KATHAKALI
Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. Kathakali is a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, especially the two epics, the Ramayana and the Mahabharata.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Characters are categorized according to their nature. This determines the colours used in the make-up. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., are predominantly green. Characters of high birth who have an evil streak, such as the demon king Ravana, are allotted a similar green make-up, slashed with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters are represented with a predominantly black make-up base. Women and ascetics have lustrous, yellowish faces.
The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigourous. To attain the high degree of flexibility and muscle control required for this art, a Kathakali dancer undergoes a strenuous course of training, and special periods of body massage.
The dancers wear large head dresses, and the contours of the face are extended with moulded lime. The extraordinary costumes and make-up serve to raise the participants above the level of mere mortals, so that they may transport the audience to a world of wonders.
The orchestra of a Kathakali performance includes two drums known as the chenda and the maddalam, along with cymbals and another percussion instrument, the ela taalam. Normally, two singers provide the vocal accompaniment. The style of singing particular to Kathakali is called Sopaanam. The orchestra of a Kathakali troupe is unique and provides not only the background to the dancing, but also serves as a highly expressive special effects team. In the traditional village ambiance, the percussionists also provide publicity for the event by playing outside the venue for some hours before the start of the show.
A traditional Kathakali performance begins in the evening and continues throughout the night, culminating at the auspicious hour of dawn, when Good finally conquers Evil. Today, however, it has been modified for the proscenium stage, and urban audiences can participate in this ritualistic theatre experience in the comfort of a plush auditorium, within the span of a couple of hours.
Source : artindia.net
Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. Kathakali is a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, especially the two epics, the Ramayana and the Mahabharata.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Characters are categorized according to their nature. This determines the colours used in the make-up. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., are predominantly green. Characters of high birth who have an evil streak, such as the demon king Ravana, are allotted a similar green make-up, slashed with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters are represented with a predominantly black make-up base. Women and ascetics have lustrous, yellowish faces.
The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigourous. To attain the high degree of flexibility and muscle control required for this art, a Kathakali dancer undergoes a strenuous course of training, and special periods of body massage.
The dancers wear large head dresses, and the contours of the face are extended with moulded lime. The extraordinary costumes and make-up serve to raise the participants above the level of mere mortals, so that they may transport the audience to a world of wonders.
The orchestra of a Kathakali performance includes two drums known as the chenda and the maddalam, along with cymbals and another percussion instrument, the ela taalam. Normally, two singers provide the vocal accompaniment. The style of singing particular to Kathakali is called Sopaanam. The orchestra of a Kathakali troupe is unique and provides not only the background to the dancing, but also serves as a highly expressive special effects team. In the traditional village ambiance, the percussionists also provide publicity for the event by playing outside the venue for some hours before the start of the show.
A traditional Kathakali performance begins in the evening and continues throughout the night, culminating at the auspicious hour of dawn, when Good finally conquers Evil. Today, however, it has been modified for the proscenium stage, and urban audiences can participate in this ritualistic theatre experience in the comfort of a plush auditorium, within the span of a couple of hours.
Kathakali literally meaning "story dance" is the pantomimic dance drama,the dancing and the acting being blended together into an inseparable form.It is a combination of facial expressions and body movements which brings out the thought and emotion of the character.
Kathakali is predominantly a male art and the dancing is mostly of the masculine type.The position taken by the actor is angular.He never stands erect while acting,his knees being spread out and his legs forming a rhombus,his hands bent at the elbow and his palms on his hips.The outer feet are never flat on the ground and still the actor maintains a perfect balance.The female character is lasya which is gentle and grateful.This is particularly evident in love scenes
The traditional performance begin at 8 pm and goes until dawn the following morning.It is preceded at sunset by the Kelikottu which is the playing of drums,Gong and cymbals to inform the local people about the performance.Now a days performances are given in halls with footlight and microphones etc. which will not last more than 3 to 4 Hrs. Kathakali plays are mainly based on the stories from the hindu epic Mahabharata,Ramayana and Bhagavata purana and characters represent the mythological being of the 3 world.The upper(devas or gods),the middle world of humans and the nether world(asuras or demons).The costume and make-up transform the actor mentally and physically to portray the character Kathakali's origin and development owe gratitude to the Royal family of Travancore.The Raja of Kottarakara(17 century) is the earliest exponent of this art.During his time Kathakali plays were staged continuously for 24 hours without any break.
