Karagattam

Tamil Nadu had developed the art of entertainment to its pristine heights at early age. The three modes of entertainment to its pristine heights at a very early age. The three modes of entertainment classified as Iyal (Literature), Isai (Music) and Nadagam (Drama) had their roots in the rural folk theatre like Theru Koothu (Street play). Many forms of group and individual dances with the classical forms for popularity and sheer entertainment value. Majority of these dances are still thriving in Tamil Nadu today.

Bagavatha           Nadanam	Bommalattam	Bharathanatyam	Chakkai Attam
Devaraattam	Kamandi	Kai Silambu Attam	Kolattam
Karagattam	Kavadi Aattam	Kazhai Kothu	Kummi
Mayil Attam	Ottan Koothu	Oyilattam	Oyil Kummi
Paampu Atam	Poikkal Kudirai Aattam	Puli Attam	Sevai Attam
Thappaattam	Theru Koothu	Urummi Attam	Villu Pattu

Bagavatha Nadanam

This dance is performed inside a temple, around a lamp. The purpose is to worship Lord Krishna, and celebrate his frolics with the gopikas. This is performed during Ramanavami and Gokulashtami.

Bommalattam or Puppet Show

Puppet shows are held in every village during festivals and fairs. Many different kinds of puppets are used for this show - cloth, wood, leather, etc. They are manipulated through strings or wires. The persons stand behind a screen and the puppets are held in front. The stories enacted in the puppet shows are from puranas, epics and folklore. These shows are very entertaining and hold both adults and children enthralled for many hours. 

Devaraattam

Devarattam is a pure folk dance still preserved by the descendents of Veerapandiya Kattabomman dynasty at Kodangipatti of Madurai District. It was actually performed once a year near the temple and that too restricted to that community alone. Folklore research scholars have found that Devarattam is a nd his marshalls would dance on the chariot deck. The soldiers and female dancers would form in lines and dance behind the chariot.

Chakkai Attam

Teak woodenpieces size of 7 X 3/4 inch are held between the fingers which make the noise. Eight to ten dancers stand in a circle or parallel lines. The accompanying songs are generally about gods and goddesses.

Today, this dance does not have any songs but only danced to the beat of Urumi Melam, Thappu Melam and sometimes, a long flute. The dancers hold a kerchief in each hand and swing them as they dance. The person leading the dance wears falset when Manmada the God of Love was burnt to ashes by Siva in anger. The villagers separate themselves into two parties as Erintha katchi and Eriyatha katchi and a heated debate ensues. Kaman and Rathi, his consorts, are main characters.

Kai Silambu Attam

This dance is performed in temples during Amman festivals or Navaratri festival. The dancers wear ankle-bells and hold anklets or silambu in their hands, which make noise when shaken. They perform various stepping styles jumps. The dance is in praise of all female deities, the most preferred being the powerful angry goddess - Kali or Durga.
[edit] Kali Attam or Kolattam This is also known as Koladi, Kolkali, Kambadi Kali and Kolaattam. Sticks one foot length are held in each hand and beaten to make a sharp, rasping sound as the dance proceeds with unique steps, twisting and turning. It is danced by both men and women, during festivals, auspicious days anhurt the other dancers by the swinging 'kol'. Earlier, the 'kols' were brightly painted and decorated with brass rings, bells etc. The dancers used to wear ankle-bells. However, no special dress or make up was used for this dance.

Kolattam

Kolattam is an ancient village art. This is mentioned in Kanchipuram as 'Cheivaikiyar Kolattam', which proves its antiquity. This is performed by women only, with two sticks held in each hand, beaten to make a rhythmic sound. Pinnal Kolattam is danced with ropes which the women hold in their hands, the other of which are tied to a tall pole. With planned steps, the women skip over each other, which forms intricate lace-like patterns in the ropes. As coloured ropes are used, this lace looks extremely attractive. Again, they unravel this lace reversing the dance steps. This is performed for ten days, starting with the Amavasi or Newmoon night after Deepavali.

Karagattam

Karagattam is a Tamil folk dance involving the balancing of clay or metal pots or other objects on the dancers head. This dance is usually associated with the worship of Amman.

