An Indian Art

KARTAL

2009-04-07T11:26:00.001+05:30

KARTAL

Kartal are a pair of wooden blocks or frames with small metal jingles mounted in them. They are simply beaten together to provide a rhythmic support to bhajans, kirtan, folk and other light music. The term kartal is also applied to wooden claves

In Manipur (Northeast India) the term "kartal" is used for a large set of manjira. This is a very different instrument and should not be confused with the more common Kartal.

JAL TARANG

2009-04-07T11:15:00.001+05:30

JAL TARANG

Jal tarang is a set of china bowls that are filled with water. Each bowl is struck with a light wooden mallet to cause it to ring. Jal tarang is not very common and is normally found in the accompaniment of kathak dancers.

The Jaltarang one of the most rarely heard instruments today. It is one of the oldest instrument in the world. It consists of china bowls filled with water and struck by means of two cane sticks. Earlier, since china clay bowls werent' available, artists used to play this instrument with metal bowls. Each bowl can be tuned to the desired frequency by varying the quantity of water in it. These bowls are placed in a semi - circle arrangement around the player and played. Anicent texts mentioned instruments similar to this. Indian, Greek and Byzantian texts described such an instruments. The Jalatarang has a pleasant characteristic tone. The player can produce on it, classical indian ragas and light melodies as well.

Almost all Indian musical instruments can be traced to some form of ancient veena-s. Jal Tarang is one of the recent additions to Indian musical instruments. Not mentioned prior to Sangeet Parijaat and the Krishna-cult poets1, it has international links with Gongs and Gamelan of Burma, Java, Sumatra being played in a similar fashion. On the Borobudur stupa musical cups are depicted. Music is played on such cups in Buddhist temples of Japan and in Kabuki theater. The essence of Jal-tarang remains Indian as hindustani notes emanate through bowls from China played upon with Japanese bamboo sticks.

Inspired by Jaltarang, glass music became popular in sixteenth century Europe using glasses in place of cups. A curious variant of the Jaltarang is found in Jaisalmer district. A single metal plate -- called thali or tasli -- used for accompaniment by varying strokes to produce different tones and rhythms, is filled with water and is called Jaltaal. Although in prevalence for over five centuries now, the instrument drew quite a few enthusiasts in the first half of twentieth century. All India Radio incorporated a position of staff artiste in Jal-Tarang. The instrument was extensively used in film music and orchestral compositions. However, due to its design and delicate build coupled with lack of ease in playing more complex Raga-s, very few artistes adopted it as their main instrument for classical performances.

The famous film director O.P. Nayyar narrated the sad decline of this instrument in a television interview. Visiting one of the musicians of his troupe who used to play jal-tarang, Nayyar inquired whether his sons had been inducted into playing this instrument. The musician replied that with synthesizers and other electronic gadgetry, there is no demand in the industry for such instruments. No one in his family tried to play jal-tarang and the China bowls are taken out whenever soup is to be served. Music had always been integrated in the daily routine -- the morning prayers, chants for specific tasks, songs of seasons and celebrations. First the concept of 'personal' in art robbed it of its natural evolution then technology bulldozed the seriousness associated with study of art. Only when we consult a reference book do we learn about India's rich heritage of musical instruments.

Jal-tarang finds its first mention in Sangeet Parijaat. This medieval musical treatise categorizes this instrument under Ghan-Vadya (Idiophonic instruments in which sound is produced by striking a surface, also called concussion idiophones.) SangeetSaar considered one with 22 cups to be complete Jal Tarang and one with 15 cups to be of mediocre status. Cups, of varying sizes were made of either bronze or porcelain. Today only china bowls are preferred by artistes, numbering around sixteen in normal use. Cups for Mandra Swar (notes of lower octave)are large while those for Taar Swar (notes of higher octaves) are smaller in size. Water is poured into the cups and the pitch is changed by adjusting the volume of water in the cup. The number of cups depends on the melody being played. The bowls mostly are arranged in a half-circle in front of the player who can reach them all easily. The player softly hits the cups with a wooden stick on the border to get the sound. Its not easy to tune the instrument and needs some skill. During playing fine nuances can be reached if the performer is accomplished. SangeetSaar mentions that if the player can rotate the water through a quick lithe touch of the stick, nuances and finer variations of the note can be achieved.

The rapid globalization and change in the pace of routine life has forced many of the finer aspects of culture out of popular custom and practice. Instruments like Dilruba, Israj, Sur-bahar, Vichitra veena and even Sarangi find few takers. It was with a desire to preserve the traditional and ancient arts that Ministry of Culture came up with a scheme to train young enthusiasts under masters of these traditional arts.

GHUNGHARU or PAAYAL

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GHUNGHARU or PAAYAL

Ghungharu are the "tinklebells" or "jingle bells" which are used to adorn the feet of dancers. When tied to the feet, they are played by the act of dancing. They may also be played by hand. This instrument evolved from the payal which are traditional anklets worn by women in India.

The terms payal and ghungharu are nearly interchangeable; there is but a slight difference in the colour of the word. Whereas the term ghungharu evokes an image of the musical or dance performance, the term payal evokes the image of a mere adornment of the feet. The term payal shows up repeatedly in song and poetry in northern India where it is said to be an indication of a girl's comings and goings, her dancing, and a general joyous mood of the wearer.

There are two common forms of the ghungharu. The traditional form is merely a number of bells woven together on a string. However today it is common to find them stitched to a padded cushion. This may then be strapped to the feet of a dancer. Both forms are shown in the accompanying illustration.

GAYAKI - NORTH INDIAN VOCAL MUSIC

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GAYAKI - NORTH INDIAN VOCAL MUSIC

The vocal tradition is especially strong in Indian music. It goes without saying that the song is probably the most ancient form of music. Vocal music occupies a considerable part of the Natya Shastra.

One may argue that the Vedas, especially the Samaveda, is the oldest musical text in India. It is true that the Samaveda is written in a crude musical notation. However, it is probably more appropriate for us to look at contemporary music.

Contemporary musical forms are built up from very well defined structures. These structures such as a primary theme, a secondary theme and other elements form a structured framework in which a largely improvised system of music can work.

There are many genres, some old and some new. Dhrupad and dhammar are some of the oldest in use today; they go back to the Mogul era (circa 16th century). Equally old, but stylistically quite different, is the tarana; this is based upon meaningless syllables. More modern (by Indian standards) are the highly improvised kheyal, dadra, and thumri. Another classical style is the tappa of Punjab.

Most of the classical songs of north India are devotional in nature, but there are a few genre which are especially oriented toward religion. Most notable is the bhajan, dhun or kirtan for Hindus, the kawali (qawali) for Muslims, and the shabad for Sikhs.

Not all the music is serious, for there are also many popular genres. The gazal is one style which is known for it rich poetic, and romantic content. the Hindi geet is basically just a song. Undoubtedly, the most popular is the film song.

There are also a few genres which are oriented specifically toward musical education. The most notable example is the lakshan geet. In this style the words of the song actually describe the rag which is being performed. Another genre which is used for pedagogic purposes is the swarmalika. This style uses the sargam of the piece instead of words.

India also has a rich tradition of folk music. These will vary from region to region.

VOCAL FORMS

* Kheyal
* Bhajan
* Tarana
* Dhrupad
* Dhammar
* Dadra
* Gazal
* Geet
* Thumri
* qawwali
* Kirtan or Dhun
* Shabad
* Lakshangeet
* Film Songs
* Folk Music
* Swarmalika

VADHYA SANGEET (INSTRUMENTAL MUSIC)

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VADHYA SANGEET (INSTRUMENTAL MUSIC)

Instrumental music occupies an important position in Indian music. It is one of the threefold aspects of "sangeet" (vocal music, instrumental music, and dance), and has a very ancient history. Instrumental music is known as "vadhya sangeet".

There is a general tendency for the instrumental styles to follow quite closely the vocal styles. Yet, the degree to which an instrument follows is primarily linked to the dynamics of the instrument.

Dynamics is the nature of the loudness of an instrument. This is not intended to mean loudness in the usual interpretation, but rather the amplitudinal characteristics of the instrument. The sitar and flute offer a good illustration. A flute is continuously excited, therefore there is a steady sound as long as the breath is applied. Since it is possible to sustain a sound for a long time, it is possible to perform all kinds of delicate meends (glissando), gamaks or other ornamentation. Instruments with a long sustain tend to follow the vocal styles in their presentation. Contrast this to a sitar with its rapid decay. The sound is essentially inaudible within a few seconds. Many types of ornamentation cannot be executed due to this quick decay.

This creates an artistic pressure for these instruments to develop their own styles. These styles enhance the strong points while avoiding the weaknesses. Over the years they have become formalized into four major instrumental styles known as: alap, jor, gat and jhala. The alap is a slow rhythmless elaboration upon the rag. The jor is a section that has rhythm but no developed rhythmic cycle (i.e., tal). The gat is the fully developed piece, while the jhala is a fast rhythmic interplay between the drone strings and the main playing strings.

INDIAN FOLK MUSIC

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INDIAN FOLK MUSIC

India has a very rich tradition of folk music. The extreme cultural diversity creates endless varieties of folk styles. Each region has its own particular style.

There is a tendency to lump folk music along with tribal music. There is actually a difference. Where folk music is a mere rustic reflection of the larger Indian society, tribal music often represents cultures that are very different. Some of these tribal cultures are throwbacks to cultural conditions as they were thousands of years ago.

Tribal and folk music is not taught in the same way that Indian classical music is taught. There is no formal period of apprenticeship where the student is able to devote their entire life to learning the music, the economics of rural life does not permit this sort of thing. The musical practitioners must still attend to their normal duties of hunting, agriculture or whatever their chosen profession is.

Music in the villages is learned almost by osmosis. From childhood the music is heard and imbibed along with ones mother's milk. There are numerous public activities that allow the villagers to practice and hone their skills. These are the normal functions which syncronize village life with the universe.

The music is an indispensable component of functions such as weddings, engagements, and births. There is a plethora of songs for such occasions. There are also many songs associated with planting and harvesting. In these activities the villagers routinely sing of their hopes, fears and aspirations.

Folk music is also used for educational purposes. For instance sex education has traditionally been taught in Andhra Pradesh by song. There is a function when a girl has her first menses. In this function the elderly women in the community gather at the house (men are definitely excluded), the girl is given her first woni and langa (half sari which is worn by unmarried girls), rich food and other gifts. During this function the women sing songs that are extremely bawdy. To an outsider this would seem uncharacteristic of obviously respectable community members. However the function of such songs is to provide the girl's first instructions on her emerging womanhood and what her future marital duties will be.

Musical instruments are often different from those found in classical music. Although instruments like the tabla may sometimes be found it is more likely that cruder drums such as daf, dholak, or nal will be used. The sitar and sarod which are so common in the classical genre are absent in the folk music. One often finds instruments such as the ektar, dotar, saringda, rabab, and santur. Quite often they will not even be called these names, but may be named according to their local dialect. There are also instruments which are used only in particular folk styles in particular regions. These instruments are innumerable.

The instruments that folk musicians use are generally not as refined as the classical musicians use. The instruments of classical music are crafted by artisans whose only job is the fabrication of musical instruments. In contrast the folk instruments are commonly crafted by the musicians themselves.

It is very common to find folk instruments that have been fabricated of commonly available materials. Skin, peritoneum, bamboo, coconut shells, and pots are but a few commonly available materials used to make musical instruments

FOLK MUSICAL INSTRUMENTS

* Bansuri - bamboo flute
* Bombashi - bamboo fipple flute
* Chimpta - fire tongs
* Daf - frame drum
* Damaru - hourglass drum
* Dhol - large barrel drum
* Dholak - barrel drum
* Dholki - barrel drum
* Dotar #1 - simple lute
* Dotar #2 (a.k.a. dotora) - simple lute
* Ektar - simple lute
* Gettuvadyam - hammered lute
* Ghatam - clay pot
* Ghungharu - small bells
* Gopichand - one stringed instrument
* Idakka and Udaku - hourglass drums
* Kamancha - simple fiddle
* Kartal - wooden clappers
* Khol - clay drum
* Magadi Vina - bamboo lute
* Murchang - jaw harp
* Naggada - kettle drums
* Nakula - bamboo lute
* Pena - simple one string bowed instrument
* Pung - drum
* Pungi - snake charmer's instrument
* Rabab - lute
* Ravanhasta - simple fiddle
* Santur - hammered dulcimer
* Saringda - simple fiddle
* Shankh - conch shell
* Thanthi Panai - pot drum

OTHER INDIAN VOCAL FORMS

* Bhajan
* Dadra
* Dhammar
* Dhrupad
* Film Music
* Gazal
* Geet
* Kheyal
* Kirtan / Dhun
* Lakshan Geet
* Qawwali
* Shabad
* Tappa
* Tarana
* Thumri

CARNATIC SANGEET- THE SOUTH INDIAN SYSTEM OF MUSIC

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CARNATIC SANGEET- THE SOUTH INDIAN SYSTEM OF MUSIC

INTRODUCTION

Carnatic sangeet, (Karnatik Sangit) is the south Indian system of music. It has a rich history and a very sophisticated theoretical system. The performers and composers have, gained a world class reputation by singing and playing instruments such as veena (vina), gottuvadyam, violin, and mridangam.

In the West, Carnatic Sangeet is not as well known as Hindustani Sangeet (north Indian music). Whenever Westerners think of Indian music, they immediately think of Ravi Shankar and the sitar. Although South Indian music is extremely sophisticated, there has not emerged an artist with the worldwide recognition that North Indians, like Ravi Shankar, have been able to generate.

GEOGRAPHICAL DISTRIBUTION

Carnatic Sangeet is found in the south Indian states of Tamil Nadu, Kerala, Andhra Pradesh and Carnatica. These states are known for their strong presentation of Dravidian culture.

RELATIONSHIP BETWEEN HINDUSTANI AND CARNATIC SANGEET

The reasons for the differentiation between North, and South Indian music is not clear. The generally held belief is that North Indian music evolved along different lines due to an increased exposure to the Islamic world. This results from nearly 800 years of Islamic rule over northern India.

Unfortunately, evidence suggests that this answer is a gross over-simplification. For instance, Kerala has an extremely large Muslim population, but virtually no identification with north Indian music. By the same token, the Islamic influence over Orissa was negligible, yet the artistic forms are clearly identifiable as Hindustani. Although there is a poor correlation between the geographical distribution of Hindus / Muslims and the two musical systems; there is an almost exact correlation between the Indo-European/Dravidian cultures and the two musical systems.

Therefore, we come to the politically uncomfortable, yet inescapable conclusion that the differences between North and South Indian music does not represent a differentiation caused by Islamic influence, but instead represents a continuation of fundamental cultural differences.

HISTORY OF CARNATIC SANGEET

We can begin our discussion of the history of Carnatic Sangeet with Purandardas (1480-1564). He is considered to be the father of Carnatic Sangeet. He is given credit for the codification of the method of education, and is also credited with several thousand songs.

Venkat Mukhi Swami (17th century) is the grand theorist of Carnatic music. He was the one who developed the melakarta system. This is the system for classifying south Indian rags.

Carnatic music really acquired its present form in the 18th century. It was during this period that the "trinity" of Carnatic music, Thyagaraja, Shamashastri, and Muthuswami Dikshitar composed their famous compositions. In addition to our "trinity". Numerous other musicians and composers enriched this tradition. Some notable personalities were; Papanasam Shivan, Gopala Krishna Bharati, Swati Tirunal, Mysore Vasudevachar, Narayan Tirtha, Uttukadu Venkatasubbair, Arunagiri Nathar, and Annamacharya.

CARNATIC MUSIC THEORY

Carnatic music has a very highly developed theoretical system. It is based upon a complex system of ragam (rag) and thalam (tal). These describe the intricacies of the melodic and rhythmic forms respectively.

The melodic foundation is the ragam (rag). Ragam (rag) is basically the scale. The seven notes of the scale are Sa Ri Ga Ma Pa Dha and Ni. However, unlike a simple scale there are certain melodic restrictions and obligations. Each ragam (rag) has a particular way that it moves from note to note.

The ragams are categorised into various modes. These are referred to as mela, and there are 72 in number. The mela are conceptually similar to the thats of North Indian music. There is however, a major difference. South Indian scales allow chromatic forms that are not allowed in Hindustani sangeet. For instance it is perfectly acceptable for the first three notes (i.e., Sa Re Ga to all be roughly one semitone apart. It is these permissible forms which allow there to be so many mela.

The tal (thalam) is the rhythmic foundation to the system. The south Indian tals are defined by a system of clapping and waving, while this is much less important in the north. North Indian musicians define their tals by their theka.

Nomenclature is one of the biggest differences between North and South Indian music. It is normal for a particular rag or tal to be called one thing in the North and something totally different in the South. It is also common for the same name to be applied to very different rags and tals. It is theses differences in nomenclature that have made any theoretical reconciliation difficult.

PERFORMANCE

Vocal music forms the basis of South Indian music. Although there is a rich instrumental tradition that uses vina, venu and violin, they revolve around instrumental renditions of vocal forms.

There are a number of sections to the Carnatic performance. Varanam is a form used to begin many south Indian performances. The word varanam literal means a description and this section is used to unfold the various important features of the ragam. The kritis are a fixed compositions in the rag. They have well identified composers and do not allow much scope for variation. However such compositions are often preceded by alapana. The alapana offers a way to unfold the ragam to the audience, and at the same time, allow the artist considerable scope for improvisation. The niruval and the kalpana swara also provide opportunities to improvise. Another common structure is the ragam, thanam, and, pallavi

South Indian performances are based upon three major sections. These are the pallavi anupallavi and charanam. These roughly correspond to the sthai, antara and the abhog in Hindustani sangeet.

CONCLUSION

The rich tradition of South Indian music is one of the worlds gems. The high performance standards and the well organised theoretical foundation put it on par with anything that world has seen, either East or West.

INSTRUMENTS USED IN SOUTH INDIAN MUSIC

* Thalam (manjira)
* Ghatam
* Murchang
* Venu
* Nadaswaram
* Veena
* Gotthuvadyam
* Thambura (tambura)
* Getchuvadyam
* Violin
* Mridangam
* Tavil
* Ottu

HINDUSTANI SANGEET- THE NORTH INDIAN SYSTEM OF MUSIC

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HINDUSTANI SANGEET- THE NORTH INDIAN SYSTEM OF MUSIC

The north Indian system of music is known as Hindustani Sangeet or sometimes Hindusthani Sangit. It covers an area that extends roughly from Bangladesh through northern and central India into Pakistan and as far as Afghanistan.

The usual interpretation states that theHindustani system may be thought of as a mixture of traditional Hindu musical concepts and Persian performance practice. The advent of Islamic rule over northern India caused the musicians to seek patronage in the courts of the new rulers. These rulers, often of foreign extraction, had strong cultural and religious sentiments focused outside of India; yet they lived in, and administered kingdoms which retained their traditional Hindu culture. Several centuries of this arrangement caused the Hindu music to absorb musical influences from the Islamic world, primarily greater Persia.

Although this is the usual view, there are reasons to think that this is an over-simplification. This view gives excessive weight to the religious differences between the Hindus of South Asia and the Muslims of the greater Persian empire (present day Iran, Afghanistan, and portions of the former Soviet Union.) At the same time it ignores long standing linguistic, economic, and cultural ties which existed between the areas of present day northern Indian and the greater Persian world.

There are a number of musical instruments that we associate with Hindustani sangeet. The most famous is the sitar and tabla. Other less well known instruments are the sarod, sarangi and a host of others.

Some of the major vocal forms associated with Hindustani Sangeet are the kheyal, gazal, and thumri. Other styles which are also important are the dhrupad, dhammar, and tarana. This is just a small sampling for there are many other vocal styles that we will have to discuss elsewhere.

NORTH INDIAN MUSICAL INSTRUMENTS

* Sitar
* Sarod
* Surbahar
* Vichitra Vina
* Tanpura
* Santur
* Rabab
* Bansuri
* Shehnai
* Harmonium
* Manjira
* Ghungharu
* Sarangi
* Esraj
* Dilruba
* Mayuri
* Tabla
* Tabla Tarang
* Pakhawaj

NORTH INDIAN VOCAL STYLES

* Kheyal
* Bhajan
* Tarana
* Dhrupad
* Dhammar
* Dadra
* Gazal
* Geet
* Thumri
* qawwali
* Kirtan or Dhun
* Shabad
* Lakshangeet
* Film Songs
* Folk Music
* Swarmalika

NORTH INDIAN INSTRUMENTAL STYLES

* Alap
* Jor
* Gat
* Jhala
* Dhun

INDIAN MUSICAL INSTRUMENTS

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INDIAN MUSICAL INSTRUMENTS

There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music (Carnatic sangeet), while others are found in folk music. Instrumental music is usually similar to vocal music but sometimes there are distinctive instrumental styles.

