DOCSLIB.ORG

The Four Vrittis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Four Vrittis PAPER 5 DANCE, POETS AND POETRY, RELIGIOUS PHILOSOPHY AND INDIAN CLASSICAL DANCE MODULE 8 VAISHNAVA PHILOSOPHY THROUGH DANCE Although many first generation scholars use the spellings “Geeta, Gita, and Geet” we stick with correct meaning of the work: Song of Govinda, hence Geet. It is a common mistake to loosely translate Indian words like Yog as Yoga and Geet and Geeta, especially Sanskrit words ending with halant (:). Every dance rasika and dancer would probably connect the dots between Shiva as Nataraja and classical dance. But, few are familiar with how Vishnu plays an important role in Indian classical dance. In the Natyasastra, the fountainhead for all Indian Classical Dances, Bharata muni has dedicated an entire chapter on Styles (Chapter 22), where he starts from the origin of various styles of dance or vrittis / वत्ृ ति and what they are. The chapter begins with the story of Lord Vishnu and the two ferocious asuras called Madhu / मधु and Kaithaba / कैथबा. Once, the divine Vishnu by his maya withdrew from all the worlds and turned them into an ocean and lay on Sesha’s coils. There, the asuras, Madhu and Kaithabha intoxicated with their strength and itching for a battle began to threaten him. The Asuras attacked with various harsh words of abuse, hearing which even the ocean shook. Listening to these verbal insults Brahma, who resides in a lotus that originates from Vishnu’s navel, felt perturbed and asked as to what this exchange of abuse was. Abuses and counter•abuses are flowing without an end. Then, Brahma requested that Vishnu kill these asuras. The words that were exchanged came out to be the Bharathi 1 Vritti / भारिी वत्ृ ति. Listening to Brahma, Vishnu said, I have invented this Bharati to serve my purpose. During the fight, the steps and gaits of Vishnu were placed in various positions and they became a heavy burden (bhara) to the earth and the bharati style came into existence because of the bhara. The bow of Vishnu called Saarnga, during the fight was brilliantly turned and it was flashing in quick turns, and its steadily increasing sattva (strength) created the Sattvati style. The knot, by which Vishnu tied his hair (kesha) and his various graceful angaharas, brought into existence the Kaisiki style. During the course of the fight various caris were used as the fighters were enraged and excited. These various movements of the fight produced the Arabhati style. Basically, whatever movement Vishnu employed, Brahma made it as the origin of a Vritti and accepted it. When both Madhu and Kaitabha were killed by Vishnu, Brahma said, Oh Vishnu! You have destroyed the demons by graceful angaharas which were unusually straight forward, expressive and graceful. 1 The Four Vrittis It is believed that the sages utilized that behavior of words and gestures as the abhinaya conceived the natyaveda and sage Bharata has used them for plays as ordered by Brahma since they are desirable and naturally arise out of various cari movements. The Bharati Vritti, taken from the Rigveda, is the style in which prominence is given to speeches made in Sanskrit. It is employed only by male actors who announce their own names. The Sattvati Vritti, taken from Yajurveda, is endorsed with the quality of Sattva (vigour) and where there is nyaya and good behavior, exuberance of joy, absence of shoka / शोक (sorrow). In it, there is very little karuna / क셁णा (pathos) and shringara / �ीĂगार (erotics) but plenty of veera / 2 वीर (heroism) atbhuta / अिु (wonderment) and roudra / रौद्र (terror). In contrast, Kaisiki Vritti / ककसीकी वत्ृ ति, taken from the Samaveda, is predominantly performed by women, wearing charming costumes in a colourful way and where there is plenty of dancing and music and the story is of love and its enjoyment. Finally, Arabhati Vritti / अरभािी वत्ृ ति , taken from Atharvanaveda, is about deceit, fraud, falsehood etc. 1 Back to the topic in hand, thus any Vaishnava theme in dance involves depicting Vishnu and his avatars. Accordingly, dancers have multiple ways to depict Vishnu in their dances. The standard representation as per Abhinaya darpana / अभभनय दऩपण for Vishnu, aptly called Vishnu Hasta / ववष्णु हस्ि, is to have the both hands in tripataka and bringing them close to the chest, palms facing the viewer. A related hasta to Vishnu hasta is Padmanabha Hasta / ऩनाभ हस्ि , where the right hand is in Padmakosha and held at navel level, while the left hand is in Ardhachandra held below the right hand at the waist. As the name suggests this hasta depicts the lotus that blooms of Vishnu’s navel, where Brahma resides.2 There is another hasta called Vaishnava Hasta / वश्नव हस्ि, which is a variation of Vishnu Hasta, where the two hands in Tripataka hasta are pointed upwards. This hasta is categorized under Gramthantara hastas, i.e. sourced from texts other than Nandikeswara’s Abhinaya darapanam. 