Meaning of Shivataandava Stotra

Total Page:16

File Type:pdf, Size:1020Kb

Meaning of Shivataandava Stotra meaning of shivataaNDava stotra ¡£¢ ¤¦¥¨§ © § §§ (' ¢ § ¥¨§ § § !§#"$§¤&% §)" *+§,§.-/ matted hair-thick as forest-water-flow-consecrated-areaD +1 :9 ;£< < A B0 ¥0§# %2§§#§4365 §)7 38* § §>=(?* §@=(?+§ C in the throat-stuck-hanging-snake-lofty-garland ON 9 E E E E E §+§ §GF§ §GF§ §GFHI§JLKM §%2§ §PF§RQ§TS § DD damat-damat-damat-damat-having sound-drum-thisDDZY B0 9 < ¡ ¡ U U V § Q§ §6© F ©WFH%2§ *+§LX * § § %2§ %2§>C did-fierce-Tandava-may he shower-on us-Siva- auspiciousness With his neck, consecrated by the flow of water flowing from the thick forest-like locks of hair, and on the neck, where the lofty snake is hanging garland, and the Damaru drum making the sound of Damat Damat Damat Damat, Lord Siva did the auspi- cious dance of Tandava and may He shower prosperity on us all. WB W' 9 ; ; A ¢ §[ § ,§ ¤&§§ ¤&§RJLK§ §]\OJWQ§_^ ` § - matted hair-a well-agitation-moving-celestialD river ¢+b ¢ %2§§ c¦` dQ aX §# §§ §[ § X Q§fegJ - agitating-waves-rows-glorified-head N N B¨ h §+¥0§ §.eg¥¨§ §.e/¥¨§ § iSjH§ § ck "$§jlm" %2§ v DD Dhagat dhagat dhagat-flaming-forehead-flatDuD area-fire +p 9 n U X Q§ §6§.o ¤ Q Q§q¦ "$§¤¦q4rs§#© I§t§ baby-moon-crest jewel-love-every moment-for me I have a very deep interest in Lord Siva, whose head is glo- rified by the rows of moving waves of the celestial river Ganga, ag- itating in the deep well of his hair-locks, and who has the brilliant fire flam- ing on the surface of his forehead, and who has the crescent moon as a jewel on his head. 9 < < ¢ h h §Q §Q §.o ¤¦§ J , §¢¡ § e£¡ §Me Q§ King of mountains-daughter-sportive-kith-beautiful-D < N V V , §¥¤(Q§ og¥¨§ § ,§#§ q&"$§¤& X §§ §[I§ § , glorious-horizon-all living beings-rejoicing-mind § B¥¦ OB < N Na< ¢ h §t" § rs§ X Q§© JWQ § §.e § Q§fe Q "$§ dDD compassion-look-continuous flow-obstructed-hardships DD B ©¨ B N 9 © N < < b bRb V § S og¥¨§§43gQ § S § ¡RQ §LX LX § * § %2§ , § J some time-in the omnipresent-mind-pleasure- may seek-in a thing May my mind seek happiness in the Lord Siva, in whose mind all the living beings of the glorious universe exist, who is the sportive companion of Parvati (daughter of the mountain king), who con- trols invincible hardships with the flow of his compassionate look, who is all-persuasive (the directions are his clothes). § @;£< < ; § * § §>=(?k=(?H§ , §¤ Q§*)§ ¤O© § © "$§¤ creeping-snake-reddish brown-shining-hood-D gem-luster- B N B < < N A < p h V § § § 3 §:= § ¤&%2§s"$§§ ¤ "$§ ¥0§ S § X § variegated-red dye-melting-applied-directions- beloved-face N < < < RNa< ¢ V V § §.e¡ §]e Q§, §¥¤(Q§*+§ Sj¥ § *+§ ` §4 § Q ¦¥DuD intoxicated-elephant-glittering-skin-upper garment-coveredDD N NO< 9 ¤R; < ; ; V V I§RLX LX §I§ §£¢ *+§ § Q § § X *+§ §Q§ ` mind-pleasure-wonderful-may it seek-in him who sup- ports all life May I seek wonderful pleasure in Lord Siva, who is sup- porter of all life, who with his creeping snake with reddish brown hood and with the luster of his gem on it spreading out variegated col- ors on the beautiful faces of the maidens of directions, who is cov- ered with a glittering upper garment made of the skin of a huge in- toxicated elephant. ' ; ¦ u ¨§ pR u +p U ,§ § ,§¤¦aX §6§"$§¤ §R*+§f5 § Q§ Indra/Vishnu-and others-all-lined