Posts Tagged ‘poem’
hindi recitation
February 20th, 2011 | 
Author: hindi recitation
 |
![EGYPT ECHOES OF THE NILE EGYPT ECHOES OF THE NILE CD NEW]](http://www.iloveamericaday.net/images/e/130571190952_0.jpg)
Godless
It was kind of problematic for me to attend to my friend's drivel about his most recent joust with my bandmate while appeasing an antagonized woman on the phone and hurrying to reach the Chinese restaurant on B L Saha road before it closed. Luckily, her diatribe reached its denouement and she huffed off, leaving me to conceive of appropriate responses to my friend's obvious aggravation. Apparently, in junior years, the bassist accused him, the vocalist, of sullying his name with their circle, which my friend vociferously denied. The band broke up but the resentment remained. He handed me my pass to the Aviol Concert at Uttam manch. I was pleased. I had been planning to play there for quite some time. My mind drifted to the events of yesterday, when we sat in the dining hall in a small group exchanging inconsequential - and some clearly embellished - happenings from our previous avatars as high school kids: a life story constantly at peril of being rewritten.
Something about his tone right now made me discomfited, and it had little to do with the rancorous transpirations of former musicians. But it was useless trying to pin down the thought or the cause of my unease. This is something that has happened before - the feeling of grasping for an epiphany titillatingly close but not quite reachable, of almost arriving at the resolution of a dream before being rudely subjected to the shrieks of the alarm, the impression of catching a glimpse of something ugly in a lake before it sinks to the depths and you are left staring at your perplexed reflection disfigured by its ripples.
I hogged the food and started to head back. We talked about Libya for a while and I soon forgot about my earlier preoccupation. It was already quite late so we picked up our pace. Political correctness aside, I dreaded nighttime Kolkata, although I had no corroborating experiences to prop my apprehensions. I entered the departmental store near the ‘Paan shop' to get a pack of Maggie and some bourbon biscuits. It was newly opened by a Pakistani from Lahore. He greeted me warmly and I noticed he had assumed an Americanised speech pattern and an accent that was entirely absent when I met him first about six weeks back – a sweet South Asian immigrant. His father was from Connecticut. I remembered when I first met him, a very genial, witty man with a golden tooth on the upper left side, who spoke to me in Hindi. Whenever another customer entered, he switched to broken Bengali and he turned from being a relatively confident man to a shifty-eyed, nervous sponge. Now he was merely a facade of mannerisms and intonations picked up and stitched together in an all-or-nothing patchwork. I searched disconsolately for a glimpse of the person I used to like, but he was gone, drowned in layer after artificial layer. He gave me the packs and bade me a goodnight. I stretched my lips and left without a word.
We were supposed to meet some of my friend's buddies back at his place later, a collective of kids loosely bound by shared attributes: an affinity of certain genres of music and substances that go with it, a tendency for sharp - often immediately decided - political opinions, a professed ardor for the East, demonstrated in huge part by rooms painstakingly bedecked with oriental paraphernalia, carefully nit-picked and arranged to hit all senses as soon as you enter, and an almost universal scorn of non-vegetarian food.
The night passed in foreseeable fashion. A relentless procession of people overran the floor, dressed to impress, seduce or plain befuddle. Some were wholly unconcerned with the teeming mass around them, some were trying hard to appear nonchalant, bolted down in their places by invisible chains, a lot of them revelled in the scrutiny of strangers, imagined or not, almost all of them were magnetized to converse with anybody within arm's reach because god-forbid they be seen alone. My friend glided around from person to person like a comb through greasy hair. The night eventually drew to a close and people started trickling off along their own trajectories.
As I said goodbye to everyone, I thought of the tale Chetrida recited to me back home about one of his father's eccentricities, as he contentedly chewed on betel nuts and paan, spitting majestically out of the window, while I sat reverentially next to him in his room, the area hazy with beedi smoke (and other plant-based vapors). Chetrida was our forty-five year old driver, badass player (in his youth, although I wouldn't at all be surprised if he had a line of nubile, drooling women falling over his wrinkled, atrophied body), knowledgeable guru of a dozen occupations, god-fearing devotee, lifetime exponent of hedonism, charismatic philosopher and incisive examiner of the human condition. Chetri was his surname; ‘Da' was an honorific conferred upon him by me and my friends.
As his story goes, back in the days before he ditched school to intrepidly take life on by its horns, he was quite the rebel at home and the village he grew up in. His father would hit the roof everyday whenever Chetri came home declaring he had eaten outside with his friends. Then would follow a procedure beaten into efficiency by routine: he would strip his son, drag him by the ear to the well, pour cold water over him, strike him a number of times with a worn-out bamboo stick and send him to his room without food the entire day while he performed rites to ensure his wayward offspring wouldn't besmirch the purity of the household. At night, his mother would quietly slip him cold rice under the door.
I was intrigued, less by the details of his recapitulation than by its implication. Upon further prodding I surmised his father distrusted people immensely and lived in a cocoon his entire life. He was not that way at first but he managed to alienate the village-folk because of reasons I did not inquire. He cared about only two things: himself and the car.
I walked back to my room, humming ‘Godless' by The Dandy Warhols, a song I had been listening to every other hour for three days. My mind was fixated upon the image of a thread and a golden tooth. These were excoriated of the meaning and value imposed upon them by their creators, beholders and treasurers. To me, now, they were representations of an idea I felt an intense aversion to. I was met with a feral resistance from inside when I tried to ratify it, like trying to pet a crazed rattlesnake. I recognized three forms this idea could take. The first is when you are unaware that you are subsumed by it, making you automatically dependent on externalities for security. The second is when you can faintly determine its function but follow its muted directions regardless because that is the only way you know how to live. The third - the thought of which filled me with repugnance - is when you know perfectly well, but consciously abscond wherever the waves of circumstance take you, living with the guilt, finding resonances with other people and being complicit in every action, knowing the motivation behind them but being too embroiled in the web to challenge them.
