The life of an autowala

              I think everybody is confused or excited why I am discussing the life of autowala? Is that important?

       I want to explain all of you how miserable their lives are. A popular advertisement in television a foreigner is being forced to pay a high price by an auto driver and somebody comes there and stop the thing and says we should respect foreigners. I think everybody recall the advertisement.

              Why auto drivers are demanding high amounts? Did you know why?

• Before going deep into the topic, I should explain to you how drivers are important?
• A driver knows everything about his owner. Drivers use to listen to everything what his/her owners is speaking, how much time they spend at a place, Behaviour of owner everything he knows even drivers are part of families in some cases.
• In our epics also lord Krishna is a driver to Arjuna's chariot. 
• Our life is in his hand when he is driving vehicle.
• Everybody is cautious when appointing a driver. If you have a driver for your car you may understand what I am saying.

            Then what about auto drivers they are drivers for thousands and thousands of people.They know better than us about people and their problems what is the present state of living. So, I just went to an auto union office and ask them about people and their problems but, Interestingly I came to know about their problems. I just requested them I will pay you if you want I need some information regarding people and their problems. I just take a few papers with me around 3 papers I thought that is enough. But interestingly when I came out papers in my hand are 10 completely filled. 

            I think from now if you follow my blogs you will be excited to find such a huge kind of problems list  in our society.

         Today's my topic is about auto drivers.

                                                                 Coming to the point directly....

• Every auto driver demands huge amounts Why?
• Some people in transport department regularly collect fees from union offices. I ask them why? Reply from them is stunning. Police should bookcases nearly 100 ( I don't know the exact number) for every month and easily they come to auto union office collect some money and book some cases randomly.
•  This is true, it is what happening in and around us.Transport department officials should bookcases and every month reports are sent to the government. It's easy for them to charge from auto drivers.

• I got a doubt and asked him sometimes in regional newspapers I came across your auto unions are doing this and that. Is it true? You are mainly responsible in traffic jam, occupying public places......
• Coming to that point, he says if for one month we didn't pay to media they will write whatever they want.For some incidents maybe we are responsible but not for all.

• I was shocked!! You are paying to media?? Really?
• Yes, we are paying them also every month media personals come and take some money from union office.we are paying them because if any incident happens they come with us for solving our issues. Every government official is fear of media. 
• I asked them why you are paying to all you can complain to higher authorities???
• They laugh at me and ask me what are you doing? I replied about me... Then they said all departments are same media is also supporting the police in their actions. If we are against any media personal then the police call us organize a meeting and says they are serving for us don't do it again. If we are against the police then they will open some case against us. So, we are following them collecting money from common people and delivering to officials.
• I ask them how much money did you pay every month?
• They are paying nearly 20% of their income.In some areas, corruption may not be there but this is happening in my area. 
• What about the government is the government is not taking care?
• No,  public or private bank is giving loans at cheaper interest rates. The government should take care about us it is our livelihood and this is not a business.

          Everybody who are going on road blame us and says you are responsible for this and that.All auto drivers are not bad only some in this large population it is possible.We hurry because we should reach our destination as speed as possible for next trip. We are also humans working hard for our family getting some money and leading our lives. Nobody recognize our hard work if auto is not there what will happen? Every common man depends on us either directly or indirectly. We are also serving to society but cheap to everybody.

           I think their argument is also right. We should recognize them don't blame them for every single reason.

           We discussed a lot of things, but I just give you a glance about it. If  I start explaining every single topic my blog will not end.

           About media and police, only some persons are doing this thing. I know honest people are there in these services also, we people like honest service.

           If you like this post share it. Spread the word to educate our society.

indian puppet forms

                              PUPPET FORMS IN INDIA

• Puppet has to be more than his live counterpart
• Ancient Hindu philosophers have likened God Almighty to a puppeteer and the entire universe to a puppet stage.
• Themes are mostly based on epics and legends.

STRING PUPPETS

• Marionettes having jointed limbs controlled by strings.
• Allow far greater flexibility

Kathputli, Rajasthan                                                                                        http://www.rajasthanvisit.com/KathPutli-Dance.htm

• Carved from a single piece of wood.
• Large dolls - colourfully dressed.
• Costumes and headgears are designed in the medieval Rajasthani style of dress, which is prevalent even today.
• Accompanied by a highly dramatised version of the regional music.
• Oval faces, large eyes, arched eyebrows and large lips - distinct facial features.
• Wear long trailing skirts and do not have legs.
•  Puppeteers manipulate them with two to five strings which are normally tied to their fingers and not to a prop or a support.

