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Thursday, January 30, 2020

Dance Elements Essay Example for Free

Dance Elements Essay Literal meaning of the word kathak is related to katha, the art of story-telling, â€Å"Katha Kahe So Kathaka Kahave†, which means â€Å"one who tells a story is a story-teller†. According to M. Monier Williams, Katha denotes conversation, story, speech, tale or fable. Katha also means to ‘ sing in praise’, ‘to say or inform something’. Thus, kathakars were originally a caste of story-tellers who were attached to temples in certain parts of Northern India. These kathakars used to go around the countryside narrating the stories of the Epics and other Legends. The modes employed were poetry, music and dance. All these three arts were closely inter-linked. The aim of kathaks was to educate the people in the knowledge of Gods and Mythological Legends. Historically kathak dates back to the Vedic period which are full of descriptions and stories which give us an insight into the mind of those who wrote or composed jthem. Kathak dance is evolved from religious and mythological concepts. In Ramayana period, we can see many glimpses of music and dance. The Ramayana tells the story of an ideal heroic prince Rama of Ayodhya and his devoted wife Sita. This ancient tale has been treasured and retold for countless generation in every Hindu house; they worshipped Rama as the seventh incarnation of Lord Vishnu. In Ramayana we find a mention of recitors who were specialised in story-telling. Lava and Kusha, the two brave sons of Rama rendered Ramayana in verses composed by Sage Valmiki. While reciting the stories, they also added the element of acting-Abhinaya. From that time nomadic bards who narrated the Ramayana were known as ‘Kushilavas’. As a matter of fact, the term kushilavas has been associated with dancers and actors. Likewise, many mythological stories were depicted through gestures, postures and abhinaya. The another story of Ramayana which tells us that how Ravana, the king of Lanka worshipped Lord Shiva with song and dance. Also the story of Ravana assaulting Rambha, one of the main Apsaras. According to Kapila Vatsyayan, in Ramayana, the Apsaras are the most important mythological characters who danced and performed both in heaven and earth. There are various other instances like the stories of the grand act of breaking Shiva’s bow in â€Å"Sita Swayamvar†, the evil plotting of Kaikayee, the Banishment of Rama to a fourteen-year exile, Sita’s kidnapping by Ravana and the war that ensued leading to Rama’s victory and Sita’s rescue. Thus, Ramayana is rich in incident and moral concept. We come across many references to perfomances of dances from the Mahabharata. In this period, worship and adoration of Bramha, Vishnu and Mahesh started with music and dance. Krishna is the ‘Sutradhara’ (around whom the entire Mahabharata developed) and he was an expert dancer. The Mahabharata depicts episodes of Krishna’s life that how he is adopted and raised by a family of cowherds. The stories of his childhood of stealing butter and milkmaids known as â€Å"MakhanChori†. His dance of his youth with Radha and Braj narees is known as â€Å"Rasa Lila†. His spiritual love dance with Gopis or Milkmaids by the bank of Yamuna river in moonlit night is known as â€Å"MahaRaas†. The story of â€Å"Kaliya Daman† which tells us how Krishna defeated the poisonous snake Kaliya and danced on his hoods. The story of â€Å"Govardhan Dharan† which tells us how krishna picked and hold the Govardhan mountain to protect the people of Vrindavan from heavy rain. Another important episode of Mahabharata is known as â€Å"Vastraharan†, in which Krishna saves the honour of the Pandava Queen Draupadi. The story goes that Dushasana, one of the Kaurava brothers attempted to humilate her by disrobing her. Draupadi called out to Krishna to save her and miraculously, as layer after layer of her saree was pulled, the number of sarees went on increasing. This episode is a popular theme in Kathak dance. Mahabharata also depicts the story of the five Pandava brothers who were unjustly deprived of their kingdom by their cousins, the kauravas, and of the great battle of Kurukshetra that established the victory of the Pandavas after much suffering and bloodshed. The Mahabharata also describes Krishna’s role as the Charioteer of Arjuna during the battle of Kurukshetra, and his conversation on the battlefield constitutes the text of the Bhagavad-Gita, the celebrated philosophical work. Thus, it is clear that by the time of Mahabharata, the arts of music and dance developed sufficient content, form, style to be taught in a systematic order. The training also seems to be elaborate with rules and regulations. Natyashastra is an encyclopedic work having 36 chapters and it deals with various topics such as the first 3 chapters deal with the origin of Natya, construction of theatre, Rangapooja, etc. , 4th and 5th chapters deal with the varieties of Dance. The 6th and 7th deal with Rasa and Bhava. From the 8th chapter of the 15th one, the different poses of Dance are being dealt with. The different aspects of Abhinaya are described in 15 to 22 and from 22nd to 28th describe the costumes elaborately. The chapters from 28th to 34 deal with music and musical instruments and the last two deal with the different characters and costumes. Natyashastra also describes the divine character and dance of the Nataraja, the dancing Lord Shiva who is considered the king of actors and dancers and also the supreme Lord of Dance. The moon which he adorns in his head is the symbol complete control of his senses. The serpents wound around his body is the proof of his complete control over vital life forces. His foot raised high over the wicked demon, a symbol of victory over the ego. This divine art form is performed by Shiva and his wife Goddess Parvati. The Dance performed Lord Shiva is known as â€Å"Tandava†, which depicts his violent nature as the destructor of the Universe. The Dance performed