DOCSLIB.ORG

He Broke Barriers For

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
He Broke Barriers For FRIDAY, JULY 27, 2012 Golden Daily schedule words Seat of WISDOM Devotees can have dar- shan of the Acharya in the mornings and eve- The following are SEER It is with disarming simplicity that Sri Bharati Acharya referring to the burden of home work, TV predecessors did not do it, nings. He presents Anu- excerpts from the heavy traffic, in a private in- shows and Internet. nor will I.” graha Bhashanam on discourses Sri terview. “Yes, television has played Message for The Hindu Wednesdays and Sun- Vidya Tirtha speaks profound philosophy. days (6.30-7 p.m). The Bharati Vidya Tirtha Thousands throng tem- a significant role in all this. readers… GEETHA VENKATRAMANAN ples and rituals are done Young people are mesmer- “Let every one do their du- lecture is telecast by delivered at various with a never-before fervour ised by TV. I wonder if it has ty with sincerity. Never try Sankara TV. places: and frequency. But negative any beneficial effect on their to hurt or harm others with Eminent artists ren- ● Desire and anger ivan and Iswaran forces seem to be gaining the minds,” observes the word or deed. On the other der bhajans and con- are two great are the same but upper hand? In other words, Acharya, who again under- hand try to be as helpful as certs every evening (7 enemies of man. “Jwith a difference. life has become a challenge lines the duty of parents. “Sit possible. Don’t fail to pray or p.m.) Catch up with the While desire is one’s An empty pot con- for those who tread the path with them. Talk about our observe nityakarma.” Mambalam Sisters to- longing for an object, tains space, but not quite the of honesty. “Good and bad country’s great heritage and day. Tomorrow Sri same that prevails all have always co-existed,” ob- culture. Make them under- Jayakrishna Dikshitar anger results from around. You break the pot serves the Acharya, gentle stand that they may not get will present Namasan- non-availability or and they merge to become surprise lacing the tone. “Ra- the answers for all their kirtanam followed by deprival of the object. the same entity,” the audi- vana lived at the same time questions. They will under- the vocal recital of ● What does one ence listens spell bound to as Rama. The latter went stand as they grow up.” Lakshmi Rangarajan. lose by uttering this simple explanation of a through immense sufferings Is bhakti necessary for a Updates are posted on respectful words? profound theory of Advaita because of the Lanka ruler. person to lead a clean life? www.sringeri.net and But many speak harsh as Sri Bharati Vidya Tirtha of Rishis doing penance were “Yes, prayer and rituals of- www.srisankaratv.net. Sringeri Sarada Pitam speaks disturbed and hurt by fer solace and strengthen the GV words and hurt the high philosophy. demons…” mind. Your faith in the path feelings of others. Both theory and the akasa But scriptures speak of di- that you have chosen gets ● The three fetters and ghata-akasa analogy are vine intervention… reaffirmed.” that chain a human Sri Adi Sankara’s and only a “Sure. One must wait. Do The Acharya’s opinion being to samsara – mind that has not complete- your duty with a clean mind on religious leaders and Loka vasana, Sastra ly understood the concept of and things will fall in place,” math heads entering Truth gets confused that he says. politics… vasana and Deha leads to arguments. The “I can only speak for vasana. On youth and discipline make-shift hall of ‘Sudhar- ACHARYA: Sri Bharati Vidya Tirtha of Sringeri Math myself,” smiles Swamiji. ● The life of a man ma’ (124, Dr. Radhakrishnan The dialogue turns to chil- “No. Politics is not my (right). PHOTO: K. V. SRINIVASAN AND ARCHIVES who does not help Salai) where the Acharya is dren and youth. With dis- cup of tea. Sastras others is worthless. camping to observe Chatur tractions at every turn and do not encour- Thus great Masya Vrata is packed, as from several sources. At 15 he you may not understand the lifestyles having undergone a age a sanyasi to Swamiji’s lecture draws both became an understudy of Sri subtleties, but try and get the massive change, it is tough to dabble in the af- importance is given the lay and