Dances of India..

Bharatnatyam

Dance and music are an integral part of Indian life. The Natya Shastra, written by Baratha between 2 B.C. and 2 A.D., is the source for all forms of Indian classical dance. It is regarded as the fifth Veda.

Bharatnatyam

It is believed that Brahma, the supreme Creator, created Natya by taking literature from the Rig Veda, songs from the Sama Veda, abhinaya or expression from the Yajur Veda and rasa or aesthetic experience from the Arthava Veda. Natya speaks in great detail of the different kinds of postures, facial expressions, mudra or hand expressions, including the attire and ornaments to be used. All the dance forms are structured around the nine rasas or emotions. They are hasya (happiness), shoka (sorrow), krodha (anger), karuna (compassion), bhibasta (disgust), adhbhuta (wonder) bhaya (fear), vikram (courage) and shanta (serenity). The uniqueness of Indian classical dance, is that they are all devotional in content. In fact Bharata Natyam was till the early 20th century, only performed by `devadasis or maids of God`, in temples. Almost every village has its own folk dance, which is performed by the village folk itself. These are performed on festivals, ceremonies, special occassions, etc. All night dance dramas are popular throughout India and mark all the major festivals. This dance is the oldest of the classical dance forms, and its origin can be traced to Bharatha`s Natya Shastra. It is a very traditional and stylized dance form. Strict about the techniques used in performing, it disallows any kind of innovations except in the repertoire forms of presentation. It developed in South India, in its present form, two hundred years ago. The musicians of the Tanjore court of the 18th and 19th centuries, lent the thematic as well as musical content to the dance. It is essentially a solo dance and has close affinities with the traditional dance-drama form called Bhagvat Mela performed only by men, and folk operettas called Kuruvanji performed only by women.

Kathakali

Kathakali has its origin in the courts of the kings of Kerala. It is one of the most refined and most scientific dance forms of Kerala. Its present form is not more than 300 years old. This art demands complete control over every part of the body. Kathakali draws heavily from drama, utilising elaborate masks and costumes. The stories or attakathas, which are depicted via Kathakali are selected from epics and mythologies. These are written in a highly Sanskritised verse form in Malayalam. Here, the dancer expresses himself through highly complicated mudras, closely following the text being sung. The splendour of the costumes, ornaments and especially the facial make-up are absolutely striking.

Kuchipudi

This dance of Andhra Pradesh, which originates from Kuchelapuram in Andhra Pradesh, is the corresponding style of the Bhagvata Mela Nataka of Tamil Nadu. Except that the emphasis is on the animation, the grammar is derived from the Natya Shastra. Each principal character in Kuchipudi dance introduces himself or herself on the stage with a brief composition of dance and song, specially designed for the character to help reveal his or her identity and show the performers` skill in the art. These compositions are called dharu, and there are nearly 80 dharus or dance sequences in the dance drama. The most popular dance is the pot dance, where the dancer keeps a pot on her head and on the rims of a steel plate places her feet. She moves on the stage manipulating the brass plate without spilling a drop of water on the ground. The music in Kuchipudi is classical Karnatic. The mridanga, violin and clarinet are the common instruments employed as an accompanient.

Mohiniyattam

This dance form too belongs to the Devadasi dance heritage, like Bharatanatyam, Kuchipudi and Odissi. The word `mohini` literally means the `maiden who steals the hearts of men`. It is believed that Lord Vishnu took the guise of a `Mohini` to enthrall people, during the churning of the ocean as well as the slaying of Bhasmasura. Thus, the Vaishnava devotees gave the name `Mohiniyattam` to this dance form. It is a solo dance which is similar to Bharatanatyam, its movements are graceful like Odissi and the costumes are attractive but sober. The first reference of solo dance is found in the `Vyavaharamala`, composed in the 16th Century. The dance is very popular in Kerala.

