Almost There and Being There - Makes so much of a difference. We were at a point where it was expected that two Indian's would lead two strong and sort after nations of the world.
Monday, September 05, 2022
Almost There and Being There
Almost There and Being There - Makes so much of a difference. We were at a point where it was expected that two Indian's would lead two strong and sort after nations of the world.
Darlings
Shefali Shah talks about the biggest red flag in any relationship. It is disrespect. It starts at a very slight level of humour. 'Oh, she don't know anything.' As Earl Nightingale say in the video on Happiness - In a relationship most important thing is 'Courtesy'.
You want to say something and you hold it back, there is a serious problem. If you are worried of being yourself, in front of someone, good, bad, ungly then there is a problem. In a relationship you are supposed to feel safe, secured and accepted.
https://www.facebook.com/reel/444647927720632?s=yWDuG2&fs=e
The interview made me think of the movie - domestic violence is common in most household irrespective of a person being poor or travelling in Benz.
Vijay Verma (Hamsa Sheikh) says - if I don't love why will I beat you, and if you don't love why would you suffer? Badru hopes her volatile husband will reform if he stops drinking. However, when his rage goes too far, she and her mum boldly, albeit clumsily, seek revenge. Best thing about the movie was the suttle humour and the mother daughter - relationship and how expressive they eyes of mother Shefali Shah was. Roshan Adrews was Amazing too.
A movie with just handful of characters, but all well enacted.
Domestic violence is not love, its a strict no-no.
And as always, I loved the movie and Thara did not.
Happy Onam
Over these couple of years we've lived a curious life, seen an odd new world, faced change we never wished for.
But we've gone through it with resilient hope, with courage and conviction, with forbearance with love.
We missed each other's smiles, warmth of togetherness, words spoken within affable distances.
But, we've also known things that never get lost - ever.
Empathy. Care. Understanding. Relationship.
A sense of duty to the whole humanity.
And the true human spirit - always festive, which no pandemic can subdue.
Here's a chance to be reminded of that again -
Of the undying cheer amidst chaos. Of the value of unity and support.
Of the flowers bringing beauty to the world, no matter what.
Of harvest and hope. Of promise and faith.
Festivals are special, when we have people around.
We cannot hold on everyone forever. Only thing we can do is Let Go with sweet memories to cherish and let new ones bloom.
Onam is a time to remember the story of Mahabhali and Vamanan as described in the 8th Canto of Srimad Bhagavatam, to remember:
To keep promises made.
To Never be afraid and
That there is so much of good in the worst of us, and so much of bad in the best of us, that it ill behoves any of us, to find fault with the rest of us.
Though Vamana is the 5th Avatara of Sri. Vishnu and people presume Onam to be Vamana Jayanthi - we welcome Mahabhali. It was celebrated by all in unity, sad to see videos like this floating around now, and wonder why people ever say these things:
Happy Onam and Always.
Bharathanatyam - Grammar
- Namaskaram
- Mandalam
- Adavu
- Mudra - Hasta - Asmyuktha & Samyuktha, 10 Avtara, Devada, Relationship
- Talam - Nadakal
- Bhedangal - Pada, Dhrishti, Purikya, Khanda, Mandala and Stanaka
- Exercises - 1,4,
- Concerts
- Mandalam - Standing straight
- Ara Mandalam - half bend
- Muzhu Mandalam- fully bend seated on fingers
Thattadavu - 1 to 8
- One, two, three and four - continuous
- 5th - Thaia, Thaia, Thai Thai, Tham.