2 According to Hindu mythology, Vishnu took the Dasavataras (10 incarnations) to instill dharma when adharma gained more power in the last three yugas. As these Dasavatar stories are highly popular 3 since ages, it is no wonder that Nandikeswara / नĂददकेस्वर gave directions for depicting them in dance. Matsya avatar / मतस्य अविार – Showing the matysa hasta at shoulder level. Kurma avatar / कु म प अविार – Left hand has the Shukathunda hasta and is placed below the right hand in pataka. Varaha avatar / वराह अविार – Showing the varaha hasta at shoulder level. Narasimha avatar / नरभसĂह अविार – Left hand in Simhamukha and right hand in Tripataka denotes Narasimha avatar. Also, sometime Shakatam (showing teeth) is also performed following this to accentuate the character. Vamana avatar / वामन अविार –Left hand is in mushti hasta and raised, and right hand also in mushti hasta and lowered. Parasurama avatar / ऩरसुराम अविार – Left hand is placed on the left side of the waist, and right hand in Ardhapataka hasta is Parasurama avatar. Rama avatar / राम अविार – Right hand in Kapitha lowered and left hand in Shikara and held upwards. Balarama avatar / बऱराम अविार – Right hand in Pataka and left hand in mushti is Balarama avatar. Krishna avatar / कृ ष्ण अविार – Both hands in Mrigashirsha hasta and placed near the right cheek. 4 Kalki avatar / कत्कक अविार – Right hand in Pataka and left hand in Tripataka hasta indicates Kalki avatar. Some literature on Deva hastas include Buddha avatar as well. This is shown with both hands in Dola hastas, while standing. Bhagavatha Mela / भागवि मेऱा In the southern India, Bhagavatha mela had been performed in villages of Thanjavur district such as Melattur, Soolamangalam, Oothukadu, Saliyamangalam, Nallur, and Theperumanallur until few decades ago. As of now, this art form now exists only in Melattur, Soolamangalam, and Theperumanallur. All the Bhagavatha mela dance dramas are the creative genius of a single author, Venkatarama Sastri , who lived 200 years ago in the Melattur village. The repertoire of a Bhagavatha mela is lengthy enough to command an all-night performance, starting from Patra pravesham (introduction of characters) followed by a dance to Ganesha, after which many scenes unfold. Some of the compositions and songs, set to Carnatic ragas, used in the Bhagavatha mela are Padyas / ऩ饍य (verses), Darus / द셂, Sabdhas / श녍द, Churnikas / चुर्नकप , Padams / 3, 4 ऩदम ्and Padavarnams / ऩ饍वानपम. These Bhagavatha mela dance dramas have all predominantly Vaishnava themes. The most favorite ones is Bhakta Prahlada / भक्ि प्रह्ऱाद, where the art form is believed to have reached its zenith. Other equally favorite ones are Usha Parinayam / उषा ऩररणय , Harishchandra / हररश्चĂद्र, and Markandeya / माकंडेय. There are others that are frequently performed, such as Rukmini Kalyanam / 셁कमनी 5 ककयाणĂ, Sita Kalyanam / सीिा ककयाणĂ, Dhruva / ध्रुव , Kamsavadha / क륍सवाध, Gollabhama / गोकऱाभामा, Rakmangada / रकमĂगडा. All these have either Vishnu or an avatar of Vishnu performing an important role. 3, Araiyar Sevai In the temples of Srirangam / �ीरĂगम, Alwar Thirunagari / अऱवर थथ셁नागरी, and Srivilliputhur / �ीववकऱीऩुथुर in Tamil Nadu a unique ritualistic performance occurs in the month of December-January called Araiyar Sevai. Araiyar meaning Kings of music and Sevai meaning service is a solo theatrical performed by a male priest. Performing this dance is strictly a hereditary right. The costume of the performers, unlike other dancers, looks like a Harikatha / हररकथा th th or Kathakalakshepam / कथाकऱऺेऩम artist. Created in the 9 -10 century by the Vaishnavite saint Nadhamuni, it is believed that the cymbals, the sacred garland and the crown the Araiyar wears were gifted by the Lord Ranganathar of Srirangam. The Arayars also wear ankle bells and this helps highlighting the rhythm by stomping the feet. Melkote temple in Karnataka also has a variation of Araiyar Sevai, where only the recitation and chanting of the hymns are sung. 5 A typical