Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
Share
Share our website with your friends.
Email this page to a friend
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Books > Performing Arts > Tantra Mantra Yantra in Dance: An Exposition of Kathaka
Displaying 1094 of 1258         Previous  |  NextSubscribe to our newsletter and discounts
Tantra Mantra Yantra in Dance: An Exposition of Kathaka
Pages from the book
Tantra Mantra Yantra in Dance: An Exposition of Kathaka
Look Inside the Book
Description

 

From the Jacket:

 

The Indian perspective has always been holistic and all-inclusive: thought and activity in different fields, at different level, have been interlinked to produce what has been timeless. Indian arts is a classic example of such amalgamation: it interlinks aspects of art, philosophy, mythology, religion, and mysticism. This book is an attempt to unravel such links with specific reference to the Kathaka dance form.

Dr. Ranjana Srivastava explores the roots of Kathaka dance form to reveal its sublime, philosophic, esoteric and divine dimensions. Focusing on inter-relationships, she unflolds how dance embraces other disciplines of Yoga - Tantra, Mantra and Yantra. She discusses the concept of Tantra and its approximation and application to the dance form - the way Kathaka absorbed the sacred knowledge within its form. She deals with the importance and aspects of sound in the Hindu religious scheme and its manifestation in Kathaka. Explaining the significance of the yantra as diagrammatic/geometric representation and the way it functions, she analyses the techniques of Kathaka which create distinct yantra formations both in the surrounding space as well as on the dancing floor. The study abounds in extensive notes to explain numerous terms and concepts and has references to noted works and authors on the subject.

The book will be useful to experts and student of Indian art and, in particular, dance and will interest general people keen to know more about India's art traditions.

 

About The Author:

 

Dr. Ranjana Srivastava, Reader, Kathak Dance, Faculty of Performing Arts, B.H.U., is anaartist, a performer, a researcher and a choreographer of international repute. She is credited with starting Kathaka Dimploma Classes from the scratch in the faculty of Performing arts, B.H.U., which has now grown into a Degree Course enrolling students from abroad. A disciple of stalwarts like Guru Vikram Singh, Pandit Shambhu Maharaj, Pandit Birju Maharaj, Pandit Sunder Prasad and Guru M.R. Kalyanpurkar she is a recipient of the U.P., Sangeet Natak Akademi Award. She is currently working on a University Grant's Commission. Spnosred major project: Dhrupada Nrtya: A Reconstruction.

Preface

LIKE all Indian arts, the Indian classical art form of dance Kathaka - the classical dance of north India - is sublime, philosophical, esoteric and divine. From the mundane to the transcendent, from the human body to beyond the physical form, from religion and aesthetics to metaphysics, the journey is not a simple linear growth, but rather a whole process of evolution and revelation in which one has to loose one's self in order to experience the ultimate joy/truth, Saccidananda. Nada-sadhana by the yogis and svara-sadhana by the sadhakas of sangtia is an important aspect of the spiritual discipline and culture of India, where Sangita is also referred to as Nada- yoga. It is, in fact, the process of the understanding and the realization of the inter-relatedness and the interdependence of the Indian arts. It is in this process that dance expands to embrace the other disciplines of Yoga, viz., Tantra, Mantra and Yantra.

My inspiration to write a book on Tanira-Manira- Yantra in Dance : An Exposition of Kathaka is largely a result of my growth and evolution as a student, artist, performer, teacher, and researcher of Kathaka dance, as well as my effort to integrate the traditional knowledge which I received from my late Guru, Vikram Singhji, largely in the form of an oral tradition, combined with a critical approach in an academic context after I completed my Ph.D. on Kathaka : Its Origin and Development (A Study based on Ancient and Mediaeval Sculptures and Paintings) under the supervision of Dr. T.K. Biswas, Jt. Director & Administrative Head, Bharat Kala Bhavan, BHU. My association with Prof. Prem Lata Sharma, Vice-Chairman, Sangeet Natak Akademi and Prof. Ranganayiki Ayyangar, Dept. of Musicology, BHU, further sharpened my questioning instincts. The book is also, perhaps partly, a reaction to the gross commercialization of Kaihaka both by the dancers as well as those in charge of preserving and promoting the Indian classical dances as a heritage.