In my pocket, I felt the pass my friend gave me. I thought of the unobtainable epiphany, the conclusion of my dream, the nature of the creature in the lake and I let my mind dwell on just how much I disliked him
About the Author
Young, not too shabby, just 20 year old guy. Yes i love writing. 
Posted in 
Tags: 
patriotic poem india
patriotic poem india
|
 The Essential Tagore BRAND NEW  US $41.89
|
 NEW The Essential Tagore US $36.08
|
 Learn Oriya in 30 Days NEW Book US $11.50
|
 The Secrets of the Self Dodo Press NEW US $14.93
|
![The Essential Tagore BOOK] BRAND NEW](http://www.iloveamericaday.net/images/e/170764371923_0.jpg)
Art & Culture Tour of India
Tour Itinerary:
Day 01 - Arrival Mumbai
Arrive at Mumbai airport and transfer to the hotel. Check in and relax.
Mumbai is a vibrant and cosmopolitan city in Western India. The capital city of Maharashtra State, formerly known as Bombay lies in the southwestern part of India and occupies a peninsular site originally composed of seven islets lying off the Konkan coast of western India. Oozing with the self-confidence of a maverick moneymaker and a carefree attitude, Mumbai is also the country's financial and commercial hub and has a principal port on the Arabian Sea.
Overnight at the hotel.
Day 02 - At Mumbai
Morning after relaxed buffet breakfast at the hotel proceed for guided tour to visit Gateway Of India: Mumbai's principal landmark, the Gateway of India is a huge archway on the water's edge at Apollo Bunder. It is the starting point for most tourists who want to explore the city. This famous monument was built to commemorate the visit of the first ever British Monarch, King George V and Queen Mary in 1911. Mumbai Fort: The area north of Colaba is known as Mumbai Fort, since the old British fort was once located here. There are a lot of impressive buildings from Mumbai's golden period here. St. John's church, dedicated to the soldiers, who laid down their lives in the Sindh campaign of 1838, and the first Afghan war of 1843, is also worth a visit. Marine Drive in Mumbai: Marine Drive located in the central Mumbai, built in the 1920s and 30s on land reclaimed from the sea, is Mumbai's most famous thoroughfare. It is also referred to as the Queen's Necklace because of the dramatic line of street lamps lit up at night. Recently it has come to known as Netaji Subhashchandra Bose Road with Nariman Point on one end to Babulnath, at the foot of Walkeshwar on the other. Chowpatty Beach: Chowpatty Beach situated at the end of Marine Drive has a moderate expanse of sand and is the only beach in the central part of Mumbai. One can witnesses many Hindu religious ceremonies taking place at Chowpatty like the Annual Thread-Tying Ceremony initiating young boys into the Brahmin caste, 'Nariel Purnima' towards the end of the monsoons and 'Ganesh Chaturthi' immersions. Flora Fountain/ Hutama Chowk: This fountain situated in the heart of the city was erected in 1869 in honour of a British Governor of Bombay. Sir Bartle Frere. Flora Fountain marks a junction of five streets and known as the 'Picadilly Circus' of Mumbai, which is decorated at its four corners with mythological figures, the Fountain is a structure in dull stone with a statue of the Roman Goddess of flowers, on the top. Mumbai High Court: An attractive building in early English Gothic style, situated next to the Oval Ground is well worth a visit for its impressive architecture. Statues representing Justice and Mercy surmount the Central structure. Rajabai Clock Tower: Rajabai Clock tower, situated at the gardens of the Bombay University building rises above the portion of the library section. Consisting of five elaborately decorated storeys the tower is 280ft.in height. The top of the cupola is ornamented with sixteen statues depicting various Indian castes. Hanging Gardens in Mumbai: Also known as Pherozeshah Mehta Gardens, the Hanging Gardens were built in 1880 and renovated in 1921. These gardens are popularly known as Hanging Gardens, because of their location on the slope of a hill. The terrace garden looks south from Malabar Hill towards Colaba, and affords a panoramic view of the city or a breathtaking sunset. It is built over three reservoirs, which store 30 million gallons of water pumped here for cleaning before being supplied to the town. Kamala Nehru Park, Mumbai: The Malabar hill offers superb views of Mumbai. On top of the Malabar hills are the Hanging Gardens and Kamala Nehru Park. Built in 1952 and named after the wife of India's first Prime Minister Jawaharlal Nehru, this park covers an area of 4,000 sq. yards and from here one enjoys a magnificent view of the lights on Marine Drive, also known as the 'Queen's Necklace'.
Relax at the hotel in the evening.
Day 03 - Mumbai to Aurangabad:
Morning after breakfast at the hotel transfer to airport to board flight for Aurangabad. Meeting on arrival and transfer to the hotel.
Aurangabad was founded in 1610, on the site of a village, Khirki by Malik Ambar - the Prime Minister of Murtaza Nizam Shah II. When Fateh Khan, Malik Ambar's son turned successor in 1626, he gave the city the name 'Fatehpur'. Later in 1653, when Prince Aurangzeb became Viceroy of the Deccan, he made the city his capital and called it Aurangabad. Aurangzeb added the walls that enclose the central part of the city in 1686 in order to withstand attacks from the Marathas. There are four principle gateways to the city - the Delhi Darwaza, the Jalna Darwaza, the Paithan Darwaza and the Mecca Darwaza. Nine secondary gateways also formed a part of the defensive system of this city.
Aurangabad today is a bustling city of Maharashtra with diverse big and small industries, fine silken textiles, and exquisite hand woven brocades of silver and gold fabrics, Himroo, of world frame. To scholars and lovers of art and culture the city is more familiar as the gateway to the ancient caves of Ajanta and Ellora, both famous as treasure houses of Indian Art and Sculpture.
