Tuesday, March 30, 2010

Coup On Indian Epics – 02 [What Tells Harischandra to Us]

I’ll narrate another story told by Sri Rama Krishna Param Hamsa in the same context of belief. I read this in Sri Rama Krishna Bodhamrutham.

అనగా అనగా..........

Once there was an innocent man in a village. One day on some work, he was going to the nearby village. On the way, he had to cross a small river. He feared to cross the river. There came a Saint. This innocent man prayed the Saint to help him to cross the river. The Saint had given a ‘Thaveedu’ i.e. a copper thin sheet on which a magic word would be written and folded in to small size and said “My dear boy, Hold this Thaveedu in your hand and chant, ‘Sri Rama….Sri Rama…’ and cross the river. You can swim in the water”.

The innocent man thanked the Saint and the Saint went on his way. The innocent man started to chant, ‘Sri Rama….Sri Rama’, wonder! He was able to swim in water. He was so happy. When he crossed half of the width of the river, he got curiosity to see what was the magic word, written on the ‘Thaveedu! Then he opened the copper sheet. There was written Sri Rama. When he read it, he thought “Only Sri Rama! Not any magic word.”

By the moment itself, he sank in the water.

That’s the entire story.

In this story, the innocent man didn’t sink in the water until he had belief on ‘Thaveedu’ and chanting of Sri Rama’s name. Whenever he got doubt on it, he sank in the water. We used to have similar experiences in our life. Whenever we loss trust on God or whenever we loss self-confidence we used to fail in our effort.

Being Hindus, we believe that self-confidence is confidence on God. అహంబ్రహ్మస్మిః As living beings, we are Atma and the God is Paramatma. God is in us and we are in God. Sri Bhagavad Geetha clearly tells us this.

I want to narrate another reference of Sri Rama Krishna Param hamsa. This also, I read in Sri Rama Krishna Bhodhamrutham. As per that,

In Sri Ramayana, Sri Anjeneya had jumped over the 100 Yojanas distance ocean to reach Sri Lanka, by trusting on the Name of Sri Rama. But Sri Rama himself needed the bridge to cross the ocean. That is the power of belief. The devotee can do miracles by trusting in God, where as God, he needs devotees to establish this.

Indian culture, Indian life style, Indian epics make the people to trust in righteous and to believe in morality. By demolishing this Indian culture, Indian life style, and Indian epics, the coup makers made the people and still making the people to trust in bad, to believe in immorality. All our epics motivate the people to be with positive thinking. By destroying the epics, by criticizing the epics, by making jokes on the epics, the coup makers, i.e. C.I.A., I.S.I. and Mr. Ramoji Rao successfully motivated the Indian to be with negative thinking.

I’ll explain it in detail.

There is a famous story of the king Harithschandra in Sri Ramayana. He was famous as Satya Harithschandra. To avoid saying lie, he sacrificed his kingdom, his wealth, wife, his son, his life and himself. He didn’t melobon to say lie, even, when he received the dead body of his own son. He got ready to cut his wife’s head to perform his duty. In any difficulties, at any time he didn’t give up the nature of telling truth. This story motivated Mohan Gandhi to turn as Mahatma Gandhi. People used to get motivation and spirits from epics to practice truthful life, to tell truth always. In Sri Rama Navami and other festival celebrations time, I watched that villagers and all sections of people used to get mesmerized while watching the poetic Drama of Satya Harichandra.

On such epic story, in between the years 1975 to 1992, pakka propaganda had implemented by the coup makers. In movies, in weeklies, in literature and in other related programs, a joke had popularized as follows:

Teacher: Children! What do you understand by the story of Satya HarithsChandra?

Children: we have to face many difficulties by saying truth.
Father: Dear Ramu! What did you know by the story of Satya HarithsChandra?

Son: It is better to avoid telling truth. Otherwise, we have to face many problems.

The same joke in different forms was on propaganda until it reached to all sections of the people.

No journal of any media companies had published, no Columnist, no Journalist had written a single essay that, because HarithsChandra told truth, he was still alive in our hearts as Satya HarithsChandra. No intellectual like the one Kula Deep Nayyar, or A.G. Noorani or Nakkeeran Gopalan or N.Ram or Rama Chandra Guha etc. etc. had presented an argument, as there were thousands of kings lived and died, among them Hari Chandra only had given guidance to us.