There is a traditional system for the classification of instruments. This system is based upon; non-membranous percussion (ghan), membranous percussion (avanaddh), wind blown (sushir), plucked string (tat), bowed string (vitat). Here are the classes and representative instruments.

NON-MEMBRANOUS PERCUSSIVE (Ghan)

This is one of the oldest classes of instruments in India. This class is based upon percussive instruments which do not have membranes, specifically those which have solid resonators. These may be either melodic instruments or instruments to keep tal.

* Chimpta
* Ghatam
* Ghungharu
* Jal Tarang
* Kartal
* Kasht Tarang
* Manjira
* Nout
* Murchang

BLOWN AIR (Sushir)

This class of instrument is characterized by the use of air to excite the various resonators.

* Bansuri
* Bombashi
* Harmonium
* Mukhavina
* Nadaswaram
* Ottu
* Pungi
* Shankh
* Shehnai
* Surpeti

PLUCKED STRINGED INSTRUMENTS (Tat)

This class of instruments is characterized by plucked strings. In ancient times virtually all instruments of this class were referred to as vina.

* Bulbul Tarang
* Dotar #1
* Dotar #2 (Dotora)
* Ektar
* Getchu Vadyam (Gettuvadyam)
* Gopichand (ektar)
* Gotuvadyam
* Katho
* Magadi Vina
* Nakula Vina
* Rabab (Kabuli Rabab)
* Rudra Vina
* Saraswati Vina (South Indian Vina)
* Santur
* Sarod
* Seni Rabab
* Sitar
* Surbahar
* Surmandal
* Swarabat (Swaragat)
* Tanpura
* Vichitra Vina

BOWED-STRINGED INSTRUMENTS (Vitat)

This is a class of stringed instruments which are bowed. This class appears to be quite old, yet these instruments did not occupy a place in classical music until the last few centuries. The entire class of instruments has a certain stigma attached to it. Even today only the Western violin is free of this stigma.

* Chikara
* Dilruba
* Esraj
* Kamancha
* Mayuri Vina
* Pena (a.k.a. Bana)
* Ravanhasta
* Sarangi
* Saringda
* Tar Shehnai
* Violin

MEMBRANOUS PERCUSSIVE (Avanaddh)

This is a class of instruments which have struck membranes. These typically comprise the drums.

* Chenda
* Daf (Duf, Daphu, Daffali)
* Damaru
* Dhol
* Dholak
* Dholki (Nal)
* Idakka and Udaku (Udakai)
* Kanjira
* Khol (Mridang)
* Maddal
* Mridangam
* Nagada
* Pakhawaj
* Pung
* Shuddha Madalam
* Tabla
* Tabla Tarang
* Tasha
* Tavil
* Thanthi Panai
* Tumbak

We have given a brief overview of the Indian instruments. We mentioned that the instruments fall into five categories: ghan (non-membranous percussion), sushir (wind blown), tat (plucked stringed), vitat (bowed stringed) and avanaddh (membranous percussion). Within these five classes there are a large number of individual instruments.

SARASWATI VINA

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SARASWATI VINA

Saraswati vina (Saraswathi veena) is the instrument associated with Saraswati, the goddess of learning and the arts. This instrument is common in south India and is an important instrument in carnatic sangeet. It is variously called simply vina, or veena, the "Saraswati" part being implied.

The saraswati vina has an interesting construction. It has a body made of wood, generally, this is jackwood. The highest quality vinas have the entire body carved from a single block of wood, while the ordinary vinas have a body which is carved in three sections (resonator, neck and head). There are 24 frets made of brass bars set into wax. (see "Fretting and Fingering the Vina") There is another resonator at the top of the neck. This is no longer a functioning resonator, but is mainly used as a stand to facilitate the positioning of the instrument when it is played. Because it is no longer functioning it is not unusual to find that this upper resonator may be made of acoustically neutral materials such as paper mache, cane or other similar materials. Unlike north Indian instruments like the sitar, the saraswati vina has no sympathetic strings. It has only four playing strings and three drone strings (thalam). (see also "Tuning the Vina") The main bridge is a flat bar made of brass. This bar has a very slight curve. It is this light curve which gives the vina its characteristic sound. A major centre for the manufacture of the saraswati vini is in Tanjore.

The playing position is shown below. We see that the performer sits cross-legged on the floor, the small vestigial gourd rests against the left thigh while the main resonator rests on the floor. The right hand plucks the strings while the left hand frets the instrument.

The Saraswati Veena is one of the most ancient and revered of South Indian instruments. Together with Bansuri flute this form of veena may be seen in many sacred pictures of Saraswati, goddess of music.

Have you ever seen "Rudra Veena"? The Rudra Veena is an instrument that is rarely heard on the concert stage now. Although,two centuries ago it was regarded as the king of all instruments. The duration of these veena's notes is incredibly long. The sound produced by rudra veena composed of regular, uniform vibrations. The Rudra Veena is considered the mother of all string instruments. Around since very ancient time, Lord Shiva is said to have played this instrument when he created whole Brahamanda . The belief is that Shiva and Parvati used to dance to the music that emanated from this instrument.

Saraswathi Veena Chart: Discription of Veena

Melody is produced on four metal strings that run above the frets. These are stretched over a wide bridge that sits on the body of the veena. Three other strings run alongside the neck of the instrument. These are used for maintaining time and for playing the drone. The performer, who sits cross-legged on the stage, rests the small resonator on the left lap. The fingers of the left hand are used to press, pull and glide on the frets, while the fingers of the right hand are used to pluck and twang the strings.

The veena is one of the most ancient string instruments of India. Its origin can be traced back to the ancient yazh, a stringed instrument, similar to the Grecian harp. Bharata, in his Natya Shastra, explains the theory of the 22 sruti-s in an octave with the help of two experimental veena-s.

The veena is a complete instrument and provides the basic components: sruti, laya and sahitya. Its main attraction is the mellow tonal quality which is capable of evoking a meditative atmosphere

Mohiniattam-The dance of the enchantress

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Mohiniattam-The dance of the enchantress

This Indian classical dance form - Mohiniattam - comes from one of the South states of India, Kerala. And the mere mention of Kerala brings up in one’s mind the wondrous and incomparable beauty of its landscape .The scenic backwaters where the palm fronds fill up the Kerala skyline moving gently and gracefully in the breeze, the boats bobbing up and down gently, gracefully and in perfect tune with nature and its rhythm .

A Mohini Attam dancer immediately reminds you of this scenic beauty in her dance. The movements are beautiful and lyrical and they are always in an unbroken chain, from one movement very gently and gracefully merging into another . Though the movements are swaying and gentle the presentation comes out with a tremendous and strong impact leaving the spectator in an atmosphere of grace, charm, vitality and a forceful vivacity. The graceful and long limbs of a Mohini Attam dancer brings before your eyes the vision of the palm fronds swaying and dancing in the breeze and the movements are like those of a boat bobbing up and down in the back waters. There is a tremendous amount of force that a Mohini Attam dancer brings out in her performance without which the performance would be lacking in its lustre but this tremendous energy is released in a very controlled and graceful manner which can be achieved only with discipline , hard work and (bhakti) or devotion to the art form.

Also, another feature that influences Mohini Attam is the simplicity of dressing by the people in Kerala which is visible in the costume of the dancer .White is a favourite colour of the people basically because of the hot and humid climate , and a Mohini Attam costume is always white or off white with gold or red border . The hair is tied in a bundle on the left side with white flowers (mogra) around it, with a simple ornament tied on the bun.The jewellery used for the neck is a ‘choker’ ,and a kasimala(coin chain).For the ears a dancer wears a “toda’ which is circular like a coin and has dangling earrings with it known as “jhumka” .The face is done up with an exaggerated eye make up to help her express her emotions . The eyes reflect immediately the mental state of the situation or character the dancer is representing and a description of Mohini Attam cannot be complete without the mention of the nayanabhinaya or the use of the eyes, eyebrows and eyelids.

But at the end of it all the transformation is tremendous. The merrily dancing eyes and the fluttering of the eyebrows of the dancer all create a devastatingly mischievous atmosphere .The sweet smelling of the flowers, the gentle, swaying movement of the torso in perfect harmony with the music and the bewitching personality of a Mohini attam dancer all take us to the highest aesthetic order “the atmosphere of enchantment ” .

The Indian mythology mentions a few times when Lord Vishnu (one among the trinity of Gods-Brhma, Vishnu, Mahesha) assumes the form of Mohini to save the Gods from their clash with the asuras or demons. In one instance when the Gods and demons were churning the mighty ocean for the pot of nectar (amrita), with the serpent Vasuki twined around the mountain Mandaragiri. The ocean brought out all the treasures buried in its depth, while the devas (gods) and asuras (demons) churned on and on. Finally when the pot of nectar appeared ,the demons true to their nature grabbed it. The universe would be in total darkness if the demons had their way. It is at this moment the Lord, assumes the form of Mohini to save the Universe from the hands of the demons and total darkness.

The tinkling sound of bells, the sweet smell of flowers, the divine being, the beauty unparalleled -The Enchantress . The one, who could take your minds away from the present to another world of beauty and charm. The lotus eyed one dancing gently and gracefully filling the atmosphere with unsurpassed heavenly beauty. The demons true to her instructions shut their eyes to relinquish and behold the beauty they envisioned . She is Mohini the celestial dancer, one who has come to enchant.

Until, a few decades ago it was presumed that in India there were only four classical dances. Bharata Natyam, Kathak, Manipuri and Kathakali . But then due to the pioneering works of great gurus (teachers), dancers and scholars the dance forms of Mohini Attam, Kuchipudi and Odissi were discovered in their native settings and brought out into the urban stage, much to the delight and wonderment of the lovers of dance .

There is a considerable amount of disagreement among scholars regarding the antiquity of Mohini Attam. Most of them agree that it was during Maharaja Swati Tirunal‘s rule in the 16th century that Mohini Attam achieved its refined form. The Maharaja of Travancore was a great patron of arts and he encouraged artistes, singers, dancers from all over the country to come and perform in his court. During this time he also invited the Tanjore quartets from Tamil Nadu who were great Bharata Natyam nattuvanars ( or teachers) who brought with them dancers and thus influenced the already present local dance form. The Maharaja was a great bhakta or devotee of Lord Padmanabha and wrote and composed in Hindustani as well as Carnatic innumerable kritis, padams and varnams in his praise. The Maharaja’s padams are always a part of a Mohini Attam dancer’s repertoire.

But it was finally only in the 20th century that Mohini Attam got its fresh impetus that it actually deserved, and it has come to stay. It was when Mahakavi Vallathol set up the premiere institution for Kathakali , Kerala Kalamandalam in India that he invited three dancers practicing Mohini Attam at that time Kalpuratte Kunjukutty Amma, Tottacheri Chinnamuamma and Kalyani Kutty Amma to come and teach Mohini Attam in his institution. Till ,little more than a decade ago the Mohini Attam repertoire ran almost parallel to the Bharata Natyam repertoire. But just as each region has its own individuality and identity it was natural that Mohini Attam had to find its own identity. Due to the relentless work of great researchers, scholars, performers of Mohini Attam , this dance form achieved its present classical standing.

But it was finally only in the 20th century that Mohini Attam got its fresh impetus that it actually deserved, and it has come to stay. It was when Mahakavi Vallathol set up the premiere institution for Kathakali , Kerala Kalamandalam in India that he invited three dancers practicing Mohini Attam at that time Kalpuratte Kunjukutty Amma, Tottacheri Chinnamuamma and Kalyani Kutty Amma to come and teach Mohini Attam in his institution. Till ,little more than a decade ago the Mohini Attam repertoire ran almost parallel to the Bharata Natyam repertoire. But just as each region has its own individuality and identity it was natural that Mohini Attam had to find its own identity. Due to the relentless work of great researchers, scholars, performers of Mohini Attam, this dance form achieved its present classical standing.

Today, we have different schools of Mohini Attam just as you have schools for Bharata Natyam. But they all have one thing in common they all imbibe the beautiful lyrical elements of the social folk dances of the graceful women from Kerala. Every classical dance form from India has its beginnings in the local prevalent folk art forms and has also been very strongly influenced by the social, political, religious and behavioral pattern of the people of the region. The classical dance forms have imbibed these features to give them all a distinct flavour of its own, but they are still all bound by the great traditions set by the ‘Natyashastra’ around the 2nd century B.C.. The ‘Natyashastra’ is a treatise on dance and drama and lays down rules regarding the practice and presentation of drama and dance. Each dance form adopts it to suit the regional changes in the social, religious, political and behaviour of the people. But it was around the 3rd century A.D that Nandikeshvara wrote the Abhinaya Darpanam which is very religiously followed by the practitioners of Bharata Natyam .It gives the usage of hastas (hand gestures), pada bhedas (feet positions) ,caris (gaits) , gatis (steppings) etc.

Similarly a study of Mohini Attam wouldn’t be complete without the study of Balaramabharatam. The author Maharaja Kartikatirunal Rama Varma was a descendant of the ancient Chera kings of South India who encouraged arts and literature in the 18th century.. The Maharaja was a great scholar and had an extraordinary talents not only for literature but also for music, dance and other allied arts and was also a great poet .His contribution to Kathakali ( a dance drama tradition) of Kerala is incomparable. The book gives a detailed insight into the technical performing aspects for Mohini Attam. There is a mention of the use of hastas(hand gestures), angas ( major limbs) upangas ( minor limbs ) and pratyangas ( neck, wrists, knees, thighs etc).Reading through the text and the practical details mentioned in the book leaves a student of Mohini Attam with very few doubts on the technicalities. The Balaramabharatam is an accepted text by most leading dancers, scholars of India today for Mohini Attam.

Being associated for a very long time and having the opportunity to learn under one of the pioneer’s of Mohini Attam , Padmashri (Dr.) Kanak Rele who is responsible for bringing Mohini Attam into the classical map of India , I would say is a blessing .Also the privilege of working with one of the leading theater personalities , scholar, poet and a great musical composer Shri Kavalam Narayana Panikker whose contribution to Mohini Attam also needs a special mention. Mohini Attam will flourish and go a long way. With due respect to all performers, scholars, and teachers of the art form, we shall have just one aim in mind to carry on this great art form from one century into the next .The responsibility put into us by the great performers of the last and present century to carry on this great tradition and initiate the uninitiated into another world of beauty , grace and charm.

GHATAM

2009-04-04T18:16:00.000+05:30

GHATAM

Ghatam is nothing more than a large clay pot. It is very commonly played in South Indian classical performances. There are two actions of resonance. The primary one is the ringing of the pot caused by striking. A very low resonance is also produced by the cavity. This pitch is raised or lowered by opening or closing the hole with the stomach.

Ghatam is one of the oldest carnatic instrument used in the percussion side. However this is made up of clay and iron ore which makes it a good solid body to play.

Ghatam is an earthern pot where player used all there fingers to produce the sound. However the sound is a metallic sound.

TH Vinayakram plays the Indian clay pot called the Ghatam. During performance he keeps his belly exposed to facilitate the use in creating tones on the mouth of the Ghatam. He plays fast rhythms of knuckle-cracking intensity using different parts of the Ghatam from the mouth to the bottom of pick up different resonant tones due to thickness of the clay. He is featured in the Taal Ensemble and in the Shakti recordings of Zakir Hussain and John McLaughlin.

ghatam is made with special metal ores such that it gives a good sound and it can be used as an instrument.

ghatam is of two type madras ghatam and maana madurai ghatam. The earlier madras ghatam is light and the maana madurai ghatam is a heavy ghatam and tone is beautiful in both the ghatams

A good quality South Indian Ghatam/Clay pot made of special resonant fire treated clay for high quality sound.

CHIMPTA (CHIMTA)

2009-04-04T18:12:00.001+05:30

CHIMPTA (CHIMTA)
(MUSICAL FIRE TONGS)

The chimpta is actually a fire tong. However, it has evolved into a musical instrument by the permanent addition of small brass jingles. This instrument is especially popular in Punjabi folk music and the Sikh religious music known as Shabad.

Selected Vedio

INDIAN MUSICAL INSTRUMENTS

2009-04-04T18:08:00.001+05:30

Jalandhara Bandha - Net-Bearer Bond

2009-04-03T11:02:00.000+05:30

Jalandhara Bandha - Net-Bearer Bond

(jah-lahn-DHA-rah bahn-dah)
jala = net (for catching birds or fish)
dhara = bearing, supporting
bandha = bond

Step by Step

1) Sit in a comfortable pose.

2) Firm your shoulder blades against your back torso to lift your sternum. Be careful not to push your front ribs forward.

3) Full Jalandhara requires the chin to rest comfortably on the sternum (neck flexion). Many beginners make the mistake of only lowering the chin; in fact your chin should be met half-way by the elevated sternum.

4) The focus of these complementary movements is the "crook" of the throat, where the underside of the chin meets the front of the neck. Draw this crook diagonally up and into your skull (toward the top of your spine). Your head should pivot and your chin should descend over this action, which simultaneously draws the top of the sternum upward.

5) Work on lengthening the back of your neck, releasing your shoulders, and opening your chest in poses like Sarvangasana and Setu Bandha Sarvangasana. Never force your chin to your sternum.

6) If you're a beginner, don't hold this bandha continuously throughout your practice. Begin your inhalation with your head upright. Apply Jalandhara as you near the end of the inhale, hold during the retention and the exhale, then raise your head to a neutral position for the next inhale.

Source : yogajournal.com

Svara Yoga Pranayama- Yoga of Sound Breath

2009-04-03T10:59:00.001+05:30

Svara Yoga Pranayama- Yoga of Sound Breath
(s-VAR-ah)
svara = sound, air breathed through the nostrils

Step by Step

1) Traditionally the five "elements" that make up our body-mind (and the entire material universe)-earth, water, fire, air, "ether"-are each energetically associated with a fixed point on the linings of our nostrils. So it's possible to influence and transform our body-mind by channeling our breath over or away from these points. .

2) This exercise is a variation of the traditional teaching, since our two points are non-traditional and not elementally potent, and our immediate goal is simply to become better acquainted with our breath. These points (two in each nostril) are the "inner nostril" just beside the septum, and the "outer nostril," underneath the "wing" (ala) of the nose.

3) Sit comfortably and attend to your breath as it passes in and out through your nostrils. It's likely you'll feel a difference between the two; your inhale, for example, is touching your right nostril near the septum, but your left nostril below the wing.

4) Watch for a minute or two, then begin to channel (or "narrow") your inhales across your inner nostrils. Continue for a minute or two.

5) After breathing normally for 30 seconds, begin to channel (or "widen") your exhales beneath s your outer nostrils, "widening" your breath. Again continue for a minute or two, then return to normal breathing for 30 seconds.

6) Finally combine the inner and outer breaths and breath slowly for a few minutes. You can practice this version of Svara Yoga during Ujjayi or Kapalabhati (on the exhale).

Source : yogajournal.com

Kapalabhati Pranayama- Skull Brightener Breath

2009-04-03T10:57:00.000+05:30

Kapalabhati Pranayama- Skull Brightener Breath

(kah-pah-lah-BAH-tee)
kapala = skull
bhati = light (implying perception, knowledge)

Step by Step

Kapalabhati consists of alternating short, explosive exhales and slightly longer, passive inhales. Exhales are generated by powerful contractions of the lower belly (between the pubis and navel), which push air out of the lungs. Inhales are responses to the release of this contraction, which sucks air back into the lungs.

Focus on your lower belly. Many beginners aren't able to isolate and contract this area. If needed, cup one hand lightly in the other and press them gently against your lower belly.

Now quickly contract (or pump your fisted hands against) your lower belly, pushing a burst of air out of your lungs. Then quickly release the contraction (or your hands), so the belly "rebounds" to suck air into your lungs. Pace yourself slowly at first. Repeat eight to 10 times at about one exhale-inhale cycle every second or two.

