THE CONCEPT OF CASTE

 

                         THE CONCEPT OF CASTE AND CHARACTERISTICS 

                                       OF CASTE IN HINDU COMMUNITIES

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                      THE INDIAN CASTE SYSTEM DESCRIBES THE SOCIAL STRATIFICATION AND SOCIAL RESTRICTIONS IN THE INDIAN SUBCONTINENT, IN WHICH SOCIAL CLASSES ARE DEFINED BY THOUSANDS OF HEREDITARY GROUPS, OFTEN TERMED AS JATIS OR CASTES. WITHIN A JATI, THERE EXIST EXOGAMOUS GROUPS KNOWN AS GOTRAS, THE LINEAGE OR CLAN OF A PERSON, ALTHOUGH IN A HANDFUL OF SUB-CASTES LIKE SHAKADVIPI, ENDOGAMY WITHIN USED (E.G. BANNING ENDOGAMY WITHIN A SURNAME).

                     ALTHOUGH GENERALLY IDENDIFIED WITH HINDUISM, THE CASTE SYSTEM WAS ALSO OBSERVED AMONG FOLLOWERS OF OTHERS RELIGIONS IN THE INDIAN SUBCONTINENT, INCLUDING SOME GROUPS OF MUSLIMS AND CHRISTIANS. THE INDIAN CONSTITUTION HAS OUTLAWED CASTE-BASED DISCRIMINATION, IN KEEPING WITH THE SOCIALIST, SECULAR, DEMOCRATIC PRINCIPLES THAT FOUNDED THE NATION. CASTE BARRIERS HAVE MOSTLY BROKEN DOWN IN LARGE CITIES, THOUGH THEY PERSIST IN RURAL AREAS OF THE COUNTRY. NEVERTHELESS, THE CASTE SYSTEM, IN VARIOUS FORMS, CONTINUES TO SURVIVE IN MODERN INDIA STRENGTHENED BY A COMBINATION OF SOCIAL PERCEPIONS AND DIVISIVE POLITICS.

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                                          CASTE AMONG THE HINDU

                    THE VARNA AND JATI SYSTEM : THE INDIAN CASTE SYSTEM HAS BEEN IN USE FOR MANY YEARS. STILL TODAY THE VALUES OF THE CASTE SYSTEM ARE HELD STRONGLY. IT HAS KEPT A SENSE OF ORDER, AND PEACE AMONG THE PEOPLE. THERE ARE FIVE DIFFERENT LEVELS OF THE SYSTEM. BRAHMAN, KSHATRIYA, VAISHYA, SHUDRA, AND HARIJANS. WITHIN EACH OF THESE CATEGORIES ARE THE ACTUAL" OR JATIS WITHIN WHICH PEOPLE ARE BORN, MARRY, AND DIE. THEY ALL HAVE THEIR OWN PLACE AMONG EACH OTHER AND ACCEPT THAT IT IS THE WAY TO KEEP SOCIETY FROM DISINTEGRATING TO CHAOS. THIS SYSTEM HAS WORKED WELL FOR INDIAN PEOPLE AND STILL HAS A MAJOR ROLE IN MODERN INDIA.

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                                        THE CASTE SYSTEM IN HINDUISM 

                                

                  THE PATTERN OF SOCIAL CLASSES IN HINDUISM IS CALLED THE "CASTE SYSTEM". THE CHART SHOWS THE MAJOR DIVISIONS AND CONTENTS OF THE SYSTEM. BASIS CASTE IS CALLED VARNA, OR COLOR. SUBCASTE, OR JATI, BIRTH LIFE, RANK, IS A TRADITIONAL SUBDIVISION OF VARN.

                   THE BHAGAVAD GITA SAYS THIS ABOUT THE VARN AS :

                      * THE WORKS IN BRAHMINS, KSHATRIYAS, VAISHYAS, AND SHUDRAS ARE DIFFERENT, IN HARMONY WITH THE THREE POWERS OF THEIR BORN NATURE.

                     * THE WORKS OF A BRAHMIN ARE PEACE, SELF-HARMONY, AUSTERITY, AND PURITY, LOVING-FORGIVENESS AND RIGHTEOUSNESS, VISION AND WISDOM AND FAITH.

                     * THESE ARE THE WORKS OF A KSHATRIYA, A HEROIC MIND, INNER FIRE, CONSTANCY, RESOURCEFULNESS, COURAGE IN BATTLE, GENEROSITY AND NOBLE LEADERSHIP.

  

                     * TRADE, AGRICULTURE AND THE REARING OF CATTLE IS THE WORK OF A VAISHYA. AND THE WORK OF TEH SHUDRA IS SERVICE.

                     THERE ARE LITERALLY THOUSANDS OF SUBCASTE IN INDIA, OFTEN WITH PARTICULAR GEOGRAPHICAL RANGES, OCCUPATIONAL SPECIALIZATIONS, AND AN ADMINISTRATIVE OR CORPORATE STRUCTURE. WHEN MAHATMA GANDHI WANTED TO GO TO ENGLAND TO STUDY LAW, HE HAD TO ASK HIS SUBCASTE, THE MODH BRANIA, FOR PERMISSION TO LEAVE INDIA. (BANIA, MEANS, MERCHANT, AND GANDHI MEANS GREENGROCER - FROM GANDHA, SMELL, FRAGRACE, IN SANSKRIT - AND THAT SHOULD BE ENOUGH FOR A GOOD GUESS THAT GANDHI WAS A VAISHYA) SOMETIMES IS DENIED THAT THE VARN, AS ARE "CASTES" BECAUSE, WHILE TRUE CASTE, THE JATIS, ARE BASED ON BIRTH, THE VARNAS ARE BASED ON THE THEORY OF THE GUNAS (THE THREE POWERS MENTIONED IN THE GITA) . THIS IS NO MORE THAN A RATIONLIZATION. THE VARNAS CAME FIRST, AND THEY ARE BASED ON BIRTH. THE GUNAS CAME LATER, AND PROVIE A POOR EXPLANATION ANYWAY, SINCE THE GUNA TAMAS IS ASSOCIATED WITH BOTH TWICE BORN AND ONCE BORN, CASTE AND OUTCASTE, OVERLAPPING THE MOST IMPORTANT RELIGIOUS AND SOCIAL DIVISION IN THE SYSTEM.

                    NEVERTHELESS, THE VARNAS ARE NOW DIVISIONS AT A THEORETICAL LEVEL, WHILE THE JATIS ARE THE WAY IN WHICH CASTE IN EMBODIED FOR MOST PRACTICAL PURPOSES. JATIS THEMSELVES CAN BE RANKED IN RELATION TO EACH OTHER, AND OCCASIONALLY A QUESTION MAY EVEN BE RAISED ABOUT THE PROPER VARNAS TO WHICH A PARTICULAR JATI BELONGS. AS JATI MEMBERS CHANGE OCCUPATIONS AND THEY RISE IN PRESTIGE, A JATI MAY RARELY EVEN BE ELEVATED IN THE VARNA TO WHICH IT IS REGARDED AS BELONGING.

                 ACCORDING TO THE LAWS OF MANU, WHEN THE TWICE BORN COME OF AGE, THEY ENTER INTO THE FOUR ASHRAMAS OR "STAGE OF LIFE".

                1. THE FIRST IS THE BRAHMACHAYA, OR THE STAGE OF THE STUDENT (BRAHMACARIN). FOR BOYS, THE STUDENT IS SUPPOSED TO GO LIVE WITH A TEACHER (GURU), WHO IS A BRAHMIN, OR LEARN ABOUT SANSKRIT, THE VEDAS, RITUALS, ETC. THE DHARMA OF A STUDENT INCLUDES BEING OBEDIENT, RESPECTFUL, CELIBATE, AND NON-VIOLENT. THE TEACHER IS GOD. FOR GIRLS, THE STAGE OF STUDENTHOOD COINCIDES WITH THAT OF THE HOUSEHOLDS, AND THE HUSBAND STANDS IN THE PLACE OF THE TEACHER, SINCE THE BOYS ARE SUPPOSED TO BE CELIBRATE WHILE STUDENTS, GANDHI USED THE TERM BRAHMACARI TO MEAN THE CELIBRATE PRACTIONER THAT HE THOUGHT MADE THE BEST SATYAGRAHI, THE BEST NON-VIOLENT ACTIVIST.

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                             2. THE SECOND STAGE IS THE GARHASTYA, OR THE STAGE OF THE HOUSEHOLDER, WHICH IS TAKEN FAR MORE SERIOUSLY, IN HINDUISM THAN IN JAINISM OR BUDHISM AND IS USUALLY REGARDED AS MANDATORY, LIKE STUDENTHOOD, ALTHOUGH DEBATE CONTINUED OVER THE CENTURIES WHETHER OR NOT THIS STAGE COULD BE SKIPPED IN FAVOR OF A LATER ONE. THIS IS THE STAGE WHERE THE PRINCIPLE DHARMA OF THE PERSON IS PERFORMED, WHETHER AS PRIEST, WARRIOR, ETC, OR FOR WOMEN MAILY AS WIFE AND MOTHER. ARJUNA'S DUTY TO FIGHT THE BATTLE IN THE BHAGAVAD GITA COMES FROM HIS STATUE AS A HOUSEHOLDER. BESIDES SPECIFIC DUTIES, THERE ARE GENERAL DUTIES THAT PAY OFF THE "THREE DEBTS".