Afternoon proceed for a guided tour to visit to Aurangabad Caves: The almost forgotten caves of Aurangabad lie just outside the city. Excavated between the 2nd and 6th century AD, they reflect Tantric influences in their iconography and architectural designs. In all there are nine caves, which are mainly viharas (monasteries). The most interesting among these are Caves 3 and 7. The former is supported on 12 highly ornate columns and has sculptures depicting scenes from the legendary 'Jakata' tales. Cave 7 with its detailed figures of bejeweled women also has a dominating sculpture of a 'Bodhisattva' praying for deliverance. Daulatabad Fort: Once known as 'Devgiri', this magnificent 12th century fortress stands on a hill just 13 km. from Aurangabad. It was given the name Daulatabad, the 'city of fortune', by Muhammad Tughlaq, Sultan of Delhi. Initially a Yadav stronghold, it passed through the hands of several dynasties in the Deccan. One of the world's best-preserved fort of medieval times, surviving virtually unaltered, Daulatabad yet displays the character that made it invincible. This fortress was conquered only by treachery. A series of secret, quizzical, subterranean passages lie coiled like a python amidst the fort. Here flaring torches were thrust upon an unwary enemy. Or hot oil poured down his path, as he deliberated in the labyrinth. Also the heat from a brazier was blown into the passage by a process of suction suffocating the entire garrison within. The Fort itself lies in the body of an isolated hill; the steep hill - sides at the base falling so sharply to the moat that no hostile troops could scale the height. The moat, 40 ft. deep with mechanical drawbridges teemed with crocodiles. A 5-kilometer sturdy wall, artificial scarping and a complicated series of defenses made Daulatabad impregnable. The 30-meter high Chand Minar (Tower) built much later with 3 circular galleries had a defensive and religious role in the fortress.
Overnight stay at the hotel.
Day 04 - At Aurangabad
Morning after an early breakfast at the hotel proceed for full day excursion to visit Ajanta and Ellora Caves.
Ajanta caves: Nestling in an inner fold of the Sahyardi hills, 100 km from Aurangabad in the shape of a mammoth horse- shoe, are the 30 rock-hewn caves of Ajanta. The Caves date from the 2nd century BC. Discovered in 1819 by a group of British army officers, these startling achievements took around 600 years to create. Carved with little more than a hammer and chisel, Ajanta, once the retreat of Buddhist monastic orders features several 'chaityas' (chapels) and 'viharas' (monasteries). The exquisite wall and ceiling paintings, panels and sculptures of Buddha's life are famous throughout the world as the earliest and finest examples of Buddhist pictorial art.
Ellora Caves: Impressive in their own right is the rock-hewn temples and monasteries of Ellora that lie just 30 km away from Aurangabad city. In all, there are 34 cave temples, 12 Mahayana Buddhist caves (550-750 AD), 17 Hindu caves (600-875 AD) and 5 caves of the Jain faith (800-1000 AD) 22 more caves, dedicated to Lord Shiva, were recently discovered. Kailash Temple (cave16), the central attraction at Ellora, is the most remarkable. Chiseled by hand from a single massive rock, it includes a gateway, pavilion, courtyard, vestibule, sanctum, sanctorum and tower, which bear testimony to the excellence of Dravidian art. It is believed to have taken 7000 laborers, working in continuous shifts and 150 years to build. Ever since the first European visitors in 18th Century, Ellora has attracted chroniclers, antiquarians, scholars and in more recent years, ever- increasing numbers of tourists.
Overnight at the hotel.
Day 05 - Aurangabad to Udaipur- Fly
After relaxed breakfast at the hotel transfer to the airport to board flight for Udaipur. Meeting on arrival at Udaipur Airport and transfer to the hotel. Rest of the afternoon free to relax. Evening enjoy a motor launch cruise on the placid waters of Lake Pichola. From the boat you will see the city of Udaipur as it rises majestically above the lake in the middle of the Rajasthan desert. Also visit the Jag Mandir Palace - the other island palace in the middle of the lake. You may opt to take a boat to Lake palace hotel for dinner tonight.
Day 06 - At Udaipur
Morning after buffet breakfast at the hotel proceed for a sightseeing tour of Udaipur, stopping first at City Palace where you will marvel at rooms with mirrored walls and ivory doors, colored glass windows and inlaid marble balconies and the Peacock Courtyard. Continue your visit to see Sahelion-ki-Bari Gardens, the Jagdish Temple and the local folk Museum.
Afternoon free to relax or self explore this city of lakes.
Overnight at the hotel.
Day 07 - Udaipur to; Jodhpur - Drive 6 hours
After breakfast drive to Jodhpur en-route, visit the Ranakpur Temples, dating back to the 15th century. You will see 200 pillars, none of which are alike, support its 29 halls. The Temple abounds with intricate friezes and sculptures. Includes visits to two more Jain temples and the Temple of the Sun God with its erotic sculptures.
Arrive Jodhpur and check into the hotel. Afternoon tour of Jodhpur - Set at the edge of the Thar Desert, the imperial city of Jodhpur echoes with tales of antiquity in the emptiness of the desert. Once the capital of the Marwar state, it was founded in 1459 AD by Rao Jodha-chief of the Rathore clan of Rajputs who claimed to be descendants of Rama - the epic hero of the Ramayana. The massive 15th century AD Mehrangarh Fort looms on the top of a rocky hill, soaring 125 Mts. Above the plains. A high wall -10 km long with 8 gates and innumerable bastions encompasses the city.
Relax in the hotel and visit the museum of the Umaid Bhawan Palace.
Overnight at the hotel.
Day 08 - Jodhpur to Jaisalmer - Drive 6 hours
Morning time free to explore more of Jodhpur. Afternoon drive to Jaisalmer and check in at hotel for overnight stay.
Day 09 - In Jaisalmer
Morning tour of Jaisalmer city. Afternoon excursion to Sam Sand Dunes for Sunset view in the Desert where you have option of short camel ride. Overnight at hotel in Jaisalmer.
Jaisalmer : The life within the citadel conjures up images of medieval majesty visible in its narrow lanes stewn with magnificent palace, havelis, temples and of course skilled artisans and ubiquitous camels. Folk dances, exciting competitions an contests, especially the turban-tying contest. Mr. Desert contest and camel races enliven the festivities.
