'When the news of your death becomes a fake news, you actually taken birth twice or rebirth with a higher spirit: a belief

There are many in this world, who live with a belief system. They prefer to live with the beliefs as it give them hope to survive and serve people, congregation, examining self and surrounding and many others. In fact, a belief system comprises of many unauthorized stories that happen in the past and drawing morals out of those happenings. The way of our life when creates culture, our morals start creating the belief system autometically. We cannot deny the old text written as treatise as well as oral practices that remain still as practices among group of people. This way, we can see always two sides of drawing morals from the beliefs. So, there may be derived memories collected from oral (loka style) and written(natya/ style) text. 

One important old verse can be cited now. 

" লোকধৰ্মী নাট্যধৰ্মী ধৰ্মী তু দ্বিবিধ স্মৃতঃ।ভাৰতী সাত্ত্বিক চৈৱ কৈশিক্যাৰভটী তথা।। চতস্ৰো ৱৃত্তয়ো হ্যেত যাদু নাট্য প্ৰতিষ্ঠিতম্।"

(Natyasastra, 6th chapter Rasavikalpa, verse 1-3, page-114) 

The above verse is in Sanskrit language which means there are two way of understanding the moral values of drama which are termed as vritti or profession of Drama. They may be either Lokadharmi or Natyadharmi or both. Hence, the four vrittis could be traced out from ancient scriptures as Bharati, Satwati, Kaishiki and Arabhatti. The Indian dramaturgy is always based on these four type of vrittis. 

While reading and doing research about Natyadharmi and Lokadharmi ,the two styles or professions, we suddenly got an opportunity to clarify them. And we have been honoured to meet an artist of Traditional root. The artist belongs to Assam and who is also an descendants of traditional artist family. The artist, as he has shared to us, was highly inspired by his own grandfather Kinaram Nath (Kinaram Dainapali). The grandfather was also one of the great personalities of the then traditional choire singing troupe Oja-pali of Sipajhar, Darrang area. I met him once. 

(Oja-pali is known today as a semi dramatic form of Indian theatre art with a variety of subjects which ,again vary from place to place of Assam. The purpose of this art form is to create awareness mainly about social and religious issues.) 

On the other hand, our family at Barpeta, as associated with a premere art Institute based in Assam, has therefore, got a chance to share some moments with the descendent of the traditional Oja-pali performance. Both of our organisation and his traditional form have been working on public awareness from quiet a long time back. And the focus was always a human welfare. We were too happy to welcome such an artist of traditional background, of same interest, of great enthusiasm and dedications towards the present scenerio of traditional art forms. And whom has so much of love for the small kids of our Institute too. So, by a scheduled plan, he has arrived at Aesthetic one day before. Afterwards, there was fixed a title about a children workshop and so the dates. Everything gone through very much smoothly and he has also shown his interest to introduce a new dimesion about Physical theatre. From his introductory lecture cum demonstration, we came to see a new angle on theatre art. And that was really anew knowledge for us and was very impressive too.Thus, we were delighted to meet the resource person Nava kumar Nath, a guest teacher cum performing artist amidst us. As a mentor, he started his introductory lesson by doing physical exercise of theatres to increase the ice-breaking on bodies. 

The context we cannot overlook : the climate and traditional belief: A basis. 

Although everyone engaged in theatre art skills, nobody escaped from the home rites and rituals. They could not come on time. The kids were worrying because they didnot want to dissapoint the guest teacher. In Indian context, a guest is always believed as a God. He should not be ill treated . In fact, a guest is always taken care of all the possible way one can manage. It was also the day when the families started preparing for the global solstice. Because it's the time when the idea of seperation (good from evil, rejoice from silence etc.) can be realised through traditional knowledge and practice.

 The term solstice, in fact, can be used more wider sense because there is a passage happens in the seasons. The solstice, together with the equinoxes are connected with the seasons considering to start or seperate the seasons. In many cultures, we have observed this event as a celebration such as Mid summer or St. Johns day during 21st to 24th June of every year. Parallaly, December 25 , is the day that the sun begins to return to the Northern Hemisphere etc. Unlike many cultures, Hindu calender, two sidereal solstice have the names known s Makara Sankranti which marks the start of Uttarayana and Karka Sankranti which marks the start of Dakhshinayana. 

“স্ব-ধৰ্ম আচৰে যিবা পুৰুষে সদায়।বহু জন্মান্তৰে সিটো ব্ৰহ্মপদ পায়।।"(গদ্যাকাৰত শ্ৰীমদ্ভাগৱত, প্ৰথম খণ্ড, মহেন্দ্ৰ তামুলী,পৃষ্ঠা -১৮)

(-the one who behaves as per his self-religion with self respect, he will be immortal among all and hence able to take the seat of supreme understanding of art and expression.) 

-A prose version of Srimadbhagawat, First part-Mahendra Tamuli, page-18. 

I am writing all of these because we profounded to receive all the gathered persons- artists, research scholars, resource persons, parents and local enthusiasts the other day at our studio-AESTHETIC. We were overwhelmed because we have been suffering from global pendemic and crisis quiet a long time back (almost 1 and 1/2 years). On last June 17, 2021, the participants have taken part in this workshop with free of cost.Sooner, the practicing space was finally restricted to offer limited seats for the participants to join the workshop.

The research team of the workshop, on the other hand, informed us about a correlated global event which was happening co-incidently during the same time of the workshop. And hence we were curious  to know about their indication towards the event SOLSTICE. That might enrich the creative pole of the children too. Unlike a solstice, as it occurs, when the Sun appears to reach its most northernly or southernly excursion relative to the celestial equator in the celestial sphere. And then, on the very first day, we were assured about a very general problem faced by the teacher and the participants, i.e, the body imflexibility of the participants-i.e., their body and mind which have a very low concentration power. So, they were given a no.alertness games and functions. Fortunately, the workshop has been organised before the solstice event.And as per the research team that must be the priority to this event which would be certainly helpful to strengthen and reduce the gap between participants and the teacher a little. It was difficult to say but we knew that the result will be still awaited untill the end of the workshop! And so, we were waiting.

Actually, the term Solstice has a wider meaning. It is something happened in our climate naturally and there are a no. of beliefs and practices are yet believed and practices by a few. It refers to a day when a remarkable passage happens. The day, on the other hand, together with the equinoxes, are connected with the seasons. It is also a celebration among various religions. This is a mid summer day (June 24).

Today is 24^th of June, 2021 and we have just finished the workshop with all our emotional and physical involvement for acting and skills. The body and mind is again ready to start  something a new, something really meaningful and apprehensive now! And obligatory!!

But what leads the workshop successful at the end to us? We started asking to each other. Obviously, the joy and activeness among the participants. And the resource person? 