                             (1) A DEBT TO THE ANCESTORS THAT IS DISCHARGED BY THE MARRYING AND HAVING CHILDREN. (2) A DEBT TO THE GODS THAT IS DISCHARGED BY THE HOUSEHOLD RITUALS AND SACRIFICES, AND (3) A DEBT TO THE TEACHER THAT IS DISCHARGED BY APPROPRIATELY TEACHING ONE'S WIFE, CHILDREN, AND, FOR BRAHMINS, OTHER STUDENTS. THE THREE DEBTS ARE SOMETIMES ASSOCIATED WITH THE THREE GODS OF THE TRIMURTI - THE ANCESTOR DEBT WITH BRAHMA, THE GODS DEBT WITH VISNU, AND THE TEACHER DEBT WITH SHIVA.

                        

                             3. THE THIRD STAGE IS THE VARNAPRASTAYA, OR THE STAGE OF THE FOREST DWELLER. THIS MAY BE ENTERED INTO OPTIONALLY IF (IDEALLY) ONE'S HAIR HAS BECOME GRAY, ONE'S SKIN WRINKLED, AND GRANDCHILDREN EXIST TO CARRY ON THE FAMILY. HUSBANDS AND WIVES MAY LEAVE THEIR AFFAIRS AND POSSESSIONS WITH THEIR CHILDREN AND RETIRE TOGETHER TO THE FOREST AS HERMITS. THIS DOES NOT INVOLVE THE COMPLETE RENUNCIATION OF THE WORLD, FOR HUSBANDS AND WIVES CAN STILL HAVE SEX (ONCE A MONTH), AND A SACRED FIRE STILL SHOULD BE KEPT AND MINIMAL RITUALS PERFORMED. THIS STAGE IS THUS NOT ENTIRELY FREE OF DHARMA. THE FOREST TREATISES WERE SUPPOSED TO HAVE BEEN WRITTEN BY OR FOR FOREST DWELLERS. WHO HAVE MOSTLY RENOUNCED THE WORLD AND HAVE BEGUN TO CONSIDER LIBERATION. 

                   I AM NOT AWARE THAT FOREST DWELLING IS STILL PRACTICES IN THE TRADITIONAL WAY. THE MODERN ALTERNATIVES SEEM TO CONSIST OF THE MORE STARK OPPOSITION BETWEEN HOUSEHOLDING AND BECOMING A WANDERING ASCETIC. NEVERTHELESS, FOREST DWELLING IS AN INSTITUTION THAT DOESN'T REALLY DEVELOP AS SUCH IN JAINISM AND BUDDHISM. THE IDEA THAT HAUSBANDS ANS WIVES WOULD ENGAGE IN ASCETIC PRACTICES TOGETHER, WITHOUT CELIBRACY, WOULD APPEAR EXTRAORDINARY,. IN THOSE TERMS, IT IS AN UNFORTUNATE LOSS IF TEH INSTITUTION DOES NOT CONTINUE IN MODERN HINDUISM.

                         4. THE FOURTH STAGE IS THE SANNYASA, OR THE STAGE OF THE WANDERING ASCETIC, THE SANNYASIN (OR SADHU). IF A MAN DESIRES, HE MAY CONTINUE ON TO THIS STAGE, BUT HIS WIFE WILL NEED TO RETURN HOME, TRADITIONALLY SHE CANNOT STAY ALONE AS A FOREST DWELLER O WANDER THE HIGHWAYS AS AN ASCETIC. THE SANNYASIN HAS RENOUNCED THE WORLD COMPLETELY, IS REGARDED AS DEAD BY HIS FAMILY (THE FUNERAL IS HELD), AND IS FINALLY BEYOND ALL DHARMA AND CASTE. WHEN A SANNYASIN ENTERS A HINDU TEMPLE, HE IS NOT A WORSHIPPER BUT ONE OF THE OBJECTS OF WORSHIP. NOT EVEN THE GODS ARE SANNYASINS (THEY ARE HOUSEHOLDERS), AND SO THIS IS WHERE IN HINDUISM, AS IN JAINISM AND BUDDHISM, IT IS POSSIBLE FOR HUMAN BEINGS TO BE SPIRITUALLY SUPERIOR TO THE GODS. IT HAS LONG BEEN A MATTER OF DISPUTE IN HINDUISM WHETHER ONE NEED REALLY FULLFILL THE REQUIREMENTS OF THE LAWS OF MANU (GRAY HAIR, ETC). TO RENOUNCE THE WORLD.

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HORN WORK IN INDIA

 

                                                            HORN WORK

               HORN CRAFT IS THE RICH CULTURAL HERITAGE OF THE ARTISANS OF PARALAKHEMUNDI, GAJAPATI DISTRICT OF ORISSA. ORIGINALLY CARPENTERS BY BIRTH AND TRADE, THEY TOOK TO HORN CRAFT DURING THE REIGN OF SRI KRISHNA CHANDRA GAJAPATI NARAYAN DEB, THE MAHARAJA OF PARALAKHEMUNDI.

               IT IS IMPOSSIBLE TO TELL PRECISELY WHEN OR HOW THIS HANDICRAFT WAS BORN. IT IS BELIEVED THAT K.V. APPA RAO IS THE FATHER OF HORN CRAFT IN ITS PRESENT FORM. THE MAHARAJA PATRONIZED HIM FOR HIS FIREWORKS, FOR ONE PARTICULAR VARIETY OF WHICH THE HOLLOW PART OF A HORN WAS USED AS A CONTAINER. DURING THE FIREWORK DISPLAY, INCIDENTALLY DISCOVERED AN IMPORTATANT PROPERTY OF HORNS, ITS PLASTICITY. WHEN THE KING CAME ACROSS AN EXQUISITELY CARVED WOODEN CRANE, HE WAS INSPIRED TO GET A SIMILAR ONE MADE OF HORN. THE WORK OF THE ART CARVED BY HIM FROM THE SOLID PART A HORN HIGHLY PLEASED THE MAHARAJA. APPA RAO WITH HIS INNATE BUSINESS ACUMEN ASSESSED THE POTENTIALLY OF THE CRAFT AND SET UP A WORSHIP. EFFORTS WERE ALSO MADE TO INTRODUCE NEW DESIGNS AND MORE SOPHISTICATED TOOLS. THE VERY WORD PARALAKHEMUNDI BECAME SYNONYMOUS WITH HORN-CRAFT.

            HORN ARTICLES OF PARALAKHEMUNDI ARE MYSTICAL AND ARE BLENDED WITH A SUPERB FASHION DESIGN. THEY MAKE STYLISED BIRDS AND ANIMALS WHICH SEEM SO ALIVE, CRANES FOR INSTANCE, LOOK AS THOUGH IF THEY OPENED THEIR BEAKS, THEY COULD TALK,  OR THE BIRDS APPEAR TO BE TWITTERING, OR THE TIGER SEEMS JUST ABOUT TO JUMP ON YOU. LITTLE TOUCHES OF SILVER FILIGREE ARE ADDED TO THE HORN ARTICLE TO GIVE IT AN UNUSUAL LOOK, ALSO TO ITEMS LIKE BANGLES, PERFUME JARS IN CUTTACK HORN AND FILIGREE WORK ARE COMBINED TO PRODUCE DECORATIVE JEWELS, BANGLES, ETC. THE OTHER IMPORTANT CENTERS INCLUDE SARAI TARIN IN UTTAR PRADESH, HONAWAR IN KARNATAKA AND TRIVANDRUM IN KERALA. THE CRAFTMEN OF TRIVANDRUM ARE FAMOUS FOR MAKING DIFFERENT KINDS OF CRANE BIRDS IN HORN.

               PROCEDURE OF MAKING HORN ITEMS : COW HORNS, HORNS, STAG ANTLERS AND TUSKS ARE USED IN HORN CRAFT. THE DESIRED OBJECT IS CARVED FROM THE CARVED PIECE IS HEATED TO A SPECIFIC TEMPERATURE AND SHAPED. AFTER THAT, ITS SURFACE IS SMOOTHED DOWN WITH THE HELP OF A ROUGH FILE, FLATE FILE OR HALF ROUND FILE AND A SHARP STAINLESS STEEL BLADE RESPECTIVELY. NECESSARY BORES ARE MADE TO FIX APPENDAGES. IN THE PAST, EYES WERE  MADE OF THE STAG ANTLER STICK AT THE CENTER OF WHICH A BORE WAS DRILLED AND STUFFED WITH LACQUER BURNT IN A LUMINOUS FLAME. AFTER DRILLING BORES, LIGHT INCISIONS AND GROOVES ARE MADE IN THE REQUIRED PLACES ON THE BODY OF THE HORN WORK. AT THIS STAGE IT IS HANDED OVER TO THE WOMEN FOR POLISHING. THEY RUB THE ARTICLES FIRST WITH AN EIGHTY-COUNT SAND PAPER AND THEN WITH WET KHRSHANA LEAVES ONE SURFACE OF WHICH IS ROUGH. THE POLISHING IS CONTAINED TILL THE HORN WORK IS SMOOTH AND SHINY. THEN IT IS THOROUGHLY CLEANED WITH WATER AND DRIED IN OPEN AIR. AFTER DRYING IT IS FURTHER POLISHED WITH COW DUNG ASH OR CHARCOAL ASH AND THE VARIOUS PARTS ARE ASSEMBLED. 

