Indian classical dance

Indian classical dance is a relatively new umbrella term for various codified art forms rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya Shastra of Bharata Muni (400 BC).


Dances performed inside the sanctum of the temple according to the rituals were called Agama Nartanam. Natya Shastra classifies this type of dance form as margi, or the soul-liberating dance, unlike the desi (purely entertaining) forms. It also performed in royal courts to the accompaniment of classical music were called Carnatakam. This was an intellectual art form. Darbari Aattam form of dance appealed more to the commoners and it educated them about their religion, culture and social life. These dances were performed outside the temple precincts in the courtyards. Both Carnatakam and Darbari Aattam in particular were predominantly desi forms.


For lack of any better equivalents in the European culture, the British colonial authorities called any performing art forms found in India as "Indian dance". Even though the art of Natya includes nritta, or dance proper, Natya has never been limited to dancing and includes singing, abhinaya (mime acting). These features are common to all the Indian classical styles. In the margi form Nritta is composed of karanas, while the desi nritta consists mainly of adavus.


The term "classical" (Sanscr. "Shastriya") was introduced by Sangeet Natak Akademi to denote the Natya Shastra-based performing art styles. A very important feature of Indian classical dances is the use of the mudra or hand gestures by the artists as a short-hand sign language to narrate a story and to demonstrate certain concepts such as objects, weather, nature and emotion. Many classical dances include facial expressions as an integral part of the dance form.

Eight classical dances

Sangeet Natak Akademi currently confers classical status on eight Indian dance styles:

1. Bharatanatyam - Tamil Classical Dance
2. Odissi - Oriya Classical dance
3. Kuchipudi - Telugu Classical dance
4. Manipuri - Manipuri Classical Dance
5. Mohiniaattam - Malayali Classical Dance
6. Sattriya - Assamese Classical Dance
7. Kathakali - Malayali Classical Dance
8. Kathak - Hindi Classical Dance

Other Art Dances yet to be conferred as Classical Dances, whose theories can also be traced back to the Natya Shastra are-

1. Gaudiya Nritya - Bengali Art Dance
2. Andhra Natyam - Telugu Art Dance
3. Vilasini Nrityam/Natyam - Telugu Art Dance

Out of the eight styles, the only two temple dance styles that have their origin in Natya Shastra and are prescribed by the Agamas are Bharatanatyam and Odissi. These two most faithfully adhere to the Natya Shastra but currently do not include Vaachikaabhinaya (dialog acts), although some styles of Bharatanatyam, such as Melattur style, prescribe the lip movements indicating Vaachikaabhinaya.

Kuchipudi, which also prescribes the lip movements indicating Vaachikaabhinaya, and Mohiniaattam are relatively recent Darbari Aatam forms, just as Kathakali, and two eastern Indian styles, Manipuri and Sattriya, that are quite similar.

Kathak was created in the Mughal period under the influence of Persian dance and various other folk dance forms. As it does not adhere to any shastra and cannot be called Shastriya (classical).

Currently, Sangeet Natak Akademi does not consider the recently reconstructed dance styles of Andhra Pradesh such as Andhra Natyam and Vilasini Natyam as "classical". Bharatanrithyam, despite being the one most closely following Natya Shastra's precepts, is considered as a variety of Bharatanatyam.

A South Indian Wedding ( Continue )

Notes

Nadaswaram : Traditional South Indian music ensemble including the tavil (drum), nadaswaram (a sort of wind instrument) and small cymbals.

Kolam or Rangoli : Designs made on the floor with rice flour paste

Sowbhayam : Literally meaning good fortune. It is intended to be the good fortune of never being widowed.

Mandap : A structure or building where the marriage is conducted.

Puja : Prayer or worship

Navagraha : The nine planets (Nava : nine, Graha : planets)

Vratham : Rituals

Kappu : Holy thread

Indra : The King of the Gods. He is the one who rules swarga or heaven.

Soma : The Moon God

Chandra : The Moon

Agni : The Fire God

Grihasta : Householder

Brahmacharya : Bachelorhood

Kasi Yatra : Travel or pilgrimage to Kasi

Sanyas : Asceticism

Satwic : Holy and pure state of body and mind.

