THIS POST IS CONTINUED FROM PART 3 -BELOW--
Mohiniyattam depicts Lasya – mind you this dance was branded a a dance of TEMPLE WHORES by Jew Rothschild and the British govt actually banned this dance by a govt law .
The term Lasya, in the context of Hindu mythology, describes the dance performed by Goddess Shakti ( Pragati ) in anticipation of the joy of union with Shiva ( Purusha ) and thus creation -- it is filled with grace and beauty.
Shakti danced the Lasya in response to the male energy of the cosmic dance of Tandava performed by Lord Shiva.
The union of two triangles is the six pointed star –stolen by Jews
Tantra is NOT perverted sex as made out to be by the white invader .
Shiva and Shakti are one and the same.
There is no place that He is not.
There is no place that She is not.
They are one and the same.
She is in every thing.
She is in every word.
She is all there is.
See Her in all things.
Hear Her in all sounds.
Know Her in all thoughts.
Feel Her in all feelings.
She is all there is.
She is the one in the three worlds.
Shiva and Shakti are one and the same.
That is the secret.
Tantric art has captured the images of the Purusha and his consort, Pragati, in ecstatic union. This is NOT perverted sex.
Purusha and Pragati is expressed as Shiva and Shakti in the same body 50:50 – this is NOT a she boy or a transgender . It is a mindboggling, intelligent concept.
Purusha is the embodiment of pure consciousness, and Pragati as the embodiment of pure energy.
Both Shiva and Shakti are Consciousness---- Shiva is the changeless static aspect of Consciousness, and Shakti is the kinetic, active aspect of the same Consciousness.
Through uniting with Purusha , Pragati gave form to his spirit and created the universe.(we are talking about CREATION OF THE COSMOS here- not street side sex as figured out by small minds)
When the insentient Prakriti comes in contact with the sentient Purusha , the universe evolves.
Purusha symbolizes consciousness, the masculine principle. Pragati symbolizes the feminine principle, the activating energy. Sometimes at home I wonder how myself and my wife are like this concept.
The cosmos in all its manifestations, as an act of love. The relationship between say- Shakti and Shiva is the dance of consciousness and energy experienced within each of us, regardless of gender.
Shiva resides in the highest Sahasrāra Chakra and Shakti in the lowest Mūlādhāra Chakra. When Prakriti and Purusha unite in the Sahasrāra Chakra ( raising of Kundalini ) , knowledge, knower and the object of knowledge become one.
Sankhya thus is a theory of evolution and understanding the universe. Prakriti cannot be perceived, not because of its non-existence, but because of its subtlety. It is perceived in its effects.
The eternal and indestructible union between Shiva and Shakti gives birth to the whole Macrocosm, in its stable, static aspect as well as in its dynamic one. Not only is Shakti responsible for creation, it is also the agent of all change
Shakti is manifested by Shiva only during creation and is withdrawn into himself at the end of creation. This is for the perceptive.
Modern science repeats from our Vedas that matter and energy are interchangeable. So does consciousness and energy . In the highest planes they are interchangeable, which is why we see a great incongruence between our spiritual experiences and the external reality.
In the higher metaphysical realms and subtle planes of our consciousness the physical laws of our universe lose their validity.
Tayor yad yamalam rupam sa samghatta iti smrtah---
Ananda-saktih saivokta yato visvam visrjyati,
Na Sivah Saktirahito na Saktih Sivavarjita. ---(Tantraloka-Ahnika, 3.) 5000 BC
"The coupled form of these two (Shiva-Shakti) is called junction. That is called the blissful Shakti from which creation arises.
There is no Shiva without Shakti, nor Shakti without Shiva."
Samkhya as you can see was a masterpiece of modeling the ways of the inner universe.
The union of Shakti with Shiva by Kundalini rise is the liberation of seeker from the cycle of endless birth and death.
MOHINIYATTAM IS THE DANCE OF SHAKTI ( PRAGATI )..
SHIVA TANDAV IS THE DANCE OF SHIVA ( PURUSHA )
KATHAKALI ENCOMPASSES BOTH DANCES
MOHINIYATTAM IS NOT ABOUT DAMAYANTI SEDUCING NALA-- OR RADHA SEDUCING KRISHNA – OR SHAKUNTALA SEDUCING DUSHYANTA – ALL FAKE STORIES CREATED BY JEW ROTHSCHILD
LORD GANESHA UNTIES THE MOOLADHARA BANDHANAM ( KNOT ) FOR HIS MOTHER TO TIDE UP AND MEET HIS FATHER AT SAHASRARA CHAKRA.
