புற்பா முதலாப் புல்லெறும் பாதியொன் றின்றியே,

நற்பால் அயோத்தியில் வாழும் சராசரம் முற்றவும்,

நற்பாலுக் குய்த்தனன் நான்முக னார்பெற்ற நாட்டுளே. (2) 7.5.1

Why would anyone want

to learn anything but Rama?

Beginning with the low grass

and the creeping ant

with nothing

whatever,

he took everything in his city,

everything moving,

everything still,

he took everything,

everything born

of the lord

of four faces,

he took them all

to the very best of states.
Poet: Nammalavar
Translated by A.K.Ramanujan.

Please post your comments.

Here is the link for my orkut community for this blog http://www.orkut.com/Community.aspx?cmm=49797549&refresh=1

Stumble It!

While people belonging to the Suryavamsha line and nearby points can stop reading and start preparing for their next project, the most interested piece is this :

As reported by Mumbai Mirror, Ratnam was very keen on casting the couple as Ram and Sita. What's more is that Govinda has very keenly stepped into the shoes of Hanuman.

Probably this will be the only Ramayana where Sita would have to wait a whole lot longer for Hanuman in the Ashoka Vatika and Hanuman might be missing in the final war too. But all that aside, I sincerely hope Mani Ratnam uses this same video when Hanuman is pursuading Sita to come back with him, with the female rakshasis all around : Link

Link Courtest : Raghu

The International Yoga Week, Rishikesh

The international yoga week, Rishikesh, an annual event that takes place in the month of February-March on the banks of the holy river Ganges, is organized by Parmarth Niketan in association with the state tourism authorities.

This festival, or a Yoga Camp, is held for teaching various types of yoga such as Hatha Yoga, Laya Yoga, Karm Yoga, Raj Yoga, Juana Yoga, Bhakti Yoga, Mantra Yoga and many more, offering people an opportunity to keep themselves fit and fine.

Every year, the International Yoga Week attracts thousands of people from all parts of the globe. If you are in Rishikesh while the festival is being held, you can also plan to attend this unique event and enjoy a good health!

Though Rishikesh is mainly a pilgrimage center, and shopping is not a priority on their itinerary. But, Rishikesh offers a pleasant shopping experience for discerning shoppers.

Rishikesh comes under the Shekhawati region—popularly known as the Open Air Art Gallery all around the globe. And, as Rishikesh is a part of this famous region, you will easily find some beautiful paintings, on the paper as well as on the cloth. These paintings can also help you decorate your home or you can also choose to give them as presents to your friends and relative.

Some of the other items that you can choose while shopping in Rishikesh include decorated and carved chests, cradles, low-tables and chairs.

Rishikesh, situated in the lap of the great Himalayas, is a famous pilgrimage center in India and attracts thousands of people each year from all around the globe. Rishikesh offers numerous options for staying here while on a trip to this holy place. These accommodation options in Rishikesh include luxury hotels, budget hotels, ashrams and dharmshalas, where one can stay comfortably and enjoy the trip to Rishikesh.

Some of the hotels offering comfortable accommodation in Rishikesh are Ganga Beach Resort, located on Laxman Jhula Road; Ananda in the Himalayas, located in Narendra Nagar; Hotel Ganga Kinare, located on Veerbhandra Road; Hotel Explore Himalayas, located on the road leading to Badrinath from Rishikesh; Hotel Green View, located in the famous Swargashram area; and Hotel Ganga View, located on Haridwar Road.

So, once you reached Rishikesh, you will not find it difficult to find an accommodation that you are looking for and can stay here as much as long you wish!

Generally, Rishikesh is also included in the itinerary of those who are visiting the sacred land of Haridwar as almost all the people who come to the holy city of Haridwar also visit Rishikesh. It is also the point from where journey to four major Dhams starts.

Air: The airport nearest to this holy place is Jolly Grant airport, which is located at a distance of about 18 km from here. This airport offers regular services to and from the national capital city.

Rail: Railways connect the holy city of Rishikesh with major cities in the state as well in the country including Haridwar, Dehradun, Delhi, Mumbai, Kolkata, Varanasi, Lucknow and Howrah.

Road: Rishikesh is well-linked through road with most parts of the Northern India. From Haridwar, you can also hire a taxi to reach Rishikesh.

Rishikesh is located at a distance of: about 245 km from the national capital, Delhi; about 24 km from Haridwar, one of the most sacred places in the country; about 43 km from Dehradun, a beautiful tourist destination; 77 km from Mussoorie, a famous hill station; 300 km from Badrinath, one of the four Dhams; 227 km from Kedarnath, one of the four Dhams; 248 km from Gangotri, one of the four Dhams; 234 km from Yamunotri, one of the four Dhams; 260 km from Nainital, one of the most visited tourist places in the country; and 262 km from Shimla, a well-known and beautiful hill station.

Rishikesh generally experiences a continental type of climate, but due to its location in the foothills, the weather is pleasant for most of the time during the year.

During summer season, the holy city of Rishikesh experiences a maximum temperature of about 41.0 degree C with the minimum reading of about 36.6 degree C. Whereas in winter season, the temperature ranges between a maximum of around 32.2 degree C and a minimum reading of about 18.3 degree C.

During summers, preferred clothing is cottons and in winters, woolens are preferred.

To visit Rishikesh, there is no specific time which can be said as the best time, and you can plan a trip to Rishikesh anytime during the year, as Rishikesh offers a pleasant weather throughout the year. However, the time period between the months of October and April can be considered as the best time to visit Rishikesh.

