Calculate your own Income tax for th year using the calculator given in the below link:
http://computeincometax.com/
Thursday, March 19, 2009
Andaman & Nicobar Islands - Tourist Spot to visit...
Islands of Andaman & Niciobar:
Jolly Buoy
An island in Mahatma Gandhi Marine National Park, it offers a breath tak
ing underwater view of coral and marine life. It is an ideal place for snorkeling , sea bathing and basking on the sun kissed beach.
An island in Mahatma Gandhi Marine National Park, it offers a breath tak
ing underwater view of coral and marine life. It is an ideal place for snorkeling , sea bathing and basking on the sun kissed beach.Cinque Island
The lure of underwater coral gardens and unspoiled beaches specially a sand bar join
ing two islands are irresistible. Super place for SCUBA diving, swimming, fishing and Camping.Red Skin Island
Another island in Mahatma Gandhi Marine National Park
has a nice beach and offers spectacular view of corals and marine life.Havelock Island
About 38 Kms. from Port Blair, this island provides idyllic reso
rt in the lap of virgin beach and unpolluted environment. Camping facility is available near Radhanagar beach. A guesthouse of Tourism Department "Dolphin Resort" is available for the touristsBarren Island
At a distance of about 135 Kms. from Port Blair is the land of volcano, Barren Island, the only active volcano in India. The Island, about 3 Kms. has a big crater of the volcano, rising abruptly from the sea, about 1/2 Km. from the shore and is about 150 fathoms deep. Can be visited on board vessels.
Ross Island
Once the seat of British power and capital of these Islands, it stands now as a ruin of the bygone days with the old structure almost in debris. A small museum named 'Smritika' holds photographs and the other antiques of the Britishers relevant to these islands.
Viper Island
The Britishers used to harbour convicts here. The first jail was constructed here which was abandoned after the construction of Cellular Jail. It has a gallows atop a hillock, where condemned prisoners were hanged. Sher Ali, who killed Lord Mayo, the Viceroy of India in 1872, was also hanged here.
Chatham Island
It has a Saw Mill lying on the tiny island connected by a bridge over a stretch of sea-water. This Saw Mill is one of the biggest and oldest in Asia. The main mainland -Island harbour is also here. The other harbour is Haddo, which is nearby.
Visit the below Website for more information on Andaman & Nicobar Islands:
http://tourism.andaman.nic.in/touristspot.htm
Nadi Jyothisham (Nadi Astrology)
Nadi astrology (nāḍi jyotiṣa) is a form of Hindu astrology practised in Tamil Nadu, India. It is based on the belief that the past, present and the future lives of all humans were foreseen by Hindu sages in ancient times and written down as Palm Leaf Manuscripts (nāḍi grantha).
The texts are written in Vatteluttu, which is an ancient Tamil script. There are different schools of thought as to the author of these leaves. They were written by a great Tamil sage called Agathiyar who had divine revelations. This doctrine of astrology was made famous by astrologers around theVaitheeswaran Temple in the state of Tamil Nadu and is still practiced around the temple by their descendants.
These Nadi leaves were initially stored in the premises of Tanjore Saraswati Mahal Library of Tamilnadu. The British rulers later showed interest in the Nadi leaves concerned with herbs and medicine, future prediction etc; but ironically left most of the Nadi prediction leaves to their loyal people. Some leaves got destroyed and the remaining were auctioned during the British rule. These Nadi leaves were obtained and possessed by the families of astrologers in Vaitheeswaran Temple. This is an art passed down the years from one generation to the other. [1]
Nadi astrologers say only a certain number of souls' future predictions are there in the leaves. They are reported cases of exact match in the past details and future predictions.
Usually, the astrologer (better to say a "reader") asks for the thumb impression (right hand for males and left hand for females). The astrologer (i.e."reader") then searches his repository of leaves for the seeker's classification of thumb print. Finally, the minimum possible set of matching leaves is brought. Every leaf corresponds to some individual and hence will bear the birth and kinship details of its seeker. Then the "Reader" goes on reading the details mentioned on the palm leaf one by one. e.g. "your (i.e. seker's) name is Ramesh." If it is correct the seeker has to reply yes or no. Suppose if the name is correct, the reader reads the next detail written on the same leaf, e.g. "your mother's name is Seeta." Again the seeker has to confirm the same or otherwise. If his/her mother's name is not Seeta, he/she has to reply just "no". That means the leaf does not belong to him/her. Hence the reader starts reading another palm leaf. And the procedure continues. So the seeker is asked a series of questions, based on the verses, so as to find the exact match. These questions are to be answered yes or no. The exact leaf of the seeker is said to get only "yes" responses from the seeker. If all the details on the one and the same leaf are 100% correct, then that leaf belongs to the seekar. It is said that the details such as father/mother's name, seeker's name, name of the wife( if married), details of children, prefession, Hindu astrology birth chart, present age of the seeker, date of birth of seeker etc, are found mentioned on the palm leaf. Once the exact leaf is found, the astrology tells the seeker's name, parents' name, spouse's name and many other details about his future, since they are all written in the leaf. The future is mentioned in such a way that a folder within a folder, e.g. If the seeker is not married at the time of reading, in the general chapter, it might have been written that his marriage will take place at e.g. 27 years of age. If the seeker desires more details regarding his married life then he has to refer to the seventh chapter which deals with only married life and may contain name of wife, her background etc etc. The first chapter (kandam) in the leaf has the general overview of its seeker's life. The kandams that follow this are specific ones like Marriage, Profession, etc. The list of chapters and details are as follows: [2]
1. It contains a gist of future predictions corresponding to the 12 houses of the horoscope, a general overview of the seeker's life with age. Is also a general summary of the 11 kandams that follows it:
2. This Kandam is about Family, Education, Eyes, Money and Intuition etc.
3. This Kandam is about Brothers & Sisters, Relationships between them and self.
4. This Kandam is about Mother and Comforts through House, Land and Vehicles.
5. This Kandam is about Children and births, reason for not having any, future lifestyle of children.
6. This Kandam is about troubles and hardships due to Disease, Debts Enemies, Litigations or Cases.
7. This Kandam is about first Union or Marriage and Status of married life. Also contains hints of valuable information about the name of the future spouse, horoscope, age of marriage, and some characteristic features of the spouse etc.
8. This Kandam is about lifespan and Longevity, Accidents and dangers with indication of time and age during one's lifetime.