ALL THIS IS BEYOND THE INTELLIGENCE OF THE WHITE MAN
Shiva is NOT a mortal as told byy idiots like Amish Tripati and Devdutt Pattanaik.
Shiva is a cosmic allegory personalized in our Puranas.
Puranas were for people who had NO access to the vedas before it was penned down in 5000 BC. It was a right decision as transmitting the voluminous vedas orally for 330 centuries is the greatest feat of man.
We all heard of Shiva’s tandav dance
It is a cosmic event
The instruments played in Tandava are 'Nada Pradhan' (Percussion instruments) with echo effect
Tandava' dance form has sub-classifications :-
'Tripur Tandava': The dance performed by Lord Shiva after killing the demon Tripurasur reflected Courage (Veerta) and Extreme anger (Roudra) and is known as 'Tripur Tandava'. The 'Bols' of this dance form are mostly in 'Adi Laya'.
'Anand Tandava' : After Shiva had slayed 'Tripurasur', Goddess Uma (Parvati ) performed 'Lasya' dance which is an embodiment of Pleasure (Ullas) and Excitement (Umang) which pleased the angry Shiva. This dance is known as 'Anand Tandava'.
'Gauri Tandava': In this dance form, Shiva and Parvati dance together in 'Shringar Rasa'.
'Kalika Tandava': In order to destroy evil and wicked, Shiva dances expressing his Bhairav form, which is known as 'Kalika Tandava'.
'Sandhya Tandava': After the death of his wife 'Sati', Shiva carried her dead body on his shoulders and danced while in mourning. This dance starts with Karuna Rasa and ends with expressing Roudra (Extreme anger) and Bhayanak Rasa (Terrible). This dance form is known as 'SandhyaTandava'.
'Uma Tandava' : This dance form stresses the conjugal affection, love and attraction in its purest and simple form.
'Samhar Tandava' : The destruction of entire universe is reflected in 'Samhar Tandava'
After the demon 'Tripurasur' was killed by Lord Shiva, he danced in rage i.e. Tandava. Then to pacify and please him, Goddess Uma (Parvati ) performed a soft and Shringarik dance, which is called 'Lasya'.
The Raas Nritya of Mohiniattam owe their origin to 'Lasya'.
Three types of Lasya Nritya are practised today :--
'Vikat Lasya': The dance form in which Laya, Taal, Bhavas are exhibited while performing, is called 'Vikat Lasya'.
'Visham Lasya' : By using 'Bhramari' through horizontal, circular and slanted movements, special footwork in Laya based dance, 'Visham Lasya' is performed.
'Laghu Lasya': By producing sound on earth through anklets and through Anchit Kunchit Padvinyas, 'Laghu Lasya' is performed.
Shiva's Tandava is a vigorous dance that is the source of the cycle of creation, preservation and dissolution. While the Rudra Tandava depicts his violent nature, first as the creator and later as the destroyer of the universe, even of death itself; the Ananda Tandava depicts him as enjoying.
Shiva as Nataraja is considered the supreme lord of dance. His son Ganesha too is a master of dance
The 32 Angaharas and 108 Karanas are discussed in Natya Shastra, Tandava Lakshanam chapter.
Karana is the combination of hand gestures with feet to form a dance posture. Angahara is composed of seven or more Karanas. 108 karanas included in Tandava could be employed in the course of dance, fight, and personal combats and in other special movements like strolling.
Shiva’s tandav is a pictorial allegory of the five principal manifestations of eternal energy:--
( not of a mortal corpse eating sexual predator, who was screwing the wives of the Sapt Rishis behind their backs when they were meditating in Deodhar forest . Sapt rishis are 7 stars of the Ursa Major )
The five principal manifestations of eternal energy are--
Srishti - creation, evolution
Sthiti - preservation, support
Samhara - destruction, evolution
Tirobhava - illusion
Anugraha - release, emancipation, grace
Thus Tandava symbolizes the cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death.