Friday, March 26, 2010

Coup On Indian Epics [The Power of Trust]

I read somewhere about a European Philosopher, I forgotten his name who said, “If an ant is able to imagine its God, then it can establish Mega or Giant ant with 10 thousand legs and 10 thousand tentacles, as its God. It can praise such Giant ant and fabricate the stories of such Giant ant as epics.”

It may be true. We don’t know whether an ant has such imagination power or not. The ants may establish their own Giant ant God, they may be praising him, and they may be sparing some place to their God to devote, in their anthills. They may have their own epic stories in their ant language, who knows?

Recently our bio scientists had identified that dolphins has their own language, they are capable to keep names to identify dolphins individually and they have their own communication system. There is same case with tigers, elephants and some birds. Among the communication system of some animals, such as sound waves etc, we can’t hear with our ears.

That’s why we must accept that our knowledge and our capacity of senses are limited. Hence, we must accept & respect the Giant ant concept of ants.

Similarly, we must accept and respect the Jew’s jewonism or Zoroastrianism. We must accept and respect the Christian’s Christianity. We must accept and respect Muslims’ Islam, as well, we must accept and respect, Hindus Hinduism. But a coup was planned; implemented on Hinduism to destroy it, to degrade it, to unpopular it and to ruin it. May be some other religions in this world are facing the same coup.

I’ll try to illustrate this coup at my level best. In fact, this coup is still implementing on not only Hindu religion, but also it is on Indian culture, Indian life style, Indian arts, politics etc all fields and totally, it is on humanity and idealism.

I’ll try to explain the coup, the motive of the coup, and the persons behind the coup. I try to establish the mode of implementation of the coup, under different captions.

Here I discuss about Indian epics. The epics are the stories of God. In fact, ‘God is the concept for which belief is the base. A detailed description and discussion about this concept is under the caption of COUP ON HINDUISM AND OTHER RELIGIONS.

When the belief is the base of the concept of God, then how can anybody prove it like scientific concepts? In fact, some astronomical concepts like the beginning of this universe such as ‘Big Bang theory’ or ‘As it is theory’ are also based on belief only. This is because our knowledge is limited to verify or to identify the range of this universe. Its time and space are beyond the limits of our lifetime and vision.

In this context of belief, I narrate you some small stories which were told by Sri Rama Krishna Param Hamsa.

అనగా అనగా..........

Once there was a Guru, i.e. teacher, running a Gurukulam. He had many disciples in his Ashram. Among them, one disciple was very obedient and sincere towards the Guru. He had strong belief on his Guru.

One day, the Guru had gone to have bath in the river. At that time, this disciple was on the other side of the river. The Guru called him to come to him. The disciple didn’t wait for the boat. He started walking on the water of the river, by chanting the name of ‘Guru’.

The Guru felt so proud with the magic power of his disciple. He thought, “When my name has such magic power, I myself must have much more than it. Let me walk on the water.”

He tried to walk on the water by chanting himself as “My self …My self”.

He drowned in water and died

Such are the energies of belief and ego.

That’s the entire story.

In this story, the disciple had belief on his Guru. He trusted in his Guru’s name. It made him to overcome the problem. In the same case, we used to overcome our problems by trusting in God. It is the most common experience of most of the people.

An atheist can argue with us as, “If you don’t keep belief on God, also you can overcome the problems. It’s the magic of your mind, not of God. Because there is no God“. Then we can reply them as “May it is the magic of our mind, you believe that God is no where and we believe that God is now here. When we both are based on the same base i.e. belief, there is no meaning in argument.”

Any way, in the above story, the disciple was obedient where as the Guru was egoistic. He felt ego and proud about himself so that he had fallen in the water.

Friday, March 19, 2010

Coup On Arts – 18 [Purpose of HIstory]

On the other hand, great Vijay Nagara rulers, Pandyas, Cholas had constructed beautiful temples to God, but not with selfishness. They didn’t install their identity in those temples. By investing the public money, they constructed for people only. Temples were the centers for education, for arts, for physical exercises, for health, for tourism, and for recreation. Are they not symbols of arts or symbols of humanity or symbols of love and affection?

This type of publicity to Taj Mahal, as symbol of love between male and female, won’t drive crazy lovers and teenaged or young aged lovers to run after costly gifts? This type of publicity though it is a reason to draw tourist attracting, won’t lead people towards lust and desire full?