the elite. Sri Bha- Abhinava Vidya Tirtha and larger picture,” he says not instil discipline in them. The fairs of state. My to Paropakara, which rati Vidya Tirtha, who is on ascended the throne as the without kindness. Acharya believes they have scriptures refer to as Vijaya Yatra, is following in 36th head in 1989 but not be- Sri Bharati Vidya Tirtha is the potential to ring in posi- compassion. the footsteps of his prede- fore acquiring a comprehen- visiting Chennai after nearly tive changes. ● “I do my duty and cessors, who believed in edu- sive knowledge of the Vedas, 20 years. Does he find any “Earlier moral instruction am happy with what I cating the uninitiated. Upanishads, Mimamsa, Tar- change? “Well, from one was mandatory in schools. A scholar, the Acharya’s ka and so on. The wisdom place to another it took Now parents should assume get.” – this should be talk in fluent Tamil is inter- comes across in the simple about 10 minutes but these that role and guide their the attitude. spersed with apt quotations style that he adopts. “Some of days it takes 30,” laughs the offspring,” he says. ● Be content with Easier said than done, whatever comes to considering the questioning you of its own accord. spirit and the I-know-what- Practise equanimity Dissemination of knowledge I-want attitude. Why, there when experiencing is no scope for bed-time sto- ocated on the in an aside. “Even a slight cash award of Rs. 21,000. rytelling what with the heavy the pairs of Lpicturesque banks of the error is enough to disqual- Sri Sankara Advaita Re- opposites, such as Tungabhadra in Sringeri, ify a person. The standard search Centre publishes pleasure and pain. Karnataka, Dakshinam- is high.” The Pitam con- literature in the subjects of Shun envy. naya Sri Sarada Pitam, ducts Veda Sammelans and Vedanta, Vyakarana and (Culled out from founded by Adi Sankara, sastra sabhas across the Nyaya. Knowledge is dis- ‘Golden Words of the runs many Veda patasalas. country. seminated through jour- Glorious Guru,’ It is generally said that the The Veda Poshaka Sabha nals such as Tattvaloka Vedas have no takers and and Sastra Poshaka Sabha (English), Shankara Kripa published by Sri the number of learners is encourage young learners (Kannada and Telugu), Sringeri Sarada Pitam dwindling. “Wrong,” to excel in their studies. El- Amman Darisanam – 577139, Karnataka smiles the Acharya. “In derly scholars are given (Tamil). ph: 08235250123 -- fact the number of stu- monthly honorariums. Sringeri Vidya Bharati and distributed at a dents, who receive the cer- Under the scheme of Gi- Foundation has units in subsidised price of tificates at our patasala has ta Gnana Yagna, individu- Stroudsburg, Pennsylva- been increasing,” he says. als who recite all the 700 nia, the U.S., and Toronto, Rs. 35.) “No compromises slokas of the Bhagavad Gita Canada. there,” informs a volunteer receive a certificate and a GV hanks to the efforts of editing a play to shorter TMilena Salvini of France durations (of one to three and Sanskrit scholar turn- hours) at a short notice as Shraddha’s new plays ed diplomat, Christopher He broke barriers for art per performance require- Briskly from Poland, Koo- ments duly retaining all Shraddha’s latest presentation, a collection of three short plays, will diyattam, the ancient per- the essential ingredients,” be staged from August 2 and 5, 7 p.m., at Narada Gana Sabha, TTK forming arts tradition who formed Margi, Thiru- kode under the aegis of All recalls Kalamandalam Ra- Road. The plays -- ‘Madi Neruppu,’ ‘Irandavathu Maranam’ and sustained only in Kerala, vananthapuram, under the HOMAGE India Radio. This event ma Chakyar. ‘Andharangam’-- are written by Anand Raghav. Each story, about 30 made its first trip abroad to leadership of the late D. and the debut Koodiyat- ‘Jatayuvadham’ second minutes long, deals with three scenarios which bring out the conflict- Poland and France. The Appukuttan Nair. The Del- A maverick tam performances of Mani part, ‘Kalyanasoughandi- ing influence of faith and doubt on the protagonists. four-week tour during hi-based scholar, Dr. Sud- Madhava Chakyar’s sons gam’ first part, ‘May- ‘Madi Neruppu’ looks at with the effects of urbanisation on May-June, 1980, was under ha Gopalakrishnan’s and