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Kathakali classical danceKathakali classical dance of Kerala owes its transnational fame to the nearly 300-year-old. Kathakali literally means story-play and is an elaborate dance depicting the victory of truth over falsehood. Themes revolve around the two great epics, the Ramayana and the Mahabharatha. A Striking feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters are superbeings from another world. The spectators can feel his invisible presence when the heroine or her maid details dreams and ambitions through circular movements, delicate footsteps and subtle expressions. Through slow and medium tempos, the dancer is able to find adequate space for improvisations and suggestive bhavas or Kathakali classical danceemotions. Costume is designed with lots of paint applied on the face of the artist. The pomp and magnificence of Kathakali is partly due to its decor, part of which include the ‘Kireetam’ or huge head gear, the ‘Kanchukam’ or the over sized jacket, and the long skirt worn over a thick padding of cushions. Make-up which is of five types- Pacha, Kathi, Thadi, Kari and Minukku.

Kathakali classical dance of Kerala owes its transnational fame to the nearly 300-year-old. Kathakali literally means story-play and is an elaborate dance depicting the victory of truth over falsehood….

A life science, illuminating precise methods of living, eating and behaving. Ayurveda literally means a science that deals about living and knowledge of life. As believed by many, ayurveda is not only a medicinal system but a complete manual of living and leading healthy and happy life. A carefully designed system of living, with time tested results helps in preventing instability, caused in body. Whole ayurvedic system is based on the principle that every object in this world made from five basic matters i.e. space, air, water, fire and earth. All living and non living things both are composed of these five basic elements better known as panch mahabhoot. This basic design is analogous in all the objects existing on the planet and hence contributes in creating a similar system in all. Homeostasis of the body gets disturbed when the ratio of these panch mahabhoot gets dissipated or imbalanced. Now, to again make that system in balance ayurveda applies the external constituents to make that loss compensated.

A life science, illuminating precise methods of living, eating and behaving. Ayurveda literally means a science that deals about living and knowledge of life….

Yoga refers to traditional physical and mental disciplines originating in India, to the goal achieved by those disciplines, and to one of the six orthodox (?stika) schools of Hindu philosophy. Outside India, yoga is mostly associated with the practice of asanas (postures) of Hatha Yoga or as a form of exercise. A practitioner of Yoga is called a Yogi (male) or Yogini (female). Classified by the type of practices, some branches of yoga are: Raja Yoga, Karma Yoga, Jnana Yoga, Bhakti Yoga, and Hatha Yoga. Raja Yoga, compiled in the Yoga Sutras of Patanjali, and known simply as yoga in the context of Hindu philosophy, is part of the Samkhya tradition. Many other Hindu texts discuss aspects of yoga, including the Vedas, Upanishads, the Bhagavad Gita, the Hatha Yoga Pradipika, the Shiva Samhita and various Tantras. The Sanskrit term yoga has many meanings. It is derived from the Sanskrit root yuj, “to control”, “to yoke”, or “to unite”. Common meanings include “joining” or “uniting”, and related ideas such as “union” and “conjunction”. Another conceptual definition is that of “mode, manner, means” or “expedient, means in general”.

Yoga refers to traditional physical and mental disciplines originating in India, to the goal achieved by those disciplines, and to one of the six orthodox (Astika) schools of Hindu philosophy.

