I Am The Original Don, There Is No Other Mard Or Shahnshah Like Me.
They Call Me Mr Natwerlal, I Like To Play Dangerous They Call Me The Great Gambler Just Because I Take The Aakhri Rasta Or Agneepath.
No Deewar Or Zanjeer Is Strong Enough To Hold Me Back When I Get Angry.
Kabhi Kabhie You May Think I Am Raaste Ka Patther, But Let Me Tell You That I Am Also A Jadugar Or Known As Mahaan Person.
My Temper Can Be Hot As Sholay, So Stay On The Right Side Of Me And Be My Yaarana Or Dostana.
Main Kaun Hoon
copyright Salhan
Sunday, 6 June 2010
Wednesday, 26 May 2010
Tuesday, 18 May 2010
Bollywood Hollywood Look Alikes
Sunday, 9 May 2010
Interesting Facts about India
* India never invaded any country in her last 100,000 years of history.
* When many cultures were only nomadic forest dwellers over 5000 years ago, Indians established Harappan culture in Sindhu Valley (Indus Valley Civilization)
* The name 'India' is derived from the River Indus, the valleys around which were the home of the early settlers. The Aryan worshippers referred to the river Indus as the Sindhu.
* The Persian invaders converted it into Hindu. The name 'Hindustan' combines Sindhu and Hindu and thus refers to the land of the Hindus.
* The World's First Granite Temple is the Brihadeswara Temple at Tanjavur, Tamil Nadu. The shikhara of the temple is made from a single 80-tonne piece of granite. This magnificent temple was built in just five years, (between 1004 AD and 1009 AD) during the reign of Rajaraja Chola.
* India is the largest democracy in the world, the 6th largest Country in the world, and one of the most ancient civilizations.
* The game of Snakes & Ladders was created by the 13th century poet saint Gyandev. It was originally called 'Mokshapat'. The ladders in the game represented virtues and the snakes indicated vices. The game was played with cowrie shells and dices. In time, the game underwent several modifications, but its meaning remained the same, i.e. good deeds take people to heaven and evil to a cycle of re-births.
* The world's highest cricket ground is in Chail, Himachal Pradesh. Built in 1893 after leveling a hilltop, this cricket pitch is 2444 meters above sea level.
* India has the largest number of Post Offices in the world.
* The largest employer in the world is the Indian Railways, employing over a million people.
* The world's first university was established in Takshila in 700 BC. More than 10,500 students from all over the world studied more than 60 subjects. The University of Nalanda built in the 4th century was one of the greatest achievements of ancient India in the field of education.
* Ayurveda is the earliest school of medicine known to mankind. The Father of Medicine, Charaka, consolidated Ayurveda 2500 years ago.
* India was one of the richest countries till the time of British rule in the early 17th Century. Christopher Columbus, attracted by India's wealth, had come looking for a sea route to India when he discovered America by mistake.
* The Art of Navigation & Navigating was born in the river Sindh over 6000 years ago. The very word Navigation is derived from the Sanskrit word 'NAVGATIH'. The word navy is also derived from the Sanskrit word 'Nou'.
* Algebra, Trigonometry and Calculus also originated in India.Quadratic Equations were used by Sridharacharya in the 11th century. The largest numbers the Greeks and the Romans used were 106 whereas Hindus used numbers as big as 10*53 (i.e. 10 to the power of 53) with specific names as early as 5000 B.C.during the Vedic period. Even today, the largest used number is Terra: 10*12(10 to the power of 12).
* The Baily Bridge is the highest bridge in the world. It is located in the Ladakh valley between the Dras and Suru rivers in the Himalayan mountains. It was built by the Indian Army in August 1982.
* Sushruta is regarded as the Father of Surgery. Over 2600 years ago Sushrata & his team conducted complicated surgeries like cataract, artificial limbs, cesareans, fractures, urinary stones, plastic surgery and brain surgeries.
* Usage of anaesthesia was well known in ancient Indian medicine. Detailed knowledge of anatomy, embryology, digestion, metabolism,physiology, etiology, genetics and immunity is also found in many ancient Indian texts.
* India exports software to 90 countries.
* Jainism and Buddhism were founded in India in 600 B.C. and 500 B.C. respectively.
* The oldest European church and synagogue in India are in the city of Cochin. They were built in 1503 and 1568 respectively.
* The largest religious building in the world is Angkor Wat, a Hindu Temple in Cambodia built at the end of the 11th century.
* The Vishnu Temple in the city of Tirupathi built in the 10th century, is the world's largest religious pilgrimage destination. Larger than either Rome or Mecca, an average of 30,000 visitors donate $6 million (US) to the temple everyday.
* Sikhism originated in the Holy city of Amritsar in Punjab. Famous for housing the Golden Temple, the city was founded in 1577.
* Varanasi, also known as Benaras, was called "the Ancient City" when Lord Buddha visited it in 500 B.C., and is the oldest, continuously inhabited city in the world today.
* India provides safety for more than 300,000 refugees originally from Sri Lanka, Tibet, Bhutan, Afghanistan and Bangladesh, who escaped to flee religious and political persecution.
* His Holiness, the Dalai Lama, the exiled spiritual leader of Tibetan Buddhists, runs his government in exile from Dharmashala in northern India.
* Martial Arts were first created in India, and later spread to Asia by Buddhist missionaries.
* Yoga has its origins in India and has existed for over 5,000 years.
* When many cultures were only nomadic forest dwellers over 5000 years ago, Indians established Harappan culture in Sindhu Valley (Indus Valley Civilization)
* The name 'India' is derived from the River Indus, the valleys around which were the home of the early settlers. The Aryan worshippers referred to the river Indus as the Sindhu.
* The Persian invaders converted it into Hindu. The name 'Hindustan' combines Sindhu and Hindu and thus refers to the land of the Hindus.
* The World's First Granite Temple is the Brihadeswara Temple at Tanjavur, Tamil Nadu. The shikhara of the temple is made from a single 80-tonne piece of granite. This magnificent temple was built in just five years, (between 1004 AD and 1009 AD) during the reign of Rajaraja Chola.
* India is the largest democracy in the world, the 6th largest Country in the world, and one of the most ancient civilizations.
* The game of Snakes & Ladders was created by the 13th century poet saint Gyandev. It was originally called 'Mokshapat'. The ladders in the game represented virtues and the snakes indicated vices. The game was played with cowrie shells and dices. In time, the game underwent several modifications, but its meaning remained the same, i.e. good deeds take people to heaven and evil to a cycle of re-births.