9. This Kandam is about Father, Wealth, Visits to holy places, Fortune; Benefit from the preaching's of Guru and holy people, charitable deeds and social life.
10. This Kandam is about Career, Job, Profession and Business, Good and Bad times in career. Future predictions about growth, prosperity and losses in one's job or business.
11. This Kandam is about Second or further marriages, Profits in business etc.
12. This Kandam is about Expenditures, Foreign Visits, Next birth and Salvation.
Separate Kandams:
13. Shanti Pariharam: This Kandam is about past life or birth, bad and good deeds and a series of rituals that can dilute the effect of past bad deeds.
14. Deeksha Kandam: This Kandam is about the methods of preparing the Mantra Raksha, that has the power to shield the self from evil forces of jealous and envy. Raksha ensures relatively better rewards for one's efforts and success in deeds.
15. Avushada Kandam: This Kandam is about medicines, prescription suggested to those suffering from chronic diseases.
Initially, only the first chapter is read to the seeker. If the seeker needs further details on some particular chapter (like Business, Health, Marriage etc), then the corresponding chapter's verses are read to him/her. The seeker is also advised rituals which can correct the future mishappenings, there by leading to a choice.
The texts are written in Vatteluttu, which is an ancient Tamil script. There are different schools of thought as to the author of these leaves. They were written by a great Tamil sage called Agathiyar who had divine revelations. This doctrine of astrology was made famous by astrologers around theVaitheeswaran Temple in the state of Tamil Nadu and is still practiced around the temple by their descendants.
These Nadi leaves were initially stored in the premises of Tanjore Saraswati Mahal Library of Tamilnadu. The British rulers later showed interest in the Nadi leaves concerned with herbs and medicine, future prediction etc; but ironically left most of the Nadi prediction leaves to their loyal people. Some leaves got destroyed and the remaining were auctioned during the British rule. These Nadi leaves were obtained and possessed by the families of astrologers in Vaitheeswaran Temple. This is an art passed down the years from one generation to the other. [1]
Nadi astrologers say only a certain number of souls' future predictions are there in the leaves. They are reported cases of exact match in the past details and future predictions.
Usually, the astrologer (better to say a "reader") asks for the thumb impression (right hand for males and left hand for females). The astrologer (i.e."reader") then searches his repository of leaves for the seeker's classification of thumb print. Finally, the minimum possible set of matching leaves is brought. Every leaf corresponds to some individual and hence will bear the birth and kinship details of its seeker. Then the "Reader" goes on reading the details mentioned on the palm leaf one by one. e.g. "your (i.e. seker's) name is Ramesh." If it is correct the seeker has to reply yes or no. Suppose if the name is correct, the reader reads the next detail written on the same leaf, e.g. "your mother's name is Seeta." Again the seeker has to confirm the same or otherwise. If his/her mother's name is not Seeta, he/she has to reply just "no". That means the leaf does not belong to him/her. Hence the reader starts reading another palm leaf. And the procedure continues. So the seeker is asked a series of questions, based on the verses, so as to find the exact match. These questions are to be answered yes or no. The exact leaf of the seeker is said to get only "yes" responses from the seeker. If all the details on the one and the same leaf are 100% correct, then that leaf belongs to the seekar. It is said that the details such as father/mother's name, seeker's name, name of the wife( if married), details of children, prefession, Hindu astrology birth chart, present age of the seeker, date of birth of seeker etc, are found mentioned on the palm leaf. Once the exact leaf is found, the astrology tells the seeker's name, parents' name, spouse's name and many other details about his future, since they are all written in the leaf. The future is mentioned in such a way that a folder within a folder, e.g. If the seeker is not married at the time of reading, in the general chapter, it might have been written that his marriage will take place at e.g. 27 years of age. If the seeker desires more details regarding his married life then he has to refer to the seventh chapter which deals with only married life and may contain name of wife, her background etc etc. The first chapter (kandam) in the leaf has the general overview of its seeker's life. The kandams that follow this are specific ones like Marriage, Profession, etc. The list of chapters and details are as follows: [2]
1. It contains a gist of future predictions corresponding to the 12 houses of the horoscope, a general overview of the seeker's life with age. Is also a general summary of the 11 kandams that follows it:
2. This Kandam is about Family, Education, Eyes, Money and Intuition etc.
3. This Kandam is about Brothers & Sisters, Relationships between them and self.
4. This Kandam is about Mother and Comforts through House, Land and Vehicles.
5. This Kandam is about Children and births, reason for not having any, future lifestyle of children.
6. This Kandam is about troubles and hardships due to Disease, Debts Enemies, Litigations or Cases.
7. This Kandam is about first Union or Marriage and Status of married life. Also contains hints of valuable information about the name of the future spouse, horoscope, age of marriage, and some characteristic features of the spouse etc.
8. This Kandam is about lifespan and Longevity, Accidents and dangers with indication of time and age during one's lifetime.
9. This Kandam is about Father, Wealth, Visits to holy places, Fortune; Benefit from the preaching's of Guru and holy people, charitable deeds and social life.
10. This Kandam is about Career, Job, Profession and Business, Good and Bad times in career. Future predictions about growth, prosperity and losses in one's job or business.
11. This Kandam is about Second or further marriages, Profits in business etc.
12. This Kandam is about Expenditures, Foreign Visits, Next birth and Salvation.
Separate Kandams:
13. Shanti Pariharam: This Kandam is about past life or birth, bad and good deeds and a series of rituals that can dilute the effect of past bad deeds.
14. Deeksha Kandam: This Kandam is about the methods of preparing the Mantra Raksha, that has the power to shield the self from evil forces of jealous and envy. Raksha ensures relatively better rewards for one's efforts and success in deeds.
15. Avushada Kandam: This Kandam is about medicines, prescription suggested to those suffering from chronic diseases.
Initially, only the first chapter is read to the seeker. If the seeker needs further details on some particular chapter (like Business, Health, Marriage etc), then the corresponding chapter's verses are read to him/her. The seeker is also advised rituals which can correct the future mishappenings, there by leading to a choice.
The Pancha Pandavas and Kerala
Legends from the Mahabharata are an intricate part of the cultural web of India, that transcends regional and linguistic affiliations. The southern state of Kerala is an outstanding illustration of this fact. While the historic sites of Indraprasta, Hastinapura and Kurukshetra are believed to be in what is now Uttar Pradesh in Northern India, the Kathakali dance form of Kerala is one of the best forms of expression of the legends from the Mahabharatam.