performance of an Araiyar sevai, lasting for 10 days, includes singing the verses of Nalayira Divya Prabandham / नाऱार्यरा ददव्या प्रबन्धम or the Scared 4000 Hymns, set to specific ragas and talas by Nadhamuni / नाधामुनी. After the sacred wedding of the Lord Ranganathar to his consorts (Andal in the case of Srivilliputhur), the Lord witnesses this performance in mandapam or hall, inside the temple complex. Standing opposite to the Lord, the Araiyar performs 6 by sitting, standing, walking backwards, and dancing all the while singing the hymns without missing a beat. Unlike Bharatanatyam, the gestures are not very pronounced as this would distract the audience from the flow of the text being sung. Simple footwork, hand gestures and facial expressions serve only to highlight the text.
Load more

Recommended publications
  • Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
    Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd.
    [Show full text]
  • The Mahatma As Proof: the Nationalist Origins of The
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Mahatma Misunderstood: the politics and forms of South Asian literary nationalism Permalink https://escholarship.org/uc/item/77d6z8xw Author Shingavi, Snehal Ashok Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Mahatma Misunderstood: the politics and forms of South Asian literary nationalism by Snehal Ashok Shingavi B.A. (Trinity University) 1997 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Prof. Abdul JanMohamed, chair Prof. Gautam Premnath Prof. Vasudha Dalmia Fall 2009 For my parents and my brother i Table of contents Chapter Page Acknowledgments iii Introduction: Misunderstanding the Mahatma: the politics and forms of South Asian literary nationalism 1 Chapter 1: The Mahatma as Proof: the nationalist origins of the historiography of Indian writing in English 22 Chapter 2: “The Mahatma didn’t say so, but …”: Mulk Raj Anand’s Untouchable and the sympathies of middle-class 53 nationalists Chapter 3: “The Mahatma may be all wrong about politics, but …”: Raja Rao’s Kanthapura and the religious imagination of the Indian, secular, nationalist middle class 106 Chapter 4: The Missing Mahatma: Ahmed Ali’s Twilight in Delhi and the genres and politics of Muslim anticolonialism 210 Conclusion: Nationalism and Internationalism 306 Bibliography 313 ii Acknowledgements First and foremost, this dissertation would have been impossible without the support of my parents, Ashok and Ujwal, and my brother, Preetam, who had the patience to suffer through an unnecessarily long detour in my life.
    [Show full text]
  • Annual Report 2014 - 2015 Ministry of Culture Government of India
    ANNUAL REPORT 2014 - 2015 MINISTRY OF CULTURE GOVERNMENT OF INDIA Annual Report 2014-15 1 Ministry of Culture 2 Detail from Rani ki Vav, Patan, Gujarat, A World Heritage Site Annual Report 2014-15 CONTENTS 1. Ministry of Culture - An Overview – 5 2. Tangible Cultural Heritage 2.1 Archaeological Survey of India – 11 2.2 Museums – 28 2.2a National Museum – 28 2.2b National Gallery of Modern Art – 31 2.2c Indian Museum – 37 2.2d Victoria Memorial Hall – 39 2.2e Salar Jung Museum – 41 2.2f Allahabad Museum – 44 2.2g National Council of Science Museum – 46 2.3 Capacity Building in Museum related activities – 50 2.3a National Museum Institute of History of Art, Conservation and Museology – 50 2.3.b National Research Laboratory for conservation of Cultural Property – 51 2.4 National Culture Fund (NCF) – 54 2.5 International Cultural Relations (ICR) – 57 2.6 UNESCO Matters – 59 2.7 National Missions – 61 2.7a National Mission on Monuments and Antiquities – 61 2.7b National Mission for Manuscripts – 61 2.7c National Mission on Libraries – 64 2.7d National Mission on Gandhi Heritage Sites – 65 3. Intangible Cultural Heritage 3.1 National School of Drama – 69 3.2 Indira Gandhi National Centre for the Arts – 72 3.3 Akademies – 75 3.3a Sahitya Akademi – 75 3.3b Lalit Kala Akademi – 77 3.3c Sangeet Natak Akademi – 81 3.4 Centre for Cultural Resources and Training – 85 3.5 Kalakshetra Foundation – 90 3.6 Zonal cultural Centres – 94 3.6a North Zone Cultural Centre – 95 3.6b Eastern Zonal Cultural Centre – 95 3.6c South Zone Cultural Centre – 96 3.6d West Zone Cultural Centre – 97 3.6e South Central Zone Cultural Centre – 98 3.6f North Central Zone Cultural Centre – 98 3.6g North East Zone Cultural Centre – 99 Detail from Rani ki Vav, Patan, Gujarat, A World Heritage Site 3 Ministry of Culture 4.
