THE KEY OF RELATIONSHIP

 

                           

                               SEVEN WAYS TO MAKE

                                    PEOPLE FEEL IMPORTANT

                     THE KEY TO EXCELLENT RELATIONSHIPS WITH OTHERS IS QUITE SIMPLE. MAKE THEM FEEL IMPORTANT. TO THE DEGREE TO WHICH YOU CAN MAKE OTHER PEOPLE FEEL IMPORTANT - STARTING WITH THE MEMBERS OF YOUR FAMILY AND THEN EXTENDING OUTWARD TO YOUR FRIENDS AND COWORKERS - YOU WILL BECOME ONE OF THE MOST POPULAR PEOPLE IN YOUR WORLD.

                      THERE ARE SEVEN WAYS TO MAKE OTHER PEOPLE FEEL IMPORTANT. THESE ARE SIMPLE PRACTICES THAT YOU CAN LEARN THROUGH REPETITION.

                    ACCEPT PEOPLE THE WAY THEY ARE : ONE OF THE DEEPEST CRAVINGS OF HUMAN NATURE IS TO BE ACCEPTED BY OTHER PEOPLE WITHOUT JUDGMENT, EVALUATION, OR CRITICISM. PSYCHOLOGISTS CALL THIS BAHAVIOR "UNCONDITIONAL POSITIVE REGARD". THIS IS WHEN YOU ACCEPT THE OTHER PERSON COMPLETELY, WITHOUT RESERVATION,FOR EXACTLY THE WAY HE OR SHE IS.

                  BECAUSE MOST PEOPLE ARE JUDGMENTAL AND CRITICAL, TO BE UNCONDITONALLY ACCEPTED BY ANOTHER PERSON RAISES THAT PERSON'S SELF-ESTEEM, REINFORCES HIS OR HER SELF-IMAGE, AND MAKES THAT PERSON FEEL HAPPY ABOUT HIM OR HERSELF.

                  IN THE MOVIE, BRIDGET JONES DIARY, THE ENTIRE FOCUS WAS ON THE DISCOVERY BY BRIDGET THAT SHE HAD FOUND A MAN "WHO LIKES ME JUST THE WAY I AM". THIS WAS CONSIDERED TO BE SUCH AN AMAZING THING TO HAPPEN. ALL HER FRIENDS WERE ASTONISHED THAT ANYONE COULD EVER HAVE A RELATIONSHIP BASED ON UNCONDITIONAL ACCEPTANCE BY ANOTHER PERSON.

                  WHEN YOU LOOK AT OTHER PEOPLE AND GIVE THEM A GENUINE SMILE, THEY FEEL HAPPIER ABOUT THEMSELVES. THEIR SELF-ESTEEM GOES UP. THEY FEEL MORE VALUABLE AND IMPORTANT. 

                     WHEN YOU STOP THINKING ABOUT YOURSELF AND THE IMPRESSION YOU ARE MAKING ON OTHERS AND INSTEAD START THINKING ABOUT OTHERS AND THE IMPRESSION YOU ARE MAKING ON OTHERS AND INSTEAD START THINKING ABOUT OTHERS AND THE IMPRESSION THEY ARE MAKING ON YOU, YOU CAN RELAX. YOU TAKE A DEEP BREATHE AND JUST SMILE AT PEOPLE WHEN YOU MEET THEM AND GREET THEM BOTH AT HOME AND AT WORK. IT IS ONE OF THE MOST POWERFUL SELF-ESTEEM AND RELATIONSHIP-BUILDING BEHAVIORS YOU CAN DO. SMILING AT PEOPLE WHEN YOU MEET THEM AND GREET THEM BOTH AT HOME AND AT WORK. IT IS ONE OF THE MOST POWERFUL SELF-ESTEEM AND RELATIONSHIP-BUILDING BEHAVIORS YOU CAN DO. SMILING AT PEOPLE MAKES THEM FEEL IMPORTANT AND VALUABLE.

                  SHOW YOUR APPRECIATION FOR OTHERS: WHENEVER YOU APPRECIATE ANOTHER PERSON FOR ANYTHING THAT HE OR SHE HAS DONE OR SAID, YOU RAISE THAT PERSON'S SELF-ESTEEM AND MAKE HIM OR HER FEEL THAT PERSON'S SELF-ESTEEM AND MAKE HIM OR HER FEEL MORE IMPORTANT. EXPRESSIONS OF APPRECIATION - FROM SMALL NODS AND SMILES ALL THE WAY THROUGH TO CARDS, LETTERS, AND GIFTS - RAISE PEOPLE'S SELF-ESTEEM AND CAUSE THEM TO LIKE THEMSELVES MORE. AS A RESULT, BY THE LAW OF INDIRECT EFFORT, THEY WILL LIKE YOU MORE AS WELL.

                     THE SIMPLEST WAY TO EXPRESS APPRECIATION IS TO SIMPLY SAY, THAN YOU. THE WORDS, "THANK YOU" ARE DEEPLY APPRECIATED IN ANY LANGUAGE, ANYWHERE IN THE WORLD. I HAVE TRAVELED IN NINETY COUNTRIES, AND THE VERY FIRST THING I DO IS LEARN THE WORDS "PLEASE" AND "THANK YOU" . EACH TIME YOU USE THOSE WORDS, PEOPLE BRIGHTEN UP, SMILE, AND FEEL HAPPY TO BE IN YOUR PRESENCE.

               EVERY TIME YOU SAY THAN YOU, IT HAS AN ALMOST MAGICAL EFFECT ON THE OTHER PERSON. IT MAKES HIM FEEL IMPORTANT AND FAR HAPPIER ABOUT BEING IN YOUR PRESENCE AND HELPING YOU WITH ANYTHING YOU NEED.

                     BE AGREEBLE :THE MOST WELCOMD PEOPLE IN EVERY SITUATION ARE THOSE WHO ARE GENERALLY AGREEABLE AND POSITIVE WHO QUESTION, COMPLAIN, AND DISAGREE ARE SELDOM WELCOM ANYWHERE.

                    WHEN YOU NOD, SMILE, AND AGREE WITH ANOTHER PERSON WHEN HE OR SHE IS TALKING OR EXPRESSION AN OPIONION, YOU MAKE THAT PERSON FEEL INTELLIGENT, RESPECTED, VALUABLE, AND IMPORTANT. WHEN YOU ARE AGREEABLE WITH ANOTHER PERSON, EVERY IF HE SAYS SOMETHING WITH WHICH YOU MAY NOT BE IN COMPLETE ACCORD, YOU MAKE THAT PERSON FEEL HAPPY TO BE IN YOUR PRESENCE.

                  IN MY WORK AS A PROFESSIONAL SPEAKER, I MEET THOUSANDS OF PEOPLE EACH YEAR. THEY COME UP TO ME AND OFTEN EXPRESS OPINIONS ON SUBJECTS ON WHICH I AM OFTEN WELL INFORMED AND THEY OBVIOUSLY ARE NOT. SOMETIMES THEY SAY RIDICULOUS THINGS THAT ARE EITHER NOT TRUE OR MAKE NO SENSE.