A person to enjoy the Kathakali performance he should be aware about Hindu mythology,the character,The make up,the costume,the mudras and finally the slokas or verses sung by the singers.
Kathakali is predominantly a male art and the dancing is mostly of the masculine type.The position taken by the actor is angular.He never stands erect while acting,his knees being spread out and his legs forming a rhombus,his hands bent at the elbow and his palms on his hips.The outer feet are never flat on the ground and still the actor maintains a perfect balance.The female character is lasya which is gentle and grateful.This is particularly evident in love scenes
The traditional performance begin at 8 pm and goes until dawn the following morning.It is preceded at sunset by the Kelikottu which is the playing of drums,Gong and cymbals to inform the local people about the performance.Now a days performances are given in halls with footlight and microphones etc. which will not last more than 3 to 4 Hrs. Kathakali plays are mainly based on the stories from the hindu epic Mahabharata,Ramayana and Bhagavata purana and characters represent the mythological being of the 3 world.The upper(devas or gods),the middle world of humans and the nether world(asuras or demons).The costume and make-up transform the actor mentally and physically to portray the character Kathakali's origin and development owe gratitude to the Royal family of Travancore.The Raja of Kottarakara(17 century) is the earliest exponent of this art.During his time Kathakali plays were staged continuously for 24 hours without any break.
A person to enjoy the Kathakali performance he should be aware about Hindu mythology,the character,The make up,the costume,the mudras and finally the slokas or verses sung by the singers.
Source : artindia.net
Varuna Mudra
Bend the little finger of your right hand until the tip touches the ball of your right thumb; place the thumb of your right hand on it. Press the little finger and thumb slightly with your left thumb. At the same time, your left hand encircles the right hand lightly from below.
Do as needed, or practice three times a day for 45 minutes. Keshav Dev says that the Varuna Mudra should always be done when too much mucus or secretion collects in the stomach or lungs. Congestion can settle in the frontal sinuses, lungs, and the entire digestive tract from the stomach to the large intestine. Most allergic reactions are ultimately mucous congestion triggered by specific irritating substances. When we catch a cold, we are usually in a rut in other ways as well. I find this to be 100 percent true for myself. Since I have recognized this fact, I can also do something to relieve the situation (I reduce my workload and my obligations). Mucous congestion, no matter where it occurs in the body, is always related to overstimulated nerves, inner tensions and unrest, triggered by overstraining, being pressed for time, being aggravated,
or experiencing fear. In addition to practicing the Varuna Mudra, it is always important to make a new life plan. Including other people in it is usually good! Perhaps you should rethink your tasks and obligations and reassign some of them to you partner, your child, and/or your parents. People who suffer from mucous congestion are often too conscious of responsibility and think that everything depends on them or that they must do everything alone.
Bend the little finger of your right hand until the tip touches the ball of your right thumb; place the thumb of your right hand on it. Press the little finger and thumb slightly with your left thumb. At the same time, your left hand encircles the right hand lightly from below.Do as needed, or practice three times a day for 45 minutes. Keshav Dev says that the Varuna Mudra should always be done when too much mucus or secretion collects in the stomach or lungs. Congestion can settle in the frontal sinuses, lungs, and the entire digestive tract from the stomach to the large intestine. Most allergic reactions are ultimately mucous congestion triggered by specific irritating substances. When we catch a cold, we are usually in a rut in other ways as well. I find this to be 100 percent true for myself. Since I have recognized this fact, I can also do something to relieve the situation (I reduce my workload and my obligations). Mucous congestion, no matter where it occurs in the body, is always related to overstimulated nerves, inner tensions and unrest, triggered by overstraining, being pressed for time, being aggravated,
or experiencing fear. In addition to practicing the Varuna Mudra, it is always important to make a new life plan. Including other people in it is usually good! Perhaps you should rethink your tasks and obligations and reassign some of them to you partner, your child, and/or your parents. People who suffer from mucous congestion are often too conscious of responsibility and think that everything depends on them or that they must do everything alone.