History of BharathanatyamThe term “Bharathanatyam” was introduced by Rukminidevi Arundale, and is thought to derive from: BHAva(expression) + RAga (music) + TAla(rhythm) + NATYAM(dramatic art)Bharathanatyam is the most widely practised of classical Indian dances in South India, and has its origin in Tamil Nadu. It is the most ancient of all the classical dance forms in India, which are based on Natya Shastra, the Bible of the classical Indian dance. Gods and Godesses pleaded with Lord Brahma for another Veda to be created that would be simple for the common man to understand, which is particularly important in Kali Yuga. Granting their wish, Lord Brahma created the Panchamaveda, theFifth Veda or NatyaVeda, an essence of the main four Vedas. Brahma took pathya (words) form the Rigveda, abhinaya (communicative elements of the body movements, cf. mime) from the Yajurveda, geet (music and chant) from Samaveda, and rasa (vital sentiment and emotional element) from Atharvaveda to form the fifth Veda, NatyaVeda. After creating this Veda, Lord Brahma handed it to sage Bharata and asked him to propagate it on earth. Obeying the fiat of Lord Brahma, sage Bharata wrote Natyashastra down. It became the most authoritative text on the artistic technique of classical Indian dances, especially Bharathanatyam and Odissi. It is also possible that the term “Bharathanatyam” derives its name from sage Bharata.Another version of the origin of Bharathanatyam is that Goddess Parvathi taught this dance art to Usha, daughter of demon Banasura. Usha handed it down to the Gopikas of the city of Dwaraka, Lord Krishna’s birth place. In reality, one can imagine that the Gods and the Goddesses, being dancers themselves, have been passing the art of the heavenly dance through many other human channels, whose aptitude, understanding, and personal idiosyncrasies naturally varied from person to person, and created a number of styles ranging from Odissi to Bharathanatyam.Lord Shiva is himself the Supreme Dancer, and the whole Universe is His Divine Dance. Goddess Parvathi is dances with Him. The Dance performd by Lord Shiva is known as Tandava, virile aspect. The tandava performed with bliss is called Ananda Tandava. The tandava of the violent and destructive aspect is called Rudra Tandava. There are 7 types of Tandava in Bharathanatyam: Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samara Tandava, Kaali tandava, Uma Tandava and Gauri Tandava. There are some Bharathanatyam experts who distinguish 16 types of Tandava. Tandava produces vigourous, brisk movements. When the dance is performed by Goddess Parvathi, it is known as Lasya, where the movements are soft, gentle, graceful and sometimes seen as erotic. Some Bharathanatyam scholars consider Lasya as the feminine version of Tandava. Lasya is of 2 kinds: Jarita Lasya and Yauvaka Lasya. Bharathanatyam has been undergoing a lot of change over the centuries. It used to be and is still mostly performed by women dancers. Centuries ago the Hindu temples in South India had dancers-priestesses called devadasis who would sing, dance Dasi Attam (old Bharathanatyam), play many musical instruments. They were well-versed in Sanskrit and other languages as they had to adapt compositions to suit the audience. The devadasi tradition gradually degraded. Initially, devadasis lead a very strict and celibate life and were not allowed to have a family. As the dance entered the royal courts, the dancers were called Rajanartakis, who performed in the royal courts and gradually became royal concubines. The British colonial rule has completely corrupted the devadasi tradition. In the first half of the 19th century Bharathanatyam was revitalized and redefined by the contributions of four talented brothers known today as the Tanjore Quartet: Chinniah, Sivanandam, Ponniah and Vadivelu. By coordinating their diverse talents, the four managed to organize all the basic Bharathanatyam movements of pure dance into a progressive series, adavus. Each adavu is a basic unit taught in systematic order and then combined with others to produce choreographed Bharathanatyam sequences based upon the rhythmic pattern of a musical composition. The brothers composed new music specifically for Bharathanatyam, and introduced a different sequence of items which integrated various aspects of dance and music into a carefully coordinated, aesthetically sound progression. This infusion of creative energy marks the early 19th century as one of the most innovative periods in the history of Bharathanatyam. In the 20th century, the social status and image of Bharathanatyam was restored by Rukminidevi Arundale, the founder of Kalakshetra. Bharathanatyam has undergone much change but is still deeply rooted in the spiritual Hindu heritage. Contemporary Bharathanatyam dancers are both male and female artists. While most learn it as a hobby, very few make it their career and a lifestyle, as it is extremely demanding and complex in terms of dedication and daily practise.Brief overview of BharathanatyamBharathanatyam comprises three aspects, Nritta, Nritya and Natya.

BHAva(expression) + RAga (music) + TAla(rhythm) + NATYAM(dramatic art)Bharathanatyam is the most widely practised of classical Indian dances in South India,……..


Mohiniattam literally means the dance of the enchantress. Born in Kerala, Mohiniattam is the female counterpart of male dominated Kathakali. One legend says that the princess of Travancore, created and performed this enchanting dance in secret to invoke Lord Padmanabha (Vishnu) to life who she wished as her husband. Another legend is that the women of Kerala who were denied the right to learn Kathakali, created their own dance inspired by Kathakali, yet highly feminine, sensuous. A dance form that makes no sound with its footwork (perhaps to avoid attention). Kerala, a coastal state, is rich in its landscape with valleys of swaying coconut palms, vast paddy fields and the blue waves of the sea. Mohiniattam literally translates these features into the basic movement language of the dance form, which is marked by circular movements and circular spatial patterns, making the style extremely graceful and sensuous. Lasya (languid grace) and Sringara (beauty and love) are the essence and the basic mood of Mohiniattam. In Mohiniattam it is compulsory to wear white costumes where as in other dance forms white may be a colour of choice. Traditionally, Mohiniattam is taught, learnt and performed by women only.