                  APPLYING EITHER LIMESTONE PASTE OR WHITE VARNISH HIGHLIGHTS THE DESIRED AREAS. FINALLY COCONUT OIL IS SMEARED ALL OVER TO GIVE THE HORN WORK A BEAUTIFUL SHEEN.

                PEN STANDS, TABLE LAMPS, PAPER WEIGHTS, LAMP SHADES, SNUFF BOXES. WALKING STICKS, VERMILION CONTAIN ARE SOME OF THE MOST COMMON PRODUCTS. FISH AND FOWL, FLORA AND FAUNA, MEN AND WOMEN IN FACT, THE ENTIRE GAMUT OF CREATION IS RENDERED IN A NATURALISTIC MANNER. THE LEAST REMAINS INCOMPLET WITHOUT A MENTION OF THE HORN DEITIES, ESPECIALLY LORD JAGANNATH. IN KEEPING WITH CHANGING TIMES, INSPIRATION FOR DECORATIVE PIECES IS BEING DRAWN FROM MODERN ART AS WELL.

                   BONE CRAFT : IN ORISSA, BONE CARVINGS OF ANIMALS AND MITHUNA FIGURES ARE COMMON. CARVED OF BONES AND HORNS ARE A SPECIALITY. THE MOST IMPORTANT CENTERS INCLUDE SARAI TARIN IN UTTAR PRADESH, HONAWAR IN KARNATAKA AND TRIVANDRUM IN KERALA.

                  FINE ART OF BONE : THE DESIGN ON THE BONE CARVING ARE FLORAL AND FIGURATIVE BASED ON THE INSPIRATIONS FROM THE MUGHAL ARCHITECTURE AND FOLIAGE. INITIALLY ORNAMENTS WERE MADE OUT OF THE NATURAL BONES, BUT FOR THE PAST MANY YEARS BONE IS TREATED WITH MANY ATTRACTIVE COLOUS OF NATURAL STONES LIKE FEROZA, TOPAZ,QUARTZ ETC.

                 PROCEDURE OF MAKING BONE PRODUCTS : RAW BONE OF DEAD ANIMALS IS CUT INTO PIECES OF DESIRED SIZE AND IMMERSED IN WATER FOR 12 HOURS. THIS PROCESS SOFTENS THE BONE. LATER THESE PIECES ARE SCRAPPED AND CLEANED. THEN THEY ARE SHAPED TO A DESIRED OBJECT ON A LATHE. CARVING IS DONE WITH THE AID OF A FILE DRILL. CARVING THE CORE BLOCK. THE CRAFT MADE FROM IVORY SHELL ARE ALSO VERY FAMOUS.

                 HORN AND BONE ARTIFACTS : JEWELLERY, ORNATE TABLE LAMPS, CHESS-ETC, CIGARATTE HOLDERS, NAPKIN RINGS, SALT AND PEPPER SETS AND LAUGHING BUDDHA, TABLE-LAMPS, CHESS SETS, ANIMAL FIGURES, DECORATIVE PLAQUES, BRIDGES OF ANIMALS, PAPER CUTTERS, THE NATIONAL EMBLEM NAPKIN RINGS, SALT AND PEPPER SETS, TOOTH PICKS, HAIR PINS, BANGLES, LOCKETS, NECKLACES, FIGURES DEPICTING INDIAN DANCES ARE PRODUCED.

              SHELL WORK : SHELL CRAFT ARE IN GREAT DEMAND IN INDIA. IT HAS RELIGIOUS AND SOCIAL SIGNIFICANCE. THE ORNAMENTS MADE OUT OF SHELLS ARE FAVOURITE WITH PEOPLE FROM ALL SHADES OF SOCIETY. SHELLS ARE THE MOST COLOURFUL AND FASCINATING OBJECTS KNOWN TO MAN OTHER THAN GEMS SINCE THEM IMMEMORIAL. THEY SERVED AS MONEY, ORNAMENTS, AND MUSICAL INSTRUMENTS, DRINKING CUPS, IN MAGIC AND IN THE MAKING OF FINE PORCELAINS. THEY WERE ALSO THE SYMBOLOLS IN RITUALS AND RELIGIOUS OBSERVANCES. SHELLS SUCH AS GIANT CLAM, GREEN MUSSEL AND OYSTER SUPPORT EDIBLE SHELLFISHERY, A FEW LIKE SCALLOP, CALM AN COCKLE ARE BURNT IN KILN TO PRODUCE EDIBLE LIME.

 

             CONCH SHELL WORK : THE CONCH SHELL IS CONSIDERED ESPECIALLY SACRED SINCE TIME MEMORIAL . IT IS ONE OF THE PRE-REQUISITIES IN RELIGIOUS PERFORMANCE AND THE BLOWING OF THE COUNCH HAS BEEN REGARDED AS AUSPICIOUS AT RELIGIOUS AS WELL AS SOCIAL FUNCTIONS. ITS SOUND IS SAID TO SYMBOLISE THAT OF THE COSMIC UNIVERSE. CONCH ORNAMENTS IN THE OLD DAYS WERE VERY POPULAR.

             THE ANCIENT CITY OF KORKALI, ON THE INDIAN SHORE OF THE GULF OF MANNER, WAS MADE SUP-CAPITAL OF THE PANDYAN KIND BECAUSE OF THE HEAVY REVENUES IT BROUGHT FROM THE SELLING OF CONCH SHELL. EXCAVATIONS HAVE REVEALED NUMEROUS CONCH SHELL PRODUCTS, INCLUDING SOME INCLAY WORK REQUIRING GREAT SKILL, EVEN BUILDINGS WERE DECORATED WITH CONCH PIECES. BANGLES AND OTHER KINDS OF ORNAMENTS ARE ALSO MADE FROM CONCHES. SHELL HORN IS THE WHOLE CONCH INTACT USED FOR RELIGIOUS PURPOSES. ON THIS, BEAUTIFUL RITUALISTIC DESIGN ARE MADE, MOSTLY FLORAL, SOMETIMES FIGURES , THE MOST POPULAR ONE BEING THE LOTUS, WHICH IS ALSO SYMBOLIC.

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INDIAN FESTIVALS (JANUARY)

                               CHARACTERISTICS OF INDIAN FESTIVALS

                  INDIA IS A LAND OF FESTIVALS AND FAIRS. EVERY DAY OF THE YEAR THERE IS A FESTIVAL CELEBRATED IN SOME PART OF THE COUNTRY. SOME FESTIVALS WELCOME THE SEASONS OF THE YEAR, THE HARVEST, THE RAINS, OR THE FULL MOON. OTHERS CELEBRATE RELIGIOUS OCCASIONS, THE BIRTHDAYS OF DIVINE BEINGS, SAINT, AND GURUS (REVERED TEACHERS), OR THE ADVENT OF THE NEW YEAR. A NUMBER OF THESE FESTIVALS ARE COMMON TO MOST PART OF INDIA. HOWEVER, THEY MAY BE CALLED BY DIFFERENT NAMES IN VARIOUS PARTS OF THE COUNTRY OR MAY BE CELEBRATED IN A DIFFERENT FASHION.

                                           INDIAN FESTIVALS JANUARY

                                                               JANUARY

                 MAKAR SANKTRANTI : (MAHARASHTRA, KARNATAKA  AND ANDHRA PRADESH) IS A CELEBRATION OF SPRING ON THE OCCASION OF THE 'ASCENT' OF THE SUN TO THE NORTH (UTTARAYANA). IN MAHARASHTRA, KARNATAKA AS WELL AS PART OF ANDHRA, MAKAR SANKRANTI IS A DAY OF GOODWILL AND FRIENDSHIP. SESAME LADOOS AND SUGAR DROPS ARE DISTRIBUTED AS A SYMBOL OF THE NEED TO BE GENEROUS AND KIND TO EVERYONE. WOMEN WEAR NEW CLOTHES, NEW GLASS BANGLES AND HOLD-GET-TOGETHER TO SHARE SWEETS AND GIFTS. A NEW BRIDE IS GIVEN ORNAMENTS MADE OF SUGAR DROPS AND HER NEW RELATVES ARE INVITED TO MEET AND WELCOME HER AT A HALDI KUMKUM CELEBRATION.

              LOHRI (PUNJABI) : IN THE NORTH MAKAR SANKRANTI IS CALLED LOHRI. IT IS THE ONLY HINDU FESTIVAL WHICH FALLS REGULARLY ON THE 14TH OF JANUARY EVERY YEAR. LOHRI IS THE TIME AFTER WHICH THE BITING COLD OF WINTER BEGINS TO TAPER OFF. ON THIS DAY THE CHILDREN GO FROM DOOR TO DOOR TO COLLECT FUNDS FOR COMMUNITY BONFIRES WHICH ARE LIT IN THE EVENING. LOHRI IS MORE OF A COMMUNITY FESTIVAL, WHERE THE BIRTH OF A SON OR THE FIRST YEAR OF MARRIAGE IS CELEBRATED FESTIVALS, WHERE THE BIRTH OF A SON OR THE FIRST YEAR OF MARRIAGE IS CELEBRATED WITH GREAT FUN AND FROLIC. PEOPLE GATHER AROUND THE BONFIRES AND OFFER SWEETS, CRISP RICE AND POPCORN TO THE FLAMES. SONGS ARE SUNG TO THE BEAT OF VIGOROUS CLAPS AND GREETINGS ARE EXCHANGED. 