Kerala has a strong temple culture, and the temples of Kerala are noted for their austerity and strict adherence to age old worship protocols. Five temples of Kerala, dedicated to Vishnu (Krishna) are connected with the Mahabharatam. Legend has it that the Pandava princes set out on a pilgrimage throughout India, after installing Parikshit as the ruler of their vast empire. During their tour of Kerala, the five brothers built a temple each. These temples are:
Chengannur (Yuddhisthra)Tiruppuliyur (Bhima) Aranmula (Arjuna)Tiruvanvandur (Nakula) Tirukkodittaanam (Sahadeva)
Kerala has a strong temple culture, and the temples of Kerala are noted for their austerity and strict adherence to age old worship protocols. Five temples of Kerala, dedicated to Vishnu (Krishna) are connected with the Mahabharatam. Legend has it that the Pandava princes set out on a pilgrimage throughout India, after installing Parikshit as the ruler of their vast empire. During their tour of Kerala, the five brothers built a temple each. These temples are:
Chengannur (Yuddhisthra)Tiruppuliyur (Bhima) Aranmula (Arjuna)Tiruvanvandur (Nakula) Tirukkodittaanam (Sahadeva)
Known Temples Of Kerala
- The Padmanabhaswamy temple atTiruvanandapuram is a serene center of worship and a veritable art gallery as well.
- At Mannaarsaala near Haripad near Trivandrum, a snake grove is held in regard as a place of worship.
- Guruvayur : The Sree Krishna templehere attracts thousands of pilgrims throughout the year. Naraayaneeyam the acclaimed sanskrit classic extols this shrine.
- The Krishna temple at Tripunitura near Ernakulam is associated through legend with the Pandava hero Arjuna.
- The Vadakkunnathar temple at Thrissurenshrines Shiva, Sankaranarayana and Rama and is one of the largest temple complexes in Kerala.
- Shiva is worshipped as the divine physician at the Vaidyanatha temple inTaliparamba.
- The Triprayar Rama temple in the vicinity of Thrissur is an architecturally beautiful temple.
- Along with the Navamukunda temple atTirunavai are located temples dedicated to Shiva and Bhrahma across the Bharatapuzha river.
- The Kumaranallur temple near Kottayam is home to a Bhagawati temple tied through legend with Madurai, Tamilnadu.
- The Lakshmana Perumal temple atMoozhikkalam is dedicated to Lakshmana, brother of Rama and has been venerated by the Tamil hymns of the Alwar saints.
- Tiruvinjikode near Thrissur has four images of Vishnu in a single shrine with the associated legend that they were installed by the Pandava princes.
- The Krishna temple at Trichambaram in Northern Kerala enshrines Krishna, has a rich tradition of festivals.
- The Subramanya temple at Haripadenshrines an imposing image of Skanda.
- The Ettumaanoor Mahadevar temple is one of the triad of Shiva temples associated with the legends related to the demon Khara and is adorned with exquisite murals.
- The Rajarajeswara temple atTaliparamba has legends associated with the Ramayana.
- The Kozhikkode Tali temple is an ancient one rich in legend.
- The Vilvamala hill temple in Northern Kerala bears shrines dedicated to Rama and Lakshmana.
- Tiruvalla near Kottayam houses an ancient temple dedicated to Vishnu - Valabbha and is rich in heritage and tradition.
- The Chengannur Mahadeva - Bhagawati temple is a large temple complex rich in legend and tradition.
- Tiruvanchikkalam and the Tamil Nayanmars: Tiruvanchikkalam has been revered by Sundaramoorthy Nayanar and Cheraman Perumaal of the 1st millennium CE.
- Sabarimala - where millions converge: Shasta is enshrined in Sabarimala - pilgrimage to which shrine requires austerities.
- Chotranikkara - Bhagawati Temple: Bhagawati is one of the most worshipped deities in Kerala. Visit this well known Bhagawati temple at Chottanikara.
- The Ambalappuzha Krishna temple is one of the well known temples dedicated to Krishna in the state of Kerala.
- The Udayanapuram Subramanyar templeis closely associated with the Vaikom Mahadevar temple nearby.
- The Vaikom Mahadevar temple is a vast temple rich in legend, architecture and festivals.
- The Kottayam Tirunakkara Mahadevatemple has Vaikom to its north and Ettumaanur to its south.
- The Tiruvangad Rama temple is one of the well visited Rama temples in Kerala and is rich in legend and traditions.
- The Sangameswara Koodalmanikyam temple at Irinjalakkuda in Kerala is a one of a kind temple dedicated to Bharata the brother of Rama.
- The Vamanamurthy temple at Trikakkaranear Irinjalakkuda is associated with the Onam festival tradition of Kerala.
- The Bhagawati temple at Kodungallurenshrines Bhagawati - considered to be a manifestation of Kannagi of the Tamil epic Silappadikaaram.
There are many more Temples in Kerala, which are both famous and unique.
Try visiting these temples......
Details - Courtesy - www.templenet.com/Kerala/
Unique Kerala - Martial Art form - Kalarippayattu - Part 3
Training Stages:
The training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.
Meithari:
Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns. Twelve meippayattuexercises for neuro-muscular coordination, balance and flexibility follow the basic postures of the body. Kalarippayattu originates not in aggression but is in the disciplining of the self. Therefore the training begins with disciplining the physical body and attaining a mental balance. This is crucial for any person and not necessarily a martial aspirant. This first stage of training consists of physical exercises to develop strength, flexibility, balance and stamina. It includes jumps, low stances on the floor, circular sequences, kicks etc. An attempt is made to understand and master each separate organ of the body. These exercises bring an alertness to the mind, and this alertness helps one understand some of the movements and processes of the self defense sequences that are taught at later stages.
Kolthari :
Once the student has become physically competent, he/she is introduced to fighting with long wooden weapons. The first weapon taught is the Kettukari staff, which is usually five feet (1.5 m) in length, or up to the forehead of the student from ground level. The second weapon taught is the Cheruvadi or Muchan, a wooden stick three palm spans long, about two and a half feet long or 75 cm. The third weapon taught is the Otta, a wooden stick curved to resemble the trunk of an elephant. The tip is rounded and is used to strike the vital spots in the opponent's body. This weapon is considered the master weapon, and is the fundamental tool of practice to develop stamina, agility, power, and skill. The training in 'Otta' consists of 18 sequences.