* The world's highest cricket ground is in Chail, Himachal Pradesh. Built in 1893 after leveling a hilltop, this cricket pitch is 2444 meters above sea level.
* India has the largest number of Post Offices in the world.
* The largest employer in the world is the Indian Railways, employing over a million people.
* The world's first university was established in Takshila in 700 BC. More than 10,500 students from all over the world studied more than 60 subjects. The University of Nalanda built in the 4th century was one of the greatest achievements of ancient India in the field of education.
* Ayurveda is the earliest school of medicine known to mankind. The Father of Medicine, Charaka, consolidated Ayurveda 2500 years ago.
* India was one of the richest countries till the time of British rule in the early 17th Century. Christopher Columbus, attracted by India's wealth, had come looking for a sea route to India when he discovered America by mistake.
* The Art of Navigation & Navigating was born in the river Sindh over 6000 years ago. The very word Navigation is derived from the Sanskrit word 'NAVGATIH'. The word navy is also derived from the Sanskrit word 'Nou'.
* Algebra, Trigonometry and Calculus also originated in India.Quadratic Equations were used by Sridharacharya in the 11th century. The largest numbers the Greeks and the Romans used were 106 whereas Hindus used numbers as big as 10*53 (i.e. 10 to the power of 53) with specific names as early as 5000 B.C.during the Vedic period. Even today, the largest used number is Terra: 10*12(10 to the power of 12).
* The Baily Bridge is the highest bridge in the world. It is located in the Ladakh valley between the Dras and Suru rivers in the Himalayan mountains. It was built by the Indian Army in August 1982.
* Sushruta is regarded as the Father of Surgery. Over 2600 years ago Sushrata & his team conducted complicated surgeries like cataract, artificial limbs, cesareans, fractures, urinary stones, plastic surgery and brain surgeries.
* Usage of anaesthesia was well known in ancient Indian medicine. Detailed knowledge of anatomy, embryology, digestion, metabolism,physiology, etiology, genetics and immunity is also found in many ancient Indian texts.
* India exports software to 90 countries.
* Jainism and Buddhism were founded in India in 600 B.C. and 500 B.C. respectively.
* The oldest European church and synagogue in India are in the city of Cochin. They were built in 1503 and 1568 respectively.
* The largest religious building in the world is Angkor Wat, a Hindu Temple in Cambodia built at the end of the 11th century.
* The Vishnu Temple in the city of Tirupathi built in the 10th century, is the world's largest religious pilgrimage destination. Larger than either Rome or Mecca, an average of 30,000 visitors donate $6 million (US) to the temple everyday.
* Sikhism originated in the Holy city of Amritsar in Punjab. Famous for housing the Golden Temple, the city was founded in 1577.
* Varanasi, also known as Benaras, was called "the Ancient City" when Lord Buddha visited it in 500 B.C., and is the oldest, continuously inhabited city in the world today.
* India provides safety for more than 300,000 refugees originally from Sri Lanka, Tibet, Bhutan, Afghanistan and Bangladesh, who escaped to flee religious and political persecution.
* His Holiness, the Dalai Lama, the exiled spiritual leader of Tibetan Buddhists, runs his government in exile from Dharmashala in northern India.
* Martial Arts were first created in India, and later spread to Asia by Buddhist missionaries.
* Yoga has its origins in India and has existed for over 5,000 years.
Tuesday, 27 April 2010
ANOTHER MATHS PUZZLE
1) Pick a number between 1 and 10 (including 1 or 10).
2) Multiply your number by 9.
3) Add the digits of the number created in step two.
4) Subtract 5 from the number created in step three.
5) Find the letter in the alphabet that corresponds to the number created in step four.
ex: 1=A, 2=B, 3=C,...
6) Pick a country in Europe that starts with the letter you found in step five.
7) Pick an animal that starts with the last letter of your country.
8) Pick a color that starts with the last letter of your animal.
9) Let me guess what you got!!
DENMARK
KANGAROO
ORANGE
2) Multiply your number by 9.
3) Add the digits of the number created in step two.
4) Subtract 5 from the number created in step three.
5) Find the letter in the alphabet that corresponds to the number created in step four.
ex: 1=A, 2=B, 3=C,...
6) Pick a country in Europe that starts with the letter you found in step five.
7) Pick an animal that starts with the last letter of your country.
8) Pick a color that starts with the last letter of your animal.
9) Let me guess what you got!!
DENMARK
KANGAROO
ORANGE
Wednesday, 14 April 2010
Dances Of Punjab
HAPPY VAISAKHI
….::::BHANGRA::::.…
Bhangra celebrates the harvest and is associated with the festival of Baisakhi (April 13) when the sight of tall heaps of golden wheat fill the farmer’s heart with joy. To the accompaniment of large drums called dhols, he and his fellow villagers circle round and round in a leaping, laughing caper. It’s a dance that cuts across all divisions of class and education. At marriages, parties, or celebrations of any sort, it is quite common for men to break out in Bhangra. There are few sights more cheering than that of a dignified elder in three-piece suit getting up to join the young fellows for a moment of bhangra revelry.
The Bhangra is perhaps the most virile form of Indian Folk Dances. Springing from the land of five rivers, it abundantly reflects the vigor, the vitality, the leaven of exuberance, and the hilarity permeated among the rural folk by the promise of a bumper crop.
At intervals the dancers stop moving, but continue to beat the rhythm with their feet. One of the dancers come forward near the drummer and covering his left ear with his palm sings a boali or dholla, derived from the traditional folk songs of Punjab. Picking up the last lines, the dancers again start dancing with greater vigor.
In addition to a drum, chimta-musical tongs and burchu and sound of the beats from earthen vessels are used as accompanying instruments. The costume of a Bhangra dancer consists of a bright, colored Patka on the head, a lacha or lungi of the same color, a long tunic and a black or blue waistcoat and ghunghroos on the ankles. Some dancers also wear small rings (nuntian) in their ears.
Bhangra is considered the king of dances. There are several styles of dancing Bhangra. Sialkoti, Sheikhupuri, Tribal, Malwa, Majha. One of the Bhangra’s moves is also akin to the moves of Shiv-Tandav dance, which is danced on one leg. Damru, hand-drum is also used in Bhangra which shows that folk dances and war dances have similar parentage…..
