History of Indian Drama

  

History of Indian Drama has originated and developed from storehouse of Sanskrit in India. Indian drama has given its incredible impact and limit to perfection since ancient times. Drama is basically a form of performing arts, where stories are enacted by the utilisation of dialogue, music, signal and dance. Traditional Indian drama, which is highly influenced by the Hindu religion, was developed by local artists and performers and is not a replication of western influx. Bharata is traditionally considered to be the father in the history of Indian drama. The history of Indian Drama is deeply rooted in Classical Sanskrit Theatre, which is the earliest existing form of drama and theatre.

Ancient Indian Drama
History of Indian drama dates back to the ancient Vedic period. It then moves on to the classical theatre traditions, also influencing modern theatre, particularly the Hindi, Marathi and Bengali theatres down the line. Looking back towards the bygone historical path, the beginning of the ancient dramas owes to the Rig Veda for its monumental source material, together with Pururava, Urvashi, Yama and Yami, Indra-Indrani, Sarma-Pani and Ushas Suktas. Even the epics of Ramayana, Mahabharata and Arthashastra are instilled with specific techniques of dramaturgy. Sages like Valmiki and Vyas and Panini also had shed decisive light and Patanjali had heartily contributed in his Mahabhashya that there existed two dramas, namely, Kamsa Vadha and Vali Vadha. As such, the origin of dramas from the early Vedic Age is considered to be the most authentic and authoritative amongst all the later creations.

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Shodhana Therapy, Ayurveda

  

Shodhana therapy in Ayurveda is also defined as the various procedures of eradicating diseases from the normal system of the body. It is actually considered as the second means of Ayurveda through which illness of the body is being treated. Shodhana literally means "to go away". In this specific form of treatment also known as Panchakarma, the basis or the root cause of the disease is eradicated. The shodhana therapy rids the body of Aama and malas and completely restores balance to the doshas. In simple terms, it can be said that it basically pulls the weeds out by its roots. Shodhana therapy is considered as superior to shamana therapy because it not only removes the symptoms of disease but it also eliminates their root cause.

In Ayurveda, it is defined that all disease processes point to a crisis of Aama toxicity in the body. In other terms it is also called as purification therapy. It is called so because it reverses the disease mechanisms which carry toxic waste products from the digestive tract in to the several tissues of the body. In Ayurveda, it is said that there is a simple elegance to the approach and effectiveness of Panchakarma as shodhana therapy. It takes advantage of the naturally occurring cycles of doshic migration and utilizes the active phases of each dosha to draw dosha specific 'Aama' out of the dhatus and eliminate it from the body. In this way, Shodhana Chikitsa differs from every other form of treatment and it includes all other modes of detoxification and purification.

In Shodhana therapy, doshas provide the vital connection between the gastrointestinal tract and the dhatus or the deep internal structures of the body. In case of the doshas, they are neither retained nor eliminated and they have the unique capability to travel throughout the body. They also transport the nutritive substances from the gastrointestinal tract to the tissues and organs and they carry unsuitable or damaging substances away from the dhatus and back to the gastrointestinal tract for elimination. Shodhana therapy emphasizes on the fact that doshas have the capacity to convey aama to the tissues as well as conduct it out of the tissues for disposal. As per the theoretical understanding of shodhana therapy, it is actually defined as cleansing therapy.

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Natural Valleys of Uttarakhand

  

Small valleys and perennial rivers of Uttarakhand offer wonderful experience to nature lovers and hikers. The vast open hay field, above the tree line present endless views of the variously coloured Himalayan flowers. The most interesting of them, aesthetically or botanically are seen in the higher altitudes, from 2,450 metres and above. The arrival of spring brings forward an uprising of colours, when flowers like the Semal and Palash put the lower altitude forests on fire with their blazing red flowers. It is also the time for Burans to spread its fire at a height of or above 2,450 metres adding colour to the blue and white panorama of snow. The flowers do not grow only in the Valley of Flowers but are found on different treks habitually up to great heights as also on the hay field and even in rock cracks or moraines. Some of the most interesting and floristically rich natural valleys of Uttarakhand are:

Har ki Doon Valley: Situated deep inside the Govind Pashu National Park, the Har ki Doon Valley is one of the most beautiful valleys in the Western Himalayas. It is nestled in the middle of a cradle-shaped vale below the Har Ki Dun peak. Known for its rich variety of flora and fauna, the trail through alpine meadows, moraine ridges, glacier basins, pine forests and ancient villages, gives the travellers and hikers a spectacular view of the valley. The Har ki Doon Valley is situated in the lying strip of Rawain sub-division of the Uttarkashi district. It is a unique valley expanding about 7 to 8 km at an altitude of 3,566 m. To reach Har-ki-Doon from Uttarkashi one passes through the Barkot Purola, Netwar and Taluka villages.

Kuthi Valley: The picturesque locations of the Kuthi valley are a delight for the mountaineers, trekkers, adventure seekers, botanists, sightseers, tourists and pilgrims. The Pithoragarh district which houses the Kuthi valley is one of the prominent halt for the people proceeding to the famous Kailash Mansarovar Yatra route. The rivers in the Kuthi valley provide excellent scope for organizing water sports, rafting etc. The region surrounding the Kuthi valley and the district of Pithoragarh are called as 'Miniature Kashmir'. The valley lies in the eastern part of Uttarakhand and is joined to the Darma Valley via the Sinla and Nama pass. The highest mountain peak occupying this valley is Baba Kailash, with a height of 6,191 m. The Kuthi Valley is inhabited by the Bhotiya tribes who are found in many of the High Himalayan valleys.

Darma Valley: The undulating picturesque landscape of the Darma Valley is interspersed with verdant forests, captivating waterfalls and streams, along with magnificent alpine meadows which host colourful wild flowers. The valley is formed by the Darma River also known as the Dhauli Ganga which meanders through the valley. The trekking trail passes through spellbinding vistas, seasonal glaciers, coniferous forests, broad fields, picturesque hamlets, and more.

Saur Valley: A small valley in the Pithoragarh district, the Saur Valley stretches for about 8 km and is about 5 km wide. It is surrounded by beautiful mountains, slopes gently to the south-east, and is bisected into north and south by a tubular ridge of slate, limestone and greenstone originating in the mountains to the north-west and branching down to the south-east. Nestled at an altitude of 1,650 m, the valley offers panoramic views of the vast snow range extending across Trishuli, Nanda Devi, Panchchuli Group, and Adi of Nepal from a place named Chandak.

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All India Chess Federation for the Blind

  

All India Chess Federation for the Blind (AICFB) is the governing body for the game of Chess in India among visually impaired in India.

Formation of All India Chess Federation for the Blind
All India Chess Federation for the Blind was formed in 1997 with a view to promote the game of chess among the visually impaired of India.

Registration of All India Chess Federation for the Blind
All India Chess Federation for the Blind is registered under Society Registration Act, 1860, Public Trust Act, 1951 and Income Tax Act, 1961 – Section 12A.

Objective of All India Chess Federation for the Blind
Although the main objective of All India Chess Federation for the Blind is to promote the game among the visually impaired all over India, the organisation has a set of aims and objectives such as:
1. Forming state associations in all the states in the country
2. Providing playing opportunities to all players all over the country.
3. Publishing and provide Braille books on chess to help players develop their game.
4. Building an audiocassette library, which provides information and analysis of chess games
5. Making available computers, relevant software etc.
6. Organizing seminars and coaching camps.
7. Interacting with the government and introduce chess as a subject in blind schools.
8. Organizing local, regional and National level tournaments.
9. Sending teams to participate in International chess tournaments.
10. Affiliating to the International Braille Chess Association and represent India on International forum for blind chess.
11. Organizing international tournaments, seminars etc.