up-heads- D § § © A ; ¢ ¢ h h h "$§¤¦,LX§ § § X § X ,§Q ¤ § Q§© = § X X flower-dust-force-grayed-feet-seat ;m< N B § §>=(? Q §§ H§ § J ¡ §.e § X § DD snake-red-garland (with) tied-locked hair DD W a 9 B < u +p ¡ b U ¤ Q § §¦* § X Q§ ¡ § e Q§ for the prosperity-for a long time-may he be- Cakora bird-relative-on head May Lord Siva give us prosperity, who has the moon (rel- ative of the Cakora bird) as his head-jewel, whose hair is tied by the red snake- garland, whose foot-stool is grayed by the flow of dust from the flowers from the rows of heads of all the Gods, Indra/Vishnu and oth- ers. N < A ; U §6*+§ S8Q§ §fSj§ §.e/§¡ §¦, § ¤ =(? § - forehead-flat area-flaming-fire-sparks-luster D a B 9 A O B ¢ *+§>"$§¢ , § § §§J K I§ \O § §C -J devoured-God of Love-bowing-Gods-leader < p pR u +p 9 h , § § § X § dQ §I§ § Q§ ¤£ DuD cool-rayed-crescent-beautiful-head DuD 'HWB OA N < ¡ V I§ §[" ,§§]\ Q X § H§#§d, § §# for the Siddhi-prosperity-head-locked hair-may it be- to us May we get the wealth of Siddhis from Siva's locks of hair, which devoured the God of Love with the sparks of the fire flam- ing in His forehead, who is bowed by all the celestial leaders, who is beau- tiful with a crescent moon B ; B¨ N N h Q § §#"$§¦¥ l §)¥¨§ §.e/¥¨§ §.e/¥¨§ §u 6Sj§ § - dreadful-forehead-flat area-dhagat-dhagat-flamingD N 'O< B¥¦ a B0 ¢ U §.eg §¢ § §Zq §*+§>"$§¤ , § §6©WFH"$§¢ fire-offered-powerful-God of Love B < B ¢ b U h h §Q §.o ¤¦§#Jgo/J § ¥¨§¤ *+§¤ "$§ *+§¤ § §Q - £¢dDD king of mountains-daughter-breast-tip-colorful-deDuDD corative lines B kB A ¡ U ¤ §#§f\O § \aJ q ¤¦aX §6 Q§qWQ§¡ § -"$§ drawing-sole-artist - in the three-eyed -deep interest- mine My interest is in Lord Siva, who has three eyes, who has of- fered the powerful God of Love into the fire, flaming Dhagad Dha- gad on the flat surface of his forehead who is the sole expert artist of draw- ing decorative lines on the tips of breasts of Parvati, the daugh- ter of the mountain king. ¥¤ A < N Na< < ¢ ¢ §[ §@§d©4F JWQ § §.e § Q§ e Q§, §¥¤ Q§*)C § - new-cloud-circle - obstructed-harsh-striking-D B < ' N B ¡m¢§¦ ¢ § § X J J *)§sI§R "$§¤ ¡ §.e£¡ §.e §#§.e Q§ new moon-midnight-darkness-tightly-tied-neck < B ¦ < A ¢ h V V §Q§,§ LX * § §dq ¦ § e Q§ J §M\aJWQ§ ^ ` ©¨ DD celestial-river-wearing-may he bless-skin-red DD B < 9 Na< 9 ¡ h h §# J § ¡ § eMQ§ ¤ § §+¥¨§ § eMQ§ §Q§ moon-lovely-prosperity-universe-bearer of the bur- den May Lord Siva give us prosperity, who bears the burden of this universe, who is lovely with the moon, who is red wear- ing the skin, who has the celestial river Ganga, whose neck is dark as mid- night of new moon night covered by many layers of clouds. < B¨ A ; ¢ ¤¡ §W§ ckJ §#"$§= § "$§¤&"$§¢ §W"$§¤ "$§ - well-opened-blue-lotus-universe-darkness-lusterD B B A < N B ¢ b 3 §#©£¢ §#§.o Q § "$§¤ ¡ §.e §#§.e Q§ C -%2§H§#7 hanging-inside-temple-luster-tied-neck N 9 < N 9 ; N 9 p N 9 b£¤ b£¤ b£¤ b£¤ ,§ ]Q§ § " §&Q§ § §[%2§ § I§ § Manmatha-killer-city-destroyer-mundane life -destroyer- §¦ DuD sacrifice destroyer DuD ¥ N O9 B N 9 9 B N 9 ; b£¤ b£¤ h ¥0§ § § § § *+§>§ *+§ § § § elephant-killer-demon-killer-him-destroyer of Lord Yama- I worship I pray to Lord Siva, whose neck is tied with the luster of the tem- ples hanging on the neck with the glory of the fully-bloomed blue lo- tuses which looked like