                PONGAL : (TAMIL NADU, ANDHRA PRADESH): IN THE SOUTH SANKRANTI BECOMES PONGAL. IT IS A CELEBRATION OF THE HARVEST WHICH IS OBSERVED FOR THREE DAYS IN TAMIL NADU AS WELL AS IN ANDHRA PRADESH. THE FIRST DAY IS THE BHOGI PONGAL WHICH IS CELEBRATED AS A FAMILY FESTIVAL. SURYA PONGAL,THE SECOND DAY, IS DEDICATED TO THE SUN (SURYA) WHEN PONGAL (RICE COOKED IN MILK AND JAGGERY) IS BOILED BY WOMEN AND OFFERED TO THE SUN.  FRIENDS GREET ONE ANOTHER BY ASKING "IS IT BOILED"?, AND THE ANSWER IS GIVEN IS "IT IS". IT IS FOLLOWED BY GREAT REJOICING. MATTU PONGAL, THE THIRD DAY, IS A DAY DEDICATED TO THE WORSHIP AND VENERATION OF CATTLE (MATTU). THE PONGAL THAT HAS BEEN OFFERED TO THE LOCAL DEITIES IS GIVEN TO THE CATTLE TO EAT. THE CATTLE ARE BATHED AND DECORATED. COLOURED BALLS OF THE PONGAL ARE ALSO MADE AND LEFT IN THE OPEN FOR BIRDS. IN MADURAI, TIRUCHIRAPALLI AND TANJORE, A KIND OF BULLFIGHT, CALLED THE "JALLIKATTU" IS HELD. BUNDLES CONTAINING MONEY ARE TIED TO THE HORNS OF FEROCIOUS BULLS, AND UNARMED VILLAGER TRY OT WREST THE BUNDLES FROM THEM. WITH INGREDIENTS PROVIDED BY THE FRESHLY GATHERED HARVEST, COMMUNITY MEALS ARE HELD AT NIGHT.

                THAI PUSAM (TAMIL NADU) : THE FESTIVAL USUALLY TAKES PLACE IN THE TEMPLES DEDICATED TO KARTIKEYA OR MARIAMMAN WHERE TRENCHES OF BURNING COAL ARE LAID OUT FOR THE DEVOTEES TO WALK OVER. IT HAS BEEN SEEN THAT PEOPLE WHO VOLUNTEER TO UNDERTAKE THIS EXPERIENCE WITH FAITH, COME AWAY UNHARMED AND UNSCATHED. THE CHIEF PRIEST OF THE TEMPLE AND THE TWELVE "HERO-YOUTHS", WHO ARE TO PERFORM THIS FEAT, FIRST GO OUT IN A PROCESSION FROM THE TEMPLE TO BATHE, SMEAR THEMSELVES WITH TURMERIC, POWDER, AND BEGIN THE DANCE. THEN THE WALK OVER ALONG PIT COVERED WITH BURNING AND COME OUT UNSCATHED. THIS IS FOLLWED BY SINGING AND FEASTING WHICH CONTINUES TILL LATE NIGHT.

                 FLOAT FESTIVAL : (TAMIL NADU) : THIS MAGNIFICENT FESTIVAL IS CELEBRATED IN MADURAI ON THE NIGHT OF THE FULL MOON. THE ORNAMENTED ICONS OF THE TWO DEITIES, THE GOD SUNDARESA (INCARNATION OF SHIVA ) AND THE GODDESS MEENAKSHI (INCARNATION OF PARVATI), WITH PEARL CROWNS ON THEIR HEADS AND RIDING ON A GOLDEN BULL ARE TAKEN OUT IN A SPLENDID PROCESSION FROM THE MEENAKSHI TEMPLE. THE GOD ALAGAR (INCARNATION OF VISHNU) GIVES HIS SISTER MEENAKSHI, IN MARRIAGE TO SUNDARESA AMIDST GREAT REJOICING. DEVOTEES CLOTHED IN YELLOW AND RED DANCE AMONG THE PORCESSIONISTS AND SPRAY COLOURED WATER ON THEM. THE ICONS ARE FLOATED IN THE TANK ON A RAFT DECKED WITH FLOWERS AND FLICKERING LAMPS.

               NATIONAL KITE FESTIVALS (GUJARAT) : IN GUJARAT AND OTHER WESTERN STATES THE CHANGE IN THE DIRECTION OF WINDS ON MAKAR SANKRANTI IS MARKED BY THOUSANDS OF COLOURFUL KITES OF ALL PATTERNS AND DIMENSIONS WHICH DOT THE BLUE SKY. THE KITES MEN VIE WITH EACH OTHER TO WIN COMMUNITY KITE-FLYING COMPETITIONS. THE KITES ARE HAND MADE AND THE THREAD IS GIVEN A COATING OF GLASS POWDER MIXED IN EITHER RESIN OR A PASTE MADE OF REFINED WHEAT FLOUR. THE DAY ALSO WITNESS KITE FLYING TOURNAMENTS IN WHICH HANDSOME CASH, CUPS AND SHIELDS ARE AWARDED AS PRIZES TO THE WINNERS. SPECIAL KITES WITH PAPER LAMPS FILL THE NIGHT SKY WITH MYRAID FLICKERING LIGHTS.

               KERALA VILLAGE FAIR : MID-JANUARY IS THE TIME FOR CULTURAL EVENTS IN THE LUSH VILLAGES AROUND KOVALAM, EVERY YEAR. TRADITIONAL THATCH HOUSES ARE DECORATED DURING THIS TEN DAY LONG FESTIVAL AND ARE THE VENUE FOR FOLD DANCES, MUSIC AND FESTIVALS.

             BIKANER FESTIVAL : THE FESTIVAL STARTS OFF WITH A MAGNIFICENT PROCESSION OF BEDECKED CAMELS. IT IS A COLOURFUL SPECTACLE OF BEAUTIFULLY DECORATED CAMELS THAT FASCINATES THE ONLOOKERS WITH THEIR CHARM AND GRACE. SEVERAL COMPETITIONS ARE HELD, MARKED WITH TYPICAL RAJASTHANI COLOUR, JOYOUS MUSIC AND LILTING RYTHMS AND GAY FESTIVITIES.

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MUSEUM HISTORY

 

                  

                      UNDERSTAND BY MUSEUM AND TYPES OF MUSEUM

           

                    A MUSEUM IS A 'PERMANENT INSTITUTION IN THE SERVICE OF SOCIETY AND OF ITS DEVELOPMENT, OPEN TO THE PUBLIC, WHICH ACQUIRES, CONSERVES, RESEARCHES, COMMUNICATES AND EXHIBITS THE TANGIBLE AND INTANGIBLE HERITAGE OF HUMANITY AND ITS ENVIROMENT, FOR THE PURPOSE OF EDUCATION, STUDY, AND ENJOYMENT,' AS DEFINED BY THE INTERNATIONAL COUNCIL OF MUSEUM. THE UK MUSEUM ASSOCIATION DEFINITION (ADOPTED 1998) IS :

                "MUSEUM ENABLE PEOPLE TO EXPLORE COLLECTIONS FOR INSPIRATION, LEARNING, AND ENJOYMENT. THEY ARE INSTITUTIONS THAT COLLECT, SAFEGUARD AND MAKE ACCESSIBLE ARTIFACTS AND SPECIMENS, WHICH THEY HOLD IN TRUST FOR SOCIETY". THERE ARE TEN OF THOUSANDS OF MUSEUMS ALL OVER THE WORLD. THERE ARE VERY MANY TYPES OF MUSEUMS, FROM VERY LARGE COLLECTIONS IN MAJOR CITIES, COVERING MANY OF THE CATEGORIES BELOW, TO VERY SMALL MUSEUM COVERING EITHER A PARTICULAR LOCATION IN A GENERAL WAY, OR A PARTICULAR SUBJECT, SUCH AN INDIVIDUAL NOTABLE PERSON.

                  CATEGORIES INCLUDE: FINE ARTS, APPLIED ARTS, CRAFT, ARCHAEOLOGY, ANTHROPOLOGY, AND ETHNOLOGY, HISTORY, CULTURAL HISTORY, MILITARY HISTORY, SCIENCE, TECHNOLOGY, CHILDREN'S MUSEUMS, NATURAL HISTORY, NUMISMATICS, BOTANICAL AND ZOOLOGICAL GARDENS AND PHILATELY. WITHIN THESE CATEGORIES MANY MUSEUM SPECIALIZE FURTHER, E.G. MUSEUMS OF MODERN ART, LOCAL HISTORY, AVIATION HISTORY, AGRICULTURE OR GEOLOGY. A MUSEUM NORMALLY HOUSES A CORE COLLECTION OF IMPORTANT SELECTED OBJECTS IN ITS FIELD. OBJECTS ARE FORMALLY OCCASIONED BY BEING REGISTERED IN THE MUSEUM'S COLLECTION WITH AN ARTIFACT NUMBER AND DETAIL RECORDED ABOUT THEIR PROVENANCE. THE PERSONS IN CHARGE OF THE COLLECTION AND OF THE EXHIBITS ARE KNOWN AS CURATORS.