visionary, (hailing from the Nambiar aseethangam, individual lives. Siva’s peaceful life is shaken by the murder of his the leadership of Guru painstaking attempt re- community and who han- Naganandam’ third act and neighbour and long time friend. From a position of comfort and Paimkulam Rama Chakyar sulted in the submission of Paimkulam dle the percussion by vir- the two acts of ‘Swapnava- peace, Siva is pushed into paranoia and fear. The play is directed by (1904-1980). a project proposal to the tue of following the savadatham,’ were among Kathadi Ramamurthy who also acts in it along with V. Ramesh, T.D. There was displeasure UNESCO that in 2001 Rama Chakyar’s matriarchal system) in his known choreographies. Sundarajan and Shivaji Chaturvedi. among Chakyar’s clan and earned the art recognition 1955 were considered the The present day status ‘Irandavathu Maranam’ narrates the agonising wait of a loving the traditionalists, who felt as ‘the masterpiece of the 32nd death primary attempts to take of Nangiarkoothu is cred- son at his father’s death bed.
Load more

Recommended publications
  • A Synonym to Conservation of Intangible Cultural Heritage: Folkland, International Centre for Folklore and Culture, Heading for Its 30Th Anniversary
    A Synonym to Conservation of Intangible Cultural Heritage: Folkland, International Centre for Folklore and Culture, Heading for Its 30th Anniversary V. Jayarajan Folkland, International Centre for Folklore and Culture Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture. Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows: 1. An international center for folklore and culture. 2. A cultural organization with clearly defined objectives and targets for research and the promotion of folk arts. Folkland has branched out and reached far and wide into almost every nook and corner of the world. The center has been credited with organizing many a festival on folk arts or workshop on folklore, culture, linguistics, etc.
    [Show full text]
  • Particulars of Some Temples of Kerala Contents Particulars of Some
    Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ...........................................................................................................
    [Show full text]
  • Location Accessibility Contact
    Panchayat/ Municipality/ Parakkadavu Panchayat Corporation LOCATION District Ernakulam Nearest Town/ Royal Motors – 700 m Landmark/ Junction Nearest Bus statio Moozhikulam Bus Stop – 750 m Nearest Railway Angamaly Railway Station – 9.8 Km statio Aluva Railway Station – 15.2 Km ACCESSIBILITY Nearest Airport Cochin International Airport – 12 Km Nepathya Centre for Excellence in Koodiyattam Nepathya Koothambalam Moozhikulam-Ambalamuri Road Kurumassery, Aluva Ernakulam – 683579 CONTACT Phone 1: +91-9447209421 Phone 2: +91-7034243436 Email: [email protected] DATES FREQUENCY DURATION TIME April – May (to be advised) Annual 4-5 Days ABOUT THE FESTIVAL (Legend/History/Myth) Gurusmarana is a popular Koodiyattam Festival organized in memory of late Moozhikkulam Kochukuttan Chakyar by the Nepathya Centre for Excellence in Koodiyattam. Also known as the Moozhikulam Kochukuttan Chakyar Koodiyattam Festival, the event is a tribute to the Koodiyattam maestro. A prodigy who performed the entire Ramayana Prabandha within 123 days, he was instrumental in staging the complete version of ‘Ashcharyachoodamani’. He developed a distinctive style of presenting Purusharthavarnam and Prabandhakoothu on a strong traditional foothold. Koodiyattam or Kuttiyattam is a classical theatrical art form indigenous to Kerala and conferred heritage status by UNESCO. International Above 1000 RELEVANCE- NO. OF PEOPLE (Local / National / International) PARTICIPATED EVENTS/PROGRAMS DESCRIPTION (How festival is celebrated) The Sanskrit theatrical art form is presented by eminent artists who have excelled in the classical representation of Memorial Talk mythical stories. Legendary tales associated with Hindu Padakam mythology are presented. Padakam, Nangiarkoothu, Nangiarkoothu Chakyarkoothu, Koodiyattam and Mizhavu Melam are held Chakyarkoothu as part of the Moozhikulam Kochukuttan Chakyar Koodiyattam Koodiyattam Festival. A commemorative talk is held on a Mizhavu Melam topic relevant to the art form.