- 6th - Thaka dimi Thaia Thaia Thai, Thaka dimi Thaia Thaia Thai (3+3 with pause)
- 7th - Thai Thai Thai, Thaka (other leg), Thai Thai Tham
- 8th - Thaia, Thaia, Thaia, Dhik, Dhik Thai - Alternative legs
- Leg and hand movements single and double - Start - 1&2
- Leg and hand two steps
- Alaptma - Kadakamuka; Thripatak
- Both hand thripathaka - semi circle sidewise and front (Tha thi, thi ha - di thai thai ha)
- Kadkamukam to Alapatmam hnd movement - front, right side and left side (Tha thi, thi ha - di thai thai ha)
- with hands in Dolam like above but leg swiping
- bend toward right - slight jump - Hands - kdakamugam and both hands to front and both hands to side rotate(Tha thi, thi ha - di thai thai ha)
- Alapatmam - Kadkamugum - side wise
- front and back; up and down
- bending down and straight side wise
- bending down and straight straight
- Ta-Ki-Ta - Legs in L shape, bend, - Dolam
- L shape - Ta Ka one leg; di mi other leg - Dolam
- Front leg - tap twice, other leg tap and lift - take hand up
- 7 - Ta -Ki-Ta -Ta- Ka-Dhi -Mi - Alapatmam to kadkamugam
- Sankeerna nada - 9 -Ta-Ka-Dhi-Mi-Ta-Ka-Ta-Ki-Ta - Alapatmam to kadkamugam, and then Alapatmam to up
- 1. Like Allaripu seating - thripataka, and then half open and close; Kadakamuka to alapatma
- 2 . beginning same - and then sit get up and turn - Thripataka and when we get up Kadakamuka and alapatma
- 3 Jump and sit, stand up and stretch right leg and sit and stand left leg - Kadakamukam and alapatmam
- Jump sit and right leg back, jump sit towards left and left leg back - Alapatmam to top at kadkamukam
- 1. Allaripu
- 2. Similar to above
- 3. Side swining both sides
- 4. Straight and up - leg 4 times
- Aramandalam - Tha thai tham, dhi thai tham - Shikaram to straing and back; kadakamukam to Alapatmam and then shikam to pataka
- Sit and stand
Hasta Mudra -
Both hands should be in front of chest and elbow up, our shoulders should not go up
Asamyuktha hasta mudra (Can do with one or both hands ) and Samyuktha hasta mudra (Need to do with both hands)
Hastas / Mudras (hand gestures) are primarily classified as 28 Asamyuta Hastas (one-hand gesture) and 24 Samyuta Hastas (two-hand gestures). Each of the hastas can be used to denote various thoughts, ideas and objects.
Asamyukta Hastas are:
- Patak,
- Tripataka
- Ardapataka,
- Krtarimukam
- Mayuram
- Ardhachandrm
- Aralam
- suktundam
- Mushti
- Shikaram
- Kapitham
- Ktakamugam
- Sochi
- Padmakosham
- Sarpashirasu
- Mrigaseersham
- simhmugam
- Kangulam
- Allpatmam
- Banan
- Chaturam
- Bramaram
- Hamsasyam
- Hamsapaksham
- Sandmasham
- Mukulam
- Tamarachudam
- Poornanabam
- Thrisulam
- Arthasuchi
- Chandrakala
- Anjali
- Kapotam
- Karkkatakam
- Swasthikam
- Dolam
- Pushpa Pudam
- Utsangam
- Shivalingam
- Katakavarthanam
- Karthareeswasthkam
- Shakatam
- Shanka
- Chakram
- Samputam
- Pasham
- Keelakam
- Malsyam
- Koormama
- Varaham
- Garuda Hastham
- Nagabandham
- Khatva
- Bherundam
- Malsyam
- Koormam
- Varaham
- Narasimham
- Vamanan - Koda and Vadi - two hands
- Parasuraman - 2
- Balaraman - 2+Balam
- Sriraman - Sikaram +Kadakamukam
- Sri Krishnan - elbows up straight line right - thumb and little finger stretched in both hands other fingers half closed
- Kalaki - Right hand Pataka and left hand tripataka - in front of chest
- Brahmaavu : Chathuram+Hamsasyam;
- Vishnu : Thripataka in both hands straight
- Sivan - Pray take up near four head and righ ardha chandran + left Simhamukam
- Saraswathi - Kapitam left up , and Sooji right and front
- Parvathi - Pathaka - one up and one down
- Lakshmi - Kapitam - both up shoulder level
- Ganapathi - Kapitham - left hand facing down
- Indiran - Thripathaka - hands above head crossed
- Murugan - Left Shigharam up , and right Trishoola down
- Varunan - Both hands thripathaka - up above the head facing downwards
- Amma - Left hand Mrigashrishya, Right hand mukula mudra in front of stomoch down - and and bring to namaskaram from above head
- Achan - Left hand sikaram - and bring round and bring to namaskaram from above head
- Sakhi - Left hand on sholder right hand straight
- Shodari -
- Aaan Kutti -
- Penkutti - Both hand mrigashishya
- Bhartavu - shikara mudra tying know over neck
- Naadhan -
- SamaPaada - Attention
- Mandalee Paadam - Front sideways 'V' shape
- Kunjitha Paadam - Fingers down - back up in mandalee paadam
- Anjitha Paadam - Fingers up
- Vadimbu Paadam - Both feet turned towards inside - more in Kathakali
- Shadagathi Paadam or Soochi Paadam - Left leg down - right leg slanted on top, fingers down
- Thaaditha Paadam - Right leg in front, and left leg behind from the end of right leg
- Naagabandha Paadam - Legs criss crossed with fingers in V shape
- Nirthumoorthy Paadam - Righ leg down, left leg lifted with knee and toe towards right leg
- Garudanila Paadam - Seated in muzhumandalam - left leg bend with only fingers touching down behind
- Sthaanaka: Standing with feet together in Samapaada, and placing the hands on the hip (ardhachandra for men and shikhara for women) is Sthaanaka. They are six in number:
- Samapaadam: When the feet are placed together, standing straight, it is called Samapaadam. Uses: Pushpanjali, Devaropa (stance of Gods)
- Ekapaadam: Standing straight on one leg, placing the other foot across the knee is called ekapaadam. Uses: To show static position, tapasya.