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                   ART MUSEUMS : AN ART MUSEUM, ALSO KNOWN AS AN ART GALLERY, IN A SPACE FOR THE EXIBITION OF ART, USUALLY VISUAL ART, AND USUALLY PRIMILARILY PAINTINGS, ILLUSTRATIONS, AND SCULPTURE. COLLECTIONS OF DRAWINGS AND OLD MASTER PRINTS ARE OFTEN NOT DISPLAYED ON THE WALLS, BUT KEPT IN A PRINT ROOM. THERE MAY BE COLLECTIONS OF APPLIED ART, INCLUDING CERAMICS, METALWORKS, FURNITURE, ARTIST'S BOOKS AND OTHER TYPES OF OBJECT.

                  THE FIRST PUBLICITY OWNED MUSEUM IN EUROPE WAS THE AMERBACH-CABINET IN BASEL, ORIGINALLY A PRIVATE COLLECTION SOLD TO THE CITY IN 1661 AND PUBLIC SINCE 1671 (NOW KUNSTMUSEUM BASEL). THE UFFIZI GALLERY IN FLORENCE WAS INITIALLY CONCEIVED AS A PALACE  FOR THE OFFICES OF FLORENTIAN MAGISTRATES (HENCE THE NAME), IT LATER EVOLVED INTO A DISPLAY PLACE FOR MANY OF THE PAINTINGS AND SCULPTURE COLLECTED BY THE MEDICI FAMILY OR COMMISSIONED BY THEM. AFTER THE HOUSE OF MEDICI WAS EXTINGUISHED, THE ART TREASURES REMAINED IN FLORENCE, FORMING ONE OF THE FIRST MODERN MUSEUMS. THE GALLERY HAD BEEN OPEN TO VISITORS BY REQUEST SINCE THE SIXTEENTH CENTURY, AND IN 1765 IT WAS OFFICIALLY OPENED TO THE PUBLIC.

          

                   ANOTHER EARLY PUBLIC MUSEUM WAS THE BRITISH MUSEUM IN LONDON, WHICH OPENED TO THE PUBLIC IN 1959. IT WAS A "UNIVERSAL MUSEUM" WITH VERY VARIED COLLECTIONS COVERING ART, APPLIED ART, ARCHAOLOGY, ANTHROPOLOGY, HISTORY, AND SCIENCE, AND A LIBERARY. THE SCIENCE COLLECTIONS, LIBRARY, PAINTINGS AND MODERN SCULPTURE HAVE SINCE BEEN FOUND SEPARATE HOMES, LEAVING HISTORY, ARCHAOLOGY, NON-EUROPEAN AND PRE-RENAINSSANCE ART, AND PRINTS AND DRAWINGS. 

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                  THE SPECIALISED ART MUSEUM IS CONSIDERED A FAIRLY MODERN INVENTION, THE FIRST BEING THE HERMITAGE IN SAINT PETERSBURG WHICH WAS ESTABLISHED IN 1764. THE LOUVRE IN PARIS, FRANCE WAS ESTABLISHED IN 1793, SOON AFTER THE FRENCH REVOLUTION WHEN THE ROYAL TREASURES WERE DECLARED FOR THE PEOPLE. THE CZARTORYSKI MUSEUM IN ERAKOW WAS ESTABLISED IN 1796 BY PRINCESS LZABELA CZATORYSKA. THIS SHOWED THE BEGINNINGS OF REMOVING ART COLLECTIONS FROM THE PRIVATE DOMAIN OF ARISTOCRACY AND THE WEALTHY INTO THE PUBLIC SPHERE, WHERE THEY WERE SEEN AS SITES FOR EDUCATING THE MASSES IN TASTE AND CULTURAL REFINEMENT.

               HISTORY MESEUMS COVER THE KNOWLEDGE OF HISTORY AND ITS RELEVANCE TO THE PRESENT AND FUTURE. SOME COVER SPECIALIZED CURATORIAL ASPECTS OF HISTORY OR A PARTICULAR LOCALTY, OTHERS ARE MORE GENERAL. SUCH MUSEUMS CONTAIN A WIDE RANGE OF OBJECTS, INCLUDING DOCUMENTS, ARTIFACTS OF ALL KINDS, ART, ARCHAEOLOGICAL OBJECTS. ANTIQUITIES MUSEUMS SPECIALIZE IN MORE ARCHEOLOGICAL FINDINGS.

                 THE COMMON TYPE OF HISTORY MUSEUM IS A HISTORIC HOUSE. A HISTORIC HOUSE MAY BE A BUILDING OF SPECIAL ARCHETECHTURAL INTEREST, THE BIRTH PLACE OR HOME OF A FAMOUS PERSON, OR A HOUSE WITH AN INTESRESTING HISTORY. HISTORIC SITES CAN ALSO BEOME MUSEUMS, PARTICULARLY THOSE THAT MARK PUBLIC CRIMES, SUCH AS TUOL SLENG OR ROBBERN ISLAND. ANOTHER TYPE OF HISTORY MUSEUM IS A LIVING MUSEUM. A LIVING MUSEUM IS WHERE PEOPLE RECREATE A TIME PERIOD TO THE FULLEST EXTENT, INCLUDING BUILDINGS, CLOTHES AND LANGUAGE. IT IS A SIMILAR TO HISTORICAL REENACTMENT.

                   MARITIME MUSEUMS : MARITIME MUSEUMS SPECIALIZE INT HE DISPLAY OF OBJECTS RELATING TO SHIPS AND TRAVEL SEAS AND LAKES. THEY MAY INCLUDE A HISTORIC SHIP (OR A REPLICA) MADE ACCESSIBLE AS A MUSEUM SHIP.

                     MOBILE MUSEUM : MOBILE MUSEUM IS A TERM APPLIED TO MUSEUMS THAT MAKE EXHIBITIONS FROM A VEHICLE, SUCH AS A VAN. SOME INTITUTIONS, SUCH AS ST.VITAL HISTORICAL SOCIETY AND THE WALKER ART CERTER, USE THE TERM TO REFER TO A PORTION OF THEIR COLLECTION THAT TRAVELS TO SITES AWAY FROM THE MUSEUM FOR EDUCATIONAL PURPOSES. OTHER MOBILE MUSEUMS HAVE NO "HOME SITE" AND USE TRAVEL AS THEIR EXCLUSIVE MEANS OR PRESENTATION.

 

                  NATURAL HISTORY MUSEUMS : MUSEUMS OF NATURAL HISTORY AND NATURAL SCIENCE TYPICALLY EXHIBIT OF THE NATURAL WORLD. THE FOCUS LIES ON NATURE AND CULTURE. EXHIBITIONS MAY EDUCATE THE MASSES ABOUT DINOSAURS, ANCIENT HISTORY, AND ANTHROPOLOGY. EVOLUTION, ENVIRONMENTAL ISSUES, AND BIODIVERSITY ARE MAJOR AREAS IN NATURAL SCIENCE MUSEUMS. NOTABLE MUSUEMS OF THIS TYPE INCLUDE THE NATURAL HISTORY MUSEUM NATIONAL D' HISTOIRE NATURELLE IN PARIS, THE SMITHSONIAN INSTITUTION'S NATIONAL MUSEUM OF NATURAL HISTORY IN WASHINGTON, D.C, THE AMERICAN MUSEUM OF NATURAL HISTORY IN NEW YORK CITY, THE ROYAL TYRRELL MUSEUM OF PALAEONTOLOGY IN DRUMHELLER, ALBERTA, AND THE FIELD MUSEUM OF NATURAL HISTORY IN CHICAGO.

                      OPEN AIR MUSEUM : OPEN AIR MUSEUM COLLECT AND RE-ERECT OLD BUILDINGS AT LARGE OUTDOOR SITES, USUALLY IN SETTINGS OF RE-CREATED LANDSCAPE OF THE PAST. THE FIRST ONE WAS KING FOLKESMUSEUM. IN 1891 ARTHUR HAZELIUS FOUNDED THE SKANSEN IN STOCKHOLM, WHICH BECAME THE MODEL FOR SUBSEQUENT OPEN AIR MUSEUMS IN NORTHERN AND EASTERN EUROPE, AND EVENTUALLY IN OTHER PARTS OF THE WORLD. MOST OPEN AIR MUSEUMS ARE LOCATED IN REGIONS WHERE WOODEN ARCHETECTURE PREVAIL, AS WOODEN STRUCTURES MAY BE TRANSLOCATED WITHOUT SUBSTANTIAL LOSS OF AUTHENTICITY. A MORE RECENT BUT RELEASED IDEA IS REALIZED IN ECOMUSEUMS, WHICH ORIGINATED IN FRANCE.