Rishikesh, a holy city in Dehradun district in the state of Uttarakhand—earlier known as Uttranchal, Is situated in the foothills of the great Himalayas in the Northern India. According to a popular legend, Rishikesh is the place where Lord Rama performed His penance to kill the demon king, Rāvaṇa.

Rishikesh, situated at a distance of around 25 km from Haridwar—one of the most sacred and cities in India. Rishikesh is also considered as the gateway to great Himalayas, and is the place from where journey to the other holy places—the four most sacred places or popularly known as ‘Four Dham’—Badrinath, Kedarnath, Gangotri, and Yamunotri.

The word Rishikesh, literally means ‘Hair of the Sage’: Rishikesh can be split into two words—Rishi and Kesh, and Rishi means sage whereas ‘Kesh’ means hair.

Rishikesh is also the place where the holy river Ganges starts its journey towards the plain regions of Northern India after leaving the Shivalik mountain ranges of the great Himalayas.

Surrounded by the beautiful mountains and the sacred water of the holy river Ganges passing through it, Rishikesh is also considered to a place where one can attain Liberation through meditation.

Rishikesh is home to many temples—ancient and newly developed—located along the banks of the holy river Ganges. Every year, thousands of people from all around the globe, pilgrims and tourists, visit the holy city of Rishikesh.

Sometimes, Rishikesh is also referred to as ‘the world-capital of Yoga’, as there are a number of yoga centres in the city—another major reason of its popularity as a major tourist destination.

Rishikesh is also an ideal place for those who are looking for a place where they can quench their thirst for rafting and trekking.

According to India census 2001, the population of the holy city of Rishikesh is 59,671: 56 per cent of males and 44 per cent of females. The average literacy rate of the holy city of Rishikesh is 75 per cent—higher than the average literacy rate of the country which is about 59.5 per cent.

This holy city of Rishikesh is located at an altitude of about 356 m above the sea level and is spread over an area of around 2.59 sq km. The main languages that are commonly used in Rishikesh include English, Hindi, and Garhwali.

Nasik or Nashik, located on the western edge of the Deccan peninsula on the banks of river Godavari, is a famous city in the Indian state of Maharashtra.

Popularly known as the ‘Wine Capital of India’ or the ‘Grape City’, Nasik is known for its picturesque surroundings and a pleasant climate.

Nasik, one of the most visited holy cities in the country, is the place where Lord Rama, together with His consort, Sita, and younger brother, Laxmana, stayed for a long time during his exile.

Spreading over an area of about 58.28 sq. km., Nasik has an average altitude of about 598 meter.

Located at a distance of about 178 km from Mumbai, Nasik is well connected with major cities around the state through a well laid and well maintained network of road. Mumbai is the nearest airport and Nasik Road is the nearest railway station connecting Nasik with the rest of the country.

Some of the most popular and most visited places of tourist interest in Nasik are:

Tapovan, Nasik

Tapovan, Nasik, another tourist attraction in Nasik, is believed to be the place where Lord Rama along with His consort, Sita, and brother Laxmana stayed during his exile.

Panchavati and the Sita Gumpha, Nasik

Panchavati and the Sita Gumpha, Nasik, are among the most popular places of tourist interest in Nasik.

Ramkund, Nasik

Ramkund, Nasik, another popular tourist attraction in Nasik, is believed to be the place where Lord Rama used to bathe.

Anjneri, Nasik

Anjneri, Nasik, another popular place of interest in Nasik, is believed to be the birth place of Hanumana, the dearest devotee of Lord Rama.

Muktidham, Nasik

Muktidham, Nasik, one of the most popular and most visited places in Nasik, is a pink marble temple.

Opens from 6 a.m. till 12 noon and then from 4 p.m. till 8 p.m.

Naroshankar Temple, Nasik

Naroshankar Temple, Nasik, is another most popular place of tourist interest in Nasik.

Someshwar Temple, Nasik

Someshwar Temple, Nasik, another popular place of interest in Nasik, is dedicated to Lord Shiva.

Among other popular places of tourist interest in Nasik are Kalaram Temple and Gangapur Dam.

Some of the other places of tourist interest near Nasik are:

Trimbakeshwar, Nasik

Trimbakeshwar, Nasik, located at a distance of about 29 km from Nasik, is an important pilgrim centre.

Devlali, Nasik

Devlali, Nasik, located about 14 km away from Nasik, is one of the most popular places of tourist interest near Nasik.

Sapta Shringi, Nasik

Sapta Shringi, Nasik, located about 53 km away from Nasik, is dedicated to Goddess Chandika.

Stii, nu mai erai fericita alaturi de mine. Erai mereu apatica, suparata, kefless sau, in cel mai bun caz, cu gandul la alte locuri si la alti oameni. Cum as fi putut sa iubesc? Cum as fi putut sa iubesc pentru amandoi? Cum as fi putut sa te fac sa ma vezi din nou, sa te indragostesti din nou de mine si sa ma iubesti?

Ti-am spus acum multa vreme c-as vrea sa fiu destul din Dumnezeu incat sa te iubesc neconditionat dar sunt un simplu om care ofera si asteapta sa primeasca.

Uite, acum poti sa fii cum ti-ai dorit, ca o frumoasa pasare salbatica, zburand pe cerul albastru, asa cum mi-ai spus ca vrei sa fii, exact acum o luna, cand ar fi trebuit sa ne sarbatorim perioada petrecuta impreuna. Trebuie sa stii insa ca eu nu-s nici gospodina nici ornitolog, cel mult un rinocer indragostit care-ar fi vrut sa zboare alaturi de tine.