Kundhei, Orissa

• Made of light wood,
• Have no legs but wear long flowing skirts.
• Have more joints and are, therefore, more versatile, articulate and easy to manipulate.
• Use a triangle shape wooden prop, to which strings are attached for manipulation.
• Costumes resemble those worn by actors of the Jatra traditional theatre.
• Music – regional music & Odissi dance’s music.

Gombeyatta, Karnataka

• Puppets - styled and designed like the characters of Yakshagana
• Highly stylized and have joints at the legs, shoulders, elbows, hips and knees.
• Manipulated by five to seven strings tied to a prop.
• Complicated movements are manipulated by two to three puppeteers at a time.
• Music -  beautifully blends folk and classical elements.

Bommalattam, Tamil Nadu

• Combine the techniques of both rod and string puppets.
• Made of wood and the strings for manipulation are tied to an iron ring which the puppeteer wears like a crown on his head.
• Few puppets have jointed arms and hands, which are manipulated by rods.
• This puppets are the largest, heaviest and the most articulate of all traditional Indian marionettes.

SHADOW PUPPETS

• Shadow puppets are flat figures.
• Cut out of leather, which has been treated to make it translucent.
• Pressed against the screen with a strong source of light behind it.
• Manipulation between the light and the screen make silhouettes or colourful shadows
• Found in  Orissa, Kerala, Andhra Pradesh, Karnataka, Maharashtra and Tamil Nadu.

Togalu Gombeyatta, Karnataka

• Puppets are mostly small in size.
• Puppets however differ in size according to their social status, for instance, large size for kings and religious characters and smaller size for common people or servants.

Tholu Bommalata, Andhra Pradesh

•  Puppets are large in size and have jointed waist, shoulders, elbows and knees.
• Coloured on both sides, throwing coloured shadows on the screen.
• Music - influenced by the classical regional music
• Theme are drawn from the Ramayana, Mahabharata and Puranas.

Ravanachhaya, Orissa

• Puppets are in one piece and have no joints.
• Not coloured, hence throw opaque shadows on the screen.
• Manipulation requires great dexterity, since there are no joints.
• Puppets are made of deer skin and are conceived in bold dramatic poses.
• Apart from human and animal characters, many props such as trees, mountains, chariots, etc. are also used.
• Puppets are smaller in size
• Create very sensitive and lyrical shadows.

ROD PUPPETS

• An extension of glove-puppets, but often much larger and supported and manipulated by rods from below.
• Found mostly in West Bengal and Orissa. 

Putul Nautch, West Bengal

·         Carved from wood

·         costumed like the actors of Jatra, a traditional theatre

·         puppets have mostly three joints.

·         heads, supported by the main rod, is joined at the neck and both hands attached to rods are joined at the shoulders.

·         bamboo-made hub is tied firmly to the waist of the puppeteer on which the rod holding the puppet is placed.

·         puppeteers each holding one puppet, stand behind a head-high curtain and while manipulating the rods also move and dance imparting corresponding movements to the puppets.

·         puppeteers themselves sing and deliver the stylized prose dialogues & a group of musicians  provide the accompanying music with a drum, harmonium and cymbals.

·         music and verbal text have close similarity with the Jatra theatre.

Orissa Rod puppets

·         mostly three joints, but the hands are tied to strings instead of rods.

·         elements of rod and string puppets are combined in this form of puppetry.

·         Most of the dialogues are sung.

·         music blends folk tunes with classical Odissi tunes.

·         puppets of Orissa are smaller than those from Bengal or Andhra Pradesh.

·         more operatic and prose dialogues are seldom used.

Yampuri, Bihar

·         made of wood.

·         puppets are in one piece and have no joints.

·         requires greater dexterity.

GLOVE PUPPETS

·         also known as sleeve, hand or palm puppets.

·         head is made of either papier mache, cloth or wood,

·         hands emerges from just below the neck.

·         rest of the figure consists of a long flowing skirt.

·         controlled by the human hand - first finger inserted in the head and middle finger and thumb are the two arms of the puppet.

·         In Orissa, the puppeteer plays on the dholak with one hand and manipulates the puppet with the other.

