
1990–1999
2000–2009
2010–2019
Authority control
WorldCat Identities
VIAF: 3414689
LCCN: n81044316
ISNI: 0000 0003 7420 026X
Retrieved from "https://en.wikipedia.org/w/index.php?title=Rani_Gaidinliu&oldid=794699085"
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