Is it much important that how will be our tomb than what we done in life? Which is important? Our tomb richness or beauty, after our death, or helping others, leading righteous life when we alive? Leading life to help poor, to help in needy, to perform good and faith to society, to serve country, to show humanity, to follow human values is much more valuable than our tombs. When we born, we bring nothing. When we die, we take nothing with us. We leave our body even, here on the earth. After death, how beautiful the body, how strong or how healthy, but the dead body will get ruin, get bad smell and decay. For such body, is it necessary to construct a tomb with marbles or with gold or with diamonds? Is it not self-centeredness and selfishness? Without referring this angle, if everybody praises its richness or beauty, is it not a strategy? Is it not coup to make people to run after luxuries, lust or desires?

Otherwise, the beautiful sculptures, arts, architecture, engineering skills, skillful designs of wall and pillars of Madurai Temple and other so many constructions, why didn’t they get minimum publicity? They had constructed past to Taj Mahal. That means the scientific or technical approach of such temples was more ancient than that of Taj Mahal. After 1450 the industrial and technical development in Europe was speeded up. In 1600 A.D. while the construction of Taj Mahal, such technology was available. Whereas while construction of Pyramids or China wall or Madura etc temples, it was not available. Then whose artistic values are high?

Then why such extreme publicity was giving by worldwide media including Indian Governments to Taj Mahal where as minimum publicity or nominal publicity had given to Ancient temples? Is it because Taj Mahal was constructed as a symbol of love between a male and female or a Muslim king constructed it?

In fact, in India every art form is dedicated to God and mingled with devotion. Miraculary astronomical knowledge, solar scientific approach is mixed in the construction of Sun Temples in India. A small bird like ‘Gigigadu’ constructs its nest in most artistic way. A small child wants to Paint his picture with beautiful colors in a pleasant pattern.

With this background, if some color tins are spread in most disorder manner, by keeping a name of modern art and insist us to understand some strange relation less feelings in those color spots, what we can say? Simply put a salute to such modern artist.

Similarly, without any system, rhythm, or Sruthi Laya, if somebody shakes their body and says it is modern dance by name jaj, or salsa or Sambar or Rasam, what we can say? Simply we can say ‘great’.

Actually, Indians had developed cooking also up to an art level. Nala Maharaja and Bheema sena of Maha Bharatam were famous for the art of cooking i.e. Paka Kala. With six tastes i.e. Shadruchulu, salt, sour, hot like chilly, sweet, bitter and ogaru like betel nut, with five eatables such as 'భక్ష్య భోజ్య చూహ్య లేహ్య చూర్ణ పదార్ధములు that means solid eatables, liquid eatables, jelly eatables, paste eatables and powder eatables and with super Rice, food system flourished in India. The subject, food and Nutrition is very young while compare with the Indian Paka kala Sasthram.

In every art, the spirits, the emotions, and the feelings are classifieds by the Saints and elders of ancient times of India into nine categories, which are known as Nava Rasalu. They are [1].Shrungara [sexual], [2].Humor, [3].Pity or Kind, [4].Anger, [5].Ferocious, [6].Fear, [7].Terror, [8].Miraculary & [9].Peace.

This is the level of maturity of Indians and of human beings.

Such that, in any country, in any society, at any time, when the younger generation starts from where the previous generation had stopped, then there will be progress. It is applicable not only to arts and it is applicable to every aspect. Then only to human race can develop.

I can give an example to you to understand this concept. If our parents learnt and developed from 0 to 10, and if we start development from 10 to 20 and if our children start from 20 to 30, definitely our development range is from 0 to 30 within 3 generations. Suppose our parents develop from o to 10. If we won’t accept it by saying, “it is ancient, not modern”. As we are the modern people, and starts from 0 to 10, and if same thing repeats in case of our children, they start again from 0 to 10, hence our development range is from 0 to 10 only within 3 generations. There will be nothing deference with in 30 generations. If we forget our history, our past, our inherited knowledge, our traditions, our development will be from 0 to 10 only, not from 0 to infinity.

To confine the human psychological and spiritual development from 0 to 10, to make the human beings like robots, a coup was planned and implemented. According to that coup, people made crazy towards the so-called modern, made to hate the so-called ancient traditions and made to quarrel with elder generations by claiming as generation gap. Otherwise, where was such generation gap in history?

In fact, the entire ancient is not good as not well as all the modern is bad. According to our wisdom, according to our discrimination, we have to adopt the good from whenever it is good, but with sincerity.