Kasi : The most holy place of pilgrimage for a devout Hindu

Malai Mathal : Exchange of Garlands

Shastras : The holy scriptures

Oonchal : Swing

Karmic : Pertaining to karma or deeds

Pallikais : A kind of earthen pot in which seeds and leaves are sown as part of a fertility ritual

Sumangalis : Women who are not widowed.

Vara : Groom

Mangal Sutra : The ornament worn by the bride on a long chain around the neck. Mangal Sutra literally means Auspicious Bond. The Mangal Sutra in South India is akin to the wedding ring of the west. It is also called Thali.

Tulasi madam : Tulasi i.e. basil which has several medicinal properties is considered to be very holy. The courtyard of every household is supposed to have a ‘madam’ (pronounce as ma - as in mother, dum - as in dumbell) or planter in which tulasi is grown. This is worshipped daily in most South Indian households.

Shiva lingam : The phallic symbol which represents Lord Shiva whose abode is Mount Kailas on the Himalayan Mountains.

Goddess Meenakshi : The manifestation of Shakti and consort of Lord Shiva.

Kanya : Girl or literally virgin girl

Danam : Gift

Darbha : Dried grass

Kusa grass : A variety of grass that is considered to be sacred

Mantras : A holy incantation or chant

Sari : The dress worn by women which is a long piece of cloth that is draped around. The sari is of various lengths and is worn in various ways through out the country. The most common one is 6 yards long with most of it going around like a skirt and a long part of it hanging over the shoulder.

Koorai : Sari worn in a style that, according to tradition, can be worn only by married women. This is 9 yards long and is worn in a style that goes loosely between the legs. The long drape that is left over is then wound around the upper part of the body.

Sumangali Bhagyam : the good fortune of never being widowed.

Gandharva : Celestial angels who are famed for their good looks.

Kankana : or kankanam - Literally means wrist ornament : a bangle or a bracelet

Dhaaranam : Literally means wearing

Mangalya : Another name for Mangal Sutra

Devas : Gods

Saptha : Literally means seven

Padhi : Steps

Sama and Rig : Sama and Rig are two of the four Vedas.

Pala Dhanam : Gift giving

Homam : Sacrifice

Ghee : Clarified Butter

Saptha Rishi : Literally Seven Sages

Maharishi : Maharishi literally means great sage. Vashishta was one of the great sages from Vedic times.

Dhruva : renowned for his single-minded devotion to God and hence was given the boon of becoming the never moving pole star.

Akshadai : Blessing given by elders when grains of rice are showered on whomever is seeking blessings.

Graha Pravesham : Literally means entering the house. A ritual whereby the bride goes to her new home i.e. her husband’s home for the first time.

Nalangu : A session for fun and games

Papad : A wafer like fried snack made of rice and other lentils.

A South Indian Wedding ( Continue )

The Evening Functions

Nalangu

The evening of the marriage day is the time to relax and play. The newly wed wife calls her husband for play, inviting him through a song. Much to the merriment of all gathered, there follows a series of playful games. The bride anointing the groom’s feet with colour paste, fanning him, showing him a mirror, breaking papads over each other’s head. Wrenching the betel pack from each other’s hands. Rolling the coconut from one to another as in playing ball and so on. During these events women sing songs, making fun of the bride, the groom and the in-laws.

These events bring out the qualities of the bride and the groom’s sporting spirit, kindness, co-operative nature thus surfacing the hidden traits for the other to note, thus bringing about better understanding and compatibility.

The Night Time Homams

These are the functions performed on the evening of the wedding.

Jayaathi Homam

This is performed to propitiate the Gandharvas and other deities. The Gandharvas and other deities. The Gandharvas are the soft natured celestial beings generally associated with the finer sentiments of life, that are so necessary for a fulfilling married life.

Pravesa Homam

This is done to solemnize the bride’s entry into the husband’s home. The sacrificial fire is brought along by the bride signifying that through her, new lives would be brought forth into this world; same as the fact that fire brings forth new fires.

Sesha Homam

Fire oblation with the residual ghee, a little of which is sprinkled on the bride’s head four times. The leftover ghee is considered sacred, the whole of which was offered to Agni. ‘Sesha’ means leftover. The idea of sprinkling this residual ghee on the bride’s head signifies strength to be drawn from the four vedas; which is left over from one yuga or era to another.