….::::GIDDHA::::….
Women have a different but no less exuberant dance called gidda. The dancers enact verses called bolis, which represent folk poetry at its best. The subject matter of these bolis is wide ranging indeed – everything from arguments with the sister-in-law to political affairs figure in these lively songs. Aside from the drums, the rhythm of this dance is set by the distinctive hand-claps of the dancers.
The vitality of Bhangra can also be seen in the Giddha dance of the women of Punjab. This dance translates into gestures, bolian-verses of different length satirizing politics, the excesses committed by husbands, their sisters and mothers, loneliness of a young bride separated from her husband, evils of society or expressing guileless deep love.
The dance is derived from the ancient ring dance. One of the girls plays on the drum or ‘dholki’ while others form a circle. Some times even the dholki is dispensed with. While moving in a circle, the girls raise their hands to the level of their shoulders and clap their hands in unison. Then they strike their palms against those of their neighbors. Rhythm is generally provided by clapping of hands.
Giddha is a very vigorous folk dance and like other such dances it is very much an affair of the legs. So quick is the movement of the feet in its faster parts that it is difficult for the spectator even to wink till the tempo falls again. The embroidered ‘duppattas’ and heavy jewelry of the participants whose number is unrestricted further exaggerate the movements.
Mimicry is aso very popular in ‘Giddha’. One girl may play the aged bridegroom and another his young bride; or one may play a quarellsome sister in law and another a humble bride. In this way Giddha provides for all the best forum for giving vent to one’s emotions.
The traditional dress during giddha dance is short female style shirt (choli) with ghagra or lehnga (loose shirt upto ankle-length) or ordinary Punjabi Salwar-Kamiz, rich in colour, cloth and design. The ornaments that they wear are suggi-phul (worn on head) to pazaibs (anklets), haar-hamela, (gem-studded golden necklace) baazu-band (worn around upper-arm) and raani-haar (a long necklace made of solid gold)….
….::::JHOOMAR::::….
This dance has originally come from Sandalbar (now in Pakistan), but is now very much a part of Punjab folk heritage. It is a dance of graceful gait, based on specific Jhumar rhythm.
The Jhummar is a dance of ecstasy. It is a living testimony of the happiness of men. Any time is Jhummar time especially during Melas, weddings and other major functions and celebrations. Performed exclusively by men, it is a common feature to see three generations – father, son and grandson – dancing all together. There are three main types of jhummar, each of which has a different mood, and is therefore suited to different occasionally, reason of its predominating mood.
This is also performed in a circle. The dancers dance around a single drummer standing in the center. Dancers circle around the drummer, and keep up a soft, sibilant chorus as they dance.It’s costumes are the same as that of Bhangra. It is danced to the tune of emotional songs. The dance is without acrobatics. The movement of the arms only is considered its main forte. Toes are musically placed in front and backwards and turnings are taken to the right, sometimes the dancers place their one hand below the ribs on the left and gesticulate with the right hand. This dance does not tire out its performers and it is normally danced on moonlit nights in the villages away from the habitation. It is mostly danced by tribal Sikh professional acrobats and has yet not been owned by all Punjabis. The dancers of this dance let-off a sound, "dee dee" in tune with the beat of the dance which adds to its grace. This dance has also been integrated into Bhangra….
….::::JAAGO::::….
Literally, "wake up!" When there’s a marriage in the house, girls dance through the village streets carrying a pot (gaggar) decorated with lightened candles and singing jaagu songs. The theme of song in the ‘Jago’ is social and typically a bit of teasing (often aimed at elders) goes with the song.
On the night before the wedding, the female relations of the bridegroom prepare a ‘Jaago’. Jaago is constructed on the style of ancient balconies on several surfaces of which lamps, fashioned out of dough of wheat flour are constructed in the style of stars, These are filled with ghee or oil, cotton wicks are placed in them and lighted. This effigy is put on the head of groom’s mothers’ brothers’ wife, led by her the mother’s relations, singing, dancing frolicking knocking at the doors of residents of the groom’s village, enter in, dance gidha accept presents of food, grain and ghee for the lamps and continue these rounds through the night, when youth glows and the dark of the night resounds with mirth and laughter….
….::::LUDDI::::….
Luddi is a victory-dance recognisable by the swaying movements of the head. Its costume is a simple loose shirt. The performers place one hand at the back and the other before the face; the body movement is sinuous, snake-like. This is also danced with the drummer in the centre.
This is also a male dance of Punjab. It is danced to celebrate a victory in any field. Its costumes are simple. Only a loose shirt (kurta) and a loincloth are used. Some tie a turban, other the Patka which is somewhat like a scarf tied across the forehead, while still others join in bareheaded. This is also a dance of *** abandon. The performers place one hand at the back and the other before the face copying the movement of a snake’s head. This is also danced with the drummer in the center but sometimes the dancers dance before a throng of people and keep moving forward also. This dance is more popular across the Sutlej and in Pakistan it is almost as popular as the Bhangra. This dance has an historical background and pertains to that moment in history when Punjabi Sardars had begun to rescue Indian women that used to be forcibly taken in the direction of Basra in Middle East.
This dance is also the dance of slow movements and some teachers by integrating it into Bhangra have finished its individual identity….I loved the way singers chant "luddi haey jamalo"..
….::::SAMMI::::….
Traditionally by women of the Sandalbar region, now in Pakistan. The dancers are dressed in bright coloured kurtas and full flowing skirts called lehengas. A peculiar silver hair ornament is associated with this dance.
The fairy dancers of the court of lord Indira are reputed to have taught the technique of Giddha and Sammi to the girls of this earth. The fairy which taught Giddha was known as Giddho while the one who taught Sammi was named as such. This kind of dance form is popular in Sandal Bar which now is in Pakistan. Sammi has not been able to gain popular acceptance and is breathing its last in the huts of the tribals. Women of Baazigars, Rai Sikhs, Lobanas and Sansi lot tribes dance in this medium. This is also danced in the privacy of women.
This women’s dance is also performed like ‘Giddha’. The dancers stand in a circle and swing their hands, bringing them up from the sides, right in front up to the chest level and clap: they take their hands down in accordance with a rythem and clap again. Repeating this gesture, they bend forward and clap again, and go round and round in a circle. As the rythem is maintained with the beat of the feet, various kinds of swinging movements are performed with the arms. Most of the gestures are confined to the movement of the arms, clicking and clapping. No instrument is required as an accompaniment to this dance. Rythem is kept up with the beating of the feet and clapping.
