Kathakali ( IAST: Kathakaḷi Malayalam: കഥകള) is a major form of classical Indian dance.[1] It is a "story play" genre of art, but one distinguished by the elaborately colourful make-up and costumes of the traditional male actor-dancers.[2][3][note 1] It is native to the Malayalam-speaking southwestern region of Kerala and is almost entirely practiced and appreciated by Malayali people.[2][3][5]
shiva story in malayalam pdf 17
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The term Kathakali is derived from katha (Malayalam: കഥ, from Sanskrit) which means "story or a conversation, or a traditional tale", and kaḷi (Malayalam: കള) which means "performance" or "play". The dance symbolises the eternal fight between good and evil.[9][10]
Another related performance art is Ashtapadiyattom, a dance drama based on the Gita Govinda of the twelfth-century poet Jayadeva, told the story of Krishna embodied as a humble cowherd, his consort Radha, and three cow girls.[25] Kathakali also incorporates several elements from other traditional and ritualistic art forms like Mudiyettu, Theyyam and Padayani besides folk arts such as Porattu Nadakam that shares ideas with the Tamil Therukoothu tradition.[26][27][28] The south Indian martial art of Kalarippayattu has also influenced Kathakali.[28][29]
A Kathakali repertoire is an operatic performance where an ancient story is playfully dramatized.[28] Traditionally, a Kathakali performance is long, starting at dusk and continuing through dawn, with interludes and breaks for the performers and audience.[3] Some plays continued over several nights, starting at dusk every day. Modern performances are shorter. The stage with seating typically in open grounds outside a temple, but in some places, special theatres called Kuttampalam built inside the temple compounds have been in use.[33]
The makeup follows an accepted code, that helps the audience easily identify the archetypal characters such as gods, goddesses, demons, demonesses, saints, animals and characters of a story.[38] Seven basic makeup types are used in Kathakali, namely Pachcha (green), Pazhuppu (ripe), Kathi, Kari, Thaadi, Minukku and Teppu (red).[38] These vary with the styles and the predominant colours made from rice paste and vegetable colors that are applied on the face.[10][39] Pachcha (green) with lips painted brilliant coral red portrays noble characters and sages such as Krishna, Vishnu, Rama, Yudhishthira, Arjuna, Nala and philosopher-kings.[40]
Over five hundred Kathakali plays (Aattakatha) exist, most of which were written before the 20th century.[56] Of these, about four dozen are most actively performed.[57] These plays are sophisticated literary works, states Zarrilli, and only five authors have written more than two plays.[57] The late 17th century Unnayi Variyar, in his short life, produced four plays which are traditionally considered the most expressive of the Kathakali playwrights. Typically, his four plays are performed on four nights, and they relate to the mythical Hindu love story of Nala and Damayanti.[57] The Nala-Damayanti story has roots in the texts of 1st millennium BCE and is found in the Mahabharata, but the Kathakali play version develops the characters, their inner states, the emotions and their circumstances far more than the older texts.[57]
The theory and foundations of Kathakali are same as other major classical Indian dances, traceable to Sanskrit texts such as the Natya Shastra, but the expression style in each is very different and distinctive.[4] Kathakali is different from a similar-sounding Kathak, though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathak is an ancient performance art that emerged in North India, with roots in traveling bards retelling mythical and spiritual stories through dance-acting.[9][75] Kathak traditionally has included female actor-dancers, unlike Kathakali which has traditionally been performed by an all-male troupe.[3][76] Kathak deploys much simpler costumes, makeup and no face masks. Both dance forms employ choreography, face and hand gestures traceable to the Natya Shastra, but Kathak generally moves around a straight leg and torso movements, with no martial art leaps and jumps like Kathakali. Kathak uses the stage space more, and does not typically include separate vocalists. Both deploy a host of similar traditional Indian musical instruments.[3][77]
It is a notable festival in Hinduism, and this festival is solemn and marks a remembrance of "overcoming darkness and ignorance" in life and the world. It is observed by remembering Shiva and chanting prayers, fasting, and meditating on ethics and virtues such as honesty, non-injury to others, charity, forgiveness, and the discovery of Shiva.[10] Ardent devotees keep awake all night. Others visit one of the Shiva temples or go on pilgrimage to Jyotirlingams. The festival has been integral to Hinduism and its origin predates recorded history, but some western indologists believe this festival originated in 5th century BCE.[10] According to the South Indian calendar, Maha Shivaratri is observed on Chaturdashi Tithi during Krishna Paksha in the month of Magha, and in other parts of India, on 13/14 night of Krishna Paksha in Phalguna of the Hindu calendar, the Gregorian date however remaining the same.[11]
During the Vigil Night of Shiva, Mahashivaratri, we are brought to the moment of interval between destruction and regeneration; it symbolizes the night when we must contemplate on that which watches the growth out of the decay. During Mahashivaratri we have to be alone with our sword, the Shiva out of us. We have to look behind and before, to see what evil needs eradicating from our heart, what growth of virtue we need to encourage.Shiva is not only outside of us but within us. To unite ourselves with the One Self is to recognize the Shiva in us.