 

About the resource person:

The resource person as mentioned above is a theatre personalities of Sipapajhar, a locality of Assam. A descendant of traditional folk theatre form Ojapali of Assam, Navajyoti Nath had got his interest and talent on acting since his childhood. His grandfather Kinaram Nath was a reknown folk artist (Dinapali of Suknnani Ojapali) . A proud son of Amarjyoti Nath and Srimati Bharati Devi , Navajyoti born and brought up at Pachimchuba of Sipajhar, Darrang. He started his acting from a very early period of age of 6 years. He moved to attend workshop supported by NSD in 2013 as he was encouraged by receiving best actor award in his college. He got tremendous inspiration from his grandfather and his practice sessions of Ojapali at home regularly. That was  how he could built up his confidence to go deep into Indian art and culture. And he never stop after this. Uptill now, he has performed more than 15/16 drama and attended a no. of National and International workshop held in Assam and outside. Introducing his own production house, Nayanjyoti is more hopeful about his family traditional art Ojapali, but of course with an angle of its digitalisation. At his age of 24, he is trying to teach children about various primery and basic skills of drama and other forms of arts which is truly promising.

He was supported to conduct the recent workshop by the members of Aesthetic and a local artist cum teacher of theatre art Rupam Talukdar at Bhawanipur.

There was a wonderful discussion with him as it contained very many other sides such as technical aspects and management of light and sound, script in theatre art etc.

But what encourages us was his self confidence,dedication and attentive to each child during the teaching hours. This is very encouraging that a person who walks out from a traditional form of art long back for a reason. He,who is always ready to hug a chance of going forward never deny his source of inspiration that he inherited and acquired as well. Behind his dedication, as he informed a smile is fixed in all circumstances. And he still does. And then he humorously denied many of our curiosities, but then still answered. He said-

''Actually, long time back, there was a fake news published about my death but I was at home. Consequently, there were many phone calls came asking about me. I was tired of receiving calls and convincing people about the fake news. Now I understand, I should not react so loud. Not because they were irritating so loud; in stead, I should think, dream about and prepare myself for something very very good in future is going to happen with me, as per our beliefs in village. I mean, I should prepare for calls to receive something very rare and close to me in future, not about death! Or it might be just some worries to take in search or to fulfil my grandpa’s dream may be calling at me! You never know!!”

Photo source:Aesthetic

P. C-H. K. Talukdar

 

 

 

''Expressions of the mind in words”: A book review

 

"Expressions of the mind in words” 

It is very rare when you see a writer of a very small age and ability to express his mind so deliberately. I am talking about a boy of 9  years old who has shown recently a tremendous achievement through his ability of expression. The person Lakhyajoy Kalita ,at his age, inheritates an extra motivation power. And this has been reflected through the book titled ‘Expressions of the mind in words’ written by him. The boy who is of only 9 years old has tried to sum up so deliberately about his feeling which he experienced from his surrounding and family members.

The book is supposed to be a very meaningful and morally sound one specially for the primary level of education for its content. Consequently, the content of the book is very interesting as it has been covered all the wonderful things about nature and some colourful activity of a child of adolescent stage. I have found the content is very much important specially when he columns about the grandmother as a foremost criteria. The most valuable part is when the boy writer  is telling about his inner emotion and respect towards his grandmothers. It reflects undoubtedly the very Inquisitive nature and an actual behaviour towards his closest ones specially the grand mother.

I am sure, the book has been guided with an attempt to spur on the energetic and moral values of relationships. I too believe that the kind of values drawn from the compilation of his  memory, the writer boy will bring  courages and good knowledge among the youth. Because, this kind of values, throughout the history in the realm of Indian history, has been observed as a blessed task of imbibing noble qualities and actualising sublime ideas in one's life. When in a society, we face much miseries, affiliations, distress and discontent; the book becomes very valuable to wipe out the gap between spiritual legacy of our family specially the paternal grand parents.

Further, highly encouraged by a no. of people, Lakhyajay has curved his line of writing by acquiring love and blessings. The book contains 20 various angle of writer's angle in the form of stories but collected from his own. In a nut shell, I could see that from his mere collection of such sweet memories to pen them with the support of very many people the book will catch the eyes of teachers for the value education too. 

I wish all the very best to the boy writer for his attempt to concise his experience in such a wonderful manner. I, too congratulate the concerned family members and the people who financially support this work. And hope this will be archived by the educational institutions. 

After all, the determination of a life should be nurtured at a very early age of a life and the fulfill ment of your dreams lies within you and you alone. 

পৰিৱেশৰ স্থিতিস্থাপকতাত কলা-শিল্প: এক গণমাধ্যম

আনুষ্ঠানিকতা আৰু বিশ্ব পৰিবেশ দিৱস:

(১)

আজি বিশ্ব পৰিৱেশ দিৱস।আমি আমাৰ জীৱনত এৰাই চলিব নোৱাৰা অন্যতম এক বিষয় হৈছে- 'পৰিৱেশ'।এই পৰিৱেশ আৰু ইয়াৰ অধ্যয়নৰ জৰিয়তে সমস্ত জীৱ-জগতৰ সত্তোলন,ভূতত্ত্বৰ গাথঁনি ইত্যাদি আমি বুজি পাওঁ আৰু ইয়াৰ লগে লগে আমাৰ প্ৰকৃতিৰ প্ৰতি থকা ধাৰণাটো কট্‌কটীয়া হয়।

