Schematic Of Micro Oven

These written materials are the result of study and dedication, in the case be re name the author. Thanks.

DANCE IN INDIA

(introduction)

Combining past and future, the dancing body sculpture makes

The dance is present in the people, whether classical or folk. In everyday life, talking with someone you can hear her talking musical expressiveness see through head movements, the use of hand, contact with the earth, the sparkle in the eyes of gratitude. In a greeting, "Namaskar", union hand against the chest with a slight tilt of the torso or when greeting a person very dear and respected, or the same teacher (guru), kneeling to touch her feet and then move your hands together (anjali up) on the head, the forehead and chest.

The dances are the aspect of entertainment, beauty, theatricality, but its research and development have enormous philosophical and religioso.Cuando singing, dancing, praying, not looking for beauty and perfection only with an aesthetic but as a way to "do your best to God. The art comes from within and find a harmonious world in the rationale, so it is always beautiful. There are lots dance forms: rural, tribal, folk, classical.

Within classical dances recognizes the following styles, each originating in a region:

Bharata Natyam in the region of Tamil Nadu. Kuchipudi

in the region of Andhra Pradesh.

Kathakali and Mohini Attam the region of Kerala. Manipuri

the region of Manipur. Kathak

the region of Uttar Pradesh.

ODISSI the region of Orissa.

Los principios de la danza-teatro se basan en un preciso conocimiento de la anatomía humana. Todos los estilos están compuestos de NRTTA, NATYA y NRYTTA.

NRTTA no tiene carácter descriptivo, se basa en el trabajo incesante de los pies y en la belleza de las líneas en el espcaio.

NATYA es el aspecto más completo donde técnica y expresión se unen. Los gestos de las manos (Hasta) cuentan historias acompañados de complejos movimientos de pies. El actor-bailarín intercala partes de danza con otras de actuación.

En NRYTTA el canto ocupa un lugar importante, el bailarín representa with various characters the story that the song evokes using hand gestures and facial expressions. Classical dances contain many mythological and literary references as the Mahabharata with his tales of warriors and lovers, the Ramayana and the Vedas. Every story, episode in verse, is guided by a "rasa" (flavor, taste, mood) to the espectacor (rasika, ie one who can appreciate these moods.)

The practice of dancing bears who studies it a righteous life (dharma), finding wealth (artha), pleasure (kama) and freedom from the bonds of karma (moksha). Providing patience, freedom and pleasure. Help to find the highest spiritual quest: the light through total bliss (ananda).

Vanashree

Photo Vanashree, India 2009.
http://www.malika.com.ar/

Note published in the magazine with which I collaborate happily.

YOU SAY MY HANDS


gesture creation

Through mudras are stories that are part of the culture, myths and epics of India that the public understood through gestures. That is why the mudras are not reducible to a sign language, translation, the narrative or the expression of a text.

poetic vocation is, they are dreaming, developing the imagination, giving you many ways to a word or a text, they inspire all the freedom in the artist-poet to improvise.

Natya, Indian Theatre, includes a variety of styles in different regions of India. Each

forged through the centuries with variations of the mudras, up, inventing hundreds of new combinations.

The best-known treatise devoted to sign language is called S. Srihastamuktavali Kavi, written between the thirteenth and fourteenth centuries, comprises a thousand verses, describing such different meanings for Pataka 213 to the first hand position, and 124 to Chaturra Up. This text only retains a Bengali translation assamais-dated proxy to S. XII.

MUDRA AND TO Vanashree

Nandikesvara
The abhinayadarpana of reference is the treaty even currently Bharatanatyam artists and artists from other styles, such as Odissi, Kathak, Kuchipudi.
The treaty oldest drama in India, the Natyasastra, includes an entire chapter referred to until the ninth.
In the tradition of theater-dance, hand gestures are called up. The arts of sculpture, painting and music call Mudra. The latter term refers to the proper religious gestures or rituals used by yogis for meditation and postures.
As a sort of magical operation the hand creates a universe where the source is sealed in the heart of man.
The theater-dance to have a vocabulary much more comprehensible than the mudras forged on ritual codes.
danced gestures are related to other parts of the body and the expression of the eyes.
Symbolic gestures of one hand (asamyuta-up) and the two hands (samyuta-up), the nrtta-up are the gestures of the dance without a symbolic significance.

Bibliography


The gestuelle dans des mains dans Le Théâtre indien-Katia legerete, Manochhaya.

THE KING OF DANCE

Shiva Nataraja

Dance is considered a kind of magic.

During the dance transforms the personality of the dancer, in which supernatural forces are released. Shiva as cosmic dancer in the dance is a creative act. The universe is the soil in which they dance: it crosses the harmonic rhythm of the dance, she begins to move and manifest in all its forms, are useful and harmful.

In dance are symbolized the five cosmic acts: creation, preservation, destruction, concealment, and release. Shiva the Hindu sees in the impersonal life force, always mutable, symbolized by the figure of the dancer. " At the same time recognize him as the Absolute, with which everything merges Through the static figure of the dancer. The antagonistic forms of cosmic energy, creation and destruction are clearly manifested in the representation of "dancer" in the movements and postures of his body, attributes and gestures represented.

NATARAJAN Photo Vanashree India 2009

Nataraja The term began to be used only after the X century, but the worship of Shiva in his aspect of dance is much older, either in Sanskrit culture Vedic and Dravidian in origin.


Some legends tell that the heretics in the bosco rsis of Taraka (Himalaya) tried to kill Shiva using some singing. But Shiva was limited to dance and, thus, not only neutralizes the danger he was in the songs, also became a creative force. Then rsis Apasmara created the evil dwarf, the personification of ignorance, conceived without memory, and incited him against Shiva. Apasmara completed under the foot of God and broke his spine.


Nataraja (King of the dancers ") is iconographic representations at least four arms. His attributes and characteristics are tamburo and fire. The tamburo, symbolizes the inizio a word or the word itself, the parent substance of every life, creation, while the fire symbolizes the destruction: in fact the end of each fire was enveloping the world. The lower left hand, protesting in front of body, meets the gesture of the elephant, while the bottom right is raised in the gesture the promise of protection.


With one foot steps on Apasmara Nataraja, the devil midget, and with this act frees humanity from ignorance and paves the way for the release of all bonds of existence, while the other leg is raised, indicating salvation.


The dynamism of the "dancer" is sotolineado of her hair waved in the dance and waving handkerchief bearing in one of its sides.


lotus base of the arc lights of fire, which embraces circular sculpture. This "dawn" is the syllable AUM sacred, fundamental syllable of creation. The letter A indicates the state of consciousness that acrescenta, U is the consciousness adormentada, M is the dreamless sleep, the natural budget of consciousness indifferential.

Vanashree