Saturday, March 13, 2010

Coup On Arts – 17 [Madhura Nagari Vs RD Burman]

I narrate you one of my childhood experience. In my childhood, the festival of Sri Rama Navami is used to celebrate on large scale. In Guntur, my native town, numbers of pandals with palm leaves were used to construct. Voluntarily people used to form some groups, donate money to celebrate the marriage of Sita Rama Swamy. So many folk artists such as Kolatam, Chekka Bhajana, Tolu Bommalata, Hari Katha, Burra Katha, Classical dances, Music concerts and Dramas of epics with poems of Telugu had shown. Being children, we would be at the Pandals almost all the time, in the evening of those 9 days, last day there will be Annadanam, giving lunch to all poor and public.

Among 9 days, we used to enjoy with the cultural programs with all art forms. The epics stories in the form of poetic Dramas had shown. In the drama of Sri Rama Bhakta Hanuma and other such type of dramas, when Anjaneya Swamy appears on the stage, all the viewers used to stop breathing and watch the stage. The stage will be dark or in red color. The mike will be arranged at two levels, at the bottom of the stage and at the proper height of the artist when he stands up. The artist, who will act as Sri Anjaneya, with get up, used to have Bhajana Chekkas in both hands, raising his voice with devotional song of Sri Rama …. Sri Rama with ‘Rajo pooraka’ tune that means, such tune could motivate Rajassu among the viewers and raising his body slowly with proportion to his raise in voice. The audience breathing will be raise in the same frequency. Though thousands of audiences were present there, complete silence except the singing of Rama Bhajana will be there in the Pandal. When the song is in high pitch, audience will sing Corus along with the actor with a large release of breath.

Such joy, pure joy was free of chemicals, free of cost, free of liquors, free of musical equipments except a small harmony and two drums. It was only the joy of pure art and devotion.

This system was destroyed strategically or by a pakka coup. In Hindi movie, ‘Shoolay’ a famous one, Mr. R.D. Barman had given a song “Mehabooba Mehabooba woo woo” with certain tune to wamp to dance. In Bharata Natyam and Kuchipudi i.e. Classical dances of Indians, there is a famous song in the part of Sri Krishna’s teasing the Milk maids in Vrepalley as “మధురా నగరిలో చల్లనమ్మ బోదు దారి విడుము కృష్ణా!”. That means, “I have to go to sell butter milk in the city of Madura. Let me go. Krishna, please give me the way.” By singing like this, little girls used to dance in Bharta Natyam as Golla Bhama i.e. Milk maid. But this classical song was got a parady form with the tune of wamp song “Mehabooba Mehabooba. Woo ….woo” and was inserted in a Telugu Movie. That vulgar tune polluted the divinity of dance. Whenever the dance was performing in every pandal, mob whistled and laughed at the dance. In this in-discipline, Chain snatchers, pick picketers, eve-teasers had taken the advantages. Hence, the rich and middle class people seized to attend the pandal and to participate in the cultural programs. Slowly in some Pandals, movies of social stories and cowboy stories had exhibited with mini projector camera. Hence the pandal and festival confined to low class or Mass people. Gradually, the celebration of festival got disappeared. This was happened just 30 to 35 years back. My aged generation and I are the witness of this destroys.

In fact, ‘mass’ is a word created strategically to ruin the quality of arts, values in arts and to introduce immorality in arts. Definitely, I can say, no lower income man or mass could imagine his lover or wife to wear such bikinis or cloth ribbons as dress like the heroines in the said Mass movies. For example, in ‘Chirutha’, ‘Krishna’ etc. recent movies or movies with heroes as Chiranjeevi, Bala Krishna and Ravi Teja etc etc. And definitely, I can say that no lower income man or mass could imagine his lover or wife to dance and to expose her body in a group of male dancers. These were stamped movies and forcing as in the story of Nalla Meka – Naluguru Dongalu i.e. BLACK GOAT – FOUR THIEVES. [Hand mark-15]

In fact, ‘mass’ is the word created by the people involved in coup to drive the innocent people in society to such animal’s level to think only about food and sex, but about nothing else.

You can verify the time, the happenings in India. Within 40 to 50 years, the strategy is aimed to ruin the system of Indian society, Indian culture, and Indian life.

