challenge to british authority was the main motive of salt march.
what was the main motive of salt march?
challenge to british authority
the salt satyagraha campaign was based upon gandhi's principles of non-violent protest called "satyagraha", which he loosely translated as "truth-force". literally, it is formed from the sanskrit words "satya", "truth", and "agraha", "insistence". in early 1930 the indian national congress chose satyagraha as their main tactic for winning indian sovereignty and self-rule from british rule and appointed gandhi to organise the campaign. gandhi chose the 1882 british salt act as the first target of satyagraha. the salt march to dandi, and the beating by british police of hundreds of nonviolent protesters in dharasana, which received worldwide news coverage, demonstrated the effective use of civil disobedience as a technique for fighting social and political injustice. the satyagraha teachings of gandhi and the march to dandi had a significant influence on american activists martin luther king jr., james bevel, and others during the civil rights movement for civil rights for african americans and other minority groups in the 1960s. the march was the most significant organised challenge to british authority since the non-cooperation movement of 1920–22, and directly followed the purna swaraj declaration of sovereignty and self-rule by the indian national congress on 26 january 1930. it gained worldwide attention which gave impetus to the indian independence movement and started the nationwide civil disobedience movement..
salt march
bullet::::- measure 31–45: the sopranos enter first, with the first main motive, and from measure 32 alto and tenor imitate the same. the basses enter from measure 33 while the full orchestra plays a short intervention for two measures. in measures 35-36 the chorus sings the second main motive from the opening tutti. after that the orchestra dominates again, with the chorus following or giving contrasting melodies. from the end of measure 37 voices one after another start singing "anima mea", until in the last three measures of this block all singers take the text (the lord) once, all of them with the last syllable of that word on the first beat of the 45th measure, after which the orchestra, apart from the continuo, is silent till the beginning of measure 47: the singers bridge the central barline between measures 45 and 46 with the first main motive sung by altos, sopranos i and sopranos ii consecutively.
magnificat (bach)