Kuchipudi Syllabus Levels
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Peacock Cult in Asia
The Peacock Cult in Asia By P. T h a n k a p p a n N a ir Contents Introduction ( 1 ) Origin of the first Peacock (2) Grand Moghul of the Bird Kingdom (3) How did the Peacock get hundred eye-designs (4) Peacock meat~a table delicacy (5) Peacock in Sculptures & Numismatics (6) Peacock’s place in history (7) Peacock in Sanskrit literature (8) Peacock in Aesthetics & Fine Art (9) Peacock’s place in Indian Folklore (10) Peacock worship in India (11) Peacock worship in Persia & other lands Conclusion Introduction Doubts were entertained about India’s wisdom when Peacock was adopted as her National Bird. There is no difference of opinion among scholars that the original habitat of the peacock is India，or more pre cisely Southern India. We have the authority of the Bible* to show that the peacock was one of the Commodities5 that India exported to the Holy Land in ancient times. This splendid bird had reached Athens by 450 B.C. and had been kept in the island of Samos earlier still. The peacock bridged the cultural gap between the Aryans who were * I Kings 10:22 For the king had at sea a navy of Thar，-shish with the navy of Hiram: once in three years came the navy of Thar’-shish bringing gold, and silver，ivory, and apes，and peacocks. II Chronicles 9: 21 For the King’s ships went to Tarshish with the servants of Hu，-ram: every three years once came the ships of Tarshish bringing gold, and silver，ivory，and apes，and peacocks. -
Academic Catalog 2020
Academic Catalog 03/01/2020 – 12/31/2020 University of Silicon Andhra Dr. Hanimireddy Lakireddy Bhavan 1521 California Circle, Milpitas, CA 95035 1-844-872-8680 www.universityofsiliconandhra.org University of Silicon Andhra, Academic Catalog- 2020 Table of Contents INTRODUCTION: ............................................................................................ 5 Mission Statement ........................................................................................................................................................................................................................... 5 Vision Statement ..............................................................................................................................................................................................................................5 Institutional Learning Outcomes ............................................................................................................................................................................................. 5 Notice to Current and Prospective Students ......................................................................................................................................................................... 6 Academic Freedom Statement .................................................................................................................................................................................................. 6 Notice to Prospective Degree Program Students -
Opening and Closing Prayers
DHYANA SLOKAS (GAJANANAM) At the beginning of every lecture or class we chant the Dhyana Slokas. This helps to set the inner mood and create the proper mindset for the practice. The prayers invoke the Gurus and teachers blessing for a successful practice. The Gajananam follows nearly the same sequence as the Jaya Ganesha. First, we invoke Ganesha to remove all obstacles, then Subramanya to give us strength and destroy all negative forces, inside and outside. Next is Saraswati to give us Divine knowledge. Then we ask the teacher (Guru) to guide us always. We invoke the Divine Mother Durga, Narayani to bring auspiciousness to all our undertakings. Gajananam Bhutaganadi Sevitam Kapitta Jambu Phala Sara Bhakshitam Uma Sutam Shokavinasha Karanam Namami Vigneshvara Pada Pamkajam I prostrate myself before the lotus feet of Vigneshwara (Ganesha), the son of Uma, the cause of destruction of sorrow, who is served by the host of angels, who has the face of an elephant, who partakes of the essence of Kapitta and Jambu fruits. Shadananam Kumkuma Raktavarnam Mahamatim Divya Mayura Vahanam Rudrasya Sunam Surasainya Natham Guham Sadaham Sharanam Prapadye I always take refuge in Guha of six faces (Subramanya), who is of deep red color like Kumkuma, who possesses great knowledge, who has the divine peacock to ride on, who is the son of Rudra (Siva) and who is the leader of the army of the Devas (gods, angels). Ya Kundendu Tushara Hara Dhavala Ya Shubra Vastravrita Ya Vina Vara Danda Mandita Kara Ya Shveta Padmasana Ya Brahmachyuta Shankara Prabhritivir Devai Sada Pujita Sa Mam Patu Saraswati Bhagavati Nishyesha Jatyapaha May that goddess Saraswati, who wears a garland white like the Kunda flower, the moon and the snow, who is adorned with pure white clothes, who hands are ornamented with Vina and the gestures of blessings, who is seated on a white Lotus, who is always worshipped by Brahma, Vishnu and Siva and the other Gods, who is the remover of all inertness and laziness, protect me. -