Ankathari:
Once the practitioner has become proficient with all the wooden weapons, he/she proceeds to Ankathari (literally "war training") starting with metal weapons, which require superior concentration due to their lethal nature. The first metal weapon taught is the Kadhara, a metaldagger with a curved blade. Taught next are sword (Val) and shield (Paricha). Subsequent weapons include the spear (kuntham), the flexible sword (Urumi or Chuttuval), an extremely dangerous weapon taught to only the most skillful students. Historically, after the completion of 'Ankathari' training, the student would specialize in a weapon of his choice, to become an expert swordsman or stick fighter.
Verumkai :
Only after achieving mastery with all weapons forms is the practitioner taught to defend his/her person with bare-handed techniques. These include arm locks, grappling, and strikes to the Pressure Points (Marmam), the vital points of the body. The Gurukkal teaches knowledge of Marmam only to those students whom he trusts, restricting knowledge to the very few. Critics of Kalarippayattu have pointed out that the application of Marmam techniques against neutral outsiders has not always produced verifiable results.
Courtesy - en.wikipedia.org
The training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.
Meithari:
Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns. Twelve meippayattuexercises for neuro-muscular coordination, balance and flexibility follow the basic postures of the body. Kalarippayattu originates not in aggression but is in the disciplining of the self. Therefore the training begins with disciplining the physical body and attaining a mental balance. This is crucial for any person and not necessarily a martial aspirant. This first stage of training consists of physical exercises to develop strength, flexibility, balance and stamina. It includes jumps, low stances on the floor, circular sequences, kicks etc. An attempt is made to understand and master each separate organ of the body. These exercises bring an alertness to the mind, and this alertness helps one understand some of the movements and processes of the self defense sequences that are taught at later stages.
Kolthari :
Once the student has become physically competent, he/she is introduced to fighting with long wooden weapons. The first weapon taught is the Kettukari staff, which is usually five feet (1.5 m) in length, or up to the forehead of the student from ground level. The second weapon taught is the Cheruvadi or Muchan, a wooden stick three palm spans long, about two and a half feet long or 75 cm. The third weapon taught is the Otta, a wooden stick curved to resemble the trunk of an elephant. The tip is rounded and is used to strike the vital spots in the opponent's body. This weapon is considered the master weapon, and is the fundamental tool of practice to develop stamina, agility, power, and skill. The training in 'Otta' consists of 18 sequences.
Ankathari:
Once the practitioner has become proficient with all the wooden weapons, he/she proceeds to Ankathari (literally "war training") starting with metal weapons, which require superior concentration due to their lethal nature. The first metal weapon taught is the Kadhara, a metaldagger with a curved blade. Taught next are sword (Val) and shield (Paricha). Subsequent weapons include the spear (kuntham), the flexible sword (Urumi or Chuttuval), an extremely dangerous weapon taught to only the most skillful students. Historically, after the completion of 'Ankathari' training, the student would specialize in a weapon of his choice, to become an expert swordsman or stick fighter.
Verumkai :
Only after achieving mastery with all weapons forms is the practitioner taught to defend his/her person with bare-handed techniques. These include arm locks, grappling, and strikes to the Pressure Points (Marmam), the vital points of the body. The Gurukkal teaches knowledge of Marmam only to those students whom he trusts, restricting knowledge to the very few. Critics of Kalarippayattu have pointed out that the application of Marmam techniques against neutral outsiders has not always produced verifiable results.
Courtesy - en.wikipedia.org
Unique Kerala - Martial Art form - Kalarippayattu - Part 2
Styles of Kalarippayattu:
There are many different styles of Kalarippayattu. If one looks at the way attacks and defences are performed, one can distinguish three main schools of thought: the northern styles, the central styles, and the southern styles.
Northern Kalarippayattu:
Northern Kalarippayattu (practiced mainly in the northern Malabar region of Kozhikode and Kannur)[1] places comparatively more emphasis on weapons than on empty hands.[1] Masters in this system are usually known as gurukkal (and only occasionally as asan), and were often given honorific titles, especially Panikkar.[1] By oral and written traditions, Parasurama, the sixth Avatar of Vishnu, is believed to be the founder of the art.[1] The northern style of Kalarippayattu have been practiced primarily by Nairs and Thiyyas(Chekavar).
Northern Kalarippayattu is distinguished by its meippayattu - physical training and use of full-body oil massage.[1] The system of treatment and massage, and the assumptions about practice are closely associated with Ayurveda.[1] The purpose of medicinal oil massage is to increase the practitioners' flexibility, to treat muscle injuries incurred during practice, or when a patient has problems related to the bone tissue, the muscles, or nerve system. The term for such massages is thirumal and the massage specifically for physical flexibility chavutti thirumal. There are several lineages (sampradayam), of which the arappukai is the most common nowadays. There are schools which teach more than one of these traditions. Some traditional kalaris around Kannur, for example, teach a blend of arappukai, pillatanni, and katadanath styles
Southern Kalarippayattu:
n southern styles of Kalarippayattu (practised mainly in old Travancore including the present Kanyakumari district of Tamil Nadu)[1], practice and fighting techniques emphasize empty hands and application from the first lesson.[1] In the southern styles the stages of training are Chuvatu (solo forms), Jodi (partner training/sparring),Kurunthadi (short stick), Neduvadi (long stick), Katthi (knife), Katar (dagger), valum parichayum (sword and shield), Chuttuval (flexible long sword), double sword and Marmma and kalari grappling. The southern styles of Kalarippayattu have been practiced primarily by Nadars and a section of Nairs and Ezhavas in Kerala.[1]
Zarrilli refers to southern Kalarippayattu as Varma ati (the 'law of hitting') or marma ati (hitting the vital spots) or Varma kalai (art of Varma).[1] The preliminary empty-hand techniques of Varma ati and Adithada (hit/defend).[1] Marma ati refers specifically to the application of these techniques to vital spots.[1] Weapons may include long staffs, short sticks, and the double deer horns.[1] Southern styles of Kalarippayattu are not usually practiced in special roofed pits but rather in the open air, or in an unroofed enclosure of palm branches.[1] Masters are known as 'asaan rather than gurukkal (in Northern style).[1] The founder and patron saint is believed to be the rishi Agasthya.[1]
Medical treatment in southern styles of Kalarippayattu—which does include massage—is identified with Dravidian Siddha medicine[9] which is as sophisticated as—though distinct from—Ayurveda. The Dravidian Siddha medical system is also known as Siddha Vaidyam is attributed to the rishi Agasthya.