Morning tour will take you to Jaisalmer Fort Patwon ki Haveli, Tazia Tower and Gadsisar Lake.
Day 10 - Jaisalmer to Bikaner - Drive 6 hours
Morning after breakfast at the hotel drive to Bikaner and check in at hotel Afternoon commence sight seeing tour of Bikaner covering Junagarh Fort constructed between 1588 and 1593 by Raja Rai Singh, Bandh Sagar Temple The 16th century Jain temple, Camel Breeding Farm – a unique experience where you can ride on a camel & have perhaps the first taste of camel's milk. Evening leave for an excursion to Deshnok Rat Temple - situated in semi desert village at a distance of 30 kms, this place is famous for Karnimata Temple where you will see thousands of rats roaming freely in the temple complex and are held sacred.
Overnight at the hotel.
Day 11 - Bikaner to Nawalgarh - Drive 5 hours
Morning drive to Nawalgarh and check in at hotel on arrival. Afternoon visit some beautifully painted mansions in Shekhawati region. Overnight at the hotel.
Painted Havelies (Mansions) : The popular design was usually a plain faceted with the accent on the internal courtyard. The main entrance is usually through a carved wooden gate leading into a courtyard, which in turn leads to another courtyard. Unlike the Mughal havelis, the havelis of Shekhawati consist of two courtyards, one outer and one inner. The larger ones however have upto four courtyards and are two stories high, The windows are exquisitely latticed and carved. Most of them feature mirror work and mural work while others are embellished with paintings. The facades, the gateways, the courtyard wall, the parapets and the ceilings were all covered with frescoes. Intricate wooden carvings with ornate iron and brass fittings demonstrate the owner's wealth. It was from the latticed windows on the balconies and over the courtyards that women viewed the world. The havelis, apart from providing a residence, also served to wall in the domestic life of a family. They represented the rigid, but ostentatious lifestyle of the people.
Day 12 - Nawalgarh to Jaipur - Drive 4 hours
Morning after breakfast at the hotel drive to Jaipur via visiting Samode Palace. Check in at hotel ARYA NIWAS on arrival. Rest of the day at leisure. Overnight at the hotel.
Day 13 - In Jaipur
Morning excursion to Amber Fort where you will enjoy an Elephant ride. Afternoon tour of Jaipur city.
Morning after breakfast at the hotel visit Hawa Mahal - which was constructed in 1799, the Hawa Mahal or the Palace of Winds, is one of Jaipur's major landmarks, although it is actually little more than a façade. This five storey building, which overlooks the main street of the bustling old city, is a stunning example of Rajput artistry with its pink, delicately honeycombed sandstone windows. Later proceed to Amber Fort - the ancient capital of the state until 1728. The fort is a superb example of Rajput architecture, stunningly situated on a hillside and overlooking a lake, which reflects its terraces and ramparts. Visit the Jagmandir of the Hall of Victory glittering with mirrors, Jai Mahal and the Temple of Kali. You ride up to the ramp of this 11th Century Bastion atop a gaily decorated elephant.
Afternoon City sightseeing tour includes Maharaja's City Palace - which occupies a large area divided into a series of courtyards, gardens and buildings. The outer wall was built by Jai Singh, but other additions are much more recent, some dating from the start of this century. Today, the palace is a blend of Rajasthani and Mughal architecture. The palace now houses a museum containing rare manuscripts, fine specimens of Rajput and Mughal paintings and weapons. Also visit Jantar Mantar- an observatory, next to the entrance of the City Palace, begun by Jai Singh in 1728. Jai Singh's passion for astronomy was even more notable than his prowess as warrior and before commencing construction, he sent scholars abroad to study foreign observatories. Jantar Mantar appears to be just a curious collection of sculptures but in fact each construction has a specific purpose, such as measuring the positions of stars, altitudes and azimuths and calculating eclipses.
Day 14 - Jaipur to Agra - Drive 5 hours
Morning after breakfast at the hotel drive to Agra enroute visiting Fatehpur Sikri. Check in at hotel on arrival. Afternoon tour of Agra city including Taj Mahal. Overnight at the hotel.
Agra - To the lover of art and to the traveler seeking the wonders of the world, Agra is the goal of a pilgrimage to the creative best : the Agra Fort and the Taj Mahal. The architectural splendour of the mausoleums, the fort and the palaces in Agra is a vivid reminder of the opulence of the legendary Mughal empire for nearly a hundred years from 1564.
Red Fort built by three generations of Mughal Emperors starting from Akbar the Great in 1565 AD, which is a masterpiece of design and construction. It housed both the residential Palaces of the Royal family, and the military quarters. Taj Mahal - visit to the world famous Taj Mahal by decorated tongas. The inimitable poem in white marble, built over a period of 22 years by the Mughal Emperor Shah Jahan in 1630 for his Queen Mumtaz Mahal to enshrine her mortal remains. Visit a marble-in-lay factory to see the Pietra Dura work made famous by the Taj Mahal.
Day 15 : Agra to Orchha - Khajuraho
After an early breakfast at the hotel transfer to the Railway Station to board Shatabdi Express train for Jhansi at 8 AM. Meeting on arrival at Jhansi railway station, drive to Khajuraho via visiting medieval city of Orchha. Orchha which has hardly been touched by the hands of Time. Orchha is famous for its palaces and temples built in the 17th and 18th century. The four main and important temples worth a visit are The Chaturbhuj, Janaki, Laxmi and The Raja Ram temples
Overnight at hotel.
Day 16 : At Khajuraho
Morning after breakfast at the hotel tour of Khajuraho temples.
KHAJURAHO CITY : Founded in the 9th and 10th century by the rulers of Chandela
Afternoon transfer to airport to board flight for Varanasi at 1.30 PM. Meeting on arrival at Varanasi Airport at 1.10 PM and transfer to the hotel. Rest of the time free to relax.
Overnight at the hotel.