                    

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DETAILED NOTE OF BHARATNATYAM

 

                                                              BHARATNATYAM 

                        BHARATA NATYAM IS ONE OF THE OLDEST DANCE FORMS OF INDIA. IT WAS NURTURED IN THE TEMPLES AND COURTS OF SOUTHERN INDIA SINCE ANCIENT TIMES. LATER IT WAS CODIFIED AND DOCUMENTED AS A PERFORMING ART IN THE 19TH CENTURY BY FOUR BROTHERS KNOWN AS THE TANJORE QUARTER WHOSE MUSICAL COMPOSITIONS FOR DANCE FORM THE BULK OF THE BHARATA NATYAM REPERTOIRE EVEN TODAY.

                        THE NAME "BHARATANATYAM" IS DERIVED FROM THREE BASIC CONCEPTS OF BHAVA, RAGA AND THAALA. THE DANCE IS PERFORMED IN THE STAGE AS NRITHAM, NRITHYAM AND NATYAM. BHARATANATYAM IS BASED ON THE THEORIES OF THE BOOKS "NATYASAASTHRAM" AND "ABHINAYA DARPANAM". THE DANCE FORM IS BASED ON "ADAVU" (STEPS) AND "HASTHAMUDRA" (HAND GESTURES). THERE AE 64 BASIC "ADAVU" AND THEY ARE DIVIDED INTO 9 PARTS ON WHICH "THATTADAVU", "NAATADAVU", "KUTHITHUMETTADAVU", MANDIADAVU", "SARIKKAL" AND "THATTUMETTY" ARE VERY IMPORTANT. 

                      COMMUNICATION IS DONE THROUGH "BHAVABHINAYA" (FACIAL EXPRESSION) AND "HASTHAMUDRA" (HAND GESTURES). THE PERFORMANCE STARTS WITH PRAYERS TO GOD GANAPATHI AND WORSHIP OF NATARAJA MOORTHI.  

                       THE SEQUENCE OF THE DANCE PERFORMANCE IS "ALARIPPU", "JATHISWARAN", "SABADAM", "VARMAM", "PADAM", AND "THILLANA", AFTER "THILLANA", WITH 'MANGALA SLOKAM' THE DANCE PROGRAM ENDS. NORMALLY THE PERFORMANCE LASTS FOR TWO TO TWO AND HALF HOURS.

                  TRADITIONAL ROOTS:  BHARATNATYAM IS ITS ORIGIN TO THE NATYA SHASTRA WRITTEN BY BHARATA MUNI, HINDU SAGE. IN ANCIENT TIMES IT WAS PERFORMED AS DASIATTAM BY TEMPLE DEVADASIS. MANY OF THE ANCIENT SCULPTURES IN HINDU TEMPLES ARE BASED IN BHARATA NATYAM DANCE POSTURES KARANAS. IN FACT, IT IS THE CELESTIAL DANCERS, APSARAS, WHO ARE DEPICTED IN MANY SCRIPTURES DANCING THE HEAVENLY VERSION OF WHAT IS KNOWN ON EARTH AS BHARATNATYAM. IN THE MOST ESSENTIAL SENSE, A HINDU DEITY IS A REVERED ROYAL GUEST IN HIS TEMPLE/ABODE, TO BE OFFERED A STANDARD SET OF RELIGIOUS SERVICES CALLED SODASA UPACHARAS (SIXTEEN HOSPITIALITIES) AMONG WHICH ARE MUSIC AND DANCE, PLEASING TO THE SENSES. THUS, MANY HINDU TEMPLES TRADITIONALLY MAINTAINED COMPLEMENTS OF TRAINED MUSICIANS AND DANCERS, AS DID INDIAN RULERS.

                      BHARATA NATYAM AS A DANCE FORM AND CARNATIC MUSIC SET TO IT ARE DEEPLY GROUNDED IN BHAKTI. BHARATA NATYAM, IT IS SAID, IS THE EMBODIMENT OF MUSIC IN VISUAL FORM, A CEREMONY, AND AN ACT OF DEVOTION, DANCE AND MUSIC ARE INSEPERABLE FORMS, ONLY WITH SANGEETAM (WORDS OR SYLLABUS SET TO RAGA OR MELODY) CAN DANCE BE CONCEPTUALIZED.

                 ESSENTIAL IDEAS-BHARATNATYAM IS CONSIDERED TO BE A FIRE-DANCE-THE MYSTIC MANIFESTATION OF THE METAPHYSICAL ELEMENT OF FIRE IN THE HUMAN BODY. IT IS ONE OF THE FIVE MAJOR STYLES (ONE FOR EACH ELEMENT) THAT INCLUDE ODISSI (ELEMENT OF WATER), AND MOHINIATTAM (ELEMENT OF AIR). THE MOVEMENT OF AN AUTHENTIC BHARATNATYAM DANCER RESEMBLE OF THE MOVEMENT OF A DANCING FLAME. CONTEMPORARY TRADITION, EXCEPT BY FEW ORTHDOX SCHOOLS.

                SPIRITUAL SYMBOLISM : BHARATNATYAM IS THED MANIFESTATION OF THE ANCIENT IDEA OF THE CELEBRATION OF THE ETERNAL UNIVERSE THROUGH THE CELEBRATION OF THE BEAUTY OF THE MATERIAL BODY. SOME BHARATNATYAM TECHNIQUE CAN BE TRACED BACK OT THE KAISIKI STYLE. NATYA SHASTRA READS, I HAVE SEEN THE KAISIKI STYLE DURING THE DANCE OF THE BLUE-THROATED LORD (SHIVA). IT CONTAINS OF ELABORATE GESTURES (MRIDU ANGAHARAS, MOVEMENTS OF LIMBS), SENTIMENTS (RASAS), EMOTIONAL STATES (BHAVAS), ACTION (KRIYAS) ARE ITS SOUL. THE CANNOT BE ADEQUENTLY PORTRAYED BY MEN. EXCEPT FOR WOMEN, NONE CAN PRACTISE IT PROPERLY".

              APART FROM THE KAISISKI STYLE, BHARATNATYAM IMBIDED SOME OTHERS. THESE REFLECT OTHER YOGIS SPIRITUAL REVELATIONS, SUCH AS THE VISION OF TWO SAGES, VYAGRAPADA AND PATHANJALI IN CHIDAMBARAM. IN HINDU MYTHOLOGY THE WHOLE UNIVERSE IS THE DANCE OF THE SUPREME DANCER, NATARAYA, A NAME OF LORD SHIVA, THE HINDU ASCETIC YOGI AND DIVINE PURVEYOR OF DESTRUCTION OF EVIL. THE SYMBOLISM OF THE DANCE OF SHIVA (IN THE FORM OF NATARAJA IS) REPRESENTED BY THE ATTITUDE CALLED "ANANDA TANDAVAM". ALSO KNOWN AS THE COSMIC DANCER, HE IS HERE THE EMBODIMENT AND MANIFESTATION OF THE ETERNAL ENERGY IS FIVE ACTIVITIES (PANCAKRIYA), CREATION, POURING FORTH, UNFOLDING, MAINTENANCE OR DURATION (STHITI), DESTRUCTION OR TAKING BACK (SMHARA), CONCEALING, VEILING, HIDING THE TRANSCENDENTAL ESSENCE BEHIND THE GRAB OF APPARITIONS (TIROBHAVA), AND FAVORING, BESTOWING GRACE THROUGH A MANIFESTATION THAT ACCEPTS THE DEVOTEE (ANYGRAHA), SHIVA IS DEPICTED DANCING ON THE DWARFISH BODY OF THE DEMON APASMARA PURUSA, "FORGETFULNESS, LOSS OF MEMORY" CALLED IN TAMIL MUYALAKA - WHO REPRESENTS IGNORANCE, THE DESTRUCTION OF WHICH BRINGS ENLIGHTENMENT, TRUE WISDOM, AND RELEASE FROM THE BONDAGE OF EXISTENCE.

             TECHNIQUE : INCLUDES

             * ABHINAYA OR NATYA - DRAMATIC ART OF STORY - TELLING IN BHARATANATYAM 

            * NRITTA - PURE DANCE MOVEMENTS, AS A MEDIUM OF VISUAL DEPICTION OF RHYTHMS

            * NRITIYA COMBINATION OF ABHINAYA AND NRITTA

                 KARANAS : KARANAS ARE THE 108 KEY TRANSITIONAL MOVEMENTS THAT PUNCTUATE BHARATNATYAM AND OTHER CLASSICAL DANCES. MOST OF THESE 108 KARANAS HAVE A CENTRAL, STATIC POSE AS A BASE, I.E, THE DANCER IS USUALLY SUPPOSED TO STOP AND MAINTAIN IT FOR A VERY BRIEF DURATION (0.5 SEC).

               HASTAS : A DISTINCTIVE FEATURE OF BHARATA NATYAM DANCE IS THE USE OF EXPRESSIVE HAND GESTURES AS A WAY OF COMMUNICATION. HASTAS REFERS TO THE VARIETIES OF HAND SYMBOLS THAT A DANCER CAN USE. MANY OF THESE HAND GESTURES ARE WELL KNOWN. FOR EXAMPLE, ANJALI IS OFTEN USED A SALUATION WHEN A PERSON GREETS ANOTHER PERSON. THERE ARE TWO TYPES OF HASTAS: ASAMYUTA AND SAMYUTA (SINGLE AND COMBINED), RESPECTIVELY. ABHINAYADARPANAM DESCRIBES 28 ASAMYUTA HASTAS AND 24 SAMYUTA HASTAS AND THEIR USAGE VINIYOGA, ALTHOUGH NATYA SHASTRA MENTIONS MANY MORE, AND THE USAGE STATED IN ABHINAVABHARATI DIFFER CONSIDERABLY FROM THOSE OF ABHINAYADARPANAM, WHICH IS A RELATIVELY RECENT TEXT. MANY HASTAS CAN BE USED IN MORE THAN ONE WAY, DEPENDING ON THE SONG ACCOMPLANYING THE DANCE, AND WHAT THE DANCER IS TRYING TO CONVEY TO THE AUDIENCE.