the blackness (sins) of the universe, who is the killer of Manmatha, who destroyed Tripuras, who destroyed the bonds of worldly life, who destroyed the sacrifice, who de- stroyed the demon Andhaka, the destroyer of the elephants, and who con- trolled the God of death, Yama. p ¨ WB WB N 9 ¢ ¨ ¨ Q§TS ¥0§ Q§TS ,§ Q§TSm§ =(? § § § ¡ § m` great-all-auspicious-art-variegated-bunch- D (' < ¦ 9 ; < ¢ h h Q§,§"$§¤&% §#§ §O` § §#© I§ §a% ¤¦*+§>C§ enjoyment-flow-sweetness-flaring up-bees B 9 < B 9 ; B 9 p B 9 V V V V ,§ ]Q § § " §&Q § § §[% § § § § § Manmatha-destroyer-city-destroyer-worldly bond-destroyer - Y DuD sacrifice-destroyer DD B¨ B0 B 9 B¨ B 9 ; V V V V ¥0§ § §.e § § *)§sI§ § § § § elephant-killer-Andhaka-demon-killer-him-Yama- controller-I worship I pray to Lord Siva, who has bees flying all over because of the sweet honey from the beautiful bunch of auspicious Kadamba flow- ers, who is the killer of Manmatha, who destroyed Tripuras, who de- stroyed the bonds of worldly life, who destroyed the sacrifice, who de- stroyed the demon Andhaka, the killer of the elephants, and who con- trolled the God of death, Yama. N ; ; ; NO< §Z*+§ S § ¤&§ ¤&§§ ¤&§§ § ¢ §>=(?+§ § Sj,§ § - victorious-foot-sky-whirling-roaming-snake-breath-D < ; ' ?+§d*+§ ¤ I§R, § ¤(Q§*+§ Q § H§ §#%2§ 5L% C - SjJWQ§ coming out-shaking-evident-dreadful-forehead-fire ¦ N < ¡ h 7 e 7 e 7 §fSj§ § §>=(?* § =(?+§¦=(?H§ Y DD Dhimid-dhimid-dhimid-sounding-drum-high-DDZY auspicious- B ¡ U h V ¤ § I§ "$§¤&%2§ ` *+§ "$§¤ §6©4F * ©WFH%2§ %2§ §fSjJ sound-series-caused-fierce-Tandava dance-Siva Lord Siva, whose dance of Tandava is in tune with the se- ries of loud sounds of drum making Dhimid Dhimid sounds, who has the fire on the great forehead, the fire that is spreading out be- cause of the breath of the snake wandering in whirling motion in the glo- rious sky. ¦ § < B n b V §M\ § S *+§¤ *)§ §f\ X Q § ¢ §>=(?+§¡ §#,§¤ X QC , - touching-varied-ways-snake-embodied-garland D § § < ' ¦ § ¢ Q§*+§ KMaX § ¢ X , § § Sm"$§ rs§["$§r § X -¥¨§` most precious-gems-brilliance-friends-enemies-two wings ¦ §2 < § ' £ ¢ U ¢ * § Q§ §.o §+r § X "$§¤ § I§ §.o ¤ X v grass-lotus-eyes people and the great emperor DuD8Y ¦ B ¨ 9 B N N 9 ; ¡ V V ,§[§Z"$§¤&% §Zq § ,§§ "$§¤&%2§Q§ §¦§ m§ § ,§ %2§ § equal-behaviour-always-Lord Siva-worship-I When will I worship Lord Sadasiva (eternally auspicious) God, with equal vision towards the people and an emperor, and a blade of grass and lotus-like eye, towards both friends and enemies, to- wards the valuable gem and some lump of dirt, towards a snake and a gar- land and towards varied ways of the world B N A B < B ¢ § J I§ \OJWQ§_^ ` J § X Q %2§,§#C when-celestial river-bush-hollow place(in)-living D < B Na< N A 9 ' ¡ V R § § §aQ§¡ mq¦ ,§ Q§ ,§.- § %2§ § C released-bad mind-always-on the head-folded hands- < B ; B U V R § § OX § aX §6LX H§ § § § ¥¨§ K §# dDD agitation-shaking-eyes-the best-forehead-interestedDD¦Y 9 < B N < ; ' ¡ ¢ U % q § *)§¤& § § Q§ C § , §¡ §% § 5 §#C "Siva" -mantra-uttering-when-happy-will-be-I When will I be happy, living in the hollow place near the ce- lestial river, Ganga, carrying the folded hands on my head all the time, with my bad thinking washed away, and uttering the mantra of Lord Siva and devoted in the God with glorious forehead with vi- brating eyes.
