Navarasa theme

Finding photography ideas and inspiration can be a challenge. In this article, I want to share 21 photoshoot ideas that are far from boring! You will also learn some photography tips and techniques which will stimulate your own creative process.

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Product links on ExpertPhotography are referral links. If you use one of these and buy something, we make a little bit of money. Need more info? See how it all works here. Bring some freshness to your next photoshoot. Choose a subject, photography theme, or technique you have never tried before. Plan ahead to come up with a concept.

Have a few ideas in mind of the outcome. How do you want the finished photos to look? Movies and TV can be a great source of photoshoot ideas and inspiration. For this photoshoot idea, I want you to consider creating a photo, or series of photos, which relate to a favourite movie or TV show.

You might need to sit down and watch it again first. Do so with a notebook. Write down the creative photoshoot ideas as they come to you.

Think as broadly as you like. You could take pictures of landscapes or cityscapes that appear in a movie you like. Or you could mimic the lighting style or lens choice of a particular director. The camera often gets close to the actors. This inspires me to take shots in a similar way.Lecture by Dr. Kalari ppayattu performance When: Saturday, Sep 24, p. Where: The Middle Way L.

Navarasa's Dance for Everyone 5th Year Celebration!

Classical Navarasa

When: Jan 2,p. Pasadena Dance Festival When: Feb. Bendre Namana Created and performed by Dr. Aparna Sindhoor and Anil Natyaveda. Mysore Style of Bharatanatyam performed by Dr. Aparna Sindhoor and Hunt, performed by Dr. More Information: navarasa yahoo. When: May 1, Where: India. When: Sat June 27th,Party begins at 3. We will be showing a work-in-progress video and also a live performance just for you!

Enjoy wine, snacks, silent auction and good company. Please come and take part in the creation of an exciting new work. We need all the support from outstanding patrons like you. This is a great opportunity to help a project that projects women's point of view in raising awareness to end violence. More Information: www. Bharatanatyam: One of the classical dances from India.

A rich dance form with rhythmic foot work, strong and graceful movements and facial expressions. Kalari payatu: is a martial art from Kerala, India. Used for combats and self-defense, kalari also helps to understand human body and to live a healthy life. It is known for its strong form and beauty. The workshop is designed to suit all age groups. Individual attention is given to every student.

Navarasa (Nine Emotions) - GIF Animation

Pre-registration suggested. Email: navarasa yahoo. Showcase during APAP conference. When: 5th, 6th and 7th December Where: Y. Chavan Auditorium, Kothrud A season ticket for all 3 days of Rs. A detailed program of three days is attached herewith.

Every time I attended a national or international theatre festival, I used to long for a similar annual theatre festival in a city like Pune wherein theatre is rooted in every household. I have been trying to assemble such an annual gathering for last four years. The concept of a retrospective surrounding a director or a playwright was almost absent in theatre.Rasas are created by bhavas : [3] the state of mind. Although the concept of rasa is fundamental to many forms of Indian arts including dancemusictheatre, painting, sculpture, and literaturethe interpretation and implementation of a particular rasa differs between different styles and schools.

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The word rasa appears in ancient Vedic literature. In Rigvedait connotes a liquid, an extract and flavor. Rasa in an aesthetic sense is suggested in the Vedic literature, but the oldest surviving manuscripts, with the rasa theory of Hinduismare of Natya Shastra. The Aitareya Brahmana in chapter 6, for example, states:. Now he glorifies the arts, the arts are refinement of the self atma -samskrti.

With these the worshipper recreates his self, that is made of rhythms, meters. The Sanskrit text Natya shastra presents the rasa theory in Chapter 6, a text attributed to Bharata Muni. Rasa is produced from a combination of Determinants vibhavaConsequents anubhava and Transitory States vyabhicaribhava. According to the Natya shastrathe goals of theatre are to empower aesthetic experience and deliver emotional rasa.