by Goddess Parvati is known as â€Å"Lasya†, in which the movements are gentle, graceful, erotic and it is also called the feminine version of Tandava. Therefore, according to Kapila Vatsyayan, Bharata attributes to dancing a divine origin, a literary and religious heritage both in thought and technique and aesthetic secular purpose. It has also been mentioned in Natyashastra, how to interpret the different moods of man accompanied by Bhava, Raga and Tal – all directed to create rasa or emotion in the spectators who are called â€Å"Rasikaas†. From the 7th and 8th century, â€Å"Sangeet† occupied a prominent place in the society. The art of sculptures also made great strides and most of the sculptures depicted various dance poses. Temples were the places of origin whereas the dancers or the priests danced in praise of the Lord enacting various mythological stories. Temples sprang up where the devotees gathered to pray to the Almighty God or hear stories about Him. The Temple connection is well established as can be seen in the art of â€Å"Kathavachakas† who carry on the tradition to this day in the North in the Temple boundaries and in open spaces. With the passage of time, in the medieval period, the Bhakti movement influenced all over India. The vast spiritual empire established by Vaishnavism in the North embraces life in its totality. The fine arts found a fuller expression by the 15th and the 16th centuries A. D. Literature, music, dance, painting and other fine arts flourished with the patronage extended by the temples, priests and devotees. In particular the Rasa Lilas in Braj and the neighbouring areas of Mathura in the North sustained the tradition that centered round Vishnu and his recognization as Krishna. The Bhakti movement inspired a whole new school of poetry, dance and music. Krishna and radha are the presiding deities of Vaishnavism and it was on the basis of Leelas of Krishna that precious and distinctive art heritage of Vaishnavism was built up. Mirabai, Surdas and Tulsidas for e. g. wrote powerful devotional verses on longing and separation, expressing the yearning of the human soul for union with God. They chosen the themes was the love of radha for krishna. Krishna Leela though brought out in high relief by Vaishnavism but it had its origin in the past and it can be traced easily to the periods of Mahabharata and Bhasa. In Braj, the Rasa lila’s developed as a combination of music, dance and narration that was used to enact the Krishna Legends – especially the Radha-Krishna idea and stories of Krishna’s youth with the gopis or milkmaids. Hence, the earliest compositions in kathak were based on the religious and stylised music of North India, notably the Dhrupad, Keertan, Hori, Dhamar, Pad and Bhajan. According to Mohan Khokar, Keertans are similar style to dhrupad, but they may, unlike the latter, also be sung in chorus. Keertan is a spiritual practice belonging to the path of Bhakti (devotion). Keertan more specifically means the chanting of sacred sounds or mantras. The Rasa Lila miracle plays of Braj were formerly staged to the accompaniment of keertan music only. Keertans were meant both for singing and dancing. Whereas Bhajans are strictly devotional songs and are in praise of deities such as Krishna, Shiva, Rama, Ganesha, Durga, etc. The songs are rendered in ragas, but improvised tunes are also freely used. Stories and episodes from scriptures, the teachings of saints and description of Gods have all been the subject of Bhajan. Bhajans of Mirabai, Tulsidas, Surdas, Kabir, the Ashtachhap poets and other composers are a part of kathak repertoire. Some of the Famous Bhajans of Mirabai is the following: â€Å"Baso more nanun mein nandlal, Mor mukut makrakrit kundal, arun tilak diyo bhal, Mohni murat – saavari surat, naina bane bisaal, Adhar sudha – ras murli rajat, ur baijanti maal. Chhudra ghantika kati tat sobhit, nupur sabad rasaal, Mira’ prabhu santan sukhdai, bhagat – bachhal gopal† With the advent of the Mughals, the Hindustani music underwent a drastic change. The stylised music absorbed the Mughal influence in a remarkable manner. The dancers moved from the temple courtyard to the palace dubar and this necessitated changes in presentation as Muslim kings could not enjoy the bhava of Bhakti Rasa. Kathak received encouragement at the hands of Nawabs and Rajas. Whereas formerly it was religious and devotional in mood and temperament, now it turned into a means of entertainment. The forms like Thumri, Dadra, Ghazal evolved and became a part of the Hindustani music. The word â€Å"Thumri† has been derived from a combination of two terms i. e. ‘thumak’ (or the chaal) and ‘rijhana’ (or to please). Thus, together meaning graceful stamping of the foot. Thumri is a verse that has Krishna and Radha or Krishna and Gopi’s as its central theme. It is essentially based on the divine romance portraying both aspects of separation and union. The last Nawab of Oudh, Wajid Ali Shah was an accomplished dancer and musician. He composed thumries in classical style and these were sung by the kathak dancers. His contemporaries and the court musicians like Kadarpiya, Akhtar Piya, Lallan Piya, Sikandar Piya and others contributed to its popularity. Although he was a muslim, he liked the Radha-Krishna themes. He himself presented a dance on the Rasa Lila which he called ‘Rahas’. His famous thumries are the following: â€Å"Babul mora nehar chhuto jaye, Chaar kahar mil, doliya uthave, Apna begana chhuto jaye. † Another Thumri: â€Å"Jab chod chale lucknow nagri, Tab hale ‘ali’ par kya guzri, Mahal mahal mein begum rove, Jab hum guzre duniya guzri. † According to PeterLamarche Manuel, Bindadin Maharaj is regarded as one of the most important figures in the development of Thumri as well as Kathak. The kathak Masters Bindadin and his brother Kalka Prasad composed Thumries that were suitable for kathak dancing. Some of the famous Thumri of Bindadin Maharaj is the following: â€Å"Mohe chhedo na, nand ki suno challa, Badi der bhai, ghar jane de mohe.