- Naagabandham: When the hands and legs are twisted, it is called Naagabandham. Uses: To show snakes.
- Aindram: Standing on one bent leg, raise the other leg, so as to bring the foot to the knee, with both hands dropped to Dola Hasta on both sides. This is called Aindram. Uses: To show Lord Indra, a king.
- Garuda: In Alida Mandala, sit down on the right knee and raise both hands on both sides with Dola Hasta. This is called Garuda. Uses: To show Garuda Vaahana of Lord Vishnu.
- Bramha: Sit down in Padmaasana, with both feet placed on opposite knees. This is called Bramha. Uses: Doing Japa.
- Aayata: Placing heels together and the toes facing outside, with the knees bent at a distance of 1 and a half cubits, is called Ayata.
- Aalida: The left foot is placed three spans away from the right, diagonally in the front. The left hand is held in Shikhara and the right hand in Kartarimukhaha. This is called Aalida.
- Prenkhana: Putting one foot at the heel of the other, stooping down with Kurmaavatara Hasta, is called Prenkhana.
- Prerita: Moving the right leg forcefully on the ground at a distance of three soans away from the other foot, while holding the left hand in Shikhara at the chest and right hand in Pataka, outstretched in front. This is called Prerita.
- Pratyaalida: When Aalida is done on the reverse side, it is called Pratyaalida.
- Swatika: Crossing the hand at the waist in Aalapadma Hasta and placing one leg across the other is called Swastika.
- Motita: Sitting on the toes with raised heels, holding the outstretched hands in Tripataaka on the sides, alternately bringing the knees to touch the ground is called Motita.
- Samasoochi: Sitting on the toes with both knees on the ground is called Samasoochi.
- Paarsvasoochi: Sitting on the toes and placing only one knee on the ground is called Paarsvasoochi.
It is important for the students of Bharatnatyam to learn and memorise the Mandal bhedas for it helps during the instructions in the class and as evident some are used for specific depictions such as Aindram is used to portray Lord Indra.
- Tishra nada - 3 Akshara - Ta Ki Ta
- Chaturasra Nada - 4 - Ta - Ka- dhi - mi
- Khanta nada - Pancha nada - 5 - Ta-Ka-Ta-Ki-Ta
- Misranada - 7 -Ta -Ki-Ta -Ta- Ka-Dhi -Mi
- Sankeerna nada - 9 -Ta-Ka-Dhi-Mi-Ta-Ka-Ta-Ki-Ta
- Drushti Bhedangal - 8 Types
- Samam - Starting position
- Aaloitam - Eyes wide open - when you point at things
- Saachi - One side - thinking of past,
- Pralokitham - movement from one side to other
- Nimeelitham - half closed eye
- Ullokitham - looking upwards - tall things
- Anuvrutham - anger - up and down fast
- Avalokitham - looking down with guilt
- Purika Bhedangal
- Mitham - Normal at start without expression
- Amitham - upwords
- Uddhvaathitham - sringaram, santhosham - move up and down
- Abhavarthitham - shrink - when you look at someone comming from far or something you don't like
- Kandha Bhedangal - Neck
- Sundaree - Neck move to both side
- Thirashchena - Neck move from up to down - like snake move
- Parivarthitha - Neck move from one side to other in round about direction
- Prakambitha - back and front - like peacock walking
- Mandala -
- Alagam - straight
- Karthari - Jumping on the forepart of the foot, Placing one foot behind the heel of the other
- Aswathplavanam - Jumping on both feet together and then placing one forward and the other behind.