Kavadi Aattam

The ancient Tamils when they went on pilgrimage, carried the offerings to the gods tied on the either end of the long stick, which was balanced on the shoulders. In order to lessen the boredom of the long travel they used to sing and dance about the gods. Kavadi Aattam has its origin in this practice. Special soed only by men. It is done by balancing a pole with pots fixed on either end, filled with milk or cocunut water. The poles are made from Purasai ogymnastic specialised by Aryans. This is very similar to modern dthus earning a living.

Kummi

Kummi is one of the ancient forms of village dances of Tamilnadu. It originated when there were no musical instruments, with thrieties of Kummi, such as, Poonthatti Kummi, Deepa Kummi, Kulavai Kummi, Kadir Kummi, Mulaipari Kummi etc are known. The women stand in a cly performed during temple festivals, Pongal, the harvest festival, family functions like the one to celebrate the coming of age (onset of pubertys repeat.

Thappaattam

Thappu is the name of a rhythmic beat instrument and Thappattam is practiced among the suppressed Dalits classes of the people of the Tamil Nadu. The subtle form of dance accompanied by captivating music, is an ancient rural folk art which is even now popular in urban slum areas in villages.

Theru Koothu

Theru koothu is possibly the most popular entertainment forms in rural Tamil Nadu. It literally means "street party". These are shows that resemble musical plays and are normally conducted during village festivals, during the Tamil months of Pang and Aadi. The show is put up at the junction of three or four strn open air theaters/make-shift stages, and the place is lit by gas lights. A wooden bench is set up seat the singers and the music troupe. Make-up and costumes are considered ofhe performance consists of stoy-telling, dialogue-rendering, songing and dancing, all performed by ts (ancient texts), epics such asmayana and Mahabharata, and also local folklore. The play starts late in the evening and goes on until late in the night.
Theru Koothu is mthu, including Vali Koothu, Kuravai Koothu etc. Samaya Koothu dealing with relus topics, Pei Koothu including Thunangai Koothu and Porkala Koothu dealing with martial events

Urummi Attam

The whirring sound of 'urumi' providing the melody and the beat of the Thappu providing the rhythm, accompany the dance sequence in this kind of temple art form. This is performed especially in Amman temples during the month of Adi. Nowadays, this art form is found only in selected villages in a few districts.

Villu Pattu
Tamil folk artists presenting Villupattu

The main singer here is accompanied by a chorus, musical instruments and a main instrument, the Villu or Bow, fixed with bells . The villu is struck rhythmically when the bells jingle in tune. The main singer relates a tale, interspersed with lively songs.

Ottan Koothu

Ottas, a small group of tribals, perform this form of ritual dance on festive occasions to depict episodes from epics and other ancient stories. The women folk also participate in the dance.History and Performance Context The urumi is a folk instrument typically played by Dalits This drum is widely believed to possess supernatural and sacred powers. When played in religious ceremonies and processions, the performance of specific beats on the urumi may induce spirit possessions or Trance. The urumi is most often performed in two types of ensembles: - Urumi Melam - Naiyandi Melam

Urumi melam ensembles usually consist of a melodic instrument, the double-reed Nadaswaram, a pair of double headed drums called pampai, and one to three urumi drums. This type of ensemble is associated exclusively with funerals and other inauspicious occasions. The naiyanti melam is the most common type of folk ensemble associated with ritual and dance. A typical naiyandi melam is composed of two double-reed nadaswaram, one or two thavil , a tamukku , a pambai, and an urumi. It performs for a number of festive occasions including dance-dramas, menstruation ceremonies, weddings, harvest festivals, and staged folk dances such as :-

Poikkal Kudirai

dummy horse dance - Mayil Attam (peacock dance) - Puli Attam (tiger dance) - Kavadi Attam a devotional dance to Lord Murugan and many others. The urumi may also be heard on commercial recordings of film soundtracks and popular folk music.

Oyilattam

Oyil means beauty. This dance is hence the dance of beauty. Traditionally, it is danced only by men. Ten years ago women also began to participate. This dance is prevalent in the south districts and Kongu Nadu in particular. First a few people will stand in a row and start dancing with rhythmic steps with musicas they like. The dancers wear ankle-bells. Normally, the dance is performed with the accomplishment of musical instruments and songs. It is performed near the temples or public places in the morning and evening hours, at times even till midnight. Styles of Oyilattam differ from place to place.