As you become more adept at contracting/releasing your lower belly, you can increase your pace to about two exhale-inhale cycles every second. Imagine the exhale sweeping out or "brightening" the inner lining of your skull.

Do 25 to 30 cycles at first. Gradually increase the number of cycles you do each practice to 100 or more.

Source : yogajournal.com

Surya Bhedana Pranayama - Single Nostril Breath

2009-04-03T10:53:00.000+05:30

Surya Bhedana Pranayama - Single Nostril Breath

(soor-yah beh-DAH-na)
surya = sun
bhedana = piercing

(chahn-drah)
chandra = moon

Step by Step

1) Our right nostril is energetically associated with our body's heating energy, symbolized by the "Sun" and the syllable HA, our left nostril with our body's cooling energy, symbolized by the "Moon" and the syllable THA.

2) In the average person these energies are typically in conflict, which leads to disquiet and disease. The goal of traditional Hatha Yoga is to integrate and harmonize HA and THA for happiness and health. The purpose of these two breaths then is to create balance by "warming" a "cool" body-mind and vice versa.

3) Sit in a comfortable asana and make Mrigi Mudra. For Surya Bhedana block your left nostril and inhale through your right. Then close the right and exhale through the left. Continue in this manner, inhale right, exhale left, for 1 to 3 minutes.

4) For Chandra Bhedana, simply reverse the instructions in (2), inhaling always through your left nostril, exhaling through your right. Again continue for 1 to 3 minutes.

Simhasana - Lion Pose

2009-04-03T10:38:00.000+05:30

Simhasana - Lion Pose

(sim-HAHS-anna)
simha = lion

Step by Step

1) Kneel on the floor and cross the front of the right ankle over the back of the left. The feet will point out to the sides. Sit back so the perineum snuggles down onto the on the top (right) heel.

2) Press your palms firmly against your knees. Fan the palms and splay your fingers like the sharpened claws of a large feline.

3) Take a deep inhalation through the nose. Then simultaneously open your mouth wide and stretch your tongue out, curling its tip down toward the chin, open your eyes wide, contract the muscles on the front of your throat, and exhale the breath slowly out through your mouth with a distinct "ha" sound. The breath should pass over the back of the throat.

4) Some texts instruct us to set our gaze (drishti) at the spot between the eyebrows. This is called "mid-brow gazing" (bhru-madhya-drishti; bhru = the brow; madhya = middle).Other texts direct the eyes to the tip of the nose (nasa-agra-drishti; nasa = nose; agra = foremost point or part, i.e., tip).

5) You can roar two or three times. Then change the cross of the legs and repeat for the same number of times.

Mrigi Mudra - Deer Seal

2009-04-01T10:29:00.001+05:30

Mrigi Mudra - Deer Seal

(m-RIG-ee moo-drah)
mrigi = deer
mudra = seal

Step by Step

1) Ball your right hand into a fist. Press your index and middle fingers into the mound (or base) of your thumb, so they're held firmly in their curled position. (This mudra is traditionally made with the right hand, but there's no compelling reason why left-handers can't use their dominant hand if they like).

2) Stretch out the ring and pinky fingers. Keep your pinky relatively straight, but curl your ring finger slightly, then press its pad to the pinky's nail. Align the fingertips as best you can; the idea is to "blend" the two fingertips into one.

3) Now bring your hand to your nose. Be sure not to turn your head toward your hand, keep your chin aligned over your sternum. Also be sure to keep your right shoulder level with your left shoulder. Tuck your right elbow in close to the side of your torso without hardening your armpit.

4) For all digital practices, the ring finger/pinky pair will close the left nostril, the thumb the right (unless you're using your left hand). Curl these fingers so that you press the nostrils with their more sensitive tips, not their pads. When you close a nostril, apply just enough pressure to block the opening, not so much that you interfere with the flow of breath through the open nostril.

5) Try this simple practice. Close your right nostril and inhale slowly through your left. Then close the left and open and exhale through the right. Finally inhale through the right, close it, and open and exhale through the left. Repeat 2 or 3 times, then release the mudra and breathe normally for a minute.

Ujjayi Pranayama - Conqueror Breath

2009-03-27T13:59:00.002+05:30

Ujjayi Pranayama - Conqueror Breath

(oo-jy [rhymes with "pie"]-ee)
ujjayi = to conquer, to be victorious

Step by Step

1) Ujjayi is especially known for the soft hissing sound the breather makes by directing her inhales and exhales over the back of her throat. To learn how, try this.

2) Inhale through your nose, then exhale slowly through a wide-open mouth. Direct the out-going breath slowly across the back of your throat with a drawn-out HA sound. Repeat several times, then close your mouth. Now, as you both inhale and exhale through your nose, direct the breath again slowly across the back of your throat. Ideally, this will create, and you should hear, a soft hissing sound.

3) This sound, called ajapa mantra (pronounced ah-JOP-ah mahn-trah, the "unspoken mantra"), serves three purposes: it helps to slow the breath down (which is exactly what we want for Ujjayi), to focus awareness on the breath and prevent your min "wandering," and to regulate, by continually monitoring and adjusting the evenness of the sound, the smooth flow of breath (another important element of Ujjayi).

4) Start with 5 to 8 minutes of practice, gradually increase your time to 10 to 15 minutes. When finished return to normal breathing for a minute or two, then lie down in Shavasana (Corpse Pose) for a few minutes.

5) Ujjayi is the foundation of many other techniques listed on this site; e.g., ratio breathing, svara yoga, digital pranayama, retention along with the two bandhas. Note that Ajapa Mantra isn't used when performing digital pranayama.

Source : yogajournal.com

Nadi Shodhana Pranayama - Channel Cleaning Breath

2009-03-27T13:57:00.000+05:30

Nadi Shodhana Pranayama - Channel Cleaning Breath

(nah-dee show-DAH-nah)
nadi = channel
shodhana = cleaning, purifying

Step by Step

1) Sit in a comfortable asana and make Mrigi Mudra. Beginning pranayama students may have some difficulty holding their raised arm in position for the length of the practice. You can put a bolster across your legs and use it to support your elbow.

2) Gently close your right nostril with your thumb. Inhale through your left nostril, then close it with your ring-little fingers. Open and exhale slowly through the right nostril.

3) Keep the right nostril open, inhale, then close it, and open and exhale slowly through the left. This is one cycle. Repeat 3 to 5 times, then release the hand mudra and go back to normal breathing. (NOTE: some yoga schools begin this sequence by first closing the left nostril and inhaling through the right; this order is prescribed in the Hatha Yoga Pradipika, 2.7-10).

4) Traditionally Nadi Shodhana includes breath retention, fixed ratio breathing, and the repetition of certain "seed" mantras (cf. Gheranda Samhita 5.38-54). For beginning pranayama students, it's best to focus only on the inhales and exhales.

Source : yogajournal.com

Kumbhaka Pranayama : Breath Retention

2009-03-27T13:50:00.001+05:30

Kumbhaka Pranayama : Breath Retention

kuhm-BAH-kah)
kumbha = pot (a traditional image of the human torso as a container for the breath with two "openings" at the throat and base of the pelvis)
antara (ahn-TAH-rah) = interior
bahya (BAH-yah) = outer

Step by Step

1) Antara Kumbhaka requires the application of both Jalandhara and Mula Bandhas; in addition the rib case gently "hugs" the lungs.

2) Establish Sama Vritti Ujjayi (and for this example, the vritti count is 6 OMs). To begin, apply the two bandhas as you near the end of your inhale, and retain the breath for 2 OMs, no more. Gently squeeze the ribs against the expanded lungs. Then exhale, concurrently releasing Mula Bandha and, when finished, raise your head to neutral. DON'T perform Kumbhaka on successive breaths; take 2 to 3 Ujjayi breaths before the next retention.

3) In general your first Kumbhakas should be one-third to one-half the length of your Sama Vritti count. Practice at this level until you're completely comfortable, which may take several weeks or longer.

4) Then gradually reduce the number of Ujjayis between Kumbhakas until you can comfortably retain your breath for 2 OMs on successive inhales for about 5 minutes. Next increase your Kumbhaka to 3 OMs, but again separate them by 2 to 3 Ujjayis. Again gradually reduce the Ujjayis until you can comfortably retain for 3 OMs on successive inhales for 5 minutes.

5) Proceed methodically until your Kumbhaka count matches your Sama Vritti count. Now STOP. Don't go any further without direct guidance from an experienced teacher.

Source : yogajournal.com

BACKBENDS

2009-03-23T16:25:00.001+05:30

BACKBENDS

Backbends are thought of as poses that open our awareness to the outside world. While the front of the body is being stretched in backbends, (specifically the thighs, front groins, belly, chest and armpits), our attention should continually be focused on the back torso. As you come into a backbend, lift the pubic bone toward the navel and rotate the thighs strongly inward. Keep the buttocks firm (but not tight or squeezed) and keep the tailbone pressed forward, which helps keep the lower back long and protect it from compression.

BACKBEND SEQUENCE (Total time 40 to 50 minutes)

1. Virasana (Hero Pose)
Clasp your hands, stretch the arms straight out in front of you, with the palms facing away from you. Then inhale and stretch the arms up alongside the ears. Hold for one minute. Release, reverse the clasp of the hands (do the non-habitual clasp) and again raise your arms for one minute. Release on an exhalation. (Total time two minutes) .

2. Supta Virasana (Reclining Hero Pose)
(Total time two to three minutes).

3. Gomukhasana (Cow Face Pose)
For one to two minutes on each side (Total time two to four minutes) .

4. Adho Mukha Svanasana (Downward-Facing Dog Pose)
(Total time one minute).

5. Adho Mukha Vrksasana (Handstand)
Perform this pose very close to the wall. Once you have kicked up, press the buttocks and the backs of the legs into the wall, and lift the chest away from the wall. Hold this position for 30 seconds, then press through the arms and reach through heels into the full pose for 30 seconds. (Total time one minute) .

6. Tadasana (Mountain Pose)
(Total time one minute). Then step your feet apart for:

7. Utthita Parsvakonasana (Extended Side Angle Pose)
Move into the pose, then walk the bottom hand a few inches behind you so that you have space to come into a backbend in the upper-back. Hold each side for one minute. (Total time two minutes) .

8. Virabhadrasana I (Warrior I)
One minute on each side (Total time two minutes) .

9. Purvottanasana (Side Stretch Pose)
Repeat three times, holding for 30 seconds to one minute each time. (Total time two to three minutes) .

10. Bhujangasana (Cobra Pose)
Repeat three times, holding for 30 seconds to one minute each time. (Total time two to three minutes) .

11. Salabhasana (Locust Pose)
Repeat three times, holding for 30 seconds to one minute each time. (Total time two to three minutes) .

12. Dhanurasana (Bow Pose)
(Total time one minute).

13. Ustrasana (Camel Pose)
(Total time one minute).

14. Urdhva Dhanurasana (Upward Bow)
Repeat three to five times, holding for 15 to 30 seconds each time. (Total time one to three minutes) .

15. Salamba Sarvangasana (Supported Shoulderstand)
Hold for three to five minutes, then drop to:

16. Setu Bandha Sarvangasana (Bridge Pose)
(Total time one minute).

17. Matsyasana (Fish Pose)
(Total time 30 seconds to one minute).

18. Marichyasana III (Pose Dedicated to the Sage Marichi)
Twist to each side three times, holding each twist for 30 seconds. (Total time three minutes) .

19. Savasana (Corpse Pose)
(Total time 10 minutes).

Source : yogajournal.com

FORWARD BENDS

2009-03-23T16:24:00.000+05:30

FORWARD BENDS

Forward bends are typically thought of as poses that direct our awareness away from the outside world and toward the inner world. While the back of the body is being stretched in forward bends, particularly the backs of the legs, our attention should continually be focused on the front torso. Always tip into a forward bend from the groins, being sure to maintain the length of the front torso, especially the lower belly between the pubic bone (the front bottom of the pelvis) and the navel. As soon as you begin to feel this area shorten, you should stop the forward movement, lift out of the pose slightly, reestablish the length of the lower belly, and then try to bend forward again.

FORWARD BEND SEQUENCE (Total time 50 to 70 minutes)

1. Supta Padangustasana (Reclining Hand-to-Big-Toe Pose)
Hold the right leg vertical for one to two minutes, then open the leg out to the side, resting the outer thigh on a block for the same length of time. Repeat with the left leg for the same length of time. (Total time two to four minutes) .

2. Dandasana (Staff Pose)
Hold for one minute, then lean back and, with an exhalation, draw the legs into:

3. Baddha Konasana (Bound Angle Pose)
Hold for one minute, then as you inhale, lightly extend the legs back into Dandasana. (Total time for steps two and three: two minutes) .

4. Janu Sirsasana (Head-to-knee Pose)
Hold for two to three minutes on a side. (Total time four to six minutes) .

5. Ardha Baddha Padmottanasana (Half-Bound Half-Lotus Forward Bend)
Hold for two to three minutes on each side. (Total time four to six minutes) .

6. Trianga Mukhaikapada Paschimottanasana (Three-Limbed Forward Bend)
Hold for two to three minutes on each side. (Total time four to six minutes) .

7. Krounchasana (Heron Pose)
Hold for one to two minutes on each side. (Total time four to six minutes) .

8. Marichyasana I (Pose Dedicated to the Sage Marichi)
Hold for one to two minutes on each side. (Total time four to six minutes) .

9. Paschimottanasana (Seated Forward Bend)
(Total time two to three minutes).

10. Upavistha Konasana (Wide-Angle Seated Forward Bend)
First twist to the right for one minute, then to the left for the same length of time. Return to center and fold forward for two minutes. (Total time four minutes) .

11. Tadasana (Mountain Pose)
(Total time one minute).

12. Uttanasana (Standing Forward Bend)
(Total time one to two minutes).

13. Utthita Trikonasana (Extended Triangle Pose)
For one minute on each side. (Total time two minutes) .

14. Utthita Parsvottanasana (Extended Side Stretch Pose)
Place the hands on the floor on either side of the front foot. Hold for one minute on each side. (Total time two minutes) .

15. Prasarita Padottanasana (Wide-Legged Standing Forward Bend)
(Total time one to two minutes).

16. Salamba Sarvangasana (Supported Shoulderstand)
(Total time three to five minutes).

17. Halasana (Plow Pose)
(Total time one to three minutes).

18. Savasana (Corpse Pose)
(Total time 10 minutes).

Source : yogajournal.com

Shoulders

2009-03-23T16:23:00.002+05:30

Shoulders

One giveaway of poor posture, often the result of the stresses and strains of daily life, is rounded shoulders. When we hold ourselves this way, our upper back hunches, lifting the shoulders toward the ears, and our chest collapses, narrowing the space between the collarbones. All of this can lead to the head jutting forward, which creates compression and tightening in the neck. This condition creates the potential for any number of physical ailments, including chronic headaches, back pain, and breathing difficulties. A shoulder sequence should include stretches that open and lift the heart area, and exercises that draw the shoulder blades down the back and return the head to a neutral position, perched lightly on the top of the spine.

SHOULDER SEQUENCE (Total time 45 to 55 minutes) .

1. Sukhasana (Easy Pose) or Virasana (Hero Pose)
Find a seated position that is comfortable for you, and make sure you have a strap nearby. Keeping the hands well apart, hold the strap in both hands with the arms stretched forward and parallel to the floor. Inhale and sweep the strap above your head, then exhale as you bring it down behind your torso. Next, inhale the strap up again above your head, then down in front of your torso on the exhalation. Keep your elbows straight and your shoulders away from your ears. Repeat 10 to 15 times (Total time three minutes) .

2. Gomukhasana (Cow Face Pose) arm position
Take the right arm on top first. Hold for one minute. Then perform the arm position for Garudasana (Eagle Pose), right arm above the left, for the same length of time. Repeat with the left arm superior for the same length of time (Total time four minutes) .

3. Adho Mukha Svanasana (Downward-Facing Dog Pose)
Come into Downward Dog with your fingertips grazing the edge of a wall. Hold for 30 seconds to two minutes. Inhale and swing your torso forward until the crown of your head presses against the wall in a variation of Plank Pose. Hold for one to two minutes, spreading your shoulder blades wide. Return to Adho Mukha Svanasana for 30 seconds to two minutes, then Plank again for one to two minutes. Finally release your knees to the floor (Total time three to four minutes) .

4. Pincha Mayurasana (Forearm Balance)
Perform at the wall for one minute. If you'd like, you can repeat for the same length of time, kicking up with your non-habitual leg.

5. Adho Mukha Vrksasana (Handstand)
Take Handstand at the wall for one minute. As you did in Forearm Balance, you can repeat for the same length of time, kicking up with your non-habitual leg.

If you are not yet working on Handstand, try Half Handstand at the wall. Measure off a leg's distance from the wall by sitting in Dandasana (Staff Pose) with the heels pressing against the wall. Turn around so that you're facing away from the wall and take Downward-Facing Dog. Place your hands where your hips were in Dandasana. Slowly walk your feet up the wall so until they are parallel with your hips. If this is your first time trying the pose, you may want to have a partner nearby to spot you.

6. Tadasana (Mountain Pose) with Anjali Mudra (Salutation Seal)
Spread and press the palms in Anjali Mudra. Use these actions to create a similar spreading and firmness of the shoulder blades on the back torso. (Total time two minutes) .

7. Utthita Parsvottanasana (Extended Side Stretch Pose)
Place the hands in reverse Anjali Mudra, pressing behind the back. Or you can cross the forearms behind the back and clasp hold of the elbows. Be sure to reverse the cross on the other side. Hold for one minute on each side. In between each side, and at the conclusion of the second side, perform Prasarita Padottanasana II (with the hands on the waist) for one minute. (Total time four minutes) .

8. Virabhadrasana I (Warrior Pose I)
One minute on each side. (Total time two minutes) .

9. Vasisthasana (Pose Dedicated to the Sage Vasistha)
One minute on each side (Total time two minutes) .

10. Setu Bandha Sarvangasana (Bridge Pose) with a variation
Sit with your knees bent and feet flat on the floor, hips distance apart. Place a strap around the ankles and lie back. Come into Bridge Pose with the hands on the strap. Hold it and walk the hands up the strap, toward the feet. Keep the shoulder blades drawing down the back. Repeat three times, each time for one minute. (Total time three minutes) .

11. Purvottanasana (Upward Plank Pose)
Come into the pose two to three times, holding for 30 seconds to one minute each time. (Total time one to three minutes) . Alternative: Come into Tabletop the pose with the knees bent and feet flat on the floor.

12. Dhanurasana (Bow Pose)
Take Dhanurasana two to three times, holding for 30 seconds to one minute each time. (Total time one to three minutes) .

13. Bharadvajasana (Bharadvaja's Twist)
One minute on each side (Total time two minutes) .

14. Salamba Sarvangasana (Supported Shoulderstand)
Practice working up to five minutes. Finish with Halasana (Plow Pose) for one to two minutes. (Total time six to seven minutes).

15. Savasana (Corpse Pose)

(Total time 10 minutes).

Source : yogajournal.com

Groins

2009-03-23T16:23:00.001+05:30

Groins

My dictionary notes that the English word groin "perhaps" derives from the Old English grynde, which means "hollow." The groins are indeed hollows, located at the junctions between the thighs and pelvis. For the purposes of yoga instruction (though this is not technically correct according to anatomy textbooks), we can distinguish between the front groins and the inner groins. The front groins refer to the creases running from the hip points (the two little bony knobs a few inches to either side of the navel) diagonally down and into the pubic bone (the front bottom of the pelvis), which together form a "V" shape. The inner groins extend from the creases between the inner thighs and the perineum (the fleshy base of the pelvis). Any groin sequence should work with both these pairs of groins.

GROIN SEQUENCE: (Total time 45 to 55 minutes)
The groin sequence begins with three (supta) reclining poses.

1. Supta Baddha Konasana (Reclining Bound Angle Pose)
Start in Supta Baddha Konasana with the back of your pelvis flat on the floor. Then after a minute or so, place a block underneath your sacrum. You will eventually place the block at its highest height, but the sensation is too intense, you can lower it. (Total time two to three minutes).

2. Supta Virasana (Reclining Hero Pose)
If you can't recline comfortably on the floor, make sure that your back torso is well-supported on a bolster. Place a heavy sandbag on the front groin of the bent leg, right over the head of the thighbone. Keep each leg in position for two to three minutes (Total time four to six minutes).