Tandava, as performed in the sacred dance-drama of southern India, has vigorous, brisk movements. Performed with joy, the dance is called Ananda Tandava. Performed in a violent mood, the dance is called Rudra Tandava.
After destroying Atlantis Shiva dances the Tripura Tandava
Again Shiva is a cosmic allegory.
In Dvaita Vedanta Shiva is an opposite pole to Brahma
Inherent in the BrahmAn ( the morphogenetic consciousness field ) is the TRINITY of Hindu Gods BRAHMA/ VISHNU/ SHIVA as CREATOR / MEDIATOR/ DESTROYER – each a sub force field ..also known as TAMAS / SATTVA / RAJAS .
Tamas and Rajas are opposing fields like positive and negative while Sattva is neutral. This is represented by the Trident ( trishul ) of Lord Shiva, where the centre prong SATTVA is the midpoint of duality, between TAMAS and RAJAS .
In Dvaita Hinduism opposite poles Tamas and Rajas are conscious of each other. Tamas creates Rajas, and Rajas activates/ excites Tamas.
7000 year old Vedas say that the only constant in the cosmos is change, everything is in a state of flux, nothing is static-- everything is vibratory. This is what guarantees growth and evolution.
This is NOT like Darwin’s mindless evolution from man to monkey.
This dance of opposite forces concept was lifted and termed as Yin Yang , by the Chinese after this concept was introduced there by Bodhi Dharma .
It is a cosmic spiraling dance of separate opposing forces, which sustains this universe. No life is possible on earth without this subtle tension . What has a front has a back-- what has a beginning has an end.
Brahma / Vishnu / Shiva work in tandem and perfect harmony—amazing cosmic allegories personalized as Hindu Gods.
One cannot exist without the other and they are dependant . No phenomenon in this universe is completely devoid of its opposite. They consume each other yet support each other.
Whatever is in excess gets reduces, whatever is deficient gets replenished.
You must ponder over each waxing-waning cycle to appreciate the absolute truth . They keep each other in check, yet provide fuel to feed off each other.
The white invader cooked up cock and bull stories, how the three trinity gods held competitions to see who is stronger ? This white lie is now sunk forever – never to resurface . Let the Shaivites and Vaishnavites wedged apart by the FAKE mutts of the white invader ( divide and rule ) know this truth today.
They have their female consort wives Saraswati/ Laxmi/ Parvati without which they are powerless –I will come to that later in TEMPLATE NO 3.
Yang elements are clear and obvious while Yin elements are subtle or hidden behind the quantum screen..
It is a perfect tango of dynamic balance where one polar opposite changes into another smoothly and constantly .
If the restraining balance or equilibrium is lost by the mediator ( Vishnu ) , the universe will spiral out of control and end. This is why Lord Vishnu is called the PRESERVER god.
As for the opposing forces TAMAS/ RAJAS ( Brahma/ Shiva ) it really does NOT matter as who is who, like in AC electricity-where you can plug into the socket both ways.
This principle of Dvaita Hinduism -- Tamas Rajas , which are rooted together , is present in every phenomenon on earth. Vedanta has recorded 7000 years ago, that energy transforms from one to another—it can neither be created or destroyed.
These two opposing forces are natural and transform each other , in perfect harmony. Harmony can never be stagnant . Lessening of Tamas always results in increase of Rajas and vice versa.
Balance can never be permanent— Tamas and Rajas continiously devour each other – and life flows on.
Few examples of this eternal cycle of inter dependant reversal and immediate exchange are:--
Particle/ anti particle
Black hole/ quasar
Aerobic bacteria/ anaerobic
Potential energy/ kinetic energy
Gather / disperse
Electron balance/ counterbalance
Positive pole/ negative
Magnetic North/ south
Counterclockwise vortex/ clockwise
Organic / Inorganic
Gravity / Antigravity
Pull / Push
Tamas influences Rajas not only from inside but also from outside.. they are rooted together. Tamas and Rajas are connected through consciousness. It is about the quantum possibility wave vibration between two poles.
Ancient Vedic Indian rishis in 9000 BC on the banks of the river Saraswati, firmly believed that the invisible below the quantum screen gives rise to the visible. So either Tamas or Rajas is visible – never both.
Together the TRINITY - THE SECOND TEMPLATE express the supreme BRAHMAN - THE BASE TEMPLATE at absolute peace with itself.