Indian classical dance, Kathaka, is part of a vibrant living tradition, a cultural heritage of India. As part of a living tradition, Kathaka has constantly been evolving. I am witness to this process of evolution and growth for almost fifty years! As an art form Kathaka is a product of human organizational skills, aesthetic sensitivity and cultural enterprise. Besides, dance as a timeless art, as yoga, is perhaps only an elaboration of a coherent cosmic system, which helps transform the knowledge of principle into practice. The guru-sisya parampara was, in fact, the embodiment of such a tradition in which values and principles were bequeathed as a legacy from one generation to the other. In the words of Stella Kramrische, "Tradition thus is not only an oral transmission of information and beliefs from ancestors to posterity but also an inherited culture. It is a body of doctrine and discipline, put forth and revealed in the words of the Veda." (vide Exploring India's Sacred Art). The Veda teaches the means for the realization of a state which ultimately yields abiding satisfaction to man. According to it, it may be found in Brahman, Nada, Bhuman or Amtia. The Veda also emphatically states that man can never realize the object of the innermost yearning of his heart, what is Alpa or Martya in the Vedic terminology. Thus, sangita (music and dance) to be Upavedic or Vedic as a summum bonum, must partake of the character of Brahman, Nada, Bhuman or Amrta. The Chandogva Upanisad (1.24.1), defines Bhuman and Alpa as "Where a man does not see another, does not hear another, does not know another, there is Bhuman, and where he sees another, hears another, knows another, there is I Alpa' that which is Bhuman is immortal and that which is Alpa is mortal." According to Brahmasutra (1.3.8), this Bhuman is Para Vak, beyond the Pasyanti. The Bhuman or Para Vak, thus implies, extraordinary concentration on the Atman or Paramatman, which can only be made possible in an esoteric process, and sangita appears to be best suited and fitted as an instrument for use or employment in that process, for the reasons that it is the most tangible and the least utilitarian of all arts and it thus enables the human mind, more than any other art, to detach itself from worldly affairs and to engage itself in the contemplation of the Divine (vide Sangitaraja, ed. Prem Lata Sharma).

Another characteristic of Vedic Brahman, Nada, Bhuman or Amrta is that it is Saccidananda. The Vedic philosophy postulates that of the three aspects of Saccidananda, Cit is superior to Sat and Ananda is superior to Cit. Of the four Upavedas, Gandharva is considered pre-eminent, as it is derived from the Ananda Amsa of Saccidananda; the Dhanurveda and Sthapatya or Arthasastra are initially concerned with the gross matter (mahabhatas) and are thus derived from the Sat Amsa. The science or art of Ayurveda is derived from the Cit Arhsa of Saccidananda as it deals initially with Prana which is nearer to Bhuman or Saccidananda than is the gross matter of Dhanur or Sthapatya Upavedas. Gandharvaveda deals initially with sound (a Tanmantra) which is more close to Nada-Brahman Himself.

The Para Vak or Nada, in order to be seen, heard and known, must have a body or form. Nada must have a Tanu. The R.V.S. II, mentions the body of Nada :

Indian dance, if performed as a ritual, sustains a continuity both emotional as well as experiential, thus practise leading to meditation, which ultimately helps man to unravel the secrets of nature. The path is arduous and perilous because the journey is from the profane to the sacred, from illusion to reality, from man to divinity. There is in the process a complete metamorphoses in form, function and behaviour.