- Modithothplavanam - Kartharee movement from side to side, alternatively
- Krupalakotplavanam -
- Utpluthu Brahmari - Jump and turn
- Chakra Brahmari -
- Garuda Brahmari - one leg lifting
- Eaka Padha brahmari
- Kunchita Brahmari
- Akasha Brahmari
- Anga Brahmari
- Chalana chari - kadakamuka - right hand - from the original position feet is moved
- Chamkramana Chari - bend down and get up and walk in chalana chari (when you come in front back of feet will touch first and when we go back, the fingers should touch ground first)
- Sharanam - Without lifting leg, move
- Vegini - Alapatmam, Trhipathaka - move fast
- Kuttana chari - Striking the heel, toe or the entire soul on the ground - but it should be foreceful
- Luthitha - From the swastika position the toes are struck on the ground.
- Lolitham - Moving the foot without touching the ground
- Vishamasancharachali - The feets are placed alternatively - the left to the right and the right to the left.
https://www.youtube.com/watch?v=1VsDic1nsBE&list=PLVb_JHi9p1f4SZqe-e2zyQVT4TJlFEkL6&index=20&t=74s
3:17 namaskarikal
5:16 1st exercise
5:46 2nd exercise
6:08 3rd exercise
6:45 4th exercise
7:01 5th exercise
7:24 6th exercise
7:45 7th exercise
Online Guru - Lekshmi S. Menon from Adithya school of Dance.
- Natya – Natya corresponds to drama. Natya means dramatic representation or drama with speech, music and dancing. According to Abhinaya Darpanam, Natya or Nataka has some traditional story for its theme is an adorable (art).
- Nritya – Nritya corresponds to the mime performed to the song. That is in other words, it is the Interpretative dance. The vaachikaabhinaya of natya where the actors themselves use speech, is replaced by the music and song which accompanies dance. According to Abhinaya Darpanam that dance which relates to Sentiment (rasa) and Psychological Staes (bhaava) is called nritya.
- Nritta – Nritta corresponds to pure dance steps performed rhythmically. Here the movements of the body do not convey any mood or meaning and its purpose is just creating beauty by making various patterns, lines in space and time. According to Abhinaya Darpanam, dance which does not relate to any Psychological State (bhaava) is called nritta.
- Angikam - body
- Bhuvanam - universe
- Yasya - whose
- Vachikam - speach, song
- Sarva - everyone
- Vangmayam - language
- Aharyam - ornaments
- Chandra - moon
- Taradi - starts
- Tam - to YOU
- Numah - to bow
- Satvikam - pure
- Shivam - God Shiva
Saturday, September 03, 2022
Ganesha
Lord Ganesha, the Elephant God, is not only the Lord of Beginnings and Remover of Obstacles, but also a great teacher.
1. Accept your imperfections
Explain to your child the meaning and symbolism behind each part of Lord Ganesha and his adornments.
2. Leadership quality
Persistence and courage made Ganesha the leader of all beings, earning him the foremost position among all gods. We should not fear powerful obstacles in our path.
3. Be innovative & Resourceful
Once Lord Shiva asked Ganesha and his brother Kartikeya to circle the world thrice. While Kartikeya immediately started off on his vehicle, the peacock, Ganesha thought for some time and then circled his parents. He was quick to innovate and come up with a solution to his problem.
4. Be adaptable & Joyful
Ganesha's flexible trunk symbolizes the fact that an individual should have the quality of adaptability, for it is a quality that is essential for success.
5. Be humble & Respectful
Lord Ganesha has a huge physique, he still rides a puny mouse. This symbolizes the fact that one should be humble and respectful, even towards the tiniest creatures.
6. Never Give up
The legend says that sage Vyasa (Ved Vyasa) wanted to write the epic, Mahabharata, and he requested Lord Ganesha to write it down while he narrated the verse. The Lord agreed on one condition--Sage Vyasa was supposed to finish reciting the verses without a pause, and Lord Ganesha would write without taking a break. But Lord Ganesha's pen broke while he was still writing. So he broke one of his tusks, and continued writing the epic.
Lord Ganesha sacrificed his own tusk to finish a task meant for greater good.
If we could all imbibe these Life lessons in our kids & prepare our generations for future challenges ❤️