                IN EVERY CASE, HOWEVER, I SMILE AND AGREE, NODDING AND ASKING THEM QUESTIONS AND LISTENING TO THEM EXPRESS THEIR IDEAS AND OPINIONS. THEY GO AWAY FEELING THAT THEY HAVE HAD A GOOD CONVERSATION WITH THE SPEAKER AND THAT I PROBABLY AGREE WITH THEM. IT COSTS ME NOTHING AND IT MAKES THEM HAPPY. IT MAKES THEM FEEL IMPORTANT.

                SHOW YOU ADMIRATION : PEOPLE USUALLY INVEST A LOT OF PERSONAL EMOTION IN THEIR POSSESSIONS, TRAITS, AND ACCOMPLISHMENTS. WHEN YOU ADMIRE SOMETHING BELONGING TO ANOTHER PERSON, IT MAKES HIM FEEL HAPPY ABOUT HIMSELF. AS ABRAHAM LINCOLN SAID, 'EVERYBODY LIKE A COMPLIMENT". 

                  EXPRESS YOUR ADMIRATION FOR PEOPLE'S APPEARANCE AND SPECIFIC ITEMS OF THEIR CLOTHING OR DRESS. MEN ARE ESPECIALLY COMPLIMENTED WHEN YOU SAY SOMETHING NICE ABOUT THEIR TIES OR THEIR SHOES. WOMEN ENJOY BEING COMPLIMENTED ABOUT THEIR HAIR OR ANY OTHER ITEM OF THEIR APPEARANCE. PEOPLE SPEND A LOT OF TIME PUTTING THEMSELVES TOGETHER BEFORE THEY GO OUT.

                 YOU CAN ALSO COMPLIMENT A PERSON'S TRAITS OR CHARATERISTICS, SAYING THING SUCH AS, "YOU ARE CERTAINLY PERSISTENT, PEOPLE INVEST THEIR ENTIRE LIVES DEVELOPING TRAITS AND QUALITIES - ESPECIALLY POSITIVE QUALITIES - AND THEY FEEL FLATERED WHEN YOU NOTICE AND COMPLIMENT THEM ON THOSE QUALITIES.

               COMPLIMENT A PERSON'S ACCOMPLISHMENTS. TELL PEOPLE HOW MUCH YOU ADMIRE THEIR HOME OR OFFICE OR THE BUSINESS THEY HAVE BUILT OR THE POSITION THEY HAVE ACHIEVED IN THAT BUSINESS.

THE EFFECT OF FORGIVENESS

 

                         THE POWER OF FORGIVENESS

                   ONE OF THE MOST IMPORTANT OF ALL VALUES THAT YOU TEACH YOUR CHILDREN IS FORGIVENESS. THE INABILITY TO FORGIVE LIES AT TEH ROOT OF MOST NEGATIVE EMOTIONS. WHEN YOU PRACTICE FORGIVENESS, WHEN YOU FREELY LET THINGS GO, YOUR CHILDREN GROW UP WITH THE ABILITY OF FORGIVE AS WELL. THIS SAVES THEM FROM YEARS OF UNHAPPINESS AS THE RESULT OF SOMEONE HURTING THEM IS OME WAY, WHICH WILL ALWAYS HAPPEN.

                   MY PARENTS WERE ADAMANT AND INFLEXIBLE. THEY HAD LOW SELF-ESTEEM AS THE RESULT OF DIFFICULT DEPRESSION-ERA CHILHOODS. AS A RESULT, ONCE THEY HAD TAKEN A POSITION ON ANY SUBJECT, AS A RESULT, ONCE THEY HAD TAKEN A POSITION ON ANY SUBJECT, HOWEVER WRONG, THEY COULD NEVER BACK DOWN AND ADMIT THAT THEY WERE WRONG.

                I RESOLVED THAT WHEN I HAD CHILDREN, I WOULD DO EXACTLY THE OPPOSITE. FROM THE TIME MY DAUGHTER CHRISTINA WAS THE OPPOSITE. FROM THE TIME MY DAUGHTER CHRISTINA WAS A LITTLE GIRL, IF I SHOUTED AT HER FOR ANY REASON.  I WOULD ALWAYS GO TO HER AND APOLOGIZE. I WOULD SAY, "I SHOULD NOT HAVE SHOUTED AT YOU. I WAS WRONG, WILL YOU FORGIVE ME? 

                WHEN YOU RAISE CHILDREN, THEY WILL MAKE COUNTLESS MISTAKES WHILE THEY ARE GROWING UP. SOMETIMES YOU WILL OVERREACT. UNLESS YOU ARE A SAINT, THIS IS ALMOST IMPOSSIBLE FOR YOU NOT TO DO. HOWEVER, WHENEVER YOU MAKE A MISTAKE WITH YOUR CHILD, YOU SHOULD HAVE THE COURAGE AND COMPASSION TO REALIZE THAT DESTRUCTIVE CRITICISM FROM A PARENT IS EXTREMELY PAINFUL TO A CHILD, GO AND TAKE IT BACK. APOLOGIZE AND ASK YOUR CHILD FOR JUSTIFY REACTING IN A NEGATIVE AND HURTFUL WAY TOWARD YOUR CHILD, JUST SAY, I APOLOGIZE , WILL YOU FORGIVE M?

                    AND THEY ALWAYS WILL. THE MINUTE YOU APOLOGIZE AND ASK YOUR CHILDREN TO FORGIVE YOU FOR ANYTHING THAT YOU MAY HAVE DONE TO HURT THEM, YOU LIBERATE THEM FROM FEELINGS OF NEGATIVITY OR INFERIORITY. BY TAKING IT BACK, YOU ALLOW THEM TO BE HAPPY AND CONFIDENT ONCE MORE.

               TEACHING YOUR CHILDREN

                                 IS NEVER ENDING

                   DEVELOPING PROPER VALUES AND TEACHING PROPER CONDUCT TO YOUR CHILDREN IS A LIFELONG JOB. YOU CANNOT GIVE A SINGLE LECTURE ON TRUTHFULNESS AND COMPASSION AND THEN FORGET ABOUT IT. YOU MUST REPEAT THE LESSON BY DISCUSSION AND EXAMPLE OVER AND OVER, YEAR AFTER YEAR, ALL THE TIME WHILE YOUR CHILDREN ARE WITH YOU.

                 IN A LETTER TO MISS MANNERS, A PARENT ASKED, "HOW LONG DOES IT TAKE TO TEACH MY CHILDREN TABLE MANNERS? NO MATTER WHAT I SAY, IT SEEMS THAT MY CHILDREN STILL EAT IN AN UNMANNERD AND DISORGANIZED WAY". MISS MANNERS RESPONDED BY SAYING, "BE PATIENT. IT TAKES ABOUT FIFTEEN YEARS OF CONTINUAL REPETITION TO TEACH YOUR CHILDREN TABLE MANNERS. AND EVEN THEN, THERE ARE NO GUARANTEES THAT YOUR INSTRUCTION WILL BE SUCCESSFUL".

                                 BE THEIR ROLE MODEL

                   OF COURSE, IF YOU ANT CHILDREN TO BEHAVE IN A CERTAIN WAY, YOU MUST MODEL THAT METHOD OF BEHAVIOR CONTINUALLY, YEAR AFTER YEAR. IF YOU WANT YOUR CHILDREN TO DRESS PROPERLY, YOU MUST DRESS PROPERLY. IF YOU WANT GROOM YOURSELF PROPERLY AS WELL. IF YOU WANT YOUR CHILDREN TO BE ORGANIZED AND EFFICIENT, YOU MUST SHOW THEM THE WAY BY BEING ORGANIZED AND EFFICIENT YOURSELF.

