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Saturday, December 25, 2010
Saturday, December 18, 2010
21 Fun Ways to Celebrate Christmas
1. Get your friends together to string popcorn and cranberries while watching animated kids' classics like A Charlie Brown Christmas and How the Grinch Stole Christmas.
2. Get your youth group to create a living nativity scene one night a week in front of your church.
3. For a few laughs and a lot of fun, get together with friends to look at each other's family photos from past Christmases.
4. Form a kazoo band and go caroling—no singing allowed!
5. Pile the family in the car and drive around your town looking at Christmas lights.
6. Drop anonymous notes on your teachers' desks thanking them for sharing their gift of teaching with you. You may want to include a message about the greatest gift of all, Jesus!
7. Make your own creative wrapping paper using butcher paper and festive stamps.
8. Make a nativity scene from snow; if you live near a sunny beach, sand-sculpt the nativity scene.
9. Check with your local animal shelter and see if you and your friends can help give the animals their baths. Bring red and green ribbon to give them bows when you're done.
10. Go to your church one evening when no one else is there. Bring a single candle to light and sit in the silence, enjoying the peace of the season. (Be sure you've cleared this with somebody on the church staff.)
11. Grab your siblings for a fun day of shopping for your parents. After you've purchased the gifts, find a good place to sit and watch people. Try and guess who they're shopping for and what they bought.
12. Make hot cocoa for your grandma or grandpa. Ask them about Christmases past and their favorite traditions.
13. Try a holiday recipe from a different culture, like Mexican wedding cookies or Norwegian lefse.
14. Make a mixed tape of familiar Christmas carols sung by famous musical artists and have a contest to see who can guess who's singing; award the tape to one who gets the most correct.
15. Read the Christmas story (Matthew 1 and Luke 2:1-20) several times before Christmas; write down some new insights God gives you as you read.
16. Offer free babysitting for a busy mom in your church while she goes shopping.
17. Give out candy canes at school with a little note that explains where this tradition came from—to represent the staff of the Good Shepherd, Jesus Christ; the red is his blood; the white is the purity of Christ. (Get the whole story at www.daily-blessings.com/ch4p.htm.)
18. Turn off all the lights and read 'Twas the Night Before Christmas" by candlelight.
19. Get your youth group to clean your pastor's or youth pastor's house while they relax with their favorite Christmas CD.
20. Volunteer to be a Salvation Army bell ringer. Give candy to young children who drop money in the bucket.
21. Keep a journal of all your favorite Christmas memories from this year so you can thank God for each one and remember them next Christmas!
Rajasthan Music and Dance
There is dancing, singing, drama, devotional music and puppet shows and other community festivities which transform the hardworking Rajasthani into a fun-loving and carefree individual. Each region has its own folk entertainment, the dance styles differ as do the songs. Interestingly enough, even the musical instruments are different.
Of considerable significance are the devotional songs and the communities who render these songs. Professional performers like the Bhaats, Dholis, Mirasis, Nats, Bhopas and Bhands are omnipresent across the state. They are patronised by the villagers who participate actively in the shows put up by these travelling entertainers. Some of the better known forms of entertainment are:
Ghoomar Dance :
This is basically a community dance for women and performed on. auspicious occasions. Derived from the word ghoomna, pirouette, this is a very simple dance where the ladies move gently, gracefully in circles.
Gait Ghoomar :
This is one of the many dance-forms of the Bhil tribal. Performed during Holi festival, this is among a few performances where both men and women dance together.
Kalbeliya :
This most sensuous dance performed by the Kalbeliya (Snake-charmar`s community). The sapera dancers wear long, black skirts embroidered with silver ribbons. As they spin in a circle, their body sways acrobatically, so that it is impossible to believe that they are made of anything other than rubber. As the beat increases in tempo, the pace increases to such a pitch that it leaves the viewer as exhausted as the dance.
Gair :
Another Holi dance but performed only by men. This becomes Dandia Gair in Jodhpur and Geendad in Shekhawati.
Charee Dance :
This is popular in the Kisherigarh region and involves dancing with a chari, or pot, on one’s head. A lighted lamp is then placed on the pot.