Silambam:
Silambam is a stick fighting, part of southern style of Kalarippayattu. This style supposedly originates from the Kurinji hills, present day Kerala, 5000 years ago, where natives were using bamboo staves to defend themselves against wild animals. "Salambal" is a common word used to denote the sound of fast flowing rivers/springs, the chirping noises of birds, the murmur of leaves, the noise created by blah blah ing of a crowd, the whooshing, whirring and clanging sound of weapons etc. When long sticks, swords and chain flails are used they produce the "sala sala" sound which is called "salambal". Thus Silambam became the name of the martial art that uses long sticks, swords etc.
Central Kalarippayattu:
The central style (practiced mainly in Thrissur, Malappuram, Palakkad and certain parts of Ernakulam districts[1] is 'a composite' from both the northern and southern styles that includes northern meippayattu preliminary exercises, southern emphasis on empty-hand techniques, and its own distinctive techniques, which are performed within floor drawings known as kalam.
Courtesy - en.wikipedia.org/
There are many different styles of Kalarippayattu. If one looks at the way attacks and defences are performed, one can distinguish three main schools of thought: the northern styles, the central styles, and the southern styles.
Northern Kalarippayattu:
Northern Kalarippayattu (practiced mainly in the northern Malabar region of Kozhikode and Kannur)[1] places comparatively more emphasis on weapons than on empty hands.[1] Masters in this system are usually known as gurukkal (and only occasionally as asan), and were often given honorific titles, especially Panikkar.[1] By oral and written traditions, Parasurama, the sixth Avatar of Vishnu, is believed to be the founder of the art.[1] The northern style of Kalarippayattu have been practiced primarily by Nairs and Thiyyas(Chekavar).
Northern Kalarippayattu is distinguished by its meippayattu - physical training and use of full-body oil massage.[1] The system of treatment and massage, and the assumptions about practice are closely associated with Ayurveda.[1] The purpose of medicinal oil massage is to increase the practitioners' flexibility, to treat muscle injuries incurred during practice, or when a patient has problems related to the bone tissue, the muscles, or nerve system. The term for such massages is thirumal and the massage specifically for physical flexibility chavutti thirumal. There are several lineages (sampradayam), of which the arappukai is the most common nowadays. There are schools which teach more than one of these traditions. Some traditional kalaris around Kannur, for example, teach a blend of arappukai, pillatanni, and katadanath styles
Southern Kalarippayattu:
n southern styles of Kalarippayattu (practised mainly in old Travancore including the present Kanyakumari district of Tamil Nadu)[1], practice and fighting techniques emphasize empty hands and application from the first lesson.[1] In the southern styles the stages of training are Chuvatu (solo forms), Jodi (partner training/sparring),Kurunthadi (short stick), Neduvadi (long stick), Katthi (knife), Katar (dagger), valum parichayum (sword and shield), Chuttuval (flexible long sword), double sword and Marmma and kalari grappling. The southern styles of Kalarippayattu have been practiced primarily by Nadars and a section of Nairs and Ezhavas in Kerala.[1]
Zarrilli refers to southern Kalarippayattu as Varma ati (the 'law of hitting') or marma ati (hitting the vital spots) or Varma kalai (art of Varma).[1] The preliminary empty-hand techniques of Varma ati and Adithada (hit/defend).[1] Marma ati refers specifically to the application of these techniques to vital spots.[1] Weapons may include long staffs, short sticks, and the double deer horns.[1] Southern styles of Kalarippayattu are not usually practiced in special roofed pits but rather in the open air, or in an unroofed enclosure of palm branches.[1] Masters are known as 'asaan rather than gurukkal (in Northern style).[1] The founder and patron saint is believed to be the rishi Agasthya.[1]
Medical treatment in southern styles of Kalarippayattu—which does include massage—is identified with Dravidian Siddha medicine[9] which is as sophisticated as—though distinct from—Ayurveda. The Dravidian Siddha medical system is also known as Siddha Vaidyam is attributed to the rishi Agasthya.
Silambam:
Silambam is a stick fighting, part of southern style of Kalarippayattu. This style supposedly originates from the Kurinji hills, present day Kerala, 5000 years ago, where natives were using bamboo staves to defend themselves against wild animals. "Salambal" is a common word used to denote the sound of fast flowing rivers/springs, the chirping noises of birds, the murmur of leaves, the noise created by blah blah ing of a crowd, the whooshing, whirring and clanging sound of weapons etc. When long sticks, swords and chain flails are used they produce the "sala sala" sound which is called "salambal". Thus Silambam became the name of the martial art that uses long sticks, swords etc.
Central Kalarippayattu:
The central style (practiced mainly in Thrissur, Malappuram, Palakkad and certain parts of Ernakulam districts[1] is 'a composite' from both the northern and southern styles that includes northern meippayattu preliminary exercises, southern emphasis on empty-hand techniques, and its own distinctive techniques, which are performed within floor drawings known as kalam.
Courtesy - en.wikipedia.org/
Unique Kerala - Martial Art Form called - Kalarippayattu - Part 1
Origin of Kalarippayattu:
The word "kalari" can be traced to ancient Sangam literature.[2] However, according to Dick Luijendijk, a researcher at the university of Nijmegen, in this literature the word "kalari" does not refer to any martial act.[3] But because the Sangam literature is mainly about love-making and fighting among the South Indian nobility, it is possible to see Kalarippayattu as a continuation of earlier traditions.[3]Thus the martial tradition of Kalarippayattu is also dated to ancient Dravidian traditions.[4] The earliest mention of the concept marmamalso dates back to the Rig Veda where Indra is said to have defeated Vritra by attacking his marman with his vajra.[5] References tomarman also found in the Atharva Veda.[6] Kalarippayattu became more developed during the 9th century and was practiced by the a section of the Nair community,warrior clan of Kerala, to defend the state and the king. The ancient warrior spirit was also retained throughout the centuries by the warrior chieftains of ancient Kerala known as the Mamanka Chekavars and the Lohars, the Buddhistwarriors of north Kerala[7].
Phillip Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalarippayattu, estimates that Kalarippayattu dates back to at least the 12th century CE.[1] The historian Elamkulam Kunjan Pillai attributes the birth of Kalarippayattu to an extended period of warfare between the Cheras and the Cholas in the 11th century CE.[1] Kalarippayattu may be one of the oldest martial arts in existence.[8] The oldest western reference to Kalarippayattu is a 16th century travelogue of Duarte Barbosa, a Portuguese explorer.