Imi pare rau c-ai sters toate toate pozele cu tine din calculatorul meu si-mi pare rau c-ai rupt poza cu noi doi din rama lasata acum goala dar pozele conteaza prea putin caci te voi pastra mereu in locul din sufletul meu, dichisit special pentru tine, acolo unde nimeni altcineva n-o sa mai poata sta.

Sa fii fericita, pentru ca esti o femeie puternica, desteapta si stapana pe tine. Pentru ca meriti sa fii fericita si pentru ca stiu ca intr-o zi o sa poti fii.

P.S. Reamonn - Super Girl

Deshiya Chikitsa or Paramparika Sinhala Wedakama
The Sinhala Race boast of a proud and civilised society for thousands of years,according to recent findings our "paramparika sinhala wedakama" comes well beyond ten-thousands years.Even before the King Ravana Era.Ravana is said to be one of the greatest physicians who ever existed, and even authored the book Arka Prakashaya. The Bisajjya Grantha and Nadi Shasthra mentions that King Ravana and his grandfather Pulasthi Muni had graced the world-famous medical conferences held in those ancient days in Janasthan Pura near Pakistan.He was also the inventor of the distillation process. In Sri Lankan folk tales, it is said that king Ravana treated both Rama and Lakshmana with his own hand when they were badly injured on the battlefield.

Conclusion

Deshiya Chikitsa or paramparika sinhala wedakama was the earliest system of medicine that existed in Sri Lanka before the advent of Ayurveda.It was handed down from generation to generation and in the course of time Deshiya Chikitsa became fused with Ayurveda.Historical records show that there has been an exchange of information on Ayurveda & Deshiya Chikitsa(paramparika sinhala wedakama) between India and Sri Lanka long before its formal introduction.The "Sarartha Sangrahaya" which was composed by King Buddhadasa containd a detailed account of the preparation of drugs, diagnosis, treatment of diseases,surgery.King Buddhadasa was a famed Ayurveda physician and surgeon.

Yantras

Is there scientific logic behind this ?
there is in the moment scientific age the yantra practice is integral part of corporate sector activity. The corporate house have their own yantras which they call 'Logo'. Every big business house has its carefully designed logo which plays a big part in its activities.

Laxmi Yantra

Infact, over period of time logo becomes the symbol of the quality of its products or services. Logo or emblem becomes a firm's stamp which is cherished and respected by all its employees, shareholders and the consumers. Similarly yantra is logo or emblem of a god or the goddess. It symbolises the power of the deity. The worship of the yantra is as important as worship of the related deity.

A car carrying words 'Mercedese Benz' does not convince you until it displays its Merc Yantra, The same psychology works on religious level too. That makes yantra an important figuration.

Let me start by first exploring this- what is dance? Dance is the physical interpretation of music. What is good dancing and what is bad dancing? Like beauty is it not a very personal thing, is it not something only the viewer of the dance can and should judge? If not then why do different people have different opinions and favorites?

What is divine dancing? Is Bharatanatyam only divine and no other dance form? Ok. I will give the author of the abovesaid blog some lieniency. Are only the Indian classical dances divine? This author seems to make a lot of fun for other dance forms. Any dance, where one is enjoying the dance, without the knowledge of self- is divine( limiting this only to dance- i believe anything done without the knowledge of being or self is divine) be it hip- hop, ballet or jazz etc. I feel the author of the above said blog should see a few programs to realize that there are dances which would physically challenge all the aspects of even the author's best Bharatanatyam dancer.

I am a Bharatanatyam dancer myself. But to say that only this form is good and divine and everything else is inferior, is not an idea I agree to. This author has even criticised dances in discos. Well I doubt the author has ever been into a disco. I feel one of the best places to observe what it means to dance- just dance, is a disco.  Is enjoying dancing not one of the purposes of dance itself? Is it not better than dancing infront of a audiance who are munching chips while the dancer is trying hard to catch their attention?

Have you ever heard a dancer saying, “This item was revealed to me by such-and-such Apsara in my meditation?”  is what the author comments in article . Well, since when did Apsaras and Gods started appearing in meditation? One should meditate to understand what it is and what are revealed thru it. Or is there any other meaning than what I understand that the author was trying to put across?

I still await the answer from the author for the question on what is glorious past? What is the current shit? What is art and what is not?  Hpw was an Alaripu was performed say 500 yrs ago, when Bharatanatyam was known as Sadir attam? This dear author was not even born, and because the author can't find answers on the internet, so the author cannot say anything.

"Although some idiots corrupted by the western pseudo-culture dare to expose their lack of brain by stating that “The body of a dancer of today considerably differs from that of an 11th or 14th century dancer, especially one known only from temple sculptures.” , it is an archaeological fact that the human bodies in South India were no different 50000 years ago from what these bodies look now. It is the styles of sculpture that came and vanished. The bodies remain the same "-  The author seems not to be  aware of the evloution process.

"there are no contemporary Bharatanatyam dancers whose death would result in the immediate death of 1000 of their fans" there is nothing on this earth that can produce such results, God didnot design human such a way. Else all the people who lost their beloved would die immediately.

the real dancing happens in the invisible worlds, where it is much more fun Please explain in detail...