In Indian blood, there is a characteristic of dedicating every art, every work, and every matter with devotional concept to God. All the ancient art forms, including movies of early age were with devotional touch only. Indians are particular about quality rather than the appearance. Even to refer a marriage proposal, they prefer a girl or boy, who is known as good rather than good looking.

But within these 40 to 50 years, Indians were forced to run after mirages. Gradually, slowly and systematically the coup makers and the media man had implemented this coup.

I illustrate an example to you. Thousands and hundreds of years back, in India, beautiful architecture and sculpturing arts were established. In North, South and various parts of India, beautiful Temples with wonderful arts, carvings, paintings and sculptures were constructed. I can refer so many ancient temples to you. Madurai, Rameswaram, Kanchi, Ajanta, Ellora, Somanadh, Konark, Puri, Humpy, Holebedu, Sravan Benagola, Lepakshi, Ahobilam etc etc. Many temples! Wonderful arts! Wherever beautiful environment is there, our fore fathers built temples there, like Yaganti, Uma Maheswaram. Wherever natural valuable assets are there, our fore fathers built temples there, like Mahanandi.

So many temples with miraculary art forms, no temple have such popularity as TajMahal. Many temples had built past to Taj Mahal. They were built centuries back where as Taj built only in 1600 A.D. though it was a rich construction, though it was a beautiful construction, but it was built for a human being. Though she was a Queen, but it was a tomb. Her husband, Mr. Shajahan for the sake of his tomb, constructed it also. To invest money, to invest wealth created by the industry of public, poor people of his kingdom, is it not selfish? Though he was an emperor, though he was a king, though he loved his wife very much, to invest public money to construct a rich Tomb instead of investing the public money for public, is it not selfish? That to Muntaj was not his only wife. He had other women also.

If it is a symbol of pure love, then the Mini Taj, constructed by Ajam sha, the son of Aurangzeb in 1951 to 1961 in the memory of his mother, Mrs. Durras Bhanu Begam i.e. Rabbiya at Durvami, the wife of Aurangzeb, is not a symbol of love? This is situated at Aurangabad, 150 K.M. to Shiridi. How many of us hear about this mini Taj? Did it get popularity like Taj in Agra? Though the Taj in Agra is big and rich, though the Mini Taj is not so big & rich as it is in Agra, is it not eligible to get minimum popularity as love symbol or mini love symbol? The love between wife and husband or between male and female is only love? The love among mother and son is not love? Or the love which can lead people to sex is only love? The love among parents & children, among teacher & disciples, among brothers, among sisters, and among friends is not love?

Wednesday, March 10, 2010

Coup On Arts – 16 [The Artistic Dance of Bulls]

Then the cow Sitamma moved a side. When Dasaratha came one side, she was turning other side, by dropping her head to the ground showing shy as a bride. Then Rama ox approached the cow. A female singer was singing for Sita and a male singer was singing for Rama. Teams of singers were supporting them.

Rama: Oh! Sitamma! I will give silk saris. Come bride!
[ఓ సీతమ్మ! పట్టుచీరలిస్తాను రావమ్మ పెళ్ళికూతురా!]

Sita: Oh! Ramayya! I don’t need silk saris. I won’t come bridegroom.
[ఓ రామయ్య! పట్టుచీరలొద్దు నాకు రానయ్య పెళ్ళికొడకా!]

Rama: Oh! Sitamma! I’ll give diamond necklace. Come bride.
[ఓ సీతమ్మ! రవ్వల పట్టేడనిస్తా రావమ్మ పెళ్ళికూతురా!]

Sita: Oh! Ramayya! I don’t need diamond necklace. I won’t come bridegroom.
[ఓ రామయ్య! రవ్వల పట్టేడొద్దునాకు రానయ్య పెళ్ళికొడకా!]

Rama: Oh! Sitamma! I’ll give garlands of pearls. Come bride.
[ఓ సీతమ్మ! ముత్యాల దండనిస్తా రావమ్మ పెళ్ళికూతురా!]

Sita: Oh! Ramayya! I don’t need garland of pearls. I won’t come bridegroom.
[ఓ రామయ్య! ముత్యాల దండొద్దు నాకు రానయ్య పెళ్ళికొడకా!]

Rama: Oh! Sitamma! I’ll give my life to you. I never leave you, come bride.
[ఓ సీతమ్మ! నాబతుకే నీకిస్తా. నిన్నుడిచి ఉండనంటా రావమ్మ పెళ్ళికూతురా!]