Thamboola Charvanam

The bride’s brother gives the ceremonial first betel to the couple to chew. Betel leaf is supposed to have aphrodisiacal properties and to be eaten only after marriage. Other gifts are also given to bless the couple with long lives and children.

Mangala Arathi

A solution of lime and turmeric powder is prepared on a plate, circled around before the couple and thrown away to ward of evil. This is also done a number of times during the wedding ceremony.

Shanthi Muhurtham

The consummation of the marriage at night fixed for an auspicious time for a happy, ever-lasting married life that is full of understanding and care. Two souls united in a sacred act of fulfillment, to bring forth progeny as nature's best creation.

A South Indian Wedding ( Continue )

The Main Wedding

Vara Puja

The feet of the bridegroom are washed in milk and wiped off with silk. This is done by the bride’s father. As a brahmachari, the groom is represented as the male principle of Godhead.

The Design of the Mangal Sutra

The design of the mangal sutra varies from family to family as per tradition. In Shivite families the design of the tulasi madam is highlighted where as others could have the shiva lingam or Goddess Meenakshi represented. As the Mangal Sutra lands on the middle of the bride’s chest, it symbolizes that her man has occupied the whole of her being through her heart. The bride in all ceremonies is represented as the female principle of Godhead – the Shakti.

Kanya Danam

The bride is made to sit on her father’s lap and is given away as a gift by him to the bridegroom. On the bride’s head, a ring made of Darbha of Kusa grass is placed. And over it is placed a yoke. The gold Mangal Sutra or Thali is placed on the aperture of the yoke. And water is poured though the aperture. The mantras chanted at this time say:

“Let this gold multiply your wealth, Let this water purify your married life, And may your prosperity increase. Offer yourself to your husband.”

The symbolism of the yoke is drawn out of ancient rural life where the only mode of transport for households was the bullock cart. It is supposed to signify that just as a bullock cart cannot run with just one bull, the marriage needs both the bride and groom. Both of them have to face their responsibilities together.

The bride is then given an auspicious ablution. A new sari, exclusive for the occasion, called the koorai is chosen. The colour of the koorai is ‘arraku’ i.e. red, the colour associated with Shakti. This sari is draped around the bride by the sister of the bridegroom, signifying her welcome to the bride. A belt made of reed grass is then tied around the bride’s waist. The mantras then chant:

"She standeth here, pure before the holy fire. As one blessed with boons of a good mind, a healthy body, life-long companionship of her husband (Sumangali Bhagyam) and children with long lives. She standeth as one who is avowed to stand by her husband virtuously. Be she tied with this reed grass rope to the sacrament of marriage."

Thanksgiving vedic hymns follow, to the celestial caretakers of her childhood, the dieties of Soma, Gandharva and Agni. Having attained nubility, the girl is now free to be given over to the care of the human -- her man.

The vedic concept underlying this ritual is figuratively that in her infancy Soma givers her the coolness of the moon. In the next stage of life the Gandharvas gave her playfulness and beauty. And when she becomes a maiden Agni gave her passions.

The father of the bride while offering his daughter chants:

“I offer ye my daughter: A maiden virtuous, good natured, very wise, decked with ornaments to the best of my abilities. With all that she shall guard thy Dharma, Wealth and Love”

The bridegroom returns his assurance to the bride’s father saying three times that he shall remain for ever her companion in joy and sorrow, in this life and life after.

Kankana Dhaarana

The bride ties a string fastened to a piece of turmeric around the wrist of the bridegroom to bind themselves by a religious vow. It is only after tying the kankanam that the bridegroom gets the right to touch the bride. A little later, the bridegroom ties a kankanam to the bride’s wrist.

Mangalya Dharanam

The tying of the Mangal Sutra or Thali takes place at exactly the pre-determined auspicious hour. The bride is seated over a sheaf of grain-layden hay looking eastward while the bridegroom faces westward. The bridegroom puts the gold Mangal Sutra around the neck of the bride. As he does so the Nadaswaram is played loud and fast so as to muffle any inauspicious sounds at the critical hour. This is called Getti Melam. Sumangali ladies sing auspicious songs. At the same time as the mangal sutra a turmeric thread is also put around the bride’s neck. To this three knots are tied. The first one by the bridegroom. The other two knots are tied by the groom’s sister to make the bride a part of their family. The vedic hymn recited by the bridegroom when he ties the knot is:

"I pray to the Almighty that I be blessed with a long life. I tie this knot around your neck. Oh Soubhagyawati, may providence bestow on you a fulfilling life of a Sumangali for a hundred years to come!"