Kachhi Ghodi :
This is a dance performed on dummy horses. Men in elaborate costumes ride the equally well decorated dummy horses. Holding naked swords, these dancers move rhythmically to the beating of drums and fifes. A singer narrates the exploits of the Bavaria bandits of Shekhawati.
Fire Dance :
The Jasnathis of Bikaner and Chum are renowned for their tantric powers and this dance is in keeping with their lifestyle. A large ground is prepared with live wood and charcoal where the Jasnathi men and boys jump on to the fire to the accompaniment of drum beats. The music gradually rises in tempo and reaches a crescendo, the dancers seem to be in a trance like state.
Drum Dance :
This is a professional dance-form from Jalore. Five men with huge drums round their necks, some with huge cymbals accompany a dancer who holds a naked sword in his mouth and performs vigorously by twirling three painted sticks.
Teerah Taali :
The Kamad community of Pokhran and Deedwana perform this dance in honour of theft deity, Baba Ramdeo. A rather unusual performance where the men play a four-stringed instrument called a chau-tara and the women sit with dozens of manjeeras, or cymbals, tied on all over their bodies and strike them with the ones they hold in their hands. Sometimes, the women also hold a sword between their teeth or place pots with lighted lamps on their heads.
Kathputli :
Puppet plays based on popular legends are performed by skilled puppeteers. Displaying his skill in making the puppets’ act and dance, the puppeteer is accompanied by a woman, usually his wife, who plays the dholak, or drum and sings the ballad.
Pabuji Ki Phach :
A 14th century folk hero, Pabuji is revered by the Bhopa community. The phad, or scroll, which is about 10 metres long, highlights the life and heroic deed of Pabuji. The Bhopas are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha and he is joined by his wife who holds a lamp and illuminates the relevant portions at appropriate points.
Maand :
Rajasthan’s most sophisticated style of folk music and has come a long way from the time it was only sung in royal courts, in praise of the Rajput rulers.
Professional singers still sing the haunting ballads of Moomal Mahendra, Dhola-Maru and other legendary lovers and heroes.
Pakhawaj:
Pakhwaj is an Indian Percussion instrument is known as the mother of North Indian style drumsthe universally famous drum Tabla was born fromPakhawaj. There is a very interesting story that goes with it. That the famous musician of his era, Amir Khusro was once giving a performance on Pakhawaj and while at it, the pakhawaj broke in two pieces.
Hecontinued to play with the broekn pieces, and to his own surprise it worked and this is how the new instrument called Tabla was born. According to another folklore Iit is believed that Lord Ganesha uses this instrument.
The pakhawaj is known by many names, like the mardal, pakuaj, pakhvaj and mardala. Pakhawaj is an Ancient percussion instrument shaped like a barrel, that greatly resembles the mridangam.
Kamayacha :
The Kamaycha has a big, circular resonator which produces a deep booming sound. It is used exclusively by the Manganiyars in the Jaisalmer-Barmer region. So deeply is the sense of tune and rhythm in the mind and ear of the folk musicians, that they need nothing more than intuition and a highly trained ear to tune their instruments.
Nagara :
The Nagara is a conical drum played with the Surnai and Nafeeri (the two sticks). It forms part of the orchestra for the folk operas by providing rhythm.Nagada are an Indian Percussion Instrument which resemble the kettle drums of the old naubat. Naubat is the traditional ensemble of nine instruments.
These Nagada are around 1 to 2 feet in diameter, and played with sticks. This 2-headed goatskin drum, nagada has a handle and it comes with a curved beater. This stick or beater helps to gently strike it on the drum to create the sound.In the modern times this instrument has generally been used as an accompaniement to shehnai. Nagada is a percussion instrument that resembles the'Dhol',which is also an Indian Percussion Instrument.Nagada is known by many names. For example, Nakkara, Nagada, Dugdugi etc. According to B. Chaitanyadeva, Nagada is a changed form of the ancient Dundubhi. Nagada has been inspired from Dundubhi. In Himachal Pradesh in Northern India also, Nagada's similar version can be found: Here its upper side is covered with leather of goat or goat skin. Nagada is slightly smaller in size than the 'Nobat'instruments. The percussion instrument 'Nagada' is played with it with a stick or piece of wood tp produce the produced.