Yakshagana

The origin of this can be traced to the rural areas of Karnataka. It is about 400 years old and is a blend of dance as well as drama. The language used for the `Gana` meaning `music` is Kannada and the themes are based on Hindu epics. The costumes are almost akin to the Kathakali dance costumes and the style too seems to have drawn inspiration from it. As prescribed in the Natya Shastra, it has the Sutra Dhara (conductor) and the Vidhushaka (the jester).

Odissi

This is also based on the Natya Sashtra and it can be traced back to the 2 B.C. when the Jain king Shastra ruled. He himself was an expert dancer and musician, who arranged a performance of Thandava and Abhinaya. In the 17th century a class of boys known as the Gotipuas came into being. They dressed as women and danced in the temples. The present Odissi as a solo form, evolved out of all these. Its technique is built round a basic motif in which the human body takes the thrice deflected (tribhanga) position of Indian sculpture. The dances are performed to poetry ranging from invocations of Ganesha to the verses of the Gita Govinda. The dancer has scope to improve within the beats, the framework in the dance patterns and the freedom to interpret the poetic line in a variety of ways to evoke a single mood.

Kathak

Kathak finds its roots in `katha` meaning 'story'. A band of storytellers attached to temples in Northern India, narrated stories from epics. Later they added mime and gesture to their recitation. The popularity of the Radha-Krishna legend, led to further innovations in the dance form. With the advent of the Muslim rule, it was brought out of the temples and in to the courts of the rulers. Since then it has been commonly identified with the court traditions of the later Nawabs of northern India. It is really an amalgam of several folk traditions, the traditional dance drama forms prevalent in the temples of Mathura and Vrindavan known as Krishna and Radha - Lila. Jaipur, Benaras and Lucknow became the main centers of the dance. While Benaras maintained the purity of the dance, Jaipur gave emphasis to rhythm and Lucknow introduced erotic steps. The Kathak dance goes through a regular format, mostly concentrating on rhythm,its variation being - Tatkar, Paltas, Thoras, Amad and Parans.

Manipuri

Manipuri is the dance form of Manipur and is inextricably woven into the life of the people of the state. The dance form is mostly ritualistic, which draws heavily from the rich lore of the legend and mythology. The dances known as the rasa dances evolved only as a result of the interaction of the Vaishnava cult and several highly developed forms of ritual and religious dances which were prevalent in the area, in the 18th century. The costumes used in this dance are colourful and bright, and the music is slow as well as rhythmic. The numbers presented are Lai Haraoba and Rasa Leela. The former deals with the creation of the world and the latter deals with the intimacy between Krishna and his consort - Radha. A large variety of intricate rhythmic patterns are played on the drums and cymbals.

taj mahal---a symbol of Love

History of Taj Mahal is the history of eternal love between Shah Jahan and Arjumand Banu Begum famous as Mumtaz Mahal who fell in love at first sight when they were at 15 and marriedat 20. After becoming emperor in 1628, Shah Jahan entrusted Arjumand Banu with the royal seal. He called her Mumtaz Mahal, "jewel of the palace." They were together on a military expedition south of Agra when she had their 14th child, a girl. Tragically she died soon after this birth when she was only 39. It was this event which inspired him to create this wonderful monument, the Taj Mahal, as a mausoleum in her memory. The focus of Taj Mahal is the white domed marble mausoleum which stands on a square plinth consisting of a symmetrical building with an iwan, an arch-shaped doorway. The white tomb is set against the plain across the river and it is in this background that the colors change at different hours of the day and during different seasons – pinkish in the morning, milky white in the evening and golden when the moon shines. The entire Taj Mahal complex consists of a number of buildings comprising of a mosque which stands to the west of the Taj Mahal is made from red sandstone, a guesthouse and the mausoleum, a long and beautiful walkway leads to the main mausoleum, four waterways divide the gardens that stand in front of the Taj into four parts and then, meet in a pool at the center.