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Madhya Pradesh Temples

  

The state of Madhya Pradesh is located in central India. This ‘Central Province’ is the second-largest state in India by area (308,245 square kilometers) and the fifth-largest state in the country by population (over 75 million inhabitants). The geographical terrain of this state is characterized by a plateau streaked with the hill ranges of the Vindhyas and the Satpuras, rivers, lakes and dense forests. The natural beauty of Madhya Pradesh, along with world heritage sites, several cities, hill stations, national parks, etc draw tourists to this state. Temples of Madhya Pradesh are no exception in this regard. They also serve as spots that have the potential to catch the attention of tourists visiting this state.

Mahakaleshwar Jyotirlinga
Mahakaleshwar Jyotirlinga is located in the ancient city of Ujjain. This Hindu temple is dedicated to Lord Shiva and is one of the twelve Jyotirlingams (most sacred abodes of Lord Shiva) in India. Mahashivratri is an important festival celebrated in this temple.

Lakshmana Temple
Lakshmana Temple is located in the small village of Khajuraho in the district of Chattarpur. This Hindu temple is dedicated to a form of Vishnu called Vaikuntha Vishnu and houses a tri-headed four-armed sculpture of this deity. This temple is a fine representation of Hindu temple architecture. The temple complex stands on a high platform and has an ardh-mandapa (entrance porch), mandapa, maha-mandapa, antarala and garbhagriha.

Chaturbhuj Temple
Chaturbhuj Temple is located in the town of Orccha. Currently, an image of Radha Krishna is worshiped in this temple. This temple was built in the 16th century by the rulers of the Orccha state called Bundela Rajputs. The Ram Raja Trust is recognized as the managing body of this temple. The State Archaeology Department is responsible for the conservation of the temple structure.

Annapurna Temple
Annapurna Temple is situated in Indore and is one of its famous pilgrimage sites. This Hindu temple is dedicated to goddess Annapurna. Architecturally, this temple is similar to the famous Meenakshi Temple of Madurai. It has three shrines of Shiva, Hanuman and Kalabhairava and the famous Pravachan Hall.

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Namkeen, Indian Snack

  

Namkeen refers to various savoury snack foods that are quick to prepare, spicy, usually fried, and eaten in the evening or morning with tea or with any one of the meals as a side dish. The term ‘Namkeen’ is probably derived from the Hindi word ‘Namak’ meaning salt. Thus, the word ‘Namkeen’ is used for salty snack foods.

There are many kinds of namkeen available in the market. A given snack may be part of a local culture and its preparation and popularity vary from place to place. These snack items are made by mixing several things like beaten rice, fried pulses, sev, gathiya, ground nuts, dry fruits, corn flakes etc. All these things are mixed together according to preferences and some spices are mixed with it and they become a very tasty accompaniment with tea. Some very famous snacks are as follows:

Chiwda: Chiwda is a fried snack very popular during festivals. It is made by deep frying poha and adding fried peanuts, coconut pieces, dry fruits and curry leaves.

Masala Ribbons: Masala ribbons are really easy to make. Just prepare a dough pass through kitchen press, deep fry and done.

Bhakarwadi: Bhakarwadi is simply amazing in taste bursting with flavours. It is a spicy tea time snack with a hint of sweet and slightly tangy.

Besan ki Sev: Besan ki Sev are quite easy to make at home. It is a crispy and light snack that goes perfect with tea.

Mathri: Mathri is one of the best Indian tea time snacks which are made with plain flour or wheat flour.

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Sankirtan Yoga

  

Sankirtan yoga refers to taking the name of God. It is one of the nine modes of Bhakti. According to the Puranas, the glory of the Supreme Being lies in his Name. Hence, the easiest way to attain the lord is by remembering him. Swami Sivananda, the founder of Divine Life Society, defines Sankirtan as the Swarupa (indispensable nature), Dhwani (sound) and the essence of Vedas. In fact, both the Vedas and Sankirtan originate from the same source. In Sankirtan people sit together and remember God by singing his name harmoniously. But the most important thing is the bhava (thought or feeling). If the person is taking the Lord’s name with utmost devotion, then He will answer the devotee’s call.