Khanjari: Small sized frame drum struck with hands found in northern villages and may have jingles.
Dhol :
The twin faced drum is a must for any celebration in Rajasthan. Created in wood, this instrument gives a new soul to music and dance with its resonance and beat.
The twin faced drum is a must for any celebration in Rajasthan. Created in wood, this instrument gives a new soul to music
and dance with its resonance and beat.
Rawanhatta :
Ravanhatthais a royal string instrument older than the Sarangi. Minstrels themselves played it in older days. It has string with ghunghroos tied to the rod, which rubs over the string giving captivating taal (rhythm) to the song being played.
Rawanhathha Probably the earliest instrument played with a bow, and this humble instrument could well be the precursor of the violin. It has two main strings and a variable number of supporting strings, with a belly of half coconut shell and a body of bamboo. The bow has ghungroos (bells) attached to it. The music is staccato and accompanied by the syncopated singing of the Bhopa and the Bhopan.The Jogis of Abu Road area use a smaller version of the Rawanhathha which has its two main strings tuned to the 'Sa' of the Indian octave and a third of steel to 'Pa'. The Langas use the Sindhi sarangi. It is made up of four main wires, seven jharas and seventeen tarafs. Others members of the family are the Gujratan, Jogia and Dhani sarangis. The Surinda, favourite of the Manganiyars, is a small sarangi. The Chikara, used by the Meos and Jogis of Mewat is a replica of the Sarangi.
(sarod)
Sarangi:Seasoned Tun Wood model decorated. Comes with a bow
(Jogia Sarangi)
(Saraswati Veena)
Morchang :
The morchang resembles a jew's-harp. The plaintive, melancholic twang of the morchang adds a desolate dimension to the songs of the Manganiyars
Shehnai :
A slender instrument used particularly at the time of weddings, is sahnai. A double-beating reed instrument consisting of a single piece wooden tube with a opening and a metal mouthpiece, it is played as an accompaniment to nagara.
Ektaara :
The Ektaara is single string instrument, but it is mounted on the belly of a gourd attached to a body made of bamboo. The Galaleng Jogis of Dungarpur and Banswara have twin gourded Kendru appears akin to the ancient Kinnari Veena, and it has often been called the Keengri in Rajasthan literature. The Chautara, also called the Tandoora or Nissan, is also a popular five stringed drone and beat instrument used as an accompaniment to devotional music and for the Terathali dance
Algoza :
The Algoza, common in the Tonk-Ajmer areas, is like two flutes played together. The Kathodis use the Pawri, a flute of bamboo held vertically. The Bhils use a short flute in some of their dances. Ceremonial music is provided by Nafeeri and Surnai, both rudimentrary forms of the shehnai .Then there is the Poongi of the snake charmers and its adaptation by the Langas called the Murla. Both have two tubes, one for the notes and the other for the drone.
The enchanting music for song is provided by the Algoza. An instrument belonging to the regions Tonk, Ajmer consisting of bamboo flutes played together.
Satara :
It is a vertical flute with a single long hollow tube, into which the player whistles, at the same time gurgling a song in his throat or actually singing intermittently. The effect is haunting.
The Satara of the Langa tribe has one long flute producing music most evocative of the desert. It is a vertical flute with a single long hollow tube, intowhich the player whistles, at thesame time gurgling a song in his throat or actually singing.
Poongi : The snake charmers use it. It has two tubes, one for the notes and the other for the drone.
Ghanti :
The Ghanti or the Ghanta are commonly used and the ghungroo(ankle bells) form an integral part of music. The Bhopas of Bherunji wear large ghungroos around their waists and sway their bodies to provide a rhythm. The war dance of the Godwad area, the Ramjhol, is performed to the rhythm of the large ankle bells. Then there are the Manjeeras which are made of brass in the shape of hemispherical metal cups struck against each other.