খুউব সাধাৰণভাৱে যদি বুজিবলৈ চাওঁ,ভূ-তত্ত্বৰ ধাৰণাটোৰে আমি প্ৰকৃতিস্থিত মৌলিক পাচোঁটা উপাদান অৰ্থাৎ বায়ু,পানী,জুই,মাটি আৰু আকাশ এইকেইটাকেই বুজো।সমান্তৰালভাৱে, মানুহৰ শৰীৰতো এই পাচোঁটা উপাদানৰ সন্তুোলনতহে শৰীৰটোৱে সুস্থতা বজাই ৰাখিব পাৰে।তাৰ পিছত ইয়াৰ নিয়ন্ত্ৰনহে গুৰুত্বপূৰ্ণ যাতে সামাণ্য অপ্ৰাকৃতিক আভাস বা প্ৰাকৃতিক পৰিৱৰ্তনে আমাৰ মনত উৎসাহ দিয়ে।কিবা এটা পদক্ষেপ লবলৈ আমাক এইদৰে সচেষ্ট কৰি তোলে।এনে পৰিৱৰ্তনে হয়তো প্ৰাকৃতিকভাৱে দুৰ্যোগ নতুবা আতিশায্যতা আৰু অসহায় পৰিস্থিতিৰো সৃষ্টি কৰিব পাৰে। সঁচৰাচৰ পৰিৱেশেৰে অভ্যাসগ্ৰস্ত হৈ পৰা প্ৰচণ্ড ৰদ-বৰষুণৰ প্ৰকোপ আৰু এইদৰে সঘনাই সংঘটিত হৈ থকা খৰাং-বানপানীৰ সমস্যা ইত্যাদি এই ক্ষেত্ৰত প্ৰণিধানযোগ্য।মানৱজাতি আজিকোপতি এনে প্ৰাকৃতিক দুৰ্যোগসমূহৰ পৰা হাতসাৰিবলৈ অপাৰগ।গতিকে প্ৰাকৃতিক চিন্তা আৰু প্ৰকৃতিৰ লগত একাত্মবোধ হোৱাৰ বাদে কোনো বিকল্প দৰাচলতে নাই বুলিয়েই একপ্ৰকাৰৰ ক'ব লাগিব।এডাল বৃক্ষৰ পৰা লাভ কৰা উপকাৰ,গুণাগুণ বা অন্তৰ্নিহিত জ্ঞানৰ অনুভৱ কৰাও এক প্ৰাৰম্ভিক পয্যায়ৰ চেতনা।এডাল বৃক্ষ,তাৰ বয়স তাৰ পৰোপকাৰিতা আৰু দিয়া এটা নিৰ্মল আনন্দৰ আগত অৱশিষ্ট সকলো সমৃদ্ধিয়েই বিকল নহয়নে?এনে ভাৱ অহাটো খুবেই স্বাভাৱিক।

কিন্তু, ভালদৰে ফঁহিয়াই চালে দেখিবলৈ পাম এনে আন্তৰিকতা আৰু জ্ঞানসমূহো পুৰণি প্ৰবচন,আৰু ৰীতি-নীতি বা নীতি-নিয়ম এই সকলোবোৰৰ মাজতেই নিহিত হৈ আছে। অৰ্থাৎ প্ৰকৃতিয়ে দিয়া দুৰ্যোগৰ সমাধানো প্ৰকৃতিৰ মাজতেই আছে।মাথো বৰ্তমান এনেবোৰ মুখ-বচনৰ অভ্যাস আৰু প্ৰচলনৰহে আহুকাল আৰু সেয়ে আমি সৰু-ডাঙৰ প্ৰায় সকলোধৰণৰ প্ৰাকৃতিক সমস্যা সমাধান কৰিবলৈ অপাৰগ হৈ উঠো।

আমাৰ ধ্যান আৰু ধাৰণা সেয়ে সম্পূৰ্ণ প্ৰাকৃতিক চিন্তাৰ আধাৰত নতুবা তেনে দিশৰ ফালেহে গঢ় লোৱা উচিত।

থোৰতে, পৰিৱেশ- সন্দৰ্ভত বচন দুফাঁকি উল্লেখ কৰিলো-

(ক)উত্তৰে গৰু দক্ষিণে চৰু পূৱে হাঁহ পশ্চিমে বাহ।
(খ)আগফালে তেতেলী পিছফালে ঔ,সেই ঘৰ উছন হ'বৰে নৌ।
(গ)ছয় পো বাৰ নাতি,সেয়েহে চালো কুঁহিয়াৰ খেতি।
(ঘ)সাতে তনু পাচেঁ ঘন,ছয়ত তামোল নদন-বদন।

ইত্যাদি।

এইদৰে পৰিৱেশৰ লগত আমি আদান-প্ৰদান,আত্মীয়তা আৰু এটা এৰাব নোৱাৰা পুৰণি সংযোগ লৈ ফুৰোঁ।সেয়ে বুদ্ধিদীপ্ততা আৰু জ্ঞানৰো বিকাশ হয় গছৰ ছাঁয়াতেই আৰু সেয়ে উদ্ভাষিত কৰিবলৈ সক্ষম হোৱা যিকোনো নিৰাশাগ্ৰস্ত মন আৰু চেতনাৰ অংশীদাৰো গছডালেই।

(২)
এই শতিকাত পোৱা চুড়ান্ত প্ৰত্যাহ্বান আৰু প্ৰকৃতিস্থ অনুভৱ তথা দায়বদ্ধতাৰ চিন্তাৰে একাষাৰ:

ব্যক্তিগতভাৱে আৰু শেহতীয়াভাৱে সমূহীয়াকৈও (মহামাৰী কৰোণাক্ৰান্ত বিশ্বখন) আমি পৰিৱেশৰ এক দুৰ্দান্ত ভয়াবহতাৰ সন্মুখীন হ'লো। আকৌ প্ৰকৃতিৰ মাজলৈ ঘূৰি অহাৰ পৰ্যায়টোক নিজস্ব কৰ্মৰাজিৰ এটা সংকলনৰ সংগতিৰে উদ্ধৃত কৰিব ওলাইছো।বিশ্ব পৰিৱেশৰ এই দিৱস আচলতে পুৰণি  দিনবোৰৰ পৰিৱেশবোৰো ঘূৰি চোৱাৰ দিন।

পৰিৱেশ অধ্যয়ন পৰিপেক্ষিতত যোৱা বৰ্ষত গোটাদায়েক কিছুমান আত্মসচেতন কলাকুশলী এটা নিৰ্দিষ্ট স্থানত একলগ হয় আৰু 'পৰিৱেশ' ৰ কল্যাণকামিতাৰ হেতু এটা গঠনমূলক আৰু বাস্তৱমুখী কাৰক, সমস্যা আৰু তাৰ সমাধানসমূহ অৱগত কৰিবলৈও আগবাঢ়ি আহে।  'পুণঃনিৰ্বিকতা' ৰ এটা উত্তৰ আধুনিকতাবাদৰ দুৰ্বিপাকত /খামখেয়ালিৰ মাজত্‌ একলগ হোৱা সেই সমস্যা বা চিন্তাৰ সমিধানক আজি বিশ্ব দৰবাৰে স্বীকৃতি দিছে আৰু আমি সকলো অংশীদাৰী সদস্যই আজি নিজ নিজ সংস্কৃতিৰ ওপৰত কৃতজ্ঞ।