Oyil Kummi

Yet another typical speciality of the southern region is the snake-dance which arises from the popularity of the snake as a protective divinity, safeguarding the health and happiness of the rurng girls dressewith head and hands. The raised hands held together look liker hips. This is made of light-weighted materials and the cloth at the sides swings to ad fro cves of the horse. The dancer brandishes either a sword or a whip. This folk dance needs much training and skill. This dance is accompanied by Naiyandi melam or Band music. This is connected to the worship of Ayyanar, prevails mainly around Thanjavur.

Puli Attam

Puli Attam is performed by young men with painted bodies in colours yellow and black, complete with fangs, head gear with ears, paws with claws aWildly beating drums add frenzy the performance. Sometimes, a gos tied and brought along with the dancers, pretend to pounce on it and kill it. This dance is regularly performed during temple festivals, drawingarge crowds.

Sevai Attam

This form of art is devoted to 'Thirumal) and is performed by village folk belonging especially to Natakommunity. In this dance the performers forming a group, with of them acting the buffoon, dance to the music of percussion instrument lie 'urumi'. The classical songs and the measured steps wraceful movements aree special features of Sevai Attam Sangam works this had been known as 'Pinther Kuruvai'. In those days this was performed at the rear ofhariot procession either of a king or a deity.

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Yoga

Yoga (Sanskrit, Pāli: योग yóga) refers to traditional physical and mental disciplines originating in India. The word is associated with meditative practices in Hinduism, Buddhism and Jainism. In Hinduism, it also refers to one of the six orthodox schools of Hindu philosophy, and to the goal toward which that school directs its practices. In Jainism it refers to the sum total of all activities—mental, verbal and physical.

Major branches of yoga in Hindu philosophy include Raja Yoga, Karma Yoga, Jnana Yoga, Bhakti Yoga, and Hatha Yoga.Raja Yoga, compiled in the Yoga Sutras of Patanjali, and known simply as yoga in the context of Hindu philosophy, is part of the Samkhya tradition. Many other Hindu texts discuss aspects of yoga, including Upanishads, the Bhagavad Gita, the Hatha Yoga Pradipika, the Shiva Samhita and various Tantras.
The Sanskrit word yoga has many meanings and is derived from the Sanskrit root "yuj," meaning "to control,to yoke or "to unite.Translations include "joining," "uniting, union, conjunction,and "means. Outside India, the term yoga is typically associated with Hatha Yoga and its asanas or as a form of exercise. Someone who practices yoga or follows the yoga philosophy is called a Yogi.

History of yoga

The Vedic Samhitas contain references to ascetics, while ascetic practices are referenced in the Brāhmaṇas (900 to 500 BCE), early commentaries on the Vedas. Several seals discovered at Indus Valley Civilization (c. 3300–1700 B.C.E.) sites depict figures in positions resembling a common yoga or meditation pose, showing "a form of ritual discipline, suggesting a precursor of yoga", according to archaeologist Gregory Possehl.Some type of connection between the Indus Valley seals and later yoga and meditation practices is speculated upon by many scholars, though there is no conclusive evidence.
Techniques for experiencing higher states of consciousness in meditation were developed by the shramanic traditions and in the Upanishadic tradition.
While there is no clear evidence for meditation in pre-Buddhist early Brahminic texts, Wynne argues that formless meditation originated in the Brahminic tradition, based on strong parallels between Upanishadic cosmological statements and the meditative goals of the two teachers of the Buddha as recorded in the early Buddhist texts.[21] He mentions less likely possibilities as well. Having argued that the cosmological statements in the Upanishads also reflect a contemplative tradition, he argues that the Nasadiya Sukta contains evidence for a contemplative tradition, even as early as the late Rg Vedic period.

The Buddhist texts are probably the earliest texts describing meditation techniques.They describe meditative practices and states which had existed before the Buddha as well as those which were first developed within Buddhism. In Hindu literature, the term "yoga" first occurs in the Katha Upanishad, where it refers to control of the senses and the cessation of mental activity leading to a supreme state. Important textual sources for the evolving concept of Yoga are the middle Upanishads, (ca. 400 BCE), the Mahabharata including the Bhagavad Gita (ca. 200 BCE), and the Yoga Sutras of Patanjali (150 BCE).