Sankirtan is further considered to be a science that has the power to lift the mind and spirits to its farthest extent. Sankirtan Yoga is the easiest and best way to realize God. In modern times, when it has become increasingly difficult for people to practice austerities, practicing Brahmacharya or Raja Yoga, singing His name is quite easy. Any common man can practice it as it does not require deep intelligence to comprehend Jnana Yoga or Sadhana.

According to belief there is Shakti in God’s name. It has the power to eradicate all the 'mala' or impurities of mind. In fact there are three types of obstacles in the path to attain God: Mala, Vikshepa and Avarana. In order to get rid of this, selfless service, intellectual seeking and upasana are recommended. However, Sankirtan Yoga can achieve all these single-handedly because nothing is more powerful than His name. Even if it is the veil of Maya that deludes man, taking the name of God will help man to severe the worldly ties. Thus, Sankirtan enables one to realise the Brahman.

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Forts in Raigad District, Maharashtra

  

Forts in Raigad district, Maharashtra, are the ancient monuments built by different rulers to protect the royal families and their subjects. Surrounded by huge walls, these forts exhibit impressive architecture in terms of defence as well as artistry. Although much part of the forts has been ruined over time, they still display their former grandeur among the relics. Forts in Raigad district unfold various events of Indian history and form alluring tourist spots. These massive forts have been the witness of numerous battles and have changed many possessions. Several constructional features have also been added to them with time.

Avchitgad Fort
Avchitgad fort is a hill fort located over the Sahyadri ranges near Roha in Raigad district. Medha is a village situated at the base of the fort. It is believed to have constructed by Shilahar kings. Reconstruction work had been done in the fort by the great Maratha king Chhatrapati Shivaji. Dense forests surround this fort.

Karnala Fort
Karnala fort, also famed as Funnel Hill, is located in Raigad district near Panvel city. It stands within Karnala Bird Sanctuary and is a protected monument. The possession of the fort changed many hands. It is in fact a combination of two forts standing at different elevations. It houses two inscriptions in Persian and Marathi.

Kolaba Fort
Kolaba fort is an ancient military fortification situated near the shores of Alibaug. It has been declared as a protected monument and serves as a popular tourist destination. A unique feature of the fort is the freshwater wells in the fort premise in spite of its location near the sea. It also shelters a Siddhivinayak temple which was built in 1759 by Raghoji Angre.

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Dance Patterns in Kathak

  

Dance patterns in Kathak are successive in nature and are named according to the varying degree of the complexity of the rhythmic pattern or on account of the mnemonics used. The tukra is a pure dance pattern which is the simplest variety where the mnemonics are of the Tabla. Tora is a formalized pattern that takes only a few types of mnemonics into consideration. Parana is a dance pattern which is performed to the mnemonics of pakhavaj.

Thereafter the performance of tora is that of the tukra which is often presented as the chakkardar tukra. These are built in the same manner as the tirmanams of the varnam in Bharatnatyam. The dancer begins with a slow rhythmic pattern in vilambit laya. This is finally presented in a double or a triple laya. Here there is a successive progression and the relationship of the third laya to the first laya varies significantly. The entire sequence is repeated in multiples of three. The structure is built on an accurate mathematical sense. The dancer's skill lies in building up this structure from the first beat of the rhythmic pattern or from any of the subsequent beats. The rule is that the dancer must end on the last beat of the metrical cycle or the first beat of the new cycle. The Parana is a dance pattern which is executed to the mnemonics with heavy and echoing aspirant sounds.

Kathak's Nritta technique can be covered under these divisions. The tukras, the toras and the paranas have their subdivisions. One such classification is the composition which comprises sounds of various musical instruments known to north Indian music, such as, the nagara, pakhavaj and so on. It has also been defined as a category which has a combination of the Tandava and the Lasya styles. There are tukras which are known as the Sangeet ka tukras. These are compositions of one syllable or two syllables each, but with some musical quality about them. The common Sangeet ka tukra from the Jaipur School is 'drig jagira drig jagira.' The Nritta portions are presented to a repetitive melodic line known as the nagma. Both the drummer and the dancer make endless variety of rhythmic combinations on this melodic line. The synchronization is all in the sphere of the metrical cycle.

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