কলাৰ প্ৰায়োগিক দৃষ্টিৰে যিকোনো কলা যে এক মাধ্যম বা সৰ্বাংগীনভাৱে যে উত্তম তাত আজি আৰু অন্ততঃ এই শতিকাত কোনো দ্বিধা নাই।চাৰিওবেৰৰ সীমাত প্ৰদৰ্শিত কলা আজি আকৌ লোকমাধ্যম ৰূপে থিয় দিছে যেতিয়া গোটেই বিশ্ব হৈ সন্মুখীন হৈছে এটা বিশাল সংকট অৱস্থাৰ। উল্লেখ কৰিব ওলাইছো তিনিটি কলাম্পদ, যি বিভিন্ন কলাৰ মাধ্যমত এটা "বিষয়-ধাৰণা' ত অধ্যয়ন,সৃষ্টি,সংৰক্ষণ আৰু শেহতীয়াকৈ প্ৰয়োগ শৈলীৰে এটা বিজ্ঞানভিত্তিক বাৰ্তা দিছে আৰু অন্যহাতে ইয়াৰ আধাৰো যথেষ্ট অধ্যৱসায়সূচক।

অৰণ্যৰ দেৱী অৰণ্যানীৰ সম্পূৰ্ণ সফলতাৰ পিছত এইবছৰ ক'ব খুজিছো সমন্বিত কলা-পদ্ধতিত সংৰচিত 'ওজাপালি'। এইবাৰৰ বিষয়-বস্তু আছিল 'পৰিৱেশ পৰিক্ৰমাত বতৰ'।এই অনুসূচীত আগবাঢ়িব যাওঁতে প্ৰথমেই প্ৰয়োজন হৈছিল এখন 'conference' ৰ। য'ত জমা হোৱা গৱেষণা পত্ৰসমূহৰ 'সামৰণিৰ মন্তব্য'  ত আমি পাইছিলো 'এটা উপযুক্ত আৰু খৰতকীয়া কলা মাধ্যম' ৰ প্ৰয়োজনীয়তা যাৰ জৰিয়তে আৱশ্যকীয় বিজ্ঞান-তথ্য সমূহ প্ৰচাৰ তথা কায্যতঃ হ'ব পাৰে। ভাৰতীয় সৃষ্টিশৈলী আৰু কৰ্ম দৰ্শনৰ লগত বিষয়বস্তুৰ 'সমমৰ্মিতা' আছিল ইয়াৰ মুখ্য উদ্দেশ্য।

কলাৰ যাত্ৰা অসীম।অনুসন্ধান আৰু প্ৰয়োগৰ দৃষ্টিকোনে কলাক সদায় এক নতুন ৰূপ দিয়ে।এই কৰ্মৰাজিও  আছিল তেনে কলাৰ এটা 'স্থিতিস্থাপক' অৱস্থালৈ যাত্ৰাহে। ই এহাতে যিদৰে কলাৰ এক সমন্বিত শিক্ষণ,আনহাতে ক্ষেত্ৰভিত্তিক আৰু কাৰ্যকৰীও।এই গোটদায়ক চিন্তা আৰু পৰিচালনাৰ গুৰি ধৰিছিল বিশিষ্ট বৈজ্ঞানিক শ্ৰী মতী নৱনীতা বৰা ই। পৰিচালনাৰ এই সমীহ্মাটোত সহযোগ কৰিছিল সামাঞ্জ্যস্য অন্যান্য বিভাগৰ ব্যক্তিসমূহে। আলোচনাৰ প্ৰথম পৰ্য্যায়ত মুখ্যতঃ এটা তুলনামূলক অথচ জলবায়ু পৰিবৰ্তনৰ আভাস দাঙি ধৰে ড০বৰাই। এই আলোচনাৰ মাজেদি আমি গম পাবলৈ সক্ষম হও যে পৰিবেশ উপাদানৰ ভৌতিক, ৰাসায়নিক পৰিৱৰ্তনৰ ফলত বিনষ্ট হোৱা পাৰিপাৰ্শ্বিক অৱস্থাৰ নিয়ন্ত্ৰন আৰু ইয়াৰ উপায় বৰ্তমানে এক গুৰুত্বপূৰ্ণ বিষয়। কিন্তু কেনেকৈ?