Alternative: If Supta Virasana is painful for your knees, review the instructions in our Poses section. If you still find the pose uncomfortable, take a low lunge at the wall as follows: Start by facing the wall. Place your right big toe at the wall and slide your left knee back into a low lunge. (The top of your left foot and left knee will rest on the floor.) Press your hands into the wall for support. Repeat on the other side.

3. Supta Padangustasana (Reclining Hand-to-Big-Toe Pose)
Hold each leg vertical for one to two minutes, then open the leg out to the side (resting the outer thigh on a block) for the same length of time. (Total time four to eight minutes).

4. Adho Mukha Svanasana (Downward-Facing Dog Pose)
Stay in the pose for one minute. Then step the right leg forward into the leg position for:

5. Eka Pada Rajakapotasana (One-Legged King Pigeon Pose)
Lay your torso down on the inner front thigh for one to two minutes. Then step lightly back into Adho Mukha Svanasana, hold for 30 seconds, and repeat with the left leg forward for the same length of time. (Total time of steps four and five: five to seven minutes).

6. Prasarita Padottanasana (Wide-Legged Standing Forward Bend) with a variation
With the legs wide, bend your right knee and shift your torso to the right, snugging it against the inner thigh. Keep the left leg strong, pressing the inner thigh out to the left. Hold for one minute. Inhale back to center, then repeat to the left for the same length of time. Finally, perform the full pose for two minutes. (Total time four minutes) .

7. Utthita Parsvakonasana (Extended Side Angle Pose)
Perform with the bottom arm pressing against the inner thigh. Hold each side for one to two minutes (Total time two to four minutes).

8. Vrksasana (Tree Pose)
Hold each side for minute (Total time two minutes).

9. Upavistha Konasana (Wide Angle Seated Forward Bend) with a variation
First twist to the right for one minute, then to the left for the same length of time. Return to center and fold forward for one to three minutes (Total time three to five minutes) .

10. Janu Sirsasana (Head-to-Knee Pose)
Fold forward for two minutes on a side (Total time four minutes) .

11. Malasana (Garland Pose)
(Total time two minutes).

12. Setu Bandha Sarvangasana (Bridge Pose)
Place a block underneath your sacrum for support. (Total time two to three minutes) .

13. Salamba Sarvangasana (Supported Shoulderstand) with a variation
Come into Shoulderstand and them bend the knees and press the soles of the feet together Baddha Konasana (Bound Angle Pose). (Total time three minutes).

14. Savasana (Corpse Pose)
(Total time 10 minutes).

Source : yogajournal.com

DEPRESSION

2009-03-23T16:21:00.002+05:30

DEPRESSION

The word "depression" covers a wide range of conditions, from long-standing and severe clinical or major depression to shorter-term and episodic mild depression, also called dysthymic disorder, to situational depression brought on by a major life change, such as the death of a spouse, job loss, divorce.

Many different therapies are available for depression, including anti-depressants and psychotherapy. Studies indicate that regular exercise too, including yoga asanas and breathing, can help some people ease the symptoms of mild to moderate forms of depression.

Of course, one major hurdle in using exercise to alleviate depression is motivation, or lack of it. Most depressed people don't really feel much like getting out of bed in the morning, much less exercising. Then too, failure to see the exercise program through can make a depressed person feel even worse. So start off slowly, and be sure to choose an exercise that you really enjoy; if possible, exercise with a supportive partner or group. Try to exercise at least three times a week.

DEPRESSION SEQUENCE (minimum time 40 minutes, maximum time 70 minutes)

1. Supta Baddha Konasana (Reclining Bound Angle Pose) with your back torso supported on a rolled blanket positioned below and parallel to your spine. (Total time 3 to 5 minutes.)

2. Supta Padangusthasana (Reclining Big Toe Pose)
Use a strap to hold the raised leg in place. Hold each side for 1 to 2 minutes; total time 2 to 4 minutes.

3. Adho Mukha Svanasana (Downward Facing Dog) Use a bolster or block to support the head. (Total time 1 to 2 minutes.)

4. Uttanasana (Standing Forward Bend)
Support your head and crossed forearms supported on a padded chair seat. (Total time 1 to 3 minutes.)

5. Sirsasana (Headstand)
Intermediate students should perform the full pose for a total time of 3 to 5 minutes. Bring your feet back to the floor slowly together if possible, either with straight knees or bent, with an exhalation, and stand in Standing Forward Bend for 30 seconds before coming up. (Total time 3 minutes.)

6. Urdhva Dhanurasana (Upward Bow Pose)
Supported on a chair. Pad the chair seat either with a sticky mat or folded blanket. Then slide your legs through the space between the chair back and seat, and sit on the back edge of the seat facing the chair back. Grip the chair legs just below the chair back and, with an exhalation, lean into a backbend. The front edge of the seat should cross your back torso just under your shoulder blades. Keep your knees bent and feet on the floor. Support the back of your head, either on a bolster or a block. You can continue to hold the chair legs, stretch your arms overhead, or slip your arms underneath the seat between the chair legs and grip the back rung. Be sure to breathe smoothly.

To come up, grip the chair legs just below the chair back, and pull yourself up with an exhalation. Try to lead to movement of your torso with your chest, not your head. (Total time 3 to 5 minutes.)

7. Seated twist
Continue to sit reversed through the chair, twist to the right with an exhalation, hold for 30 seconds, then twist to the left for 30 seconds. Repeat three times to each side, each time holding for 30 seconds. (Total time 3 minutes.)

8. Setu Bandha Sarvangasana (Bridge Pose) Place a blank under the shoulders for support. Repeat three times, each time for 30 seconds to 1 minute. (Total time 2 to 3 minutes.)

9. Salamba Sarvangasana (Shoulderstand)
(Total time 3 to 5 minutes.) Follow Shoulderstand with Halasana (Plow Pose). Intermediate students should do full Plow with their feet on the floor, beginners can do Plow with their feet resting on a chair seat. (Total time 1 to 2 minutes.)

10. Janu Sirsasana (Head-to-Knee Forward Bend)
Support the head either on a bolster laid across your extended leg, or if you're less flexible, on the front edge of a padded chair seat. Hold each side for 1 to 3 minutes; total time 2 to 6 minutes.

11. Setu Bandha Sarvangasana (Supported Bridge Pose)
Allow the torso supported on a bolster, and shoulders and head resting lightly on the floor. Keep your knees bent and feet on the floor. (Total time 3 to 5 minutes.)

12. Viparita Karani (Legs-Up-the-Wall Pose)
Pelvis is supported on a bolster or rolled blanket. (Total time 3 to 5 minutes.) Be sure to slide off the support before your turn to your side.

13. Reclining Conqueror Ujjayi
Lie on a blanket support to open your chest, with long, smooth, full inhalations and exhalations. (Total time 3 to 5 minutes.)

14. Savasana (Corpse Pose)
Come off your blanket support and lay your back torso flat on the floor. Support your bent knees on a bolster. (Total time 8 to 10 minutes.)

Source : yogajournal.com

MENSTRUATION

2009-03-23T16:21:00.001+05:30

MENSTRUATION

Exercise during menstruation is generally highly recommended. It's believed that exercise can ease the discomfort of dysmenorrhea; quell mood swings, anxiety, and depression; and reduce bloating.

Most contemporary yoga teachers advise a fairly conservative approach toward asana practice during menstruation. These menstrual sequences generally consist of prop-supported poses-mostly forward bends. This makes perfect sense for women who feel sluggish during their cycle. However, many other women don't feel the need to change anything about their practice during menstruation, except maybe to limit strenuous inverted poses. Each student should decide for herself what kind of asana sequence is most appropriate for her body during menstruation.

Menstruation Sequence (minimum time 45 minutes, maximum time 60 minutes)

1. Supta Baddha Konasana (Reclining Bound Angle Pose)
Support the torso on a bolster. (Total time 5 minutes.)

2. Supta Padangusthasana (Reclining Big Toe Pose)
Use a strap to hold the raised leg in place. Hold each side for 2 minutes; total time 4 minutes.

3. Baddha Konasana (Bound Angle Pose)
(Total time 2 minutes.)

4. Janu Sirsasana (Head-to-Knee Pose)
Support the head either on a bolster laid across your extended leg, or if you're less flexible on the front edge of a padded chair seat. Hold each side for 3 to 5 minutes; total time 6 to 10 minutes.

5. Paschimottanasana (Seated Forward Bend)
With your torso and head supported on a bolster laid along your legs. (Total time 3 to 5 minutes.)

6. Upavistha Konasana (Seated Wide-Angle Pose)
Rest the torso on a bolster positioned between your legs with its long axis parallel to your torso. (Total time 3 to 5 minutes). Then come up and twist to each side for 30 seconds to 1 minute, holding the shin or the inside of the foot. (Total time 1 to 2 minutes.)

7. Urdhva Dhanurasana (Upward-Facing Bow)
Supported on a chair. Pad the chair seat with either a sticky mat or a folded blanket. Then slide your legs through the space between the chair back and seat, and sit on the back edge of the seat facing the chair back. Grip the chair legs just below the chair back and, with an exhalation, lean into a backbend. The front edge of the seat should cross your back torso just under your shoulder blades. Keep your knees bent and feet on the floor. Support the back of your head, either on a bolster or a block. You can continue to hold the chair legs, stretch your arms overhead, or slip your arms underneath the seat between the chair legs and grip the back rung. Be sure to breathe smoothly.

To come up, grip the chair legs just below the chair back, and pull yourself up with an exhalation. Try to lead to movement of your torso with your chest, not your head. (Total time 3 to 5 minutes.)

8. Seated Twist
Still sitting reversed through the chair, twist to the right with an exhalation, hold for 30 seconds, then twist to the left for 30 seconds. Repeat three times to each side, each time holding for 30 seconds. (Total time 3 minutes.)

9. Viparita Karani (Legs-Up-the-Wall Pose)
Support the pelvis on a bolster or rolled blanket. (Total time 5 to 10 minutes.) Be sure to slide off the support before your turn to your side.

10. Savasana (Corpse)
(Total time 8 to 10 minutes.)

Source : yogajournal.com

HEADACHE SEQUENCE

2009-03-23T16:19:00.001+05:30

HEADACHE SEQUENCE

There are many different kinds of headaches, some (like tension headaches and migraines) are fairly common, others (like sinus headaches or headaches caused by brain tumors) are relatively rare. Various treatments—including drugs, acupuncture, chiropractic and massage, and stress-relief techniques—are recommended for dealing with headaches. Yoga asanas and breathing can help too, though mostly with tension-type headaches.

Everyone gets a tension headache now and again, but if you suffer from this type of headache habitually, it's important to consult a doctor or other health practitioner to treat the pain and work to resolve the ultimate source of the tension.

When treating a tension headache with asanas and breathing, it's important to start practicing as soon as possible after you start to feel the pain. Once the headache is established it will be very difficult to alleviate.

Whenever I work with a headache, I like to wrap my head with an Ace bandage. You can either firmly wrap your forehead only, or wrap both your forehead and your eyes (though if you do the latter, be sure not to wrap your eyes too tightly). This may sound a little strange, but the pressure of the bandage around the head and eyes as well the bandage's blocking of outside light help to release the tension.

Roll the bandage up into a tight roll, and start with the free end against the base of your skull. Wind the bandage around your head, either just your forehead or both your forehead and eyes and ears. Don't cover your nose. Whenever you need to see, to change positions or arrange a prop, slip your thumbs up under the bandage and push it up slightly off your eyes. Then when you're ready to do another pose, slip it back down over your eyes.

As you hold each position, imagine your brain "shrinking" away from the wrap. Imagine a space opening up between the front of your brain and the inner surface of your forehead, and let the brain "sink" onto the back of the skull case. Practice this visualization especially in the reclining positions. When trying to alleviate a headache, you should emphasize the lengthening of the exhalation of your breath.

The following sequences refer to certain props throughout-mainly a bolster, a strap, and/or a block. While you may be able to find substitutes around the house, I recommend investing in some good props, which can be purchased online or at your local yoga studio.

HEADACHE SEQUENCE (minimum time 25 minutes, maximum time 45 minutes)

1. Balasana (Child's Pose)
Perform either with your head on the floor, or with your torso and head supported on a bolster positioned between your thighs. The bolster's long axis should be parallel to your torso. (Total time 3 to 5 minutes.)

2. Janu Sirsasana (Head-to-Knee Pose)
Support your head either on a bolster laid across your extended leg, or, if you're less flexible, on the front edge of a padded chair seat. Hold each side for 1 to 3 minutes; total time 2 to 6 minutes.

3. Adho Mukha Svanasana (Downward-Facing Dog)
Support your head on a bolster or block. (Total time 1 to 2 minutes.)

4. Uttanasana (Standing Forward Bend)
Place your head and crossed forearms supported on a padded chair seat. (Total time 1 to 3 minutes.)

5. Supta Baddha Konasana (Reclining Bound Angle Pose)
Support the torso on a rolled blanket underneath and parallel to your spine. (Total time 3 to 5 minutes.)

6. Setu Bandha Sarvangasana (Supported Bridge Pose)
Support the torso on a bolster, and shoulders and head resting lightly on the floor. (Total time 3 to 5 minutes.)

7. Viparita Karani (Legs-Up-the-Wall Pose)
Let the pelvis be support either on a bolster or rolled blanket. (Total time 3 to 5 minutes.) To avoid any possibility of straining your back when exiting, be sure not to twist off the support. Either 1) slide off the support first before turning to your side, or 2) bend your knees, press your feet against the wall, and with an inhalation lift your pelvis off the support; then slide the support off to one side, lower your pelvis to the floor, and turn onto your side.

8. Savasana (Corpse Pose)
Take normal inhalations but lengthen the exhalations as much as is comfortable for you. If you normally take 5 counts on an exhalation, extend it to 7 or 8 counts if possible. At the end of the first 10 or so exhalations, pause for 2 to 5 seconds before drawing the next inhalation. (Total time 10 to 15 minutes.)

When in Corpse Pose you might also want to lay a weighted sandbag on your forehead. Lie in Corpse and position a block so that it's touching the top of your head It's long axis should be perpendicular to your head. Lay the weighted bag half on the block and half on your forehead. As with the wrap, the pressure of the weight on your head helps release the tension.

Source : yogajournal.com

BEGINNERS YOGA

2009-03-23T16:18:00.000+05:30

BEGINNERS YOGA:
Sukhasana (Easy Pose)
Adho Mukha Svanasana (Downward-Facing Dog Pose)
Surya Namaskar -- 3 Rounds (Sun Salutations)
Vrksasana (Tree Pose)
Utthita Trikonasana (Extended Triangle Pose)
Utthita Parsvakonasana (Extended Side Angle Pose)
Dandasana (Staff Pose)
Paschimottanasana (Seated Forward Bend)
Baddha Konasana (Bound Angle Pose)
Upavistha Konasana (Wide Angle Pose)
Navasana (Boat Pose)
(Locust Pose)
Setu Bandha Sarvangasana (Supported Bridge Pose)
Viparita Karani (Legs-Up-the-Wall Pose)
Reclining Twist
Savasana (Corpse Pose)

ADVANCED BEGINNERS
Virasana (Hero or Heroine Pose)
Adho Mukha Svanasana (Downward-Facing Dog Pose)
Surya Namaskar (Sun Salutations)
Vrksasana (Tree Pose)
Utthita Trikonasana (Extended Triangle Pose)
Utthita Parsvakonasana (Extended Side Angle Pose)
Ardha Chandrasana (Half Moon Pose)
Adho Mukha Vrksasana (Handstand)
Ardha Navasana (Half Boat Pose)
Bhujangasana (Cobra Pose)
Salabhasana (Locust Pose)
Makrasana (Crocodile Pose)
Salamba Sarvangasana (Supported Shoulderstand)
Baddha Konasana (Bound Angle Pose)
Janu Sirsasana (Head-to-Knee Forward Bend)
Paschimottanasana (Seated Forward Bend)
Marichyasana III (Marichi's Pose, Variation III)
Savasana (Corpse Pose)

Yoga Sequences for Beginners

2009-03-23T16:12:00.002+05:30

Yoga Sequences for Beginners

Asana (pose) sequences come in different shapes and sizes.

Nine Sequences:

* 45-Minute Beginners
* Advanced Beginners
* Headache
* Menstruation
* Depression
* Groins
* Shoulders
* Forward Bends
* Backbends

Every contemporary school of yoga, such as Iyengar, Viniyoga, Bikram, Ashtanga, and Vinyasa to name a few, has its own ideas about how to sequence an asana practice. Most sequences are linear, that is one posture follows another in a logical step-by-step direction, moving from less challenging to more challenging and back to less challenging. In general, a sequence like this opens with simple warm-ups that set a theme for the practice, intensifies to more challenging postures, slows to cooling postures and ends with relaxation (Corpse Pose).

But this is just one way to sequence. Typically each posture in the sequence is performed just once but you could also perform each posture two to three times, focusing on a different aspect of the posture each time. Take, for example, Trikonasana (Triangle Pose)-you can first perform the pose focusing on your feet or legs, then repeat it while focusing on the spine or arms.

You can also build the entire sequence around just one posture, like Triangle, returning to it again and again, and use the other postures in the sequence to investigate aspects of the main posture.

Here's an example of a general linear sequence (based on the Iyengar tradition of yoga):

1. Centering
Begin the practice with either a simple meditation or breathing exercise (in a seated or reclining position) to collect and concentrate your awareness.
2. Preparation
Perform a few simple exercises (such as hip or groin openers) that warm up the body in preparation for the theme or focus of the practice.
3. Sun Salute (Surya Namaskar)
Three to ten rounds.
4. Standing postures
5. Arm balances
6. Inversions
7. Abdominal and/or arm strength postures
8. Backbends
9. Shoulderstand
10. Twists and/or forward bends
11. Corpse (Savasana)

Of course, a full practice sequence like this would take at least 90 minutes to finish, which is probably too long for the average working student. A more reasonable length of practice time is about 45 minutes. Here are two possible practices-one for beginners and one for advanced beginners-that would fit nicely into this timeframe. To see a photo of or to find out how to perform, deepen, or modify the poses listed simply click on the pose names for full instructions.

The Roots of Chanting and Mantra

2009-03-23T16:10:00.001+05:30

The Roots of Chanting and Mantra

There's a long tradition in India of saluting the teacher or evoking divine power through a mantra to open a practice. Such a preamble helps the student to steady her resolve and to remind her of the goal of the work, which is always self-liberation. It also serves to signal the student's intent to humbly offer the upcoming practice as a sacrifice to the divine, which is the source of all true wisdom.

The recitation of mantra is known as japa, which literally means "muttering, whispering." According to schools such as Hatha Yoga and Mantra Yoga, the universe is created through the medium of sound, and all sound, whether subtle or audible, issues from a transcendent, "soundless" source called the "supreme sound" or "supreme voice" (shabda-brahman or para-vac). While all sounds possess some degree of shabda-brahman's creative force, the sounds of mantras are far more forceful than other sounds.

As a practice, japa is thousands of years old. In the beginning, mantras were drawn only from the thousands of verses in the Rig-Veda, Hinduism's oldest and holiest scripture. After some time, mantras were taken from non-Vedic sources as well, such as the numerous texts associated with the schools of Hindu Tantra, or those revealed to seers (rishis) in meditation. Mantra Yoga as a formal school is a relatively recent development, though "recent" in yoga years means between twelve and fifteen centuries. Instructional manuals commonly list sixteen "limbs" (anga) of practice. Many of them--such as asana, conscious breathing, and meditation--are shared with other yoga schools.

The building blocks of all mantras are the 50 letters of the Sanskrit alphabet. Mantras can consist of a single letter, a syllable or string of syllables, a word, or a whole sentence. Etymologically, the word "mantra" is derived from the verb "man,' which means "to think," and the suffix "tra," which denotes instrumentality. A mantra then is literally an "instrument of thought" that concentrates, intensifies, and spiritualizes our consciousness.

Tradition estimates that there are 70 million mantras. This number shouldn't be taken too literally; it simply signifies that there are lots of mantras. Yogis assert that, to be most effective, a mantra should be received orally from a self-realized teacher (guru), not merely learned from a book, so that it's infused with the teacher's spiritual energy. And to preserve its reservoir of power, a mantra should be kept in strictest secrecy, and not revealed to anyone else.