This Indian classical dance form – Mohiniattam literally means the dance of the enchantress. Born in Kerala, Mohiniattam is the female counterpart of male dominated Kathakali.

Mudras
A symbolic hand gesture used in Hindu and Buddhist ceremonies and statuary, and in Indian dance. A movement or pose in yoga…….

There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music (Carnatic sangeet), while others are found in folk music. Instrumental music is usually similar to vocal music but sometimes there are distinctive instrumental styles.  There is a traditional system for the classification of instruments. This system is based upon; non-membranous percussion (ghan), membranous percussion (avanaddh), wind blown (sushir), plucked string (tat), bowed string (vitat). Here are the classes and representative instruments.  NON-MEMBRANOUS PERCUSSIVE (Ghan)  This is one of the oldest classes of instruments in India. This class is based upon percussive instruments which do not have membranes, specifically those which have solid resonators. These may be either melodic instruments or instruments to keep tal.  * Chimpta * Ghatam * Ghungharu * Jal Tarang * Kartal * Kasht Tarang * Manjira * Nout * Murchang  BLOWN AIR (Sushir)  This class of instrument is characterized by the use of air to excite the various resonators.  * Bansuri * Bombashi * Harmonium * Mukhavina * Nadaswaram * Ottu * Pungi * Shankh * Shehnai * Surpeti  PLUCKED STRINGED INSTRUMENTS (Tat)  This class of instruments is characterized by plucked strings. In ancient times virtually all instruments of this class were referred to as vina.  * Bulbul Tarang * Dotar #1 * Dotar #2 (Dotora) * Ektar * Getchu Vadyam (Gettuvadyam) * Gopichand (ektar) * Gotuvadyam * Katho * Magadi Vina * Nakula Vina * Rabab (Kabuli Rabab) * Rudra Vina * Saraswati Vina (South Indian Vina) * Santur * Sarod * Seni Rabab * Sitar * Surbahar * Surmandal * Swarabat (Swaragat) * Tanpura * Vichitra Vina  BOWED-STRINGED INSTRUMENTS (Vitat)  This is a class of stringed instruments which are bowed. This class appears to be quite old, yet these instruments did not occupy a place in classical music until the last few centuries. The entire class of instruments has a certain stigma attached to it. Even today only the Western violin is free of this stigma.  * Chikara * Dilruba * Esraj * Kamancha * Mayuri Vina * Pena (a.k.a. Bana) * Ravanhasta * Sarangi * Saringda * Tar Shehnai * Violin  MEMBRANOUS PERCUSSIVE (Avanaddh)  This is a class of instruments which have struck membranes. These typically comprise the drums.  * Chenda * Daf (Duf, Daphu, Daffali) * Damaru * Dhol * Dholak * Dholki (Nal) * Idakka and Udaku (Udakai) * Kanjira * Khol (Mridang) * Maddal * Mridangam * Nagada * Pakhawaj * Pung * Shuddha Madalam * Tabla * Tabla Tarang * Tasha * Tavil * Thanthi Panai * Tumbak  We have given a brief overview of the Indian instruments. We mentioned that the instruments fall into five categories: ghan (non-membranous percussion), sushir (wind blown), tat (plucked stringed), vitat (bowed stringed) and avanaddh (membranous percussion). Within these five classes there are a large number of individual instruments.