    

             

                ADAVUS : A SERIES OF STEPS, ADAVUS, THEIR EXECUTION VARY GREATLY FROM STYLE TO STYLE. MOST SCHOOLS RECOGNIZE 108 PRINCIPLE ADAVUS, WHILE SOME STYLES INLUDE OVER 150 ADAVUS. FEW PROFESSIONAL DANCERS USE MORE THAN 60. A COMBINATION OF ADAVUS IS CALLED JATHIS, WHICH MAKE UP THE NRITTA PASSAGES IN A BHARATNATYAM PERFORMANCE.

              BHEDAS AND EYE MOVEMENTS : BHARATNATYAM TECHNIQUE INCLEDS MANY OTHER ELEMENTS, SUCH AS ELABORATE NECK AND EYE MOVEMENTS. ABHINAYA DARPANAM HAS DEFINED IN ALL 9 HEAD MOVEMENTS, 4 NECK MOVEMENTS, AND 8 EYE MOVEMENTS WHICH ARE USED EXTENSIVELY THROUGHOUT THE DANCE.

             HEAD MOVEMENTS (SHIRO BHEDAS) : SAMA, UDHVAHITA, ADHOMUKHA, ALOLITA, DHUTAM, KAMPITAM, PARAVRUTTAM, UTKSHIPTAM AND PARIVAHITAM.

           NECK MOVEMENTS (DHRISHTI BHEDAS) SAMA, ALOLITAL, SACHI, PRALOKITA, NIMILITE, ULLOKITA, ANUVRITTA, AVALOKITA 

                                                                    ITEMS 

                   TYPICALLY A CONTEMPORARY PERFORMANCE INCLUDES :

                * GANAPATI VANDANA : A TRADITIONAL OPENING PRAYER TO THE HINDU GOD GANESH, WHO REMOVES OBSTACLES.

                * ALARIPPU : A PRESENTATION OF THE TALA PUNCTUATED BY SIMPLE SYLLABLES SPOKEN BY THE DANCER. THIS REALLY IS SORT OF AN INVOCATION TO THE GODS TO BLESS THE PERFORMANCE.

                * JATISWARAM : AN ABSTRACT DANCE WHERE THE DRUMS SET THE BEAT. HERE THE DANCER DISPLAYS HER VERSATILITY IN ELABORATE FOOTWORK AND GRACEFUL  MOVEMENTS OF THE BODY.

                * SHABDAM : THE DANCING IS ACCOMPANIED BY A POEM OR SONG WITH A DEVOTIONAL OR AMOROUS THEME.

                * VARNAM : THE CENTER PIECE OF THE PERFORMANCE. IOT IS THE LONGEST SECTION OF THE DANCE PUNCTUATED WITH THE MOST COMPLEX AND DIFFICULT MOVEMENTS. POSITIONS OF THE HANDS AND BODY TELL A STORY, USUALLY OF LOVE AND THE LONGING FOR THE LOVER.

               * PADAM : PROBABLE THE MOST LYRICAL SECTION WHERE THE DANCER "SPEAKS" OF SOME ASPECT OF LOVE, DEVOTION TO THE SUPREME BEING. OR OF LOVE OF MOTHER FOR CHILD, OR THE LOVE OF LOVERS SEPERATED AND REUNITED.

              * THILLANA : THE FINAL SECTION IS PURE DANCE (NRITTA) WHEN THE VIRTUOSITY OF THE MUSIC IS REFLECTED IN THE COMPLEX FOOTWORK AND CAPTIVATING POSES OF THE DANCER. APART FROM THESE RELATIVELY MODERN ITEMS, THERE ARE MORE ANCIENT ITEMS SUCH AS KAUTAM, KOOTHU, SHLOKAM, SWARAJATHI, KRITHI ETC. THE PERFORMANCE CONCLUDES WITH THE CHANTING OF A FEW RELIGIOUS VERSES AS A  FORM OF BENEDICTION. CERTAIN STYLES INCLUDE MORE ADVANCED ITEMS, SUCH AS THARANGA NRITHAM AND SUDHDHA NRITHAM. WHEN A DANCER HAS MASTERED ALL THE ELEMENTS OF DANCE, AS A COMING OUT PERFORMANCE, HE OR SHE GENERALLY PERFORMS AN ARANGETRAM (DEBUT).

              * ANGIKAM : THIS IS  DEVOTIONAL SONG ON LORD SHIVA AND AN ITEM DANCE IN BHARATNATYAM. IT CAN ALSO BE PERFORMED IN BYAPTI SLOW MOTION.

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INDIAN COSTUMES

 

                                 

                                         THE NOTE ON INDIAN COSTUMES

                                           

                  THE FIRST IMPRESSION IS THE LAST IMPRESSION, "THE SAYING, THOUGH MODERN, CAN BE HELD FOR THE TRADITIONAL HINDU COSTUMES ALSO. THE REASON, BEING IN SPITE OF WESTERN INFLUENCES ON THE MODERN FASHION INDUSTRY, THE ETHNIC ELEMENT AND THE TRADITIONAL TOUCH TO ANY INDIAN COSTUME IS STILL ALIVE. THE BHARATIYA TEST ITSELF IS RESPONSIBLE FOR MAINTAINING THIS TRADITION.

                 INDIANS HAVE BEEN VERY FASHIONABLE FROM THE VERY ANCIENT TIMES. THE SCULPTURE EVIDENCE FOUND SO FAR DEPICT THAT COTTON CLOTH HAS ALWAYS BEEN WORN IN INDIA BY THE MASSES WHILE THE RICH FAVORED THE USE OF SILKS.

                ELABORATE HEAD-DRESSES AND JEWELLERY WERE EVEN SPORTED BY MEN. THE EARLIER DRESS CODE REVOLVED AROUND WRAPPING THE BODY WITH VARIED LENGTHS OF CLOTH. FROM THE EARLIEST PERIOD OF INDIAN PROTO-HISTORY, THE HARAPPAN CULTURE, THE EVIDENCE ABOUT TEXTILES AND DRESSES IS SCANT BUT NOT UNIMPORTANT.

            THE SURVIVAL OF AN ACTUAL FRAGMENT OF COTTON CLOTH, AND THE UPPER GARMENT DRAPED AROUND THE BODY LIKE A SHAWL AS SEEN IN A SCULPTURE, OFFER INTERESTING EXAMPLES, ALTHOUGH IT IS DIFFICULT TO GIVE TO THESE PIECES ANY KINDS OF NAMES. THE LOWER GARMENT WORN BY WOMEN, MUCH LIKE A SARI OR DHOTI OF LATER TIMES, IS REMINISCENT OF THE DESCRIPTION OF THE NITI IN VEDIC LITERATURE.

              ELABORATE HEAD DRESSES, WITH TREMENDOUS DECORATIONS AND PANNIER-LIKE PROJECTIONS, GIVEN SOME CLUE TO THE RANGE OF FASHIONS PREVALENT IN THIS REGARD. WOMEN WOULD USE ONE LENGTH OF PIECE AS THE BLOUSE AND TIE THE OTHER ROUND THEIR WAIST AS A SARI. THESE WOULD ACCENTUATE THEIR FIGURES, MAKING THEM LOOK ATTRACTIVE. THE TYPICAL COSTUME OF THE INDIAN WOMEN, ARE THE SARI AND THE GHAGHRA CHOLI. THE DIVERSE CULTURES AND TRADITIONS HAVE GREATLY INFLUENCED THE STYLE OF THESE COSTUMES.

                THE SARI :

SARI, THE SIX-YARD LENGTH OF CLOTH IS STILL DRAPED BEAUTIFULLY IN THE MOST INTRIGUING MANNER. IT IS WORN WITH A STITCHED BLOUSE. USUALLY SIX METRE IN LENGTH, THE SARI IN ITS MOST ACCEPTED FORM IS WORN WITH A BLOUSE AND PETTICOAT.

                 THE SARI IS PLEATED IN THE FRONT, TUCKED INTO THE WAISTBAND OF THE PATTICOAT, AND THE END IS FLUNG OVER THE SHOULDER, DISPLAYING THE PALLU, WHICH HAS INTRICATE DESIGNS ON IT. THERE ARE REGIONAL VARIATIONS IN THE WAY IT IS WORN.

                  IN THE WESTERN STATES, THE PALLU IN DISPLAYED IN THE FRONT. IN MAHARASHTRA, THE SARI IS 9 METRE LONG AND IS WORN TUCKED BETWEEN THE LEGS. HALF-SARIS ARE WORN BY YOUNG GIRL IN THE SOUTH AND THE NORTH-EASTERN REGIONS.