·         delivery of the dialogues, the movement of the puppet and the beat of the dholak are well synchronised and create a dramatic atmosphere.

Pavakoothu, Kerala

·         head and the arms are carved of wood and joined together with thick cloth, cut and stitched into a small bag.

·         face of the puppets are decorated with paints, small and thin pieces of gilded tin, the feathers of the peacock, etc.

·         manipulator puts his hand into the bag and moves the hands and head of the puppet.

·         musical instruments - Chenda, Chengiloa, Ilathalam and Shankha the conch.

             theme - based on the episodes from either the Ramayana or the mahabharata.


want to know more....... http://ccrtindia.gov.in/puppetforms.php   .

Indian music

                                                        

                                       INDIAN MUSIC

 The two distinct styles, Hindustani and Carnatic came into vogue after the advent of the Muslims, particularly during the reign of the Mughal Emperors of Delhi. Both the systems of music received their nourishment from the same original source. Whereas the Indian music of the Northern part of India assimilated some features of the music of the Persian and Arabic musicians who adorned the courts of the Mughal rulers of Delhi, the music of the South continued to develop along its original lines.

Folk music of india include:   

Rabindra sangeet, Bihu, Dandiya, Ganasangeet, Uttarakhandi Music, Lavani , Rajasthani music

Popular music like Hindustani and carnatic music explained here.

                                            HINDUSTANI MUSIC

There are 10 main forms of styles of singing and compositions: Dhrupad, Dhamar, Hori, Khayal, Tappa, Chaturang, Ragasagar, Tarana, Sargam and Thumri. Nowadays Ghazals have become very popular as the 'light classical' form of music.

·         DHRUPAD

Dhrupad is the oldest and perhaps the grandest form of Hindustani vocal music.  Dhrupad is essentially a poetic form incorporated into an extended presentation style marked by precise and orderly elaboration of a raga. The exposition preceding the composed verses is called alap, and is usually the longest portion of the performance. Dhrupad is in decline since the 18th century.

·         KHAYAL

Khayal literally means ‘a stray thought’, ‘a lyric’ and  'an imagination'.

This is the most prominent genre of Hindustani vocal music depicting a romantic style of singing. Khayal is dependent to a large extent on the imagination of the performer and the improvisations he is able to incorporate. A Khayal is also composed in a particular raga and tala and has a brief text. The Khayal texts range from praise of kings or seasons, description of seasons to the pranks of Lord Krishna, divine love and sorrow of separation. 

There are six main gharanas in khayal: Delhi, Patiala, Agra, Gwalior, Kirana and Atrauli-Jaipur. Gwalior Gharana is the oldest and is also considered the mother of all other gharanas. 

·         THUMRI

Thumri originated in the Eastern part of Uttar Pradesh, mainly in Lucknow and Benares, around the 18^th century AD

It is believed to have been influenced by hori, kajri and dadra. Thumri is supposed to be a romantic and erotic style of singing and is also called “the lyric of Indian classical music”. The song compositions are mostly of love, separation and devotion. Its most distinct feature is the erotic subject matter picturesquely portraying the various episodes from the lives of Lord Krishna and Radha. 

 A Thumri is usually performed as the last item of a Khayal concert. There are three main gharanas of thumri -- Benaras, Lucknow and Patiala. 

·         DADRA

 Dadra bears a close resemblance to the Thumri. The texts are as amorous as those of Thumris. The major difference is that dadras have more than one antara and are in dadra tala. Singers usually sing a dadra after a thumri.

·         DHAMAR-HORI

These compositions are similar to Dhrupad but are chiefly associated with the festival of Holi. Here the compositions are specifically in praise of Lord Krishna. This music, sung in the dhamar tala, is chiefly used in festivals like Janmashthami, Ramnavami and Holi. The compositions here describe the spring season. These compositions are mainly based on the love pranks of Radha-Krishna.

·         TAPPA

The tappa is said to have developed in the late 18th Century AD from the folk songs of camel drivers. Tappa literally means 'jump' in Persian.  They are essentially folklore of love and passion and are written in Punjabi.

·         RAGASAGAR

Ragasagar consists of different parts of musical passages in different ragas as one song composition. These compositions have 8 to 12 different ragas and the lyrics indicate the change of the ragas. The peculiarity of this style depends on how smoothly the musical passages change along with the change of ragas.