Mantra traditionally has two purposes, which can be called worldly and spiritual. We usually think of mantra solely as an instrument of self-transformation. But in ancient times mantra was also used for mundane and not necessarily positive ends, such as communicating with and appeasing ghosts and ancestors, exorcism or warding off evil forces, remedies for illnesses, control of other people's thoughts or actions, and the acquisition of powers (siddha) or magical skills. As for its spiritual purpose, mantra is said to quiet the habitual fluctuations of our consciousness and then steer consciousness toward its source in the Self.

We're accustomed to the idea that mantras are recited aloud. But mantras can also be "not-spoken" or "not-muttered" (ajapa). One old text, the Yoga-Yajnavalkya (2.16), maintains that a whispered mantra is a thousand times more beneficial than a spoken one, a mental mantra is a thousand times more beneficial than a whispered one, and finally meditating on a mantra is a thousand times more beneficial than its silent recitation. Some teachers mention a third subcategory of ajapa-mantra, which is writing (likhita) out the mantra.

Yogis also categorize mantras as either "meaningful" or "meaningless." Mantras in the "meaningful" category have an obvious surface meaning along with the esoteric one. Examples of meaningful mantras are the "great sayings" (maha-vakya) drawn from the texts known as the Upanishads, such as "I am the Absolute" (aham brahma asmi) and "You are That" (tat tvam asi). Meaningful mantras have two functions: to instill within the reciter a particular spiritual doctrine, and to serve as a vehicle for meditation.

It's rather misleading to call the second category of mantras "meaningless." Meaningless mantras are only apparently so to noninitiates, who don't possess the key to their understanding. Those in the know, who have undergone proper initiation, understand the mantra perfectly well. Besides, the purpose of these mantras isn't to impart a particular doctrine but to affect a certain state of consciousness in the reciter.

Nowadays it's not always possible to find a guru to provide you with a mantra and teach you the proper way to recite it. But if you're interested in learning about mantra, first check your local yoga school for a mantra class or workshop, or at least an asana class in which japa is a regular feature. The best way to learn mantra is still directly from a teacher, even though he or she may not be totally enlightened. Another acceptable way to learn about mantra is from audio productions; I've listed three (and there are many more) in the Resources section below. To get started, you can also listen to audio clips on YogaJournal.com.

There are a few important things to remember when practicing japa. Always pay careful attention to the speed and rhythm of your chanting, and the correct pronunciation, aim, and esoteric meaning of the mantra. It's claimed hat a mantra that's mispronounced and used inappropriately is "asleep" or totally ineffective. It's also recommended that you practice japa at the same time every day and place every day, facing either north or east. The most propitious time is called the "hour of Brahma" (brahma-muhurta), which is set at different times by different teachers, commonly either at sunrise or an hour before. Of course, this might not always be possible, so any time and place will do, as long as you practice regularly.

Guide to Common Chants

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Guide to Common Chants

Ever wonder what you're chanting during a yoga class? Nervous about chanting the wrong thing? The Yoga Journal Guide provides translations, historical information, and audio clips for common chants.

1. Aum Om
The Primal Shabda
Om, actually pronounced "Aum," is an affirmation of the Divine Presence that is the universe and is similar to the Hebrew "Amen." There are many ways of chanting Aum, but this is an approach that will initiate you as a Shabda Yogi, one who pursues the path of sound toward wholeness and higher states of consciousness.

2. Lokah Samastha
A Chant for Wholeness

Lokah samastha sukhino bhavanthu.
May this world be established with a sense of well-being and happiness.

3. Gayatri
Being Illuminated by Sacred Sound

Om bhur bhuvas svaha
Thath savithur varaynyam
Bhargo dheyvasya dhimahih
Dhyoyonah pratchodhay-yath

We worship the word (shabda) that is present in the earth, the heavens, and that which is beyond. By meditating on this glorious power that gives us life, we ask that our minds and hearts be illuminated.

4. Om Namah Shivaaya

Om Namah Shivaaya, Namah Shivaaya, Nama Shiva
I bow to Lord Shiva, the peaceful one who is the embodiment of all that is cause by the universe.

5. Bija Mantras
Seed Mantras

In the “seed” (bija) mantras each seed is conceived of as the sound-form of a particular Hindu deity, and each deity is in turn a particular aspect of the Absolute (Brahman). It’s said that just as a great tree resides in within the seed, so does a god or goddess reside in each bija. When we chant the bijas, we identify each syllable with the divine energy they represent.

Sound	Pronunciation	Awareness
Lam	Curve the tip of your tongue up and back, and place it on the rear section of the upper palate to pronounce a sound like the word alum without the initial a.	Base of the spine
Vam	Place the upper set of teeth on the inner section of your lower lip and begin with a breathy consonant to imitate the sound of a fast car. Pronounce the mantra like "fvam."	Genitals
Ram	Place the tip of your tongue on the roof of the front section of the upper palate, roll the r as in Spanish, and pronounce the mantra like the first part of the word rumble.	Abdomen
Yam	Inhale audibly through your mouth, and pronounce the word hum (as in humming); allow the breath to extend beyond the resolution of the consonant.	Solar Plexus and Heart Area
Ham	Inhale noiselessly through your mouth, and pronounce the sound like the word yum (as in yummy); allow the sound along with your breath to fill your mouth and throat cavity.	Throat
Om	Inhale audibly through your nostrils, and direct the stream of air to the point between your eyebrows. Pronounce the sound along with your exhalation as a subtly audible whisper, allowing the sound and breath to resonate in the cranial area.	Point between the eyebrows

Sanskrit Yoga Terms

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Sanskrit Yoga Terms

a

Abhyasa: practice; cf. vairagya

Acarya (sometimes spelled Acharya in English): a preceptor, instructor; cf. guru

Advaita ("nonduality"): the truth and teaching that there is only One Reality (Atman, Brahman), especially as found in the Upanishads; see also Vedanta

Ahamkara ("I-maker"): the individuation principle, or ego, which must be transcended; cf. asmita; see also buddhi, manas

Ahimsa ("nonharming"): the single most important moral discipline (yama)

Akasha ("ether/space"): the first of the five material elements of which the physical universe is composed; also used to designate "inner" space, that is, the space of consciousness (called cid-akasha)

Amrita ("immortal/immortality"): a designation of the deathless Spirit (atman, purusha); also the nectar of immortality that oozes from the psychoenergetic center at the crown of the head (see sahasrara-cakra) when it is activated and transforms the body into a "divine body" (divya-deha)

Ananda ("bliss"): the condition of utter joy, which is an essential quality of the ultimate Reality (tattva)

Anga ("limb"): a fundamental category of the yogic path, such as asana, dharana, dhyana, niyama, pranayama, pratyahara, samadhi, yama; also the body (deha, sharira)

Arjuna ("White"): one of the five Pandava princes who fought in the great war depicted in the Mahabharata, disciple of the God-man Krishna whose teachings can be found in the Bhagavad Gita

Asana ("seat"): a physical posture (see also anga, mudra); the third limb (anga) of Patanjali's eightfold path (astha-anga-yoga); originally this meant only meditation posture, but subsequently, in hatha yoga, this aspect of the yogic path was greatly developed

Ashrama ("that where effort is made"): a hermitage; also a stage of life, such as brahmacharya, householder, forest dweller, and complete renouncer (samnyasin)

Ashta-anga-yoga, ashtanga-yoga ("eight-limbed union"): the eightfold yoga of Patanjali, consisting of moral discipline (yama), self-restraint (niyama), posture (asana), breath control (pranayama), sensory inhibition (pratyahara), concentration (dharana), meditation (dhyana), and ecstasy (samadhi), leading to liberation (kaivalya)

Asmita ("I-am-ness"): a concept of Patanjali's eight-limbed yoga, roughly synonymous with ahamkara

Atman ("self"): the transcendental Self, or Spirit, which is eternal and superconscious; our true nature or identity; sometimes a distinction is made between the atman as the individual self and the parama-atman as the transcendental Self; see also purusha; cf. brahman

Avadhuta ("he who has shed [everything]"): a radical type of renouncer (samnyasin) who often engages in unconventional behavior

Avidya ("ignorance"): the root cause of suffering (duhkha); also called ajnana; cf. vidya

Ayurveda, Ayur-veda ("life science"): one of India's traditional systems of medicine, the other being South India's Siddha medicine

b

Bandha ("bond/bondage"): the fact that human beings are typically bound by ignorance (avidya), which causes them to lead a life governed by karmic habit rather than inner freedom generated through wisdom (vidya, jnana)

Bhagavad Gita ("Lord's Song"): the oldest full-fledged yoga book found embedded in the Mahabharata and containing the teachings on karma yoga (the path of self-transcending action), samkhya yoga (the path of discerning the principles of existence correctly), and bhakti yoga (the path of devotion), as given by the God-man Krishna to Prince Arjuna on the battlefield 3,500 years or more ago

Bhagavata-Purana ("Ancient [Tradition] of the Bhagavatas"): a voluminous tenth-century scripture held sacred by the devotees of the Divine in the form of Vishnu, especially in his incarnate form as Krishna; also called Shrimad-Bhagavata

Bhakta ("devotee"): a disciple practicing bhakti yoga

Bhakti ("devotion/love"): the love of the bhakta toward the Divine or the guru as a manifestation of the Divine; also the love of the Divine toward the devotee

Bhakti-Sutra ("Aphorisms on Devotion"): an aphoristic work on devotional yoga authored by Sage Narada; another text by the same title is ascribed to Sage Shandilya

Bhakti Yoga ("Yoga of devotion"): a major branch of the yoga tradition, utilizing the feeling capacity to connect with the ultimate Reality conceived as a supreme Person (uttama-purusha)

Bindu ("seed/point"): the creative potency of anything where all energies are focused; the dot (also called tilaka) worn on the forehead as indicative of the third eye

Bodhi ("enlightenment"): the state of the awakened master, or buddha

Bodhisattva ("enlightenment being"): in Mahayana Buddhist yoga, the individual who, motivated by compassion (karuna), is committed to achieving enlightenment for the sake of all other beings

Brahma ("he who has grown expansive"): the Creator of the universe, the first principle (tattva) to emerge out of the ultimate Reality (brahman)

Brahmacharya (from brahma and acarya "brahmic conduct"): the discipline of chastity, which produces ojas

Brahman ("that which has grown expansive"): the ultimate Reality (cf. atman, purusha)

Brahmana: a brahmin, a member of the highest social class of traditional Indian society; also an early type of ritual text explicating the rituals and mythology of the four Vedas; cf. Aranyaka, Upanishad, Veda

Buddha ("awakened"): a designation of the person who has attained enlightenment (bodhi) and therefore inner freedom; honorific title of Gautama, the founder of Buddhism, who lived in the sixth century B.C.E.

Buddhi ("she who is conscious, awake"): the higher mind, which is the seat of wisdom (vidya, jnana); cf. manas

c

Cakra or Chakra ("wheel"): literally, the wheel of a wagon; metaphorically, one of the psycho-energetic centers of the subtle body (sukshma-sharira); in Buddhist yoga, five such centers are known, while in Hindu yoga often seven or more such centers are mentioned: mula-adhara-cakra (muladhara-cakra) at the base of the spine, svadhishthana-cakra at the genitals, manipura-cakra at the navel, anahata-cakra at the heart, vishuddha-cakra or vishuddhi-cakra at the throat, ajna-cakra in the middle of the head, and sahasrara-cakra at the top of the head

Cin-mudra ("consciousness seal"): a common hand gesture (mudra) in meditation (dhyana), which is formed by bringing the tips of the index finger and the thumb together, while the remaining fingers are kept straight

Cit ("consciousness"): the superconscious ultimate Reality (see atman, brahman)

Citta ("that which is conscious"): ordinary consciousness, the mind, as opposed to cit

d

Darshana ("seeing"): vision in the literal and metaphorical sense; a system of philosophy, such as the yoga-darshana of Patanjali; cf. drishti

Deva ("he who is shining"): a male deity, such as Shiva, Vishnu, or Krishna, either in the sense of the ultimate Reality or a high angelic being

Devi ("she who is shining"): a female deity such as Parvati, Lakshmi, or Radha, either in the sense of the ultimate Reality (in its feminine pole) or a high angelic being

Dharana ("holding"): concentration, the sixth limb (anga) of Patanjali's eight-limbed yoga

Dharma ("bearer"): a term of numerous meanings; often used in the sense of "law," "lawfulness," "virtue," "righteousness," "norm"

Dhyana ("ideating"): meditation, the seventh limb (anga) of Patanjali's eight-limbed yoga

Diksha ("initiation"): the act and condition of induction into the hidden aspects of yoga or a particular lineage of teachers; all traditional yoga is initiatory

Drishti ("view/sight"): yogic gazing, such as at the tip of the nose or the spot between the eyebrows; cf. darshana

Duhkha ("bad axle space"): suffering, a fundamental fact of life, caused by ignorance (avidya) of our true nature (i.e., the Self or atman)

g

Gayatri-mantra: a famous Vedic mantra recited particularly at sunrise: tat savitur varenyam bhargo devasya dhimahi dhiyo yo nah pracodayat,"

Gheranda-Samhita ("[Sage] Gheranda's Compendium"): one of three major manuals of classical hatha yoga, composed in the seventeenth century; cf. Hatha-Yoga-Pradipika, Shiva-Samhita

Goraksha ("Cow Protector"): traditionally said to be the founding adept of hatha yoga, a disciple of Matsyendra

Granthi ("knot"): any one of three common blockages in the central pathway (sushumna-nadi) preventing the full ascent of the serpent power (kundalini-shakti); the three knots are known as brahma-granthi (at the lowest psychoenergetic center of the subtle body), the vishnu-granthi (at the heart), and the rudra-granthi (at the eyebrow center)

Guna ("quality"): a term that has numerous meanings, including "virtue"; often refers to any of the three primary "qualities" or constituents of nature (prakriti): tamas (the principle of inertia), rajas (the dynamic principle), and sattva (the principle of lucidity)

Guru ("he who is heavy, weighty"): a spiritual teacher; cf. acarya

Guru-bhakti ("teacher devotion"): a disciple's self-transcending devotion to the guru; see also bhakti

Guru-Gita ("Guru's Song"): a text in praise of the guru, often chanted in ashramas

Guru-Yoga ("Yoga [relating to] the teacher"): a yogic approach that makes the guru the fulcrum of a disciple's practice; all traditional forms of yoga contain a strong element of guru-yoga

h

Hamsa ("swan/gander"): apart from the literal meaning, this term also refers to the breath (prana) as it moves within the body; the individuated consciousness (jiva) propelled by the breath; see jiva-atman; see also parama-hamsa

Hatha Yoga ("Forceful Yoga"): a major branch of yoga, developed by Goraksha and other adepts c. 1000 C.E., and emphasizing the physical aspects of the transformative path, notably postures (asana) and cleansing techniques (shodhana), but also breath control (pranayama)

Hatha-Yoga-Pradipika ("Light on Hatha Yoga"): one of three classical manuals on hatha yoga, authored by Svatmarama Yogendra in the fourteenth century

Hiranyagarbha ("Golden Germ"): the mythical founder of yoga; the first cosmological principle (tattva) to emerge out of the infinite Reality; also called Brahma

i

Ida-nadi ("pale conduit"): the prana current or arc ascending on the left side of the central channel (sushumna nadi) associated with the parasympathetic nervous system and having a cooling or calming effect on the mind when activated; cf. pingala-nadi

Ishvara ("ruler"): the Lord; referring either to the Creator (see Brahma) or, in Patanjali's yoga-darshana, to a special transcendental Self (purusha)

Ishvara-pranidhana ("dedication to the Lord"): in Patanjali's eight-limbed yoga one of the practices of self-restraint (niyama); see also bhakti yoga

j

Jaina (sometimes Jain): pertaining to the jinas ("conquerors"), the liberated adepts of Jainism; a member of Jainism, the spiritual tradition founded by Vardhamana Mahavira, a contemporary of Gautama the Buddha

Japa ("muttering"): the recitation of mantras

Jiva-atman, jivatman ("individual self"): the individuated consciousness, as opposed to the ultimate Self (parama-atman)

Jivan-mukta ("he who is liberated while alive"): an adept who, while still embodied, has attained liberation (moksha)

Jivan-mukti ("living liberation"): the state of liberation while being embodied; cf. videha-mukti

Jnana ("knowledge/wisdom"): both worldly knowledge or world-transcending wisdom, depending on the context; see also prajna; cf. avidya

Jnana-Yoga ("Yoga of wisdom"): the path to liberation based on wisdom, or the direct intuition of the transcendental Self (atman) through the steady application of discernment between the Real and the unreal and renunciation of what has been identified as unreal (or inconsequential to the achievement of liberation)

k

Kaivalya ("isolation"): the state of absolute freedom from conditioned existence, as explained in ashta-anga-yoga; in the nondualistic (advaita) traditions of India, this is usually called moksha or mukti (meaning "release" from the fetters of ignorance, or avidya)

Kali: a Goddess embodying the fierce (dissolving) aspect of the Divine

Kali-yuga: the dark age of spiritual and moral decline, said to be current now; kali does not refer to the Goddess Kali but to the losing throw of a die

Kama ("desire"): the appetite for sensual pleasure blocking the path to true bliss (ananda); the only desire conducive to freedom is the impulse toward liberation, called mumukshutva

Kapila ("He who is red"): a great sage, the quasi-mythical founder of the Samkhya tradition, who is said to have composed the Samkhya-Sutra (which, however, appears to be of a much later date)

Karman, karma ("action"): activity of any kind, including ritual acts; said to be binding only so long as engaged in a self-centered way; the "karmic" consequence of one's actions; destiny

Karma Yoga ("Yoga of action"): the liberating path of self-transcending action

Karuna ("compassion"): universal sympathy; in Buddhist yoga the complement of wisdom (prajna)

Khecari-mudra ("space-walking seal"): the Tantric practice of curling the tongue back against the upper palate in order to seal the life energy (prana); see also mudra

Kosha ("casing"): any one of five "envelopes" surrounding the transcendental Self (atman) and thus blocking its light: anna-maya-kosha ("envelope made of food," the physical body), prana-maya-kosha ("envelope made of life force"), mano-maya-kosha ("envelope made of mind"), vijnana-maya-kosha ("envelope made of consciousness"), and ananda-maya-kosha ("envelope made of bliss"); some older traditions regard the last kosha as identical with the Self (atman)

Krishna ("Puller"): an incarnation of God Vishnu, the God-man whose teachings can be found in the Bhagavad Gita and the Bhagavata-Purana

Kumbhaka ("potlike"): breath retention; cf. puraka, recaka

Kundalini-shakti ("coiled power"): according to Tantra and hatha yoga, the serpent power or spiritual energy, which exists in potential form at the lowest psycho-energetic center of the body (i.e., the mula-adhara-cakra) and which must be awakened and guided to the center at the crown (i.e., the sahasrara-cakra) for full enlightenment to occur

Kundalini-Yoga: the yogic path focusing on the kundalini process as a means of liberation

l

Laya Yoga ("Yoga of dissolution"): an advanced form or process of Tantric yoga by which the energies associated with the various psycho-energetic centers (cakra) of the subtle body are gradually dissolved through the ascent of the serpent power (kundalini-shakti)

Linga ("mark"): the phallus as a principle of creativity; a symbol of God Shiva; cf. yoni

m

Mahabharata ("Great Bharata"): one of India's two great ancient epics telling of the great war between the Pandavas and the Kauravas and serving as a repository for many spiritual and moral teachings

Mahatma (from maha-atman, "great self"): an honorific title (meaning something like "a great soul") bestowed on particularly meritorious individuals, such as Gandhi

Maithuna ("twinning"): the Tantric sexual ritual in which the participants view each other as Shiva and Shakti respectively

Manas ("mind"): the lower mind, which is bound to the senses and yields information (vijnana) rather than wisdom (jnana, vidya); cf. buddhi

Mandala ("circle"): a circular design symbolizing the cosmos and specific to a deity

Mantra (from the verbal root man "to think"): a sacred sound or phrase, such as om, hum, or om namah shivaya, that has a transformative effect on the mind of the individual reciting it; to be ultimately effective, a mantra needs to be given in an initiatory context (diksha)

Mantra-Yoga: the yogic path utilizing mantras as the primary means of liberation

Marman ("lethal [spot]"): in Ayurveda and yoga, a vital spot on the physical body where energy is concentrated or blocked; cf. granthi

Matsyendra ("Lord of Fish"): an early Tantric master who founded the Yogini-Kaula school and is remembered as a teacher of Goraksha

Maya ("she who measures"): the deluding or illusive power of the world; illusion by which the world is seen as separate from the ultimate singular Reality (atman)

Moksha ("release"): the condition of freedom from ignorance (avidya) and the binding effect of karma; also called mukti, kaivalya

Mudra ("seal"): a hand gesture (such as cin-mudra) or whole-body gesture (such as viparita-karani-mudra); also a designation of the feminine partner in the Tantric sexual ritual

Muni ("he who is silent"): a sage

n

Nada ("sound"): the inner sound, as it can be heard through the practice of nada yoga or kundalini yoga

Nada-Yoga ("Yoga of the [inner] sound"): the yoga or process of producing and intently listening to the inner sound as a means of concentration and ecstatic self-transcendence

Nadi ("conduit"): one of 72,000 or more subtle channels along or through which the life force (prana) circulates, of which the three most important ones are the ida-nadi, pingala-nadi, and sushumna-nadi

Nadi-shodhana ("channel cleansing"): the practice of purifying the conduits, especially by means of breath control (pranayama)

Narada: a great sage associated with music, who taught bhakti yoga and is attributed with the authorship of one of two Bhakti-Sutras

Natha ("lord"): appellation of many North Indian masters of yoga, in particular adepts of the Kanphata ("Split-ear") school allegedly founded by Goraksha

Neti-neti ("not thus, not thus"): an Upanishadic expression meant to convey that the ultimate Reality is neither this nor that, that is, is beyond all description

Nirodha ("restriction"): in Patanjali's eight-limbed yoga, the very basis of the process of concentration, meditation, and ecstasy; in the first instance, the restriction of the "whirls of the mind" (citta-vritti)

Niyama ("[self-]restraint"): the second limb of Patanjali's eightfold path, which consists of purity (saucha), contentment (samtosha), austerity (tapas), study (svadhyaya), and dedication to the Lord (ishvara-pranidhana)

Nyasa ("placing"): the Tantric practice of infusing various body parts with life force (prana) by touching or thinking of the respective physical area

o

Ojas ("vitality"): the subtle energy produced through practice, especially the discipline of chastity (brahmacharya)

Om: the original mantra symbolizing the ultimate Reality, which is prefixed to many mantric utterances

p

Parama-atman or paramatman ("supreme self"): the transcendental Self, which is singular, as opposed to the individuated self (jiva-atman) that exists in countless numbers in the form of living beings

Parama-hamsa, paramahansa ("supreme swan"): an honorific title given to great adepts, such as Ramakrishna and Yogananda

Patanjali: compiler of the Yoga Sutra, who lived c. 150 C.E.

