Kuchipudi Dance, Indian Classical Dance

  

Kuchipudi dance, originally called Kuchelapuri or Kuchelapuram, is a classical dance form. From South Indian state of Andhra Pradesh it grew largely as a product of Bhakti (devotion) movement beginning in the seventh century A.D. It derives its name from the village of Kuchelapuram in Krishna district, which is a small village about 65 km from Vijayawada. Kuchipudi dance is known for its graceful movements and its strong narrative or dramatic character. The tradition of Kuchipudi dance was passed down through generations of Brahmin families in Kuchipudi village and interacted with the temple dance traditions as well as the other drama traditions of South India.

Origin of Kuchipudi Dance
Kuchipudi dance, like other classical dance forms in India, traces its roots to the Sanskrit Natya Shastra, a foundational treatise on the performing arts. Its first complete compilation is dated to between 200 BCE and 200 CE; but the estimates vary between 500 BCE and 500 CE. The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.

During earlier days Kuchipudi dance was performed once in a year and the dance form was cautiously kept out of the reach of Devadasis. From the fist performers, the technique and skills of this form got handed over to the next generations to acquire the present form. The tradition has remained so unbroken that even today in some of the coastal areas of Andhra pradesh, Kuchipudi dance is still performed by all-male troupes.

However, in modern times, women have dominated the art. Modern Kuchipudi dance acquired its present form in the 20th century. A number of people were responsible for moving it from the villages to the performance stage. Prior to this time, even as early as the 8th century, prototypes of the Kuchipudi dance drama centering on the life of Lord Shiva and other Hindu gods had been performed and was known as Nattuva Mala. Originally it was meant to be a ritualistic performance full of religious passion and devotion. Properly trained men and boys presented the dance in the open air on an improvised stage. The play began by paying respect to Lord Ganesha. In the past 30 years, the dance has undergone a revival as both a solo and dance drama tradition and is now performed on the modern stage around the world by both men and women.

Style and Technique of Kuchipudi Dance
Kuchipudi dance styles are based on Abhinaya Darpana and Bharatarnava of Nandikeshwara, which are then sub-divided into Nattuva Mala and Natya Mala. Nattuva Mala is of two types- the Puja dance performed on the Balipitha in the temple and the Kalika dance performed in a Kalyana Mandapam. Natya Mala is of three kinds-ritual dance for gods, Kalika dance for intellectuals and Bhagavatam for common place.

Costumes and Jewellery of Kuchipudi Dancers
Kuchipudi dance has now gained immense popularity because of its lilting music and graceful and flowing movements and vibrant stage presentation. Costumes of Kuchipudi dance look similar to Bharatnatyam costumes. The important characters have different make up and the female characters wear ornaments and jewellery such as Rakudi (head ornament), Chandra Vanki (arm ornament), Adda Bhasa and Kasina Sara (neck ornament) and a long plait decorated with flowers and jewellery. Ornaments worn by the artists are generally made of a lightweight wood called Boorugu.

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Types of Odissi Music

  

Types of Odissi Music cover a rather large spectrum. The various forms of this classical music style include Champu, Chhanda, Chautisa, Geeta Gobinda, Janan and Bhajan. These different types of Odissi Music are briefly discussed below.

Champu
Kavya with admixture of both prose and poem are known as Champu. In a Champu composition every stanza starts with the same alphabet. This is sung in Raaga and Tala. Instead of Anibadha Alapa there is Rupak Alapa. There is Pada Vinayas, short Swara Uinyas and no Taan.

Chhanda
The main characteristic of these verses is the stress on rhythm. It is set to a definite melody and Raaga. No steps of Raaganga are followed but the traditional technique and colourful Gamaka used here make it a special and very popular style. It is sung in a particular Brutta or Vani. Every Pada of a Chhanda is sung in the same Swara. Singers sing from the Oriya language epics of Mahabharata, Ramayana and from the Indian Puranas.

Chautisa
There are 34 (Chautrisha) Padas in such a composition. Hence it is called Chautisha. Like Chhanda this is based on Brutta or Vani and all the Padas are sung in the same swara. But unlike Chhanda it is always composed with 34 Padas. Every Pada begins with one alphabet of Oriya language and in the 34 Padas 34 alphabets are used in Proper sequence. Among all the Chautisa songs written in Oriya 'Manabodha Chautisa' is most popular.

Chaupadi
It consists of four stanzas. This variety of songs is songs of love. The language of the songs is lyrical, simple and direct.

Chaturang
This type of singing is not in popular practice but it comes under the traditional singing style. This type of song is not very old in origin. It consists of four parts, namely, Khayal, Tarana, Saraagam and Tirvat. In the first part, the words of the song are there, the second consists of syllables of Tarana, in the third part a small piece of Sargam is sung in the same Raaga in which Chaturang is sung, and in the last part, the Bols of Mridang or Pakhavaj are recited.