In the fast changing cultural scenario, with the doors and windows widely opened towards globalization, with a consumer-oriented approach, there has been an acute turn towards commercialization. In fact, with the advent of satellite television, there has been a revolutionary change in our methods of entertainment and education as well. It is perhaps only the aspect of artha (money) which seems to be fully validated. The horizon of Kathaka dance today, is wider than ever before. With an unprecedented increase in the number of dancers all vying for commercial success, the spectrum is much more colourful, the repertoire is, perhaps, much more secular with the presentation of new items and themes in works of fusion and choreography, the desire of the dancers for greater self-expression, bold enough to enunciate revolutionary trends; an effort to re-choreograph with a mixture of the old and the new, indigenous as well as foreign. Though the efforts are applaudable, yet I feel that somewhere and at some point, we are loosing out on the centuries old spiritual basel aspect of the dance form. What was this spirituality and what was the element of sentient? In what way did it manifest in dance? Kathaka especially.

CONTENTS
Preface   vii
Key to Transliteration Chart   xviii
List of Illustratins   xix
Chapter I: Tantra   1
Chapter II: Mantra   27
Chapter III: Yantra   53
Conclusion   87
Visuals   99
Glossary   117
Bibliography   131
Index   135

 

Sample Pages


Tantra Mantra Yantra in Dance: An Exposition of Kathaka

Item Code:
IDE166
Cover:
Hardcover
Edition:
2014
Publisher:
D. K. Printworld (P) Ltd.
ISBN:
978-81-246-0268-3
Language:
English
Size:
9.8" X 7.5"
Pages:
160 (Color Illus: 36, Figures: 8)
Other Details:
Weight of book 583 gms
Price:
$45.00   Shipping Free
Look Inside the Book
Add to Wishlist
Send as e-card
Send as free online greeting card
Tantra Mantra Yantra in Dance: An Exposition of Kathaka

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 11855 times since 3rd Dec, 2009

 

From the Jacket:

 

The Indian perspective has always been holistic and all-inclusive: thought and activity in different fields, at different level, have been interlinked to produce what has been timeless. Indian arts is a classic example of such amalgamation: it interlinks aspects of art, philosophy, mythology, religion, and mysticism. This book is an attempt to unravel such links with specific reference to the Kathaka dance form.

Dr. Ranjana Srivastava explores the roots of Kathaka dance form to reveal its sublime, philosophic, esoteric and divine dimensions. Focusing on inter-relationships, she unflolds how dance embraces other disciplines of Yoga - Tantra, Mantra and Yantra. She discusses the concept of Tantra and its approximation and application to the dance form - the way Kathaka absorbed the sacred knowledge within its form. She deals with the importance and aspects of sound in the Hindu religious scheme and its manifestation in Kathaka. Explaining the significance of the yantra as diagrammatic/geometric representation and the way it functions, she analyses the techniques of Kathaka which create distinct yantra formations both in the surrounding space as well as on the dancing floor. The study abounds in extensive notes to explain numerous terms and concepts and has references to noted works and authors on the subject.

The book will be useful to experts and student of Indian art and, in particular, dance and will interest general people keen to know more about India's art traditions.

 

About The Author:

 

Dr. Ranjana Srivastava, Reader, Kathak Dance, Faculty of Performing Arts, B.H.U., is anaartist, a performer, a researcher and a choreographer of international repute. She is credited with starting Kathaka Dimploma Classes from the scratch in the faculty of Performing arts, B.H.U., which has now grown into a Degree Course enrolling students from abroad. A disciple of stalwarts like Guru Vikram Singh, Pandit Shambhu Maharaj, Pandit Birju Maharaj, Pandit Sunder Prasad and Guru M.R. Kalyanpurkar she is a recipient of the U.P., Sangeet Natak Akademi Award. She is currently working on a University Grant's Commission. Spnosred major project: Dhrupada Nrtya: A Reconstruction.