Yogasanam

This terse definition hinges on the meaning of three Sanskrit terms. I. K. Taimni translates it as "Yoga is the inhibition (nirodhaḥ) of the modifications (vṛtti) of the mind ".The use of the word nirodhaḥ in the opening definition of yoga is an example of the important role that Buddhist technical terminology and concepts play in the Yoga Sutra; this role suggests that Patanjali was aware of Buddhist ideas and wove them into his system. Swami Vivekananda translates the sutra as "Yoga is restraining the mind-stuff from taking various forms Vrittis.
A sculpture of a Hindu yogi in the Birla Mandir, Delhi
Patanjali's writing also became the basis for a system referred to as "Ashtanga Yoga" Eight-Limbed Yoga. This eight-limbed concept derived from the 29th Sutra of the 2nd book, and is a core characteristic of practically every Raja yoga variation taught today. The Eight Limbs are:
1. Yama The five "abstentions"): non-violence, non-lying, non-covetousness, non-sensuality, and non-possessiveness.
2. Niyama The five "observances"): purity, contentment, austerity, study, and surrender to god.
3. Asana: Literally means "seat", and in Patanjali's Sutras refers to the seated position used for meditation.
4. Pranayama ("Suspending Breath Prāna, breath, "āyāma", to restrain or stop. Also interpreted as control of the life force.
5. Pratyahara ("Abstraction"): Withdrawal of the sense organs from external objects.
6. Dharana "Concentration"): Fixing the attention on a single object.
7. Dhyana Meditation"): Intense contemplation of the nature of the object of meditation.
8. Samādhi Liberation"): merging consciousness with the object of meditation.
In the view of this school, the highest attainment does not reveal the experienced diversity of the world to be illusion. The everyday world is real. Furthermore, the highest attainment is the event of one of many individual selves discovering itself; there is no single universal self shared by all persons.

Benefits of Yoga

* Brings down stress and enhances powers of relaxation
* Boosts physical strength, stamina and flexibility
* Bestows greater powers of concentration and self control
* Inculcates impulse Control
* Helps in rehabilitation of old and new injuries
* Intensifies tolerance to pain and enhancing mental clarity
* Boosts functioning of the immune system
* Enhances posture and muscle tone
* Improves blood circulation
* Results in healthy, glowing skin
* Cleanses and improves overall organ functioning
* Bestows peace of mind and a more positive outlook to life
* Infuses a sense of balance and internal harmony
Best of all, Yoga is highly therapeutic. Some of the ailments proven to be relieved, reversed and even healed through the practice of Yoga are acidity , allergies, alzheimer disease, anemia, anger, anxiety, arthritis, asthma, back pain, bronchitis, cancer, carpal tunnel syndrome, chronic fatigue, colitis, common cold, constipation, depression, diabetes, epilepsy, eye problems, facial wrinkles, gastro-intestinal disorders, headaches, heartburn, hemorrhoids, hepatitis, high blood pressure, hypertension, immune-deficiency, impotence, menopause, menstrual cramps, migraines, multiple sclerosis, muscular dystrophy, nervous tension, obesity, osteoporosis, prostate, enlargement, sciatica, skin problems, sleep apnea, slipped disk, sterility, stiffness, stress, insomnia, intoxication, thyroid problems, kidney stones, stuttering and stammering, urinary tract disorders for women, vaginal infections and many more...

So, if Yoga has varied and immense physical benefits, what exactly is Yoga?

Yoga is a 5000 year old science whose teachings were first imparted not in a classroom or Gurukul, but on the battle field. In the epic Mahabharata, the sage, Lord Krishna is first said to have imparted the teachings of Yoga to his despondent student Arjuna. Around 1500 years later, another sage, Patanjali, went on to enunciate, for the benefit of humankind and eternity, the way to reach the summom bonum of life through a series of 195 aphorisms (sutras) in his epic treatise The Yoga Sutras of Patanjali.
Derived from the Sanskrit root “Yujir Yogey” meaning to unite, to yoke, to join, to put together, Yoga is not about mind over body. On the other hand, Yoga is about developing harmony between them. In Yoga, you use your mind to perceive and guide your body. Never control, let alone force it!
Yoga is a way of life, a conscious act, not a set or series of learning principles. The dexterity, grace, and poise you cultivate, as a matter of course, is the natural outcome of regular practice. You require no major effort. In fact trying hard will turn your practices into a humdrum, painful, even injurious routine and will eventually slow down your progress. Subsequently, and interestingly, the therapeutic effect of Yoga is the direct result of involving the mind totally in inspiring (breathing) the body to awaken.
Contrary to popular – or unpopular – perception, Yoga positions are not about how far you can reach to touch your toes or how many repetitions you can perform. It is all about paying attention to how your body feels; how it moves without that excruciating pain or agony! Yoga is all about breathing correctly about integrating that breath into your being. Conscious Yoga doesn’t call for you to force or strain your never or sinew. Meaning to say, right Yoga is learning how to do things right, do less that gets you more!
Ironically, by doing less – correctly – Yoga enhances your strength, energy, vitality, flexibility and levels of endurance. Accordingly, your body and mind start to become more balanced until, eventually, you find it takes so much less energy to move through the day. Yes, any and everyone can do less…and get a lot, lot more!