Sita: Oh! Ramayya! I’ll be with you. I’ll follow you. I will come with you bridegroom.
[ఓ రామయ్య! నీతో నేనుంటా. నీతోనే వస్తా పెళ్ళికొడకా!]

Then the marriage dances were performed. All of the viewers forgotten the time, we wondered by the expressions & body language exhibited by the oxen and cows according to the dialogues, songs and music of artist. How they could remind the movements according to the drama?

All of viewers praised their talent. There was the tradition to give bride and bridal marriage dress i.e. ‘Thalambralu’ dress to the artists in our house. People had given good rewards to them. Though I was young when I watched this dance play of Gangi reddu, but it was penetrated and stored in my mind, Later whenever I watch circus live or on T.V. I used to recall the memory of it.

In circus though the elephant play football, do cycling, the lions and tigers jump through the burning circles, it looks like feats to me. It looks like an action without feeling in my opinion. In circus, the animal’s feats are without the involvement and commitment of animals. The cruel restriction of trainers and the helpless obedience of animals are projecting in the feats. That is the difference between commercial art and idealistic art. Being cows and oxen, by remembering the song, beat, rhythm to show continued dance steps and body movements, is it not wonderful than the adventurous feats of circus? Is it not the art from heart? Such is the saturated level of folk arts of India.

I hope that the ancient and traditional arts of all races, in all over the world seem to be like this only. Like in India, they might be destroyed. That was the coup. To develop their business, the corporate companies had destroyed this entire heritage. By destroying the arts, cinema & T.V. can be developed as monopoly. So that it will be easy to make money. That is the motive of coup, who ever may be in behind this coup, C.I.A. or I.S.I. or Ramoji Rao?

I try to explain this at my level best. The ancient arts, folk arts are direct exhibit arts. Cinema and T.V. are indirect exhibit arts. On stage when a drama is playing by artists, no possibility of dialogue dubbing. If any tape recorder etc is used to give dubbing, the drama will get failure. The artists can’t depend on any other trick or technology except on his or her own talent and capacity.

In cinema, if the artist is not capable to say dialogue, dubbing is available. What is action without saying the dialogue? Again, artist has no need to sing. Play back singing is available. The worst thing is dupe action. If the artists are not capable to do a feat, dupe will perform it. Camera trick can be used for it. But the entire thing will keep under cover and the artist i.e. hero or heroine etc can give image as if they done such adventure. Hence the drama or stage play or direct art is confined with truth and the cinema is confined with false.

The most worst thing, I will explain to you. If the actor is unable to give right expression of angry or sad etc, the cameramen will do another feat as focusing the camera on that actors face in an angle from x0 to y0 repeatedly and the music director do an extra feat by giving repeated music bit for each camera flash. Thus audiences should emboss that the so-called actor had shown so and so expression as the director of the scene forced us to feel such.

As concern as music also, stage show i.e. direct presentation of music can create resonance among the singer and listeners. Both the singers and listeners can share same emotion, same feeling and same wavelength of art. Whatever the emotion of art from the artist, it can be received by the listeners or viewers.

But with indirect presentation i.e. through electronic media such as C.D.s, movies, and T.V., there is no possibility of sharing of emotion and feelings with art among producers of arts and receivers of arts.

Take example of music, some time back, there was a hit album of Shankar Mahadevan and S.P. Bala subramanyam, by name breathless. It was famous and popular. Later it was known, as the singers didn’t sing continuously without taking breath, they recorded it on 7-track system with breaks. But it was heard that some non-popular singer had sang breathless on stage show.

Such that there is high possibility of showing unworthy, incapacity as worthy and capacitive, with electronic media. Actually, with electronic media, we have other advantages such as the art can be preserved permanently though the artists would pass away. Though the great singers, actors like M.S. Subha Lakshmi, Ghantasala, Rafi etc singers, N.T.R., S.V.R., Savithri etc actors had passed away, we are able to enjoy their arts because of electronic equipments.

But there is disadvantage of deceive, cheat such as giving image to non worthy people as worthy artists. As well as we cannot share the emotion, we cannot experience the resonance of art. In fact, the resonance experience among the artists and receiving people is very high, and happiest. It has to be experienced. Nobody can explain about it to anybody.

To experience such feeling, such happing, now the youth and the public are attending discotheques and pubs. But there is no such healthy divine happiness, pure joy in discotheques and pubs because there is the tinge of smokes and liquids such as cigars and liquors.