Paani Graharam

This means holding hands. The groom holds the hand of the bride. The mantras say:

"The Devas have offered you to me in order that I may live the life of a Grihasta. We shall not part from each other even when we grow old."

Saptha Padhi

Holding the bride’s hand the bridegroom walks seven steps around the holy fire with her. This is the most important part of the marriage ceremonly. And only when they walk these seven steps together (i.e. perform the saptha padhi) is the marriage complete. With each step they take a vow. The belief is that when one walks seven steps with another, one become’s the other’s friend. The mantras said at this time mean:

"Ye who have walked with me, become my companion, whereby I acquire your friendship. We shall remain together – Inseparable. Let us make a vow together. We shall love, share the same food, share our strengths, thesame tastes. We shall be of one mind. We shall observe the vows together. I shall be the Sama and you the Rig. I shall be the upper world and you the earth. I shall be the sukhilam and you the holder. Together we shall live, beget children and other riches. Come thou, o sweet worded girl."

Pala Dhanam

Gifts are exchanged between the families of the bride and groom. Any gift not accompanied by a token gesture of a coin of small denomination that represents the stored value of human effort is considered incomplete; thus respecting the value of human effort through which wealth is acquired. Also no gift shall be taken without a return gesture, which merits the gift received. Pala Dhanam as ordained by the scriptures is thus an action signifying mutual arrangements between the families, to be based on the principle of equality and respect for each other irrespective of one’s economic stature in life. The return gesture by the family of the groom could never equal to the gift of the bride given to the groom. Hence, the same coin given to the groom’s family is returned to the bride’s family an acknowledgment of the priceless gift received.

Pradhana Homam

A crucial part of the wedding is the homage paid by the couple to Agni, the God of Fire. They couple goes around the fire, and feed it with ghee and twigs of nine types of holy trees as sacrificial fuel. The fumes that arise possess medicinal, curative and cleansing effects on the bodies of the couple. Agni, the mightiest power in the cosmos, the sacred purifier, the all-round benefactor is deemed as a witness to the sacred marriage. Hence the term ‘Agni Saakshi’ or witness by fire.

Treading on the Grindstone

Holding the bride’s left toe the bridegroom helps her to tread on a grindstone kept on the right side of a fire. The mantras chanted say:

“Mount on this stone, and let thy mind be rock firm, unperturbed by the trials and tribulations of life.”

This ritual is symbolic of the solid rock foundation for the union.

Arundhati and Dhruva Star

Next the groom shows the bride the star Arundhati (from the Saptha Rishi or Great Bear constellation) as also Dhruva or the pole star. Arundhati is the wife of the Vashishta Maharishi and exemplified as the ideal wife - the embodiment of charity. Dhruva is the one who attained immortality through single-minded devotion and perseverance. This is symbolic of the fact that such virtues are to be emulated throughout marital life.

Laaja Homam

This comprises the bride’s own offering into the sacrificial fire. As an expression of sibling support to her marriage her brother helps her. He gives her a handful of puffed rice grains which she hands to the bridegroom, who on her behalf, feeds it to the fire. Through this food offering, the bride seeks a long life for her husband and for propagation of her family. Participation of the bride’s brother indicates the continuance of links between the two families even after marriage. The couple circles the fire three times. The feeding of puffed rice to the fire is also repeated thrice.

Showering of Akshadai

Akshadai , i.e. rice grains coloured with turmeric and saffron are showered on the couple by elders and invitees as benediction.

Graha Pravesham

Taking with her fire from the Laaja Homam, the bride takes leave of her home and enters the new home of her in-laws. The vedic hymns recited at this time sound like the mother’s advice to her daughter:

"Be the queen of your husband’s home. May your husband glorify your virtues! Conduct yourself in such a way that you win your mother-in-law’s love. And be in the good books of your sister-in-law."