Pingala-nadi ("reddish conduit"): the prana current or arc ascending on the right side of the central channel (sushumna-nadi) and associated with the sympathetic nervous system and having an energizing effect on the mind when activated; cf. ida-nadi

Prajna ("wisdom"): the opposite of spiritual ignorance (ajnana, avidya); one of two means of liberation in Buddhist yoga, the other being skillful means (upaya), i.e., compassion (karuna)

Prakriti ("creatrix"): nature, which is multilevel and, according to Patanjali's yoga-darshana, consists of an eternal dimension (called pradhana or "foundation"), levels of subtle existence (called sukshma-parvan), and the physical or coarse realm (called sthula-parvan); all of nature is deemed unconscious (acit), and therefore it is viewed as being in opposition to the transcendental Self or Spirit (purusha)

Prakriti-laya ("merging into Nature"): a high-level state of existence that falls short of actual liberation (kaivalya); the being who has attained that state

Prana ("life/breath"): life in general; the life force sustaining the body; the breath as an external manifestation of the subtle life force

Pranayama (from prana and ayama, "life/breath extension"): breath control, the fourth limb (anga) of Patanjali's eigthfold path, consisting of conscious inhalation (puraka), retention (kumbhaka), and exhalation (recaka); at an advanced state, breath retention occurs spontaneously for longer periods of time

Prasada ("grace/clarity"): divine grace; mental clarity

Pratyahara ("withdrawal"): sensory inhibition, the fifth limb (anga) of Patanjali's eightfold path

Puja ("worship"): ritual worship, which is an important aspect of many forms of yoga, notably bhakti yoga and Tantra

Puraka ("filling in"): inhalation, an aspect of breath control (pranayama)

Purana ("Ancient [History]"): a type of popular encyclopedia dealing with royal genealogy, cosmology, philosophy, and ritual; there are eighteen major and many more minor works of this nature

Purusha ("male"): the transcendental Self (atman) or Spirit, a designation that is mostly used in Samkhya and Patanjali's yoga-darshana

r

Radha: the God-man Krishna's spouse; a name of the divine Mother

Raja-Yoga ("Royal Yoga"): a late medieval designation of Patanjali's eightfold yoga-darshana, also known as classical yoga

Rama: an incarnation of God Vishnu preceding Krishna; the principal hero of the Ramayana

Ramayana ("Rama's life"): one of India's two great national epics telling the story of Rama; cf. Mahabharata

Recaka ("expulsion"): exhalation, an aspect of breath control (pranayama)

Rig-Veda; see Veda

Rishi ("seer"): a category of Vedic sage; an honorific title of certain venerated masters, such as the South Indian sage Ramana, who is known as maharshi (from maha meaning "great" and rishi); cf. muni

s

Sadhana ("accomplishing"): spiritual discipline leading to siddhi ("perfection" or "accomplishment"); the term is specifically used in Tantra

Sahaja ("together born"): a medieval term denoting the fact that the transcendental Reality and the empirical reality are not truly separate but coexist, or with the latter being an aspect or misperception of the former; often rendered as "spontaneous" or "spontaneity"; the sahaja state is the natural condition, that is, enlightenment or realization

Samadhi ("putting together"): the ecstatic or unitive state in which the meditator becomes one with the object of meditation, the eighth and final limb (anga) of Patanjali's eightfold path; there are many types of samadhi, the most significant distinction being between samprajnata (conscious) and asamprajnata (supraconscious) ecstasy; only the latter leads to the dissolution of the karmic factors deep within the mind; beyond both types of ecstasy is enlightenment, which is also sometimes called sahaja-samadhi or the condition of "natural" or "spontaneous" ecstasy, where there is perfect continuity of superconscious throughout waking, dreaming, and sleeping

Samatva or samata ("evenness"): the mental condition of harmony, balance

Samkhya ("Number"): one of the main traditions of Hinduism, which is concerned with the classification of the principles (tattva) of existence and their proper discernment in order to distinguish between Spirit (purusha) and the various aspects of Nature (prakriti); this influential system grew out of the ancient (pre-Buddhist) Samkhya-Yoga tradition and was codified in the Samkhya-Karika of Ishvara Krishna (c. 350 C.E.)

Samnyasa ("casting off"): the state of renunciation, which is the fourth and final stage of life (see ashrama) and consisting primarily in an inner turning away from what is understood to be finite and secondarily in an external letting go of finite things; cf. vairagya

Samnyasin ("he who has cast off"): a renouncer

Samprajnata-samadhi; see samadhi

Samsara ("confluence"): the finite world of change, as opposed to the ultimate Reality (brahman or nirvana)

Samskara ("activator"): the subconscious impression left behind by each act of volition, which, in turn, leads to renewed psychomental activity; the countless samskaras hidden in the depth of the mind are ultimately eliminated only in asamprajnata-samadhi (see samadhi)

Samyama ("constraint"): the combined practice of concentration (dharana), meditation (dhyana), and ecstasy (samadhi) in regard to the same object

Sat ("being/reality/truth"): the ultimate Reality (atman or brahman)

Sat-sanga ("true company/company of Truth"): the practice of frequenting the good company of saints, sages, Self-realized adepts, and their disciples, in whose company the ultimate Reality can be felt more palpably

Satya ("truth/truthfulness"): truth, a designation of the ultimate Reality; also the practice of truthfulness, which is an aspect of moral discipline (yama)

Shakti ("power"): the ultimate Reality in its feminine aspect, or the power pole of the Divine; see also kundalini-shakti

Shakti-pata ("descent of power"): the process of initiation, or spiritual baptism, by means of the benign transmission of an advanced or even enlightened adept (siddha), which awakens the shakti within a disciple, thereby initiating or enhancing the process of liberation

Shankara ("He who is benevolent"): the eighth-century adept who was the greatest proponent of nondualism (Advaita Vedanta) and whose philosophical school was probably responsible for the decline of Buddhism in India

Shishya ("student/disciple"): the initiated disciple of a guru

Shiva ("He who is benign"): the Divine; a deity that has served yogins as an archetypal model throughout the ages

Shiva-Sutra ("Shiva's Aphorisms"): like the Yoga Sutra of Patanjali, a classical work on yoga, as taught in the Shaivism of Kashmir; authored by Vasugupta (ninth century C.E.)

Shodhana ("cleansing/purification"): a fundamental aspect of all yogic paths; a category of purification practices in hatha yoga

Shraddha ("faith"): an essential disposition on the yogic path, which must be distinguished from mere belief

Shuddhi ("purification/purity"): the state of purity; a synonym of shodhana

Siddha ("accomplished"): an adept, often of Tantra; if fully Self-realized, the designation maha-siddha or "great adept" is often used

Siddha-Yoga ("Yoga of the adepts"): a designation applied especially to the yoga of Kashmiri Shaivism, as taught by Swami Muktananda (twentieth century)

Siddhi ("accomplishment/perfection"): spiritual perfection, the attainment of flawless identity with the ultimate Reality (atman or brahman); paranormal ability, of which the yoga tradition knows many kinds

Spanda ("vibration"): a key concept of Kashmir's Shaivism according to which the ultimate Reality itself "quivers," that is, is inherently creative rather than static (as conceived in Advaita Vedanta)

Sushumna-nadi ("very gracious channel"): the central prana current or arc in or along which the serpent power (kundalini-shakti) must ascend toward the psychoenergetic center (cakra) at the crown of the head in order to attain liberation (moksha)

Sutra ("thread"): an aphoristic statement; a work consisting of aphoristic statements, such as Patanjali's Yoga Sutra or Vasugupta's Shiva-Sutra

Svadhyaya ("one's own going into"): study, an important aspect of the yogic path, listed among the practices of self-restraint (niyama) in Patanjali's eightfold yoga; the recitation of mantras (see also japa)

t

Tantra ("Loom"): a type of Sanskrit work containing Tantric teachings; the tradition of Tantrism, which focuses on the shakti side of spiritual life and which originated in the early post-Christian era and achieved its classical features around 1000 C.E.; Tantrism has a "right-hand" (dakshina) or conservative and a "left-hand" (vama) or unconventional/antinomian branch, with the latter utilizing, among other things, sexual rituals

Tapas ("glow/heat"): austerity, penance, which is an ingredient of all yogic approaches, since they all involve self-transcendence

Tattva ("thatness"): a fact or reality; a particular category of existence such as the ahamkara, buddhi, manas; the ultimate Reality (see also atman, brahman)

Turiya ("fourth"), also called cathurtha: the transcendental Reality, which exceeds the three conventional states of consciousness, namely waking, sleeping, and dreaming

u

Upanishad ("sitting near"): a type of scripture representing the concluding portion of the revealed literature of Hinduism, hence the designation Vedanta for the teachings of these sacred works; cf. Aranyaka, Brahmana, Veda

Upaya ("means"): in Buddhist yoga, the practice of compassion (karuna); cf. prajna

v

Vairagya ("dispassion"): the attitude of inner ren

VUBHUTI : VUBHUTIS ARE THE SUPREAM ACHIEVEMENT OF YOGA PRACTICE AND LIFESTYLE

BANSURI AND VENU

2009-03-15T20:07:00.002+05:30

BANSURI AND VENU

Bansuri and venu are common Indian flutes. They are typically made of bamboo or reed. There are two varieties; transverse and fipple. The transverse variety is nothing more than a length of bamboo with holes cut into it. This is the preferred flute for classical music because the embouchure gives added flexibility and control. The fipple variety is found in the folk and filmi styles, but seldom used for serious music. This is usually considered to be just a toy because the absence of any embouchure limits the flexibility of the instrument. The flute may be called many things in India: bansi, bansuri, murali, venu and many more.
There are two main types; bansuri and venu. The bansuri is used in the North Indian system. It typically has six holes, however there has been a tendency in recent years to use seven holes for added flexibility and correctness of pitch in the higher registers. It was previously associated only with folk music, but today it is found in Hindustani classical, filmi, and numerous other genre. Venu is the south Indian flute and is used in the Carnatic system. It typically has eight holes. The venu is very popular in all south Indian styles.
Cultural and Religious Significance

The bansuri is not just a musical instrument, because it has a great cultural and religious significance among Hindus. It is an instrument associated with Lord Krishna. Numerous common names reflect these epitaphs of Krishna. Common examples are: Venugopal, Bansilal, Murali, Muralidhar, etc. Furthermore, in traditional Indian metaphysics, it is noted how remarkable it is the way the life force (pran, or literally "breath") is converted into a musical resonance (sur).

Parts of the Bansuri

We will now take a closer look at the north Indian Bansuri. It is always difficult to talk about the names for the various parts of the instrument because India is a land of many languages and dialects; therefore the following terms should be considered as representative but not universal.
Dandi - The dandi is the body of the bansuri. Bansuris may be fashioned from a variety of materials, but reeds, canes and bamboo are the most common. Ideally they should be constructed so that they taper towards the embouchure (mouth hole or mukharandra). They are therefore larger at the open end. This arrangement gives an extend range.

Mukha Randhra - This is the embouchure, or the blowing hole. professional quality bansuris in India are invariably of the transverse variety. However, there are also a number of fipple flutes which are also available. These are sometimes found among folk musicians and they are frequently given to children as toys. The transverse variety yields much better control by allowing blowing techniques to bend the notes to the desired pitches.

Swar Randhra - These are the finger holes. They are the holes that are used to play the melodies. For a 7-hole flute as shown in the side picture, the musical intervals are: half-step, whole-step, whole-step, half-step, whole-step, whole-step, whole-step. (Please note that these are approximations; the use of equal-temperament is not to be construed from this discussion.) The 7th hole (closest to the open end) is optional. When it is absent, the 6-hole flutes are tuned to: whole-step, whole-step, half-step, whole-step, whole-step, whole-step.

This 7th hole deserves special mention. Traditional north Indian folk flutes generally do not have it. The obvious advantage is that the presence of this hole extends the range of the instrument by one note. However, there is a more important and not quite so obvious advantage. Its presence gives the bansuri a more accurate pitch when overblown to produce the higher octaves.

Garbha Randhra - This is the opening of the bansuri. It should remain unoccluded at all times

Rassi - The body of the bansuri tends to crack. This is simply one of the undesirable qualities of bamboo and reed. This cracking may be reduced or eliminated by tightly binding the body with twine. This is known as rassi. One trick used by craftsmen to assure an even and reproducible tension is to tie a fixed weight to the end of the string and slowly turn the body of the bansuri to wrap the twine around it.

Technique of the Bansuri

The fingering position is shown in the accompanying photograph. Please note that the tips of the fingers are not used. Instead, it is the flat portion of the fingers, roughly an inch in from the tips that are used. This gives much more control when playing the half-holes (e.g., ornaments, flat notes).

Below are the fingerings for the notes of the Indian scale:

Mataji, Vidushi Siddheswari Devi

2009-03-14T21:28:00.001+05:30

Mataji, Vidushi Siddheswari Devi

Born on 8'th August 1908, in Banaras, Siddheshwari Devi had her initial training in Indian Classical music from Pandit Siyaji Maharaj. Later, she also trained under Pandit Bade Ram Dasji of Banaras. Siddheshwari shifted from Banaras to Delhi in 1965 and taught music in Shriram Bharatiya Kala Kendra for more than a decade till she passed away in 1977.
Siddheshwari Devi's music represented Banaras Gharana style, which lays more emphasis on the intensity of feelings and expression of emotions through musical notes and voice modulations. A stalwart of thumri, Siddheshwari's music also included khayals, dhrupads, dadras, tappas, kajris, chaitis, horis and bhajans. In thumris she specialized in "Poorabang" thumri, which is also known as the "Bol-Banav-ki thumri". Reliance on ragas was a distinctive feature of Siddheshwaris thumris. She helped in raising thumri to a classical form. She earned the title of "Thumri-Queen" and was presented the much coveted Padma Shree award in 1967.
Siddheshwari Devi strongly believed in "Guru Shishya Parampara" which has been kept alive by her daughter Vidushi Savita Devi. Savita established "Smt Siddheshwari Devi Academy of Indian Music" in the loving memory of her mother in 1977, the year in which Siddheshwari passed away.

Mataji, Vidushi Siddheswari Devi taught vocal technique and repertoire at the Kathak Kendra during the latter years of her life. In retrospect it seems inconceivable that an artist of such magnitude would teach a beginner such as I was, when I arrived at the Kathak Kendra in summer 1967. Yet she was fascinated by the musical sophistication I had acquired during thirteen years of professional training in western flute and piano, combined with my perfect vocal pitch and utterly unmodulated voice in terms of Indian vocal technique. I was a blank slate. I naively accepted the gifts Mataji gave me, whether a thumri in rag Jog or food which she cooked, while I cut onions in her kitchen on Sundays. Senior students and artists including Rita Chatterji graciously accepted my inclusion in Mataji's circle of art and love.

Mataji's full-throated, ungirlish range and daring flights up and down the raga shook me physically and shaped my aesthetic during those joyous moments when I sat with her - in the classroom, in her Pataudi House living room, and on stage in Lucknow and New Delhi. Since concerts at which she sang often lasted from early evening until early morning, I often heard other great artists such as Ustad Bismillah Khan.. For me Mataji embodied generosity, vulnerability, devotion, complex simplicity and artistry. She is joined by her daughter Savita in the on-stage photo of her typical singing position - her left hand covering one ear and the right hand extended toward the audience. When she gave me her tiny portrait - the second image of this unpretentious and open-hearted genius, she asked me to guess what was in her mind when it was snapped. Finally she said quietly ---- OM.

WHAT IS KATHAK?

2009-03-14T21:14:00.000+05:30

WHAT IS KATHAK?

KATHAK is the classical dance of Northern India. Its name derives from the Sanskrit word kathaka, storyteller. Long before Kathak was recognized as a classical dance form, these storytelling kathakas were integral players in the Indian oral tradition. They transmitted knowledge of religious epics and mythology -- such as the MAHABHARATA and the RAMAYANA -- by a combination of music, dance, acting and narration. Bhakti -- devotion -- was the principal emotion that the kathakas tried to evoke in their audience.

Rooted in the Hindu ethos common to all styles of Indian dance, Kathak developed into its present, distinct classical form in the Moghul and Rajput courts. Beginning in the Eighth Century, growing numbers of Muslim traders, adventurers, soldiers and rulers from Iran, Turkey and Afghanistan brought their own music, dance and costume styles to India. These influenced the performance practices of indigenous dancers and musicians, who sought patronage in Muslim courts. Meanwhile, Hindu Rajput rulers of Rajasthan also brought temple music and dance into their courts, modifying simple Hindu storytelling styles to reflect court entertainment etiquette, and contributing to the secularization and decoration of Kathak dance.

Modern Kathak descends from two great eighteenth-century Kathak dancers, Thakur Prasad of Lucknow and Janaki Prasad of Jaipur. Two of the major Kathak sytles are named after the geographical locus of the homes (ghar) of these great guru's: the Lucknow gharana and the Jaipur gharana. Each generation of Kathak dancers identifies himself/herself as "from the house of" his/her guru. It is as if becoming a student of a particular guru from a particular lineage gives second birth to the fledgling dancer, and from thenceforth, all the students of a particular guru are brothers and sisters -- guru bhai and guru behen -- no matter from what blood line or ethnicity or country they originally were born.

The narrative and poetic repertoire of Kathak continues to expand into the twenty-first century, including epics, devotional, romantic and mystical poetry in all the major languages of North India. Poetry written in Sanskrit, Urdu, Hindi and its dialects such as medieval Braj Bhasha and Avadhi reflects the mixed Hindu and Muslim roots of Kathak. The North Indian Hindustani style of classical music accompanies the dance, played by a musical ensemble that can include tabla and pakhawaj drums, sarangi, sitar, sarod, bamboo bansuri flute and vocalists.