Recommended publications
  • Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars
    Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars -****- by Tamarapu Sampath Kumaran About the Author: Mr T Sampath Kumaran is a freelance writer. He regularly contributes articles on Management, Business, Ancient Temples and Temple Architecture to many leading Dailies and Magazines. His articles for the young is very popular in “The Young World section” of THE HINDU. He was associated in the production of two Documentary films on Nava Tirupathi Temples, and Tirukkurungudi Temple in Tamilnadu. His book on “The Path of Ramanuja”, and “The Guide to 108 Divya Desams” in book form on the CD, has been well received in the religious circle. Preface: Tirth Yatras or pilgrimages have been an integral part of Hinduism. Pilgrimages are considered quite important by the ritualistic followers of Sanathana dharma. There are a few centers of sacredness, which are held at high esteem by the ardent devotees who dream to travel and worship God in these holy places. All these holy sites have some mythological significance attached to them. When people go to a temple, they say they go for Darsan – of the image of the presiding deity. The pinnacle act of Hindu worship is to stand in the presence of the deity and to look upon the image so as to see and be seen by the deity and to gain the blessings. There are thousands of Siva sthalams- pilgrimage sites - renowned for their divine images. And it is for the Darsan of these divine images as well the pilgrimage places themselves - which are believed to be the natural places where Gods have dwelled - the pilgrimage is made.
    [Show full text]
  • Balabodha Sangraham
    बालबोध सङ्ग्रहः - १ BALABODHA SANGRAHA - 1 A Non-detailed Text book for Vedic Students Compiled with blessings and under instructions and guidance of Paramahamsa Parivrajakacharya Jagadguru Sri Sri Sri Jayendra Saraswathi Sri Sankaracharya Swamiji 69th Peethadhipathi and Paramahamsa Parivrajakacharya Jagadguru Sri Sri Sri Sankara Vijayendra Saraswathi Sri Sankaracharya Swamiji 70th Peethadhipathi of Moolamnaya Sri Kanchi Kamakoti Peetham Offered with devotion and humility by Sri Atma Bodha Tirtha Swamiji (Sri Kumbakonam Swamiji) Disciple of Pujyasri Kuvalayananda Tirtha Swamiji (Sri Tambudu Swamiji) Translation from Tamil by P.R.Kannan, Navi Mumbai Page 1 of 86 Sri Kanchi Kamakoti Peetham ॥ श्रीमहागणपतये नमः ॥ ॥ श्री गु셁भ्यो नमः ॥ INTRODUCTION जगत्कामकलाकारं नािभस्थानं भुवः परम् । पदपस्य कामाक्षयाः महापीठमुपास्महे ॥ सदाििवसमारमभां िंकराचाययमध्यमाम् । ऄस्मदाचाययपययनतां वनदे गु셁परमपराम् ॥ We worship the Mahapitha of Devi Kamakshi‟s lotus feet, the originator of „Kamakala‟ in the world, the supreme navel-spot of the earth. We worship the Guru tradition, starting from Sadasiva, having Sankaracharya in the middle and coming down upto our present Acharya. This book is being published for use of students who join Veda Pathasala for the first year of Vedic studies and specially for those students who are between 7 and 12 years of age. This book is similar to the Non-detailed text books taught in school curriculum. We wish that Veda teachers should teach this book to their Veda students on Anadhyayana days (days on which Vedic teaching is prohibited) or according to their convenience and motivate the students.