    [Show full text]
  • Arts of Kerala - a Deeper Exploration of Our Classical Art Forms
    Arts of Kerala - a deeper exploration of our classical art forms Culture, especially classical performing arts of Kerala, is the raison d’etre for Neelambari. The beautiful one of its kind Koothambalam that is central to the facility, its location in the cultural ​ ​ capital of Kerala surrounded by a rich tradition and legendary artistes, and the deep rooted passion of its promoters for the cultural treasure of Kerala all combine to make Neelambari the idea stopover for an enchanting acquaintance with the classical arts of Kerala. The arts of Kerala package is for the aesthetically inclined, who would like to scratch beneath the surface of the rich classical tradition of Kerala, and by extension India. Duration: 5 nights ​ Number of pax: 10 - 16 ​ Day 1 Check in to Neelambari. No specific activity is scheduled on this date. An introduction to the facility will be provided with emphasis to its traditional performance theater (Koothambalam) and series of murals done in classical ​ ​ Kerala style. Day 2 Koodiyattam: This Sanskrit theatre is one of the oldest extant art forms in the ​ world and was recognized by UNESCO as an Intangible Heritage of Humanity. Despite its ancient roots, Koodiyattam is surprisingly contemporary in its approach to theater, sensibility to characters and gender parity. The area around Neelambari is a haven for this classical art form, with prestigious institutions and acclaimed artistes making it their base. We will get introduced to the art form in a three four process - we will start with a multimedia presentation that summarizes the genesis and sensibilities of the art form.
    [Show full text]
  • The ​Heart​ of Kerala!
    Welcome to the Heart of Kerala! ​ ​ http://www.neelambari.co.in w: +91 9400 525150 ​ [email protected] f: http://www.facebook.com/NeelambariKerala ​ Overview Neelambari is a luxurious resort on the banks of Karuvannur puzha (river). It is constructed in ​ ​ authentic Kerala style and evokes grandeur and tradition. The central building consists of a classical performance arena (Koothambalam) and a traditional courtyard (Nalukettu). The ​ ​ ​ ​ cottages are luxurious with their own private balconies, spacious and clean bathrooms and well appointed bedrooms (each unit has a space of more than 75 sqm). Neelambari is situated in a very serene atmosphere right on the bank of a river, in a quiet, verdant village in central Kerala. There are several natural and historical attractions in the vicinity. Despite its rural charm, the facility is well connected, being less than an hour drive from Cochin International Airport. It is also easily accessible by rail and road and the nearest city is Thrissur, just 13 kms away. The facility offers authentic Ayurveda treatment, Yoga lessons, nature and village tourism, kayak and traditional boat trips in the river as well as traditional cultural performances in its Koothambalam. http://www.neelambari.co.in w: +91 9400 525150 ​ [email protected] f: http://www.facebook.com/NeelambariKerala ​ Our location Neelambari is located in Arattupuzha, a serene little village in the outskirts of Thrissur City. Thrissur has a rightful claim as the cultural capital of Kerala for more reasons than one. A host of prestigious institutions that assiduously preserve and nurture the cultural traditions of Kerala such as the Kerala Sangeetha Nataka Academy, Kerala Sahitya Academy, Kerala Lalitha Kala Academy, Kerala Kalamandalam, Unnayi Warrier Kalanilayam are located in Thrissur.