(২)
সমসাময়িকভাৱে কিছু মৌলিক তথ্য আৰু হাতপুথিও যুগুতালো যদিওবা আজিকালি এইবোৰ ইণ্টৰনেট সেৱাত উপলব্ধ। এইদৰে পদাৰ্থবিজ্ঞানৰ অৰ্ণিনয়তাবাদ,কাৰ্য-কাৰণ আৰু অনিশ্চয়তাবাদ, গতিশীলতত্ত্ব এই শব্দসমূহৰ লগতো পৰিচয় ঘটে। পৰিৱেশ সম্বন্ধীয় বিশেষকৈ বতৰ-বিজ্ঞান বিষয়টোত সোমাই পৰোঁতে এইটো কথা গম পোৱা গ'ল যে বেছিভাগ সময়তেই যুক্তিশীল চিন্তাই  কায্য-কাৰণৰ সম্পৰ্ক নিৰ্ণয় কৰিবলৈ অসমৰ্থ।কিন্তু কথাটো আমি উৰুৱাই দিলেও নহ'ব।এনে কৰা মানে বিজ্ঞানৰ অপমৃত্যুহে ঘটোৱা।হয়তো কিছুমান কাৰ্য বা ঘটনাৰ কাৰণ বা প্ৰভাৱ এটি সৰ্বোচ্চ শক্তিয়েহে জানিব পাৰে।তেনে ক্ষেত্ৰত অৱশ্যে বিজ্ঞানী নিলচ্‌-ব'ৰে এটা বিপৰীত মন্তব্যহে দিছিল।তেওঁ কৈছিল-'কায্য কাৰণৰ পৌৰাণিক ধাৰণা আৰু এই ধাৰণাৰ প্ৰতি এই দৃষ্টিভংগী সলনি কৰাটো এটা বাস্তৱ প্ৰয়োজন'।তেওঁ অৱশ্যে মন্তব্যও দিছিল যে সমসাময়িক হাইজেনবাৰ্গ,ফ্ৰিটুজ'ফ কাপ্ৰা ইত্যাদি বৈজ্ঞানিকসকল সন্নাসীৰ দ্বাৰা প্ৰভাৱান্বিত।তথ্যমতে,হাইজেনবাৰ্গে ৰবীন্দ্ৰ নাথ ঠাকুৰৰ সৈতেে ভাৰতীয় দৰ্শনৰ লগত দীঘলীয়া আলোচনা কৰিছিল।আৰু সেই আলোচনাসমূহে তেওঁক কোৱাণ্টাম বিজ্ঞানৰ গৱেষণাতো বহুত সহায় কৰিছিল।গতিকে,ই এইকাৰণে বিভ্ৰান্তিকৰ হ'ব নোৱাৰে,কিয়নো কিছুমান সম্পূৰ্ণ ধৰ্মীয় আৰু সাংস্কৃতিক গোটে ইমানদিনে এনেধৰণৰ মনোভাৱ পোষণ কৰি আহিছে।  তাৰোপৰি অদ্বৈতবাদ (বেদান্ত) সমৰ্থন কৰিছিল এই বিজ্ঞানীসকলেও। কিন্তু হয়তো তেওঁলোকে দ্বৈতবাদৰ ওপৰত গুৰুত্ব নিদিলে যিটো কেৱল 'গীতা' নামৰ হিন্দুগ্ৰন্থত অধ্যয়ন কৰিব পাৰি।
তথাপি, বিজ্ঞানীসকলে, নিজে প্ৰতিপালন দি লাভ কৰা তত্ত্ববোৰ অবৈজ্ঞানিক বুলি কোৱা মানে পদাথ্ববিজ্ঞানৰ অস্তিত্বৰ প্ৰতি ভাবুকিৰ সৃষ্টি কৰাহে হ'ব।এইদৰে আমি জুকিয়াই চোৱাৰ পিছতো আৰু এটা পয্যায়ত আমি উপস্থিত হওঁ য'ত সমান্তৰালভাৱে পাওঁ 'চেতনা' আৰু 'বৈজ্ঞানিক পয্যবেক্ষণ' নামক দুটি শব্দ। সেয়ে 'পয্যবেক্ষণকাৰী বৈজ্ঞানিক চেতনা অনিশ্চয়তাৰ গুপ্ত কাৰণ আৰু এই চেতনায়ে পৰীক্ষাটোৰ ফলাফল নিৰ্ভৰ কৰে'।
কলা-সমন্বিত পদ্ধতি:
এই পদ্ধতিত অংশগ্ৰহণকাৰীয়ে  ‘বতৰ বিজ্ঞান’ ৰ এটা সমীক্ষা আৰু পৰিসংখ্যাৰ আধাৰত ভৱিষ্যত সংকটৰ আগজাননী হেতু এটা ‘পৰিৱেশন’ (performance) ৰ পৰিচালনা কৰে। এই পৰিৱেশনৰ জৰিয়তে বতৰ-বিজ্ঞান আৰু তাৰ বাবে লবলগীয়া প্ৰাথমিক পয্যায়ৰ সচেতনাসমূহ ওজাপালি সংগীতৰ মাধ্যমেৰে দেখুওৱা হয়।পদ সংৰচনা,নৃত্যক্ৰম,মজু কাৰিকৰী কলা,আৰু প্ৰেৰক-বাহকৰ এটা পৰম্পৰাগত ধাৰণা লৈ ওজাপালি যুক্ত সংগীত পৰিৱেশন কৰে।ইয়াৰ ৰস সঞ্চাৰণত আছিল ভয়ানক আৰু কৰুণ ৰস আৰু সাম্ভাব্য বিভাৱ বিস্তৃতি। যাৰ জৰিয়তে পৰিৱেশনকাৰী ওজাপালি শিল্পীয়ে বৰ্তমানে ভৃ-পৃষ্ঠ,সাগৰ পৃষ্ঠ আৰু পৰিৱেশ অৱস্থা ইত্যাদিৰ বৈজ্ঞানিক সত্যতা আৰু সংকটময় পৰিণামসমূহ গীত-মাত আকাৰে উপস্থাপন কৰে।এই ওজাপালি সংগীত যি অতীতৰ পৰা সদায়েই গণমাধ্যম ৰূপত মানৱ-কল্যাণৰ হকে সচেতনতা আগবঢ়াই আনিছে, নিঃসন্দেহে বিজ্ঞানভিত্তিক তথ্য আৰু প্ৰকাৰন্তৰে সাৱধানতা আৰু যথোচিত পদক্ষেপ লোৱাত সহায়ক হ’ব।তেনে ক্ষেত্ৰত কলাসমূহৰ সৃষ্টিশীল প্ৰক্ৰিয়াৰে পাঠ ৰচনা কৰাতো বাধ্যতামূলক।অন্যহাতে, সংযোজন হোৱা লোককলা ‘পাইটকাৰ’ এক নুৰা-চিত্ৰকলা (স্ক্ৰোল আৰ্ট) য’ত শিল্পীয়ে পৌৰাণিক দৃশ্যমান বৰ্ণনাময়ী বৃত্তান্তৰে পৰিৱেশনটোক এক মাত্ৰা দিছে আৰু সচেতন হোৱা বিষয়টোত/ দিশটোত ই একমাত্ৰ আনুভৱিক চাক্ষুষ প্ৰামাণ্য।

Memo culture and Burhinagar pukhuri

Often, it happens that a story may reach such a position that it directly or indirectly given lessons or left morality to us. Those lessons helped us to select what to do or what not to do. The morality left from a memory of our oldest generation became a strong power and grows ourselves based on memory passed over. This is so because of the affinity to each other or social consciousness. The stories also help the new generation with the knowledge of past: to understand what is ethical and moral. In most cases, no songs and poetry is found, it continues only through telling. The teller keeps either some visuals to rectify the story or any form of singing text to pass the knowledge. Unfortunately, I have arrived at such a place where there are beliefs and story behind water spirit. They call it Buurhih or Buri who is a white spirit : a spirit who helps other in all their need.

The story is like a belief for the village and its every generation from past.  The unity through this belief and relying every chaos over this spirit was also noticed by the then Ahom king Arimatta. He preserved the water body of the pond by giving a nice boundary and memoredum holy place or shrine connected to lord Shiva for holiness of the people and their faith over the spirit.

On the other day, I was reading a book authored by Desmond Kharmawphlawng titled ‘Folklore of North-East India’. It is very intrinsically focused popular concept of sayings and stories and their interpretation. Prof. Kharmawphlawng mentions that memo- culture or the culture of memory is sustained in many ways. It intersects with history and literature, psychology and folklore and is to be understood in a way in which it enriches experiences by constantly dealing with the best unknown source of knowledge and information –living human being.

This is how I came across a very remote village to collect information about the belief to see whether it is still believed by the rural or not !

The name of village where I have visited on last August 2019 is Dalang ghat which is also a place of my granny’s motherland. She married to my grandfather to a place far from her area. Much later, she shifted to the town of Sipajhar with her family. So I arrived at that village and no sooner I planned to visit all the relatives. The village is really a green one where buckets of bushes, trees, wild flowers along with breezy air.

As if the breeze smells the season of summer very nicely.  Although it was a family visit of my maternal uncle and so my mom, the most interesting part of the very small trip was the attraction towards a big pond. The pond about which had been often  talked about from a very early date by most of the people of the nearby area was named as Burhinagar pukhuri. This pond was very famous because of the mystical and magical happenings to it on long back.