Combining the spiritual fervor of the Hindu temple with opulent entertainment from the Moghul and Rajput courts, the Kathak dance tradition in the Twenty-first Century continues to evolve throught the art of Kathak dancers in India and throughout the world. Enriched by contemporary literature, music and performance practice, Kathak responds to an increasingly global culture.

Source : kathakensemble.com

Pandit Birju Maharaj

2009-03-14T20:53:00.001+05:30

Pandit Birju Maharaj

The most eminent Kathak dancer of recent times is Pandit Birju Maharaj. His full name is Brij Mohan Nath Mishra. He is the only son and disciple of Shri Achyan Maharaj and is a competent inheritor of the Lucknow Gharana. Birju Maharaj is a very talented and dignified personality. He is a born artist. During his childhood, he used to keenly watch and imitate various modes and ways of Kathak while his father used to give dance lessons to his students. In this way, rather playfully child Birju learned lots of things. Pleased by his son's achievements, Acchan Maharaj started to teach his son whole-heartedly. By the age of seven, Birju performed Kathak in home town Lucknow. It was the first recital in his life. The audience was spellbound at his wonderful presentation. At the age of ten, poor Birju lost his father. That was a tremenduous blow in child Birju's delicate mind. However, he tolerated that tragidy. Then he started taking dance lessons from his uncle Shri Lacchu Maharaj and Shri Shambhu Maharaj Later on, he became the teacher of Sangeet Bharati of Delhi. He teaches at the Bharatiya Kala Kendra in Delhi. He composed many dance dramas like 'Gobardhan Leela', 'Makhan Chori', 'Malti-Madhav', 'Kumar Samvav', 'Phag Bahar' etc. and gained extensive fame all over the country. His talent, dedication, vivacity, innovation enabled him to get involved in thousands of concerts not only in India but also in different places abroad. Today, whenever Kathak is discussed, Birju Maharaj's name is always raised.

Birju Maharaj has an enormous knowledge in Bol (musical phrases interlinked with drum strokes)-Laya (speed)-Taal (beats). Apart from being a Kathak dancer, he is also introduced as a singer of Bhajan, Thumri, Dadra, Hori etc. and also as a Tabla, Pakhawaj, Dholak, Naal (percussion instruments) player. He fluently plays various string instruments like Israj, Violin, Swar-Mandal, Sitar etc. To be respectful, Birju Maharaj can be introduced as a dancer, musician, composer, teacher, director, choreographer and a poet. He is an all-rounder. In 1986, he received the prestigious 'Padma Bibhushan' tittle from the goverment of India. He also received the 'Kalidas' award. He is also a recipient of 'Nehru Fellowship' in the name of India's first Prime Minister Pandit Jawaharlal Nehru. He is an instituition in himself. Currently, he is the chief faculty at Delhi's Kathak Kendra.

He is the father of two very well-known God-gifted talents - Shri Jai Kishan and Deepak Maharaj. He has many able desciples in India and abroad. Saswati Sen is one of the most versatile ones.

Born in the family of hereditary dancers, Birju Maharaj is the torch bearer of the famous family , Kalka-Bindadin Gharana of Lucknow, which has been serving the art of Kathak dance through centuries togather. Not only on India, he is familiarly known abroad, nearly all over the world. He has extensively toured all over the world, i.e. USSR, USA, Japan, UAE, UK, France, Germany, Italy, Aaustria, Czechoslovakia, Burma, Ceylon etc. for performances as well as lecture-demonstrations. Besides deing a superb dancer, he is also gifted with a number of other qualities which add to his artistic career.

He is a wonderful singer having command over, Thumri, Dadra, Bhajan and Ghazals and is also superb drummer, playing nearly all drums with ease and precision. He has given a new dimension to Kathak, by experimenting this technique in the application of dance-dramas, which has become very successful medium for mass propagation. As a choreographer he is the finest in the country today. His bold and intellectual compositions in traditional themes are brilliant, whereas his contemporary works are also refreshing in concept, crisp and entertaining.

He directed and composed music and sung playback for two classical dance sequences in the film, 'The Chess Players' directed by Satyajit Ray. A measure of his genius is the fact that at the age of 28 years, he received the Sangeet Natak Akademy Award. He is also a recipient of the country's second highest civilian award-Padma Vibhushan, besides several other pestigeous awards like- Kalidas Samman, Nritya Choodamani, Andhra Ratna, Nritya Vilas, Adharshila Shikhar Samman, Soviet Land Nehru Award, Shiromani Samman, Rajiv Ghandhi Peace Award.

He has been conferred with the Honorary Doctorate degrees from Banaras Hindu University, as well as Khairagarh University. He is widely acclaimed not only as a performer but also as an inspiring 'Guru' - teacher, having successfully trained numerous students in India and Abroad.

GLOSSARY OF TERMS "Z" - An Indian Art.

2009-03-14T17:30:00.002+05:30

GLOSSARY OF TERMS- An Indian Art.

zarab - (Lit. "To strike") The arrangment of vibhags or ang.

GLOSSARY OF TERMS "Y" - An Indian Art.

2009-03-14T17:30:00.001+05:30

GLOSSARY OF TERMS- An Indian Art.

yati - An obsolete system of patterns of manipulation of lay. See also srotagata yati, mridanga yati, pipilika yati, sama yati, gopuchcha yati, damaru yati, or visham yati.
yati tal - An obsolete tal of six beats.
yatishekhar tal - An obscure tal of 15 beats.

GLOSSARY OF TERMS "V" - An Indian Art.

2009-03-14T17:29:00.001+05:30

GLOSSARY OF TERMS- An Indian Art.

vichitra vina - An instrument similar to rudra vina except that it has no frets. It is played with a slide in a manner similar to a Hawaiian guitar.
vadi - The important note of a rag.
vakra - The usage of notes in an oblique fashion.
varan tal - An obscure tal of eight beats.
varanabhina tal - An obscure tal of eight or 16 beats.
varanamanthika tal - An obscure tal of 20 beats.
vardhan tal - An obscure tal of 19 beats.
vasant shikhir tal - See Basantshikhir tal.
venu - A south Indian flute.
vibhag - The measure or "bar".
vijay tal - An obscure tal of 20 beats.
vikshep - (Archaic) A style of silent timekeeping (marg nishabd kriya).
vikshipt - (Archaic) A style of silent timekeeping (deshi nishabd kriya).
vilambit - Slow tempo.
vimohi tal - An obscure tal of 13 beats.
vina - 1) Any stringed instrument. 2) The saraswati vina of south India.
vinaya - Humility, said to be a prerequisite for discipleship.
virbhadra tal - An obscure tal of 25 beats.
virpanch tal - An obscure tal of 20 beats.
visarjit - (Archaic) A style of silent timekeeping (deshi nishabd kriya).
visham grah - 1) The process of hiding or de-emphasizing the sam. 2) An archaic term referring to the start of the percussion on something other than sam (das pran).
visham tal - An obscure tal of 18 beats.
visham yati - An ancient rhythmic form which is constructed so that the changes in tempo are calculated to avoid the structure of the tal. Therefore, the structure of the tal is consciously hidden.
Vishnu - The preserver (i.e., God).
vishnu digambar paddhati - A notational system developed by Vishnu Digambar Paluskar.
Vishnu Digambar Paluskar - A famous Indian musicologist.
vishnu narayan bhatkhande - A famous Indian musicologist.
vishnu tal - An obscure tal of 17 or 36 beats.
vishva tal - An obscure tal of 13 beats.
vitat - A bowed, string instrument (e.g., violin, dilruba, sarangi, etc.)
vivadi - A note which is not allowed in a rag.

GLOSSARY OF TERMS "U" - An Indian Art.

2009-03-14T17:28:00.000+05:30

GLOSSARY OF TERMS- An Indian Art.

uday tal - An obscure tal of 12 beats.
udirn tal - An obscure tal of 16 beats.
ukshav tal - A rare tal of 10 beats.
ushakiran tal - A rare tal of 16 beats.
ustad - A learned man, a master.
uthan - A cadenza used commonly in dance and tabla solos. This is a type of mukhada used as an introductory piece.

GLOSSARY OF TERMS "T" - An Indian Art.

2009-03-14T17:27:00.002+05:30

GLOSSARY OF TERMS- An Indian Art.

ta - Fundamental tabla bol of the right hand.
ta - Fundamental tabla bol.
taali - See tali.
tabaliya - A respectful term for a tabla player.
tabalji - A slightly derogatory term for a tabla player.
tabla - 1) The pair of Indian hand drums. 2) The right hand drum of the pair. 3) The Arabic word for any drum.
tabla tarang - A musical instrument composed of numerous wooden tabla tuned to different pitches.
tal - 1) The Indian system of rhythm. 2) A particular rhythmic cycle (e.g., tintal, rupak tal, etc.) 3) Clapping of hands. 4) (Archaic) A style of timekeeping in the marg sashabd kriya characterized by the striking of the stationary left hand with the right hand.
tal-lipi - Percussion notation.
tal paddhati - A theoretical framework of rhythm.
tal-vadhya-kachari - A percussion ensemble.
tali - Clapped.
talim - 1) Education, training. 2) A body of pedagogic material.
tamasha - A street performance.
tamir tal - An obscure tal of 14 beats.
tamrakarni tal - An obscure tal of nine beats.
tan - A run of musical notes (i.e., a melodic lick).
tanpura - A long necked, stringed instrument for providing the drone.
Tansen - A great musician in the court of the Emperor Akbar.
tappa - A Punjabi style of semi-classical singing.
tappa tal - A 16 beat tal.
tar saptak - The higher octave.
tarana - A style of singing, originally of Persian origin, today characterized by meaningless syllables.
tasa or tasha - A small drum which is beaten with sticks.
tasma - The rawhide lacing of the tabla.
tat - 1) A tabla bol. 2) A plucked string instrument (e.g., sitar, sarod, etc.)
tawaif - 1) A female entertainer. 2) A prostitute.
tavil - A large drum used in south Indian temples.
te - A tabla bol.
teental - See tintal.
tesra - See tisra
tevra tal - See tivra tal.
thah - See thanh
thah dun - A term used by Benares musicians to indicate a composition played twice, the second time being twice the speed of the first.
thanh - 1) Vilambit. 2) Single time.
thappi - An accompaniment pattern of pakhawaj similar to prakar.
that - A mode.
theka - 1) The fundamental rhythmic pattern used for timekeeping. 2) A type of theme and variation, similar to peshkar, used by musicians of the Benares gharana.
thu - A tabla bol.
thumri - A semiclassical style of singing.
thumri tal - A 16-beat tal used in the accompaniment of thumri singing.
thun - A tabla bol.
ti - Fundamental tabla bol.
tigun - A layakari of 3:1 (i.e., triple-time.)
tihai - A cadenza composed of three identical sections.
tilwara tal - A 16 beat tal similar to tintal.
timir tal - See tamir tal.
tin - Fundamental tabla bol.
tintal - A very common tal of 16 beats.
tipalli - A type of tihai where each phrase is in a different tempo.
tisra - Third.
tisra jati - Triplets.
tisri tali - Third clap.
tivra tal - An old pakhawaj tal of seven beats.
tiya - See tihai.
toda - A tihai
todi - 1) A that (mode). 2) The major rag in Todi that.
top - (Lit. "cannon") A loud paran which characterizes thunder, battles, or similar moods.
tra - A tabla bol of the right hand.
tripalli - See tipalli.
triputa tal - An obscure tal of 8, 9, 11, or 13 beats.
trital - Tintal, a common 16 beat tal.
triveni tal - An obscure tal of 19 beats.
tryastra jati - Any rhythm composed of 3, 6, 12, etc. beats.
tu - A tabla bol.
tukada - A small composition containing a small body and a tihai, very similar to paran except that the bols do not show a pakhawaj influence.
tukheda - See tukada.
tun - A tabla bol.
turanglila tal - An obscure tal of 10 beats.

GLOSSARY OF TERMS "S" - An Indian Art.

2009-03-14T17:27:00.001+05:30

GLOSSARY OF TERMS- An Indian Art.

sadanand tal - A tal of three beats somewhat similar to dadra.
sadhana - Great perseverance.
sagar tal - An obscure tal of 17 beats.
salvanth tal - An obscure tal of 26 matras, formerly played on pakhawaj.
sam - The first beat of a cycle.
sam grah - 1) The process of ending a composition on the sam. 2) An archaic term indicating that the music starts on sam. One of the das pran of tal.
sama yati - A type of yati characterized by uniform tempo from beginning to end.
samadarshan tal - An obscure tal of 24 beats.
samavadi - The second most important note of a rag.
samaveda - One of the Vedas (religious texts) of the Hindus.
samay - The appropriate time for performance of a rag.
samir tal - An obscure tal of seven beats.
sampurna jati - A rag of seven notes.
sampurna tihai - A tihai at the end of a kaida which contains the entire theme.
samyak -(Archaic) A style of timekeeping in marg sashabd kriya, characterized by the striking of the stationary right hand with the left hand.
sanchari - A tertiary theme found in dhrupad and other older vocal forms.
sangati - Accompaniment.
sangavikram tal - An obscure tal of 64 beats.
sangeet or - Music and dance.
sangeet ratnakar - An ancient text on music.
sanghalila tal - An obscure tal of 14 beats.
sankirna jati - A rhythm of 4 1/2, 9, 18, etc. beats.
sankirna tihai - A tihai at the end of a kaida which contains only a portion of the theme.
sannipat - (Archaic) A style of timekeeping in the marg sashabd kriya characterized by the movement of both hands.
santoor - See santur.
santur - An Indian hammered dulcimer.
saptak - The register or octave.
sar tal - An obscure tal ofeight beats.
sarangi - A fretless bowed instrument with numerous strings.
Saraswati - Hindu goddess of music, arts, and learning.
saraswati tal - An obscure tal of 18 beats.
saraswati vina - The common south Indian vina.
sargam - The gamut. (i.e,. Sa, Re, Ga, Ma, Pa, Dha, and Ni).
Saringda - A Folk version of sarangi found in Rajastan.
sarod - A stringed instrument similar to rabab.
saroj tal - An obscure tal of 12 beats.
sarpini - (Archaic) A style of silent timekeeping (deshi nishabd kriya).
sashabd kriya - Timekeeping that makes noise (e.g., clapping of hands).
satgun - Division of matra into seven divisions.
sath - A class of compositions found in the pakhawaj styles.
sath sangat - A style of playing where beat-for-beat the tabla follows the main artist.
savai - see sawai.
savari badi tal - See badi savari.
savari choti tal - Choti savari, see pancham savari.
savari pancham tal - See pancham savari.
savari tal - An obscure tal variously described as 14, 15, 16, 30, or 32 beats. See also badi savari or choti savari.
sawai - 11/4 time. (i.e., playing five strokes in four beats.) See kuadi.
shabad - A religious song of the Sikhs.
shadav - A rag composed six notes.
shadj - The first note of the Indian scale (Sa).
shadtal - An obscure tal of 12 beats.
shagird - A student or disciple.
shai - Vernacular of syahi. See syahi.
shakti - Energy, force, power.
shakti tal - An obscure tal of 10 beats.
shambhu tal - An obscure tal of 16 beats.
shankar tal - An obscure tal of 11 beats.
shankh - A conch shell horn.
shankh tal - An obscure tal of 10 or 13 beats.
shanmukh tal - An obscure tal of 10 beats.
sharabhakrida tal - An obscure tal of 19 beats.
sharabhalila tal - An obscure tal of 21 beats.
Sharangdev - Author of Sangeet Ratnakar.
sharajanma tal - An obscure tal of 15 beats.
shastriya sangeet - Classical music.
shavarni tal - An obscure tal of seven beats.
shehnai - An Indian oboe.
shesh tal - An obscure tal of 19 beats.
shikhir tal - An obscure tal of 17 beats.
shikhiravahan tal - An obscure tal of 12 beats.
shishya - A student, or disciple.
shisham - Indian rosewood (Dalbergia sisu).
shobhadham tal - An obscure tal of 22 beats.
shravannil tal - An obscure tal of 21 beats.
shruti tal - An obscure tal of 22 beats.
shuddha - (Lit. "pure") Basic, primary.
shuddha jati - One of the seven modes which may be derived by simple modulation.
shuddha swar - A natural note.
shultal - See sulfak tal.
sidha - The small wooden right hand drum.
singhnad tal - An obscure tal of 40 beats.
sir tal - An obscure tal of six beats.
sitar - A common long necked fretted instrument.
sitarkhani - A 16 beat tal which is the same as Punjabi theka.
sool tal - See sulfak tal.
soolfak tal - See sulfak tal.
srotagata yati - This yati is said to flow like a stream. It begins slow and gradually increases to a fast conclusion.
sthai - The primary theme of a classical vocal piece.
stuti - (Lit. "prayer, praise of God") See bol paran.
sudarshan tal - An obscure tal of 10 or 20 beats.
sul tal - See sulfak tal.
sulfak tal - An old pakhawaj tal of 10 beats.
sur - 1) A note(See swar.). 2) The pitch of the tabla. 3) The maidan.
surbahar - A bass sitar.
Surdas - A great saint who composed many bhajans.
surmandal - A small harp used to accompany vocalists.
sushir - A musical instrument characterized by blowing air (flute, shehnai, harmonium, etc.)
swar - A musical note.
swarlipi - Musical notation.
swarmalika - A style of singing where the vocalist sings the sargam of the song.
swarup - (Lit. "shape" or "form") See pakad.
syahi - The black application on the heads of the tabla.

GLOSSARY OF TERMS "R" - An Indian Art.

2009-03-14T17:26:00.002+05:30

GLOSSARY OF TERMS- An Indian Art.

ra - A tabla bol.
rabab - A stringed instrument similar to sarod.
rababiya - One who plays rabab.
rag - The Indian musical modes.
ragini - A female rag.
ragmala - 1) A style of performance where numerous different rags are joined together. 2) A style of painting based upon the characterization of the various rags.
rajamandit tal - An obscure tal of 14 beats.
rajasingh tal - An obscure tal of 40 beats.
rajnarayan tal - An obscure tal of 28 beats.
rang tal - An obscure tal of 16 beats.
rangoli - 1) The decorative patterns drawn on the ground in front of the doorsteps of traditional Hindu families. 2) The powder used to draw the patterns.
rao - A rela like style that accompanies instrumental jhala.
ras tal - An obscure tal of 13 beats.
rassi - The rope lacing on the dholak.
rati tal - An obscure tal of 12 beats.
ravinandani tal - An obscure tal of 14 beats.
rayabank tal - An obscure tal of 24 beats.
razakhani gat - A fast gat played by instruments such as sitar or sarod.
rela - A very fast manipulation of small structures.
ri - A tabla bol.
riaz - See riyaz.
rishabh - The second note of the scale (Re).
riyaz - Perseverance, practice, dedication.
rudra tal - An obscure tal variously considered to be 11, 15, 16, or 17 beats.
rudra vina - An ancient vina composed of a single stick with two gourd resonators.
rupak tal - A common seven beat tal with uncommon variations of 5, 6, 9 or 11 beats.

GLOSSARY OF TERMS "Q" - An Indian Art.

2009-03-14T17:25:00.002+05:30

GLOSSARY OF TERMS- An Indian Art.

quaida - See kaida.
quada-rela - See kaida-rela
quawwali - See kawali.

GLOSSARY OF TERMS "P" - An Indian Art.