                 REMEMBER EACH DAY THAT YOUR CHILDREN ARE GOING TO BEHAVE THE WAY THAT YOU BEHAVE FOR THE REST OF THEIR LIVES. WHEN YOU THINK LIKE THIS, IT FORCES YOU TO PRACTICE HIGHER LEVELS OF SELF-DISCIPLINE AND SELF-CONTROL, KNOWING THAT THE CONSEQUENCES OF YOUR BEHAVIORS ARE GOING TO AFFECT YOUR CHILDREN'S CHANCES IN LIFE MANY YEARS FROM NOW.

                 THE DISCIPLINE OF RAISING CHILDREN SO THAT THEY GROW UP WITH HIGH SELF-ESTEEM, BEING POSITIVE AND CONFIDENT IN THEMSELVES AND THEIR OWN VALUE, IS ONE OF THE MOST IMPORTANT THINGS EVER DO. THE RESULTS OF YOUR CHILDREARING WILL LAST YOU ALL THE YEARS OF YOUR LIFE.

                                POINTS TO UNDERSTAND

                  1. WHAT TWO QUALITIES WOULD YOU LIKE YOUR CHILDREN TO IDENTIFY WITH YOU BY OBSERVING YOUR BEHAVIOR?

                  2. WHAT TWO QUALITIES WOULD YOU LIKE MOST TO INSTILL IN YOUR CHILDREN, AND HOW COULD YOU ACHIEVE THIS?

                  3. IF YOU WERE AN EXCELLENT ROLE MODEL FOR YOUR CHILDREN, HOW WOULD YOUR BEHAVIOR BE DIFFERENT , STARTING TODAY?

                  4. WHAT MISTAKES HAVE YOUR CHILDREN MADE THAT YOU SHOULD FORGIVE AND FORGET ABOUT, STARTING IMMEDIATELY?

                   5. WHAT ACTIONS ARE YOU GOING TO TAKE IMMEDIATELY TO SPEND MORE TIME WITH YOUR CHILDREN?

                   6. WHAT ACTIONS COULD YOU TAKE TO INSTILL THE QUALITY OF TRUTHFULNESS IN YOUR CHILDREN?

                    7. HOW COULD YOU ENCOURAGE AND REWARD YOUR CHILDREN SO THAT THEY PRACTICE GREATER SELF-DISCIPLINE, SELF-CONTROL, AND SELF-MASTERY?

NO EXCUSES

 

                                            

                                         BE THE BEST

                    LIFELONG PERSONAL DEVELOPMENT AND THE COMMITMENT TO PERSONAL EXCELLENCE REQUIRE TREMENDOUS DEDICATION, DISCIPLINE, AND WILLPOWER. THE GREATEST PAYOFF IS THAT EVERY TIME YOU LEARN AND APPLY SOMETHING NEW, YOUR BRAIN RELEASES ENDORPHINS, WHICH MAKE YOU FEEL HAPPIER AND MORE EXCITED ABOUT YOUR FUTURE.

                   EVERY TIME YOU LEARN AND APPLY SOMETHING NEW, YOU WILL HAE A GREATER SENSE OF PERSONAL POWER. YOUR SELF-ESTEEM, SELF-RESPECT, AND PERSONAL PRIDE WILL INCREASE. YOU WILL FEEL VERY MUCH IN CONTROL OF YOUR EARNING ABILITY, WHICH ONE OF THE MOST IMPORTANT PARTS OF YOUR LIFE.

                     IN THE NEXT CHAPTER, WE'LL TALK ABOUT THE IMPORTANCE OF COURAGE, OF OVERCOMING THE FEARS AND DOUBTS THAT HOLD MOST PEOPLE BACK. IT IS OFTEN THE CASE THAT WE KNOW WHAT WE NEED TO DO, BUT WE LACK THE CAURAGE TO TAKE THE RISKS THAT ACCOMPANY TRYING ANYTHING NEW. INSTEAD, WE MAKE EXCUSES FOR INACTION.

                                  ACTION EXERCISES

             * MAKE A DECISION TODAY TO INVEST IN YOURSELF AND GETTIN BETTER, AS IF YOUR FUTURE DEPENDS ON IT - BECAUSE IT DOES.

             * IDENTIFY THE MOST IMPORTANT SKILLS YOU HAVE THAT DETERMINE THE QUALITY AND QUANTITY OF RESULTS YOU GET AT YOUR WORK, AND MAKE A PLAN TO GET BETTER IN EACH ONE.

             * IF YOU COULD WAVE A MAGIC WAND AND BECOME ABSOLUTELY EXCELLENT IN ANY ONE SKILL, WHICH ONE SKILL WOULD HAVE THE GREATEST IMPACT ON YOUR EARNING ABILITY? WHATEVER YOUR ANSWER, SET THAT SKILL AS A GOAL, MAKE A PLAN, AND WORK ON IT EVERY DAY.

               * SET EXCELLENT PERFORMANCE IN YOUR WORK AS A GOAL, AND THEN DETERMINE EXACTLY WHAT YOU WILL NEED TO DO EVERY DAY TO JOIN THE TOP 20 PERCENT OR BETTER IN YOUR FIELD.

                * LOOK AHEAD THREE TO FIVE YEARS AND DETERMINE THE NEW KNOWLEDGE AND SKILLS YOU WILL  NEED IN ORDER TO LEAD YOUR FIELD IN THE FUTURE. THEN START ACQUIRING THEM TODAY.

                 * SELECT THE TOP PERSON IN YOUR FIELD, THE ONE YOU ADMIRE MOST, AND USE HIM OR HER AS A ROLE MODEL FOR YOUR OWN DEVELOPMENT.

                 * COMMIT YOURSELF TODAY TO LIFELONG LEARNING, AND NEVER LET A DAY GO WITHOUT GETTING BETTER IN SOME AREA.

               *TAKE OUT A SHEET OF PAPER AND WRITE OUTYOUR ANSWERS TO THESE QUESTIONS.

                  1. NAME THREE PEOPLE, LIVING OR DEAD, WHO YOU MOST ADMIRE AND DESCRIBE, ONE QUALITY OF EACH OF THEM THAT YOU RESPECT.

                  2. DETERMINE THE MOST IMPORTANT VIRTUE OR QUALITY IN YOUR LIFE THAT YOU STRIVE THE MOST TO PRACTICE OR EMULATE.

                  3. IDENTIFY THOSE SITUATIONS IN WHICH YOU FEEL THE MOST CONFIDENT, IN WHICH YOU FEEL LIKE THE VERY BEST PERSON YOU COULD POSSIBLY BE.

                  4. WHAT SITUATIONS GIVE YOU YOUR GREATEST FEELINGS OF SELF-ESTEEM AND PERSONAL WORTH?

                  5. IF YOU WERE ALREADY AN EXCELLENT PERSON IN EVERY RESPECT, HOW WOULD YOU BEHAVE DIFFERENTLY FROM TODAY ONWARD?

                6. WHAT ONE QUALITY WOULD YOU LIKE PEOPLE TO THINK OF WHEN YOUR NAME IS MENTIONED, AND WHAT COULD YOU DO TO ENSURE THIS HAPPEN?