                BY ACCESSING THE LITERARY SOURCES IN THE VEDIC PERIOD FOLLOWED BY THE PAURANIC OR THE CLASSICAL PERIOD, WE GET A WHOLE BODY OF MATERIAL WITH REGARD TO THE MATERIALS FOR COSTUMES. IT IS WITH MUCH PRIDE AND BEAUTY OF WORDS THAT THESE TEXTILES AND MATERIALS ARE REFERRED TO. NOT ONLY DO WE HEAR OF YAMS (TANTU), WARP OR LOOM (TANTA), AND WOOF (OTU) BUT OF WELL-WOVEN AND PERFUMED GARMENTS IN THE CATEGORY OF VASAS.

              MATERIALS LIKE WOOLEN BLANKETS OF A FINE KIND (KAMBALA), DHUSSA (DURSBA) AND PANVAD ARE SPOKEN OF, BUT SO ALSO IS KSBAUMA, MOST PROBABLY LINEN. GARMENTS MADE OF THE SKINS OF ANIMALS AS WORN BY GODS AND SAGES AND TRIBALS ALIKE ARE REFEREED TO. IN TERMS OF COSTUMES, HOWEVER, ONE IS BY AND LARGE IN THE WORLD OF TIMELESS GARMENTS, BOTH FOR WOMEN AND MEN.

             THE DUPATTA : 

THE VEIL THAT WOMEN STILL USE SO EXTENSIVELY IN INDIA, SOMETHING LIKE THE DUPATTA OR ODHANI OF MODERN TIMES. HAVS ITS EARLY PROTOTYPE IN THE VEDIC PERIOD, AND VARIOUS WORDS SIGNIFYING THE SAME ARTICLE OF APPAREL ARE USED, WITH DIFFERENCE BETWEEN ONE AND OTHER THAT MAY NOT BE EASY TO IDENTIFY. THE WORDS THAT WE HEAR ARE AVAGUNTBANA, NIRINGI, NIRANGIKA, MUKHAPATA, SHIROVASTRA AND YUVANIKA.

                

              SANSKRIT WRITERS LIKE BHASA, SHUDRAKA, BANA AND BHARAVI, AMONG OTHERS, WEAVE-LONG PASSAGES AROUND THE THEME OF VEILS WORN BY WOMEN. THUS, BANA IN HIS FANCIFUL DESCRIPTION OF THE LADIES OF STHANVISHVARA SAYS THAT THE BLUE VEIL, WHICH THEY PUT ON WAS A MERE CUSTOMARY APPENDAGE, REALLY NOT NECESSARY AS THE BEES HOVERING AROUND THEIR FACES, BEING DRAWN THERE BY THEIR SWEET-SMELLING BREATHE, FORMED A SUFFICIENTLY DARL "EXTINGUISHER" OR VEIL. WHEN MAGHA DESCRIBES THE LADIES OF KRISHNA'S HOUSEHOLDS BEIG GAZED AT FOR A LONG TIME BY THE PEOPLE AS THEY HAD REMOVED THEIR VEILS, HE IMPLIES CLEARLY THAT GENERALLY SUCH LADIES WORE VEILS AND , THEREFORE, COULD NOT BE SEEN ORDINARILY BY THE PEOPLE.

                  THE GUPTA CHOLI :

THE TRADITIONAL COSTUME OF THE GUJARAT AND RAJASTHAN STATES IS GHAGHRA CHOLI. WITH THEIR GLITTERING MIRROR-WORK THEY LOOK MOST ATTRACTIVE. THIS COMPRISES OF LONG PLEATED SKIRTS, KNOWN AS GHAGHRA OR LEHENGA, AND IS WORN WITH TWIN BLOUSES.

                 THE BLOUSES HAVE ELABORATE MIRROR-WORK AND PATCH-WORK ON THEM AND ARE VERY COLORFUL.  IT IS DESIGNED TO LEAVE THE BACK AND MIDRIB BARE. THESE TYPE OF DRESSES ARE MAINLY WORN BY WOMEN IN RAJASTHAN, UTTAR PRADESH, HARYANA AND GUJARAT.

               THOUGH SALWAR KAMEEZES WERE TO BE THE ORGINAL HERITAGE OF NORTHERN INDIA, IN TODAY'S TIME. IT HAS BECOME THE MOST POPULAR DRESS OF THE MODERN METROPOLITIAN CITIES. IT INCLUDES A BAGGY PAIR OF PYJAMAS CALLED THE SALWAR, WORN WITH A LONG AND FLOWING SHIRT CALLED KAMEEZ. THE KASHMIRI AND THE HIMACHALI WOMEN WEAR A SIMILAR DRESS.

             THEIRS IS THICKER TO SUIT THE CLIMATE AND THE EMROIDERY DONE ON THEM IS PARTICULAR TO THE REGION. IN LUCKNOW, THE BAGGY PYJAMAS ARE REPLACED BY TIGHT  AND LONG LEGGINS THAT FORM MANY FOLDS AT THE ANKLES. THESE ARE CALLED CHURIDARS, SUGGESTING "BANGLES" SO COMFORTABLE IS THE DRESS THAT IT IS WORN MOSTLY BY WORKING WOMEN ACROSS INDIA.

           VARIATIONS OF THIS DRESS ARE WORN IN THE NORTHEAST AND SOUTHERN STATES. THESE ARE KNOWN AS HALF-SARIS. IN MEGHALAYA, THE WOMEN FAVOR THE JYENSYEM, A TRADITIONAL DRESS CONSISTING OF TWO ANKLE LENGTH PIECES OF CLOTH GATHERED AT THE SHOULDERS. IN ARUNACHAL, NAGALAND AND MIZORAM THEY PREFER A BLOUSE AND A LENGTH OF CLOTH WOUND AROUND THE WAIST AND RUNNING DOWN THE ANKLE LIKE A SKIRT, BUT MORE CLOSELY RESEMBLING THE MALE LUNGI OF THE SOUTH.

              SINCE ANCIENT TIMES, THE MOST FAVORED DRESS OF THE INDIAN MEN WAS THE KURTA (AN UPPER GARMENT LIKE SKIRT) AND PYJAMA (A GARMENT LIKE LOOSE TROUSERS). ALTHOUGH THE LENGTH OF BOTH THE GARMENTS DIFFERS FROM STATE TO STATE, THE OUTLINE REMAINS THE SAME. IN THE RURAL AREAS, THE LUNGI OR DHOTI (LONG PIECE OF CLOTH WRAPPED AROUND THE LEGS ) IS WORN.

               HEAD DRESS :

THE GREATEST VARIETY, JUDGING FROM THE EVIDENCE OF SCULPTURE AND PAINTING THAT HAS SURVIVED, LAY PERHAPS IN THE HEAD-DRESS. BASICALLY THE HEAD-DRESS MADE FROM A FABRIC, AS DISTINGUISHED FROM A CROWN WORN BY KINGS AND DEITIES SPOKEN OF IN LITERATURE, TOOK THE FORM OF TURBAN OF AN UNSTITCHED KIND.

               THERE ARE MANY NAMES THAT ONE COMES UPON, INCLUDING USHNISHA, KIRITA, PATTA, VESHTANA, VESTANAPATTA, SHIROVESHTANA. THE MANNER OF WEARING THE TURBAN EVIDENTLY VARIED AS MUCH IN ANCIENT INDIA AS IT DID IN MEDIEVAL TIMES. WE HAVE ELABORATE VERBAL DESCRIPTIONS, AS ALSO VISUAL EVIDENCE, THAT POINT TO THE FONDNESS OF MEN FOR THIS ARTICLE OF APPAREL. IT IS ENTIRELY POSSIBLE THAT CERTAIN STYLE OF WEARING, OR CERTIAN FABRICS, WERE FAVORITES AMONG CERTAIN PEOPLES. ALMOST CERTAINLY, DIFFERENT PERSONS WERE ALSO ENTITLED TO WEAR ONLY GIVEN TYPES OF HEAD-GEAR. THE RANGE OF TURBAN-STYLES THAT WE ENCOUNTER IS REMINISCENT OF THE MANY STYLE IN THE 19 THE CENTURY, EACH STYLE HAVING A SPECIFIC NAME FOR IT AS RECORDED BY FORBES-WATSON.

                THE TURBAN APART, HOWEVER, THERE ARE CLOSE-FITTING CAPS THAT ONE FINDS SOLDIERS AND SOME FOREIGNERS WEARING IN INDIAN SCULPTURES AND PAINTINGS, EVEN THOUGH THESE REMAIN EXCEPTIONS TO THE RULE THAT EVERY HEAD WAS COVERED BY A TURBAN. THE TRADITIONAL HEAD ALSO VARIES FROM STATE TO STATE. FOR EXAMPLE IN MAHARASHTRA, A LONG 6 YARD PIECE OF CLOTH IS WRAPPED ROUND THE HEAD IN AN ARTICULATE MANNER IS KNOWN AS "PHETA". THE PAGADI IN MAHARASHTRA AND RAJASTHAN HAVE DIFFERENT LOOKS. THE MODERN HAT RESEMBLES IT IN A WAY. BUT THE EMBROIDERY WORK OF THE RAJASTHAN PAGADI AND THE DESIGN OF MAHARASHTRIAN PAGADI IS WORTH SEEING.

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