    [Show full text]
  • A New Year's Greetin
    THE 8ID0HANTA DEEPIKA OR The Light of Truth. A Monthly Journal, Devoted to ReligioM, Philosophy^ Littrat%tt\ Scknu 6<. •n tlM qummn'u CoflUMmonUiaii Dkj, IMT, VolVn APRIL 1906 No I A NEW YEAR'S GREETIN This Agaval is by a minstrel, known to us as Kanyan or *'Singer' of the flowery hill, who was a court poet and friend of Ko Pferum Coran of Urraiyur—a little, it may be, before the data of the Kurral. See Purra Nannurru 67, 191, 192, 212. mekjuu^ tSpa-^ir €Uirjnr;^ QKirft£fiLti ^ea^^^ti ^eu^Qt^ir ^csr«r:—^ Si^O/fmr LuS^^jfuh SjtoQut;—Qp^Mr fill^DHAKTA DKKPTKA, euTssrii ^^a^Slaff? lu/r^^i sisoQuTQ^ Lpei>ei€0 Qu.iturfpjM li/rsuyS^u u(B^Ui i^dsasrQuir^ ^tsST (ipsnpsuij^u zjCFe-ii) gtcstu^ ^p(peo/r/r QuiPiQfUir^ff tSoj^^Sfiiii -r- THE SAGES. To lis all toAvns arc one, all men our kin. Life's gooi comes not from others' gift, nor ill Man s pains and pains' relief ?.re from within. Death s no new thing; nor do our bosoms thrill When joyous life seems like a luscious draught. AVhen grieved, y\c patient suffer; for, we deem This much-praised life of ours a fragile raft Borne dowii tiie waters of some mountain stream That o'er Jiuge bouldere roaring seeks the plain. Tho' storms Avith lightnings' ilash from darken d skica Descend, tho raft goes on as fates ordain. Thus have we seen in visions of the wsc!— We marvel Jiiot at greatness of tlie great; Still less despise we men of low estate.
    [Show full text]
  • International Research Journal of Management Sociology & Humanities
    International Research Journal of Management Sociology & Humanities ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print) An Internationally Indexed Peer Reviewed & Refereed Journal Shri Param Hans Education & Research Foundation Trust www.IRJMSH.com www.SPHERT.org Published by iSaRa Solutions IRJMSH Vol 5 Issue 6 [Year 2014] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) GENESIS OF MANIPURI DANCE: APERSPECTIVE Pukhrambam Lilabati Devi Guest Lecturer in the Department of Dance, Manipur University. Email:[email protected] Contact: 08974543711 Abstract: The current study attempted to trace the development of the Manipuri Dance from a historical perspective. The origin of Manipuri Dance which is interwoven by various social and cultural values can be traced back to early period of history which again had linked to mythology of excellent metaphysical stories. Further, the paper also discusses on the role of artists. It is to be noted that when artists only in accordance with their benefactors and for earning income only in business motives, it is an unruly act of defaming the innate values of the art. Just to reap the rightmost fruits of any art, the artist has the responsibility of obeying the required qualities of being a true artist. An artist has to know the inner beauty that only refined persons can feel of the particular art and for dance it is the first and foremost task of any dancer. With the understanding of the underlying intrinsic value of the art, an artist then can begin to learn vibrant facets of the art by keeping in touch with the teachers who can impart them the in-depth education of the particular art.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Bala Bhavan Bhajans Contents
    Bala Bhavan Bhajans 9252, Miramar Road, San Diego, CA 92126 www.vcscsd.org Bala Bhavan Bhajans Contents GANESHA BHAJANS .................................................................................................. 5 1. Ganesha Sharanam, Sharanam Ganesha ............................................................ 5 2. Gauree Nandana Gajaanana ............................................................................... 5 3. Paahi Paahi Gajaanana Raga: Abheri .......................................... 5 4. Shuklambaradharam ........................................................................................... 5 5. Ganeshwara Gajamukeshwara ........................................................................... 6 6. Gajavadana ......................................................................................................... 6 7. Gajanana ............................................................................................................. 6 8. Ga-yi-yeh Ganapathi Raga: Mohana ........................................ 6 9. Gananatham Gananatham .................................................................................. 7 10. Jaya Ganesha ...................................................................................................... 7 11. Jaya Jaya Girija Bala .......................................................................................... 7 12. Jaya Ganesha ...................................................................................................... 8 13. Sri Maha Ganapathe ..........................................................................................