Special make-up is done by its performers. They knit their hair into thin plaits all over their head into intricate patterns and tie the remaining length of the hair in one full plait. In the middle of their head they fix a domed ornament shaped like an inverted lotus called phul-chowk or Suggiphul (flower of the crossings of the plaits). The performers wear a unisex kurta (male shirt) and the tehmet (lower cloth) and cover their head with a thick cloth of loose rectangular dimension, called ‘Bhochhan’. Chutki is a frictional sound of single note created by pressing and then sIiding the thumb and the index or the middle finger and is used to keep the beat in this lance. The background song of this dance is also called sammi. This is also a dance of controlled movements. It is said that even the Devtas (angels) get inebriated while seeing this dance…..
….::::JHULLI & DHAMAAL::::….
Julli is a religious dance associated with Pirs and recluses and is generally danced in their hermitages (khangahs). This dance is performed mostly in a sitting posture; sometimes it is also danced round the grave of a preceptor. A single dancer can also perform this dance. Toes are tensed in this dance. The dancer holds a thick staff in his hands and he dances by revolving it. Normally black clothes are worn by the dancer, so is his head covered with black scarf. Sometimes, the murids (followers) also the tie ghungroos (Jingling bells) around their waists like the Bhangra dancers of yore. This dance is fast disappearing…..
Dhamaal is similar to bhangra and is danced by men in a circle.This folk dance also has not been able to achieve the popularity of Bhangra. Of course it is a male dance and, likewise, is danced in a circle. Drum is used as the accompanying instrument; its costumes are akin to Bhangra and Jhumar…
….::::KIKLI::::….
This dance is performed by women in pairs. They cross their arms, hold each other’s hands and whirl around singing folk songs. Sometimes four girls join hands to perform this dance.
Kilkli, is more of a sport than a dance, is generally popular with the young girls. The dance performed in pairs, is a favourite of the young girls. It can be done by any even number of performers starting with two. Before beginning the dance, the two participants stand face to face with their feet close to each other’s and their bodies inclined back. Standing in this pose the arms of the dancers are stretched to the maximum limitand their hands are interlocked firmly.
The dance is performed when the pairs, maintaining this pose, wheel round and round in a fast movement at the same spot with the feet serving as the pivotal points. The girls sing as they swirl around with colorful ‘orhnis’ or ‘daupttas’ flowing from their heads and anklets producing tinkling melodies.
There is a rich repertoire of traditional songs available that are used to accompany the ‘kikli’ dance. Most of these songs consist merely of loosely rhyming lines without underlying theme. One of the examples is :
Kikli kleer di,
Pag mere vir di,
Daupatta mere bhai da, Phitte mun jawai da…
….::::TEEYAN::::….
Giddha can be seen at its best when ‘Teeyan’ or the women’s dance festival is celebrated. This festival in Punjab is celebrated in the month of Sawan. The dance usually takes place on the bank of some river or pond under big shady trees. Swings are thrown over the branches and singing, swinging and dancing starts. On this day when the married daughters come to their parent’s house their brothers fix the swings for them. As they swing they share their anxieties with each other through songs. Dressed in their best and decked by ornaments, girls gather during these festivals like the fairies. These dancers look a medley of color and beauty. The festival continues till the 3rd Lunar day in the month to full moon and there is a gala function on the concluding day…….
….::::BHANGRA::::.…
Bhangra celebrates the harvest and is associated with the festival of Baisakhi (April 13) when the sight of tall heaps of golden wheat fill the farmer’s heart with joy. To the accompaniment of large drums called dhols, he and his fellow villagers circle round and round in a leaping, laughing caper. It’s a dance that cuts across all divisions of class and education. At marriages, parties, or celebrations of any sort, it is quite common for men to break out in Bhangra. There are few sights more cheering than that of a dignified elder in three-piece suit getting up to join the young fellows for a moment of bhangra revelry.
The Bhangra is perhaps the most virile form of Indian Folk Dances. Springing from the land of five rivers, it abundantly reflects the vigor, the vitality, the leaven of exuberance, and the hilarity permeated among the rural folk by the promise of a bumper crop.
At intervals the dancers stop moving, but continue to beat the rhythm with their feet. One of the dancers come forward near the drummer and covering his left ear with his palm sings a boali or dholla, derived from the traditional folk songs of Punjab. Picking up the last lines, the dancers again start dancing with greater vigor.
In addition to a drum, chimta-musical tongs and burchu and sound of the beats from earthen vessels are used as accompanying instruments. The costume of a Bhangra dancer consists of a bright, colored Patka on the head, a lacha or lungi of the same color, a long tunic and a black or blue waistcoat and ghunghroos on the ankles. Some dancers also wear small rings (nuntian) in their ears.
Bhangra is considered the king of dances. There are several styles of dancing Bhangra. Sialkoti, Sheikhupuri, Tribal, Malwa, Majha. One of the Bhangra’s moves is also akin to the moves of Shiv-Tandav dance, which is danced on one leg. Damru, hand-drum is also used in Bhangra which shows that folk dances and war dances have similar parentage…..
….::::GIDDHA::::….
Women have a different but no less exuberant dance called gidda. The dancers enact verses called bolis, which represent folk poetry at its best. The subject matter of these bolis is wide ranging indeed – everything from arguments with the sister-in-law to political affairs figure in these lively songs. Aside from the drums, the rhythm of this dance is set by the distinctive hand-claps of the dancers.
The vitality of Bhangra can also be seen in the Giddha dance of the women of Punjab. This dance translates into gestures, bolian-verses of different length satirizing politics, the excesses committed by husbands, their sisters and mothers, loneliness of a young bride separated from her husband, evils of society or expressing guileless deep love.
The dance is derived from the ancient ring dance. One of the girls plays on the drum or ‘dholki’ while others form a circle. Some times even the dholki is dispensed with. While moving in a circle, the girls raise their hands to the level of their shoulders and clap their hands in unison. Then they strike their palms against those of their neighbors. Rhythm is generally provided by clapping of hands.