Saturday, March 6, 2010

Coup On Arts – 15 [Indian Folk Arts]

Not only folk stories, folk arts also, have maturity in thinking’s and in ideas. So many folk arts had ruined because of non-patronize. Leather idols show, Bagavathula Ata, Pagati Veshaalu, Dappu Dances, Padya Nataka i.e. Dramas, Katha Kalakshepam, Ashtavadhanam, Sathavadhanam, Kavya ganam, Goshti, sode etc etc. There was a genetic and traditional relationship in between the Dappu sound i.e. Drum beat and Indian blood. In the loud decibels of Taj, Baj, Disco etc etc musics, folk music has anchor up the Indian heart. Recent Telugu movie song

“ రబ్బరు గాజులు ..........
రిబ్బను, పువ్వులు .........
నువ్వంటే పడిపడి చస్తానే “

That means, I’ll give rubber bangles to you

I’ll bring ribbon flowers for you


I love you like anything.

I’ll die for you.

Such folk songs, such drum beats, fill response in the hearts of Indians from 2 years kid to 80 years old people. That is genetic. No disco, no jaj, no pop, no Indi-pop etc etc has that much echo in the Indian heart.

In Veyi Padagalu, i.e. Thousand snake’s hoofs written by Sri Viswa Nadha Satyanarayana in Telugu have detail description of ancient folk arts. At the time of Sankranthi festival, the artists of Gangireddu i.e. oxen play will come to villages to show their art. I read one incident regarding this Gangi reddu. I wish to narrate it to you. I forgotten the author’s name and I’m sorry for it. According to the author…

One day, the author was brushing his teeth with a twig of Neem by sitting on the outer bench beside the compound wall of his house in the morning. There came a team of artists of Gangi Reddu. But two artists were bent by covering white cloth, dancing like an ox with suitable get up. The music was with full beat of drums and shahanaw. They were dancing according to the rhythm of music with the movement of ox. The author was watching it. He noticed the talent of artists. The artists also watched the keen observation and appreciation of the author in his eyes. The dance and music was in high pitch. The author wanted to test the involvement of artists. He took a small mud stone and thrown it to waist of ox i.e. actor who were dancing like ox. When it touched their waist, just like an ox, the artist had shrugged his waist.

All the audience shouted with joy. It was not as per script, as per pre-planned. It was just spontaneousness. It was the same frequency of viewer of art and artists. Are we enjoying such lively-ness, concentration and commitment in arts? Are we enjoying such resonance [same frequency] among art exhibitor and art receiving persons, whatever the art may be, music, dance or drama?

I narrate you another incident which I experienced in my childhood. Once there came Gangi reddu artists to my grandfather’s place i.e. Sangadi Gunta in Guntur. They performed a show of Sita Rama Parinayam of Ramayanam. That means it was the marriage episode of Sita with Sri Rama. In that team, some artists were making music with instruments like dappu i.e. drum and Sehanai etc. The oxen and cows had decorated with colorful clothes, beeds, garlands, bells and belts. Some artists were singing the songs, saying dialogues and narrating the story. One ox named as Raja Dasaratha, one as Sri Rama and a white cow named Sita. The artists were singing, the oxen and cow were dancing. In the drama, the artists said, “Look! Ramayya is angry with Sitamma. He is displeasure with Janaka Raja.”

The ox, Sri Rama was dancing with high speed. The tinklets and small bells in its neck and on four legs were giving rhythmic sweet sounds, which were like background music to the song of artists. The ox, Janaka was taking rounds around Sri Rama and was acting to convince him by licking its dewlap. When Janaka ox came this side, the Rama ox was turning to other side pretending angry. Both were putting steps rhythmic to the music beat. Both the oxen had shown different steps, exposing displeasure and pleasing. Janaka & Rama oxen acted for the song as

Janaka: “Oh! Ramayya! I will give silk Dhotis, come bridegroom.
[ఓ రామ పట్టుపంచెనిస్తాను రావయ్యా ఓ పెళ్ళికొడకా!]

Rama: Oh! Mamayya! I don’t need silk Dhotis. I won’t come.
[ఓ మామయ్య! పట్టుపంచెలొద్దు నాకు రానయ్యా ఓ మామయ్య!]

Janaka: Oh! Ramayya! I’ll give crop. Come bride groom.
[పొలం పంటనిస్తాను రావయ్యా పెళ్ళికొడకా!]