    [Show full text]
  • Kathakali, a Dance Form, Native to Kerala in South India Literally Means `Story Play’
    MID TERM SAMPLE PAPER ENGLISH CLASS VII TIME: 3 HOURS SESSION 2019 – 20. MM:80. SECTION –A READING 20 MARKS. A:1. Read the given passage and answer the questions that follow. 10 marks. Kathakali, a dance form, native to Kerala in South India literally means `story play’. It is a classical dance drama, colourful and dramatic in content and character. This art form is about 300 years old. Most of its elements and choreography have been influenced by a 9th century art form of Kerala called Koodiyattam, recently recognized by the UNESCO as a heritage art form. Surprisingly for a dance drama form, the Kathakali dancers do not speak a word. A group of narrators recite the story in the form of a song, and the dancers interpret the narrative live with hand gestures called mudras combined with facial expressions and eye movements. There are at least 700 mudras combined in 24 different ways. The best dancers can move the eye balls in 17 ways. There are eight ways to move the eyebrows and eight for the eyelids. It is surprising how they manage it. Till recently Kathakali was danced only by men, men also enacted a female role with elegance and charm. The dancers take up to four to five hours before the play to paint their lips, eyebrows and eyelashes, all characters have their prescribed make – up. The colours used suggest the temperament and the mood of the characters – green for good, red for valour and ferocity, black for evil and primitiveness, yellow for wonder and white for purity.
    [Show full text]
  • Department of Sanskrit
    DEPARTMENT OF SANSKRIT Dr. K. I. Treesa Asst. Professor In Sanskrit PERFORMING ARTS • KOODIYATTAM • CHAKYAR KOOTHU • NANGIAR KOOTHU • KRISHNANATTAM KOODIYATTAM Koodiyattam, also transliterated as Kutiyattam, is a traditional performing artform in the state of Kerala, India. It is a combination of ancient Sanskrit theatre with elements of Koothu, a Malayalam performing art which is as old as Sangam era. It is officially recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. Koodiyattam (Kutiyattam), meaning "combined acting" in Malayalam, combines Sanskrit theatre performance with elements of traditional Koothu. It is traditionally performed in temple theatres known as Koothambalams. It is the only surviving art form that uses drama from ancient Sanskrit theatre. It has a documented history of a thousand years in Kerala, but its origins are unknown. Koodiyattam and Chakyar Koothu were among the dramatized dance worship services in the temples of ancient India, particularly Kerala. Both Koodiyattam and Chakyar Koothu originated from ancient south Indian artform Koothu which is mentioned several times in ancient Sangam literature, and the epigraphs of the subsequent Pallava, Pandiyan, Chera, and Chola periods. Inscriptions related to Koothu can be seen in temples at Tanjore, Tiruvidaimaruthur, Vedaranyam, Tiruvarur, and Omampuliyur. They were treated as an integral part of worship services, alongside the singing of Tevaram and Prabandam hymns. MIZHAVU Traditionally, the main musical instru ments used in Koodi yattam are mizhavu, kuzhitalam, edakka, k urumkuzhal, and sankhu. Mizhavu, the most prominent of these is a percussion instrument that is played by a person of the Ambalavas Nambiar caste, accom panied by Nangyaramma playing the kuzhithalam (a type of cymbal).