Preface

LIKE all Indian arts, the Indian classical art form of dance Kathaka - the classical dance of north India - is sublime, philosophical, esoteric and divine. From the mundane to the transcendent, from the human body to beyond the physical form, from religion and aesthetics to metaphysics, the journey is not a simple linear growth, but rather a whole process of evolution and revelation in which one has to loose one's self in order to experience the ultimate joy/truth, Saccidananda. Nada-sadhana by the yogis and svara-sadhana by the sadhakas of sangtia is an important aspect of the spiritual discipline and culture of India, where Sangita is also referred to as Nada- yoga. It is, in fact, the process of the understanding and the realization of the inter-relatedness and the interdependence of the Indian arts. It is in this process that dance expands to embrace the other disciplines of Yoga, viz., Tantra, Mantra and Yantra.

My inspiration to write a book on Tanira-Manira- Yantra in Dance : An Exposition of Kathaka is largely a result of my growth and evolution as a student, artist, performer, teacher, and researcher of Kathaka dance, as well as my effort to integrate the traditional knowledge which I received from my late Guru, Vikram Singhji, largely in the form of an oral tradition, combined with a critical approach in an academic context after I completed my Ph.D. on Kathaka : Its Origin and Development (A Study based on Ancient and Mediaeval Sculptures and Paintings) under the supervision of Dr. T.K. Biswas, Jt. Director & Administrative Head, Bharat Kala Bhavan, BHU. My association with Prof. Prem Lata Sharma, Vice-Chairman, Sangeet Natak Akademi and Prof. Ranganayiki Ayyangar, Dept. of Musicology, BHU, further sharpened my questioning instincts. The book is also, perhaps partly, a reaction to the gross commercialization of Kaihaka both by the dancers as well as those in charge of preserving and promoting the Indian classical dances as a heritage.

Indian classical dance, Kathaka, is part of a vibrant living tradition, a cultural heritage of India. As part of a living tradition, Kathaka has constantly been evolving. I am witness to this process of evolution and growth for almost fifty years! As an art form Kathaka is a product of human organizational skills, aesthetic sensitivity and cultural enterprise. Besides, dance as a timeless art, as yoga, is perhaps only an elaboration of a coherent cosmic system, which helps transform the knowledge of principle into practice. The guru-sisya parampara was, in fact, the embodiment of such a tradition in which values and principles were bequeathed as a legacy from one generation to the other. In the words of Stella Kramrische, "Tradition thus is not only an oral transmission of information and beliefs from ancestors to posterity but also an inherited culture. It is a body of doctrine and discipline, put forth and revealed in the words of the Veda." (vide Exploring India's Sacred Art). The Veda teaches the means for the realization of a state which ultimately yields abiding satisfaction to man. According to it, it may be found in Brahman, Nada, Bhuman or Amtia. The Veda also emphatically states that man can never realize the object of the innermost yearning of his heart, what is Alpa or Martya in the Vedic terminology. Thus, sangita (music and dance) to be Upavedic or Vedic as a summum bonum, must partake of the character of Brahman, Nada, Bhuman or Amrta. The Chandogva Upanisad (1.24.1), defines Bhuman and Alpa as "Where a man does not see another, does not hear another, does not know another, there is Bhuman, and where he sees another, hears another, knows another, there is I Alpa' that which is Bhuman is immortal and that which is Alpa is mortal." According to Brahmasutra (1.3.8), this Bhuman is Para Vak, beyond the Pasyanti. The Bhuman or Para Vak, thus implies, extraordinary concentration on the Atman or Paramatman, which can only be made possible in an esoteric process, and sangita appears to be best suited and fitted as an instrument for use or employment in that process, for the reasons that it is the most tangible and the least utilitarian of all arts and it thus enables the human mind, more than any other art, to detach itself from worldly affairs and to engage itself in the contemplation of the Divine (vide Sangitaraja, ed. Prem Lata Sharma).