    [Show full text]
  • Shiva Nataraja: a Study in Myth, Iconography, and the Meaning of a Sacred Symbol
    Shiva Nataraja: A Study in Myth, Iconography, and the Meaning of a Sacred Symbol Richard Stromer, Ph.D. O you the creator, you the destroyer, you who sustain and make an end, Who in sunlight dance among the birds and the children at play, Who at midnight dance among the corpses in the burning grounds, You, Shiva, you dark and terrible Bhairava, You Suchness and Illusion, the Void and All Things, You are the lord of life, and therefore I have brought you flowers; You are the lord of death, and therefore I have brought you my heart— This heart that is now your burning ground. Ignorance there and self shall be consumed with fire. That you may dance, Bhairava, among the ashes. That you may dance, Lord Shiva, in a place of flowers, And I dance with you. (Huxley, 167) The image of the Hindu divinity Shiva dancing within a giant ring of fire is among the most beloved and awe-inspiring symbols of the Hindu conception of the nature of the cosmos. Indeed, at the heart of this powerful sacred image, we find a symbolic distillation of the essence of Hindu spiritual consciousness. In the introduction to his massive text on contemporary Hinduism, entitled Dancing with Siva, Satguru Sivaya Subramuniyaswami observes that “the Cosmic Dance describes the Hindu view of existence,” and that for Hindus “Dancing with Siva is everything we do, everything we think and say and feel, from our seeming birth to our so-called death. It is God and man forever engaged in sacred movement” (xviii).
    [Show full text]
  • Yakshagana Natakwala Fakir Abstract the Present Paper Deals With
    Yakshagana Natakwala Fakir Abstract The present paper deals with Yakshagana, a folk form of South India. The research is historical, exploratory and aesthetic in nature. It finds out the different significances of the idioms of the art form. Keywords: Yakshagana, Folk, Natyasastra, Theatre Introduction Yakshagana, like Kutiyattam and Kathakali, follows the Natyasastra tradition by evolving a theatrical technique which is harmonious balance among the four types of abhinaya (enacting): the Vacika, with the recitative sung verse and pure prose passages; the angika, having a well formulated system of stylized gaits(gatis)classified according to character or animal, bird or human situation and mood,and patterns and clusters of movement which are set to seven material circles of the talas; the aharya, with its elaborate and intricate costuming headgear and make up conventions; and the sattvika which sets the internal mood pervading the moral and the ethical tone of the dramatic piece. It has the element of Tandava and Lasya and follow the conventions of Natyadharmi in exits and entries and in the establishment of locale through its several choreographical patterns and floor designs. Theatre Street Journal Vol.2, No.1 27 March 2018 ISSN 2456-754X Page 68 After one has examined these structural and stylized features, there is little that is left in the Yakshaganaa which can be considered as pure folk, in the sense that it can be taken as untutored, unlearned and spontaneous. Kapila Vatsayan: Traditional Indian Theatre Multiple Stream. Significance of the form Yakshagana is a uniquely traditional form of dance theatre of the state of Karnataka, with a formidable classical background.
    [Show full text]
  • Kali, Untamed Goddess Power and Unleashed Sexuality: A
    Journal of Asian Research Vol. 1, No. 1, 2017 www.scholink.org/ojs/index.php/jar Kali, Untamed Goddess Power and Unleashed Sexuality: A Study of the ‘Kalika Purana’ of Bengal Saumitra Chakravarty1* 1 Post-Graduate Studies in English, National College, Bangalore, India * Saumitra Chakravarty, E-mail: [email protected] Abstract This paper attempts to analyse the paradox inherent in the myth of Kali, both in her iconic delineation and the rituals associated with her worship as depicted in the twelfth century Kalika Purana. The black goddess Kali breaks conventional stereotypes of feminine beauty and sexuality in Hindu goddess mythology. She is the dominant sexual partner straddling the prone Siva and the wild warrior goddess drinking demon blood. She is originally depicted as a symbol of uncontrolled fury emerging from the fair, beautiful goddess Ambika in the battle with the demons in older goddess texts. Thereafter she gains independent existence both as the dark, mysterious and sexually demanding version of the more benign and auspicious Parvati and the Primordial Goddess Power pre-dating the Hindu trinity of male gods, the Universal Mother Force which embraces both good and evil, gods and demons in the Kalika Purana. Unlike other goddess texts which emphasize Kali’s role in the battle against the demons, the Kalika Purana’s focus is on her sexuality and her darkly sensual beauty. Equally it is on the heterodoxical rituals associated with her worship involving blood and flesh offerings, wine and the use of sexual intercourse as opposed to Vedic rituals. Keywords kali, female, sexuality, primordial, goddess, paradox 1.