Have you ever met a contemporary Bharatanatyam dancer who has at least 1 spiritual experience??? Since when people started talking loudly about their spiritual experiances to all
Tom Dick and Harry? The author can please enlighten whether the author had herself/himself had one such experiance? Iam sure he/she would know if her /his favorite dancers had one- we all would like to know, don't we?

Tuition was… free of cost. What was Guru Dakshina?

The author speaks endlessly regarding that perfect physical posture, that perfect expression - a dancer not having them  for which the below is the conversation that happened between us.

"the way you rip apart each one above, you sound as a considerable authority on the art form. considering this you might as well.

Dear, reading the above, has indeed stirred what has been on my mind since quite some time. Is a perfect araimandi more important that giving oneself into dance itself? i fall into this catagory.
Is dancing in itself more important than looking for people to clap for you? Very recently, due to some misunderstanding, i have been denied a slot for performance in a show in Sydney. I was dissappointed, I practice every day in my kitchen-dining space. Thats when my husband asked me this- Are you not happy that you have enough space and time to dance every day? is it not enough?

rgds
mallika

Oyoyoyoyo! You are making such irresistible compliments! Wow!

Is a perfect araimandi more important than giving oneself into dance itself?

The concentration and laya are important factors to touch the rasas, and to create a powerful spiritual atmosphere. Many good musicians (the violinist Sikhamani is a good example) “dance” (even their bodies move) while playing music. Are they dancers? No, they are musicians.

However, Bharatanatyam is not just about the inner, invisible things: it is about expressing (perfectly or not so) the inner experiences in the physical form. Without a perfect instrument and a perfect expression, the higher, spiritual truths, cannot be embodied.

We can also ask, what if the dancer cannot put her fingers into a perfect mudra? If you find a perfect body position, automatically your mind will move into a certain state.

If millions of people feel ecstatic at a disco when they give themselves into dance itself, is it important that they don’t dance Bharatanatyam?

If you are “looking for people to clap for you”, you need either to become a pop star or to consult a psychiatrist. Seriously, if you feel such a need, your pranas are not circulating properly (some channels are open, and you lose energy). Go, sit in padmasana

mallika Says:
July 29, 2008 at 9:46 am Bharatanatyam,
Now we are discussing something important here. While you are talking of araimandis, mudras etc, how much do you delve into the dancer really enjoying the dance herself. Iam a firm believer that one can give what one has, be it money or love or any feelings. While I was in theatre, doing skits and plays, one of my seniors told me, if you are not feeling it within, it shows to audiance mallika. And same goes for dance.
While there is such rush to become celebrities ASAP and remain so as long, be it in any field. I feel this is a question that one should ask oneself, ‘am i feeling bhakti, when iam potryaing it?’
Can you really deny the fact that most of the dancers are up there looking for people to clap for them?For all of them, its time to take a closer look and deeper meaning at what krishna said ‘ karmanye vadhi kaaraste, maa phaleshu kadachana…..’
FYI, if a perfect body pose is what leads to rasanubhava, then iam still to watch it. but i expreianced a stir in me when i did watch priya murle do a varnam, without a araimandi.

mallika Says:
July 29, 2008 at 9:51 am one more thing, its not only ectasy that we are talking about. if we are so insistant on being physically perfect poses, it doesnot need bharatanatyam. Even PrabhuDeva is physically perfect when he does his moves. or any bhangra dancer from punjab.
what takes bharatanatyam is that inner spiritual feeling, felt and transmitted. Unless one feels, no transmission can happen.

Bharatanatyam Says:
July 29, 2008 at 11:28 am I agree with you that there is no such a thing as an absolute physical perfection (in the types of bodies that humans have today). Moreover, people always see not the reality but what they expect and what they want to see.
You can captivate their minds even without a perfect araimandi, no questions about that. You are absolutely right that a perfect araimandi is not as important as the dancer’s enjoying the dance.The dancer’s body’s perfect physical position is as unachievable as a violinist’s absolute precision in taking notes. If a musician is sometimes off-key, is it important? Or rather, can YOU hear it? Even among the most professional violinists, there are no perfect ones: the notes cannot be taken with an absolute precision. The average (untrained) human ear can distinguish 22 microtones in an octave. My neighbour can hear only 6, I guess! So if some short-sighted people believe that PrabhuDeva (or Jothika) is physically perfect when he does his moves, it is because these spectators do not have a sharp (well-trained) eye, and do not understand what is Bharatanatyam.

Rasanubhava is not just a “stir”, my dear.

Can I really deny the fact that most of the dancers are up there looking for people to clap for them? No, I can’t. But these dancers will not be able to bring Tejas through them.
In fact, it is quite obvious (and boring) when the dancer is aware of the audience and tries to please them.

The author seems to have not much information on the Dance itself and its history. Much to my shock the author and me had the below conversation for the article http://bharatanatyam2dance.wordpress.com/2008/01/03/the-hereditary-ones-and-back-to-karanas/#comment-141

mallika Says:
August 2, 2008 at 12:45 pm

whats wrong with the TQ compositions? u seem not to like them. iam still thinking about the margam format though.
may be ’cause i am trained in tanjore style?

Bharatanatyam Says:
August 2, 2008 at 12:58 pm

think the TQ compositions are nice. u seem not to like them.

They are ok, if the dancer is good I enjoy watching them, no problem. I have seen, for example, Sakiye performed at least 100 times by all kinds of dancers of all kinds of styles, in solos, duos, trios and groups!

However, the kings that the TQ compositions extol are no longer alive. The kings are dead.