A South Indian Wedding

The Rituals and the Rationale

Welcome

The gates of the wedding hall are adorned with full-grown plantain trees, signifying evergreen plenty for endless generations. Overhead festoons of mango leaves signify the never fading relationship to begin here. Notes of nadaswaram heard loud and clear to signify the union here is sacred and divine. Kolam or rangoli designs at the doorsteps match the mood of the occasion, beckoning a hearty welcome to the well wishers who arrive for the function. At the threshold of the hall, sprinkling of rose water perfumes the visitors. Offering of flowers to women express a wish of sowbhayam for the lady guest. The sugar candy brings forth the sweetness of happy event that the visitor has arrived to take part in.

The Evening Before The Wedding

The evening prior to the wedding day, the bridegroom is brought in a procession from a temple in a flower-decorated vehicle. He is escorted by the bride’s parents and welcomed at the marriage mandap. This is a social function called ‘Janna Vasam’ in south India. Through such a parade, public approval is sought of the groom, chosen by the family. After reaching the marriage hall, there is a formal bethoral ceremony signifying the agreement between the families for the proposed alliance.

The Day Of The Wedding

The Preliminary Invocations

Ganapathi Puja - During a marriage, Ganapathi, the God, the remover of obstacles is invoked to keep away all impediments for such an auspicious function.

Navagraha puja is performed to propitiate the nine astral planets that rule over man's destinies.

Vratham - The marriage ceremonies begin with vratham performed separately by the bride and the groom. For the bride, it means the tying of the kappu, the holy thread on her wrists, which is meant to ward off all evil sprits. It symbolizes a kind of protective armor for the bride.

For the groom vratham begins with invocations involving the Gods Indra, Soma, Chandra and Agni. From thereon the groom prepares himself for a new chapter in his life as a householder or grihasta. The days of his bachelorhood or brahmacharya are over now. The acceptance of his is all what the vratham is about.

Kasi Yatra - This is a very important part of the ceremony. Immediately after his student life, the young bachelor has two alternatives before him – Grihasta or Sanyas. Being by nature in a satwic state due to strict adherence of bachelorhood and observance of austerities, he is drawn towards asceticism. Therefore he makes his way to Kasi, complete with slippers, umbrella, a fan made of bamboo etc. On his way the bride’s father intervenes and advises him of the superiority of married life to an ascetic life. He also promises to give his daughter as companion to face the challenges of life. The umbrella is to remain with the groom, to remind him in the future of this advice. As promised his wife stands by him in his life.

Malai Mathal - The bride and groom are lifted to the shoulders of their respective maternal uncles. This is an expression of continuing sibling support to their mothers. And in that position the two garland each other thrice for a complete union. In the shastras, the exchange of garlands symbolizes their unification, as one soul in two bodies. It is inward acceptance by each of the very fragrance in the other.

Oonchal - The marrying couple is seated on a swing. They rock forth and back, as women sing songs to praise the couple. The bride and groom are given a sweet concoction of milk, sugar and bananas to eat. Water and lighted lamps are circulated around the swing in order to guard against demons and ghosts. Colored globules of cooked rice are waved in a circular motion and thrown away to propitiate the evil spirits.

The chains of the swing signify the eternal karmic link with the Almighty. The to and fro motion represents the undulating sea-waves of life. Yet in mind and body they shall move in harmony – steady and stable.

Pallikai Seeds Sowing - This is a fertility rite. Pallikais are earthern pots prepared a day earlier. Pots spread at the base with hariali grass and Bael leaves (vilvam). Nine kinds of presoaked cereals are ceremoniously sown in these pots by sumangalis. After the marriage, the sprouted seedlings are released in a river or pool. This ritual invokes the blessing of the eight direction quartered guardian angels (Ashtadikh Paalaks) for a healthy life and progeny to the couple.

Dad Is DrAcUlA...

I think my dad is Dracula.

I know that sounds insane,

but listen for a moment and

allow me to explain.

We don't live in a castle,

and we never sleep in caves.

But, still, there's something weird

about the way my dad behaves.

I never see him go out

in the daytime when it's light.

He sleeps all day till evening,

then he leaves the house at night.

He comes home in the morning

saying, "Man, I'm really dead!"
He kisses us goodnight,
and then by sunrise he's in bed.