Another characteristic of Vedic Brahman, Nada, Bhuman or Amrta is that it is Saccidananda. The Vedic philosophy postulates that of the three aspects of Saccidananda, Cit is superior to Sat and Ananda is superior to Cit. Of the four Upavedas, Gandharva is considered pre-eminent, as it is derived from the Ananda Amsa of Saccidananda; the Dhanurveda and Sthapatya or Arthasastra are initially concerned with the gross matter (mahabhatas) and are thus derived from the Sat Amsa. The science or art of Ayurveda is derived from the Cit Arhsa of Saccidananda as it deals initially with Prana which is nearer to Bhuman or Saccidananda than is the gross matter of Dhanur or Sthapatya Upavedas. Gandharvaveda deals initially with sound (a Tanmantra) which is more close to Nada-Brahman Himself.

The Para Vak or Nada, in order to be seen, heard and known, must have a body or form. Nada must have a Tanu. The R.V.S. II, mentions the body of Nada :

Indian dance, if performed as a ritual, sustains a continuity both emotional as well as experiential, thus practise leading to meditation, which ultimately helps man to unravel the secrets of nature. The path is arduous and perilous because the journey is from the profane to the sacred, from illusion to reality, from man to divinity. There is in the process a complete metamorphoses in form, function and behaviour.

In the fast changing cultural scenario, with the doors and windows widely opened towards globalization, with a consumer-oriented approach, there has been an acute turn towards commercialization. In fact, with the advent of satellite television, there has been a revolutionary change in our methods of entertainment and education as well. It is perhaps only the aspect of artha (money) which seems to be fully validated. The horizon of Kathaka dance today, is wider than ever before. With an unprecedented increase in the number of dancers all vying for commercial success, the spectrum is much more colourful, the repertoire is, perhaps, much more secular with the presentation of new items and themes in works of fusion and choreography, the desire of the dancers for greater self-expression, bold enough to enunciate revolutionary trends; an effort to re-choreograph with a mixture of the old and the new, indigenous as well as foreign. Though the efforts are applaudable, yet I feel that somewhere and at some point, we are loosing out on the centuries old spiritual basel aspect of the dance form. What was this spirituality and what was the element of sentient? In what way did it manifest in dance? Kathaka especially.

CONTENTS
Preface   vii
Key to Transliteration Chart   xviii
List of Illustratins   xix
Chapter I: Tantra   1
Chapter II: Mantra   27
Chapter III: Yantra   53
Conclusion   87
Visuals   99
Glossary   117
Bibliography   131
Index   135

 