This universe cannot exist without vibrations between two poles. To the spiritual eastern mind, the story of SAMUDRA MANTHAN produces amazing acts of faith like the Kumbh Mela , which has been going on for 6000 years.
The Devas Asuras doing pull and push is represented by Samudra manthan, where mount Meru is used to churn the oceans for Amrit ( Ambrosia ) in a to and fro movement , representing vibrations- by 54 Asuras and 54 Devas making the number divine Hindu number 108.
In the divine geometry Sri Yantra TRIPLE INTERSECTIONS are at 54 points—but 108 is the divine number in Sanatana Dharma.
The male TRINITY gods have the female TRINITY goddesses too in a supporting role. Quite often you see the Adhineshwara form of Shiva in temples where one side is male and the other side is female . Shiva is NOT a transgender as the petty minded white invader made it out to be. Such profound concepts are beyond their small minds.
The TRINITY male gods with their TRINTY female gods make up the number 108 related to Sri Yantra –the geometry of OM.
Jews have lifted OM and made it SHALOM, Christians made it AMEN, Muslims made it 786 ( whow OM symbol in mirror and read if from right to left )
The mind of god represented by the Sri Yantra is cosmic music resonating through hyperspace—the THEORY OF EVERYTHING is inherent in this mystic 3D geometry.
The musical analogies of maths , physics , chemistry, quantum particles and contained in this diagram in the form of notation, harmony , melody and notes.
THE TRINITY AND SHIVA/ SHAKTI ARE ON A TEMPLATE – A MORPHOGENETIC CONSCIOUSNESS FIELD CALLED BRAHMAN , WHICH SUSTAINS PERPERUAL MOTION BOTH AT MACRO AND MICRO SCALE
The dance performed by Shiva's wife Parvati in response to Shiva's Tandava is known as Lasya, in which the movements are gentle, graceful and blissful. Indeed Lasya of Mohiniyattam is the feminine version of Tandava. Lasya has 2 kinds, Jarita Lasya and Yauvaka Lasya.
When Sati (first wife of Shiva, who was reborn as Parvati) jumped into the Agni Kunda (sacrificial fire) in Daksha's Yajna and gave up her life, Shiva performed the Rudra Tandava to express his grief and anger.
The Shivapradosha stotra says when Shiva performs the Sandhya Tandava, the other gods like Brahma, Vishnu, Sarasvati, Lakshmi and Indra play musical instruments and sing Shiva's praises.
Ganesha, the son of Shiva, is depicted as Ashtabhuja tandavsa nritya murtis (Eight armed form of Ganesha dancing the Tandava) in temple sculptures. The Bhagavata Purana talks of Krishna dancing his Tandava on the head of the serpent Kaliya.
ALL HINDU GODS EXCEPT VISHNUs HUMAN AVATARS ( VAMANA/ PARASHURAMA/ RAM/ KRISHNA/ AYYAPPA ) ARE COSMIC ALLEGORIES .
ONLY VISHNU ( THE MEDIATOR ) HAS HUMAN AVATARS –NO OTHER GOD HAS IT.
IF YOU COME ACROSS ANY STORY WHERE SHIVA OR BRAHMA OR ANYOTHER GOD HAS AN AVATAR, IT IS FAKE – CREATION OF JEW ROTHSCHILD .
THERE ARE EVEN RIDICULOUS AVATARS LIKE SOME GODS SWORD –ARE WE FUCKIN' MONKEYS ?
THE HUMAN AVATARS OF VIHNU WERE MORTALS WITH 13 STRAND DNA OR MORE , WHO SUBJECTED THEMSELVES TO THE LAWS OF KARMA
When Parvati turns into Kali ( black hole ) she destroys recklessly like a comic tornado and only Shiva can stop her.
Shiva flings himself before Kali -- when his devoted wife steps inadvertently on the chest of her husband she puts out her tongue in shock and stops in her tracks
Below: CUNTS wont understand --the difference between a mortal and a cosmic allegory !
Below: Lord Ayyappa is Vishnu's 9th avatar. Jew Rothschild inserted Buddha -- a mere mortal who struggled for salavation.
So we have cosmic allegories Vishnu and Shiva having ANAL SEX ?
Above: PM Modi gave this fellow (who dyes his beard and hair) India's second highest award!
