ಅವಲಕ್ಕಿ ಪಾವಲಕ್ಕಿ ಪ್ರಾಸ

ಅವಲಕ್ಕಿ ಪಾವಲಕ್ಕಿ ಪ್ರಾಸ:

ಅವಲಕ್ಕಿ ಪವಲಕ್ಕಿ

ಕಾಂಚಣ ಮಿಣಮಿಣ

ಡಾಮ್ ಡೂಮ್

ಟಸ್ ಪುಸ್

ಕೊಯ್ ಕೊಟಾರ್ “

ಇದರ ಅರ್ಥ ಏನು ಅಂತ ಗೊತ್ತಾ? ಹುಚ್ಚರ ಹಾಗೇ ಏನೇನೋ ಆಟ ಎಂದು ನಾನು ಹೇಳಿದಾಗ, ಅದಕ್ಕೆ ನನ್ನ ಅಜ್ಜಿ ಹೇಳಿದರು

ಹಾಡು ಭೂಮಿಯ ಮೇಲೆ ಮನುಷ್ಯನ ಜೀವನದ ಘಟ್ಟಗಳನ್ನು ತಿಳಿಸುತ್ತದೆ.

ಅವಲಕ್ಕಿ – ಮನುಷ್ಯ ಬಾಲ್ಯದಲ್ಲಿ ಅವಲಕ್ಕಿ ತಿಂತಾನೆ‌.

ಪವಲಕ್ಕಿ – ದೊಡ್ಡವನಾದ ಮೇಲೆ ಪಾವಕ್ಕಿ ಅನ್ನ ತಿಂತಾನೆ.

ಕಾಂಚನ– ಯೌವನದಲ್ಲಿ ಕೆಲಸಕ್ಕೆ ಸೇರಿದ ಮೇಲೆ ದುಡ್ಡು ಕೈಯಲ್ಲಿ ಓಡಾಡುತ್ತದೆ.

ಮಿಣ ಮಿಣ– ಕೆಲಸ ದುಡ್ಡು ಎಲ್ಲ ಇರುವಾಗ ಅವನ ಜೀವನದಲ್ಲಿ ಎಲ್ಲ ಮಿಣ ಮಿಣ ಎಂದು ಹೊಳೆಯುತ್ತಿರುತ್ತದೆ. 

ಡಾಮ್ ಡೂಮ್– ಆಮೇಲೆ ಧಾಮ್ ಧೂಮ್ ಎಂದು ಅವನ ಮದುವೆ ಆಗುತ್ತದೆ.

ಟಸ್ ಪುಸ್ – ಮದುವೆಯಾಗಿ ಮಕ್ಕಳಾದ ನಂತರ ವ್ಯಕ್ತಿಯ ಜೀವನದಲ್ಲಿ ಎಲ್ಲಾ ಟಸ್ ಪುಸ್, ಏಕೆಂದರೆ ಮಕ್ಕಳು ಹೇಳೋದನ್ನೇ ದೊಡ್ಡವರು ಕೇಳಬೇಕು.

 ಕೊಯ್ ಕೊಟಾರ್ – ಕೊನೆಗೆ ವ್ಯಕ್ತಿಯ ಮರಣ. 

ಹೇಗಿದೆ?”

Avalakki Pavalakki

Kanchana Meena Meena

Dham Doom

Tas Pus

Koi Kotar “

Do you know what this means? When I said it was some kind of game like a madman, my grandmother said

The song tells the stages of a person’s life on earth.

Avalakki – A person eats Avalakki in childhood.

Pavalakki – When he grows up, he eats Pavalakki.

Kanchana – When he joins work in his youth, money flows in his hands.

Meena Meena – When he has work and money, everything in his life shines like Meena Meena.

Dam Doom – Then he gets married like Dham Dhoom.

Tas Pus – After getting married and having children, everything in a person’s life is Tas Pus, because adults should listen to what children say.

Koi Kotar – Finally, the person dies.

How is it?

Sanjhi Art

Sanjhi Painting is a tradition of art that originated out of the cult of Krishna and flourished in the north Indian state of Uttar Pradesh. It is in Vraja, or Vrindavan, the homeland of Lord Sri Krishna, that this art of Sanjhi painting reached its pinnacle.

This art painting is rooted in the folk culture of the region. It was taken to its glory by the Vaishnava temples in the 15 th and 16 th century. Sanjhi came to be regarded as a highly refined art form practiced by the Brahmin priests. Presently, the art of Sanjhi painting is practiced by only a select few and remains a living tradition only in some of the temples of India. One of these temples where Sanjhi painting still survives is the Radharamana temple of Vrindavan. According to mythology,

Radha, Krishna's beloved, used to paint her walls with Sanjhi art to attract her beloved's attention. She used colored stones, metal foils and flowers to paint her freshly plastered cow dung walls. Seeing her, other Gopis of Vrindavan also started painting walls with Sanjhi art to attract Krishna. 'Sanjhi' is a word derived from words like "Sajja', "Shringar' and "Sajavat" which all means 'decoration'. Sanjhi paintings are made at a particular time in the year for the pleasure of Krishna's eyes. 

In today's Hands of Grace article, we take a look at Saanjhi Paper Art, a traditional form of stenciled paper cutting, that serves as a conduit of expression for artists’ devotion to Krishna.