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The text states that the aim of art is manifold. In many cases, it aims to produce repose and relief for those exhausted with labor, or distraught with grief, or laden with misery, or struck by austere times. The primary goal is to create rasa so as to lift and transport the spectators, unto the expression of ultimate reality and transcendent values. The concept of rasa is fundamental to many forms of Indian artincluding dancemusicmusical theatre, cinema and literaturethe treatment, interpretation, usage and actual performance of a particular rasa differs greatly between different styles and schools of abhinayaand the huge regional differences even within one style.

A rasa is the developed relishable state of a permanent mood, which is called sthayi bhava. This is explained by the quote below:. Food, in this context, means matter or objects or thoughts, which are all produced effects; effects that are produced owing to various causes. The Rasas are the unique qualities which bring about variety in things created whose source is one and one only.

The Natya Shastra mentions six rasa in one section, but in the dedicated section on rasa it states and discusses eight primary rasa.

There are 4 pairs of rasas. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following: [23].

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A ninth rasa was added by later authors. This addition had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression " Navarasa " the nine rasascould come into vogue. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to the necklace, allowing the jewels of the other eight rasas to be relished.

According to the Natyashastrabhavas are of three types: sthayi, sanchari, sattvika based on how they are developed or enacted during the aesthetic experience. This is seen in the following passage:. Sanchari Bhavas are those crossing feelings which are ancillary to a permanent mood.

These are explained by Bharata and Dhanika as below:. According to Natya shastraa rasa is a synthetic phenomenon and the goal of any creative performance art, oratory, painting or literature. Rasas are created through a wide range of means, and the ancient Indian texts discuss many such means. For example, one way is through the use of gestures and facial expressions of the actors. The theory of rasas forms the aesthetic underpinning of all Indian classical dance and theatre, such as BharatanatyamKathakaliKathakKuchipudiOdissiManipuriKudiyattamand others.

In Indian classical musiceach raga is an inspired creation for a specific mood, where the musician or ensemble creates the rasa in the listener.

navarasa theme

Anger, disgust, fear and such emotions are not the subject of ragabut they are part of Indian theories on dramatic arts.Hailed as the best movies of their times, both Bhayanakam and Kaliyattam that were made almost 20 years made him eligible for National Awards for Best Director. Humbled by the accolades and recognitions that Bhayanakam, the sixth one in his navarasa series, had brought to him and the Indian cinema at large, Jayaraj is all set to release his next, Raudramthe seventh movie in the series.

The moment one asks the director about his movies, he delves into that one reason that sparks an idea in his mind. Explaining that in the context of RaudramJayaraj says that it was never a conscious effort on his part to select navarasa as the theme and then search for plots that would match the theme.

navarasa theme

And it is actually good to see how people united just in time to help each other rebuild their life and the state at the same time. But it does not change the fact that nothing would be enough to console those who had to encounter the worst days of their lives without food, water and cut off the rest of the world in the fear of being washed away in the gushing water any moment.

Nothing could stop the anger of Mother Nature and when I decided to make a movie based on it, the connection with navarasa automatically emerged. Though we were trying our best to do the needful and send in a rescue team, the aged couple had to live on the loft of their home for almost 10 days. The old man was a dementia patient and the lady too had many age-related issues. The surprising part is that many aged couples who got trapped in their homes in Chengannur are well settled with children living abroad.

I have never seen them, but could clearly imagine what they were going through. Through RaudramI hope to convey that emotion unadulterated to the audiences as well. Jayaraj clarifies that he has not attempted to make a documentary, but tried to showcase the emotional journey of two people during the days of distress.

For the movie, the director has once again teamed up with his close friend, writer, director and actor Renji Panicker, who has received many applauds for his role of a postman in Bhayanakam.

Jayaraj says that he wished if Renji had received the National Award as well. However, once he started doing the movie, I could only see the postman and not Renji. Thus, I could not think about any other actor other than Renji when I thought of making Raudram Jayaraj adds that it was after a sabbatical that he met the actor and finally decided to cast her. Nikhil S.