Below: Kathakali KANNUSADHAKAM
KATHAKALI TODAY HAS BEEN HIJACKED BY THE FAKE GITA GOVINDA OF THE FAKE AND BACKDATED ROTHSCHILD CREATION POET JAYADEVA ..
THIS POEM UNITIALL CONTAINED SEXUAL SCENED BETWEEN RISHNA AND THE FAKE RADHA AND THE GOPIKAS OF VRINDAVAN. AFTER OBJECTS FROM ORIGINAL HINDU MUTTS, THE SEXUALLY EXPLICIT INTERCOURSE SCENES WERE TAKEN OFF .
THE KATHAKALI MELAPPADAM ALWAYS STARTED WITH THE VERSE FROM GITAGOVINDA
iha vilasa rati-rabhasa-hasita-vadane ||1||
praviśa rādhe mādhava-samīpam |
kuru murāre maṅgala-śatāni |||dhruvapadaṃ ||
iha vilasa kuca-kalaśa-tarala-hāre ||2||
iha vilasa kusuma-sukumāra-dehe ||3||
iha vilasa madana-śara-nikara-bhīte ||4||
iha vilasa ciram alasa-pīna-jaghane ||5||
iha vilasa madana-rasa-sarasa-bhāve ||6||
iha vilasa daśana-ruci-rucira-śikhare ||7||
bhaṇati jayadeva-kavi-rāja-rāje ||8||
JAYADEVA AND RADHA NEVER EXISTED.
WE IN INDIA NEVER HEARD OF THEM TILL THE WHITE INADER CAME TO INDIA
The FAKE creation of Jew Rothschild Radha is Krishna's sexual partner in a secret and exclusive love, contrasted in the poem with the circular rasa dance Krishna performs with the entire group of 16000 cow- herdesses. Krishna disappears after this dance, deserting the cowherdesses; but he stays with Radha to admire and ornament her. Her relationship with Krishna culminates in their sexual union and mutual "victory" (jaya) over each other. In Jayadeva's view, the profound sexual intimacy of Krishna's concentration on Radha, in contrast with the diffusion of erotic energy in his play with the cowherdesses, is the perfection of Krishna's nature.
Chaitanya Mahaprabhu worshipped by ISKON is considered an incarnation of the divine lovers- Radha and Krishna
CHAITANYA IS A FAKE AND BACKDATED CREATION OF JEW ROTHSCHILD. EVEN OUR BONG PRESIDENT IS DOING PROPAGANDA FOR CHAITANYA
WE IN INDIA NEVER HEARD OF CHAITANYA MAHAPRABHU TILL THE WHITE INVEDR CAME TO INDIA
The FAKE Radha has been injected by Jew Rothschild in the Matsya Purana , Linga Purana , Varaha Purana , Padma Purana , Brahmavaivarta etc . The injection is a shoddy job and sticks out like a sore thumb
AT EVERY DESH DROHI LITERARY FEST THEY DISCUSS GITA GOVINDA AND JAYADEVA COMPULSORILY
What is below is a MORBID imagination of a stupid and slimy white man , not the mature spiritual writing of a devotee to his god –( Remember vivid lust sex and semen has been deleted )
Krishna, removing cow-dust from Radhika
With the breath of your mouth,
You sweep away the high esteem
These other cowherdesses have for you.
Let nailmarks Radha makes remove your pain —
They are rich with mood.
They are shining on Krishna's chest
Like his magical kaustubha gem.
Angered in sensual play, she lost her mood for love
In the rasa dance on sandbanks of the Jumna river.
When Karhsa's foe followed Radhika
As she left in a choking veil of tears,
His body hairs seemed to bristle
From his steps touching her footprints
And from her calmed, loving looks —
May you prosper from Krishna's innocent plea!
Say, friend, if all is well still with the bowers
that grow upon the Jumna bank,
companions to the dalliance of cowherd girls
and witnesses to Radha's love.
Now that there is no use to cut their fronds
to make them into beds for love,
1 fear their greenness will have faded
and they grown old and hard. (2.6)
Gracious love, RadhS is difficult indeed to please —
her tears fall even as you wipe them away
With the cloth that covered some true love's loins.
"Women's hearts are hard, so enough flatteryl Leave me alone!"