Giddha is a very vigorous folk dance and like other such dances it is very much an affair of the legs. So quick is the movement of the feet in its faster parts that it is difficult for the spectator even to wink till the tempo falls again. The embroidered ‘duppattas’ and heavy jewelry of the participants whose number is unrestricted further exaggerate the movements.
Mimicry is aso very popular in ‘Giddha’. One girl may play the aged bridegroom and another his young bride; or one may play a quarellsome sister in law and another a humble bride. In this way Giddha provides for all the best forum for giving vent to one’s emotions.
The traditional dress during giddha dance is short female style shirt (choli) with ghagra or lehnga (loose shirt upto ankle-length) or ordinary Punjabi Salwar-Kamiz, rich in colour, cloth and design. The ornaments that they wear are suggi-phul (worn on head) to pazaibs (anklets), haar-hamela, (gem-studded golden necklace) baazu-band (worn around upper-arm) and raani-haar (a long necklace made of solid gold)….
….::::JHOOMAR::::….
This dance has originally come from Sandalbar (now in Pakistan), but is now very much a part of Punjab folk heritage. It is a dance of graceful gait, based on specific Jhumar rhythm.
The Jhummar is a dance of ecstasy. It is a living testimony of the happiness of men. Any time is Jhummar time especially during Melas, weddings and other major functions and celebrations. Performed exclusively by men, it is a common feature to see three generations – father, son and grandson – dancing all together. There are three main types of jhummar, each of which has a different mood, and is therefore suited to different occasionally, reason of its predominating mood.
This is also performed in a circle. The dancers dance around a single drummer standing in the center. Dancers circle around the drummer, and keep up a soft, sibilant chorus as they dance.It’s costumes are the same as that of Bhangra. It is danced to the tune of emotional songs. The dance is without acrobatics. The movement of the arms only is considered its main forte. Toes are musically placed in front and backwards and turnings are taken to the right, sometimes the dancers place their one hand below the ribs on the left and gesticulate with the right hand. This dance does not tire out its performers and it is normally danced on moonlit nights in the villages away from the habitation. It is mostly danced by tribal Sikh professional acrobats and has yet not been owned by all Punjabis. The dancers of this dance let-off a sound, "dee dee" in tune with the beat of the dance which adds to its grace. This dance has also been integrated into Bhangra….
….::::JAAGO::::….
Literally, "wake up!" When there’s a marriage in the house, girls dance through the village streets carrying a pot (gaggar) decorated with lightened candles and singing jaagu songs. The theme of song in the ‘Jago’ is social and typically a bit of teasing (often aimed at elders) goes with the song.
On the night before the wedding, the female relations of the bridegroom prepare a ‘Jaago’. Jaago is constructed on the style of ancient balconies on several surfaces of which lamps, fashioned out of dough of wheat flour are constructed in the style of stars, These are filled with ghee or oil, cotton wicks are placed in them and lighted. This effigy is put on the head of groom’s mothers’ brothers’ wife, led by her the mother’s relations, singing, dancing frolicking knocking at the doors of residents of the groom’s village, enter in, dance gidha accept presents of food, grain and ghee for the lamps and continue these rounds through the night, when youth glows and the dark of the night resounds with mirth and laughter….
….::::LUDDI::::….
Luddi is a victory-dance recognisable by the swaying movements of the head. Its costume is a simple loose shirt. The performers place one hand at the back and the other before the face; the body movement is sinuous, snake-like. This is also danced with the drummer in the centre.
This is also a male dance of Punjab. It is danced to celebrate a victory in any field. Its costumes are simple. Only a loose shirt (kurta) and a loincloth are used. Some tie a turban, other the Patka which is somewhat like a scarf tied across the forehead, while still others join in bareheaded. This is also a dance of *** abandon. The performers place one hand at the back and the other before the face copying the movement of a snake’s head. This is also danced with the drummer in the center but sometimes the dancers dance before a throng of people and keep moving forward also. This dance is more popular across the Sutlej and in Pakistan it is almost as popular as the Bhangra. This dance has an historical background and pertains to that moment in history when Punjabi Sardars had begun to rescue Indian women that used to be forcibly taken in the direction of Basra in Middle East.
This dance is also the dance of slow movements and some teachers by integrating it into Bhangra have finished its individual identity….I loved the way singers chant "luddi haey jamalo"..
….::::SAMMI::::….
Traditionally by women of the Sandalbar region, now in Pakistan. The dancers are dressed in bright coloured kurtas and full flowing skirts called lehengas. A peculiar silver hair ornament is associated with this dance.
The fairy dancers of the court of lord Indira are reputed to have taught the technique of Giddha and Sammi to the girls of this earth. The fairy which taught Giddha was known as Giddho while the one who taught Sammi was named as such. This kind of dance form is popular in Sandal Bar which now is in Pakistan. Sammi has not been able to gain popular acceptance and is breathing its last in the huts of the tribals. Women of Baazigars, Rai Sikhs, Lobanas and Sansi lot tribes dance in this medium. This is also danced in the privacy of women.
This women’s dance is also performed like ‘Giddha’. The dancers stand in a circle and swing their hands, bringing them up from the sides, right in front up to the chest level and clap: they take their hands down in accordance with a rythem and clap again. Repeating this gesture, they bend forward and clap again, and go round and round in a circle. As the rythem is maintained with the beat of the feet, various kinds of swinging movements are performed with the arms. Most of the gestures are confined to the movement of the arms, clicking and clapping. No instrument is required as an accompaniment to this dance. Rythem is kept up with the beating of the feet and clapping.
Special make-up is done by its performers. They knit their hair into thin plaits all over their head into intricate patterns and tie the remaining length of the hair in one full plait. In the middle of their head they fix a domed ornament shaped like an inverted lotus called phul-chowk or Suggiphul (flower of the crossings of the plaits). The performers wear a unisex kurta (male shirt) and the tehmet (lower cloth) and cover their head with a thick cloth of loose rectangular dimension, called ‘Bhochhan’. Chutki is a frictional sound of single note created by pressing and then sIiding the thumb and the index or the middle finger and is used to keep the beat in this lance. The background song of this dance is also called sammi. This is also a dance of controlled movements. It is said that even the Devtas (angels) get inebriated while seeing this dance…..
….::::JHULLI & DHAMAAL::::….