Imagine a contemporary composer composing an item dedicated to Tamil Nadu Chief Minister Ms.Jayalalitha and containing lines praising her. As soon as Mr.Karunanidhi takes over again, this item will lose its relevance. Maybe the composer would end up in jail! The composer whose mind is tarnished by the desire/need to please a VIP will never produce a real masterpiece. For Rs.20000, some (second-rate) composers in Chennai will write you the lyrics and the music.
There are short-term (politically correct) items, and there are long-term items not marred by politics/business.

Think about what was BEFORE the present margam was introduced 200 years ago.


Oy-yo-yo! Maybe Which Tanjore style, may I ask you?

mallika Says:
August 3, 2008 at 9:09 am

how many tanjore styles do u know anyway? how can you comment on anything that you have not seen or felt, for eg sundari? Dance is the physical interpretation of music and in that music lies the feeling and etc. thats y bharata never told how to dance. he laid guidelines, he left the interpretation part. he wanted each human being/dancer to feel, interpret and reach that point of understanding/realization. gods dont show their teeth? r u sure? what abt ur fav kali?
while everything in the nature has undergone a change, including all kinds of art, y not dance or say bhartanatyam? y r u against it? no change or innovation or even bettermetnt can happen without such out of hte box thinking. yes i agree to the point that it might now be called, present day bharatanatyam of present day tanjore style of guru so and so…. but can u take an example , say a simple compsition and choreograph it exactly according to what sage bharata had written and meant in natyashastra? once u do that we will talk further.
darling, not everything that is old is great, and not everything that is new is shit

Bharatanatyam Says:
August 3, 2008 at 9:37 am How easy is it to infuriate you!

how many tanjore styles do u know anyway?

Many. More than 50, I guess.

how can you comment on anything that you have not seen or felt, for eg sundari?

I did watch Sundari in that DVD. I tried not to laugh! Did you see how she drops her jaw? Comic!
What I meant to say that I did not see her in person, when she was younger. I guess she danced much better

gods dont show their teeth?

I said, “devas” (the Sattva-loving powers of Mind). Not even the Mahadevas or the powers of Svar, who are above the 3 guna’s.

r u sure? what abt ur fav kali?

She is the exception, since she has to clean up the world’s garbage. Dirty job. Unlike devas, She is not attached to any guna.

while everything in the nature has undergone a change, including all kinds of art, y not dance or say bhartanatyam? y r u against it?

No. I believe even Urvasi has been evolving in her style The apsaras (or devas) cannot evolve unless they take birth on earth. All evolution is happening here.

can u take an example , say a simple compsition and choreograph it exactly according to what sage bharata had written and meant in natyashastra? once u do that we will talk further.

OK. I’ll talk to you in 40-60 years’ time. Sure My creative talent is (at the moment) zero. I would have to do a lot of pujas for Brahma

darling, not everything that is old is great, and not everything that is new is shit

Fine. I will be happy if you show (or tell) us what is there new that is not shit.

mallika Says:
August 3, 2008 at 10:37 am dear bharatanatyam,
you mistake my thoughts as fury. you have not infuriated me. just like cleaning the garbage that u do is mistook by many.
you not only have to open your eyes wide enough, but also your mind to let in some freshness and see things in a new and better perspective, then you will realise what is new and what is not shit.
while i really like and respect your honesty, pls dont hide under any pretext…. did u really think that way when i askedu abt sundari? welll….. there is something that is above everything- that is truth. and only our inner self knows whether we are true or not, right or not.
not only the devas, but also such human who is self realized and has reached the ultimate bliss thru meditation will have that kind of smile u have mentioned above.
to think that one knows everything and what one sees exists and what one knows only is right - is not a very good idea.
pls list down the 50 kinds of tanjore style of dancing in detail and i will tell u which one is mine.
how do u know that devas have that smile, and do u know the reason behind it, all the reasons that are there all the time?
why such frustration?

The author is obiviously unaware of the various kauthuvams and varnams like 'manavi chekona raada' by the Tanjore quartet.
 

Coming to the latest post by this author where the author poses certain questions on the commercialisation of Bharatanatyam.
The author starts by talking how mean it is to claim a copyright on one's work and how glorius were the people of the past that they did not do any such thing. Indeed, Ramayana was always, Valmiki Ramayana, then came Tuslidas's Ramanayana, then came our Ramanand Sagar... same goes for Mahabharatam and Bhagavatam... Iam tempted to name Pothana here..... Whilst it would have been beneficial to tell the readers that it was Vighneshwara who actually wrote Mahabharatam while Vyasa was narrating it and while is pen/thing with which he was writing broke, he broke off  one of his tusk and wrote the rest of Mahabharatam with it. Iam looking for a composition where I can choreograph this piece.

The author then quotes the following:

Read what Minakshi tells us:

The most popular legend is that of the amazing young tribal boy Ekalavya on being rejected by the ace trainer Dronacharya, raised his statue and with great dedication practised the art of archery and left behind Arjuna, the master archer, who actually learnt the art under the living guru. And the heartless guru asked for his thumb as gurudakshina or fees, and made him inferior before his royal disciple.

This is the most funny conclusion I have ever read, except Rama doubting Sita and subjecting her to the fire test. The author misses the basic comparision of Ekalavya's act to what is happening in the present day Bharatanatyam world. Can we not see the similarities between what Ekalavya's learning and present day online bharatanatyam courses, DVD teaching and distance certification courses? If this is right, then Drona was wrong indeed. 