Matka and Algoza :
Matkas and the Ghada and pair of huge earthenware pots, their mouths covered with membrane. One player plays each Matkas, and the Bhopas use it to accompany their singing
Sarangi :
The Sarangi is the most important instrument in the folk music of Rajasthan. Probably the ancestor of violin, this instrument has two main stringsand a variable number of supporting strings, with abelly of half a coconut shell and a body of bamboo. The Sarangi serves as an echo of the singer.
And accompanying the Sarangi is the Dholak. it is a two-sided drum like structure made of wood with membranes covering the hollow structure with adds rhythm to the soul-stirring music.
Folk music and Dances of Rajasthan
The people of Rajasthan live life to the hilt. After hard work in the harsh desert sun and the rocky terrain whenever they take time off they let themselves go in gay abandon. There is dancing, singing, drama, devotional music and puppet shows and other community festivities which transform the hardworking Rajasthani into a fun-loving and carefree individual. Each region has its own folk entertainment, the dance styles differ as do the songs. Interestingly enough, even the musical instruments are different.
Of considerable significance are the devotional songs and the communities who render these songs. Professional performers like the Bhaats, Dholis, Mirasis, Nats, Bhopas and Bhands are omnipresent across the state. They are patronised by the villagers who participate actively in the shows put up by these travelling entertainers. Some of the better known forms of entertainment are:
Ghoomar Dance: This is basically a community dance for women and performed on. auspicious occasions. Derived from the word ghoomna, piroutte, this is a very simple dance where the ladies move gently, gracefully in circles.
Gait Ghoomar: This is one of the many dance-forms of the Bhil tribals. Performed during Holi festival, this is among a few performances where both men and women dance together.
Gait: Another Holi dance but performed only by men. This becomes Dandia Gair in Jodhpur and Geendad in Shekhawati.
Chart Dance: This is popular in the Kisherigarh region and involves dancing with a chari, or pot, on ones head. A lighted lamp is then placed on the pot.
Kachhi Ghodi: This is a dance performed on dummy horses. Men in elaborate costumes ride the equally well decorated dummy horses. Holding naked swords, these dancers move rhythmically to the beating of drums and fifes. A singer narrates the exploits of the Bavaria bandits of Shekhawati.
Fire Dance: The Jasnathis of Bikaner and Chum are renowned for their tantric powers and this dance is in keeping with their lifestyle. A large ground is prepared with live wood and charcoal where the Jasnathi men and boys jump on to the fire to the accompaniment of drum beats. The music gradually rises in tempo and reaches a crescendo, the dancers seem to be in a trance like state. Drum Dance: This is a professional dance-form from Jalore. Five men with huge drums round their necks, some with huge cymbals accompany a dancer who holds a naked sword in his mouth and performs vigorously by twirling three painted sticks.
Teerah Taali: The Kamad community of Pokhran and Deedwana perform this dance in honour of theft deity, Baba Ramdeo. A rather unusual performance where the men play a four-stringed instrument called a chau-tara and the women sit with dozens of manjeeras, or cymbals, tied on all over their bodies and strike them with the ones they hold in their hands. Sometimes, the women also hold a sword between their teeth or place pots with lighted lamps on their heads.
Kathputli: Puppet plays based on popular legends are performed by skilled puppeteers. Displaying his skill in making the puppets act and dance, the puppeteer is accompanied by a woman, usually his wife, who plays the dholak, or drum and sings the ballad.
Pabuji Ki Phach: A 14th century folk hero, Pabuji is revered by the Bhopa community. The phad, or scroll, which is about 10 metres long, highlights the life and heroic deed of Pabuji. The Bhopas are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha and he is joined by his wife who holds a lamp and illuminates the relevant portions at appropriate points.
Maand: Rajasthans most sophisticated style of folk music and has come a long way from the time it was only sung in royal courts, in praise of the Rajput rulers.
Professional singers still sing the haunting ballads of Moomal Mahendra, Dhola-Maru and other legendary lovers and heroes.