    [Show full text]
  • Ashtadasha Vadyam's and Temple Arts of Kerala
    www.ijcrt.org © 2020 IJCRT | Volume 8, Issue 8 August 2020 | ISSN: 2320-2882 Ashtadasha Vadyam’s and Temple Arts of Kerala Manoj Manikkoth PhD research scholar Vels University Abstract: Kerala – The God’s Own Country – is filled with the presence of music, dance, musical instruments, temple arts and temple rituals. The history of various traditional art forms rests in the soil of Kerala. About eighteen musical instruments are known as ‘Kshetra Vadyam’. It includes ‘Deva vadyam’ and ‘Asura Vadyam’ from which the distinct place for ‘Chenda’ can be acknowledged by observing where it is present. It might be ‘Chenda’s resonance that make the seventeen ‘Ashtadasha Vadyam’s to below the ‘Chenda’. Some of the musical instruments which are being used for Pooja rituals in temples are also being used for some classical dance forms in Kerala. The study of such musical instruments and the classical dance forms associated to it are the foundation of this journal. Some musical instruments are used only outside the temple and some are used inside the temple only. ‘Sopana Sangeetham’ is one of the popular among ‘Kshetra Sangeetham’. Only one musical instrument is used in ‘Sopana Sangeetham’ ie Idakka. Idakka is a musical instrument which is inevitable in ‘Mohiniyattam’ concert. Idakka is only used in ‘Kathakali’ when female role is presented. The ‘Chenda’ is an inevitable musical instrument in ‘Kathakali’. Altogether, five musical instruments in ‘Pakkamaelam” are used when ‘Kathakali’ is staged from which four are ‘Kshetra Vadyam’s, ‘Chenda’, ‘Idakka’, ‘Madhalam’, ‘Chengila’ and the one which is excluded in Kshetra Vadyam’s is ‘Ilathalam’.
    [Show full text]
  • Annual Report 2017-2018
    ANNUAL REPORT 2017-2018 REVIVAL OF THE LESSER KNOWN ART FORMS OF KERALA A CSR INITIATIVE OF DORF KETAL MESSAGE FROM THE HEAD-CSR Dorf ketal believes in giving back particu- larly to the communities most significant to the company's success. Our CSR team works with the NGOs of repute to achieve our objectives by implementing a meaning- ful, well-managed corporate social respon- sibility program, Dorf ketal enhances value creation in the societies in which it oper- ates. Dorf ketal not only meets the respon- sible care requirements regarding health, safety, security and environment as set by the International council of chemical asso- ciations, on a global basis but also imple- mented the integrated management system (IMS) for its sustainable growth and high standard management. Folkland is implementing the goal of sus- tainable development through traditional art forms. As a happy family our team con- tinuous its endeavours towards the empow- erment of women and we look forward to transforming lives of performing artists by providing them with sustainable and respectable livelihood. SHRI.SANTOSH JAGDHANE AGM-Corporate Social Responsibility Dorf Ketal Chemicals India Pvt.Ltd. 02 A WORD FROM THE CHAIRMAN We are happy and proud to present the Annual report of 2017-18. Folkland is deeply indebted to Dorf Ketal,for their humble generosity that helped us realize our dream of sustainable development through art implying creation of an organic, growth-oriented process where the art forms and the artistic communities are encouraged to evolve and flow, even while retaining the traditional elements of their art intact.With this gesture,we were able to create difference in the lives of thousands of artists by creating opportunity for sustainable devel- opment through art training programs.
    [Show full text]
  • 2. History and Performace Practice of Adishakti
    2. HISTORY AND PERFORMACE PRACTICE OF ADISHAKTI Spiritual Fundamentals of the New Aesthetic In Adishakti's view the value of performance/art lies in its ability to create a state of 'ecstasy ' in the mind of the spectator; or to put it differently, to provide a bridge to a heightened or elevated state of consciousness The uplifting power of art is inherent in its nature, for art is itself the expression of a heightened consciousness. If the creations of the artist/performer come from his/her most enhanced states of consciousness they will communicate to the spectator through a contagion of consciousness. That such a contagion is possible is born out by the notion of osmosis. Enhanced states of consciousness are those in which the boundaries of everyday consciousness are rolled back. Adishakti explores this process through two principal means. First, employing methodologies arising from: Methodologies from Psychological practice Indian systems of thought have provided the world with psychological practices/yoga, which enable the individual to go beyond his/her existing states of consciousness to reach levels beyond those of everyday life. The assumption is that these states of consciousness which one perceives to be beyond oneself are actually regions of oneself, which one is as yet unaware of. Adishakti has developed a fluid, subjectively interpretative psychological practice for the performer. Each individual uses it as a framework for expanding the peripheries of his/her consciousness in his/her own time and own way and own pace. For in this matter there can be no general method. There are as many methods and processes as there are people.