I posted a comment for the above article for which I am still waiting for an answer.

mallika Says:
August 8, 2008 at 2:35 pm

what is sadir attam? to be precise, how did it look when one danced in that style,an alaripu or a padam,and may be not the present day bharatanatyam style? who dances that way now? how can one know? how can one say that that is only nice and not wat we do today? if one teacher charges some amount as a fee, but teaches more than for the said hours, is it wrong? is a bharatanatyam teacher supposed to teach free, when the student is someone who can afford the fee? what is the avg fee for bharatanatyam, rs.300-500 monthly for thrice a week hourly classes? how many students cannot afford it? how many children who cannot afford such money really find bharatanatyam interesting? should one just pull everyone into dancing, whether or not its his interest? like one is pulled into academics?
who is a ‘true bharatanatyam guru’? if we have ’sa, ri, ga,ma,pa,dha,ni’ ,we create ragas based on these seven swaras. now all the ragas will contain only these swaras, then what is original- this is without going into the details of the origin of the swaras themselves?

iam still thinking about the margam format though. 

may be ’cause i am trained in tanjore style? 

I would like to take a quick moment to profusely apologize for Tilia and I for the lack of writing in the past 3 or 4 days. Tilia has arrived in London and we've been running around hectically to find her a place to live, though I'll admit we've also had some fabulous mini adventures so far. The best would be today when my instincts stumbled upon The British Library which I'd never seen before, including a fascinating exhibit about Rama and Sita. 

Though the weather has been ghastly, I still maintain that London is the most amusing city in the western world, so I will not apologize for moving back here, though people are beginning to wonder....

Not to fear, we will be back, and in best form quite soon with tales of shameless fortitude and debauchery. 

As living spiritual souls, we are all originally Krishna conscious entities, but due to our association with matter from time immemorial, our consciousness is now polluted by the material atmosphere, called maya, or illusion. And what is this illusion? The illusion is that we are all trying to be lords of material nature, while actually we are under the grip of her stringent laws. When a servant artificially tries to imitate the all-powerful master, he is said to be in illusion. We are trying to exploit the resources of material nature, but actually we are becoming more and more entangled in her complexities. Therefore, although we are engaged in a hard struggle to conquer nature, we are becoming ever more dependent on her. This illusory struggle against material nature can be stopped at once by revival of our eternal Krishna consciousness.

Krishna consciousness is not an artificial imposition on the mind. This consciousness is the original energy of the living entity. When we hear and chant the transcendental vibration Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare/ Hare Rama, Hare Rama, Rama Rama, Hare Hare, this consciousness is revived.

This simplest method of meditation is recommended by learned authorities for this age. By practical experience also, one can perceive that by chanting this maha-mantra, or the Great Chant for Deliverance, one at once feels transcendental ecstasy coming through from the spiritual stratum.

In the material concept of life, we are busy in the matter of sense gratification, as if we were in the lower, animal stage. A little elevated from this status of sense gratification, one engages in mental speculation for the purpose of getting out of the material clutches. A little elevated from this speculative status, when one is intelligent enough, one tries to find out the supreme cause of all causes, within and without. And when one is factually on the plane of spiritual understanding, surpassing the stages of sense, mind, and intelligence, one is situated on the transcendental plane. The chanting of the Hare Krishna mantra is directly enacted from this spiritual platform, and thus this sound vibration surpasses all lower strata of consciousness—namely sensual, mental, and intellectual.

There is no need, therefore, to understand the language of the mantra, nor is there any need of any mental speculation or intellectual adjustment for chanting this maha-mantra. It springs automatically from the spiritual platform, and thus anyone can take part in the chanting without any previous qualification and dance in ecstasy. We have seen this practically. Even a child can take part in the chanting and dancing.

Of course, for one who is too entangled in material life, it takes a little more time to come to the standard point, but even such a materially engrossed person is very quickly raised to the spiritual platform. When the mantra is chanted by a pure devotee of the Lord, it has the greatest effect on hearers, and therefore this chanting should be heard from the lips of a pure devotee of the Lord, so that immediate effects can be achieved. As far as possible, chanting from the lips of nondevotees should be avoided, just as one would avoid milk touched by the lips of a serpent because it has poisonous effects.

The word Hara is a form of addressing the energy of the Lord, and the words Krishna and Rama (which mean "the highest pleasure eternal") are forms of addressing the Lord Himself. Hara is the supreme pleasure energy of the Lord, and when addressed as Hare in the vocative, She helps us to reach the Supreme Lord.

The material energy, called maya, is also one of the multienergies of the Lord, and we, the living entities, are the marginal energy of the Lord. The living entities are described as superior to the material energy. When this superior energy is in contact with the inferior energy, an incompatible situation arises, but when the superior marginal energy is in contact with the spiritual energy, Hara, the living entity is established in his happy, normal condition.

These three words, namely Hare, Krishna, and Rama, are the transcendental seeds of the maha-mantra. The chanting is a spiritual call for the Lord and His internal energy Hara to protect the conditioned soul. This chanting is exactly like the genuine cry of a child for its mother. Mother Hara helps the devotee achieve the grace of the Supreme Father, Hari or Krishna, and the Lord reveals Himself to the devotee who chants this mantra sincerely.

Therefore no other means of spiritual realization is as effective in this age of quarrel and hypocrisy as the chanting of the maha-mantra:

Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare, Hare Rama, Hare Rama, Rama Rama, Hare Hare.