Dynasty, influenced by tantrism, in eroticism becomes a theme of philosophical interest and the aim is submlimation of sexual relationship in the sexual act or "Maithun", women being regarded as the incarnation of the divine energy or "Shakti".
It is also possible that the Khajuraho were influenced by "Kama Sutra".among the temples to visit are the Kandariya Mahadeo, the largest and most typical Khajuraho temple, it soars 31 mts. high.Chaunsat Yogini, the only granite temple and the earliest surviving shrine of the group (900 A.D.) it is dedicated to Kali. Chitragupta temple is the temple dedicated to the Sun God : Surya. Vishwanath temple, a three headed image of Brahma is enshrined in this temple, and various other temples.
Rest of the afternoon is left free to explore this erotic temple town on your own.
Overnight at the hotel.
Day 17 : Khajuraho to Varanasi - Fly
Morning after breakfast you will get a little more time at leisure. Afternoon transfer to the airport in order to board flight for Varanasi. Meeting on arrival at Varanasi airport and transfer to the hotel. Evening free to relax. Overnight at the hotel.
Day 18 : At Varanasi
Early morning proceed to River Ganges for boat ride at dawn followed by temple tour.
VARANASI CITY : The consists of visiting the city temples the durga temple, better known as the Monkey temple on account of the large number of monkeys residing there and the temple of Vishwanath (or Vesheshwar "Lord of the Universe") are the most sacred spots in the city. Visit will also include Bharat Mata or Mother India Temple and the Benares Hindu University.
Afternoon commence tour to visit SARNATH : 10 kms from the centre of the city, Sarnath symbolises the birth of Buddhism. It was here that Lord Buddha revealed his doctrine and founded his monastic community. The Museum at Sarnath is amongst the most important in India and contains carvings representing a whole range of styles - Archaic, the covering work of sculptors from 3rd century B.C. to the 12th century A.D.
Overnight at the hotel.
Day 19 : Varanasi to Delhi
Breakfast at the hotel. Rest of the day free to relax or visit holy Ganges once again. Evening transfer to the Railway Station to board overnight train for Delhi. Overnight on board.
Day 20: Arrive Delhi
Met upon arrival at Delhi Railway Station and transfer to the hotel at around 7.30 Am. Later after breakfast at the hotel at around 10 AM proceed to visit Old and New Delhi.
Tour of Old Delhi will include Red Fort: A must visit for all the visitors to Delhi, Red Fort or Lal Qila is a massive red sandstone structure built on the shores of River Yamuna. Shah Jahan built it with a vision of shifting his capital from Agra to Delhi. It was completed in 1648 and has two main entrances - Delhi Gate and Lahori Gate. Visit Diwan-e-Am, the court where the king heard public grievances and Diwan-e-Khas ('khas' means 'special)'. Jama Masjid: ) Built by Shah Jahan, Jama Masjid was begun in 1650 and it took hard work of six years of more than 5000 workers to build the largest mosque in India. Jama Masjid has three massive gateways - the largest and highest being on the east. This gateway was reserved exclusively for the stately appearance of the emperor. The red stone of the main courtyard sprawls across 408 square feet with a large marble tank in the center, which serves the purpose of making the water available for the devotees to wash themselves before offering prayers in the mosque. The three onion shaped domes made of white marble adorn the main mosque. They are inlaid with stripes of black slate. Raj Ghat: A pilgrimage to all the patriotic Indians, this place was where the Father of The nation, Mahatama Gandhi, was cremated after his assassination in 1948. It consists of a simple square platform with the words 'Hey Ram' written on it. Chandni Chowk: Just as Mughal Emperor Shahjahan built Red Fort as he shifted his capital from Agra to Delhi, Jahanara, her favorite daughter designed Chandni Chowk that was built in 1650 as an addition to the fort, which could be approached through the Lahori Gate of the Red Fort. From the original arcade of shops built in a half-moon shape, it soon grew into a flourishing trading center that branched into a number of narrow bylanes in all directions. It is still the biggest market of Delhi and caters to all types of shopping needs of all the classes.
Sightseeing tour of New Delhi visiting Qutab Minar 234 feet high tower. The Qutab Minar itself is a soaring tower of victory that was started in 1193, immediately after the defeat of the last Hindu kingdom in Delhi. It is nearly 73m(243ft) high and tapers from a 15m(50ft) diameter base to just 2.5m(9ft) at the top. The tower has five distinct storeys, each marked by a projecting balcony. The first three storeys are made of red sandstone, the fourth and the fifth of marble & sandstone. Also visit the Tomb of Mughal Emperor Humayun. Built in the mid-16th century by Haji Begum, the Persian-born senior wife of Humayun, the second Mughal emperor, this is a wonderful early example of Mughal architecture. The elements in its design a squat building, high arched entrances that let in light, topped by a bulbous dome and surrounded by formal gardens were to be refined over the years to the magnificence of the Taj Mahal in Agra. Drive past India Gate (War Memorial), President's House, which was once the Viceroy's Palace, Parliament House and Secretariat buildings.
Day 21 ; Depart Delhi
Transfer to the airport in time to board your flight for onward destination.