Prithvi Mudra
Place the tips of the thumb and ring finger on top of each other, using light pressure. Extend the other fingers. Do this with each hand. Do as needed, or use three times a day for 15 minutes.
The Prithivi Mudra can eliminate an energy deficit in the root chakra. Whether or not you feel psychologically or physically strong and vital is largely dependent upon this energy. This finger position also intensifies the sense of smell and is good for the nails, skin, hair, and bones. If you feel uncertain of your steps while walking, the Prithivi Mudra can restore your equilibrium and trust. This mudra also activates the root chakra, in which our elemental force resides. We can compare this chakra to the grafting knot of a rose. The potential for the appearance and nature of the plant is found here; the roots sprout into the ground from this point to give the plant stability and absorb the nutrients. The stem and leaves grow upward from this point to connect with the light, to blossom and bear fruit. Without reservation, this image can be applied to human beings as well. We also need stability and nourishment to grow and be effective in our place in the world. The purpose of our lives is to connect with the Divine, which means we must also orient ourselves toward the light and open up like a flower that is being pollinated. For us, this may mean experiencing grace. So this mudra can give us everything that we need for a meaningful life. I use it when I feel insecure and need inner stability and self-assurance. Moreover, it stimulates the body temperature, the liver, and the stomach.
Place the tips of the thumb and ring finger on top of each other, using light pressure. Extend the other fingers. Do this with each hand. Do as needed, or use three times a day for 15 minutes.The Prithivi Mudra can eliminate an energy deficit in the root chakra. Whether or not you feel psychologically or physically strong and vital is largely dependent upon this energy. This finger position also intensifies the sense of smell and is good for the nails, skin, hair, and bones. If you feel uncertain of your steps while walking, the Prithivi Mudra can restore your equilibrium and trust. This mudra also activates the root chakra, in which our elemental force resides. We can compare this chakra to the grafting knot of a rose. The potential for the appearance and nature of the plant is found here; the roots sprout into the ground from this point to give the plant stability and absorb the nutrients. The stem and leaves grow upward from this point to connect with the light, to blossom and bear fruit. Without reservation, this image can be applied to human beings as well. We also need stability and nourishment to grow and be effective in our place in the world. The purpose of our lives is to connect with the Divine, which means we must also orient ourselves toward the light and open up like a flower that is being pollinated. For us, this may mean experiencing grace. So this mudra can give us everything that we need for a meaningful life. I use it when I feel insecure and need inner stability and self-assurance. Moreover, it stimulates the body temperature, the liver, and the stomach.
Shunya Mudra
Bend the middle finger until it touches the ball of your thumb. Lightly press down on the middle finger with your thumb. The other fingers are extended. Do this with each hand. Do as needed, or use three times daily for 15 minutes as a course of treatment.
This is a special exercise against ear and hearing problems. The Shunya Mudra can also quickly heal earaches (and almost all diseases of the ear) when used for a longer period of time, according to Keshav Dev.
Hearing problems are related to a person who is no longer able to hear or who even doesn't want to hear. This can be a blessing or a catastrophe. Poor hearing can protect us from unpleasant things or even from disagreeable sounds or information that find their way into us. On the other hand, we can also no longer hear beautiful things. Not wanting to hear is sometimes based on a particular kind of stubbornness that can lead to disaster. Consequently, if we are willing to scrutinize the reason for our hearing problems, this can lead us one step further toward a richer life.
The middle finger is associated with the sky (ether). This is the gateway to the higher dimensions—the gateway to Heaven. The ancient myths say, if we want to get to Heaven, we first need to be thoroughly purified. This is why it may be appropriate to "look within" and make amends for old offenses. I know that it can sometimes be very difficult to forgive another person; but I also know that forgiveness truly opens up new gateways - gateways that lead into the light and into a lightness of the life ahead of us. It is as if we have thrown off our old burdens and then continued happily on our path.