                7. IN WHAT ONE AREA DO YOU NEED TO BE MORE TRUTHFUL PRACTICE HIGHER LEVELS OF INTREGRITY THAN YOU DO TODAY?

TRADITION

               

                        INNOVATION WITHIN TRADITION

                  KATHAK YOGA : KATHAK YOGA IS A TECHNIQUE CREATED BY PANDIT CHITESH DAS. THE DANCER HAS TO RECITE THE TAAL, SING A MELODY, AND PERFORM COMPLEX FOOTWORK AND SPINS ALL WITHIN THE SAME COMPOSITION, AND FREQUENTLY WITH TWO OR MORE OF THESE ELEMENTS OCCURING SINULTANEOUSLY. THE AIM IS TO UNIFY THE VARIOUS ASPECTS OF KATHAK, SO THAT THE DANCER IS CONSTANTLY AWARE OF THE PRECISE RELATIONSHIP OF WHATEVER COMPOSITION IS BEING DANCED  (WHETHER A SONG OR A DANCE COMPOSITION) TO THE RHYTHM CYCLE.

                   GHUNGHRU : GHUNGHRU OR GHUNGHROO ARE THE SMALL BELLS THE DANCER TIES AROUND HIS OR HER ANKLES. THE KATHAK BELLS ARE DIFFERENT FROM THOSE OF OTHER INDIAN DANCE STYLES, AS THEY ARE NOT AFFIXED TO A PAD OR STRIP OF LEATHER, BUT RATHER ARE INDIVIDUALLY WOVEN ALONG A THICK STRING. THE USUAL NUMBER OF BELLS IS 100 ON EACH ANKLE, ALTHOUGH FOR THE INITIAL STAGES OF LEARNING OR FOR CHILDREN, 25 AND 50 BELLED STRINGS ARE WIDELY AVAILABLE TO ALLOW THE DANCER TO GET USED TO THEM.

                 THERE IS A MORE OR LESS ACCEPTED UPPER CEILING OF 150 ON EACH ANKLE. GREATER FIGURES THAN THIS TEND TO INVOLVE THE TOPMOST CIRCLE OF BELLS BEING TIED FURTHER AND FURTHER UP A DANCER'S CALF. THIS IS GENERALLY REGARDED AS UNSUITABLE, BECAUSE IT IS AT SOME DISTANCE FROM THE POINT OF IMPACT, GIVING RISE TO THE UPPER LEVELS OF BELLS BEING PRONE TO DELAYED SOUNDING GIVEN THE INTERVENING SPACE AND AMOUNT O LEG. GREATER NUMBERS ARE ALSO UNNECESSARILY DIFFICULT TO CONTROL SINCE THE ARE MORE LIKELY TO SOUND AT UNWANTED MOMENTS, BEING AFFECTED BY THE MOVEMENT OF THE WHOLE OF THE LOWER LEG, RATHER THAN JUST THE ANKLE.

                  COSTUME : AS THE DANCE STYLE ITSELF HAS CHANGED TO REFLECT THE DIFFERENT MILIEUS IN WHICH IT FOUND ITSELF, SO TOO HAS THE COSTUME AND PERFORMANCE DRESS OF THE DANCERS.

                   PADMA VIBHUSHAN BIRJU MAHARAJ AND HIS DISCIPLE SARASWATI SEN FEMALE COSTUME : TRADITIONAL (AND PERHAPS MORE SPECIFICALLY HINDU) COSTUME SOMETIMES CONSISTS OF A SARI, WHETHER WORN IN AN EVERYDAY STYLE, OR TIED UP TO ALLOW GREATER FREEDOM OF MOVEMENT DURING DANCE. HOWEVER, MORE COMMONLY, THE COSTUME IS A LEHENGA-CHOLI COMBINATION. WITH AN OPTIONAL ODHNI OR VEIL. THE LEHENGA IS LOOSE ANKLE-LENGTH SKIRT, AND THE CHOLI IS A TIGHT FITTING BLOUSE, USUALLY SHORT-SLEEVED. BOTH CAN BE HIGHLY ORNATELY EMBROIDERED OR DECORATED. THE LEHENGA IS SOMETIMES ADAPTED TO A SPECIAL DANCE VARIETY, SIMILAR TO A LONG GHAGHRA,SO THAT DURING SPINS, THE SKIRT FLARES OUT DRAMATICALLY.

                 MUGHAL COSTUME FOR WOMEN CONSISTS OF AN ANGARKHA (FROM THE SANSKRIT ANGA-RAKSHAKA "LIMB-KEEPER) ON THE UPPER BODY. THE DESIGN IS AKIN TO A CHUDIDAAR KAMEEZ, BUT IS SOMEWHAT TIGHTER FITTING ABOVE THE WAIST, AND THE 'SKIRT' PORTION EXPLICITLY CUT ON THE ROUND TO ENHANCE THE FLARE OF THE LOWER HALF JUGGING TROUSERS FOLDED UP GIVING THE LOOK OF CLOTH BANGLES. OPTIONAL ACCESSORIES ARE A SMALL PEAKED CAP AND BANDI OR SMALL BANGLES. OPTIONAL ACCESSORIES A BELT MADE OF ZARI OR PRECIOUS STONES IS ALSO WON ON THE WAIST.

               MALE COSTUME : THE TRADITONAL HINDU COSTUME FOR MEN TO BE BARE-CHESTED. BELOW THE WAIST IS THE DHOTI, USUALLY TIED IN THE BENGAL STYLE, THAT IS WITH MANY PLEATS AND A FAN FINISH TO ONE OF THE ENDS (ALTHOUGH IT IS NOT UNKNOWN FOR DANCERS TO TIE THE GARMENT MORE SIMPLY) THERE IS THE OPTION OF WEARING A MEN'S BANDI TOO.

                THE MUGHAL COSTUME IS KURTA : THE KURTA CAN BE A SIMPLE ONE, OR AGAIN, ADAPTED FOR DANCE TO INCORPORATE WIDER FLARE, BUT IS USUALLY AT LEAST KNEE LENGTH. MEN MAY ALSO WEAR AN ANGARKHA (SEE FEMALE COSTUME ABOVE) PARTICULARLY OLDER VARIETY COSTUMES INCLUDE THE SMALL PEAKED CAP TOO.

                   KATHAKALI : KATHAKALI IS A FORM OF INDIAN DANCE-DRAMA . IT ORIGINATED IN THE SOUTHERN STATE OF KERALA DURING THE LATE 16TH CENTURY, APPROXIMATELY BETWEEN 1555 TO 1605 AD. THE NAME KATHAKALI DERIVES FROM THE MALAYALAM WORDS "KATHA" (MEANING STORY) AND "KALI" (MEANING PLAY)

                 KATHAKALI ORIGINATED FROM RAMANATTOM (RAMAN, ATTOM (ENACTMENT) AND KRISHNANATTOM (KRISHNAN, ATTOM (ENACTMENT) SUBSEQUENTLY, KOTTAKARA THAMPURAN (RULER OF KOTTARAKARA, ONCE A PROVINCE IN KERALA) COMPOSED SEVERAL PLAYS ON MAHABHARATA WHICH LED TO THE EVOLUTION OF KATHAKALI, RAMANATTOM CONTINUED AS A PART OF KATHAKALI. KATHAKALI SHARES A LOT OF SIMILARITIES TO KRISHNANATTOM, KOODIYATTOM (SANSKRIT DRAMA EXISTING IN KERAL) AND ASHTAPADIATTOM (AN ADAPTATION OF 12TH CENTURY MUSICAL CALLED GITA GOVINDAM) IT ALSO POPULARLY. IN PARTICULAR, THE USE OF MALAYALAM, WHICH IS THE LOCAL LANGUAGE (ALBEIT AS A MIX OF SANSKRIT AND MALAYALAM, CALLED MANIPRAVAALAM) MADE IT MORE POPULAR AMONG THE MASSES, DURING ITS EVOLUTION, KATHAKALI ALSO IMBIBED ELEMENTSFROM FOLK AND MARTIAL ARTS WHICH EXISTED AT THE TIME IN KERALA.