Courtesy - en.wikipedia.org
The word "kalari" can be traced to ancient Sangam literature.[2] However, according to Dick Luijendijk, a researcher at the university of Nijmegen, in this literature the word "kalari" does not refer to any martial act.[3] But because the Sangam literature is mainly about love-making and fighting among the South Indian nobility, it is possible to see Kalarippayattu as a continuation of earlier traditions.[3]Thus the martial tradition of Kalarippayattu is also dated to ancient Dravidian traditions.[4] The earliest mention of the concept marmamalso dates back to the Rig Veda where Indra is said to have defeated Vritra by attacking his marman with his vajra.[5] References tomarman also found in the Atharva Veda.[6] Kalarippayattu became more developed during the 9th century and was practiced by the a section of the Nair community,warrior clan of Kerala, to defend the state and the king. The ancient warrior spirit was also retained throughout the centuries by the warrior chieftains of ancient Kerala known as the Mamanka Chekavars and the Lohars, the Buddhistwarriors of north Kerala[7].
Phillip Zarrilli, a professor at the University of Exeter and one of the few Western authorities on kalarippayattu, estimates that Kalarippayattu dates back to at least the 12th century CE.[1] The historian Elamkulam Kunjan Pillai attributes the birth of Kalarippayattu to an extended period of warfare between the Cheras and the Cholas in the 11th century CE.[1] Kalarippayattu may be one of the oldest martial arts in existence.[8] The oldest western reference to Kalarippayattu is a 16th century travelogue of Duarte Barbosa, a Portuguese explorer.
Courtesy - en.wikipedia.org
Unique Traditions in Kerala - 1 - Sarpam Thullal
Sarpam Thullal
From Wikipedia, the free encyclopedia
Many ancient family houses in Kerala have special snake shrines called Kavu. Sarpam Thullal is usually performed in the courtyard of houses having snake shrines. This is a votive offering for family wealth and happiness. The dance is performed by members of a community called Pulluvar. In the first stage the pulluvan draws a kalam (the field) in with two or more twining snakes in the courtyard. An oil lit traditional lamp and one full measure (nirapara) each of paddy and rice are then placed in front of the kalam. In the second stage, the idol of the snake is brought out from the Kavu in a procession called thalapoli to the uproarious tumult of percussion instrument (panchavadyam).
The traditional kalam (literally, the field), for Sarpam Thullal
A number of girls with their hair pleated up like the hoods of snakes and reminiscent of the legend of the naga kanyakas partake in this procession. The idol is placed in the kalam and the poojari performs ritual offerings while the girls sit in two rows on the side of the kolam. The poojari then dances round the kolam to the rhythmic beating of para (a crude drum) andelathalam (bell metal cymbals). All the while a pulluvan and pulluvathi (male and female singers) sing special devotional songs set to tune and rhythm by nanduni (a primitive type of veena, a stringed musical instrument) and pulluvankudam (a primitive musical instrument consisting of an earthenware pot and strings) respectively. As the song gathers momentum the girls begin to dance, swaying their bodies slowly at first and steadily ascending in tempo. The dance finally erupts into a violent frenzy of rhythmic fervour, culminating in a trance.
This India-related article is a stub. You can help Wikipedia by expanding it.
This article relating to anthropology is a stub. You can help Wikipedia by expanding it.
Sarpam thullal creates a third dimension in your mind and thoughts. It takes you to a different level, beyond what is seen through your eyes and heard through your ears. The best way to put it is it's an act where the performer becomes the performance. It's an act where the dancer becomes the dance and the musician becomes the music. We cant differentiate between the performer and the performance. For many of us it's a practice or more a ritual, but it's not merely so. Worshiping snake is a practice which exists in almost all religions. Snake worship in Kerala is closely associated with the worship of nature. Our forefathers were clever enough to create a habitat which is eco-friendly and supports the livelihood of a family which is very close to the nature. The kulam-kavu model is one of the most admired eco friendly models of habitat. Kavu supports the plants and trees which provide us oxygen and the kulam supports the water bodies which purifies our habitat. Sarpam thullal is done to appease the snake gods which is in a way our mother earth. Sarpam thullal is generally done to bring off-springs which is a lyrical manifestation of life itself. If we closely analyse the profiles of participants and organizers, we could see a wide range of people belonging to different castes and backgrounds. It in a way celebrates the life in harmony and promotes the idea of co-existence where each of the community contributing unconditionally towards the cause. I agree the ritual is in a way a source of income for certain people but still they are deeply rooted to their profession and they are getting respect from the society for what ever they do. They may not get the same respect for what ever else they do. Sarpam thullal is as old as the snake worship practice in India, which is as old as the mother earth. The ritual has evolved and is evolving over the years but hasn't changed much. So basically it's the cross-section of our soceity and celebrates free spirit or life itself.
We'll analyze and discuss each stage involved in Sarpam Thullal in detail. Why should a family conduct Sarpam Thullal? Like I said it's done to appease the Snake Gods. People generally take a vow and Sarpam Thullal is done after the fulfillment or accomplishment of the vow. But in most of the scenarios Sarpam Thullal is done by couples who are deprieved of an offspring. They strongly believe that Snake God can fulfill their dream of having a baby. Certain historians and research scholars claim that Sarpam Thullal existed in Nair tharavads but if we deeply analyze the relevant documents, Sarpam Thullal was not restricted to Nair tharavads, it was practised even in other communities such as Ezhavas. But predominantly in the past and today it's conducted in Nair tharavads. The ritual can take place in advance or post the vow accomplishment. The family astrologer is the one who normally initiates the process or in certain places it's an annual or regular practice. They conduct Sarpam Thullal regularly, for example every year or once in 6 years etc. Once the date is finalized by the family, it's time to call the Pulluvan and Pulluvathy. Pulluvan and Pullvathy and their assistants hold the skills and responsibility of creating the aesthetic requirements of the Sarpam Thullal. They create a pandal and decorate it. The normal practice is to conduct Sarpam Thullal thrice a day. The selection of the girls who will later become the mediums or manifestations of Snake Gods is done by the family. Generally two girls/females are supposed to sit in the Kalam but certain places it is 6. In the past women didn’t have any restrictions i.e. woman of any age was chosen to represent the Snake Gods. But may be because of the way the society and the perceptions changed today in many places females between the ages of 10 to 60 is not allowed. Typically the karnavar of the family or an elderly person represents and supports the manifestation of Naga Rajavu which widely practices in south kerala.