Cultural Program by Sathya Sai Devotees From USA
Music Program and Skits
July 30, 2008

Devotees from the US (Region 10 – Texas, Oklahoma, Louisiana, and Arkansas) presented a musical offering to Bhagawan on Monday, July 28th in Sai Kulwant Hall.

The program depicted Bhagawan’s love for mankind throughout the ages. It showed scenes of His various incarnations and messengers to uplift man to enable him to realise his divinity. The entire group of 276 performed a medley of songs in 7 languages, woven together with narration. 57 Bal Vikas (SSE) children provided a dramatic portrayal through skits and dances.

The six episodes focused on the majesty of Rama, the mischief of Krishna, the serenity of the Buddha, the compassion of Jesus, the glory of Allah, and the grandeur of Bhagawan Baba.

The first scene was set to a backdrop of uplifting songs, which described the glory and might of the Lord, and illustrated the power of the vanaras’ devotion to Lord Rama as they built the bridge to Lanka. Our prayer is to be, likewise, humble instruments in Lord Sai Rama’s mission.

The second episode focused on the mischief of Krishna, who charmed Mother Yashoda and the Gopis as He stole yogurt and butter. His leelas, dramatized to a bhajan, inspire us to awaken the God within who will steal our butter-soft hearts. This scene was followed by a song that reminds us to remember Hari (Lord Krishna) in all that we think, say, and do.

Set to a traditional chant followed by a bhajan, the next scene depicted the Lord Buddha’s peaceful aura. His presence was enough to calm the restless minds of spiritual aspirants depicted by SSE students. By controlling the senses and purifying their intake, the heart shall become Prasanthi Nilayam and Sai will reside within.

The fourth episode showed Jesus showering His unconditional love and compassion on the blind, the hungry, the sick, and the needy. Seeing Jesus' loving service, others, who previously were unwilling to serve, follow suit and therefore are transformed themselves.

The fifth episode showed a traditional Sufi dance set to an uplifting Qawwali praising Allah. The songs of Allah demonstrated that Bhagawan (in all His forms) is the ultimate embodiment of All that Is as He is the One behind everyone and everything.

For the grand finale, the boys and girls created two hearts at the Lotus Feet of Bhagawan Baba while the entire group sang “Hum Ko Tumse Pyar Kitna.” This represented that the whole world - all faiths, religions, castes, and sects - is arriving at the Lotus Feet of Bhagawan to participate in His Divine Mission.

Swami responded to this outpouring of love by coming down into the group of children for a photograph. He granted padanamaskar to several of them, materialized a gold chain for one boy, and distributed prasadam to everyone.

Swami’s pleasure was evident as He invited the group to sing several bhajans in His Divine Presence. After accepting Arathi, Swami raised both hands in blessing to all.

Reference (With Pictures)

RadioSai: This evening, the group from the USA got a chance to present a musical programme with enactments by children in Sai Kulwant Hall. At 5.25 pm their programme got underway when Swami came onstage. Various religions were represented in the group songs for half an hour. Swami interacted with them, and after a few minutes, they began bhajans. Bhagawan accepted Arati and returned to His residence at 6.40 pm.

Bhringi said to Shiva:

‘Lord, I am overwhelmed with sorrow at the sight of the boisterous waves of this deep and dark world we have been buffeted so long, without finding the calm and quiet harbor of Truth. Tell me, Lord, what is the certain truth and inward assurance whereon we may rest and repose in this shattered mansion of the world?’

The Lord Shiva replied:

‘Always place your reliance in unshaken patience and neither care nor fear for anything else: strive to be foremost in your renunciation of all passion and activity.
He is said to be the greatest actor who performs deeds as they occur to him, whether joygiving or otherwise, without any fear or desire for fruition.
He is said to play his part well who performs his duties without fuss or anxiety, and maintains his reserve and purity of heart without taint of egoism or envy.
He is said to perform his part well who is not affected by any person or thing, but regards all objects as a mere witness.
He is the greatest actor who looks at his own birth, life and death, and upon his rise and fall, in the same light, and who does not lose equanimity of mind under any circumstance whatever.
He is said to enjoy himself best who observes the conduct and behavior of mankind as an unconcerned and indifferent spectator, and looks on, without choosing anything for himself.
He is called the most satisfied man who sustains all the ups and downs of fortune with equal fortitude, as the deep sea contains the boisterous waves in its fathomless depths.
He to whom salt and sugar are alike and who remains unaltered both in happy and adverse circumstances – he is the best of enjoyers.
He is the best of renunciates who has given up thoughts of his life and death, of his pleasure and pain, and has firmly dismissed his merits and faults from his mind.
His said to have made the greatest sacrifice who has sacrificed his own mind and endeavors at the shrine of self-abgenation.
Meditate always on the everlasting and immaculate Spirit that is without beginning and end. By thinking in this way, you yourself become immaculate and are absorbed in the self-same Brahman, where there is all peace and tranquility.
Know the one undying Brahman as the soul and seed of the various productions that emanate from Him. It is His immensity which spreads throughout the whole of existence, as it is the endless sky which comprehends and manifests all things within itself.
It is not possible for anything at all, whether of positive or potential existence, to subsist without and apart from the universal Essence. Rest secure with this firm belief in your mind, and be free from all fears in this world.’

O most righteous Rama, look to the inner soul within yourself, and perform all your outer actions with the members of your body. By forsaking your sense egoism and personality, and being thereby freed from all care and sorrow, you will attain supreme felicity.