                 CHARACTERS WITH VIVIDLY PAINTED FACES AND ELABORATE COSTUMES TO RE-ENACT STORIES FROM THE EPICS LIKE MAHABHARATA AND RAMAYANA. KATHAKALI IS FEATURED IN THE AWARD-WINNING INDO-FRENCH-GERMAN PRODUCED FILM VAAMAPRASTHAM DIRECTED BY SHAJI N KARUN AND ACTED BY MOHANLAL. KATHAKALI HAS TRADITIONALLY BEEN PERFORMED IN TEMPLES AND PLACES, BUT NOWADAYS IT MAY ALSO BE SEEN IN OTHER ENTERTAINMENT FUNCTIONS. EARLIER KATHAKALI WAS IN AN UNCIVILISED FORM, LATER IT HAS BEEN REFORMED IN THE NEW VERSION BY THE GREAT ARTIST KAPPLINGATTU NAMPOOTHIRI INTRODUCING ALL THOSE CHANGES THAT WE SEE TODAY. AT THE BEGINNING THERE WAS NO SUCH MAKE UPS FOR "VESHAM". LATER THE INTRODUCED SUCH PERFECT MAKE UP AND SEPARATE SINGER FOR KATHAKALI.

DELUTION TIME (THE POWER OF NOW)

 

                         END THE DELUSION OF TIME

                      IT SEEMS ALMOST IMPOSSIBLE TO DISIDENTIFY FROM THE MIND. WE ARE ALL IMMERSED IN IT. HOW DO YOU TEACH A FISH TO FLY?

                    HERE IS THE KEY. END THE DELUSION OF TIME. TIME AND MIND ARE INSEPARABLE. REMOVE TIME FROM THE MIND AND IT STOPS - UNLESS YOU CHOOSE TO USE IT.

                      TO BE IDENTIFIED WITH YOUR MIND IS TO BE TRAPPED IN TIME. THE COMPULSION TO LIVE ALMOST EXCLUSIVELY THROUGH MEMORY AND ANTICIPATION. THIS CREATES AN ENDLESS PREOCCUPATION WITH PAST AND FUTURE AND AN UNWILLINGNESS TO HONOR AND ACKNOWLEDGE THE PRESENT MOMENT AND ALLOW IT TO BE THE COMPULSION ARISES BECAUSE THE PAST GIVES YOU AN IDENTIFY AND THE FUTURE HOLDS THE PROMISES OF SALVATION, OF FULLFILLMENT IN WHATEVER FORM. BOTH ARE ILLUSIONS.

                      BUT WITHOUT A SENSE OF TIME, HOW WOULD WE FUNCTION IN THIS WORLD? THERE WOULD BE NO GOALS TO STRIVE TOWARD ANYMORE. I WOULDN'T EVEN KNOW WHO I AM, BECAUSE MY PAST MAKES ME WHO I AM TODAY. I THINK TIME IS SOMETHING VERY PRECIOUS, AND WE NEED TO LEARN OT USE IT WISELY RATHER THAN WASTE IT.

                     TIME ISN'T PRECIOUS AT ALL, IT IS AN ILLUSION. WHAT YOU PERCEIVE AS PRECIOUS IS NOT TIME BUT ONE POINT THAT IS OUT OF TIME. THE NOW. THAT IS PRECIOUS INDEED. THE MORE YOU ARE FOCUSED ON TIME - PAST AND FUTURE - THE MORE YOU MISS THE NOW. THE MOST PRECIOUS THING THERE IS. 

                       WHY IS IT THE MOST PRECIOUS THING? FIRSTLY, BECAUSE IT IS THE ONLY THING. IT'S ALL THERE IS. THE ETERNAL PRESENT IS THE SPACE WITHIN WHICH YOUR WHOLE LIFE UNFOLDS, THE ONE FACTOR THAT REMAINS CONSTANT. LIFE IS NOW. THERE WAS NEVER A TIME WHEN YOUR LIFE WAS NOT NOW, NOR WILL THERE EVER BE. SECONDLY, THE NOW IS THE ONLY POINT THAT CAN TAKE YOU BEYOND THE LIMITED CONFINES OF THE MIND. IT IS YOUR ONLY POINT OF ACCESS INTO THE TIMELESS AND FORMLESS REALM OF BEING.

                              NOTHING EXISTS OUTSIDE 

                                               THE NOW

                 AREN'T PAST AND FUTURE JUST AS REAL, SOMETIMES EVEN MORE REAL, THEN THAT PRESENT, AFTER ALL, THE PAST DETERMINES WHO ARE, AS WELL AS HOW WE PERCEIVE AND BEHAVE IN THE PRESENT. AND OUR FUTURE GOALS DETERMINE WHICH ACTIONS WE TAKE IN THE PRESENT.

                 YOU HAVEN'T YET GRASPED THE ESSENCE OF WHAT I AM SAYING BECAUSE YOU ARE TRYING TO UNDERSTAND IT MENTALLY. THE MIND CANNOT UNDERSTAND THIS. ONLY YOU CAN. PLEASE JUST LISTEN.

                 HAVE YOU EVER EXPERIENCED, DONE, THOUGHT, OR FELT ANYTHING OUTSIDE THE NOW? DO YOU THINK YOU EVER WILL? IS IT POSSIBLE FOR ANYTHING TO HAPPEN OR BE OUTSIDE THE NOW? THE ANSWER IS OBVIOUS , IS IT NOT?

                  NOTHING EVER HAPPENED IN THE PAST, IT HAPPENED IN THE NOW.

                  NOTHING WILL EVER HAPPEN IN THE FUTURE, IT WILL HAPPEN IN THE NOW. WHAT YOU THINK OF AS THE PAST IS A MEMORY TRACE, STORED IN THE MIND, OF A FORMER NOW. WHEN YOU REMEMBER THE PAST, STORED IN THE MIND, OF A FORMER NOW. WHEN YOU REMEMBER, THE PAST, YOU REACTIVATE A MEMORY TRACE - AND YOU DO SO NOW. THE FUTURE IS AN IMAGINED NOW, A PROJECTION OF THE MIND. WHEN THE FUTURE COMES , IT COMES AS THE NOW. WHEN YOU THINK ABOUT THE FUTURE, YOU DO IT NOW. PAST AND FUTURE OBVIOUSLY HAVE NO REALITY OF THEIR OWN.  JUST AS THE MOON HAS NO LIGHT OF ITS OWN, BUT CAN ONLY REFLECT THE LIGHT OF THE SUN, SO ARE PAST AND FUTURE ONLY PALE REFLECTIONS OF THE LIGHT. POWER, AND REALITY OF THE ETERNAL PRESENT. THEIR REALITY IS "BORROWED" FROM THE NOW.