Classical Dances Have Drawn Sustenance
Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return. -
Lord Murugan in the Vedas
Lord Murugan In The Vedas M. Rajantheran' &. Raja Viknarasah? Abstract The worship of Lord Muruga is not only an ancient religious practice of the Tamils but it is also being a bridge to connect the civilization, culture, beliefs and tradition of them. The Sanggam literature hails Lord Muruga as the Lord of the Kurunji land. But even the Vedas which were written long before the Sang gam literature praise Lord Muruga with special superiority. Among the four Vedas namely Rig, Yajur, Sarna, Aiharoa, Rig Veda is considered to be the oldest. Even in the Rig Veda, there found many pieces of information about Lord Muruga. Lord Muruga is referred to as Agnibhu, Sadasapati, Skanda and Subramanya. What do the names means? What is the significance of Lord Muruga in the Vedas? The article aims at giving a clear insight into all these aspects. In order to prove it with evidence, the Vedic verses and Maha Vakyas of Lord Muruga are also given with their meaning. Furthermore, in order to reinforce the points, research materials found in Ramayana, Bagavath Gita and Upanishads are also incorporated. Keywords: Lord Muruga, Veda, Skanda, Upanishad, The Tamils, Hinduism, Maha vakyas. Tat Kumiiriiya tndamahe Kiirttikeyaya dltimahi - ianno Skandah. pracodasuit (Maitrtiyani Samhiia - Krsna Yajuroeda) Let us meditate on Lord Kumara, also known as Karthikeya. May Lord Skanda inspire and illumine our mind and understanding Tat Purusiiua tndamahe Mahasena1(a dhimahi - tanno Sanmukhah pracadayiit (Taittinya Aranyaka) 1 Dr M. Rajantheran is a Professor in Indian Studies, Department of Indian Studies, Faculty of Arts and Social Science, University of Malaya (Malaysia). -
Jagadguru Sri Jayendra Saraswathi Swamiji an Offering
ॐ श्रीगु셁भ्यो नमः JAGADGURU SRI JAYENDRA SARASWATHI SWAMIJI AN OFFERING P.R.KANNAN, M.Tech. Navi Mumbai Released during the SAHASRADINA SATHABHISHEKAM CELEBRATIONS of Jagadguru Sri JAYENDRA SARASWATHI SWAMIJI Sankaracharya of Moolamnaya Kanchi Kamakoti Peetham Kanchipuram August 2016 Page 1 of 151 भक्तिर्ज्ञानं क्तिनीक्त ः शमदमसक्ति ं मञनसं ुक्तियुिं प्रर्ज्ञ क्तिेक्त सिं शुभगुणक्तिभिञ ऐक्तिकञमुक्तममकञश्च । प्रञप्ञः श्रीकञमकोटीमठ-क्तिमलगुरोयास्य पञदञर्ानञन्मे स्य श्री पञदपे भि ु कृक्त ररयं पुमपमञलञसमञनञ ॥ May this garland of flowers adorn the lotus feet of the ever-pure Guru of Sri Kamakoti Matham, whose worship has bestowed on me devotion, supreme experience, humility, control of sense organs and thought, contented mind, awareness, knowledge and all glorious and auspicious qualities for life here and hereafter. Acknowledgements: This compilation derives information from many sources including, chiefly ‘Kanchi Kosh’ published on 31st March 2004 by Kanchi Kamakoti Jagadguru Sri Jayendra Saraswati Swamiji Peetarohana Swarna Jayanti Mahotsav Trust, ‘Sri Jayendra Vijayam’ (in Tamil) – parts 1 and 2 by Sri M.Jaya Senthilnathan, published by Sri Kanchi Kamakoti Peetham, and ‘Jayendra Vani’ – Vol. I and II published in 2003 by Kanchi Kamakoti Jagadguru Sri Jayendra Saraswati Swamiji Peetarohana Swarna Jayanti Mahotsav Trust. The author expresses his gratitude for all the assistance obtained in putting together this compilation. Author: P.R. Kannan, M.Tech., Navi Mumbai. Mob: 9860750020; email: [email protected] Page 2 of 151 P.R.Kannan of Navi Mumbai, our Srimatham’s very dear disciple, has been rendering valuable service by translating many books from Itihasas, Puranas and Smritis into Tamil and English as instructed by Sri Acharya Swamiji and publishing them in Internet and many spiritual magazines. -
A Temple Tour Guide
Hindu Temple and Cultural Society of USA, Inc. Sri Venkateswara Temple (Balaji Mandir) and Community Center 780 Old Farm Road Bridgewater, NJ 08807 (908)-725-4477 Temple Tour Guide No Photography or Video is allowed inside the Temple Web site: www.venkateswara.org 1 1 7 6 (Note: Please start from the Temple flag staff in front of the tall Temple tower.) Namasthe (Namaskar)! This is the Indian traditional way of greeting an individual or a group. Welcome to self-guided Temple tour. A Temple or Devalaya is a place of worship. Deva means God and Alaya is House. Several smaller Temples or Sannidhanams are structured within the main Temple. A traditional Hindu Temple is built based on the Agamas, which are the Holy Scriptures on architecture. Agamas also provide guidelines for the conduct of worship (prayer). The