A painting collected to resemble the story

It is said that the pond has lost its all magical clout because of only human being specially those whom have a very bad habit of stealing things or robbery. This bad omen had been finally made the pond out of purity or lost of its original nature/quality.Thinking very curiously about the pond, I have, finally reached it on my way. The driver was told beforehand about the pond, its present appearance etc. and finally, so he stopped his car at the point of the pond.

After reaching the pond, we came to know that it has been developed and preserved by the concerned authority of the village. We met some young people at the spot who are the local inhabitants as well as the priest of the adjacent Shiva Temple.  The young ones informed us that the pond is a legendary one because of its sanctity and magical helping hand to the villagers. It is said that

And finally, we have arrived the legendary Burhinagar pukhuri and reached the edges of the pond. I could not express my feeling of longing to see this pukhuri and gazing at the pond so deep that I have crossed half an hour like that.

It happens when we gaze at something and curious about it wondering everything related to the thing. Immediately, I have seen the sleet where a historical evidence of that pukhuri was written, very nicely documented the year, the patron and a note on inaugurating the innovation.  It was wonderful to see the first hand knowledge this way and I was so happy that there was no doubt about it. But I was looking for something else that made my journey more close to the people , the life and the belief living in the area. And there was atemple also. I immediately ran to the temple and looking for any priest over there. And I have found him. The priest along with some village boy did some hospitality and carried a discussion and they seemed very happy sharing their knowledge and beliefs connected to this pond.

We talked with them and I am writing their words in brief in below:

The History of this pond is lying on oral or a story of a lady called ‘Burhi’. Burhi means the oldest lady who looked like with white hair or no teethes and lose body skin. The oldest lady or burhi is termed also as aaita in Assam who is also considered to be wise because of her living life experience to her grandchildren. Now, this pond’s story is so old that they call it as such which is connected to an oldest magical power emerged by herself. Whenever she was pleased by vows of the villagers, she offered her valuable utensils to use them for a said auspicious ritual or occasion. For this help or blessings, she is believed as goddess who was also very much fond of the devotees and their faith upon her. This is how, the villagers considered the pond and its water as the most sacred because of a wise and unknown power. Looking at the popularity of this belief, the then Ahom King Arimatta built a Shiva temple at its adjacent side and also renovate the edges of the pond up to a notable highest level  and protective so that no water invasion could happen into it.

Earlier the pond was sacred for all in the village and its sacredness is spread far from the villages to villages. The sacredness lied when any wishes was fulfilled by the goddess Burhi aai with respect and made ritual. They light lamp over banana leaf and few other ritual elements, bow for the fulfillment of their requirements. This was normally happened when anyone in the village faced any difficulties or to overcome a difficult situation, bad omen etc. Traditionally, they also seek help from this goddess by asking utensils to run a community feasts. In fact, the sacredness gradually made them believing more on supernatural and divinity. This attracts the king Arimatta so much that he tried to preserve this culture by patroning protection and place for altar to worship. It is said that the temple adjacent to the pond is a shiva temple and is deeply connected to it. Not only that the ethics either to value her by heart or return the utensils after its use was valuable and meaningful for all. This belief was practiced from a long time and also for the longer period till one incident happened on that very day! Aftermath that incident, the pond stopped giving the utensils to them!

It sounds very much magical today but that magic, for them, was the only way to believe a divine power. The pond was mystical as people believed the goddess resided in the middle of the pond. She lived underwater and opened up her brasses made old utensils over a sink boat to anyone needed from the village. After some days, when the purpose was over or completed, they had to return them the same way they were taken. It was going on and it became a tradition to ask for those utensils for any holy purposes such as ceremonies, rituals etc. And then one day, on a day of summer, a village man needed those utensils for the ceremony ritual organized at his home. So, he brought those in a way he supposed to per tradition of asking. There was really a ceremonial feast where there lots of people gathered. There were maids, priests, guests, relatives and band parties who came to attend the ceremony. Everything looked so colourful and gearing up that no one was really conscious about the pond-utensils kept aside. One maid from an outer village, unfortunately could not resist herself looking at the biggest and fined brass pots. She took away one of that brass pot and hide it secretly amidst the cowdung at the back of a firm. Without knowing this act, the villagers, after the ceremony was over, returned them back. As like beforehand, they also normally started placing those utensils over the boat one by one. And let it went to the middle of the pond. The lamp was still lightening and they came back home.

But, thereafter, they became shocked once heard that the boat was no longer accepted by their goddess and sinking for the last three days and nights. And so the utensils! It gave tremendous effect to each and every house astonishing/knowing about the unhappiness reflected by the Burhi goddess. The greediness of the maid might have finally brought disaster to the village. That the heavy rain started falling endlessly for more than a period of normal time and the village became a flood attacking area. Sooner, the unnatural weighty flood brought all vacuum in the happiness of the people.  For them, this was unnaturally raining all over in a forbidden season. They were trembling thinking about this non-stopped rain and bulkiness all around.  Then, the pond Burhinagar pukhuri was also in trouble as the water level started increasing. There was a matter of worriness as there are water overflowing flood started coming from outside of the pond. After the fourth/fifth night of continuous rainning, one of the village men dreamt about a very strange speech. On his dream, he was told by the goddess herself that a danger upcoming to the pond and so to them. He was also informed that this all were happening due to the lost pot. He was warned to return it or else the boat won’t sink down. And there would be no re-occurrence of those utensils and help. Sooner, the entire village came to know about the dream and the truth lied behind the heavy rain. The oldest man came and gathered all to share his advice and experience to what to do in this situation. Finally the villagers decided to stop the flood and wouldnot not allow to mix with the water of the holy pond. Besides their unity and profound effort, they failed to stop the mighty Shiyala Guxai[i] flood. And it crossed over the pond and blending with the existing water of the pond.

Much later, after one or two weeks, the consistencies had been declined and the villagers had seen a very significance border noticed in the pond: that a line separate the water and both part are in different in colour. Not only that, the pond has stopped opening her utensils to the villagers like before.

People believe that their asset Burhi whom they respected and felt secured, dependent more than they imagine has lost her purity and was taken by mighty flood. They believed that that mighty flood was none but lord Shiva who came to rescue her from the agony suffered due to the lost pot. She was taken with him. On the other hand, the pot was come out due to the forcefulled flood water and reached to the pond on the flow. Thereafter, the boat was went down foreover and never seen after that incident. They believed that the mixing of and colour difference of the water in the pond were the proof of the absence of the goddess.    