                  THE ESSENCE OF WHAT I AM SAYING HERE CANNOT BE UNDERSTOOD BY THE MIND. THE MOMENT YOU GRASP IT, THERE IS A SHIFT IN CONSCIOUSNESS FROM MIND TO BEING. FROM TIME TO PRESENCE. SUDDENLY, EVERYTHING FEELS ALIVE, RADIATES ENERGY, EMANATES BEING.

                                    WHY SHOULD WE BE 

                               ADDICTED TO THINKING?

                  BECAUSE YOU ARE IDENTIFIED WITH IT, WHICH MEANS THAT YOU DERIVE YOUR SENSE OF SELF FROM THE CONTENT AND ACTIVITY OF YOUR MIND. BECAUSE YOU BELIEVE THAT YOU WOULD CEASE TO BE IF YOU STOPPED THINKING.AS YOU GROW UP, YOU FORM A MENTAL IMAGE OF WHO YOU ARE, BASED ON YOUR PERSONAL AND CULTURAL CONDITIONING. WE MAY CALL THIS PHANTOM SELF THE EGO IT CONSISTS OF MIND ACTIVITY AND CAN ONLY BE KEPT GOING THROUGH CONSTANT THINKING. THE TERM EGO MEANS DIFFERENT THINGS TO DIFFERENT PEOPLE, BUT WHEN I USE IT HERE IT MEANS A FALSE SEFL, CREATED BY UNCONSCIOUS IDENTIFICATION WITH THE MIND.

                TO THE EGO, THE PRESENT MOMENT HARDLY EXISTS. ONLY PAST AND FUTURE ARE CONSIDERED IMPORTANT. THIS TOTAL REVERSAL OF THE TRUTH ACCOUNTS FOR THE FACT THAT IN THE EGO MODE THE MIND IS SO DYSFUNCTIONAL. IT IS ALWAYS CONCERNED WITH KEEPING THE PAST ALIVE, BECAUSE WITHOUT IT - WHO ARE YOU? IT CONSTANTLY PROJECTS ITSELF INTO THE FUTURE TO ENSURE ITS CONTINUED SURVIVAL AND TO SEEK SOME KIND OF RELEASE OR FULLFILLMENT THERE. IT SAYS, "ONE DAY, WHEN THIS, THAT, OR THE OTHER HAPPENS, I AM GOING GO BE OKAY, HAPPY, AT PEACE.". EVEN WHEN THE EGO SEEMS TO BE CONCERNED WITH THE PRESENT, IT IS NOT THE PRESENT THAT IT SEES. IT MISPERCEIVES IT COMPLETELY BECAUSE IT LOOKS AT IT THROUGH THE EYES OF THE PAST. OR IT REDUCES THE PRESENT TO A MEANS TO AN END, AND END THAT ALWAYS LIES IN THE MIND-PROJECTED FUTURE. OBSERVE YOUR MIND AND YOU'LL SEE THAT THIS IS HOW IT WORKS.

                         THE PRESENT MOMENT HOLDS THE KEY TO LIBERATION. BUT YOU CANNOT FIND THE PRESENT MOMENT AS LONG AS YOU ARE YOUR MIND.

THE POWER OF NOW

 

                                     ACCESSING NOW

                         A MOMENT AGO, WHEN YOU TALKED THE EXTERNAL PRESENT AND THE UNREALITY OF PAST AND FUTURE, I FOUND MYSELF LOOKING AT THAT TREE OUTSIDE THE WINDOW. I HAD LOOKED AT IT A FEW TIMES BEFORE, BUT THIS TIME IT WAS DIFFERENT. THE EXTERNAL PERCEPTION HAD NOT CHANGED MUCH, EXCEPT THAT THE COLORS SEEMED BRIGHTER AND MORE VIBRANT. BUT THERE WAS NOW AN ADDED DIMENSION TO IT. THIS IS HARD TO EXPLAIN. I DON'T KNOW HOW, BUT I WAS AWARE OF SOMETHING INVISIBLE THAT I FELT WAS THE ESSENSE OF THAT TREE, ITS INNER SPIRIT, IF YOU LIKE. AND SOMEHOW I WAS PART OF THAT. I REALIZE NOW THAT I HADN'T TRULY SEEN THE TREE BEFORE, JUST A FLAT AND DEAD IMAGE PRESENT, BUT I CAN FEEL IT SLIPPING AWAY. YOU SEE, THE EXPERIENCE IS ALREADY RECEDING INTO THE PAST. CAN SOMETHING LIKE THIS EVER BE MORE THAN A FLEETING GLIMSE?

                  YOU WERE FREE OF TIME FOR A MOMENT. YOU MOVED INTO THE NOW AND THEREFORE PERCEIVED THE TREE WITHOUT THE SCREEN OF MIND. THE AWARENESS OF BEING BECAME PART OF YOUR PERCEPTION. WITH THE TIMELESS DIMENSION COMES A DIFFERENT KIND OF KNOWING, ONE THAT DOES NOT "KILL" THE SPIRIT THAT LIVES WITHIN EVERY CREATURE AND EVERY THING. A KNOWING THAT DOES NOT DESTROY THE SACREDNESS AND MYSTERY OF LIFE BUT CONTAINS A DEEP LOVE AND REVERENCE FOR ALL THAT IS. A KNOWING OF WHICH THE MIND KNOWS NOTHING.

                    THE MIND CANNOT KNOW THE TREE. IT CAN ONLY KNOW FACTS OR INFORMATION ABOUT THE TREE. MY MIND CANNOT KNOW YOU, ONLY LABELS, JUDGMENTS, FACTS, AND OPINIONS ABOUT YOU. BEING ALONE KNOWS DIRECTLY.

                     THERE IS A PLACE FOR MIND AND MIND KNOWLEDGE. IT IS IN THE PRACTICAL REALM OF DAY-TO-DAY LIVING. HOWEVER, WHEN IT TAKES OVER ALL ASPECTS OF YOUR LIFE, INCLUDING YOUR RELATIONSHIPS WITH OTHER HUMAN BEINGS AND WITH NATURE, IT BECOMES A MONSTROUS PARASITE THAT, UNCHECKED, MAY WELL END UP KILLING ALL LIFE ON THE PLANET AND FINALLY ITSELF BY KILLING ITS HOST.

                         YOU HAVE HAD A GLIMPSE OF HOW THE TIMELESS CAN TRANSFORE YOUR PERCEPTIONS. BUT AN EXPERIENCE IS NOT ENOUGH. NO MATTER HOW BEAUTIFUL OR PROFOUND. WHAT IS NEEDED AND WHAT WE ARE CONCERNED WITH IS A PERMANENT SHIFT IN CONSCIOUSNESS.