I n 1612, Arjumand Banu Begam, a Muslim Persian princess better known by her other name, Mumtaz Mahal was married to Shah Jahan (then Prince Khurram), the fifth Mughal emperor. Mumtaz, the emperor's second wife, was her husband's comrade and counselor. An inseparable companion on all his journeys and military expeditions, she inspired the emperor to do acts of charity and benevolence towards the weak and the needy.
Mumtaz bore 14 children, and when she died during childbirth in 1631, Shah Jahan was so heartbroken that all his hair and beard were said to have turned snow-white in a few months! Overpowered by grief, Shah Jahan decided to immortalize the memory of his beloved wife by building the finest sepulcher ever - a monument of eternal love. Herein lies the genesis of the Taj Mahal.

The construction documents show that its master architect was Ustad Ahmed Lahori, the renowned Islamic architect of his time. The much-celebrated saga of royal love was brought to life by dexterous and skilled artisans from places as far away as Delhi, Kannauj, Lahore, Multan, Baghdad, Shiraz and Bukhara.

Construction began in 1631, and over 20,000 workmen and master craftsmen worked laboriously for 22 years to give shape to the emperor's passionate dream! The material was brought in from all over India and central Asia and it took a fleet of 1,000 elephants to transport it to the site. The complex was finally completed in 1653 at a cost of 32 Million Rupees (approx USD 68000) on the banks of river Yamuna in Agra, the capital of the Mughal monarchs.

But the beauty of Taj Mahal is also tainted by the gory fact that the hands of some of the master craftsmen were amputated... to ensure that the perfection of the Taj could never be repeated ever again!

about Bollywood.....

What is "Bollywood"?
Bollywood is the name given to the Mumbai-based Hindi-language film industry in India. When combined with other Indian film industries (Tamil, Telugu, Bengali, Malayalam, Kannada), it is considered to be the largest in the world in terms of number of films produced, and maybe also the number of tickets sold.

The term Bollywood was created by conflating Bombay (the city now called Mumbai) and Hollywood (the famous center of the United States film industry).

Bollywood films are usually musicals. Few movies are made without at least one song-and-dance number. Indian audiences expect full value for their money; they want songs and dances, love interest, comedy and dare-devil thrills, all mixed up in a three hour long extravaganza with intermission. Such movies are called masala movies, after the spice mixture masala. Like masala, these movies have everything.

The plots are often melodramatic. They frequently employ formulaic ingredients such as star-crossed lovers, corrupt politicians, twins separated at birth, conniving villains, angry parents, courtesans with hearts of gold, dramatic reversals of fortune, and convenient coincidences. Bollywood song and dance
While most actors, especially today, are excellent dancers, few are also singers. Songs are generally pre-recorded by professional playback singers with actors lip-synching the words, often while dancing. One notable exception was Kishore Kumar who starred in several major films in the 1950s while also having a stellar career as a playback singer. K. L. Saigal, Suraiyya and Noor Jehan were also known as both singers and actors. Of late, a few actors have again tried singing for themselves. Amitabh Bachchan, who started the trend of non-singing stars at the mike with the runaway hit "Mere Angane Mein" in "Lawaaris" in the mid-80's, continued his toe-dipping in singing with turns in "Silsila", "Mahaan" "Toofan" and more recently in the movies Baghban and Kabhi Khushi Kabhi Gham, as well as doing a duet with Adnan Sami in the song Kabhi Nahi (Never). Aamir Khan took a turn singing "Kya Bolti Tu" in Ghulam but only because "the character had attitude that only Aamir could do justice to", according to director Vikram Bhatt. These forays, while well-received at the time, have not led to real singing careers for either actor.

Playback singers are prominently featured in the opening credits and have their own fans who will go to an otherwise lackluster movie just to hear their favorites. The composers of film music, known as music directors, are also well-known. Their songs can make or break a film and usually do.

The dancing in Bollywood films, especially older ones, is primarily modeled on Indian dance: classical dance styles, dances of historic northern Indian courtesans (tawaif), or folk dances. In modern films, Indian dance elements often blend with Western dance styles (as seen on MTV or in Broadway musicals), though it is not unusual to see Western pop and pure classical dance numbers side by side in the same film. The hero or heroine will often perform with a troupe of supporting dancers, usually of the same sex. If the hero and heroine dance and sing a pas-de-deux (a dance and ballet term, meaning "dance of two"), it is often staged in beautiful natural surroundings or architecturally grand settings.