 So, this is so symbolically passed the lore to us that the purity is lost because of the marriage or conjugal union. And that line of separating the water became a magical one for which the villagers also lost their faith upon the purity over water.  It’s significant that the entire incident has a connection to marriage ceremony. However, there were also various other ceremonies where the same method was also followed to succeed the community feast. The flood and its vibrant nature were compared to attainment of god Shiva (Shiyalaa guxai) into the village who finally controlled the agony of the goddess arose from the lost pot. The purity has been taken due to the outsider maid lady from the other village. The rooted sentiments on this faith was completely destroyed because of the outsider for which she remained as valueless, not able to forgive the mistake and left the place willingly a bride left its parents house in Hindu culture. The line of colour differences made the villagers a belief about supernatural power which has a deep connection to the purity of the pond which has left them because their own mistakes.

The people still consume the water as holy but not to cure any disease. They take care of the pond as a very sacred site and protect it from all garbage. A shrine of lord Shiva is also placed to recollect the flood storming as ‘Shiyala Gosai’-the god of destruction or night. Undoubtely, the conjugal union as a form of tremendous shakti or power (flood and the line) and single power ( a goddess) as a symbol of purity are highly reflected and understood from this folklore.The Folklore, thus, helps or does effort to preserve the environment as a power of water and its deep connection with human being

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1.  Shiyala Guxai is very much close to the deity God shiva who is the symbol of destruction of any evil

World Dance Day 2019: Dancing or transferring?

Transferring energy through Dance: Why should we Dance?

Transferring energy is shifting a vive or vibration from self and expecting the same from the other side. The ability to do work may come from different ways: Heat (thermal), Light (radiant), Motion (Kinetics) etc. Energy is useful depending on its requirements. Without energy no success is possible. A real success that helps you to share the way of success and inspire others is positive energy. That delivers is a transferring the self inspiring energy leads to wonderful world.

The energy level is always felt with the strength of a dancer in a deep sense. While they give vibrant movements and parallely the eye coordination that expression is the sole way about inner strength and ability. The importance of Dance is not limited to one’s body and thousands visions, it also means a different but vast responsibility to keep up the pace. The waves of movements may vary person to person but the energy level is equal. That energy is created by the dancers through their dedication, practices, resilience and joyousness. The happiness of dancing is while the dancers share their nonverbal communication by means of mediums and installation. A dancer feels great joy to keep up the matter into their own way challenging a bright feedback from all!

But can a dancer be responsible too?

What a dancer can achieve is it possible to transfer that?

A real artist cannot. But a Guru can. The absolute understanding of Dance is also found in the universe: in vacuum, in sound. Guru actually evolves the possibility of dancing ability among the disciples. With that deep connection a dancer able to see life amidst everything including non-living being. This is nothing but an acceptance of whole universe and time.

On this special day of world Dance day, I am intended to reciprocate about by transferring energy. It is realized as shifting a vibration from self and expecting a vibe from other side. Dance, in this sense, is a meditation through movement. After dancing, our mind get into a reflexive and a deeper state of relaxation and awareness. Like the meditation, Dance also helps to acquire strength and self belief.  And that is the most important thing in today’s world.

Along with the strong mind, it’s so easy to develop our mind and able to connect. Dance helps to develop mind and co-ordinate the body together. So, it is utmost wise to nurture the mind making it fresh and positive. But how come?

Nurturing the mind and then preserve it can be more appropriate when a dancer takes the theme or subject of her/his performance or more clearly practice. Unlike the body, a mind is also needed to nurture itself acquiring power to reflect a subject. The reflexive ability or the Dance is on the other hand is a continuous process.

Process of creative imagination: step 1

Imitation of nature or natural being including trees, animals and birds are always present in Folk dances. The creative idea with the natures has brought us recently to a dense forest. The forest is well equipped for taking shelter by the tourists. From a distant height the tourists can see rhinos, elephants and other animals with a real view of their walk.

Imagination:

Walking on the grass has given a feeling of natural touch. Even the tress each of them is stood on its own. A tree is a living being, is so much of worthy about environment. The nature that live within us is best be understood by going to the trees around us. The Dancer, to her utmost effort to receive her lost energy moves slowly. She approached a tree. She covers it with colors and sounds. The one of the Panchabhuta has been created and honoured through the kinesics. This is her imagination to receive the same energy so that portion of world can be grown. The imaginary kinesics with the body has the possibility to grow the world. Yes its age of digital nomad, but why not a day to reach the nature? And let check the self with the power.

Indeed, Dance is a physical energy. This is a long term experience that it also helps to grow mental strength. The factors and the fuel behind this are very much latent and When there is a physical action taken by the body, we feel out of all shortage. I must say this as a inner power to get into the work. 

The experiences, but, are not only to practices. Its very necessary to deliver. The delievering either by education or by any other way of transferring is subtle today. Do we remember when grandmother is asked 'Tell a tale!' because the telling itself is a sharing and thus delivering a lot of things to the listeners: the body language, the speech, the art of speaking etc. etc. Looking back to grandma's tale and her lap of affection, the ideas that we developed through our imagination is so much helpful today that anybody must accept the Folktales are the best way of educating self. Being a Dancer, i loved to be with the nature: the way that the nature is absorbing and giving us resources whenever we ask for.


 Photo sources: Google map and image. 

Chabi, tumi moi aru amar katharee: A book review

A bilingual collection of poems titled Chabi,tumi, moi aru amar katharee written by Munindra Narayan Bhattacharyaa, A translated version is added into the same volume by a noted literateur Debashish Bezbaruah. The book is outlayed with a frame of a painting titled 'Hungry' (Oil in canvass 36"x44") by the poet himself has shown a deep rooted knowledge about connectivity. A connection between saranga kala (xastha kala) is perhaps the best way to generalise the creative Art. The process is leaned a thin layer over one another and that is so well focussed and cleared in this book that one must read it. While reading the book, turning the pages one after another I recollect a famous dialogue among the folklorists' tea table that ' epic says we all are connected '!! well, very honestly I must accept that when there is focussed a very tiny object, the mind may turn into a deeper thought. And we discover a thoughtful mind, by strange, we get the ability to enter into the world of ART. 

The art of doing and looking at the world whreas fold an unique expression integrating all of us. It integrates all of us and around us.