Bend the middle finger until it touches the ball of your thumb. Lightly press down on the middle finger with your thumb. The other fingers are extended. Do this with each hand. Do as needed, or use three times daily for 15 minutes as a course of treatment.This is a special exercise against ear and hearing problems. The Shunya Mudra can also quickly heal earaches (and almost all diseases of the ear) when used for a longer period of time, according to Keshav Dev.
Hearing problems are related to a person who is no longer able to hear or who even doesn't want to hear. This can be a blessing or a catastrophe. Poor hearing can protect us from unpleasant things or even from disagreeable sounds or information that find their way into us. On the other hand, we can also no longer hear beautiful things. Not wanting to hear is sometimes based on a particular kind of stubbornness that can lead to disaster. Consequently, if we are willing to scrutinize the reason for our hearing problems, this can lead us one step further toward a richer life.
The middle finger is associated with the sky (ether). This is the gateway to the higher dimensions—the gateway to Heaven. The ancient myths say, if we want to get to Heaven, we first need to be thoroughly purified. This is why it may be appropriate to "look within" and make amends for old offenses. I know that it can sometimes be very difficult to forgive another person; but I also know that forgiveness truly opens up new gateways - gateways that lead into the light and into a lightness of the life ahead of us. It is as if we have thrown off our old burdens and then continued happily on our path.
Vayu Mudra of Wind
With each hand bend the index finger so that its tip touches the ball of the thumb. Then press the thumb lightly onto the index finger. Extend the other fingers in a relaxed way.
For chronic complaints, do this mudra three times daily for 15 minutes; otherwise, use it until it has an effect. This position prevents "wind" (meaning flatulence), and a sensation of fullness, in all parts of the body. Ayurvedic medicine assumes that there are 51 types of wind in the body that produce numerous disorders.
These include gout, sciatica, flatulence, rheumatism, and trembling in the hands, throat, and head. If you use the Vayu Mudra within 24 hours after an outbreak of a disorder or disease caused by wind, you can very quickly count on improvement. For chronic complaints, the Pran Mudra (Number 6) on page 70 should be practiced. The Vayu Mudra must be discontinued as soon as the disease disappears.
Too much wind in the body can be caused by inner waste substances, particularly in the intestines, or inner tensions that are in turn based on states of agitation. Frequently, the normal breathing rhythm (which is different for each individual) is also disrupted. As an additional measure, the "stomach contractor" can also be practiced.
To do this, assume the "cat posture." Inhale and lift your head some what; exhale and lower your head again while vigorously pulling in the abdominal wall at the same time. During the pause in breathing, pull in the abdominal wall and let go of it several times. Then inhale deeply again; raise your head again. Repeat the whole exercise a number of times. In addition, the following visualization can help against tensions and states of agitation.
With each hand bend the index finger so that its tip touches the ball of the thumb. Then press the thumb lightly onto the index finger. Extend the other fingers in a relaxed way.For chronic complaints, do this mudra three times daily for 15 minutes; otherwise, use it until it has an effect. This position prevents "wind" (meaning flatulence), and a sensation of fullness, in all parts of the body. Ayurvedic medicine assumes that there are 51 types of wind in the body that produce numerous disorders.
These include gout, sciatica, flatulence, rheumatism, and trembling in the hands, throat, and head. If you use the Vayu Mudra within 24 hours after an outbreak of a disorder or disease caused by wind, you can very quickly count on improvement. For chronic complaints, the Pran Mudra (Number 6) on page 70 should be practiced. The Vayu Mudra must be discontinued as soon as the disease disappears.
Too much wind in the body can be caused by inner waste substances, particularly in the intestines, or inner tensions that are in turn based on states of agitation. Frequently, the normal breathing rhythm (which is different for each individual) is also disrupted. As an additional measure, the "stomach contractor" can also be practiced.
To do this, assume the "cat posture." Inhale and lift your head some what; exhale and lower your head again while vigorously pulling in the abdominal wall at the same time. During the pause in breathing, pull in the abdominal wall and let go of it several times. Then inhale deeply again; raise your head again. Repeat the whole exercise a number of times. In addition, the following visualization can help against tensions and states of agitation.
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