#sanskritization

[vineetakamal]

Sanskritization – Never forget the roots - AnthroMania

Sanskritization – Never forget the roots. the process by which lower caste people imitate higher caste people.

[adityakshastri]

Transliteration: ātmano mukha doṣena badhyante śuka sārikā vakāstatra na badhyante maunaṃ sarvārtha sādhakam Explanation: • Parrots and mynas are two birds which have a special characteristic of speaking like human, or can have a human type voice. When a parrot is taught a word, parrot continuously recites it like a baby recites a poem. Babies though innocent, even parrots are. However, if we see from a different perspective, there is unnecessary speaking of words! Whereas, crane being a very silent bird is never killed. • The purpose of the comparison is, silence is a key to solve problems. Silence here refers to not speaking unnecessarily. Not speaking without reasons or less factual talks! Such silence helps to reduce the problems and automatically solve them. That's the power of silence! Unnecessary inputs, statements create controversies! Hence, in our Indian history there have been people who used to give answers in short sentences only. #pearlsofwisdom #sanskar #adityashastri #thatindiandiscourse #tid #sanskrit #resanskrit #sanskritization #india #wisdoem #pearlsofwisdom

[pyotra]

The notion of purification attached with the process of the classicalization of Indian dance forms has been sanctioned and backed by the cultural bureaucracy and brought into practice by the urban high caste/class elite practitioners, whose principle agenda was to create and establish forms which projected an ‘acceptable’ image of a clean, aesthetically appealing body, which needed its distance in history and in actual projection from the impure nautch or the dance for private patrons that it came to be associated with in the nineteenth century. If these cleansed forms of dance, aptly mentioned as ‘neo-classical’ by Kapila Vatsyayan, which were the newly created reconstructed identity of the representative forms of different states like Orissa (Odissi), Tamil Nadu (Bharatanatyam), Kerala (Kathakali, Mohini Attam), Uttar Pradesh (Kathak), Andhra Pradesh (Kuchipudi), etc. had to survive, they had to be purified, i.e., all reference or evidence of overt references to sexuality and sensuality had to be consciously removed, or at least re-worked. Sringar (erotic and sensual sentiments) as a dominant expression of communication had to be reinterpreted as Bhakti or devotional expression of communication towards the divine almighty.

In all dance related books on classical forms of dance in India, from the coffee table ones to the descriptive ones talking of techniques, the inevitable mention of 'pure’ form, ‘pure’ emotion and ‘pure’ body catches attention. The fear of contamination, literally juxtaposed on dance, from the actual everyday Brahmanic notions of purity and pollution of higher castes (especially Brahmins) when in contact with lower castes—has informed the cleansing process in all classical forms—by laying strict code for what is acceptable versus what is not. All of these notions have to do inevitably with the viewing, and hence are related to notions about forms rather than the conceptual part of the dance. Even when the body is the tool for such authoritative projection of the ‘pure’, constant effort to negate the body’s capability to communicate on its own has been noticed in the vocabulary of Indian dance.

--Engendering Performance: Indian Women Performers in Search of an Indentity