He was told this whenever Hari tried to placate her —
I have recently left Gokula, and the thought of Radha
Confounds me out of sleep — let it leave my bed and let 'Radha'
Stop coming in place of other names by day! I am afraid of this!"
May Hari's fatigue protect you!
While Krishna was kissing swarms of glowing nubile women,
Radha became most befoved for his joy — tike jasmine for a bee.
Then in the morning, having mounted the armed chariot,
Akrura, Balarlma, and Krishna went to Mathura with their retinue.
"How could I have come here without bidding farewell to Radha?"
Madhava sighed, felt discontent, languid, anxious at leaving.
Going by way of hidden places in secret thickets o£ Gokula,
Krishna looked longingly, his face turned back,
The border of his garment held by his friend the forest earth-
He recalled Radha's "No! No! No'" while he loosened her skirt knot
( WHAT FOLLOWS AFTER LOOSENING THE SKIRT IS CENSORED –ONY A WHITE MAN CAN IMAGINE ALL THIS PERVERSION )
Passion rose secretly in the cowherd girls
And frenzy struck them again and again.
Since Krishna had gone away without speaking
In his zeal to show deference in the presence of the ciders,
Doe-eyed women who carelessly slept on cool ground under bakula trees.
When they met him in dream embraces,
Made their slender creeper bodies echo their words by writhing —
"Rogue, let go! Let go, cheat!" the young women loudly cried.
With tears, flowing away like life in Madhava's desertion,
Falling on her breasts' firm tips, Radha was like a laden kadamba tree
As tears were strewn by her endless sighing and trembling gait —
IMAGINE KATHAKALI DANCERS HAVE BEEN ARM TWISTED TO DANCE TO THIS NONSENSE
Below: Koothu -- this form is older than Kathakali-- the actor spoke . When the king raised his finger the drummers would beat .
Koothu is one of the oldest classical arts of Kerala.
All ancient Kerala kings had a Vidhushaka – a court jester—usually an intellectual who knew the BREVITY IS THE SOUL OF WIT.
A VIDHUSHAKA WAS CONSIDERED AS THE MOST VALUABLE GEM IN THE COURT
A fine blend of social satire, mime and comedy, the Chakyarkoothu is usually presented in the traditional temple theatre Koothambalam or Koothupura.
Here the actor speaks thought provoking stuff with an enormous punch—the audience just loves him.
Vidhushaka makes a thorough critical analysis of the socio-political milieu, its degeneration, its impact on the society and solutions to overcome the damage, by narrating the story of a village and its members.
He weaves his tale by dissecting different classes of the society and pin points the negatives with apt examples that are of significance..
The Vidhushaka’s suggestions to achieve the four pillars of dharma – purushaaartha, dharmaartha, kaama, and moksha (duty, wealth, desire, and salvation) – is indeed thought-provoking.
He explains these with humorous dialogues, quotations and verses in Sanskrit, Malayalam and Manipravalam. He moralises and his armoury satire and innuendo has some times no relevance to the theme of the play.
The vidushaka (clown) is a noble, good-hearted, blundering fool, the trusted friend of the hero.
A bald-headed glutton, comic in speech and manners, he is the darling of the spectators. The distinctive feature of this performance is the funny twist he gives to many stories.
All the mythical figures (especially the villains of the piece) are interpreted in a satirical way. Even the great tragedies become comedies.
In ancient times there lived a King in Kerala , who was very fond of poetry. He chose an accomplished poet to be his minister; such was his desire to listen to good poetry.
Sadly though, the new minister was not a capable administrator. He had a soft heart, and other people soon started taking advantage of him. The court’s Vidhushaka decided to help the foolish king understand his dharma. He employed a carpenter as the palace cook.
The new cook cut vegetables as if they were pieces of wood; the curries he made were quite tasteless. When the king enquired, the Vidhushaka drew a parallel between the situation in the country and that in the king’s kitchen.
The significant point to be noted is that the Vidhushaka ( of Chakyakoothu ) is beyond criticism- PERIOD ..
If you don’t like what he says—don’t come. .
This applied to powerful kings too .
In ancient days , kings used to be present for the performance, and many a time they were openly ridiculed – but none of them talked back, as is tradition.
If one does so, the Chakyar will no longer perform at that venue—and people would be upset with their king .