                       SO BREAK THE OLD PATTERN OF PRESENT-MOMENT DENIAL AND PRESENT MOMENT RESISTANCE. MAKE IT YOUR PRACTICE TO WITHDRAW ATTENTION FROM PAST AND FUTURE WHENEVER THEY ARE NOT NEEDED. STEP OUT OF THE TIME DIMENTION AS MUCH AS POSSIBLE IN EVERYDAY LIFE. IF YOU FIND IT HARD TO ENTER THE NOW DIRECTLY, STARY BY OBSERVING THE HABITUAL TENDENCY OF YOUR MIND TO WANT TO ESCAPE FROM THE NOW. YOU WILL OBSERVE THAT THE FUTURE IS USUALLY IMAGINED AS EITHER BETTER OR WORSE THAN THE PRESENT. IF THE IMAGINED FUTURE IS BETTER , IT GIVES YOU HOPE OR PLEASURABLE ANTICIPATION. IF IT IS WORSE, IT CREATES ANXIETY. BOTH ARE ILLUSORY. THROUGH SELF-OBSERVATION, MOREPRESENCE COMES INTO YOUR LIFE AUTOMATICALLY. THE MOMENT YOU REALIZE YOU ARE NOT PRESENT, YOU ARE PRESENT. WHENEVER YOU ARE ABLE TO OBSERVE YOUR MIND, YOU ARE NO LONGER TRAPPED IN IT. ANOTHER FACTOR HAS COME IN, SOMETHING THAT IS NOT OF THE MIND. THE WITNESSING PRESENCE.

                     BE PRESENT AS THE WATCHES OF YOUR MIND - OF YOUR THOUGHTS AND EMOTIONS AS WELL AS YOUR REACTIONS IN VARIOUS SITUATIONS. BE AT LEAST AS INTERESTED IN YOUR REACTIONS AS IN THE SITUATION OR PERSON THAT CAUSES YOU TO REACT. NOTICE ALSO HOW OFTEN YOUR ATTENTION IS IN THE PAST OR FUTURE. DON'T JUDGE OR ANALYZE WHAT YOU OBSERVE . WATCH THE THOUGHT, FEEL THE EMOTION, OBSERVE THE REACTION.DON'T MAKE A PERSONAL PROBLEM OUT OF THEM. YOU WILL THEN FEEL SOMETHING MORE POWERFUL THAN ANY OF THOSE THINGS THAT YOU OBSERVE. THE STILL, OBSERVING PRESENCE ITSELF BEHIND THE CONTENT OF YOUR MIND, THE SILENT WATCHER.

                  INTENSE PRESENCE IS NEEDED WHEN CERTAIN SITUATIONS TRIGGER A REACTION WITH A STRONG EMOTIONAL CHARGE, SUCH AS WHEN YOUR SELF-IMAGE IS THRATENED, A CHALLENGE COMES INTO YOUR LIFE THAT TRIG ERS FEAR, THINGS "GO WRONG" OR AN EMOTIONAL COMPLEX FROM THE PAST IS BROUGHT UP.IN THOSE INSTANCES, THE TENDENCY IS FOR YOU TO BECOME "INCONSCIOUS". THE REACTION OR EMOTION OR EMOTION TAKES YOU OVER- YOU "BECOME" OT, YOU ACT IT OUT, YOU JUSTIFY, MAKE WRONG, ATTACK, DEFEND... EXCEPT THAT IT ISN'T YOU, IT'S THE REACTIVE PATTERN, THE MIND IN ITS HABITUAL SURVIVAL MODE.

                 IDENTIFICATION WITH THE MIND GIVES IT MORE ENERGY, OBSERVATION OF THE MIND WITHDRAWS ENERGY FROM IT. IDENTIFICATION WITH THE MIND CREATES MORE TIME, OBSERVATION OF THE MIND OPENS UP THE DIMENSION OF THE TIMELESS. THE ENERGY THAT IS WITHDRAW FROM THE MIND TURNS INTO PRESENCE. ONCE YOU CAN FEEL WHAT IT MEANS TO BE PRESENT, IT BECOMES MUCH EASIER TO SIMPLY CHOOSE TO STEP OUT OF THE TIME DIMENSION  WHENEVER TIME IS NOT NEEDED FOR PRACTICAL PURPOSES AND MOVE MORE DEEPLY INTO THE NOW. THIS DOES NOT IMPAIR YOUR ABILITY TO USE TIME - PAST OR FUTURE- WHEN YOU NEED TO REFER TO IT FOR PRACTICAL MATTERS. NOR DOES IT IMPAIR YOUR ABILITY TO USE YOUR MIND. IN FACT, IT ENHANCES IT. WHEN YOU DO USE YOUR MIND, IT WILL BE SHARPER, MORE FOCUSED.

THE BRIEF ABOUT CARNATIC MUSIC

 

                           IMPORTANT ELEMENT

                              OF CARNATIC MUSIC

                                 ERUTI : ERUTI COMMONLY REFERS TO MUSICAL PITCH. IT IS THE APPROXIMATE EQUIVALENT OF A TOXIC (OR LESS PRECISELY A KEY) IN WESTERN MUSIC, IT IS THE NOTE FROM WHICH ALL THE OTHERS ARE DERIVED. IT IS ALSO USED IN THE SENSE OF GRADED PITCHES IN AN OCTAVE. WHILE THERE ARE AN INFINITE NUMBER OF SOUNDS FALLING WITHIN A SCALE (OR RAGA) IN CARNATIC MUSIC, THE NUMBER THAT CAN BE DISTINGUISHED BY AUDITORY PERCEPTION IN TWENTY-TWO (ALTHOUGH OVER THE YEARS, SEVERAL OF THEN HAVE CONVERGED). IN THIS SENSE, WHILE SRUTI IS DETERMINED BY AUDITORY PERCEPTION, IT IS ALSO AN EXPRESSION IN THE LISTENER'S MIND.

                          SWARNA : SWARA REFERS TO A TYPE OF MUSICAL SOUND THAT IS A SINGLE NOTE, WHICH DEFINE A RELATIVE (HIGHER OR LOWER) POSITION OF A NOTE, RATHER THAN A DEFINED FREQUENCY. SWARAS ALSO REFER TO THE SOLFEGE OF CARNATIC MUSIC, WHICH CONSISTS OF SEVEN NOTES, "SA-RI-GA-MA-PA-DA-NI" (COMPARE WITH THE HINDUSTANI SARGAM SA-RE-GA-MA-PA-DHA-NI OR WESTERN DO-RE-MI-FA-SO-LA-TI). THESE NAMES ARE ABBRAEVIATIONS OF THE LONGER NAMES SHADJA, RISHABHA, GANDHARA, MADHYAMA, PANCHAMA, DHAIVATA AND NISHADA. UNLIKE OTHER MUSIC SYSTEMS, EVERY MEMBER OF THE SOLGEGE (CALLED A SWARA) HAS THREE VARIANTS. THE EXCEPTIONS ARE THE DRONE NOTES, SHADJA AND PANCHAMA (ALSO KNOWN AS THE TONIC AND THE DOMINANT) WHICH HAVE ONLY ONE FORM. AND 7MADHYAMA (THE SUBDOMINANT) WHICH HAS TWO FORMS. A 7TH CENTURY STONE INSCRIPTION IN KUDUMIYAN MALAI IN TAMILNADU SHOWS VOWEL CHANGES TO SOLFEGE SYMBOLS WITH RA,RI,RU,ETC. TO DENOTE THE HIGHER QUARTER-TONES. IN  ONE SCALE, OR RAGAM, THERE IS USUALLY ONLY ONE VARIANT OF EACH ONE PRESENT. THE EXCEPTIONS EXISTS IN "LIGHT" RAGAS, IN WHICH, FOR ARTISTIC EFFECT, THERE MAY BE TWO,ONE ASCENDING (IN THE AROHANAM) AND ANOTHER DESCENDING (IN THE AVAROHANAM)

                          RAGA SYSTEM : A RAGA IN CARNATIC MUSIC PRESCRIBES A SET OF RULES FOR BUILDING A MELODY - VERY SIMILAR TO THE WESTERN CONCEPT OF MODE. IT SPECIFIES RULES FOR MOVEMENTS UP (AAROHANAM), AND DOWN (AVAROHANAM), THE SCALE OF WHICH NOTES MAY BE SUNG WITH GAMAKA, WHICH PHRASES SHOULD BE USED, PHRASES SHOULD BE AVOIDED, AND SO ON.