    [Show full text]
  • Sadir, Bharatanatyam, Feminist Theory Sriv1dya
    ANOTHER STAGE IN THE LIFE OP THE NATION: SADIR, BHARATANATYAM, FEMINIST THEORY A THESIS SUBMITTED TO THE UNIVERSITY OF HYDERABAD FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE SCHOOL OF HUMANITIES SRIV1DYA NATARAJAN FEBRUARY, 1997 CERTIFICATE This is to certify that Ms. Srividya Natarajan worked under my supervision for the Ph.D. Degree in English. Her thesis entitled "Another Stage in the Life of the Nation: Sadir. Bharatanatyam. Feminist Theory" represents her own independent work at the University of Hyderabad. This work has not been submitted to any other institution for the award of any degree. Hyderabad Tejaswini Niranjana Date: 14-02-1997 Department of English School of Humanities University of Hyderabad Hyderabad February 12, 1997 This is to certify that I, Srividya Natarajan, have carried out the research embodied in the present thesis for the full period prescribed under Ph.D. ordinances of the University. I declare to the best of my knowledge that no part of this thesis was earlier submitted for the award of research degree of any University. To those special teachers from whose lives I have learnt more than from all my other education put together: Kittappa Vadhyar, Paati, Thatha, Paddu, Mythili, Nigel. i ACKNOWLEDGEMENTS In the course of five years of work on this thesis, I have piled up more debts than I can acknowledge in due measure. A fellowship from the University Grants Commission gave me leisure for full-time research; some of this time was spent among the stacks of the Tamil Nadu Archives, the Madras University Library, the Music Academy Library, the Adyar Library, the T.T.
    [Show full text]
  • Relevance of Sri Krishna to Karyakartas
    Balagokulam 5HOHYDQFHRI6UL.ULVKQDWR.DU\DNDUWDV Sri Krishna spells out the purpose his incarnation in Geeta as “to establish Dharma”(Dharma sansthaapanaarthaaya ). In our Sangh Prarthana recited in every Shakha, we say that we are organizing to protect Dharma (kritvaa asmad dharma rakshanam). In a way, we are only instruments in fulfilling the mission of Sri Krishna. Krishna’s life can be a beacon of light for us walking in this path. Rama and Krishna – most worshipped avatars Many are the incarnations of God. But Sri Rama and Sri Krishna are the most worshipped because their lives present the situations that we encounter in our own lives. They embodied the ideals in life by following which we all can enrich our own lives. Sri Rama’s image brings in our mind a sense of awe and respect. His personality is tall and magnanimous. Whereas, Sri Krishna’s personality has two sides. He is at once very extra-ordinary, superhuman and at once he is that adorable child from next-door, enchanting and playful. Every mother can see Krishna in her own child. Friend of all Krishna showed his divine and super-human powers again and again and yet ensured that there is no distance between him and others. Yashoda was awed to see the entire universe in his mouth. The very next moment, he was the same mischievous child, playing hide-and-seek with her. His friends were frightened and overwhelmed to see their friend subduing the fearsome snake (Kalinga). It took only a few minutes before they all went to steal the butter and play in the forest.