The entire family is supposed to go through a rigorous vritham, they abstain from things such as cooking or having non-veg food. In the past the kanyas or the choosen females who represents the Snake Gods used to live in a different pandal. But these days it may be practically impossible to do so. The pulluvan and his team create a floral decoration using various natural colors. The floral decoration is called Nagakalam. Nagakalams are of various types such as Bhasma Kalam (A kalam which is made of just ash powder) and Varna Podi Kalam. Each time the size of the Kalam increases and the kalam drawn on the final ritual is called Astha Naga Kalam. The kanyas normally wear mundu and blouse for the ritual. They may wrap a veshti or thorthu mundu over the blouse. Certain places the kanyas wear pavada and blouse. In the past the participants were not supposed to cover their upper bodies and they used to wear mundu in a specific style which is called as Tattudukkal or Tharudukkal in Malayalam. Nagarajava generally wears mundu. Once the pulluvan and his team is done with decorations and other preparations the kanyas are called to the venue. They normally sit in the kalam or besides the kalam. In certain places where there are more than two kanyas, they stand besides the kalam. Nagarajavu generally stands inside the kalam. kanyas are given pokulas or arecanut flowers. The pulluvan starts singing and playing the veena (one string violin like instrument) and pulluvathy sings along and plays the kudam. The initial lines are generally sung in praise of Ganapathy, followed by other gods. Then the beat or thalam changes along with the song. Later part is dedicated to Serpent gods and the kanyas sitting in the kalam. The overall ambience becomes vibrant and exotic with the music, the colors and the fragrance. The kanyas generally feels that the snake which is drwan on the floor has come alive. Some of them have experianced vibrations all over their body and they feel there body is resonating towards the vibrations.
Studies and analysis says certain kanyas felt that the nagayakshi drawn on the floor became alive and was moving across their bodies. Generally psychology describes such kinds of mental status as trance. The myth or the common belief is that the Nagayakshi enters the kanya's body and the kanya becomes the Nagayakshi. The devotees see the goddess Nagayakshi or the serpent god Nagarajavu in the kanyas. They start waving their bodies and hair vigorously in sync with the music and the beats. The movement is normally sidewise and back and forth. In that hysteric mood certain kanyas climbs up the branches of trees and some even jumps in to the kulam or pond. Generally during this stage the body becomes very humid and to bring it back to normal tender coconut water is poured on to their heads and body. Turmeric water, rose water etc are also poured. The kanyas moves across the kalam and smashes the kalam off using the pokula in their hand and their long hair. Certain places Nagarajavu or the karnaver or an oracle enters a trance during the final stage and joins the kanyas. Finally the kanyas reaches an exhaustive stage where they loss all the energy and become unconsious and lie on the floor. The main pujari or master of the ritual splashes water on their faces and then slowly they regain their normalcy. LIke I mentioned before the Sarpam Thullal ritual normally happens thrice a day. Many scholars and research analysts over the years have tried their level best to analyze the minds of the Kanyas. But they could hardly draw any success, the basic reason being pointed out as, the kanyas normally losses themselves in the process and they generally could nt recollect anything that happened in the Sarpam Thullal. Sarpam Thullal today is dying a premature death. It's a fancy and expensive affair and most of the families are shying away from the ritual. Another reason may be in current social scenario it may be hard to find females who can be the manifestation of god or can experience trance. Certain places, people from the spectators get possessed and they are actually helping the cause. To save the sanctity and tradition, a few at least pretends of getting Urayal or Trance. Today, in many places it's sourced to a third party vendor who take the entire responsibility including ensuring the availability of the Kanyas. In that case the organizer just needs to pay the party a fixed amount. The question is whether we should allow this practice to die or not? Honestly, I can’t comment on that, if the future demands it, the Sarpam Thullal will stay otherwise it won’t. But what ever footprints it has left with, that itself is a great asset for all of us. Many of us have already started looking it from an outsider's perspective though it's still a part of our life. Long Live Kavu and Sarpam Thullal! Long Live the spirit of Co-existence and Harmony!
-Courtesy - en.wikipedia.org
From Wikipedia, the free encyclopedia
Many ancient family houses in Kerala have special snake shrines called Kavu. Sarpam Thullal is usually performed in the courtyard of houses having snake shrines. This is a votive offering for family wealth and happiness. The dance is performed by members of a community called Pulluvar. In the first stage the pulluvan draws a kalam (the field) in with two or more twining snakes in the courtyard. An oil lit traditional lamp and one full measure (nirapara) each of paddy and rice are then placed in front of the kalam. In the second stage, the idol of the snake is brought out from the Kavu in a procession called thalapoli to the uproarious tumult of percussion instrument (panchavadyam).
The traditional kalam (literally, the field), for Sarpam Thullal
A number of girls with their hair pleated up like the hoods of snakes and reminiscent of the legend of the naga kanyakas partake in this procession. The idol is placed in the kalam and the poojari performs ritual offerings while the girls sit in two rows on the side of the kolam. The poojari then dances round the kolam to the rhythmic beating of para (a crude drum) andelathalam (bell metal cymbals). All the while a pulluvan and pulluvathi (male and female singers) sing special devotional songs set to tune and rhythm by nanduni (a primitive type of veena, a stringed musical instrument) and pulluvankudam (a primitive musical instrument consisting of an earthenware pot and strings) respectively. As the song gathers momentum the girls begin to dance, swaying their bodies slowly at first and steadily ascending in tempo. The dance finally erupts into a violent frenzy of rhythmic fervour, culminating in a trance.
This India-related article is a stub. You can help Wikipedia by expanding it.
This article relating to anthropology is a stub. You can help Wikipedia by expanding it.
Sarpam thullal creates a third dimension in your mind and thoughts. It takes you to a different level, beyond what is seen through your eyes and heard through your ears. The best way to put it is it's an act where the performer becomes the performance. It's an act where the dancer becomes the dance and the musician becomes the music. We cant differentiate between the performer and the performance. For many of us it's a practice or more a ritual, but it's not merely so. Worshiping snake is a practice which exists in almost all religions. Snake worship in Kerala is closely associated with the worship of nature. Our forefathers were clever enough to create a habitat which is eco-friendly and supports the livelihood of a family which is very close to the nature. The kulam-kavu model is one of the most admired eco friendly models of habitat. Kavu supports the plants and trees which provide us oxygen and the kulam supports the water bodies which purifies our habitat. Sarpam thullal is done to appease the snake gods which is in a way our mother earth. Sarpam thullal is generally done to bring off-springs which is a lyrical manifestation of life itself. If we closely analyse the profiles of participants and organizers, we could see a wide range of people belonging to different castes and backgrounds. It in a way celebrates the life in harmony and promotes the idea of co-existence where each of the community contributing unconditionally towards the cause. I agree the ritual is in a way a source of income for certain people but still they are deeply rooted to their profession and they are getting respect from the society for what ever they do. They may not get the same respect for what ever else they do. Sarpam thullal is as old as the snake worship practice in India, which is as old as the mother earth. The ritual has evolved and is evolving over the years but hasn't changed much. So basically it's the cross-section of our soceity and celebrates free spirit or life itself.