Praveen, who won the National Award for Best Cinematographer for Bhayanakam, has handled the camera for Raudram as well. However, what they might not be good at would be story-telling or giving a shape to that idea. As a movie maker, I have been blessed with that talent and therefore feel that everyone out there who comes to the cinemas to watch a quality product must be provided with ethnic and real content that they can relate with.

The emotions enacted by the actor onscreen must be the same as the one seeing it must have felt in the same situation. I feel this is true for every emotion — be it anger, agony or comedy. Therefore, when I try to find various subjects that can be made into a movie that would entertain people, I am automatically portraying one or the other expression of the society, which comes under the classification of navarasa.

Raudram is expected to release this July and the director, who also has many commercial hits to his credit, says that he is working on a big-budget commercial movie. If things fall in place, he will be announcing the details soon. Though the director has excelled in his experiments with parallel cinema, his commercial blockbusters like Johnnie Walker and Thilakkam have wooed the audiences and entertained the public. We have updated our Privacy and Cookie Policy.Performances and artwork were created solely with the aim of evoking the Rasas in the audience.

Though some things have a higher vibrational essence, others are lower and some even appear as dead, Rasa remains the invisible substance that gives life its meaning. The 9 Rasas as described in ancient Indian aesthetic philosophy can be seen as being indicative of prime human emotions. Each Rasa is a repository of energy drawn from our Prana life force. By unlocking this powerful energy and then mastering it, we can effectively achieve emotional balance, and also use this energy to realize our true potential.

In both Yoga and Tantra the 9 Rasas are seen as the essence of all of our emotions. Sringara Love — This is the ultimate Rasa; the crown emotion that heals anything. This Rasa frees the ego and connects us to devotional love. When we appreciate beauty it connects us to the source of love.

The purpose of the universe is to experience this divine love. This love is inherent in everything.

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It is within each and every one of us and radiates throughout the cosmos. Hasya Joy — This Rasa connects us to our sense of humor through laughter, happiness and contentment. When we laugh, it is the easier to slip into a no-mind state, because the mind has been freed from its usual workload of thoughts, and we can simply be open, free and happy in that moment. Adhuta Wonder — The curiosity, mystery and awe which occur when we become fascinated with the very idea of life.

This Rasa is our playfulness and innocence. We enter into complete appreciation and become an explorer or adventurer.

navarasa theme

It seems like magic! Vira Courage — Also bravery, confidence, determination, self-assurance and valor. Vira asserts itself when you call upon the warrior that lives inside you. It is strong and vibrant.Human life is a rich fabric that is given colour and texture by the many happenings that shape it. The mundane actions that characterize every day as well as the extraordinary happenings that make and keep our lives interesting are all threads that get woven together to form this tapestry.

The one thing that is common to all these threads is the fact that they evoke feelings in us, we respond to them with our emotions before they can become a part of our internal life. Indeed, life can be thought of as a continuous sequence of emotions that arise in various contexts and circumstances. These emotions, or rasas, are what give life different hues, shades and colours. Thus it is not surprising that most performing art, which tries to present to the viewer a slice of human life focuses precisely on these rasas, or emotions in order to appeal to the audience.

That rasas are the mainstay of performing art, or natya, is a fact that has been well-recognised for centuries now. The NatyaShastra is an ancient Indian text dated between 2nd century BC and 2nd century AD which analyses all aspects of performing art.

It is often called the fifth veda because of its importance. In it one finds a thorough exposition on the rasas, or emotions that characterise Life as well as Art. The NatyaShastra describes nine rasas or NavaRasas that are the basis of all human emotion. Each is commented upon in detail. It is useful to keep in mind that a rasa encompasses not just the emotion, but also the various things that cause that emotion. These two things go hand in hand and are impossible to treat separately.

This duality is part of every rasa to varying degrees. Today we try to bring to you a flavour of each of these nine rasas, explaining what each one means and presenting it to you through some Indian art form.