Hindu Temple and Cultural Society of USA Inc. (HTCS) was established in September of 1989. Our Temple was designed by Indian Temple Architects (Sthapati) according to ancient Indian Temple building codes and was inaugurated (Kumbabhishekam) in 1998. Copyright 1998-2009 Sri Venkateswara Temple and Community Center You are going to enter one of the most Beautiful Hindu temples in North America. Now you are standing close to a tall brass cased wooden pillar. This is called the Dhwajasthambham or the flag staff of our Temple. Most Hindu Temples have a Dhwajasthambham in front. Temple worship starts from this point. You may see worshippers touching this pillar. Some may go around this one to three times. Some men place their body flat on the ground in front of this pillar. -
Dvaita Vedanta
Dvaita Vedanta Madhva’s Vaisnava Theism K R Paramahamsa Table of Contents Dvaita System Of Vedanta ................................................ 1 Cognition ............................................................................ 5 Introduction..................................................................... 5 Pratyaksa, Sense Perception .......................................... 6 Anumana, Inference ....................................................... 9 Sabda, Word Testimony ............................................... 10 Metaphysical Categories ................................................ 13 General ........................................................................ 13 Nature .......................................................................... 14 Individual Soul (Jiva) ..................................................... 17 God .............................................................................. 21 Purusartha, Human Goal ................................................ 30 Purusartha .................................................................... 30 Sadhana, Means of Attainment ..................................... 32 Evolution of Dvaita Thought .......................................... 37 Madhva Hagiology .......................................................... 42 Works of Madhva-Sarvamula ......................................... 44 An Outline .................................................................... 44 Gitabhashya ................................................................ -
The Tradition of Kuchipudi Dance-Dramas1
The Tradition of Kuchipudi Dance-dramas1 Sunil Kothari The Historical Background Of the many branches of learning which flourished in Andhra from very early ti.mes not the least noteworthy is the tradition of the Natyashastra, embracing the tw1n arts of music and dance. The Natyashastra mentions the Andhra region m connection with a particular style of dance in the context of the Vritti-s. Bharata refers to Kaishiki Vrittt: a delicate and graceful movement in the dance of this reg1on .2 A particular raga by the name of Andhri was the contribution of this region to the music of India. The dance traditions in Andhra can be traced to various sources. The ancient temples, the Buddhist ruins excavated at Nagarjunakonda, Amaravati, Ghantasala, Jagayyapet and Bhattiprole indicate a flourishing dance tradition in Andhra. Of these the Amaravati stupa relics are the most ancient dating back to the second century B.C.3 They reveal the great choreographic possibilities of group and composite dances called pind1bandha-s, mentioned by Bharata and on which Abhinavagupta gives a detailed commentary in Abhinava Bharat1: 4 The history of dance, divided into two periods for the sake of convenience on account of the continuity of the Sanskrit and the later development of the vernacular regional languages, admits of two broad limits : from the second century B.C. to the ninth century A.D. and from the tenth century A.D. to the eighteenth century A.D. The latter period coincides with the growth of various regional styles and with the development of the tradition of Kuchipudi dance dramas. -
Devotional Hindu Dance
Devotional Hindu Dance “Dr. Sabrina D. MisirHiralall is a rare combination of academically based religious studies, education, and philosophy scholar who is an accomplished practitioner of Kuchipudi Hindu dance with a faith-based approach to Hinduism. She brings these qualities to bear on the topic of restoring Hindu dance from a corruption by colonialism to a postcolonial religious and devotional experience that more closely relates to the origins of Hindu dance. Through historical recounting and self- study, Dr. MisirHiralall makes a case for restoring the sacred in Hindu dance. All who read this text will beneft from understanding the need for a postcolonial awareness that comprehends the complexities of religion and culture.” —Michael D. Waggoner, Professor of Postsecondary Education, University of