    [Show full text]
  • 8. Krishna Karnamrutam
    Sincere Thanks To: 1. SrI nrusimha SEva rasikan, Oppiliappan Koil V.SaThakOpan swAmi, Editor- In-Chief of sundarasimham-ahobilavalli kaimkaryam for kindly editing and hosting this title in his eBooks series. 2. Mannargudi Sri.Srinivasan NarayaNan swami for compilation of the source document and providing Sanskrit/Tamil Texts and proof reading 3. The website http://www.vishvarupa.com for providing the cover picture of Sri GuruvAyUrappan 4. Nedumtheru Sri.Mukund Srinivasan,Sri.Lakshminarasimhan Sridhar, www.sadagopan.org www.sadagopan.org Smt.Krishnapriya for providing images. 5. Smt.Krishnapriya for providing the biography of Sri Leela Sukhar for the appendix section and 6. Smt. Jayashree Muralidharan for eBook assembly C O N T E N T S Introduction 1 Slokams and Commentaries 3 Slokam 1 -10 5-25 Slokam 11 - 20 26-44 Slokam 21 - 30 47-67 Slokam 31 - 40 69-84 www.sadagopan.org www.sadagopan.org Slokam 41 - 50 86-101 Slokam 51 - 60 103-119 Slokam 61 - 70 121-137 Slokam 71 - 80 141-153 Slokam 81 - 90 154-169 Slokam 91 - 100 170-183 Slokam 101 - 110 184-201 nigamanam 201 Appendix 203 Brief Biography of Sri Leelaa Sukhar 205 Complete List of Sundarasimham-ahobilavalli eBooks 207 www.sadagopan.org www.sadagopan.org SrI GuruvAyUrappan . ïI>. ïIlIlazukkiv ivrictm! . ïIk«:[k[aRm&tm!. KRISHNAAKARNAAMRTAM OF LEELASUKA X×W www.sadagopan.org ABOUT THE AUTHOR The name of the author of this slokam is Bilavamangala and he acquired the name Leelasuka because of his becoming immersed in the leela of KrishNa and describing it in detail like Sukabrahmarshi.
    [Show full text]
  • Bharatanatyam: Eroticism, Devotion, and a Return to Tradition
    BHARATANATYAM: EROTICISM, DEVOTION, AND A RETURN TO TRADITION A THESIS Presented to The Faculty of the Department of Religion In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Taylor Steine May/2016 Page 1! of 34! Abstract The classical Indian dance style of Bharatanatyam evolved out of the sadir dance of the devadāsīs. Through the colonial period, the dance style underwent major changes and continues to evolve today. This paper aims to examine the elements of eroticism and devotion within both the sadir dance style and the contemporary Bharatanatyam. The erotic is viewed as a religious path to devotion and salvation in the Hindu religion and I will analyze why this eroticism is seen as religious and what makes it so vital to understanding and connecting with the divine, especially through the embodied practices of religious dance. Introduction Bharatanatyam is an Indian dance style that evolved from the sadir dance of devadāsīs. Sadir has been popular since roughly the 6th century. The original sadir dance form most likely originated in the area of Tamil Nadu in southern India and was used in part for temple rituals. Because of this connection to the ancient sadir dance, Bharatanatyam has historic traditional value. It began as a dance style performed in temples as ritual devotion to the gods. This original form of the style performed by the devadāsīs was inherently religious, as devadāsīs were women employed by the temple specifically to perform religious texts for the deities and for devotees. Because some sadir pieces were dances based on poems about kings and not deities, secularism does have a place in the dance form.
    [Show full text]
  • Krishnanattam- Glances Across the Screen an Analysis of the Divine Dance Drama Under the Rubric of Cultural Economics
    2017/2364 (3) 211 IF : 4.176 | IC Value : 78.46 VOL- (3) ISSUE 211 ISSN 2017/2364 Culture KRISHNANATTAM- GLANCES ACROSS THE SCREEN AN ANALYSIS OF THE DIVINE DANCE DRAMA UNDER THE RUBRIC OF CULTURAL ECONOMICS Prof.K X Joseph || Department of Economics University of Calicut Dr John Mathai Centre Aranattukara Thrissur. Kerala has a composite and cosmopolitan culture which was the contribution of several people and races. When we analyse the cultural history of Kerala we can see the importance of temple art forms. These art forms cater the entertainment of upper castes, mainly Brahmins and Kshatriyas. Kuthu , Krishnanattam, Kathakali and Koodiyattam were the products of this culture. This cultural phenomenon reflects the style of life of the people and it also affects the ‘economic culture’ of the people of Kerala. Krishnanattam- Glances across ,the screen An analysis, of the Divine Divine Dance, Drama under ,the Rubric ,of Cultural Economics. INTRODUCTION on eight successive nights. On the ninth day ‘Avatharam’ was to be presented again and to end the series auspiciously. The importance of this art form in Guruvayoor temple has been attributed to the fact that, it is considered as a prime form of offering Krishnanattam under the rubric of Cultural Economics: by the devotees to the ‘God Krishna’ for the fulfillment of their As Du Mount states, there is a definite relationship between caste and wishes. Krishnanattam, though it owes its origin to ‘Koodi- yattam’, occupation, eventually contributed to the stability of caste system the earliest art form of the dance drama traditions of Kerala, is which is a major hazard in the way of social mobility.