What is Bollywood dancing?
Bollywood dancing is a commercial name for modern Indian dancing. It's a combination of classical Indian dance (which is the base), folk dancing such as Bhangra and sometimes has a Latino and Arabic influence. It's fun and very expressive and there's a lot of deep meaning behind music in the films. You can actually express what the music means, through the graceful movements of the body.

Why is dancing so crucial to Bollywood films?
People in India have been brought up on musicals and if the music in a film isn't very good, sometimes the movie doesn't sell. Specific producers, such as Yash Chopra, Karan Johar generally produce movies with phenomenal and very emotional songs; hence the dancing comes into play.

Choreographers are now starting to take the industry by storm because Farah Khan – a famous choreographer recently directed her first movie called Main Hoon Na. This goes to show that people want to see elaborate and funky dance sequences, they don't want pure acting, hence dancing is a crucial.

Dialogues and lyrics
The film script (frequently credited as "Dialogues") and the song lyrics are often written by different people. The dialogues are mostly written in Hindi, with use of Urdu in situations which require poetic dialogues. Contemporary mainstream movies also make great use of English. Dialogues are often melodramatic and invoke God, family, mother, and self-sacrifice liberally.

- In the 1975 film Deewar, a dialogue between the gangster brother Vijay and his policeman brother Ravi:

Vijay: Hum dono ek hi jagah se apni zindagi ki shuruwat ki thi -- aaj main kaha hoon aur tum kahan ho. Mere paas gaadi hai, bungalow hai, daulat hai -- kya hai tumhaarey paas?
We both started our lives from the same place -- look where I am today and where you are. I have cars, bungalows, wealth -- what do you have?

Ravi: Mere paas ma hai.
I have Mother.

Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. Song lyrics are usually about love. Bollywood song lyrics, especially in the old movies, frequently use Urdu or Hindustani vocabulary which has many elegant and poetic Arabic and Persian loan-words. Here's a sample from the 1983 film Hero, written by the great lyricist Anand Bakshi:

Bichhdey abhi to hum, bas kal parso,
jiyoongi main kaisey, is haal mein barson?
Maut na aayi, teri yaad kyon aayi,
Haaye, lambi judaayi!

We have been separated just a day or two,
How am I going to go on this way for years?
Death doesn't come; why, instead, do these memories of you?
Oh, this long separation!

Cast and crew
Bollywood employs people from all parts of India. It attracts thousands of aspiring actors and actresses, all hoping for a break in the industry. Models and beauty contestants, television actors, theatre actors and even common people come to Mumbai with the hope and dream of becoming a star. Just as in Hollywood very few succeed.

Stardom in the entertainment industry is very fickle, and Bollywood is no exception. Popularity of the stars can rise and fall rapidly, based on single movies. Very few people become national icons, who are unaffected by success or failure of their movies, like Amitabh Bachchan. Directors compete to hire the most popular stars of the day, who are believed to guarantee the success of a movie (though this belief is not always supported by box-office results). Hence stars make the most of their fame, once they become popular, by making several movies simultaneously. Aamir Khan is one of the few actors who is notable for his insistence on doing only one movie at a time.

Bollywood can be clannish, and the relatives of film-industry insiders have an edge in getting coveted roles. One notable film clan is the Kapoors: the patriarch Prithviraj Kapoor, his sons Raj Kapoor, Shammi, and Shashi, Raj's sons Randhir, Rishi, and Rajiv, and Randhir's daughters Karisma and Kareena Kapoor, have all been popular actors or even stars. Yet industry connections are no guarantee of a long career: competition is brutal and if film industry scions don't succeed at the box office, their careers will falter.