 

Sanjhi Art from Mathura, is a truly unique craft form that features exquisite designs and intricate picture motifs, cut into paper. Craftsmen use specially designed scissors to accomplish this process. Let’s take a look at the history and current state of this artform

Folklore tells us that the origins of this art form lie with Radhe, who made Sanjhirangolis using natural colors, along with flowers, leaves and colored stones, to woo Krishna. The other gopis soon followed suit, also making intricate designs to impress Krishna. Sanjhi has been popular ever since, and during the Mughal period, contemporary themes were introduced for greater perspective. Today, Sanjhi art is found in many homes and spaces. It has been displayed in Delhi metro stations and was recently used for pictograms during the Commonwealth Games

To create a Sanjhi design, stencils are made on paper (mostly handmade) using specially designed scissors. These stencils areplaced on flat surfaces or water, where the rangoli has to be drawn. Dry colors are then sifted onto the surface. Filling the colors and lifting the stencils are as critical as cutting the design. Peacocks, bullock carts, horses, cows, butterflies and trees are some of the common motifs used. The intricate craftsmanship reflects the artist’s devotion and the intimate love for the Blue God. To produce an elaborate Sanjhi design could take anywhere between an hour and a month

Classical dances of India

Classical Dances of India.

The Natya Shastra mentions four Pravrittis (traditions, genres) of ancient dance-drama in vogue when it was composed – Avanti (Ujjain, central), Dakshinatya (south), Panchali (north, west) and Odra-Magadhi (east).

Sources differ in their list of Indian classical dance forms. Encyclopædia Britannica mentions six dances. The Sangeet Natak Akademi has given recognition to nine Indian dances. The Indian government's Ministry of Culture includes eleven dance forms. Scholars such as Drid Williams and others include Chhau, Yaksagana and Bhagavata Mela to the eight classical Indian dances in the Sangeet Natak Akademi list.

The classical dance forms recognised by the Sangeet Natak Akademi and the Ministry of Culture are:

Bharatanatyam, from Tamil Nadu

Kathak, from Uttar Pradesh

Kathakali, from Kerala

Kuchipudi, from Andhra Pradesh

Odissi, from Odisha

Sattriya, from Assam

Manipuri, from Manipur

Mohiniyattam, from Kerala

#bharatanatyam #kuchipudi #mohiniyattam #kathakali #manipuri #odissi #sattriya #kathak 

#dance #dancer #classical #classicaldance #dancersofinstagram #indiandance #dancesofindia #india #indian #dancelover

Folk Dances of Kerala

Chavittukali is a folk dance form similar to Kolkali, the only difference being that it does not require sticks as in Kolkali. The Ullada, Oorali, Cherumar and Kanakkaar communities perform this dance. Normally there are no percussion instruments used in the background, but there are local variations in this dance form, based on the community which performs it. It is said that the Oorali community uses instruments to accompany the songs while the rest of the communities do not.

The performers that are usually ten or twelve in number can go up to 30 or more in temple festivals. The leader of the group is referred to as Guruvan. The other performers are called Kalimakkal. The area where the dance is performed is called Kalivattom. A traditional lamp called Nilavilakku is lit at the centre, around which the dancers gather in a circle and dance.

This dance form is usually performed during festivals like Onam, Vishu or at temple fairs. The artistes wear no special make-up or costumes. The dance progresses with hand gestures, clapping and rhythmic steps in a circle. Both men and women participate in this folk dance.

Forms of Martial Arts

Martial arts is a part of India’s ancient culture and a traditional games. Originally a traditional form of martial art that started in South India, and now it has different names and different forms in the culture of the regions in India. Khusti

The Indian Wrestlng is also a part of Indian Martial arts found throughout the India. Indian martial arts has an important influence in the development of modern Asian martial arts. Nowadays a sense of self-defense and for fitness lots of people are opting for martial arts. As in other respects of Indian culture, Indian martial arts can be roughly divided into northern and southern styles.

Kalarippayattu: Kalarippayattu is a famous Indian martial art from land of attraction Kerala and one of the oldest fighting systems in existence. It is practiced in most of the part of south India. A kalari is the school or training hall where martial arts are taught. It includes strikes, kicks and some weapon based practiced, Footwork patterns is most important key in Kalarippayattu. It is the best Indian martial art that has been used in many movies to make it popular, like Ashoka and The myth

Silambam: Silambamis a weapon-based Indian martial art from Tamil Nadu. Every states has it own style of martial arts. A wide variety of weapons are used in silamban, some of which are not found anywhere else in the world. Silambam art also used animal movements of snake, tiger, eagle forms and footwork patterns is play a key role here as well. Another part of Silambam is Kuttu varisai, it is the unarmed kind of martial art.

Gatka: Gatkais weapon-based Indian martial art basically created by the Sikhs of Punjab.There are many weapons used in Gatka like, Stick, Talwar, kirpan and kataar. The attacking and defense methods are based upon the positions of the hands feet and nature of weapons used. It is also displayed during the different celebrations or at fairs in Punjab.

Musti yuddha:

It is unarmed martial art from the oldest city of India "Varanasi". Technique used in this martial arts are punches, kicks, knees and elbow strikes. This style is a complete art of physical, mental and spiritual development. This art is very rarely visible but was very popular in middle age.

Thang Ta: Thang Ta is popular term for the ancient Manipuri Martial Art also known as HUYEN LALLONG. Manipuri martial arts with swords and spears, is a strong yet gracefully sophisticated art.

Lathi: Lathi is an ancient armed martial art of India. It also refers one of the world’s oldest weapons used in martial arts. Lathi or stick martial arts practiced in Punjab and Bengal region of India. Lathi still remains a popular sport in Indian villages

Mardani Khel: Mardani Khel is an armed method of martial art created by the Maratha. This traditional martial art of Maharashtra is practiced in kolhapur

Pari-khanda: Pari-khandaa style of sword and shield fighting from Bihar. This art is created by the rajputs. Pari-khanda steps and techniques are also used in Chau dance.