·         TARANA

Tarana is a style consisting of peculiar syllables woven into rhythmical patterns as a song. It is usually sung in faster tempo.

·         CHATURANG

Chaturang denotes four colours or a composition of a song in four parts: Fast Khayal, Tarana, Sargam and a "Paran" of Tabla or Pakhwaj.

·         GHAZAL

The ghazal is mainly a poetic form than a musical form, but it is more song-like than the thumri. The ghazal is described as the "pride of Urdu poetry". The ghazal originated in Iran in the 10th Century AD. The ghazal never exceeds 12 shers (couplets) and on an average, ghazals usually have about 7 shers. The ghazal found an opportunity to grow and develop in India around 12th Century AD when the Mughal influences came to India, and Persian gave way to Urdu as the language of poetry and literature. It developed and evolved in the courts of Golconda and Bijapur under the patronage of Muslim rulers. The 18th and 19th centuries are regarded as the golden period of the ghazal with Delhi and Lucknow being its main centres.

speed. There is perceptible rhythm in this. The rhythmical flow of music, flowing in fascinating patterns, makes tanam singing the most captivating part of raga exposition.

                                                         CARNATIC MUSIC

The Tamil classic of the 2nd century A.D. titled the Silappadhikaram contains a vivid description of the music of that period. The Tolkappiyam, Kalladam and the contributions of the Saivite and Vaishnavite saints of the 7th and 8th centuries A.D. also serve as resource material for studying musical history.

It is said, that South Indian Music, as known today, flourished in Deogiri the capital city of the Yadavas in the middle ages, and that after the invasion and plunder of the city by the Muslims, the entire cultural life of the city took shelter in the Carnatic Empire of Vijayanagar under the reign of Krishnadevaraya. Thereafter, the music of South India came to be known as Carnatic Music.

In the field of practical music, South India had a succession of brilliant and prolific composers who enriched the art with thousands of compositions. After Purandaradasa, Tallapakam Annamacharya Narayana Tirtha, Bhadra-chalam Ramdasa and Kshetranja made contributions to the wealth of compositions.

The birth of the Musical Trinity - Tyagaraja, Muthuswami Dikshitar and Syama Sastri - at Tiruvarur between the years 1750 to 1850 A.D. ushered in an era of dynamic development in Carnatic music.

Outstanding feature of Carnatic music is its raga system & highly developed and intricate tala system. Though clear cut demarcations in the style of musical presentation, similar to the gharanas of Hindustani music are not seen in Carnatic music, yet, we do come across different styles in rendering compositions.

The ancient musical forms like Prabandhas, etc. gradually gave away to the different musicals forms that are in use in present day music, though the basic elements of the ancient Prabandhas are still retained in the modern forms. The following musical forms offer interesting study.

·         GITAM

Gitam is the simplest type of composition. Taught to beginners of music, the gitam is very simple in construction, with an easy and melodious flow of music. 

·         SULADI 

Very much like the gitam in musical structure and arrangement, the Suladis are of a higher standard than the gitam.

·         VARNAM

The Varnam is a beautiful creation of musical craftsmanship of a high order, combining in itself all the characteristic features of the raga in which it is composed. Practice in Varnam singing helps a musician to attain mastery in presentation and command over raga, tala and bhava.

·         SVARAJATI

This is learnt after a course in gitams. More complicated than the gitas, the Svarajati paves the way for the learning of the Varnams. The theme is either devotional, heroic or amorous.

·         JATISVARAM

Very similar to the svarajati in musical structure, this form- Jatisvaram-has no sahitya or words. The piece is sung with solfa syllables only.

·         KIRTANAM

The Kirtanam had its birth about the latter half of the 14th century. It is valued for the devotional content of the sahitya. Clothed in simple music, the kirtanam abounds in Bhakti bhava. It is suited for congregational singing as well as individual presentation.

·         KRITI

The Kriti is a development from the Kirtana. It is an highly evolved musical form. The highest limit of aesthetic excellence is reached in the Kriti composition. The raga bhava is brought out in all the rich and varied colours in this form.

·         PADA

Padas are scholarly compositions in Telegu and Tamil. Though they are composed mainly as dance forms, they are also sung in concerts, on account of their musical excellence and aesthetic appeal. The music is slow-moving and dignified.