My mom heard my suspicion
and she said, "You're not too swift.
Your father's not a vampire.
He just work the graveyard shift.

Indian Food...

The traditional Indian food has been widely appreciated for its fabulous use of herbs and spices. Indian cuisine is known for its large assortment of dishes. The cooking style varies from region to region. India is quite famous for its diverse multi cuisine available in a large number of restaurants and hotel resorts, which is reminiscent of unity in diversity. The staple food in India includes wheat, rice and pulses with chana (Bengal Gram) being the most important one. To know more about the Indian traditional food, read on.

Bengali Food

Bengali cuisine is appreciated for its fabulous use of panchphoron, a term used to refer to the five essential spices, namely mustard, fenugreek seed, cumin seed, aniseed, and black cumin seed. The specialty of Bengali food lies in the perfect blend of sweet and spicy flavors.

Gujarati Food

The traditional Gujarati food is primarily vegetarian and has a high nutritional value. The typical Gujarati thali consists of varied kinds of lip smacking dishes. Gujarati cuisine has so much to offer and each dish has an absolutely different cooking style.

Kashmiri Food

Kashmiri food that we have today in the restaurants has evolved over the years. Highly influenced by the traditional food of the Kashmiri pundits, it has now taken some of the features of the cooking style adopted in Central Asia, Persia and Afghanistan.

Mughlai Cuisine

Mughlai cuisine is one of the most popular cuisines, whose origin can be traced back to the times of Mughal Empire. Mughlai cuisine consists of the dishes that were prepared in the kitchens of the royal Mughal Emperors. Indian cuisine is predominantly influenced by the cooking style practiced during the Mughal era.

Punjabi Food

The cuisine of Punjab has an enormous variety of mouth-watering vegetarian as well as non vegetarian dishes. The spice content ranges from minimal to pleasant to high. Punjabi food is usually relished by people of all communities. In Punjab, home cooking differs from the restaurant cooking style.

Rajasthani Food

The cuisine of Rajasthan is primarily vegetarian and offers a fabulous variety of mouthwatering dishes. The spice content is quite high in comparison to other Indian cuisines, but the food is absolutely scrumptious. Rajasthanis use ghee for cooking most of the dishes. Rajasthani food is well known for its spicy curries and delicious sweets.

South Indian Cuisine

The cuisine of South India is known for its light, low calorie appetizing dishes. The traditional food of South India is mainly rice based. The cuisine is famous for its wonderful mixing of rice and lentils to prepare yummy lip smacking dosas, vadas, idlis and uttapams.

Salwar Kameez..

Salwar Kameez is the most popular traditional attire worn by the women in India. Due to its popularity in the Punjab region, it is sometimes called the Punjabi suit also. The shalwar is a baggy pajama type of trouser, which has legs wide at the top and narrow at the bottom. The kameez is a long shirt or tunic, which often reaches upto the knees. The length of the kameez can vary depending on the latest salwar suit style in fashion.

The salwar is stitched very differently. It has pleats at the waist and is held up by a drawstring or an elastic belt. The middle portion of a salwaar is very wide and baggy, but it gradually tapers down around the ankle. Another variation in salwaar is the churidar style which is a somewhat like a tight trouser, but with its fabric ending in various small folds around the ankles. Usually, Indian women also wear a dupatta across their shoulders, over the salwaar or churidar kameez, as a symbol of modesty.

A shalwar kameez can be stitched in almost fabric, like chiffon, georgette, denim, silk, cotton, satin, and so on. It can be simple or heavily embellished, with artificial gem stones and embroidery, depending upon one's personal choice. Though both salwar kameez and sari are traditional Indian dresses for females, you will find more women wearing the former, especially in metros. This is because it is more comfortable and requires, comparatively, less maintenance.

One can choose to wear the salwar kameez in a number of styles. Apart from the traditional ones, one can also buy the ones with a plunging neckline or a halter neck back for a chic look. If confused, you can even ask the tailor to suggest you the latest necklines in fashion. The side seams of the kameez may be split high up to the waistline. When women wear semi-transparent kameez, they wear a choli or a cropped camisole underneath it.

Dhoti...