The program depicted Bhagawan’s love for mankind throughout the ages. It showed scenes of His various incarnations and messengers to uplift man to enable him to realise his divinity. The entire group of 276 performed a medley of songs in 7 languages, woven together with narration. 57 Bal Vikas (SSE) children provided a dramatic portrayal through skits and dances.

The six episodes focused on the majesty of Rama, the mischief of Krishna, the serenity of the Buddha, the compassion of Jesus, the glory of Allah, and the grandeur of Bhagawan Baba

The first scene was set to a backdrop of uplifting songs, which described the glory and might of the Lord, and illustrated the power of the vanaras’ devotion to Lord Rama as they built the bridge to Lanka. Our prayer is to be, likewise, humble instruments in Lord Sai Rama’s mission.

The second episode focused on the mischief of Krishna, who charmed Mother Yashoda and the Gopis as He stole yogurt and butter. His leelas, dramatized to a bhajan, inspire us to awaken the God within who will steal our butter-soft hearts. This scene was followed by a song that reminds us to remember Hari (Lord Krishna) in all that we think, say, and do.

Set to a traditional chant followed by a bhajan, the next scene depicted the Lord Buddha’s peaceful aura. His presence was enough to calm the restless minds of spiritual aspirants depicted by SSE students. By controlling the senses and purifying their intake, the heart shall become Prasanthi Nilayam and Sai will reside within.

The fourth episode showed Jesus showering His unconditional love and compassion on the blind, the hungry, the sick, and the needy. Seeing Jesus' loving service, others, who previously were unwilling to serve, follow suit and therefore are transformed themselves.

The fifth episode showed a traditional Sufi dance set to an uplifting Qawwali praising Allah. The songs of Allah demonstrated that Bhagawan (in all His forms) is the ultimate embodiment of All that Is as He is the One behind everyone and everything.

For the grand finale, the boys and girls created two hearts at the Lotus Feet of Bhagawan Baba while the entire group sang “Hum Ko Tumse Pyar Kitna.” This represented that the whole world - all faiths, religions, castes, and sects - is arriving at the Lotus Feet of Bhagawan to participate in His Divine Mission.

Swami responded to this outpouring of love by coming down into the group of children for a photograph. He granted padanamaskar to several of them, materialized a gold chain for one boy, and distributed prasadam to everyone.

Swami’s pleasure was evident as He invited the group to sing several bhajans in His Divine Presence. After accepting Arathi, Swami raised both hands in blessing to all.

Reference (With Pictures)

Over the past few days, in the in-between moments, my mind has wandered off to vibrant recollections of this day in Mathura/Vrndavan. The merriment, the dancing, the joy, the music, and of course, the extraordinary krsna-katha early in the morning at Kesava ji Gaudiya Matha. . .

In the course of refreshing my mind and spirit with narrations of Sri Krsna's lilas, I came across this famous introduction to the classic volumes entitled KRSNA, the Supreme Personality of Godhead, which I present below. Although not in Sri Braja-Mandala dhama this year, I feel blessed and happy to be alive on this planet, mother earth, whose heart has been touched by the soft lotus feet of her Beloved, Sri Krsna. May we all be so lucky, one day.

Krsna Book Introduction by George Harrison:

Everybody is looking for KRISHNA.

Some don't realize that they are, but they are.

KRISHNA is God, the Source of all that exists, the cause of all that is, was, or ever will be.

As God is unlimited, he has many names.

Allah-Buddha-Jehova-Rama: All are KRISHNA, all are ONE.

God is not abstract; He has both the impersonal and the personal aspects to His personality which is SUPREME, ETERNAL, BLISSFUL, and full of KNOWLEDGE. As a single drop of water has the same qualities as an ocean of water, so has our consciousness the qualities of God's consciousness... but through our identification and attachment with material energy (physical body, sense pleasures, material possessions, ego, etc.) our true transcendental consciousness has been polluted, and like a dirty mirror it is unable to reflet a pure image.

With many lives our association with the temporary has grown. This impermanent body, a bag of bones and flesh, is mistaken for our true self, and we have accepted this temporary condition to be final.

Through all ages, great saints have remained as living proof that this non-temporary, permanent state of God consciousness can be revived in all living Souls. Each soul is potentially divine. Krsna says in Bhagavad Gita: "Steady in the Self, being freed from all material contamination, the yogi achieves the highest perfetional stage of happiness in touch with the Supreme Consciousness." Ch. 6, text 28

Yoga (a scientific method for God (self) realization) is the process by which we puirify our consciousness, stop further pollution, and arrive at the state of perfection, full knowledge, full bliss.

If there's a God, I want to see Him. It's pointless to believe in something without proof, and Krishna Consciousness and meditation are methods where you can actually obtain God preception. You can actually see God, and Hear Him, play with Him. It might sound crazy, but He is actually there, actually with you.

There are many yogic Paths--Raja, Jnana, Hatha, Kriya, Karma, Bhakti--which are all acclaimed by the masters of each method.

Swami Bhaktivedanta is as his title says, a Bhakti Yogi following the path of DEVOTION. By serving God through each thought, word, and deed, and by chanting His Holy Names, the devotee quickly develops God-consciousness. By chanting

Hare Krishna, Hare Krishna
Krishna Krishna, Hare Hare
Hare Rama, Hare Rama

I request that you take advantage of this book KRSNA, and enter into its understanding. I also request that you make an appointment to meet your God now, through the self liberating process of Yoga (union) and GIVE PEACE A CHANCE.