Geeta Gobinda
The Geeta Gobinda is one of the most beautiful works of the performing arts. It is an admixture of song and drama. Through millions of devotees who visited the Jagannath temple from various parts of India, Gitagovindams popularity spread all over India. There are a total of 24 Astapadas and these songs describe the various moods, shades and various episodes of love between Radha and Lord Krishna. They were written in 12th century in Sanskrit language. These verses exude at once spiritualism and eroticism. Oriya music as well as literature bears distinct marks of Jayadeva's style.

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Rajesh Khanna, Indian Actor

  

Rajesh Khanna led life drifting in a roller coaster ride full of troughs and crests. Boarding the flight of his career with renowned filmmaker Chetan Anand and smeared with revelries of unsuccessful setback very soon, he became one of the familiar names in the industry with his dark, soulful, somewhat fleshy looks. The actor persisted and exceeded all expectations through his work.

Early Life of Rajesh Khanna
Rajesh Khanna was born on 29 December 1942, in Amritsar in the present-day state of Punjab, in a Khatri family as Jatin Khanna. He was adopted and raised by Chunnilal Khanna and Leelawati Khanna, who were relatives of his biological parents. His father had migrated from West Punjab to Gali Tiwarian in Amritsar. His biological parents were Lala Hiranand Khanna and Chandrani Khanna. Khanna lived in Saraswati Niwas, in Thakurdwar near Girgaon, Mumbai. He attended St. Sebastian's Goan High School with his friend Ravi Kapoor, who later took the stage name Jeetendra. Khanna gradually started taking interest in theatre, did many of stage and theatre plays in his school and college days, and won many prizes in inter-college drama competitions. Khanna did his first two years of Bachelor of Arts in Nowrosjee Wadia College in Pune from 1959 to 1961. Khanna later studied in K. C. College, Mumbai and Jeetendra studied from Siddharth Jain College. Khanna tutored Jeetendra for his first film audition. Khanna's uncle KK Talwar changed Khanna's first name to Rajesh when he decided to enter films.

Career of Rajesh Khanna
In 1962 Khanna played a wounded mute soldier in the play Andha Yug and impressed with his performance; the chief guest suggested that he get into films soon. Khanna became a rare newcomer who had his own MG sports car, who once struggled to get work in theatre and films in the early 1960s. 1966 witnessed Rajesh winning the All India Talent Contest and just after that he joined the film media and debuted in 'Akhri Khat.' The limelight refused to cast away only after his film 'Aradhana ' monopolized the box office in the year 1969.

Often paired with actresses Mumtaz or Sharmila Tagore, he delivered mosto f his box office hits in this period, 'Anand', 'Amar Prem', 'Andaaz', 'Daag' and 'Namak Haraam' subjected to the law of diminishing returns . Several of the popular Bollywood songs rendering the voice of Kishore Kumar in the 1970s picturised on Khanna accelerated the wizardries of glory. His acting in 'Amar Prem' and 'Aap ki Kasam' were unforgettable landmarks. In the late 1970s and 1980s he switched his style and shifted his image from a romantic hero to an action protagonist. He continued to play central characters or guest roles in multi-starred films as well, such as 'Disco Dancer', 'Kudrat', 'Rajput', 'Dharam Aur Kanoon', 'Ashanti'.

Khanna was not a man who opted for calculated risks and rather experimented with negative roles in 'Red Rose' where he essayed the role of a psychopath and in 'Dhanwaan', where he played an arrogant businessman. By the early 1990s he closed the doors of cinema temporarily and plunged on to enact the role of a M.P from 1991-96. He beamed back with a boom in 'Aa Ab Laut Chale' and 'Kyaa Dil Ne Kahaa' where he played elderly father roles.

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Ayurvedic Massage

  

Ayurvedic Massage is the key to good health and is necessary both for prevention and cure of diseases. Also known as ‘Abhyanga’, Ayurvedic massage is a type of passive exercise. Abhyanga is done before the morning shower or bath and is one of the commonest practices of Ayurveda. Ayurvedic massage is an important part of daily life in India. It is a traditional technique used for balancing body and mind.

Origin of Ayurvedic Massage
The origin of Ayurvedic massage dates back to 3,000 years and is used to promote the importance of health and well-being to all generations within the family, especially to the younger members.

Ayurvedic Massage in Panchakarma
An Ayurvedic massage is the part of the traditional detoxification and rejuvenation program of India called Panchakarma, in which the entire body is energetically massaged with large amounts of warm oil and herbs to remove toxins from the system. Oil is also poured into the ears, between the eyebrows and at specific chakras, or energy points, during techniques known respectively as Karna Purana, Shirodhara and Marma Chikitsa. These treatments have been powerful in their effects upon the mind and nervous system by calming, balancing, bringing a heightened sense of awareness and deep inner peace.