End of our services
About the Author
Mail us to Book This tour : mktg@discoveryfullcircle.com
kannada poem
kannada poem
|
![Poems of Love and War From the Eight BOOK] BRAND NEW](http://www.iloveamericaday.net/images/e/180804142561_0.jpg)
 POEMS AND A NOVELLA US $17.49
|
 Same Sex Love in India Vanita R Kidwai S US $125.44
|
 Same sex Love in India Excellent Book US $37.81
|
 The Language of the Gods in the World of Men Sansk US $34.82
|
 A Flowering Tree and Other Oral Tales from India A K Ramanujan US $10.25 |
 Kannada Literature including Kannada Poetry Kuvempu US $42.85
|
Yakshagana
India is a country with unity in diversity. Every state has its own unique culture, traditions, and its own art. Karnataka is also one of such state. One of the most prevailing arts in Karnataka is Yakshagana which was once popularly known as "Gandu Mettida Kale" which originated 400 years back. It is considered as one of the classical folk theatre in Karnataka and is most popular in the districts of Shimoga, Uttar Kannada, and Dakshina Kannada in Karnataka as well as also in Kasargod district of Kerala. In literary terms Yakshagana means a "Song sung by Yaksha". Yakshas means a tribe one whose mention we can find in Mahabharata or in the ancient Indian literature.
history of Yakshagana
Yakshagana is the recent (200 years) scholastic name given which was earlier known in Kannada as "Kelike", "Dashavatara", "Aata", and "Bayalaata". The origins of Yakshagana can be traced as early as 11th century A.D. This folk art originated somewhere in between the 10th and 16th century as its reference can be found in Bheemakhanda, one of the famous writings of the great author of the 15th century Srinadha. But as an art form it was given the shape during the Vaishnava Bhakti movement which originated in southern India from the 5th to the 7th centuries.
The Bhakti movement at that time was the movement which emphasized devotion and love for Vishnu as the chief means of spiritual perfection. The Bhakti movement spread with vigor after the10th century, whereby it took religion to the lower classes of society as at that time it was a caste rigid society and for these lower sections of the people the Vedic religion was out of its reach. Therefore to propagate and spread the message of devotion among the common people, the various methods such as existing folk music, dance and drama, as well as classical literary styles and performances, were used to convey the message of love and devotion.
Most of the traditional forms of Indian theater, such as Ankhia Nata (Assam), Jathra (Bengal), Chau (Bihar, Bengal), Prahlada Nata (Orissa), Veedhinatakam and Chindu (Andhra), Terukoothu Bhagawathamela (Tamil Nadu), Kathakkali (Kerala) resulted from this phenomenon and, in spite of major differences, bear a clear resemblance to each other. Yakshagana is also a member of this group.
Earlier it was known as Bahunatakas but was later on given a new name what it is presently known as after getting inspired from the Yakshas or Jakkulas who used to be great singers and dancers. Yakshagana is a traditional theater which was founded by Sri Madhwaacharya and popularized by Sri Narahari Thirtha consisting various forms of combination of dance, music, actor-created dialogues, costume-makeup, and stage technique with a distinct and well-defined style. It is closely connected with other forms of art prevailing in other parts of Karnataka, and in its neighbouring states of Andhra Pradesh, Kerala, Tamil Nadu and Maharashtra.
The reference of the evolution of Yakshagana.
According to Vidwan Bannanje Govindacharya, a prominent Vedic scholar, the earliest reference to Yakshagana can be found in a legend attributing its origin to a "Dasavathara Ata" the performance and troupe founded by Sage Narahari Thirtha (c. 1300) in Udupi.
By 1600 A.D. Yakshagana became an established form, wherein the Yakshagana poet Parthisubba wrote the Ramayana in Yakshagana. He is said to have been a Bhagawatha (singer) himself and is believed to have founded a troupe and who was probably the formulator of the Tenkuthittu (Southern style) of the art. It seems that Yakshagana troupe centers like Koodlu and Kumbla in Kasaragod District, and Amritheshwari, Kota, near Kundapur, have had troupes for as long as three or four centuries, indicating that the art form had taken shape by about 1500 A.D.
Thus Yakshagana as it is performed today must have evolved slowly, drawing elements from ritual theater, temple arts, secular arts like Bahurupi, royal courts of the time and artists' imaginations.
Whether Yakshagana can be called folk, classical or rural?
It is very difficult to categorize Yakshagana into folk, classical or rural. It is basically an amalgamation of all these forms. Since it is a theater form it is more plural and dynamic. Primarily it is a name given to the form prevailing in Coastal and Malnad areas of Karnataka, though in fringe forms like Doddata are also called by the same name. The traditional theater form Mudalpaya of Southern Karnataka, the Doddata of Northern Karnataka, the Kelike in the borders of Andhra Pradesh, the Ghattadakore of Kollegal in Chamarajnagar district – are such forms. Among them, the Ghattadakore is a direct branch of Coastal Yakshagana, while Mudalapaya is the most closely connected form. There is also another form called Yakshaganamu in Andhra Pradesh, which also exhibits resemblance to the forms of Karnataka plateau region.
How Yakshagana is performed?
There are about 30 professionals in a Yakshagana troupe and it is usually performed in the twilight hours. It is an amazing blend of Sanskrit drama, folk songs from the battles and acts of heroism from the great epics of Mahabharata and Ramayana. The one who performs Yakshagana wear colorful masks which turn their performance into a visual delight for the viewers. Facial make up, made of vegetable dyes, ranges from simple to intricate designs depending upon the character's role.
Yakshagana Ornaments are made out of light wood, mirror work, colored stones.Though, lighter materials like thermocol are used in modern days, ornaments are still predominantly woodwork. Yakshagana costumes consist of headgear (Kirita or Pagade), Kavacha that decorates chest, Buja Keerthi (armlets) that decorate shoulders, and belts (Dabu) all made up of light wood and covered with golden foil. Mirror works on these ornaments helps to reflect light during show and adds more color to costumes. These armaments are worn on a vest and covers upper half of the body. Lower half is covered with Kachche that comes in a unique combination of red, yellow and orange checks. Bulky pads (cloths) are used under Kachche and this makes actors different from general audience in size.Bannada Vesha that involves detailed facial makeup is used to depict monsters. It may take three to four hrs to complete makeup for certain vesha.
Traditionally, males used to play female roles in Yakshagana. However, recently Yakshagana has seen female artist who have performed in both male and female roles. Stree Vesha uses sari and other decorative ornaments.
Apart from the costumes another interesting thing in Yakshagana is that Yakshagana consists of Yakshagana Raga which refers to melodic framework used in Yakshagana. It is based on pre-classical melodic forms that comprise a series of five or more musical notes upon which a melody is founded. Ragas in Yakshagana are closely associated with a set of melodic forms called Mattu. In Yakshagana tradition, ragas are associated with different times of the night throughout which Yakshagana is performed.