We'll analyze and discuss each stage involved in Sarpam Thullal in detail. Why should a family conduct Sarpam Thullal? Like I said it's done to appease the Snake Gods. People generally take a vow and Sarpam Thullal is done after the fulfillment or accomplishment of the vow. But in most of the scenarios Sarpam Thullal is done by couples who are deprieved of an offspring. They strongly believe that Snake God can fulfill their dream of having a baby. Certain historians and research scholars claim that Sarpam Thullal existed in Nair tharavads but if we deeply analyze the relevant documents, Sarpam Thullal was not restricted to Nair tharavads, it was practised even in other communities such as Ezhavas. But predominantly in the past and today it's conducted in Nair tharavads. The ritual can take place in advance or post the vow accomplishment. The family astrologer is the one who normally initiates the process or in certain places it's an annual or regular practice. They conduct Sarpam Thullal regularly, for example every year or once in 6 years etc. Once the date is finalized by the family, it's time to call the Pulluvan and Pulluvathy. Pulluvan and Pullvathy and their assistants hold the skills and responsibility of creating the aesthetic requirements of the Sarpam Thullal. They create a pandal and decorate it. The normal practice is to conduct Sarpam Thullal thrice a day. The selection of the girls who will later become the mediums or manifestations of Snake Gods is done by the family. Generally two girls/females are supposed to sit in the Kalam but certain places it is 6. In the past women didn’t have any restrictions i.e. woman of any age was chosen to represent the Snake Gods. But may be because of the way the society and the perceptions changed today in many places females between the ages of 10 to 60 is not allowed. Typically the karnavar of the family or an elderly person represents and supports the manifestation of Naga Rajavu which widely practices in south kerala.
The entire family is supposed to go through a rigorous vritham, they abstain from things such as cooking or having non-veg food. In the past the kanyas or the choosen females who represents the Snake Gods used to live in a different pandal. But these days it may be practically impossible to do so. The pulluvan and his team create a floral decoration using various natural colors. The floral decoration is called Nagakalam. Nagakalams are of various types such as Bhasma Kalam (A kalam which is made of just ash powder) and Varna Podi Kalam. Each time the size of the Kalam increases and the kalam drawn on the final ritual is called Astha Naga Kalam. The kanyas normally wear mundu and blouse for the ritual. They may wrap a veshti or thorthu mundu over the blouse. Certain places the kanyas wear pavada and blouse. In the past the participants were not supposed to cover their upper bodies and they used to wear mundu in a specific style which is called as Tattudukkal or Tharudukkal in Malayalam. Nagarajava generally wears mundu. Once the pulluvan and his team is done with decorations and other preparations the kanyas are called to the venue. They normally sit in the kalam or besides the kalam. In certain places where there are more than two kanyas, they stand besides the kalam. Nagarajavu generally stands inside the kalam. kanyas are given pokulas or arecanut flowers. The pulluvan starts singing and playing the veena (one string violin like instrument) and pulluvathy sings along and plays the kudam. The initial lines are generally sung in praise of Ganapathy, followed by other gods. Then the beat or thalam changes along with the song. Later part is dedicated to Serpent gods and the kanyas sitting in the kalam. The overall ambience becomes vibrant and exotic with the music, the colors and the fragrance. The kanyas generally feels that the snake which is drwan on the floor has come alive. Some of them have experianced vibrations all over their body and they feel there body is resonating towards the vibrations.
Studies and analysis says certain kanyas felt that the nagayakshi drawn on the floor became alive and was moving across their bodies. Generally psychology describes such kinds of mental status as trance. The myth or the common belief is that the Nagayakshi enters the kanya's body and the kanya becomes the Nagayakshi. The devotees see the goddess Nagayakshi or the serpent god Nagarajavu in the kanyas. They start waving their bodies and hair vigorously in sync with the music and the beats. The movement is normally sidewise and back and forth. In that hysteric mood certain kanyas climbs up the branches of trees and some even jumps in to the kulam or pond. Generally during this stage the body becomes very humid and to bring it back to normal tender coconut water is poured on to their heads and body. Turmeric water, rose water etc are also poured. The kanyas moves across the kalam and smashes the kalam off using the pokula in their hand and their long hair. Certain places Nagarajavu or the karnaver or an oracle enters a trance during the final stage and joins the kanyas. Finally the kanyas reaches an exhaustive stage where they loss all the energy and become unconsious and lie on the floor. The main pujari or master of the ritual splashes water on their faces and then slowly they regain their normalcy. LIke I mentioned before the Sarpam Thullal ritual normally happens thrice a day. Many scholars and research analysts over the years have tried their level best to analyze the minds of the Kanyas. But they could hardly draw any success, the basic reason being pointed out as, the kanyas normally losses themselves in the process and they generally could nt recollect anything that happened in the Sarpam Thullal. Sarpam Thullal today is dying a premature death. It's a fancy and expensive affair and most of the families are shying away from the ritual. Another reason may be in current social scenario it may be hard to find females who can be the manifestation of god or can experience trance. Certain places, people from the spectators get possessed and they are actually helping the cause. To save the sanctity and tradition, a few at least pretends of getting Urayal or Trance. Today, in many places it's sourced to a third party vendor who take the entire responsibility including ensuring the availability of the Kanyas. In that case the organizer just needs to pay the party a fixed amount. The question is whether we should allow this practice to die or not? Honestly, I can’t comment on that, if the future demands it, the Sarpam Thullal will stay otherwise it won’t. But what ever footprints it has left with, that itself is a great asset for all of us. Many of us have already started looking it from an outsider's perspective though it's still a part of our life. Long Live Kavu and Sarpam Thullal! Long Live the spirit of Co-existence and Harmony!
-Courtesy - en.wikipedia.org
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