    [Show full text]
  • Stepping Into the Sublime
    Stepping into the sublime Nrityagram dance ensemble comes together with Chitrasena, Srilankan Dance Company for a spellbinding performance this evening By Karthik Hebbar | May 19, 2017 The Sanskrit word “Samhara” has multiple meanings and connotations. The most popularly perceived meaning is ‘to defeat’ or ‘to destroy ‘. The other meaning associated with this word is ‘coming together.’ Nrityagram ensemble in collaboration with Chitrasena Dance Company, in its production SAMHARA does exactly this; destroys borders by coming together through artistic dialogue. This creative and experimental production is essentially a conversation between the two dance styles Odissi and Kandyan (traditional dance form from Sri Lanka). The artistic director of Nrityagram Surupa Sen, Bijayini Satpathy, Pavithra Reddy, Akshiti Roychowdhury and Urmila Mallick from the ensemble perform in this presentation along with Thaji Dias and Sundani Sulochani from the esteemed Chitrasena Dance Company from Sri Lanka to a grand live orchestra. This production was devised through constant dialogue between the dancers and thorough understanding of each other’s dance forms. There is no attempt to compete, fuse or any other such gimmickry and it is pure soulful dancing all the way. Surupa’s choreography is always known for its relevance and adaptability but, it is interesting to note that the form used in the production is pristine and honest to its classical paradigm. Every moment is poetry in motion and etched with aesthetically rich ornamentation. The subtle and sublime sensuousness of the graceful Odissi form embraces the vibrant and energetic Kandyan form with open arms and in union they energise every space on the canvas with unmatched beauty and vigour.
    [Show full text]
  • KIRTAN Jaya Ganesha, Jaya Ganesha, Jaya Ganesha, Pahiman
    KIRTAN Jaya Ganesha, Jaya Ganesha, Jaya Ganesha, Pahiman Sri Ganesha, Sri Ganesha, Sri Ganesha, Rakshaman Que la fuerza para superar los obstáculos y alcanzar la plenitud se despierte en mí Saravanabhava, Saravanabhava, Saravanabhava, Pahiman Subramanya, Subramanya, Subramanya, Rakshaman Que los más grandes seres espirituales me protejan y me inspiren Jaya Saraswati, Jaya Saraswati, Jaya Saraswati, Pahiman Sri Saraswati, Sri Saraswati, Sri Saraswati, Rakshaman Que la sabiduría despierte en mÍ Jaya Guru, Siva Guru, Hari Guru, Ram Jagat Guru, Param Guru, Sat Guru, Syam Que el Guru en todas sus formas esté presente en mi vida y guíe mi camino Om Adi Guru, Adwaita Guru, Ananda Guru Om Chit Guru, Chit Ghana Guru, Chit Maya Guru Om Que reciba la inspiración más elevada para iluminar mi consciencia más allá de la ilusión Hare Rama, Hare Rama, Rama Rama, Hare, Hare Hare Krishna, Hare Krishna, Krisnha Krishna, Hare, Hare Que lo humano alcance lo divino y que lo divino descienda sobre lo humano Om Namah Shivaya X4 Que el Amor destruya todos los obstáculos Om Namo Narayanaya X4 Soy uno con el espíritu universal 1 Krishnam vanden jagat guru chit Krishnam vanden jagat gurum Que mi naturaleza espiritual sea mi guía Om namo Bhagavate Vasudevaya X2 El Ser reside en todas las cosas y todas las cosas residen en Él Sri Ram Jaya Ram Jaya Jaya Ram Om Sri Ram Jaya Ram Jaya Jaya Ram Fuerza y ánimo, siempre hacia adelante Anandoham Anandoham Anandaham Brahm Anahandam Yo soy dicha, yo soy dicha, dicha absoluta soy yo SAT CHIT ANANDA Sat Chit Ananda Guru Sat Chit
    [Show full text]