In Andhra Pradesh and Telangana, Shivratri yatras are held at Mallayya gutta near Kambhalapalle, Gundlakamma Kona near Railway Koduru, Penchalakona, Bhairavakona, Uma Maheswaram amongst others. Special pujas are held at Pancharamas - Amararamam of Amaravati, Somaramam of Bhimavaram, Draksharamam, Kumararama of Samarlakota and Ksheerarama of Palakollu. The days immediately after Shivratri are celebrated as Brahmotsavaalu at Srisailam, one of 12 Jyotirlinga sites. Mahashivaratri utsavalu are held at the Rudreshwara Swamy's 1000 pillar temple in Warangal. Devotees throng for the special poojas at Srikalahasti, Mahanandi, Yaganti, Antarvedi, Kattamanchi, Pattiseema, Bhairavakona, Hanamkonda, Keesaragutta, Vemulawada, Panagal, Kolanupaka amongst others.
The seminal event in the modern history of Hindu-Muslim relations in the region was the partition of the subcontinent into Hindu-majority India and Muslim-majority Pakistan at the end of the British colonial period in 1947. Partition remains one of the largest movements of people across borders in recorded history, and in both countries the carving of new borders was accompanied by violence, rioting and looting.
These differences in attitudes and practices exist in a wider context of economic disparities between the South and other regions of the country. Over time, Southern states have seen stronger economic growth than the Northern and Central parts of the country. And women and people belonging to lower castes in the South have fared better economically than their counterparts elsewhere in the country. Even though three-in-ten people in the South say there is widespread caste discrimination in India, the region also has a history of anti-caste movements. Indeed, one author has attributed the economic growth of the South largely to the flattening of caste hierarchies.
A story has been described in Shiv Mahapuran related to origin and significance of Baidyanath Jyotirlinga, according to which when Ravana failed to please Lord Shiva even after performing rigorous penance at Kailash mountain then he started chopping off his head and offered it to Lord Shiva as a sacrifice. Pleased with the prayers of Ravana, Lord Shiva appeared in front of him and restored all his heads and asked him to seek a boon. Hearing this, Ravana requested Lord Shiva to come with him to Sri Lanka.
All the gods requested Lord Shiva to slaughter him as soon as possible. Lord Shiva asked all gods to go and ask Swami Kamroopeshwar to continue worshipping Lord Shiva, at right moment he will go there to kill the demon. Accordingly, gods went to Swami Kamroopeshwar and asked him to continue worshipping shivalinga.
As per legend, in Shiv Mahapuran, once Lord Vishnu took a twin-brother avatar as Nar and Narayan. They both went to Badrika forest area of Himalayas and started performing penance after establishing a parthiv shivalinga there. Being pleased with their prayers, Lord Shiva appeared in front of them and asked them to seek a boon. Then as a boon Nar-Narayan asked Lord Shiva to established himself there so that all his devotees can be blessed with his presence.
A story has been described in Shiv Mahapuran related to origin and significance of Ghrishneshwar Jyotirlinga, according to which there was a Brahmin named Bharadwaj who used to reside on Devgiri mountain in south direction along with his wife Sudharma. This Brahman was prosperous, generous, meritorious and was a great devotee of Lord Shiva. His wife Sudeha was also a beautiful, versatile woman and a great devotee of Lord Shiva. When she could not conceive for a long period. So, to obtain the happiness of being a mother she made every possible effort. But all gone in vain. Atlast, Sudeha being anguished went to her husband and insisted that he should do something about this, else she will kill herself.
But in such a difficult situation also, Ghushma did not gave up her usual devotional worship and when she went to lake to immerse parthiv shivalinga as usual, she found her son standing on the bank of the lake. Ghushma surprisingly looked at her and her son told her that due to her good deeds, her son has received a boon of life. At the same time, Lord Shiva appeared there and told Ghushma that he is pleased with the prayers of her and that her sister only killed her son. Hearing this Ghushma requested Lord Shiva to forgive Sudeha. Pleased with her generosity Lord Shiva told Ghushma to ask for a boon. Then as a boon Ghushma asked Lord Shiva to bless all by residing there. Lord Shiva accordingly established himself there in form of Ghushmeshwar Jyotirlinga and blessed Ghushma that her coming generations will also be blessed with great sons. Afterwards, Sudeha accompanied Ghushma and they both worshipped Lord Shiva. It is believed that reverents who worship here they attain happiness. To return to INDEX, Click HERE. Otherwise Continue 2ff7e9595c
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