Rama: Oh! Mamayya! I don’t need crops! I won’t come.
[పొలం పంటలొద్దు నాకు రానయ్యా ఓ మామయ్య!]

Janaka: Oh! Ramayya! I’ll give my daughter a good girl.
[మాపిల్లనిస్తాను, మంచిపిల్లనిస్తాను రావయ్యా పెళ్ళికొడకా!]

Rama: Oh! Mammayya! I’ll come. I’ll come.
[అట్లయితే వస్తానయ్యా మామయ్య! వస్తానయ్యా మామయ్య!]

At the end of song, both had shown same steps of dancing. After that the singers said, “Now Sitamma had displeasure to Ramayya. Look! She is going. Dasaratha Raja! Go to Sitamma. Do pleasing her. Pet her.”

Wednesday, March 3, 2010

Coup On Arts – 14 [Six Guests From Two Saints]

Bhatti rushed towards them immediately. He prayed “Oh! Saints, today there is a ceremony in my house. Please come to have lunch. Do come.” The saints accepted his invitation. He brought them to palace in the fort and introduced to Vikramaditya. By that time, Vikramaditya rethought about the issue and sensed something wrong somewhere, because Bhatti was not such kind of immoral man to enjoy other’s wife. By watching guests, with Bhatti, he could thought “I should follow Bhatti activities. Though I’m not able to understand, what is happening, let me wait and see. I have confidence on Bhatti.”

He received the guests with cardiology and treating them as a host. Bhatti went into the kitchen and asked Pravala Valli “Sister-in-law. You are like my mother. I want to know, that how much rice you are cooking for us every day.”

She said “Three forth of Padi.”Padi means 1 ½ kg, in ancient measurement. He said “Well mother! Today you cook 2 ½ Padi of rice, dal and other curries in relevant proportion. Prepare nice lunch.”

She said “Okay.”

Bhatti prepared 10 leaf plates to take lunch. He arranged the leaf plates in a room and kept water tumblers. At the lunch time he asked Pravala Valli to serve all the dishes in all 10 plates. He asked to sit two saint guests in front of two plates. They sat, he asked Vikramaditya to occupy a seat, he done so. Bhatti sat in front of another plate. He asked Pravala valli to occupy a seat. She had done so. Five more vacant places were there. Everybody was watching Bhatti with curiosity. Bhatti said with saints “Fathers! You are saints. You know all the Dharma. While we take food, we should not make our co fellows to fast. So please be kind to me. You please allow your wives whom you hide in your hair knots.”

The saints were shocked in beginning. They thought, “This man might know our secret. No alternative to us.” They chatted magic word and allowed the women to sit in front of two more plates.

Bhatti said with the wives of the saints “Mothers! You know that it is not right to take food by keeping our co-members on fasting. Please be kind to me. You please release your lovers whom you hidden in your blouses.”

They frightened first, later thought “We have no alternative. This man had declared our secrecy.” They chatted magic word and allowed the men to sit in front of two more plates. One more plate was vacant. Everybody was with anxiety; Bhatti turned towards Pravala Valli and said, “Mother! Same Dharma with you, you please call your lover whom you hidden inside the rooms to take lunch.”

With shock, she called the washer-man to have lunch. All of they had lunch. Later the saints said, “We are saints. We have magic powers to travel in air etc but we didn’t over come arishadwargas. We thought that our wives are sincere. Now we are leaving them and we want to concentrate on devotion. Let them marry their lovers and lead fresh life.”

Bhatti said “Brother Vikramaditya. What you decide for Pravalla Valli?”

Vikramaditya said, “Brother Bhatti, I didn’t marry Pravalla Valli by loving her. We wanted to test her talent in doing prostitution. We tested her. No doubt, she is talented. We must appreciate her regarding that. Let her marry this washer-man.”

Every body agreed. The saints’ wives had married their lovers; Pravala Valli had married washer man. Bhatti and Vikramaditya made the washer man as the king of that fort, and the lovers of the saint’s wives as ministers to him. They made the people of Kalakanta puram, the previous kingdom of Kala Dharma to pay the taxes to the king.

The saints blessed them all and went by air. Bhatti and vikramaditya returned Ujjain as their period of tour was completed.

That’s the entire story.

In this story, though the talent in sex is not described, the fabrication of the story shows the maturity level regarding sex in villagers. This we can say because this story is a folk story.