In his collection of poems, the poet symbolises physical and metaphysical. In other words, a clear periphery of being (you, me,we etc.) and non being (painting and poems) and there is a bridge between this two always. It stimulates (bibhab) with an emotion (bhaba) and gives really a scope to understand beauty with simplicity and a trend of gossip matter. There should be always necessary to look a back date for a while when he expressed through the verse 'pisuai ahibo lage' (A few steps backward ,page no.141).There is a much back date when people were superstitious and this bounded all to bind up together. Even if it has an important role to curve good relationship.The page no. 141 satired a tension between son-in-law and father-in -law is beautifully escaped by a belief of cat. That a cat, while cross a road one should step back for a while. The poem signify a moral passes through to a son in law not by demand but by a belief. Its ironic if they really talk to each other in some society!
Similarly other poems which have raised questions and this is, most probably, the poet resembles his vision as 'hunger'.The cover page of this painting hence is found  very much appropiate to the text.
More or less, the poems specially (Rritu utsavak loi, Beya khabar eta ase, Dekha hoi mur, Pathajatrixakale) have a narration. The narration that shape his niche from lore  ( lullaby, vernecular faith of tulasi plants and Hindu god Rama and many more ) to a determination to help the tiredsome practitioners ( bhagori porise neki aayotixakal ). This is obviously the poet is talking about his helping hand to those sufferers of the society who attain blindness of a practice. The crescendo in all trance actions in human life is  also present in continuous flow of beliefs and tradition in his observation. Despite of this, he respects the artistry of a poet and repeatedly denies that he is a poet.And why not? Lets imagine a spontaneous flow of thoughts of colouring as if there are stroks of colour brass,there are colours and a selfishless effort to bind them over a canvass.
The vission that a poet can carry with his powerful words is very much vibed in those expression when its said 'pitritwa'  (fatherhood), not only to take pride of it but also sharing this with the utmost beloved. This perhaps the cause for which the emotions cross over physical being and stop with nature such as 'karabi tree' that rest of the flowers such as 'nahor', 'keteki' and 'bakul' flowers are silent because of their inconsistance geometry. The poet, that's why, sure about the vission of 'karabi' flower: a clear vission about future,present or a past.
The book indeed reflect a connection between nature and human, flowers and poetic birth, abandon folklore about metaphoric relation and a systemic mechanism of human body and mind.Wheather an advice to detect the difference between the cucko and crow, or, an heartiest wish to exhibit himself but not as a 'judassh', or otherwise a challenge or wish to welcome death for those whom no one can defeat. His emotions leads to thougtful divission by a straight line where waves of ages merge everything.
A cosmic idea is coming to my mind that there is a 'Baitarani' river between life and death and we are going across through lord shiva. That 'Baitarani', i would, prefer to resemble the word 'line' (page no. 141) between being and non being in his poem. And the poet stands himself as a observer of life from light to dark and beyond. Suddenly, an essence of protest is mentioned which the poet felt since when his father and even before the grand mother wanted to raise voice for patriotism. And when there is a writing pen for protest, there is also a mechine 'prism' through which multi colour can  be created. So, with these, he is now again determined to clean himself within the heart to create something very constructive from the day with an usual morning sun.
Pages are slowly passing down, turning a mind into different direction : and its made a shape of mind with a self believed determination. The poems indeed are image making of all of us and  around us and the concept of 'acceptance' is taken but with a silent preservation of self determination.

Above all, it has been found a very important poetic expression for people that covers all the facets of human life, creativity and passages from relations, Nature and clarity. I believe the modern period really needs to look back its past with a close connection of all beings.

On World Dance Day 2018: sharing insightness and depth of Dance

When there is a day of Dance, it’s always a chance to think deep about it. Being a survivor by Dance, it always reminds me to take Dance very aptly and applicable to our life. It’s so true that in dance, we actually do not perform extraordinary, rather we perform ourselves. Dance may come to us in vary many ways. Some may like it and some may not. But Dance is not bounded by any limitation neither by anybody. Celebrating a day for dance is usually not necessarily dependent on any history or memory. Rather, I suppose, it’s a day for all who commemorate Dance from their own thought and spirit. It’s a day for those who respects Dance, accept dancing as an art. The supreme medium of abstractness and artistic category of art is the Dance where not only body and mind is used but also is very smoothly controlled. That knowledge is not only about skills but few lore, detailed history and development through out of ages.

What I feel is that tradition is tough and sometimes showed the toughest phase to accept a way.  Dance is broader than this. In fact, Dance is always a way that helps to accept and acquire courage to face any problem-either depression or any health issue. As because it has both physical exercise and rhythmic input, it can be said as rhythmic exercise. A tradition cannot define Dance simply but a Dance can. Besides, Dance is also a strong medium to express and make realize many necessary aspects of survival. Body is important to perform any kind of dance or expression. More important is to feel the body: protect it, love it and covered it from injuries. By Dance one can promote fame, self-confidence, fortune and cleverness. Gradually it gives rise to peace, liberality, pleasure and does away from despondency.  Once we attain these, we blessed by the supreme soul and that experience is the ultimate purpose of a dancer too. This is due to the poses that a dance contains in its curriculum-Bending and square sized position etc.bring agility and endurance to the body. The ideal exercises and their attributes build up stamina and help the person to acquire patience. Specifically, the movements that are governed by a Tala and Laya and the calculations involved in counting the beats in different gait and rhythm.

There are many aspects of learning a Dance. But one should not learn a dance to become a dancer. Rather, she should try to co-relate the term (any term of Dance lesson) into her real life, practical it and attain it into daily norms, solve puzzles from Dance-realisation and thus be happy with the exceptions and accidental breaking co-herence happens in life!

One thing I must admit that Dancing capacity has influential effect on fighting spirit. When we do the most intricate steps the dancer keeps her abdomen pulled tightly in, her mouth closed her chest forward and the posture erect, all of which are positive points for the increasing of the lung capacity of a person. A scientific study reveals that during dancing, the heart beats faster in order to meet the demands of muscles at that time. These two contrasting actions give additional benefits of supplying increased oxygenated blood. The mystery of the effect of music and rhythm on the heart beat cannot be denied, because it is something that everyone feels and has experienced. Due to its effect on mind and a probable effect of resonance on the heart rhythm, the heart rate decreases and clams down. I assure it as I personally experienced it. It was the year when critical health issues decreased the life span day by day. I still remember, when intolerable sounds on ear (doctors call this as a hyper equisite) and I invited finally a restless state of mind. It was unbearable because I was kept at ICU and sedation due to my restlessness and painful wounds!! Where all organs fail to react and unbelievably, I could recover by external care, support and therapy. When, it was too difficult to move a single move of my body, my physiotherapists were so depressed!! But they clapped when I started doing rhythm on my body over music. This was a music from the collection of my Dance album. Important was, I moved my body without any command from any body. There has been stopped physiotherapy and started inserting earphone to move my body. Slowly, I heal bed shore.

The body is instrument of mind. The mind uses the body to express itself. The body, in turn provides the mind or brain with the raw materials for its own use. And by classical dancing, I could fight both mentally and physically. I acquired memory and concentration. The muscular system, on the other hand, is not go out vague. It helps to endure and perform without starin. In classical dancing there is nonstop flow of nerve impulses into all the muscles and this result in extremely complex but graceful movements of a dancer. This grace has come out both physical and mental input to feel and to express something.