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Thirupparankundram Temple

Thirupparankundram is one of the six abodes of Lord Muruga, 10km south from Madurai. It serves as the best among the Arupadai Veedu of Lord Muruga, attracting rolling crowds all the year. Thirupparankundram, the place where Lord Muruga was married with Devayanai, is considered as a sacred place for marriages. It is possible that the worship history of this hill goes far into the past, may be even well before there appeared Hinduism. There are many legends associated with this mountain.

Thus, the hill is considered to be the "Southern Himalaya"where the gods assemble. There is also legend that this is the place where Sun and Moon take a rest.

Murugan Marriage in Temple

Thiruparankundram is one of the six main pilgrimage sites for the devotion of the son of Shiva - Muruga (also Subramanya), Tamil Hindu god of war and patron of Tamil Nadu. Story goes that Muruga with his troops rested here after one of his famous six battles against demons. Finally he saved Heaven by defeating the evil Rakshasa Soorapadman and returned to Thiruparankundram Hill followed by all the liberated deities. At this beautiful hill, where opens wide view on the lively landscape of Tamil Nadu, in the temple he married Devasena (Deivayanai), daughter of Indra given to him as a gift for victory. Marriage took place in the presence of all deities. Since there have happened such important events, Murugan Temple in Thiruparankundram became one of the most revered shrines in Tamil Nadu. Up to this day Tamil people readily marry here. Especially many pairs get married in festival of marriage - Pankuni Uttiram - in late March. Temple leads very active religious life with numerous festivities and Thiruparankundram for most part of the year is teeming with life.

History of the temple

According to another tale King Harichandra worshipped Shiva from this hillock and gained eternal wisdom. Thus he built a temple here - temple was complete with Praharams (ambulatories), walls, Gopurams (gate towers) and steps.

The "Real history" (who can differentiate myths and reality in Indian past?) of the temple may start with 8th century AD when Pandya rulers built rock-cut temple. Later, during the reign of Nayaks of Madurai (1559 - 1736 AD) the temple was supplemented with beautiful gopurams and beautified. There was built extensive and beautiful front part (mugha mandapam) with 48 ornate pillars carved during the rule of Pandya and Nayaks.

Description of the temple

This rock cut temple has separate shrines for Lord Ganapathy, Shiva, Durgai, Vishnu and other deities. The entrance of the temple is built with 48 Nayaka period pillars with artistic carvings engraved on them. The speciality of Thirupparankundram temple is that the innermost shrine is carved from a single rock. Entrance in the ancient cave temple leads through a row of massive square pillars ornamented with lotus-shaped medallions.

Inside the cave temple there has been preserved ancient painting of Nataraja - dancing Shiva. Cave temple contains also the sculpture of presiding deity Sri Subramaniyaswamy (Muruga). Rock-cut temple contains also 41 inscriptions revealing the early history of the temple. Before the ancient rock-cut temple there is built front part - mugha mandapam. Separate entrance leads into Sani Bhagawan - another shrine in this temple. In the western side there is rock-cut chamber which houses the lingam but in the eastern side there is one more shrine with Vishnu and Durga opposite to him. Temple contains many more carvings of deities.

In the south-eastern part of Kambaththadi mandapam there has been found a 30 m long tunnel. Temple contains also two historical wooden carts which are used for ceremonial purposes in certain proccessions. Another interesting fact about the Thirupparankundram temple is the presence of subsidiary cave shrines excavated in the rock, with idols arranged so orderly like a military session. These small cave shrines can be approached through narrow dark passages. It is quite difficult to find similar group of cave shrines elsewhere.

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