                   IN CARNATIC MUSIC, THE SAMPOORNA RAGAS (THOSE WILL ALL SEVEN NOTES IN THEIR SCALES) ARE CLASSIFIED INTO A SYSTEM CALLED THE MELAKARTA, WHICH GROUPS THEM ACCORDING TO THE KINDS OF NOTES THAT THEY HAVE. HTERE ARE SEVENTY-TWO MELAKARTA RAGAS, THIRTY SIX OF WHOSE MADHYAMA (SUBDOMINANT) IS SADHARANA ( SUBDOMINANT) IS PRATI (AN AUGMENTED FOURTH FROM THE TONIC) THE RAGAS ARE GROUPED INTO SETS OF SIX, CALLED CHAKRAS, (WHEELS, THOUGH ACTUALLY SEGMETNS IN THE CONVENTIONAL REPRESENTATION) GROUPED ACCORDING TO THE SUPERTONIC AND MEDIANT SCALE DEGREES. THERE IS A SYSTEM KNOWN AS THE "KATAPAYADI SANKHYA TO DETERMINE THE NAMES OF MELAKARTA RAGAS. RAGAS MAY BE DIVIDED INTO TWO CLASSES. JANAKA RAGAS (I.E. MELAKARTA OR PARENT RAGAS) AND JANYARAGAS (DESCENDANT RAGAS OF A PARTICULAR JANAKA RAGA). JANYA RAGAS ARE SUBCLASSIFIED INTO VARIOUS CATEGORIES THEMSELVES.

                       TALA SYSTEM : TALA REFERS TO THE BEAT SET FOR A PARTICULAR COMPOSITION (A MEASURE TO TIME) TALAS HAVE CYLES OF A DEFINED NUMBER OF BEATS AND RARELY CHANGE WITHIN A SONG. THEY HAVE SPECIFIC COMPONENTS, WHICH IN COMBINATIONS CAN GIVE RISE TO THE VARIETY TO EXIST (OVER 108), ALLOWING DIFFERENT COMPOSITIONS TO HAVE DIFFERENT RHYTHMS.

               CARNATIC MUSIC SINGERS USUALLY KEEP THE BEAT BY MOVING THEIR HANDS UP AND DOWN IN SPECIFIED PATTERNS, AND USING THEIR FINGERS SIMULTANEOUSLY TO KEEP TIME. TALA IS FORMED WITH THREE BASIC PARTS (CALLED ANGAS) , WHICH ARE LAGHU, DHRTAM, AND AMUDHRTAM, THOUGH COMPLEX TALAS MAY HAVE OTHER PARTS LIKE PLUTAM, GURU, AND KAAKAPAADAM. THERE ARE SEVEN BASIC TALA GROUPS WHICH CAN BE FORMED FROM THE LAGHU, DHRTAM, AND AMUDHRTAM, DHRUVA TALA, MATYA TALA, RUPAKA TALA, JHAMPA TALA, TRIPUTA TALA, ATA TALA, EKA TALA.

                A LAGHU HAS FIVE VARIANTS (CALLED JAATHIS) BASED ON THE COUNTING PATTERN, FIVE  JAASTHIS TIMES SEVEN TALA GROUPS GIVES THIRTY-FIVE BASIC TALAS, ALTHOUGH USE OF OTHER ANGAS RESULTS IN A TOTAL OF 108 TALAS.

  

                        IMPROVISATION : THERE ARE FOUR MAIN TYPES OF IMPROVISATION IN CARNATIC MUSIC, BUT IN EVERY TYPE, ADHERING TO THE SCALE AND PHRASES OF THE RAGAS IS REQUIRED.

                         RAGA ALAPANA : THIS IS THE EXPOSITION OF THE RAGAM OF THE SONG THAT IS BEING PLANNED TO BE PERFORMED. A PERFORMER WILL EXPLORE THE RAGAM FIRST BY SINGING LOWER OCTAVES THEN MOVING UP TO HIGHER ONES AND TOUCHING VARIOUS ASPECTS OF THE RAGAM WHILE GIVING A HINT OF THE SONG TO BE PERFORMED . IT IS A SLOW IMPROVISATION, SINCE THE RULES ARE SO FEW, BUT IN FACT, IT TAKES MUCH SKILL TO SING A PLEASING, COMPREHENSIVE (IN THE SENSE OF GIVING A "FEEL FOR THE RAGAM) AND, MOST IMPORTANTLY, ORIGINAL RAGA ALAPANA.

                         NIRAVAL : THIS IS USUALLY PERFORMED BY THE MORE ADVANCED CONCERT ARTISTS AND CONSISTS OF SINGING ONE OR TWO LINES OF A SONG REPEATEDLY, BUT WITH IMPROVISED ELABORATIONS. NIRAVAL COMES OUT OR MANODHARMA SANGEETHA, WHERE THE SELECTED LINE IS REPEATED WITHIN THE TALA TIMING TO BRING OUT THE BEAUTY OF BOTH THE RAAGA, AND THE LINE OR COMPOSITION BEING RENDERED.

                      KALPANASWARAM : THE MOST ELEMENTARY TYPE OF IMPROVISATION, USUALLY TAUGHT BEFORE ANY OTHER FORM OF IMPROVISATION. IT CONSISTS OF SINGING A PATTERN OF NOTES WHICH FINISHES ON THE BEAT AND THE NOTE JUST BEFORE THE BEAT AND THE NOTE ON WHICH THE SONG STARTS. THE SWARNA PATTERN SHOULD ADHERE TO THE ORIGINAL RAGA'S PATTERN, WHICH IS CALLED AS AAROHARAM-AVAROHANAM.

                 THANAM : THIS FORM OF IMPROVISATION WAS ORIGINALLY DEVELOPED FOR THE VEENA AND CONSISTS OF EXPANDING THE RAGA WITH SYLLABUS LIKE THA, NAM, THOM, AA, NOM, NA, ETC.

                RAGAM THANAM PALLAVI : THIS IS A COMPOSITE FORM OF IMPROVISATION. AS THE NAME SUGGESTS, IT CONSISTS OF RAGA ALAPANA, THANAM, AND A PALLAVI LINE. THE PALLAVI LINE IS SUNG TWICE, AND NIRAVAL FOLLOWS. AFTER NIRAVAL, THE PALLAVI LINE IS SUNG AGAIN, TWICE IN NORMAL SPEED, THEN SUNG ONCE AT HALF THE SPEED, THEN TWICE AT REGULAR SPEED, THEN FOUR TIMES AT TWICE THE SPEED. KALPANASWARAMS FOLLOW.