Julli is a religious dance associated with Pirs and recluses and is generally danced in their hermitages (khangahs). This dance is performed mostly in a sitting posture; sometimes it is also danced round the grave of a preceptor. A single dancer can also perform this dance. Toes are tensed in this dance. The dancer holds a thick staff in his hands and he dances by revolving it. Normally black clothes are worn by the dancer, so is his head covered with black scarf. Sometimes, the murids (followers) also the tie ghungroos (Jingling bells) around their waists like the Bhangra dancers of yore. This dance is fast disappearing…..
Dhamaal is similar to bhangra and is danced by men in a circle.This folk dance also has not been able to achieve the popularity of Bhangra. Of course it is a male dance and, likewise, is danced in a circle. Drum is used as the accompanying instrument; its costumes are akin to Bhangra and Jhumar…
….::::KIKLI::::….
This dance is performed by women in pairs. They cross their arms, hold each other’s hands and whirl around singing folk songs. Sometimes four girls join hands to perform this dance.
Kilkli, is more of a sport than a dance, is generally popular with the young girls. The dance performed in pairs, is a favourite of the young girls. It can be done by any even number of performers starting with two. Before beginning the dance, the two participants stand face to face with their feet close to each other’s and their bodies inclined back. Standing in this pose the arms of the dancers are stretched to the maximum limitand their hands are interlocked firmly.
The dance is performed when the pairs, maintaining this pose, wheel round and round in a fast movement at the same spot with the feet serving as the pivotal points. The girls sing as they swirl around with colorful ‘orhnis’ or ‘daupttas’ flowing from their heads and anklets producing tinkling melodies.
There is a rich repertoire of traditional songs available that are used to accompany the ‘kikli’ dance. Most of these songs consist merely of loosely rhyming lines without underlying theme. One of the examples is :
Kikli kleer di,
Pag mere vir di,
Daupatta mere bhai da, Phitte mun jawai da…
….::::TEEYAN::::….
Giddha can be seen at its best when ‘Teeyan’ or the women’s dance festival is celebrated. This festival in Punjab is celebrated in the month of Sawan. The dance usually takes place on the bank of some river or pond under big shady trees. Swings are thrown over the branches and singing, swinging and dancing starts. On this day when the married daughters come to their parent’s house their brothers fix the swings for them. As they swing they share their anxieties with each other through songs. Dressed in their best and decked by ornaments, girls gather during these festivals like the fairies. These dancers look a medley of color and beauty. The festival continues till the 3rd Lunar day in the month to full moon and there is a gala function on the concluding day…….
Sunday, 31 January 2010
Wednesday, 27 January 2010
Now There's A Movie On Chamkila - in the making
It’s quite common these days for an actor to come up with a story for a film. The latest entrant to this creative breed is Kunal Kapoor, who established himself as an actor with Rakeysh Omprakash Mehra’s Rang De Basanti. However, unlike other actors who take credit for regular commercial fare, Kapoor’s story is based on Chamkila, a popular musician in Punjab in the 1980s, who was assassinated.
Tentatively titled Chamkila, the film will be directed by Navdeep Singh, who won critical acclaim for Manorama Six Feet Under, featuring Abhay Deol, Gul Panag and Raima Sen.
Getting started
Confirming the news, Kapoor said, “I was shooting in Punjab when I heard someone talking about Chamkila. I was curious and found out more. I felt it was an interesting story. I called Navdeep and discussed the idea. It excited him and he agreed to direct it. Another friend, Nilesh Dadich, whom I’ve known since the time I worked as an assistant to Rakeysh, is producing it.”
Singh admits that it was natural that the actor would play the lead in this movie. “Besides, he makes for a good Punjabi guy,” he enthuses. On further probing, he concedes, “It’s about a young Punjabi musician, played by Kunal. He’s a huge fan of Chamkila, and one day, something happens which changes his life.”
Despite the strong Punjabi flavour, Singh is certain that Chamkila will not be a standard Punjabi musical. When questioned if he will also shoot some portions in London and Canada, because a lot of Punjabis travel to those parts, Singh asserts, “Although the film will have a Punjabi setting, it will not be commercial, but more real.”
Reality check
Says Kapoor, “Every time you visualise Punjab in Hindi films, it’s portrayed in a typical way. We’ll explore the underbelly of Punjab, that is grungier and has never been seen before in our movies. There’s a lot more to Punjab than just the music that you hear in Hindi films.”
Amit Trivedi, who shot to fame with Dev D, has been signed to compose the soundtrack for Chamkila. And he’s already travelled to Punjab to get new voices for his compositions. “We’re looking for one male and one female voice.
But it’s also possible that we might make Kunal sing if we don’t get the kind of voices we’re looking for. We’ll train him,” says Singh.
Kapoor, however, has no idea about his director’s plans for him. “I just want to act in the film,” he asserts.
-----
Kunal Kapoor plays a singer
Manorama Six Feet Under director Navdip Singh’s film Chamkila hasn’t gone on the floors yet, but the movie’s lead actor, Kunal Kapoor, has already been asked to enroll himself in singing classes to lend authenticity to his role. Kapoor plays a singer who’s a fan of Punjab’s renowned singer, Amar Singh Chamkila, who was assassinated in 1988.
Amit Trivedi, who is composing music for the movie, says, “We’ve asked Kunal to learn how to sing, since it will do justice to his character of a folk singer. With someone else’s voice, I may end up looking unreal.” But Trivedi maintains that Kapoor will be asked to sing for the movie only if he’s unable to find any folk singer whose voice would suit his persona. In fact, the composer, who has given music for Dev D and Aamir, recently spent a week in Punjab with lyricist Shellee to look for folk singers with a voice that will suit the actor’s character in the movie.
“We auditioned singers in Chandigarh, Amritsar, Jalandhar, Ludhiana and in many villages in Punjab to find raw, rustic, Punjabi ki mitti voices,” says the composer. “We unearthed some real gems and heard some pure, raw sons of our soil sing brilliant folk [songs]— the kind that’s unfortunately dying these days.”
The composer was also impressed with the sound of traditional folk instruments. “It was a rare phenomena to hear such instruments live, which are on the verge of extinction. Like, there’s an instrument called ‘algoza’, which has a sound similar to playing two flutes at the same time — it hasn’t been heard of in Bollywood. Today, everyone wants to take up a guitar and be a rockstar and such instruments are dying out,” he rues. Trivedi plans to use such instruments in Chamkila as well as upcoming projects.
But even though the composer-lyricist duo found voices of great potential, none of them matched in texture with Kapoor’s voice. Trivedi will keep the playing field wide open.