Bollywood awards
The Indian screen magazine Filmfare started the first Filmfare Awards in 1953. These awards were to be Bollywood's version of the Academy Awards. Magazine readers submit their votes and the awards are presented at a glamorous, star-studded ceremony. Like the Oscars, they are frequently accused of bias towards commercial success rather than merit.

Other companies (Stardust magazine, Zee TV etc) later entered the award business. Some of the other popular awards are:

• Zee Cine Awards
• Star Screen Awards
• Stardust awards
• IIFA Awards
  

They all sponsor elaborately staged award ceremonies, featuring singing, dancing, and lots of stars and starlets.

Since 1973, the Indian government has sponsored the National Film Awards, awarded by the government-sponsored Directorate of Film Festivals (DFF). The DFF screens not only Bollywood films, but films from all the other regional cinemas and independent/art films. These awards are handed out at a ceremony presided over by the President of India and hence are coveted by all.

Finances
Bollywood budgets are usually modest by Hollywood standards. Sets, costumes, special effects, and cinematography were less than world-class up until the mid-to-late 1990s. But as Western films and television gain wider distribution in India itself, there is increasing pressure for Bollywood films to attain the same production levels. Sequences shot overseas have proved a real box office draw, so Mumbai film crews are increasingly peripatetic, filming in Australia, New Zealand, United Kingdom, continental Europe and elsewhere. Nowadays, Indian producers are drawing in more and more funding for big-budget films shot within India as well, such as Lagaan, Devdas, and the current production The Rising.

Funding for Bollywood films often comes from private distributors and a few large studios. Indian banks were forbidden to lend money to film productions, but this ban has been lifted recently. As the finances are not regulated properly some of the money also comes from illegitimate sources. Mumbai gangsters have produced films, patronized stars, and used muscle to get their way in cinematic deals. In January of 2000, Mumbai mafia hitmen shot at Rakesh Roshan, film director and father of star Hrithik Roshan; he had rebuffed mob attempts to meddle with his film distribution. In 2001 the Central Bureau of Investigation, India's national police agency, seized all prints of the film Chori Chori Chupke Chupke after the movie was found to be funded by members of the Mumbai underworld.

Another problem facing Bollywood is piracy of its films. Often pirated DVDs arrive before the print for the picture. Factories in Pakistan and India stamp out thousands of illegal DVDs, VCDs, and VHS tapes, which are then shipped all over the world. (Copying is particularly rife in Pakistan, since the government has banned the import of Indian films, leaving piracy as the only way to distribute them.) Films are frequently broadcast without compensation by countless small cable-TV companies in India and Asia. Small Indian grocery-spice-video stores in the U.S. and the U.K. stock tapes and DVDs of dubious provenance while consumer copying adds to the problem.

Satellite TV, television and imported foreign films are making huge inroads into the domestic Indian entertainment market. In the past, most Bollywood films could make money; now fewer do so. Balanced against this are the increasing returns from theatres in Western countries like the United Kingdom, Canada, and the United States of America, where Bollywood is slowly getting noticed. As more Indians migrate to these countries, they form a growing market for upscale Indian films. 'Foreign' audiences—in Asian and Western countries—are also growing, if more slowly.

What problems does Bollywood face?
Bollywood's biggest problem is piracy - where people copy the films and either sell them or show them to other people for free. At the moment not all films made make more money than they cost to make, even though they can be seen by around one billion people.

If everyone paid to see the film legally the industry would make lots more money. At the moment Bollywood film producers are trying to work out a way to stop this happening. Another problem is that younger generations sometimes find the stories a bit predictable and are get bored of the similar tales. Film-makers are trying to solve this by changing storylines to reflect real life - like the fact that children of Indian families now study abroad.

What's the future for Bollywood?
The future looks even brighter for Bollywood. Big US film companies such as Warner Bros and Twentieth Century Fox are setting up offices in India. Where Indian film makers have found it difficult to compete with Hollywood's special effects, this is seen as the next big area for Bollywood to develop.

the art of mehndi

The art of mehndi (or mehandi) has been a long-standing tradition stemming from many ancient cultures dating back as far as about 5,000 years, but is most known today for its history in India. Today, it is still used in religious and ritualistic ceremonies in India, but has also gained appreciation in other countries as a beautiful art to be appreciated at any time. So, what exactly is mehndi?