List of singers and performers also includes the Mirasis and Jogis of Mewat, Manganiyars and Langas, Kanjars, Banjaras and Dholies. Performances like the Kuchamani Khayal, Maach, Tamasha, Rammat, Nautanki and Raasleela are no less popular. The musical instruments of Rajasthan are simple but quite unusual. Handcrafted by the musicians themselves they are rather unique and include instruments like the Morchang, Naad, Sarangi, Kamayacha, Rawanhattha, Algoza, Khartal, Poongi, Bankia and Da There are dozens of other instruments which are exclusive to Rajasthan only.
It is a rather difficult task to list all the different types of music, dance and entertainment that can be found in Rajasthan. The range is mind-boggling.
Of considerable significance are the devotional songs and the communities who render these songs. Professional performers like the Bhaats, Dholis, Mirasis, Nats, Bhopas and Bhands are omnipresent across the state. They are patronised by the villagers who participate actively in the shows put up by these travelling entertainers. Some of the better known forms of entertainment are:
Ghoomar Dance: This is basically a community dance for women and performed on. auspicious occasions. Derived from the word ghoomna, piroutte, this is a very simple dance where the ladies move gently, gracefully in circles.
Gait Ghoomar: This is one of the many dance-forms of the Bhil tribals. Performed during Holi festival, this is among a few performances where both men and women dance together.
Gait: Another Holi dance but performed only by men. This becomes Dandia Gair in Jodhpur and Geendad in Shekhawati.
Chart Dance: This is popular in the Kisherigarh region and involves dancing with a chari, or pot, on ones head. A lighted lamp is then placed on the pot.
Kachhi Ghodi: This is a dance performed on dummy horses. Men in elaborate costumes ride the equally well decorated dummy horses. Holding naked swords, these dancers move rhythmically to the beating of drums and fifes. A singer narrates the exploits of the Bavaria bandits of Shekhawati.
Fire Dance: The Jasnathis of Bikaner and Chum are renowned for their tantric powers and this dance is in keeping with their lifestyle. A large ground is prepared with live wood and charcoal where the Jasnathi men and boys jump on to the fire to the accompaniment of drum beats. The music gradually rises in tempo and reaches a crescendo, the dancers seem to be in a trance like state. Drum Dance: This is a professional dance-form from Jalore. Five men with huge drums round their necks, some with huge cymbals accompany a dancer who holds a naked sword in his mouth and performs vigorously by twirling three painted sticks.
Teerah Taali: The Kamad community of Pokhran and Deedwana perform this dance in honour of theft deity, Baba Ramdeo. A rather unusual performance where the men play a four-stringed instrument called a chau-tara and the women sit with dozens of manjeeras, or cymbals, tied on all over their bodies and strike them with the ones they hold in their hands. Sometimes, the women also hold a sword between their teeth or place pots with lighted lamps on their heads.
Kathputli: Puppet plays based on popular legends are performed by skilled puppeteers. Displaying his skill in making the puppets act and dance, the puppeteer is accompanied by a woman, usually his wife, who plays the dholak, or drum and sings the ballad.
Pabuji Ki Phach: A 14th century folk hero, Pabuji is revered by the Bhopa community. The phad, or scroll, which is about 10 metres long, highlights the life and heroic deed of Pabuji. The Bhopas are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha and he is joined by his wife who holds a lamp and illuminates the relevant portions at appropriate points.
Maand: Rajasthans most sophisticated style of folk music and has come a long way from the time it was only sung in royal courts, in praise of the Rajput rulers.
Professional singers still sing the haunting ballads of Moomal Mahendra, Dhola-Maru and other legendary lovers and heroes.
List of singers and performers also includes the Mirasis and Jogis of Mewat, Manganiyars and Langas, Kanjars, Banjaras and Dholies. Performances like the Kuchamani Khayal, Maach, Tamasha, Rammat, Nautanki and Raasleela are no less popular. The musical instruments of Rajasthan are simple but quite unusual. Handcrafted by the musicians themselves they are rather unique and include instruments like the Morchang, Naad, Sarangi, Kamayacha, Rawanhattha, Algoza, Khartal, Poongi, Bankia and Da There are dozens of other instruments which are exclusive to Rajasthan only.
It is a rather difficult task to list all the different types of music, dance and entertainment that can be found in Rajasthan. The range is mind-boggling.
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