Then there is also Yakshagana Tala which is basically a framework for rhythms in Yakshagana that are determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by dancers. It is similar to Tala in other forms of Indian music, but is structurally different from them. Each composition is set to one or more talas, and as a composition is rendered by Himmela, the percussion artist(s) play supporting the dance performance.
Then there is also a Yakshagana Prasanga which is a collection of poems written to form a music drama called Yakshagana. The poems are composed in well known Kannada metre using the frame work of Yakshagana Raga and Yakshagana Tala. Yakshagana also has what is called a Yakshagana metre (prosody). The collection of Yakshagana poems forming a musical drama is called a Prasanga. Oldest surviving parasanga books are believed to have been composed in 15th century. But many compositions have been lost. Before 15th century there are evidences to show that oral compositions were in use.
The instruments used in Yakshagana include Yakshagana bells which are a pair of finger bells made of a special alloy (traditional five metals). They are made to fit the tonic of the singer (bhagawatha). Usually professional singer carries more than one of their own finger bells to be able to sing for different drones. Pair of finger bells is available for different keys. Then there is the maddale (Kannada: ಮದ್ದಲೆ) which is a percussion instrument from Karnataka, India. It is the primary rhythmic accompaniment in a Yakshagana ensemble along with Chande.
Maddale used in Yakshagana looks similar to Mridangam but is markedly different in structure, acustics, playing techniques and the rhythm system (Yakshagana Tala). Maddale uses the Yakshagana Tala system. Traditionally the variety of Maddale is shorter and high pitched. Maddale is available in more than three different variations.
Then there is chande whichis a drum used in the traditional and classical music of South India and particularly in Karnataka. It provides rhythmic accompaniment in several dance dramas of South India such as Yakshagana. It follows the Yakshagana Tala system. The rhythms are based on pre-classical music forms, folk groves and some rhythms are similar to Karnataka Sangeeta and to lesser extent Hindustani Sangeetha. There are different varieties in this instrument. Two major varieties are the Badagu Thittu Chande (Northern School) and the Thenku Thittu Chande (Southern School). The later is also spelt as chenda and is used exclusively in the art forms of southern costal Karnataka and Kerala
Growth and changes in Yakshagana
During the nineteenth century, socio-economic changes in India brought about a change in Yakshagana. A large number of new compositions were produced during the 19th century, and the art form began to be performed outside its native territory. Around 1800 A.D., a troupe from Dharmastala visited the court of the king of Mysore and established a troupe there.
In the 1840s, a troupe from Uttara Kannada (North Kanara) visited Maharashtra, and inspired the first modern age mythological drama by Vishudas Bhave. A number of troupes arose all over coastal Karnataka and possibly in other parts of Karnataka. By the early decades of the twentieth century, the structure of Yakshagana reached a definite shape and form.
In the 1930s some changes occurred in compositions, organization and presentation. Dance and the spoken word was further developed and refined, but costumes began to degenerate as 'modern' clothing and stone jewelry was replaced by hand-woven fabrics and wooden ornaments. In 1950s, Yakshagana was commercialized by 'tent' troupes, selling tickets for performances in 'tent theaters' with seats for the audience. Electrical lighting replaced the 'gas lights' or 'petromax' lamps and seating arrangements improved. Themes were expanded to include folk epics, Sanskrit dramas and created (imaginary) stories. Popular entertainment value, rather than 'classical' presentation, became the standard for judging a Yakshagana performance.
Tulu, the language of the southern part of the Dakshina Kannada district, was introduced on the stage, where previously only Kannada had been spoken, greatly increasing the popularity of Yakshagana. All these trends continued with added vigor after the 1970s. The writer Dr. Kota Shivaram Karanth experimented with the dance form by introducing western musical instruments. He also reduced the time of a Yakshagana performance from twelve hours to two and half hours, for the convenience of city dwellers.
The year 1950 saw the birth of 'tent' troupes, giving performances to audience by tickets, with 'tent theaters' and furniture for seating. These troupes brought in commercialization of Yakshagana, with both merits and demerits. Yakshagana saw major changes in form and organization; electrical lights replaced the 'gas lights' or 'petromax' lamps. Seating arrangements improved. Major changes came in the themes, with the inclusion of folk epics, Sanskrit dramas and created (imaginary) stories forming the thematic base. Popular entertainment became the criterion in place of 'classical' presentation.
Modern Yakshagana has undergone considerable innovation, including adaptations of Shakespeare. and the incorporation of movie stories. Yakshagana was performed in Hindi for the first time in 2005 . Traditionally, males are playing female roles in Yakshagana. However, more recently Yakshagana has seen female artists who have performed in both male and female roles. Stree Vesha uses sari and other decorative ornaments.
Training and Research
The late Sri Kukkila Krishna Bhat has performed lot of research and written several books on Yakshagana. He was one of the authorities on Yakshagana history of Karnataka. "Partisubba" is one of his most famous books. The training schools for Yaskhagana are very few in Coastal Karnataka. As most troupes are associated with temples, the training has been confined to the temple premises. However, the Govinda Pai Research Institute, located at MGM College, Udupi, runs a Yakshagana Kalakendra in Udupi that trains youngsters in this ancient dance form. Another famous institute is the SRIMAYA Yakshagana Training Center founded by Late Shri Keremane Shambhu Hegde.
Women in Yakshagana.
Earlier due to rigid social system and the male dominant society, women were restrained from learning Yakshagana more so because Yakshagana had a tag attached to it being a masculine art form. But with the times change there emerged a few women who broke the tradition and learnt Yakshagana which eventually led to the staging of women Yakshagana performances. The credit goes to Akkani Amma who not only learnt and taught Yakshagana to women, but also bravely established the first ever women Yakshagana troupe Mahila Yakshagana Kalamitra Mandali way back in 1979. It was Akkani Amma who spread the fragrance of Yakshagana in the State capital. But the Syndicate Bank Recreation Club, Manipal established in 1981 made an effort to boost women Yakshagana in the region. This troupe does not exist anymore but successfully opened the doors of Yakshagana for women in the coastal districts. In the last three decades many such women Yakshagana troupes came up and also many of them closed but still some of active women troupes exist which include Yaksha Kala Sri Vedike, Khandige Mari of Sullia, Sri Siddhi Vinayaka Mahila Yakshagana Mandali of Surathkala Kadri Manjula, Bhagvati Mahila Vedike to name the few.