    [Show full text]
  • Profile of Maruhashi Hiromi, Winner - 1St NIHON KAIRALI KERALEEYAM AWARD 2019
    Profile of Maruhashi Hiromi, Winner - 1st NIHON KAIRALI KERALEEYAM AWARD 2019 • Ms. Hiromi was born in Utsunomiya, Tochigi prefecture, Japan. • Learned Mohiniyattam under the instruction of Dr. Kalamandalam Leelamma and completed a short-term course on Mohiniyattam at Kerala Kalamandalam, a public institute for art and culture. • Learned Nangiarkoothu under the instruction of late Smt. Margi Sathi. • Learned classical martial arts - Kalari Payat at CVN Kalari. • She was selected as an artist in overseas internship from the Agency for Cultural Affairs of Japan in 2001. Awards • First Cultural Award from Tennali Japan-India Association • Award for Dance Performance Merit from South Indian Art Center, Singapore • Placed in the top 4 at Soorya Dance Festival in 2008 • Special Award from Fuji Ganga Thodupuzha in 2014 for the performance of “Yamata-no-Orochi” and “Ama-no-Iwato”, episodes from Kojiki, the oldest Japanese history book. Profile of Maruhashi Hiromi, Winner - 1st NIHON KAIRALI KERALEEYAM AWARD 2019 Films “Nottam”, Malayalam film in 2006 Books • Talking Indian Dance (2018) • Fascinated with Kerala; Mohiniyattam, the Most Expressive Indian Classical Dance (2018) About Kerala Planning Ms. Hiromi established Kerala Planning in April 1999, a cultural project designed to spread performing arts of Kerala; Mohiniyattam, Koodiyattam, Nangiarkoothu, Kerala Natanam, and Kathakali, throughout Japan. Developing new style of performing arts by taking advantage of Indian classical dance techniques of Kerala. Encouraging cultural understanding
    [Show full text]
  • Kerala Responsible Tourism Mission Contents
    CULTURAL EXPERIENCE Kerala Responsible Tourism Mission Contents Cultural Experience 1 Video 2 Magic of Rituals 3 Theyyam 4 Theeyattu 5 Garudan Thookkam 6 Learn an Art 7 Koodiyattam 8 Kathakali 9 Hues of Festivities 10 Attuvela Mahotsavam 11 Nattinpurangalil Onam Unnam, Ona Sammanangal Vaangam 12 Celebration of Art 13 Yakshagana Bommeyaatta 14 Kolkali 15 Margamkali 16 Kathakali 17 Yakshagana 18 Handmade Happiness 19 Kathakali Koppu 20 CULTURAL EXPERIENCE God’s Own Country has a plethora of art forms, rituals and festivals that have been in existence for centuries and proclaim its exotic culture. Such a rich and old tradition makes this land unique. Most of the cultural phenomena of Kerala are in one way or the other related to the religions that thrive in the region, their customised forms of worship and their special rituals. From depicting native legends, distinctive traditions, historical yarns and mythical tales to providing commentary on social injustices in the form of satirical plays and skits, the cultural art forms and festivities reflect the beliefs and values of the people and, in turn, have moulded their thinking and world view for centuries. Kerala Responsible Tourism Mission welcomes you to experience this cultural diversity of Kerala! 1 2 Magic of Rituals Figuratively speaking, the ritual art forms practised in Kerala are significant artistic points that have shaped the cultural graph of the land. We, the Kerala Responsible Tourism Mission, offer you an opportunity to experience the magic and myths of these ritual arts. 3 Theyyam Retelling ancient myths and fables, Theyyam, the traditional ritual art of North Kerala creates an atmosphere that all should experience at least once in a lifetime.
    [Show full text]