2009-03-14T17:25:00.001+05:30

GLOSSARY OF TERMS- An Indian Art.

padhat - See padhant.
padhant - The recitation of bols.
padmini - (Archaic) A style of silent timekeeping (deshi nishabd kriya).
pakad - (Lit. "to catch") The characteristic movement of a rag.
pakhawaj - A barrel shaped drum with playing heads on both sides.
pakhawaji - One who plays the pakhawaj.
palla - A section of the tihai that is repeated three times.
palta - A permutation of a kaida.
Paluskar - See Vishnu Digambar Paluskar.
panch savari tal - See pancham savari tal.
pancham - The fifth note of the scale.
pancham savari tal - A rare tal of 15 beats.
pancham tal - An obscure tal of 16 beats.
panchashar tal - An obscure tal of 23 beats.
paran - A class of small compositions derived from pakhawaj tradition.
paran tal - See chautal.
parampara - A lineage, or continuum (e.g., Guru-Shishya-Parampara)
paschami baj - The styles of dilli and ajrada gharanas.
pashto - See pashtu.
pashtu - Some consider this to be mere prakar of rupak while others consider this to be a distinctly separate seven-beat tal.
pashupati tal - An obscure tal of 26 beats.
pat tal - An obscure tal in two beats.
patak - (Archaic) A style of silent timekeeping (deshi nishabd kriya).
patit - (Archaic) A style of silent timekeeping (deshi nishabd kriya).
paune dugan - The division of four beats into seven equal parts.
payal - An ornamental form of ghungharu.
pench - (Lit. "coil" or "screw") 1) A type of palta or variation in a kaida formed by the repetition of the first line three times. 2) Any palta.
peshkar - (Lit. "introduction") An introductory movement similar to kaida but with a different system of permutation.
peshkar kaida - A kaida produced by having a peshkar follow a strict kaida format.
pipilika yati - (Lit. "the movement of an ant") An ancient rhythmic form characterized by sudden and apparently erratic changes in tempo. This derives its name because such sudden changes are characteristic of the movement of an ant.
pital - (Lit. "brass") The brass shell of the bayan.
plut - An archaic unit of time equal to three laghu.
prabhatkiran tal - An obscure tal of 11 beats.
prakar - Different varieties of theka.
praman tal - An obscure tal in 17 beats.
prasad - Food offered to god.
prastar - Permutations upon a kaida or given theme.
pratap shikhar tal - An obscure tal of 13 or 17 beats.
prati tal - An obscure tal of eight beats.
pravesh - (Archaic) A style of silent timekeeping (marg nishabd kriya).
pudi - A tabla head.
Punjab - 1) An area along the border between India and Pakistan. 2) The gharana from this area.
punjabi - (Lit. "from Punjab") A 16 beat tal similar to tintal.
puran tal - An obscure tal of 18 beats.
purna tal - An obscure tal of 19 beats.
purbi - (Lit. "Eastern") The style of playing in the Farukhabad, Lucknow, and Benares traditions.
putra rag - In the ancient rag / ragini system a putra rag is the son-rag.
pungi - 1) A bin or snake charmers instrument. 2) Any reeded noisemaker.

GLOSSARY OF TERMS "O" - An Indian Art.

2009-03-14T17:24:00.000+05:30

GLOSSARY OF TERMS- An Indian Art.

orissi - A style of classical dance from the Eastern state of Orissa.

GLOSSARY OF TERMS "N"- An Indian Art.

2009-03-14T17:23:00.002+05:30

GLOSSARY OF TERMS- An Indian Art.

na - Fundamental tabla bol.
nad siddha - The spiritual mastery over sound to the extent that miracles may be worked.
nadaswaram - A large south Indian oboe used in temples marriages etc.
nagada - A pair of kettle drums played with sticks.
nagada khani rela - A rela which is structured to imitate the sound of a nagada.
nakshatra tal - An obscure tal of 27 beats.
nal - A dholki.
namaskar - A traditional greeting, or show of respect made by bringing the hands together.
namaskari paran - An unusual piece which incorporates a namaskar into the structure, usually into the tihai.
nandi tal - An obscure tal considered by some to be 24 beats and 32 by others.
narayani tal - An unusual tal of 9 3/4 beats.
narada - Great saint in mythology who is said to be responsible for bringing the science of music to mankind.
nat tal - An obscure tal of four beats.
natyashastra - The science of dramatics.
naubat - A traditional group of musicians associated with open air performances at royal courts.
nau-hakka - See nohakka.
nau-ki-tihai - A chakradar.
navaras - The nine primary emotions of the Indian system of aesthetics.
navaratna - Nine jewels or nine learned men of a royal court.
nilakusum tal - An obscure tal of 15 beats.
nilanbuj tal - An obscure tal of 13 beats.
nimish - An archaic unit of time equal to the blink of an eye.
nirdosh tal - An obscure tal of five beats.
nisaru tal - An obscure tal of 10 beats.
nishabd kriya - Timekeeping without making a sound.
nishad - The seventh note of the scale (Ni).
nishkram - (Archaic) A style of silent timekeeping (marg nishabd kriya).
nishoruk tal - An obscure tal of nine beats.
nohakka - A type of tihai in which the bol "dha" comes nine times.
nomtom - A rhythmic style of introduction found in dhrupad and dhammar.
nrtya - Dance.
numtum - See Nomtom.

GLOSSARY OF TERMS "M"- An Indian Art.

2009-03-14T17:23:00.001+05:30

GLOSSARY OF TERMS- An Indian Art.

madan tal - An obscure tal of three or 12 beats.
madhumalati tal - An obscure tal of 16 beats.
madhya lay - Medium tempo.
madhya saptak - The middle octave.
madhyam - The fourth note of the scale (Ma).
magadh tal - An obscure tal of 23 beats.
maha tal - A non-standard name for tintal.
mahaadi lay - Double tempo of adi lay. (i.e., tigun)
mahabiadi lay - Double tempo of biadi lay.
mahakuadi lay - Double tempo of kuadi lay.
mahanat tal - An obscure tal of 14 or 16 beats.
Maharashtra - A state in western India
mahasen tal - An obscure tal of 20 beats.
mahavraj tal - An obscure tal variously considered to be of 8, 12 or 20 beats.
mahesh tal - An obscure tal of nine beats.
mahfil - A gathering, usually for poetry or music.
maidan - The main resonating membrane of tabla or pakhawaj. makarandakirti tal - An obscure tal of 17 beats.
malla tal - An obscure tal, some say of 21 beats, others say 13.
mallikatamode tal - An obscure tal of 16 beats.
mandra saptak - The lower octave.
mani tal - An obscure 11 beat tal.
manipuri - A classical dance style from the northeastern state of Manipur.
manjira - Small cymbals.
manmath tal - An obscure tal of 20 beats.
mansij tal - An obscure tal of 21 beats.
manthika tal - An obscure tal of 13 beats.
marg - 1) Describing the music of the gandharvas or celestial beings. 2) An ancient concept regarding the pauses between the beats. There were four types of marg: dhruva marg, chitra marg, vartik marg, and dakshan marg. marg nishabd kriya - An ancient concept regarding timekeeping with the hands, performed so that sound was not produced. This was specifically used in the marg sangeet.
marg sashabd kriya - An ancient concept regarding timekeeping with the hands, performed so that sound was produced (e.g., snapping of fingers, clapping of hands etc.). This was specifically used in the marg sangeet.
marg tal - A tal of the celestial beings, opposite of deshi tal.
marichi tal - An obscure tal of 26 beats.
masitkhani gat - A slow form played by sitar, sarod, santur and other instruments.
Matang - The author of the Brihaddeshi.
mathya tal - An obscure tal variously considered to be 8, 10, or 16 beats.
matra - The beat.
matt gayand tal - An obscure tal of 19 beats.
matt tal - An obscure tal of nine or 18 beats.
mattavijay tal - An obscure tal of 13 beats.
mayur tal - An obscure tal of 17 beats.
meend - A slide.
megh malhar - A rag which is associated with the rainy season.
mira - A great woman saint.
mirasi - A low caste Muslim community of hereditary musicians.
misra jati - Any rhythm based upon 1 3/4, 3 1/2, 7, 14, etc. beats.
mithilesh tal - An obscure tal of 20 beats.
mitti bayan - A bayan made of clay.
mizrab - A pick worn on the finger to play sitar.
mohan tal - An obscure tal of 12 beats.
mohani tal - An obscure tal of three beats.
mohara - A short composition with a tihai which ends on sam.
mridang - Any two headed barrel shaped drum of the pakhawaj variety.
mridanga yati - An ancient rhythmic form which begins slow, becomes fast towards the middle and again becomes slow towards the end.
mridangam - A south Indian mridang.
mukhada - A very small phrase or composition ending on sam. It may or may not have a tihai.
mukheda - See mukhada.
mundi - A term use by Banarasi musicians to indicate khali.
murali - A flute.
murchana - Modulation, or the process of deriving a new mode by shifting the tonic of an existing mode.
murchang - A jew's harp.

GLOSSARY OF TERMS "L" - An Indian Art.

2009-03-14T17:22:00.000+05:30

GLOSSARY OF TERMS- An Indian Art.

ladi - A type of laggi.
ladi kaida - A kaida created by having a ladi follow a strict kaida format.
laggi - A fast lively style of playing, similar to rela, used in light styles of playing, particularly with bhajans, thumris, gazal, etc.
laggi kaida - A laggi constructed upon a strict kaida structure.
laghu - An archaic unit of time equal to two drut.
laghushekhar tal - An obscure tal of five or seven beats.
lahara - A simple, repetitive melody used to accompany tabla solos and kathak dance. Sometimes (incorrectly) referred to as naghma.
lakadi - (Lit. wood) The wooden shell of the tabla.
lakhnowi baj - The style of playing originating from Lucknow.
lakshan geet - A style of singing where the lyrics are a description of the rag.
Lakshmi - Goddess of wealth.
lakshmi tal - An obscure tal of 18 or 36 beats.
lalkila paran - A type of dohatthu which is inspired from nagada.
langalul tal - An obscure tal of 14 beats.
lav - 1) Maidan, sur, the part of the tabla's playing surface between the chat (kinar) and the syahi. 2) An archaic unit unit of time said to be equal to eight kshan.
lavani tal - An eight beat tal.
lay - Tempo.
layakari - 1) The relationship between the performed pulse of a composition and the theoretical beat. 2) Complex divisions of the beat.
lilawati tal - An obscure tal of 13 beats.
lokmata tal - An obscure tal of 19 beats.
lom-vilom - A novel structure which is composed of two parts. The first part being a mirror image of the second. Therefore, the composition is the same whether it is read backwards or forwards.
lucknow - 1) A city in northern India. 2) The gharana from this area.

GLOSSARY OF TERMS "K" - An Indian Art.

2009-03-14T17:21:00.002+05:30

GLOSSARY OF TERMS- An Indian Art.

ka - A tabla bol of the left hand.
kaal - See kal.
Kabir - A great saint who composed many bhajans.
kaherava tal - A common eight-beat tal.
kaida - A highly formalized approach to a tabla solo.
kaida peshkar - A peshkar whose variations adhere strictly to the kaida format.
kaida rela - A rela performed to a strict kaida format.
kaidafarodast tal - An obscure tal in 19 beats.
kakapad - An archaic unit of time equal to four laghu.
kal - 1) The entire concept of time and musical timing. 2) One of the 10 vital airs of tal (Das Pran), which deals with absolute time.
kala - 1) Art. 2) An archaic unit of time roughly comparable to a minute.
kalanidhi tal - An obscure tal in 25 beats.
kalavati tal - An unusual tal of 9 1/2 beats.
kamali paran - A paran which is constructed in a highly unusual yet fascinating manner.
kan - See kshan.
kandarp tal - A rare tal of 24 beats.
kanjira - A small south Indian tambourine.
Kannada - A language of southern India.
kapalbhrat tal - A very rare tal of 10 beats.
karalmanch tal - An old and obscure tal of five or 10 beats.
karnatic sangeet - See carnatic sangeet.
kartal - Wooden frames in which small jingles are placed. A simple clapper.
kashth - (Lit. "wood") An archaic unit of time = to eight lav.
kashttarang - A wooden xylophone, or marimba.
kat - A tabla bol.
kathak - A north Indian style of classical dance.
kathakali - A dance form of the south Indian state of Kerala.
kaushik tal - A rare tal in 18 beats.
kawali - A style of Islamic devotional song.
kawali tal - A tal of eight beats similar to kaherava.
kdan or - A powerful bol of both pakhawaj and tabla.
ke - A tabla bol of the left hand.
keherava - See kaherava.
kerva tal - See kaherava, a common eight beat tal.
khali - (Lit. "empty") Waved, opposite of bhari or tali.
khalifa - The oldest and most respected representative of a gharana.
khamsa tal - A rare tal in eight beats.
khand jati - Any rhythm based upon 2 1/2, 5, 10, etc. beats.
khandapurna tal - A rare tal in 16 beats.
khayal - See kheyal.
khemta tal - A fairly common yet amorphous tal variously described as six or 12 beats.
kheyal - The most prominent style of classical vocal today.
kheyal tal - See chang tal.
khol - A folk drum of northeast India.
khula - (Lit. "open") Resonant strokes such as Ga, Thun, etc.
khula baj - (Lit. "open style") A style of tabla playing where the hands do not remain in contact with the drums, characteristic of the lucknowi style.
khuli - See bhari.
khyal - See kheyal.
ki or - A tabla bol of the left hand.
kinar - (Lit. "edge") The chat.
kirtan - A Hindu religious song or recitation.
kisma - A term used by Benares tabla players to indicate a rearangment of the bols of theka (i.e., prakar).
kisme - Plural of kisma.
kokil tal - An obscure seven-beat tal similar to tivra tal.
kokila tal - A obscure pakhawaj tal variously described as seven or 17 beats.
komal - A note which is flattened.
krantan - An ornament of sitar or sarod produced by hammering with the left hand against the fret or fingerboard.
krishna tal - An obscure pakhawaj tal in 20 beats.
kriya - An old and obsolete term describing the manner of keeping time with the hands.
krushya - (Archaic) A style of silent timekeeping (deshi nishabd kriya).
kshan - An archaic unit of time, an instant, a tiny fraction of a second.
kuadi lay - In a four unit time, one plays five units. See also sawai.
kuchipudi - A classical dance form of the south Indian state of Andhra Pradesh.
kumbh tal - An obscure tal in 11 beats.
kundal - The small ring at the bottom side of the tabla used for the lacing.
kuri - The shell of the bayan.
kusumaker tal - An obscure tal in 27 beats.

GLOSSARY OF TERMS "J" - An Indian Art.

2009-03-14T17:21:00.001+05:30

GLOSSARY OF TERMS- An Indian Art.

jagadamba tal - An obscure 19 beat tal.
jagajhampa tal - An obscure 15 beat tal.
jagpal tal - An obscure 11 beat tal.
jaltarang - A set of bowls tuned by adding or removing water, hit with small wooden sticks.
jarab - See zarab.
jat tal - An obscure tal, variously considered to be 8, 12, or 16 beats.
jat dipchandi - See dipchandi.
jati - 1) A class of rhythm. 2) The number of notes present in a rag. 3) An ancient modal form of singing.
jayamangal tal - An obscure tal which some consider 13 beats while others consider 14 beats.
jhala - The fast rhythmic style of instrumental music characterized by a constant plucking of drone strings (chikari).
jhampa tal - An obscure tal variously considered to be 6, 7, 8, 10, or 12 beats.
jhampak tal - An obscure 11 beat tal.
jhaptal - A common tal of 10 beats.
jhoomra - See jhumra.
jhumra tal - A tal of 14 beats, used primarily in kheyal.
jod - A style of instrumental music characterized by rhythm but no rhythmic cycle.
jor - An instrumental equivalent of nomtom.
joralap - See jor.
jori - The tabla pair.
jugalbandhi - Duet between two similar instruments or vocalists.

GLOSSARY OF TERMS "I" - An Indian Art.

2009-03-14T17:20:00.001+05:30

GLOSSARY OF TERMS- An Indian Art.

ikawai tal - An obscure tal of 16 beats.
iktali - An obscure tal of 11 beats.
indra tal - An obscure tal of 15 beats.
indralin tal - An obscure pakhawaj tal of 11 beats.
indranil tal - An obscure pakhawaj tal of 17 beats.
indri - The cloth and fiber ring cushions upon which the tabla rests.
indwi - See indri.

GLOSSARY OF TERMS "H" - An Indian Art.

2009-03-14T17:19:00.000+05:30

GLOSSARY OF TERMS- An Indian Art.

hamsalol tal - An obscure tal of five beats.
hanuman tal - An obscure tal of 22 beats.
harmonium - A small hand-pumped reed-organ.
hathodi - The small hammer used to tune the tabla.
hemavati tal - An obscure tal of 21 beats.
himangshu tal - An obscure tal of 15 beats.
hinch - A popular four beat folk tal of Gujarat.
hindustani sangeet - North Indian classical music.

GLOSSARY OF TERMS "G" - An Indian Art.

2009-03-14T17:18:00.001+05:30

GLOSSARY OF TERMS- An Indian Art.

gab - The syahi.
gajajhampa tal - An obscure tal of 15 beats.
gajalila tal - A rare tal variously described as 17 or 18 beats.
gajara - (Lit. a small string of flowers in a women's hair.) The braid of the pudi.
gajarisch tal - An obscure tal of 20 beats.
ganda bandhan - The ceremonial tying of thread around a new disciple's wrist signifying the beginning of ones discipleship.
gandhara - The third note of the scale (Ga).
gandharva - The demigods who, according to mythology, were the original possessors of the celestial art of classical music.
gandharva desh - Abode of the celestial beings.
gandharva veda - The science of music.
Ganesh - The elephant headed God who removes obstacles, often considered the god associated with percussion.
ganesh tal - An obscure tal of either 18, 20 or 21 beats, formerly played on pakhawaj.
garugi panchak tal - An obscure tal of 15 beats.
garugi tal - An obscure tal of nine beats.
gat - 1) A compositional type common in the purbi style of playing. 2) The theme of an instrumental performance.
gat kaida - A gat which is performed to a strict kaida format.
gatta - The wooden dowels in the lacing.
gazal - A style of poetic recitation, today a style of song.
ge - A bol for the left hand.
geet - A song.
gha - A basic bol of the left hand.
ghan - A non-membranous percussion instrument (e.g., bells, manjira, jal tarang, etc.)
gharana - (Lit. "house") A particular subtradition or "school"
gharanedar - A representative of a particular gharana or school.
ghat tal - An obscure tal of eight beats.
ghatam - A large earthenware vessel which is played in south Indian performances.
ghazal - see gazal.
ghe - A bol for the left hand.
ghi or - A bol for the left hand.
ghin - A bol for the left hand.
ghungharu - A collection of very small bells worn around the feet of a dancer.
gi or - A bol for the left hand.
gin - A bol for the left hand.
ginti tihai - A tihai commonly found in kathak, based upon so many small iterations that numbers are used instead of bols.
girali - See chutta.
git - See geet.
gittak - See gatta.
gopuchcha yati - (Lit. "a cow's tail") An ancient variety of rhythmic variation. It begins fast and gradually decreases tempo.
gotuvadhyam - An instrument similar to a Saraswati vina except that it has no frets. It is played with a slide like a Hawaiian guitar.
grah - 1) (ancient) The starting point of the composition. There are four types: sam, visham, atit, and anagat. 2) (modern) The method of handling sam.
grah tal - An obscure tal of nine beats.
grahagrah tal - An obscure tal of 20 beats.
gudri - The kundal.
Gujarat - A state in northwest India.
gun - Times (i.e., ekgun=single time, dugun=double time, tigun=triple time, etc.)
guru - 1) A teacher. 2) An archaic unit of time equal to two laghu.
guru bhai - A fellow disciple under the teacher.
guru purnima - A day set aside to honor the guru.
guru-shishya-parampara - The lineage of teacher to disciple.

GLOSSARY OF TERMS "F" - An Indian Art.

2009-03-14T17:15:00.000+05:30

GLOSSARY OF TERMS- An Indian Art.

fard - A purbi composition characterized by an absence of khali/bhari structure.
farmaish - Encore. A special request from the audience.
farmaishi paran - Any paran which is used for a farmaish (encore). This term really means nothing. It may be applied to virtually any paran, however, it will more commonly be applied to ekhatthu (ekhatthi), lom-vilom or top compositions.
farodast tal - An old and obscure tal of seven or 14 beats.
Farukhabad - 1) A town in northern Indian. 2) The gharana from this town.
filmi - 1) Pertaining to the film or movie industry. 2) A style of popular music.
fuljhadi - (Lit. a type of fireworks, a "fountain".) A type of gat characterized by sudden changes in the overall speed.

GLOSSARY OF TERMS "E" - An Indian Art.

2009-03-14T17:14:00.000+05:30

GLOSSARY OF TERMS- An Indian Art.

ekaki vadan - Instrumental solo.
ekgun - A layakari of 1:1 (i.e., single time)
ekhatthi - See ekhatthu.
ekhatthu - A composition which can be played with a single hand.
ektal - A common tal of 12 beats, however, non-standard versions may be found for 3, 4, 5, 7, and even 9 beats.
ektali - See iktali.
ektar - A simple one-stringed folk instrument.
esraj - A bowed instrument related to the sarangi.