Yakshagana outside India
Yakshagana is finding new grounds outside India. Amateur troupes have emerged on the coasts of California, USA and Ontario Canada. "Yakshagana Kalavrinda" and "Yaksharanga" in the USA and "Yakshamitra" in Canada are a few such examples. "Yakshagana Kalavrinda" performs on the east coast of USA. Yakshagana in the USA started after the visit of Yakshagana artist Sri Chittani Ramachandra Hegde. His performance at the age of 74 was so inspiring that art lovers decided to continue this great art thousands of miles away from its home. Sri Kidayuru Ganesh who accompanied Sri Chittani stayed back for couple of months to train new generation of Yakshagana artists. The result was a performance of Yakshagana "Sudanvarjuna Kalaga" with participation from local enthusiasts. Since then Yaksharanga has performed many shows around California. These troupes usually use a recorded background Yakshagana music(Himmela) for their performances. Other amateur troop outside of India is "Yakshamitra" in Toronto, "Canada". Yakshamitra uses local live music (Himmela) for their performance.
Another Yakshagana Troupe "Shri Idagunji Mahaganapati Yakshagana Mandali, Keremane' Keremane Mela headed by Shri Keremane Shambu Hegde and Shri Keremane Shivanand Hegde toured USA and performed about 22 programs all over North America. The troupe visited about 12 countries and celebrated 75 years in history of Yakshagana.
Inspite of various obstacles and with the changing times this form of art has tried to sustain itself and for this many organisations are working in the direction not to let this form of art die. Apart from many organisations people should also cooperate and work in this direction.
About the Author
- Has done post-graduation in Political Science from Mumbai University, Maharashtra, India.
- Has worked in an Non-Governmental Organisation called "Centre for Study of Society and Secularism dealing with various issues.
- Has written and published various articles.
- Presently writing various articles in various newspapers and magazines.
clerihew poem
clerihew poem
|
 Trent intervenes US $4.65
|
 E Clerihew Bentley etc The First Clerihews US $5.50
|
 Six Clerihew Songs Clarinet Voice Piano Music Book US $10.98
|
 MORE BIOGRAPHY US $17.32
|
 LEARNING ABOUT POETRY Frank Schaffer 20 LESSONS FOR GRADES 3 4OUT OF PRINT US $4.99
|
Hey I need help on my assignment on L.A for a clerihew poem it due may 15 so i only have 3 days left HELP!!!!!
my clerihew shoud be about a famous person shoud have 4 lines the first 1 and 2 lines last word should rhyme and line 3 and 4 last word should rhyme like aabb
Line 1 Famous person or place
Lines 2,3,4 Tell about that person or place
Lines 1,2 Rhyme together
Lines 3,4 Rhyme together
you should sorta put more details on here because to me it justs saying you need help but what do you need help with? besides a poem
religious poem
religious poem
|
![G Unit Beg For Mercy PA] CD](http://www.iloveamericaday.net/images/e/130639107534_0.jpg)
 27000 ePub eBooks US $6.95
|
 ANTIQUE CHINESE POEM CABINET PAINTED CALLIGRAPHY CHEST US $1,410.00
|
 25000 Classic Epub Ebooks for PC Sony Kindle 2 DVD US $6.27
|
 The Innkeeper by John Piper with Illustrations US $1.99
|
 Viking Saxon Braid Band 358 m x 20 mm TABLET CARD Weaving cw71 Brettchenborte US $63.06
|
Religious Hindu Poems
Religious Hindu poems are an integral part of the cultural life of any devout Hindu. Many of these poems are recited or sung as prayers daily or on special occasions, while others are listened to or sung as devotional pieces whenever desired by the devotee. There are many sacred mantras pronouncing the holiness and generosity of God in Hindu religion. All Hindu devotees worship their favortie gods by chanting these mantras or hymns.
The first poem that comes to mind when discussing religious Hindu poetry is "Hanuman Chalisa", which is a long poem composed by Tulsidas inpraise of lord Hanuman. Hanuman Chalisa is a famous religious poem that has become widely popular among modern-day Hindus. Many devout Hindus recite it every week as a prayer to lord Hanuman, usually on Tuesdays.
Mirabai's bhajans also have a high standing in religious Hindu poetry. These bhajans are poem-like songs, which are devotional and lyrical in nature. These prayers in the bhakti tradition are sung in praise of Lord Krishna. Mirabai's poetry puts love forKrishnaabove everything else in life. Her poem-songs depictKrishnasometimes as a husband and at other times as a lover. They are an expression of Mirabai's intense longing for union with her Lord. Her poems are thus both spiritual and devotional in their theme and tone.
"Sur Sagar" (OceanofMelody) composed by Surdas also deserves special mention. Surdas is renowned for this immortal work, which is a collection of 100,000 poetic song compositions. However, only 8,000 of these have survived today. These poems mainly deal with the life and exploits of Lord Krishna, and reflect the poet's devotion to the Bhakti movement. They overtly deal with the spiritual metaphor of the Radha-Krishna Lila, or the celestial dance between the lord and his beloved Radha.
A narrative on Hindu religious poems would not be complete without mention of Kabir's "Bijak" (Seedling), which is a collection of poems that reflect a universal view of religion and spirituality. The poems are filled with ideas of atman, brahman and karma, and have a strong bhakti undertone. They advise common people to cast aside their religious scriptures and holy books to follow the simplest way to ekatwa (oneness) with God.
About the Author
To know more about Hindu festivals or Lakshmi, go to Prabhubhakti.