There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music

DHYANA MANTRA  Om omkara bindu samyuktam Nityam dyayanti yoginaha Kaamadam mokshadam chaiva Onkaraya namo namaha Om shantih shantih shantihi    DHYANA MANTRA  Omkara is comprised of three letters Aaa -Uoo – Mmm Yogis meditate upon it daily By meditating on it they fulfill their desires To that very OM we salute Om peace peace peace     YOGAABHYASA MANTRA Om yogena chittasya padena vaachaam Malam shareerasya cha vydeyakena  Yopaakarotam pravaram muneenaam Patanljalim Pranjaliraanatosmi Om shantih shantih shantihi    YOGAABHYASA MANTRA Let us bow before the noblest of sages Patanjali, who gave yoga for serenity and sanctity of mind, grammar for clarity and purity of speech and medicine for perfection of health. Om peace peace peace     PRANAYAMA MANTRA Om pranasyedam vashe sarvam Tridive yath pratiptitam  Matheva putran rakshasva Shreescha pranjnaascha videhi na ithi Om shantih shantih shantihi    PRANAYAMA MANTRA Prana the vital force pervades all the three worlds (below the earth, the earth and above the earth) All the activities are directed by prana  To that very prana we request to protect us as a mother protects her children. We also request the prana to simulate our intellect.     SHANTHI MANTRA  Om astoma sadgamaya tamasoma jyotirgamaya mrutyorma amrutamgamaya Om shantih shantih shantihi    SHANTHI MANTRA Om, Lead me from the unreal to the real  From darkness to light From mortality to immortality Om Peace Peace Peace.     SHANTHI MANTRA Om poornamadha poornamidam Poornaatpoornamudachyate Poornasya poornamaadaaya Poornamevaavashishyate  Om shantih shantih shantihi    SHANTHI MANTRA Om That is whole. This is whole From the whole the whole becomes manifest From the whole when the whole is negated What remains is again the whole  Om Peace Peace Peace.     GURU MANTRA  Om Guruh Brahma Gururvishnuhu Gururdevo Maheshwarah Guruh saakshat parabrahma Tasmai shree Guravennamah Om shantih shantih shantihi    GURU MANTRA The teacher is the creator, the sustainer, and the destroyer.  To that very teacher we salute. Om Peace Peace Peace.     SAVITRU MANTRA (GAYATRI MANTRA)  Om Bhurbhuvassuvaha Tatsavitur varenyam Bhargo devasya dheemahi Dheeyo yo nah prachodayath Om shantih shantih shantihi    SAVITRU MANTRA (GAYATRI MANTRA)  We meditate upon the bright lustre of God Savitru (represented by the sun) who shall enlighten our understanding He is the essence of earth and light. He is the complete understanding. e is the Brahman in the sphere of bhu bhuva and swah The sun himself is the Brahman Bhuh- the level of perception Bhuvah- the level of conception Suvah- the level beyond all these     AAVARTA DHYANA MANTRA Om laye sombhodayeth chittam vikshiptham shamayeth punaha  sakaashaayam vijaneeyat samapraptam na chalayet Om shantih shantih shantihi    AAVARTA DHYANA MANTRA Stimulate the dull mind Calm down the excited mind  Keep repeating the process of stimulation and relaxation till you experience the Bliss After experiencing the Bliss don’t disturb the mind, keep enjoying the Bliss. Om Peace Peace Peace.     SHANTHI MANTRA Om sahana vavatu Sahanou bhunaktu sahaviryam karavaahi tejaswinaavadheetamastu  maavidvishaavahai Om shantih shantih shantihi    SHANTHI MANTRA Om, May that protect us both, teacher and pupil. May that cause both to enjoy the Bliss of Liberation May we both exert to find out the true meaning of the scriptures May our learning be brilliant  May we never quarrel with each other. Om Peace Peace Peace.     SHANTHI MANTRA  Om sarve bhavantu sukinaha sarve santu niraamayaha sarve bhadrani pashyantu maa kaschid dhukha bhaagavet Om shantih shantih shantihi    SHANTHI MANTRA  Om may all be happy May all be free from disabilities May all look to the good of others May none suffer from sorrow Om Peace Peace Peace.     SURYA NAMASKARA MANTRA (these chants are used along with a series of suryanamaskaras) Om Mitraya Namaha, Om Ravaye Namaha, Om Suryaya Namaha, Om Bhanave Namaha, Om Khagaaya Namaha, Om Pooshne Namaha, Om Hiranya Garbhaya namaha, Om marichaye nama, Om Adityaaya Namaha, Om Savitre Namaha, Om Arkaaya Namaha, Om Bhaskaraya Namaha, Om Shri Savita, Sooryanaaraayanaaya Namaha.

A mantra is a sound, syllable, word, or group of words that is considered capable of “creating transformation”. Its use and type varies according to the school and philosophy associated with the mantra.


The Oriental Research Institute, Mysore, established in 1891 by Chamaraja Wodeyar, has several important manuscripts among its collection, including a complete text of the Natya Sastra, written in Sanskrit and in Kannada script.–-

Abhyanga : A one or two-person choreographed warm herbal oil massage that is designed to bring nourishment to the tissues, deep relaxation to the muscles and calmness to the mind. (Pronounced abee-yan-ga) –- Ayurveda Dictionary

Ayurveda is the healing science from India. It has been practiced for over 5,000 years by millions of individuals to assist the body in journeying back to optimal health. Literally means "The Science of Life."–-