Northern Iowa, and Editor of Religion & Education “Through a postcolonial self-study, Dr. Sabrina D. MisirHiralall challenges con- ceptions of Hindu dance as “culture” as she reclaims Hindu dance as a form of sacred devotional practice, with ontological rather than just epistemological impli- cations. In this book, Devotional Hindu Dance: A Return to the Sacred, Dr. MisirHiralall also challenges Cartesian assumptions of the split between mental and physical realms. She illustrates how embodied knowledge and movement can illuminate important distinctions between religion and culture.” —Vanessa de Oliveira Andreotti, Professor and Canada Research Chair in Race, Inequalities and Global Change, The University of British Columbia, Canada “Devotional Hindu Dance: A Return to the Sacred stands at the cutting-edge of numerous directions in the study of religion and with our work as public intellec- tuals to cultivate the common good. -
Men in Dance with Special Emphasis on Kuchipudi, a South Indian
Men in Dance with Special Emphasis on Kuchipudi, a South Indian Classical Dance Tradition Presented at International Word Congress of Dance Research By Rajesh Chavali (MA Kuchipudi) Introduction India is a country of diverse languages, religions, cultures and castes, all assimilated seamlessly with great integrity. We must acknowledge this is not a political decision but rather a course of evolution and history. A historic perspective of ancient India with several invasions and rulers of India that didn’t belong to that land influenced a lot of what we see in todays’ India. As we can imagine and nothing out of ordinary, India has seen several intrinsic and extrinsic influences including socioeconomic condition, political influences, power struggle, hierarchy in the caste system, acceptance of the roles of man and woman in the social ecosystem, development and adoption of a variety of religions and philosophical schools of thoughts. For the scope of the current paper at this congress, I’ll focus briefly on these influences and how Indian dances evolved over time and will present more detailed discussion of origin of Kuchipudi, a south Indian classical dance form as a male tradition in Indian classical dance history to its current state. Extrinsic and Intrinsic Influences on Developing India over the Years India, as a country, has undergone several political invasions, major influencers being Mughal and British invasions. The existing cultural dances of India (classical or other non-classical forms or non-classical forms of those times that later attained classical status) in parts of the country were heavily influenced by these invasions while the relatively untouched or inaccessible parts of India, such as northeast part of India largely retained their identity. -
Dilip Kondiparti Chairman Jyothi Chintalapudi Convener Vamsi Krishna Prakhya
Dilip Kondiparti Jyothi Chintalapudi Chairman Convener Vamsi Krishna Prakhya Chief Editor Editorial Board Mohammed Iqbal Gaggutur M J Thatipamala Sunila Pavuluri Rao Tallapragada Cover Design: Venkat Makina Design Coordination : Phani Madhav Kasturi 1 Narrative Writers of Biographic Articles of Artistes Vamsikrishna Prakhya Anand Bandi Aparaajitha Mrutyumjayudu Thatipamula Vani Gundlapalli Rao Tallapragada Archish Prakhya America Kuchipudi Dance Convention 2017 Executive Committees Fund raising Registration Rama Kakulavarapu Ratnamala Vanka Ravindra Kuchibhotla Prabha Malempati Rambabu Manchikanti Sneha Vedula Jayamala Thatipamula Logistics & Decorations Vani Gundlapalli Sai Kandula Sidhdhartha Nookala Hospitality Ravi Chivukula Santhi Kuchibhotla Yogendra Srungaram Sheela Sarva Kishore Gandham Manasa Addepalli Souvenir Vamsi Nadella Vamsikrishna Prakhya Mrutyujayudu Thatipaamula 2 Iqbal Gaggutur Anil Annam Heartfully Speaking A daring heart’s dream conceived when wide awake can change lives for good. In the sixteen years of Siliconandhra’s expedition, plethora of such dreams opened new vistas. Converging many of these wonderful dreams has resulted in a path well laid out to achieve sky-high goals for all Siliconandhra family. For Siliconandhra, goals are always with a purpose of making a better world. To realize excellence, and stretch our capabilities, new goals are often set and reset and pursued with more vigor. Such rigorous pursuit resulted in many tangible as well as intangible victories. Our victories brought us more laurels with responsibilities. It is with that sense of responsibility, we take up projects such as “Jayaho Kuchipudi”. The efforts being taken up are at multiple planes: social, cultural and economical etc. In all these efforts the support provided by the community is incredibly commendable. With the assurance of this tremendous support, we have been working on building bridges between hearts from far off lands.