Wednesday, January 22, 2020

Essay --

Statement of Purpose Program Applied: Computing Science MSc - Course Work Option I am writing this statement of purpose in order to throw light on my career and education till now and in order to tell graduate admission committee that why I am applying for MSc in Computing Science at Simon Fraser University. Studying at an institute of the level of excellence as of your esteemed institute has been my dream ever since I chose to make my career in computer science. International standard institutions are known to provide highly efficient faculty, best equipments, labs, latest software and hardware etc. which helps students to think big, explore new ideas and enhances their professional skills leading to success in all aspects of life. I think I will be one step close to my dreams if I get admission at Simon Fraser University and hence be given a chance to prove my potential. Since my school days Computer Science and Mathematics have always been my favorite subjects and I have always scored well in these subjects. I am very hardworking...

Tuesday, January 14, 2020

How useful is Joseph Fletcher’s “Situation Ethics” as a guide to human behaviour? Essay

Rudolf Bultmann claimed that Jesus Christ had no ethics except for â€Å"Love thy neighbour as thyself†. This is what the Anglican Joseph Fletcher based his theory of Situation Ethics on. Fletcher opposed the idea of Legalistic and Antinomian Ethics. Legalistic ethics is where there are absolute rules to what should and should not be done. Fletcher said that Legalism couldn’t accommodate the â€Å"exceptions to the rule† and that rejecting a particular aspect of the law than you surely must reject it all. For example the law â€Å"Do not kill† may require more laws to allow killing in self defence, killing in war, killing unborn babies etc. and doing this contradicts the law in the first place. Antinomian Ethics means â€Å"against law† and people using this approach do not live by an ethical system at all. Fletcher is against this not only because it is unprincipled but also on the basis of existentialist ethics, which argues that reality is composed of singular event and moments in time and Antinomian ethics follows no predictable direction from one situation to another. Situation ethics is based purely on agape love for all. That every ethical decision we make should be made on the premise that â€Å"the end justifies the means†, and that the most loving action with a pure motive is the best one. He claims that Jesus’ Sermon on the Mount should be our moral code rather than the Old Testament’s Ten Commandments. Jesus’ ethics of â€Å"love thy neighbour as thyself† can be related to every ethical dilemma, whether modern or old. â€Å"Jesus said nothing about birth control, large or small families, childlessness, homosexuality, masturbation, fornication, premarital intercourse, sterilisation, artificial insemination, abortion, sex, foreplay, petting and courtship. Whether any form of sex (Hetero, Homo or Auto) is good or evil depends on whether love is fully served.† (Fletcher quoted by Jenkins) Fletcher pointed out that even Jesus broke Jewish law if love was better served by doing so. â€Å"Christ Jesus †¦ abolished the law with its commandments and legal claims.† Ephesians 2:13-15 Christians of all denominations can use Fletcher’s theory, which is an advantage as religious disputes and anger between the Protestants and Catholics is such a divide in the Christian religion. Situation ethics could help break down the barriers and unite a faith once again, as situation ethics main principle is love. Fletcher developed six fundamental principles. These are: 1) No actions are intrinsically right or wrong. Nothing is good in and of itself except for love. Actions are good if they help people and bad if they don’t. One cannot expect to live responsibly with moral absolutes. 2) Good actions should not be done for reward (E.g. experiencing a good feeling or seeking altruistic deeds in return) but should be done for their own sake. Jesus and Paul taught love as the highest principle above the Law. 3) Justice is love at work in the community. 4) Love is practical and not selective. We should show love to all, even our enemies. Christian love is unconditional. 5) Love is the end – never a means to something else. 6) Humans have the responsibility of freedom. They are not bound by any Law. With this comes the responsibility to ‘do the most loving thing’ in every situation. â€Å"Fletcher claims that it is a mistake to generalise. You can’t say ‘Is it ever right to lie to your family?’ The answer must be, ‘I don’t know, give me an example.’ A concrete situation is needed, not a generalisation. ‘It all depends’ may well be the watchword of the Situationist.