Techniques of Ayurvedic Massage
The techniques of Ayurvedic Massage can be done either as stand-alone treatments or in conjunction with other Ayurvedic treatments. In Samhita, which stands as one of the most ancient and most reliable Ayurvedic texts the technique of Abhyanga or Ayurvedic message is mentioned. Ayurvedic massage or the Abhyanga incorporates the usage of warm oils and herbs along with stimulating the specific energy points to help restoring balance to the body. Massage strokes, oils and herbs are selected based on individual’s need.

Benefits of Ayurvedic Massage
Abhyanga, the Ayurvedic message is an easy method that can be incorporated in one’s daily routine without much complication. It has many positive effects and therefore none wants to miss its beneficiary sides. It is especially good for weak people, who are unable to exercise. Abhyanga makes one strong and smooth skinned and helps to fight against the exhaustion and exertion.

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Hill Stations of Arunachal Pradesh

  

Hill stations of Arunachal Pradesh includes the major hill stations of North East India are Along, Bomdila, Itanagar, Khonsa, Tawang and many other places. These gripping hill stations are easily accessible from Guwahati, Tinsukia, Silchar and Dispur. The hill stations are located near the India- China Border. Here Buddhism, 360 degree view of Lesser Himalaya Mountain Range and the green valleys are dominant. The Tourism Department of Arunachal Pradesh highlights some wonderful and spectacular hill stations with abundant and luxuriant environs. These hilly destinations will surely renew and refresh a traveler under the lap of Tawang Monastery or by seeing red panda in the wildlife sanctuaries.

Along, West Siang District
Along is famous for Mopin Festival. Here, Mopin Festival is the main festival that starts from 5th to 6th April. The tribal people celebrate Mopin for rich crops cultivation. Another festival is Yomgo River Festival, which is held every year during peak tourist season, and lasting 3 to 4 days, is celebrated from January 11 to 15.

Bomdila, West Kameng district
Bomdila offers the gorgeous scenic beauty of the Lesser Himalayas with moderate climate. Bomdila is famous for its rich historical significances. The calm and serene atmosphere will enthrall one to recharge from the mundane condition.

Itanagar, Papum Pare district
Itanagar is known as the capital of Arunachal Pradesh. It is situated at the foothills of Himalayas. Itanagar is well connected by road. Itanagar has a helicopter service between Guwahati in Assam and Naharlagun in Arunachal Pradesh.

Khonsa, Tirap District
Khonsa attracts the tourists for the presence of wildlife sanctuaries, the lush green forests and the Indian Tribal Culture. Wancho Tribe is concentrated here.

Tawang, West Kameng District
Tawang is a popular hill station, directly came under the influence of Bhutanese and Chinese culture along with Buddhism. Tawang Monastery is a cynosure of this place.

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Billiards in India

  

Billiards in India has always been considered as one of the strongest powerhouses in the world of Billiards. The main reason behind this is the utter dominance of the Indian Billiards players over all the other players for the past several years.

History of Billiards
The history of Billiards is quite old and rich. The game was invented during the 14th century and a game called as 'Ground Billiards' is thought to be the ancestor of Billiards in the world. However, Billiards in India is not that much old, as the game was incepted in India during the first half of the twentieth century.

Billiard in India
Billiard was brought to India by the British rulers of that time and it soon got popularity amongst the Indian people. With the increasing popularity of the game in India, an urge for a better management of Billiards in India started to be felt. The visionaries like M. M. Begg took a lot of initiatives to establish an all India governing body for the sport in India. With efforts from Mr. Begg and his companions, the Billiards and Snooker Federation of India (BSFI) was established in the year 1926, in Calcutta (Kolkata) in theIndian state of West Bengal. Since then, the BSFI has been promoting the game in India and also governing all kinds of Billiards related activities in the country.

Billiards and Snooker Federation of India (BSFI)
After the formation of the Billiards and Snooker Federation of India (BSFI), several state level Billiards associations started to be established all over India. All the state associations started to assist the BSFI in the promotion and development of the game in India. They started to conduct training programmes and to organise various kinds of tournaments to bring up new talents from all over the country. The Billiards tournaments in India are mainly organised for providing the Billiards players with a chance to improve their skills and also to get noticed at the national level.

Associations for Billiards
The BSFI and the state level Billiards associations are also working in educating the Indian Billiards players about the nitty-gritty of the game. The main objective behind their organising training programmes was to teach the players about the general rules of Billiards and also about the terms of Billiards. It is mainly for their relentless efforts that India has so far produced so many world class players in Billiards. Almost all the eminent Indian Billiards players were honoured by the Government of India by receiving theArjuna Awardfrom time to time. The huge number of Arjuna Awardees in Billiards is another evidence of how many extremely talented and great Billiards players India has produced so far.

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