The dhoti is the most traditional of all dresses for men in India. If you ever see photographs of Indian men before, during and soon-after the independence era, you will find many of them wearing the dhoti dress teemed with a kurta. Earlier the dhoti used to be a casual daily wear of the Indian men. But with modernization of our society, it steadily relegated to being just formal clothing in India, though there are still people especially in the rural belts for whom dhoti is the regular clothing attire.

The dhoti is a rectangular piece of unstitched cloth about five yards long, wrapped about the waist and the legs and knotted at the waist. It is known by different names like Laacha in Punjabi, Mundu in Malayalam, Dhuti in Bangla, Veshti in Tamil, Pancha in Telugu, Dhotar in Marathi and Panche in Kannada. In north India, the dhoti is worn in combination with a kurta top, which a long loose fitting shirt. The dhoti kurta dress is called dhuti panjabi in east India. This dhoti dress is different from a lungi as the cloth of the latter is stitched to form a circle.

The dhoti dress may have lost its popularity in modern day India, but it is still worn with a lot of dignity by the many prominent senior citizens, politicians, musicians, dancers and others. Apart from being worn on all important government and family occasions, the dhoti kurta is also allowed to be donned in post upscale clubs, which normally stipulate very stern dress code for guests. The one prominent Indian citizen who gets all credit for popularizing this attire beyond the Indian borders is Mahatma Gandhi.

There are various styles of wearing the Indian dhoti. For instance, the Bengali men usually make pleats in their dhoti. In south India, the dhoti wearers added the angavastram to their attire, which is an extra piece of unstitched cloth kept on the shoulders. For convenience purpose, many south Indian men fold their dhoti in half and tuck it at the waist so that it reaches only till the knees. In certain Indian communities in Rajasthan, wearing the dhoti-kurta is mandatory.

Saree...

What is Sari? A long strip of colorful multi-patterned cloth, sensuously wrapped around the body, and teemed with a blouse! Is this not how sari, the traditional clothing of the womenfolk in India, is often described to people newly exposed to our culture? Saree is, indeed, a very long strip of unstitched cloth, which is worn over a similar colored petticoat. Its length ranges from four to nine meters, depending on how an individual wants to wear the sari. The blouse worn with it is also known as Choli or Ravika.

The most common style of wearing a sari is by draping its one end around the waist and neatly arranging the other over the shoulder baring the midriff. However, there are many variations in how women wear this dress in different states of India. There can also be a lot of variation in the designs of the choli i.e. the blouse of the saree. For instance, for daily wear, the blouse can be a normal one with quarter or short sleeves. Sleeveless or embroidered blouses are worn to give a dressy feel.

Similarly, for occasions like wedding and parties, some Indian women also wear backless or halter-neck blouses with their sari. Though you will see women wearing such blouses with their sari only at select upmarket places, it gives a very glammed up Indo-western look. Women in the armed forces don the sari with a half-sleeved shirt tucked in at the waist. Occasion is the main criterion that decides the style in which you wish to wear your sari.Saree is a very popular form of clothing in India. So, one will find various type of the clothing being sold in the market. Infact, every state of India excels in manufacturing a certain type of sari. Thus, you will find plain or patterned georgette saris, heavily golden-zari embroidered zardozi saris, silk sarees with heavy pallu, and so on.

Traditional Indian Clothing

What makes the Indian couture so unique is the fact that you will find each and every state of the country having its own distinct traditional clothing for men and women. For instance, the salwaar kameez is the ethnic attire of women in Punjab; the Mekhala Chadar is worn by Assamese women, and so on. However, all types of Indian clothing look very elegant and Indians wear them with a lot of pride. The festivities and other special occasions are the time when you can see maximum Indians donning their ethnic garb, be it sari, kurta pajama or dhoti.

A sari is long strip of colorful multi-patterned cloth seductively wrapped around the body, teemed with a blouse! It's the traditional dress for the women folk in India and there are many styles in which you can drape it. The blouse worn with sari is also called the choli or ravika. The salwaar kameez, on the other hand, is the most ubiquitous of all traditional women attires in India. Due to its popularity in the Punjab region, it is sometimes also called the Punjabi suit.