    [Show full text]
  • Tne Qjlassical Uoicinq Ine Miooern
    tne Qjlassical J J Uoicinq ine Miooern THE POSTCOLONIAL POLITICS OF MUSIC IN SOUTH INDIA amandaj. weidman O O M I CALCUTTA 2007 Contents Date: v-> First published by Duke University Press in 2006 List of Illustrations vii © 2006 Duke University Press This edition printed in arrangement with Duke University Press Acknowledgments ix For publication and sale in India, Bangladesh, Burma, Bhutan, Sri Lanka, Note on Transliteration and Spelling xvii Nepal and Pakistan only Introduction l ISBN 81 7046 319 X 1. Gone Native?: Travels of Typset in Bembo by Tseng Information Systems, Inc. the Violin in South India 25 Book design by Amy Ruth Buchanan Cover design by Sunandini Banerjee 2. From the Palace to the Street: Staging "Classical" Music 59 Published by Naveen Kishore, Seagull Books Pvt Ltd 26 Circus Avenue, Calcutta 700 017 3. Gender and the Politics of Voice ill Printed at Rockewel Offset 4. Can the Subaltern Sing?: Music, 55B Mirza Ghalib Street, Calcutta 700 016 Language, and the Politics of Voice 150 Exclusively distributed in India and South Asia by Cambridge University Press India Pvt Ltd 5. A Writing Lesson: Musicology Cambridge House, 4381/4 Ansari Road, Daryaganj, New Delhi 110 002 and the Birth of the Composer 192 Portions of Chapter 3 were previously published as "Gender and the politics of voice: Colonial 6. Fantastic Fidelities 245 modernity and classical music in South India," in Cultural Anthropology 18, no. 2 (2003): 194-232. © 2003 American Anthropological Association. Afterword: Modernity and the Voice 286 Portions of Chapter 4 were previously published as "Can the subaltern sing? Music, language, Notes 291 and the politics of voice in twentieth-century South India," in Indian Economic and Social History Review 42, no.
    [Show full text]
  • Srimad-Bhagavatam – Canto Ten” by His Divine Grace A.C
    “Srimad-Bhagavatam – Canto Ten” by His Divine Grace A.C. Bhaktivedanta Swami Prabhupada. Summary: Srimad-Bhagavatam is compared to the ripened fruit of Vedic knowledge. Also known as the Bhagavata Purana, this multi-volume work elaborates on the pastimes of Lord Krishna and His devotees, and includes detailed descriptions of, among other phenomena, the process of creation and annihilation of the universe. His Divine Grace A.C. Bhaktivedanta Swami Prabhupada considered the translation of the Bhagavatam his life’s work. COPYRIGHT NOTICE: This is an evaluation copy of the printed version of this book, and is NOT FOR RESALE. This evaluation copy is intended for personal non- commercial use only, under the “fair use” guidelines established by international copyright laws. You may use this electronic file to evaluate the printed version of this book, for your own private use, or for short excerpts used in academic works, research, student papers, presentations, and the like. You can distribute this evaluation copy to others over the Internet, so long as you keep this copyright information intact. You may not reproduce more than ten percent (10%) of this book in any media without the express written permission from the copyright holders. Reference any excerpts in the following way: “Excerpted from “Srimad-Bhagavatam” by A.C. Bhaktivedanta Swami Prabhupada, courtesy of the Bhaktivedanta Book Trust International, www.Krishna.com.” This book and electronic file is Copyright 1977-2003 Bhaktivedanta Book Trust International, 3764 Watseka Avenue, Los Angeles, CA 90034, USA. All rights reserved. For any questions, comments, correspondence, or to evaluate dozens of other books in this collection, visit the website of the publishers, www.Krishna.com.