“I found a singer called Major Khan whose voice seemed to fit, but when I heard his recordings back here, it didn’t excite me as much,” rues the composer. “But I did find a Rajasthani folk group and a Punjabi band that I may invite to Mumbai soon. As of now, the search is still on.”
I PERSONALY BELIEVE AMAR ARSHI SHOULD BE THE SINGER, AS I BELIEVE HIS VOICE WILL FIT WELL WITH CHAMKILA SONGS
INFO WORLDWIDEWEB
Tuesday, 12 January 2010
CHAMKILA - The Legend
Chamkila was born “Dunni Ram” on July 21st 1961 in Dugri, Ludhiana. Chamkila was from a poor family and lived in great poverty. He had one brother and two sisters whom were older than him. His mother, Kartar Kaur, passed away when Chamkila was a young child, and his older sisters and father used to take care of him.
Chamkila had always wanted to become an electrician but due to family difficulties he had to leave his education and work in Ludhiana in a cloth mill. Chamkila had one of his first songs sang by “Narinder Biba and Surinder Sharma” by the age of 10. The majority of Chamkila’s earlier songs had lyrics to do with electricity such as shock and connection etc, due to the fact he wanted to become an electrician.
Chamkila was a talented musician from a young age and used to play the dholki and vaja for pocket money whilst still at school. He later played the dholki for singers such as Surinder Shinda, K.deep, Jagmohan Kaur and M.Siddque.By the age of 15 he had a number of songs sung by famous Punjabi folk singers, such as Surinder Shinda, Narinder Biba, Kulie Ram, Bibi Tara and Sohan Lal etc.
The name Chamkila comes from the name Rangila, who used to be a folk singer that Chamkila admired greatly. Chamkila comes from the word “Chamak” (shine) as he wanted to shine forever in the world of music. Chamkila began to play the dholki and vaja for Surinder Shinda regularly. It was here that Chamkila began to make his stage career as he would perform on Shinda’s stage during intervals.
Chamkila soon went solo leaving Shinda. When Chamkila left, he took Surinder Sonia, and much of Shinda’s band and stage comedian. Chamkila and Surinder Sonia released their first record in 1979. Punjabi Folk fans grew fond of Chamkila’s style quickly as he had a very charismatic personality. In addition to singing his own songs he continued to write and sell his songs to other artists.
Chamkila left Sonia in 1980 and began singing with Miss Usha, which was only a stage arrangement. By late 1980 he heard of a famous female singer called Amarjyot who sang with Kuldip Manak.. She soon became his permanent singing partner.
At the time of joining with Amarjyot, Chamkila was married. This partnership with Amarjyot lead to a break up of his marriage in December of 1982. Their first LP record together was “Lack Mera Kach Varga” which included a song written by Pali Dethawalia entitled “Chack Lo Drivero”.
People began to become offended by the fact Chamkila was of the “Chamaar” caste and Amarjyot a “Tharkani”. Due to this Chamkila began to use Singh in his name and became Amar Singh. Chamkila rarely used his first name after that. It also became a rarity for him to mention the name of his pind when writing songs.
By 1984 Chamkila and Amarjyot were in high demand and were producing hit LP after LP with new songs all written by Chamkila. The songs that Chamkila sang were mainly about relationships which some people found offensive. Chamkila began to get hate mail and threats to his life.
In the early 80’s, Chamkila toured such countries as, USA, Canada, Dubai and Bahrain. Accompanying Chamkila on stage would be comedians (Tukuan or Mano) who would do impressions of Mehal Mittal. His shows lasted about 2-3 hours and every show began with a few religious songs.
Chamkila continued to get more and more hate mail but Chamkila always said “this is my music this is what I sing if you don’t like it, then don’t buy my records and don’t call me to your functions”. In HMV’s recording history, 3 of Chamkila’s LP records are still the highest selling records that were ever produced by a Punjabi singer.
After receiving more letters from angry fans saying Chamkila you have many songs containing vulgar and offensive lyrics. Do something good. Chamkila produced 3 LP records of dharmik geet (religious songs). His religious songs became number 1 hits. Chamkila however, only wrote a few religious songs himself. Most of them he bought from other writers. All profits that came from the religious songs went direct to the charities and local gurudwara’s. This was done as Chamkila said it was God who gave him the gift of music and what better way to say thank you to God.
By late 1985 Chamkila stopped singing his more offensive songs. The public was still unhappy and wanted Chamkila to stop singing altogether. Chamkila started to write and sing songs which were of a very serious nature.
Chamkila was killed in a show in “Mesumpur” as he stepped out of his car. Amarjyot was pregnant at the time and was shot in the chest and Chamkila was killed with 4 bullets in the chest alongside Gill Surjit and the dholki player Raja. The other members such as Tukham escaped. The blame was put on terrorists. A Curfew order took place when Chamkila was killed and riots between gangs broke out.
Chamkila died on the 8th March 1988. The reasoning behind his death is not fully known. Many people have speculated that Chamkila was killed because of jealousy of other singers. It is said that the others singers grouped together and got him killed. But then again their were many other popular singers, Why Chamkila?
My Favourite Songs Of 2009
A VERY HAPPY 2010 New year To All
Here is my favourite playlist of 2009
Just a handful of winners in my opinion.
Really i went through about 70 albums of 2009 and this is virtually it for me
Not In Any Particular Order
song : Sab Rishte Naate Haske Tor Du
film : De Dana Dan
singer : Rahat Fateh Ali Khan & Suzanne D’Mello
song : Ajj Din Chadheya
film : Love Aaj Kal
singer : Rahat Fateh Ali Khan
song : Teri Meri Yeh Zindagi
film : Life Partner
singer : Soham Chakrabarthy & Shreya Ghosal
song : Dhan Te Nan
film : Kaminey
singer : Sukhwinder Singh and Vishal Dadlani
song : Rock The Party
film : Aa Dekhen Zara
singer : Sunidhi Chauhan & Shweta & Vijay
song : Yaariyan
film : Shadow
singer : Anand Raj Anand & Anushka Manchandani
song : Aasman Choona Nahin
film : Mornin Walk
singer : Shaan
Here is my favourite playlist of 2009
Just a handful of winners in my opinion.