Shringara Shringara means love and beauty.

navarasa theme

This is the emotion used to represent that which appeals to the human mind, that which one finds beautiful, that which evokes love. This is indeed the king of all rasas and the one that finds the most frequent portrayal in art.

It can be used for the love between friends, the love between a mother and her child, the love for god or the love between a teacher and his disciples. But the Shringara or love between a man and a woman is easily the most popular form of this rasa.

Rich imagery is associated with this love and it gets portrayed at many different intensities esp in Classical Indian dance. The sweet anticipation of a woman as she waits for her lover is as much Shringara as the passion she feels for her first love, a passion that so heightens her sensitivity that even the moonbeams scorch her skin.

In Indian music too this rasa finds wide portrayal through beautiful melodies. Hasya Hasya it the rasa used to express joy or mirth. It can be used to depict simple lightheartedness or riotous laughter and everything in between. Teasing and laughing with a friend, being amused and carefree or simply feeling frivolous and naughty -- these are all facets of hasya.

Lord Krishna's childhood, when he was the darling of all Gokul is filled with many stories of his naughty activities. This mirth, which endeared him to all, is one of the common sources of hasya in all ancient Indian art forms. Clearly, where there is hasya, all is well with the world, there is joy all around and all are of good cheer.

Bhibatsya Bhibatsya is disgust. The emotion evoked by anything that nauseates us, that revolts or sickens us is Bhibatsya. When something comes to our notice that is coarse and graceless, beneath human dignity, something which revolts or sickens us it is Bhibatsya that we feel.

When Prince Siddhartha, as a young nobleman, saw for the first time sickness, old age and death, he was moved to disgust which later metamorphosed into sorrow, deep introspection and peace, as he transformed into Gautama, the Buddha -- or the Enlightened one. Not surprisingly, this emotion is usually represented fleetingly. It usually acts as a catalyst for higher and more pleasant emotions.

Rowdra Rowdra is anger and all its forms. The self-righteous wrath of kings, outrage over audacious behaviour and disobedience, the fury caused by an offense, the rage evoked by disrespect and anger over injustice are all forms of Rowdra, probably the most violent of rasas. Rowdra also encompasses divine fury and the fury of nature which is used to explain unexpected calamities and natural disasters.His new, small book is notable for its innovative breadth.

This work begins with a brief chapter on the well-known and much-studied Kochi Cochin Jews, the Bene Israel, and the Baghdadis. It is a reliable summary of work that serves as a fine introduction to the study of Indian Jews. The second chapter is about Judaizing movements, the relatively remote groups who claim Jewish identity.

They try to use Hebrew in daily life as they begin to study about Judaism. And there are also the Chettiars of Tamil Nadu who, like the other two Judaizing movements, came to Judaism via Christianity, and unlike the other two, do not claim Israelite origin. Their movement began in when about 1, congregants of the Zion Gospel Church abandoned Christianity for Judaism under the leadership of a charismatic leader.

Much of the second chapter will be news to many readers, but it is in the third chapter that Aafreedi truly breaks new ground. Here, he explores the theme of non-Jewish groups who claim Israelite descent as well, but have no interest in being considered Jewish. Many of them are Muslim and include the Pathans, about whom Jewish identity has been claimed for more than years, and Kashmiri people who were first identified as Jews in a 9th-century travelogue.

Fortunately, Aafreedi reads Urdu and has access to writings unknown outside a few interested people in India. As Aafreedi is himself a Muslim, he also has personal access to the groups he studies. This is the greatest contribution in this work. India also has Christians who claim Israelite ancestry. Kerala is home to many, most notably the Nazaranis very much akin to the Mar Thoma, or St. Thomas Christians. These groups claim a 2,year history in India, some tracing their origin to the missionary visit of St.

Thomas in the first century. Again, Aafreedi has marvelous access to his sources. While this material will be new to many readers, to those more knowledgeable will find little new material.


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