Mehndi is a temporary art done on the body with henna. Henna powder is derived from a plant (actually a bush), Lawsonia inermis, commonly found in the Middle East and other areas where the climate is hot and dry. The bush is harvested, dried, and then crushed to make henna powder. Henna itself is used for many things such as hair treatment, heat rash relief, and skin conditioner to name a few. The top leaves of the plant are best for mehndi, while the lower part of the plant is used for the other purposes. Henna paste is what is made to apply henna art designs.

Henna powder itself is green in color, but the stain it leaves behind is usually an orange-red color. There are many suppliers now that offer henna in a variety of colors but these are not recommended. Pure henna has had little to no incident of allergic reaction. When colors are added to natural henna, reactions can be mild to severe. Black henna especially has been known to cause serious skin burns as a result of the chemicals added to it to produce the black color effect. Henna is best to be appreciated in its purest form.

Most who are familiar with henna have seen the traditional designs. These beautifully intricate patterns are similar to those used for the marriage ceremonies and other rituals. They usually adorn the hands and feet of the wearer, and require that they remain still for many hours to apply the paste and then allow it to dry. Henna color has been known to take best to the hands and feet due to their dry properties which soak up and hold the color better, but henna can be applied anywhere. How well your skin takes to the henna will depend on each individual's skin properties.

Today, henna has been done in many forms including more contemporary designs. Some contemplating a permanent tattoo might apply henna first to see if they like the look before making a permanent decision. Some just enjoy having a temporary design they know will wash off in a few weeks. Whatever your reasons might be for being interested in henna, you are delving into a beautiful form of art rich in culture.

indian art...

The history of India and its art has been so bound up with the geographic nature of this vast continent that something must be said of these physical characteristics. India has a kind of impregnable geographic isolation. It is in the shape of a great sealed funnel depending from the heartland of Asia. This peculiar shape of the peninsula made for an inevitable retention and absorption of all the racial and cultural elements that poured into it. The peninsula is bounded on the west by the Indian ocean; on the east by the Bay of Bengal. Along the northern frontier India is almost sealed off from the Asiatic mainland by the rocky curtain of the Himalayas from Baluchistan to Assam. The only openings in this formidable natural fortification are the various passes of the north-west, such as the famous Khyber and Bolan passes, which wind through the mountains seperating India from the Iranian plateau. Through these gaps came all the migrating tribes and conquerors that made themselves masters of the rich plain of India.

The cultural divisions of India proper have always been determined and dominated by the great river systems, the watersheds of the Indus and Ganges, the Deccan plateau and South India.

Climate, no less than geography has played its part in the development of the peculiarly indigenous traits of Indian history and art. All the races of martial character have grown up in the dry and hilly districts of north-west and centre, whereas the fertile plains of Bengal and South have been inhabited by peaceful and unwarlike cultivators.

The overpowering nature of India has in a way forced upon the inhabitants an inability to act, a situation responsible for the Indian races having become lost in religiosity.

The mystery of Indian myths and Indian art lies partly in the fact that it suggests rather than states. It could truly be said that Indian symbols of art voiced the same truth as Indian philosophy and myth.

In India, all art, like all life, is given over to religion. Indian art is life, as interpreted by religion and philosophy.

Indian art may, in a general way, be described as theological, hieratic, or, perhaps best of all as traditional. The purpose of Indian art, like all traditional art, is primarily to instruct men in the great first causes, which according to the seers, govern the material, spiritual and celestial worlds. Art is dedicated to communicating these great truths to mankind and, by the architectural, sculptural and pictorial reconstruction of the powers that maintain the stars in their courses.

my first blog...

hai frenz...this is my first blog....i feel great to be apart of this high tech society whereby i can drop my views online....watch for lot more views and thoughts from me that will be posted on my blog....thanks...