Really i went through about 70 albums of 2009 and this is virtually it for me
Not In Any Particular Order
song : Sab Rishte Naate Haske Tor Du
film : De Dana Dan
singer : Rahat Fateh Ali Khan & Suzanne D’Mello
song : Ajj Din Chadheya
film : Love Aaj Kal
singer : Rahat Fateh Ali Khan
song : Teri Meri Yeh Zindagi
film : Life Partner
singer : Soham Chakrabarthy & Shreya Ghosal
song : Dhan Te Nan
film : Kaminey
singer : Sukhwinder Singh and Vishal Dadlani
song : Rock The Party
film : Aa Dekhen Zara
singer : Sunidhi Chauhan & Shweta & Vijay
song : Yaariyan
film : Shadow
singer : Anand Raj Anand & Anushka Manchandani
song : Aasman Choona Nahin
film : Mornin Walk
singer : Shaan
Sunday, 6 December 2009
My Stock Picks For 2010
Here are some of the stocks that i am predicting that could outperform in 2010.
Always remember to do your own research before you part from your hard earned money.
Your money is at risk, don't take these as guaranteed targets. It is only of my opinion.
Also take note company review & recomendation can change from this date to say a month later or year later
Software (SRT) 10p ................................target 25p
Nyota Minerals (NYO) 7.5p ...........................target 20p
Matra Petroleum (MTA) 3.55p ...........................target 8p
Plus Markets (PMK) 5.75p .............................target 25p
3 I Group (III) £2.75 ..............................target £4.50
Bahamas Petroleum (BPC) 4.4p.............target 50p
some wild gambles that could multibag or could potentially go bust
Sareum (SAR) 0.40p
Solo Oil (SOLO) 0.525p
Herenica (HER) 0.56p
Tricor (TRIC) 0.06P
Always remember to do your own research before you part from your hard earned money.
Your money is at risk, don't take these as guaranteed targets. It is only of my opinion.
Also take note company review & recomendation can change from this date to say a month later or year later
Software (SRT) 10p ................................target 25p
Nyota Minerals (NYO) 7.5p ...........................target 20p
Matra Petroleum (MTA) 3.55p ...........................target 8p
Plus Markets (PMK) 5.75p .............................target 25p
3 I Group (III) £2.75 ..............................target £4.50
Bahamas Petroleum (BPC) 4.4p.............target 50p
some wild gambles that could multibag or could potentially go bust
Sareum (SAR) 0.40p
Solo Oil (SOLO) 0.525p
Herenica (HER) 0.56p
Tricor (TRIC) 0.06P
Wednesday, 2 December 2009
The Bermuda Triangle
Truth Or Myth
The Bermuda Triangle, also known as the Devil's Triangle, is a region of the northwestern Atlantic Ocean in which a number of aircraft and surface vessels have disappeared or are alleged to have disappeared. Some people have claimed that these disappearances fall beyond the boundaries of human error or acts of nature. Popular culture has attributed some of these disappearances to the paranormal, a suspension of the laws of physics, or activity by extraterrestrial beings. Though a substantial body of documentation exists showing numerous incidents to have been inaccurately reported or embellished by later authors, and numerous official agencies have gone on record as stating the number and nature of disappearances to be similar to any other area of ocean, many have remained unexplained despite considerable investigation.
The Triangle area
The boundaries of the Triangle vary with the author; some stating its shape is akin to a trapezoid covering the Straits of Florida, the Bahamas and the entire Caribbean island area and the Atlantic east to the Azores; others add to it the Gulf of Mexico. The more familiar, triangular boundary in most written works has as its points somewhere on the Atlantic coast of Florida; San Juan, Puerto Rico; and the mid-Atlantic island of Bermuda, with most of the accidents concentrated along the southern boundary around the Bahamas and the Florida Straits.
The area is one of the most heavily-sailed shipping lanes in the world, with ships crossing through it daily for ports in the Americas, Europe, and the Caribbean Islands. Cruise ships are also plentiful, and pleasure craft regularly go back and forth between Florida and the islands. It is also a heavily flown route for commercial and private aircraft heading towards Florida, the Caribbean and South America from points north.
The Gulf Stream ocean current flows through the Triangle after leaving the Gulf of Mexico; its current of five to six knots may have played a part in a number of disappearances. Sudden storms can and do appear, and in the summer to late fall hurricanes strike the area. The combination of heavy maritime traffic and tempestuous weather makes it inevitable that vessels could founder in storms and be lost without a trace – especially before improved telecommunications, radar and satellite technology arrived late in the 20th century.
INFO FROM WWW
The Bermuda Triangle, also known as the Devil's Triangle, is a region of the northwestern Atlantic Ocean in which a number of aircraft and surface vessels have disappeared or are alleged to have disappeared. Some people have claimed that these disappearances fall beyond the boundaries of human error or acts of nature. Popular culture has attributed some of these disappearances to the paranormal, a suspension of the laws of physics, or activity by extraterrestrial beings. Though a substantial body of documentation exists showing numerous incidents to have been inaccurately reported or embellished by later authors, and numerous official agencies have gone on record as stating the number and nature of disappearances to be similar to any other area of ocean, many have remained unexplained despite considerable investigation.
The Triangle area
The boundaries of the Triangle vary with the author; some stating its shape is akin to a trapezoid covering the Straits of Florida, the Bahamas and the entire Caribbean island area and the Atlantic east to the Azores; others add to it the Gulf of Mexico. The more familiar, triangular boundary in most written works has as its points somewhere on the Atlantic coast of Florida; San Juan, Puerto Rico; and the mid-Atlantic island of Bermuda, with most of the accidents concentrated along the southern boundary around the Bahamas and the Florida Straits.
The area is one of the most heavily-sailed shipping lanes in the world, with ships crossing through it daily for ports in the Americas, Europe, and the Caribbean Islands. Cruise ships are also plentiful, and pleasure craft regularly go back and forth between Florida and the islands. It is also a heavily flown route for commercial and private aircraft heading towards Florida, the Caribbean and South America from points north.
The Gulf Stream ocean current flows through the Triangle after leaving the Gulf of Mexico; its current of five to six knots may have played a part in a number of disappearances. Sudden storms can and do appear, and in the summer to late fall hurricanes strike the area. The combination of heavy maritime traffic and tempestuous weather makes it inevitable that vessels could founder in storms and be lost without a trace – especially before improved telecommunications, radar and satellite technology arrived late in the 20th century.
INFO FROM WWW
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