Sample Pages


Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Related Items

Vastu Pyramid with Syllable Mantra with Ganesha Figure, Shri Vaastu Dosh Nivaaran, Shri Kuber Mantra, Shri Yantra
Copper
2.8 inch X 4.3 inch X 4.3 inch
76 gms
Item Code: RU39
$40.00
Add to Cart
Buy Now
Gayatri Mantra Yantra  (Yantra Blesses with Health, Wealth and Happiness
Copper
10 inch X 8 inch
Item Code: HZB39
$40.00
 With Frame (Add $90.00)
Add to Cart
Buy Now
Maha Mrityunjay Yantra - Victory Over Death
Copper
5 inch X 6.0 inch
Item Code: HZ94
$20.00
 With Frame (Add $70.00)
Add to Cart
Buy Now
Sarva Gayatri Mantras & Mrutyunjaya Stotras (DVD Video)
Mr. S. Sathyamoorthy
Super Audio (Chennai) Pvt. Ltd. (2005)
64:17 Minutes
Item Code: ICL038
$28.00
Add to Cart
Buy Now
Sri Vidya (Laghu) Pooja Sanskrit (Audio CD)
Super Audio (2004)
Item Code: ICQ054
$22.00
Add to Cart
Buy Now
Wisdom Frozen in Time In Search of Treasure…Chennai, Mysore & Melukote - Volume 2 (DVD)
R. Bharathadri, Script: Dr. Gautam Chatterjee
Indira Gandhi National Centre for the Arts, New Delhi
88:49 Minutes
Item Code: ICJ064
$28.00
Add to Cart
Buy Now
Tantra Mantra Yantra: The Tantra Psychology
by Prof. S.K. Ramachandra Rao
Hardcover (Edition: 2008)
Sri Satguru Publications
Item Code: IDK698
$17.00
Add to Cart
Buy Now
तन्त्र मन्त्र यन्त्र: Tantra Mantra Yantra
by तान्त्रिक बहल (Tantrik Bahal)
Paperback (Edition: 2015)
Randhir Prakashan, Haridwar
Item Code: NZJ003
$15.00
Add to Cart
Buy Now
Tantra Mantra and Yantra in Indian Tradition
by Dr. (Mrs.) Haripriya Rangarajan & Dr. Kamalkar
Paperback (Edition: 2010)
Birla Archaeological & culture Research Institute
Item Code: NAD076
$55.00
Add to Cart
Buy Now
Mantra Tantra Yantra (Way of Worshipping, Inner Growth, Attainment of Celestial Power)
by Prof. Shrikant Prosoon
Paperback (Edition: 2013)
Pustak Mahal
Item Code: NAJ068
$25.00
Add to Cart
Buy Now
Secrets of Yantra, Mantra and Tantra
by Dr. L.R. Chawdhri
Paperback (Edition: 1992)
New Dawn Press
Item Code: IDE519
$22.00
Add to Cart
Buy Now
Brihad Indrajaal (Mantra Tantra & Yantra)
by Pt. Rameshwar Mishra
Paperback
D.P.B. Publications
Item Code: NAI117
$25.00
Add to Cart
Buy Now
Jaina Method of Curing: Healing Through Mantra, Tantra and Yantra
by Dr. Ms Manju Jain
Hardcover (Edition: 2001)
International School for Jain Studies
Item Code: NAJ763
$45.00
Add to Cart
Buy Now

Testimonials

I recieved my Mahavir pendant today. It is wonderful. I was recently in Delhi and as it was a spiritual trip visiting Jain temples in Rajasthan, Agra, Rishikesh and Delhi i did not have the opportunity to shop much. The pendant is beautiful and i shall treasure it. I have attached a picture of me in India. Your country and the people will always be in my heart.
Evelyn, Desoto, Texas.
I received my Order this week, It's wonderful. I really thank you very much.
Antonio Freitas, Sao Paulo, Brazil.
I have been ordering from your site for several years and am always pleased with my orders and the time frame is lovely also. Thanks for being such a wonderful company.
Delia, USA
I recviced Book Air Parcel(Nadi-Astrology). I am glad to see this book. Thankx. Muhammad Arshad Nadeem Pakistan.
Muhammad Arshad Nadeem
It is always a great pleasure to return to Exotic India with its exquisit artwork, books and other items. As I said several times before, Exotic India is far more than a highly professional Indian online shop; it is in fact an excellent ambassador to the world for the splendour of Indian wisdom and spirituality. I wish a happy and successful New Year 2017 to Exotic India and its employees! You can be very proud of yourself!
Dr Michael Seeber (psychiatrist and psychotherapist, Essen/Germany)
My last order arrived in a reasonable amount of time, regarding the long way it had to take! I am glad to find this and some other ayurvedic remedy, as well as books and much other things at your online-store and I am looking forward to be your customer again, some time.
Andreas, Germany.
Намаскар! Честно говоря, сомневался. Но сегодня получил свой заказ. Порадовала упаковка, упаковано всё очень тщательно и аккуратно. Большое спасибо, как раз подарок к Новому Году! Namaskar! Frankly, I doubted. But today received my order. We were pleased with the packaging. Everything is packed carefully and accurately. Thank you very much, just a gift for the New Year!
Ruslan, Russia.
Thanks for the great sale!! It really helped me out. I love Exotic India.
Shannon, USA
I have got the 3 parcels with my order today and everything is perfect. Thank you very much for such a good packaging to protect the items and for your service.
Guadalupe, Spain
Great books! I am so glad you make them available to order, thank you!
Yevgen, USA
TRUSTe online privacy certification
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India