† (Vardy & Grosch p.130) There are many benefits to Situation Ethics. The Bible does not cover many modern topics such as abortion, artificial insemination etc and situation Ethics allows us to work out which is the most loving action with the most loving end. It is also true to the Gospel representation of Jesus and what rules he lived by rather than living by the Old Testament or Jewish laws such as the Ten Commandments, which Jesus came to amend. Situation ethics is flexible, practical and allows for certain actions if the motive is pure and loving for others. It allows the evaluation of actions to choose the least wrong out of two wrong actions, which a legalist cannot do. There are however many criticisms which mostly come down to the problem of knowing what the most loving action is. As we cannot predict actions of other or even actions of our own, it is difficult to know whether the most loving end will actually come or whether an unseen factor may emerge and change the outcome. Selfish people also may twist situation ethics to suit themselves. Agape love is only an ideal to follow as closely as possible not to live by, as it is difficult to see things from an objective point of view. How can we be sure that an action comes out of Agape? Who is to decide whether an action is pure by motive? Can God only decide this at Judgement Day? Another very important criticism is that it can be argued that Hitler was killing Jews out of love for the Arian race and the future of the world. Does Situation ethics allow for such actions that have been dubbed â€Å"Wrong, and that’s that.† such as the Holocaust, September the Eleventh and the Bali bombing? Although the arguments for situation ethics are very convincing and useful for everyday life, the criticisms cannot be ignored, as they are very plausible and important for world issues and topics. A way that considers both Situation ethics and legalism and is somewhere in between is Proportionalism. Proportionalists believe moral rules can only be overridden if there is a proportionate reason in a particular situation. This includes both Natural law (killing, stealing, lying, cheating) and the Situational ethics view. Proportionalists believe that these laws should be adhered to unless there are good reasons not to. This allows for flexibility and a certain amount of relativism whilst still using the fundamental aspects of the Bible. An evil like pain, death or mutilation is, in itself, pre-moral or non-moral, and should never be described as ‘moral’. It is the act as a whole, which is right or wrong, and it is the person, or the person in his or her acting, who is morally good or morally bad. (Bernard Hoose quoted by Vardy & Grosch) I conclude that Fletcher’s situation ethics is highly useful for Christians in everyday life for all the reasons above. However I do believe that there has to be a balance and in my opinion it seems that Proportionalism is the best and most moral route to follow. It contains principles of both Situation ethics and Legalism and seems to make the most sense.

Sunday, January 5, 2020

Communication and Sexuality How Sexuality Is Affected by Age

Communication and Sexuality: How Sexuality is Affected by Age Introduction As people age, their feelings about sexuality change. This can come from stress they experience in life, hormonal changes, physical issues such as medical problems, or just getting older. Not everyone will have a strong shift in feelings or opinions about sexuality, but some will be more affected than others. This ties into communication and sexuality because many people avoid talking with their partner about the issues they are facing. That can lead to a high level of dissatisfaction that may cause serious problems in the actual relationship. If the people in question talk things over and are honest about how they feel from the beginning of their relationship, they can avoid some of the common problems that come about where a lack of discussion regarding sexuality is concerned. Communication does not guarantee a good sexual experience or a good understanding from either partner, but it does provide a better chance of making things work in a relationship. It seems as though sexualit y as one ages is most affected by issues such as menopause. Men also go through a similar hormonal shift as they get older. The problem is not with the change in hormones, as that is a normal part of aging. The problem is with the fact that there is still a taboo when it comes to talking about these kinds of things. Men do not want to hear about female trouble, and even women do not like to talk about it. ItShow MoreRelatedSexuality Reflection1126 Words   |  5 Pages Throughout this course, I have learned a lot about some different areas of sexuality and maintaining healthy relationships. There was a lot I already knew prior to this course, but there are many areas that I did not have much knowledge of and I have grown a lot in my understanding. 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