One can see how this must have served the purpose of feedback to the ruling class.
The things people were afraid to say in public, the Chakyar told the king to his face: and he had to bear it with a stiff upper lip.
And the humour took away any possible rancour which could have spoiled the situation. By laughing at himself, the king presumably was allowed revisit his policies with the emotional baggage stripped away.
This solo performance by an actor who dons the role of the Vidushaka (jester) is accompanied by the Mizhavu - (a percussion instrument) and Ilathalam (cymbals).
ASHWAMEDHA WAS NOT A BLOODY HORSE SACRIFICE AS TOLD BY WENDY DONIGER , SHELDON POLLOCK AND DESH DROHI JNU COMMIE PROFESSORS / LITERY FEST CUNTS
IT WAS A VOTE OF CONFIDENCE
YOU WILL BE AMAZED HOW TRANSPARENT OUR ANCIENT KINGS WERE-
THIS IS DHARMA .
AT SEA, THE SHIT OF CAPT AJIT VADAKAYIL DID NOT SMELL FOR HIS TOP BOSS
LESSER BOSSES AFTER BEING RAPED , WOULD TAUNT ME --
SAALA-- AJIT YOU ARE VIDHUSHAKA
May 18, 2014 at 1:47 PM
Was Birbal a good guy?
Capt. Ajit Vadakayil
May 18, 2014 at 2:17 PM
Birbal was a BRAHMIN.
Akbar trusted him, and this made the Muslim courtiers very jealous.
They constantly tried to sabotage the relationship between Akbar and Birbal.
But Birbal would outsmart his enemies every single time—and Akbar used to enjoy this very much.
But there was one time Birbal fucked it up.
Akbar was playing with his cute son on his lap.
He asked Birbal “ what is the thing which gives a man maximum joy ?
Akbar expected Birbal to say “ playing with his own son huzoor jahanpenah !”
Instead Birbal being himself said “ while he is having a nice shit “
Akbar got hoppin' mad.
One jealous oportunist Muslim courtier immediately drove a wedge -- : "if Birbal cannot prove his statement in 24 hours , he must hang “
Akbar used to go the a nearby lake every morning.
That morning Birbal woke him up saying that there is a very beautiful bird by the lake and Akbar must come immediately before the bird flies away.
So a large group, including members of the harem, rushed to the lake .
The bird was missing ( it was bull ).
Birbal said that he can see it on the other side of the lake— and a large boat was ready for this purpose.
So all piled on into the boat.
After sometime Akbar felt like going for his usual shit . The pressure of shit at his royal asshole was just too much.
Birbal kept delaying ( in connivance with the boatman ) – finally Akbar said he will shit in his pants in a few seconds — the situation was imminent
Finally Akbar was forced to shit into the lake – with Birbal providing a royal cover with a chaddar ( which was kept ready ).
While having this emergency shit , hiding from women , hanging on to the boatside for dear life — Birbal asked Akbar-- how he is feeling.
AKBAR REPLIED “ NEVER HAVE I FELT SO HAPPY AND RELIEVED IN MY LIFE “
Capt ajit vadakayil
Below: Kathaprsangam-- about beautiful UNNIYARCHA --Kerala's famous Kalari female fighter specializing in URUMI
Kadhaprasangam is an ancient performing art in Kerala more than 4000 years old. It combines speaking in local flavour Malayalam , acting, and singing to present a story.
There are no costumes, make-up, or settings. The main artist, Kaadhikan tells the story, act, and sings before the audience with two or three accompanying artists in the background playing the orchestra.
AS A CHILD I LOVED TO LISTEN TO MAHABHARATA AND RAMAYANA KATHAPRASANGAMS IN THE LOCAL TEMPLE
It typically is two hours long. Mimicy was part of this. Even today there re few on this planet who can beat a Malayali in mimicry
During British rule Christians have hijacked this to convert people to Christianity
The Kathakali recital is a treat par excellence for the layman and connoisseur alike and is indeed the true essence of Kerala, Gods Own Country.
The Kathakali dancer never stands erect. He is dictated by a conscious inner force. His angular movements, are tense and virile, he is a weaver who creates a mindboggling fabric of rhythms .
Powerful expression, religious fervor, and pantomime shall sustain Kathakali as the king among play acts
CAPT AJIT VADAKAYIL