    [Show full text]
  • ESSENCE of VAMANA PURANA Composed, Condensed And
    ESSENCE OF VAMANA PURANA Composed, Condensed and Interpreted By V.D.N. Rao, Former General Manager, India Trade Promotion Organisation, Pragati Maidan, New Delhi, Union Ministry of Commerce, Govt. of India 1 ESSENCE OF VAMANA PURANA CONTENTS PAGE Invocation 3 Kapaali atones at Vaaranaasi for Brahma’s Pancha Mukha Hatya 3 Sati Devi’s self-sacrifice and destruction of Daksha Yagna (Nakshatras and Raashis in terms of Shiva’s body included) 4 Shiva Lingodbhava (Origin of Shiva Linga) and worship 6 Nara Narayana and Prahlada 7 Dharmopadesha to Daitya Sukeshi, his reformation, Surya’s action and reaction 9 Vishnu Puja on Shukla Ekadashi and Vishnu Panjara Stotra 14 Origin of Kurukshetra, King Kuru and Mahatmya of the Kshetra 15 Bali’s victory of Trilokas, Vamana’s Avatara and Bali’s charity of Three Feet (Stutis by Kashyapa, Aditi and Brahma & Virat Purusha Varnana) 17 Parvati’s weds Shiva, Devi Kaali transformed as Gauri & birth of Ganesha 24 Katyayani destroys Chanda-Munda, Raktabeeja and Shumbha-Nikumbha 28 Kartikeya’s birth and his killings of Taraka, Mahisha and Baanaasuras 30 Kedara Kshetra, Murasura Vadha, Shivaabhisheka and Oneness with Vishnu (Upadesha of Dwadasha Narayana Mantra included) 33 Andhakaasura’s obsession with Parvati and Prahlaad’s ‘Dharma Bodha’ 36 ‘Shivaaya Vishnu Rupaaya, Shiva Rupaaya Vishnavey’ 39 Andhakaasura’s extermination by Maha Deva and origin of Ashta Bhairavaas (Andhaka’s eulogies to Shiva and Gauri included) 40 Bhakta Prahlada’s Tirtha Yatras and legends related to the Tirthas 42 -Dundhu Daitya and Trivikrama
    [Show full text]
  • Why I Became a Hindu
    Why I became a Hindu Parama Karuna Devi published by Jagannatha Vallabha Vedic Research Center Copyright © 2018 Parama Karuna Devi All rights reserved Title ID: 8916295 ISBN-13: 978-1724611147 ISBN-10: 1724611143 published by: Jagannatha Vallabha Vedic Research Center Website: www.jagannathavallabha.com Anyone wishing to submit questions, observations, objections or further information, useful in improving the contents of this book, is welcome to contact the author: E-mail: [email protected] phone: +91 (India) 94373 00906 Please note: direct contact data such as email and phone numbers may change due to events of force majeure, so please keep an eye on the updated information on the website. Table of contents Preface 7 My work 9 My experience 12 Why Hinduism is better 18 Fundamental teachings of Hinduism 21 A definition of Hinduism 29 The problem of castes 31 The importance of Bhakti 34 The need for a Guru 39 Can someone become a Hindu? 43 Historical examples 45 Hinduism in the world 52 Conversions in modern times 56 Individuals who embraced Hindu beliefs 61 Hindu revival 68 Dayananda Saraswati and Arya Samaj 73 Shraddhananda Swami 75 Sarla Bedi 75 Pandurang Shastri Athavale 75 Chattampi Swamikal 76 Narayana Guru 77 Navajyothi Sree Karunakara Guru 78 Swami Bhoomananda Tirtha 79 Ramakrishna Paramahamsa 79 Sarada Devi 80 Golap Ma 81 Rama Tirtha Swami 81 Niranjanananda Swami 81 Vireshwarananda Swami 82 Rudrananda Swami 82 Swahananda Swami 82 Narayanananda Swami 83 Vivekananda Swami and Ramakrishna Math 83 Sister Nivedita
    [Show full text]