The Indian men's traditional attire consists of the kurta and pajama, dhoti, lungi and other dresses. Worn on both formal and informal occasions, kurta and pajama are quite popular dress of Indian men. The kurta is like a loose long shirt almost reaching the knees, whereas the Pyjama is a lightweight drawstring trouser. The men's dhoti is a rectangular piece of unstitched cloth about five yards long, wrapped about the waist and the legs and knotted at the waist. It is known by different names like Laacha in Punjabi, Mundu in Malayalam, Dhuti in Bangla, etc.

1 MALAYSIA

Rakyat Malaysia terdiri daripada pelbagai kaum dan agama perlu menganggap diri mereka sebagai bangsa Malaysia yang berfikir dan bertindak ke arah mencapai satu matlamat. Sejajar dengan ini, perpaduan yang sedia terjalin antara kaum di negara ini perlu diperkukuhkan lagi bagi mewujudkan suasana negara yang lebih aman,maju, selamat dan makmur.

Konsep 1 Malaysia yang diperkenalkan oleh YAB Dato Sri Mohd Najib Tun Abdul Razak, Perdana Menteri, adalah langkah yang bertepatan dengan suasana dan cita rasa rakyat. Konsep ini selari dengan apa yang termaktub dalam Perlembagaan Persekutuan dan Prinsip-Prinsip Rukun Negara.

1 Malaysia membawa aspirasi untuk memperbaiki hubungan kaum bagi memastikan rakyat Malaysia dapat menjalin perpaduan yang lebih erat. Perkara asas yang perlu diwujudkan dalam semangat perpaduan adalah perasaan hormat menghormati, keikhlasan dan sikap saling mempercayai antara kaum. ‘1 Malaysia’ juga akan mewujudkan sebuah kerajaan yang mengutamakan pencapaian berpaksikan keutamaan rakyat sebagai mana slogan YAB Perdana Menteri iaitu ‘Rakyat didahulukan, Pencapaian diutamakan’.

‘1 Malaysia’ memerlukan kepimpinan dan rakyat yang berintegriti tinggi. Sifat jujur, berkebolehan, bercakap benar, telus, ikhlas dan amanah amat penting untuk melaksanakan tanggungjawab kepada negara.

1 Malaysia memerlukan pemimpin yang bijak mentafsir dan memahami tugasan yang diberi. Pemimpin cemerlang dan komited sewajarnya memiliki kebolehan yang tinggi dalam merancang, mengatur strategi, menilai prestasi dan menepati masa dalam memberi perkhidmatan yang terbaik kepada rakyat.

Kesungguhan dan komitmen terhadap tugas dan tanggungjawab menjadi asas atau senjata paling ampuh dalam mencapai sesuatu kejayaan. Negara memerlukan rakyat yang berdedikasi dan komited untuk melaksanakan tugas dan tanggungjawab dengan penuh iltizam, azam dan tekad demi kepentingan dan kemajuan negara.

Malaysia juga memerlukan pemimpin yang mesra rakyat dan sanggup berkorban masa, tenaga dan kewangan serta mengetepikan kepentingan peribadi demi negara Malaysia. Pemimpin yang bekerja dengan penuh dedikasi dan hati yang ikhlas akan mendapat sokongan dan dihormati oleh semua lapisan masyarakat.

Semua kaum perlu mengutamakan kesetiaan dan kepentingan kepada negara mengatasi kesetiaan kepada kaum dan kelompok sendiri. Negara ini adalah negara untuk semua rakyat, tanpa mengira kaum, agama, budaya serta fahaman politik. Semua kaum perlu menganggap bahawa mereka adalah bangsa Malaysia di mana segalanya perlu dinikmati secara bersama. Malaysia adalah negara kita di mana tidak ada masyarakat atau kaum yang akan dipinggirkan daripada menikmati pembangunan dan pembelaan daripada kerajaan.

1 Malaysia adalah pemangkin kepada pengwujudan negara bangsa yang dapat membina Malaysia sebagai negara yang mempunyai sikap kesamaan dan kekitaan di kalangan rakyat. Keupayaan membina negara bangsa bergantung kepada perkongsian nilai integriti, kebolehan, dedikasi dan kesetiaan.

Pemimpin dan rakyat perlu memahami dan menghayati lapan nilai 1Malaysia, iaitu budaya kecemerlangan, ketabahan, rendah hati, penerimaan, kesetiaan, meritokrasi, pendidikan dan integiti.