·         JAVALI

A javali is a composition belonging to the sphere of light classical music. Sung both in concert programmes and dance concerts, the javalis are popular because of the attractive melodies in which they are composed. In contrast to the padas which portray divine love, javalis are songs which are sensuous in concept and spirit.

·         TILLANA

The Tillana, corresponding to the Tarana of Hindustani music, is a short and crisp form. It is mainly a dance form, but on account of its brisk and attractive music, it sometimes finds a place in music concerts as a conclusion piece.

·         PALLAVI 

This is the most important branch of creative music. It is in this branch of manodharma sangeeta, that the musician has ample opportunities of displaying his or her creative talents, imaginative skill, and musical intelligence.

·         TANAM 

This is a branch of raga alapana. It is raga alapana in Madhyamakala or medium speed. There is perceptible rhythm in this. The rhythmical flow of music, flowing in fascinating patterns, makes tanam singing the most captivating part of raga exposition.


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Sources:

http://ccrtindia.gov.in/

indian temple types & architecture

Temples in India are constructed along the lines of Vedic culture.

The devotee should enter into the temple by leaving his footwear outside the temple - It means leave your thoughts outside the temple premises and by washing your legs and hands one can get rid of it. In scientifical terms by washing legs and entering a mass gathering place will control infections.

After entering first offerings to LORD GANESH Hindu god with elephant head in other sense leave your inner differences all living beings are equal before god.

Temple is constructed and the mandapas are in series as one passes through every mandapas gets cosmic energy from the place.

Temples are constructed in such a manner that our people take great care in them for selecting the place, for architecture and so on in this post we try to explain some famous temple architectures.

NAGARA STYLE- NORTH INDIA

Nagara temples have two distinct features:
·   In plan, the temple is a square with a number of graduate projections in the middle of each side giving a cruciform shape with a number of re-entrant angles on each side.

 In elevation, a Sikhara, i.e., tower gradually inclines inwards in a convex curve.

PRATHIHARAS- UJJAIN (8TH - 9TH CENTURIES AD)

·         Mahakaleshwar temple, one of the 12 Jyotirlingas of India.

·         Kal Bhairava temple finds a mention in the Skanda Purana, and

·         Mangal Nath temple, regarded as the birthplace of Mars, according to the Matsya Purana.

PALAS- BENGAL AND BIHAR (8^th -13^TH CENTURIES AD)

·         flourished in Bengal and Bihar under the Pala and the Sena rulers.

·         Nalanda was its most active centre, whose influence was spread to Nepal, Myanmar and even Indonesia.  

CHANDELAS- BUNDELKHAND (10^TH -11^TH  CENTURY AD)

·         Khajuraho justly famous for their graceful contours and erotic sculptures.

·         These 22 temples (out of the original 85) are regarded as one of the world's greatest artistic wonders. 

·         Khajuraho Temples were built within a short period of hundred years from 950-1050 A.D.

·         Kendriya Mahadev temple is the largest and most beautiful of the Khajuraho Temples.   

·  Shiva Temple at Visvanath and Vishnu Temple at Chaturbhunj are other important temples at Khajuraho.

DRAVIDIAN STYLE  - SOUTH INDIA

Dravidian style temples consist almost invariably of the four following parts:

·    The principal part, the temple itself, is called the Vimana (or Vimanam). It is always square in plan and surmounted by a pyramidal roof of one or more stories; it contains the cell where the image of the god is placed.

·         The porches or Mandapas, which always cover and precede the door leading to the cell.

·  Gate-pyramids or Gopurams, which are the principal features in the quadrangular enclosures that surround by more notable temples.

·         Pillared halls or Chaultris—properly Chawadis -- used for various purposes, and which are the invariable accompaniments of these temples.

VESARA STYLE  - DECCAN

·  Vesara is a combination of nagara and Dravidian styles.Hoysala temples at Belur, Halebidu and Somnathpura are supreme examples of this style

PARAMASAAYIKA MANDALA

It is the second most Hindu temple format, set on a 9*9 format.

• These were built as ceremonial temples - by kings and regional communities.
• They are typically very large. 
• In architectural formats, these temple constructions differ from others.
• Temple mandalas are different and they are constructed as phases.
• The devotee when reaches middle will spiritually enlighten. 

 viewers can help me in upgrading these blogs by your valuable comments.

Sources

             http://ccrtindia.gov.in/