Shahrukh Khan in Ahmedabad(glimpses in video)
Shahrukh Khan in Ahmedabad(glimpses in video)
By our correspondent
Ahmedabad, DeshGujarat, 27 January, 2010
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Shahrukh Khan in Ahmedabad(glimpses in video)
By our correspondent
Ahmedabad, DeshGujarat, 27 January, 2010
| << Previous Post |
Disclaimer: Don’t get fooled by the fake and show appearance of Bollywood Bar club.
I believe Farida Jalal who has been mentor of SRK has described him perfectly:
An unappreciative fundamentalist bigot.
Seek entertainment from our built-in culture of Yatraa, Seasoned Music, Krishna Art, Hanuman Martial art, Raam adventures, Tasty Prasaad, Navraatri, Ganapati Procession, Colorful clothing, and Entertaining space science.
Jay Shree Raam!
HARI, YOU ARE RIGHT.
THESE SO CALLED BOLLYWOOD ACTORS ARE POISONING OUR ANCIENT CULTURE, AND MANY FOLLOWERS EVEN DO NOT UNDERSTAND THAT THEY ARE BECOMIONG STUPIDS…
I DO NOT CARE FOR THESE PEOPLE….
THESE PEOPLE ARE NOTHING BUT “TARGALAS”……
NOW MANY WILL WONDER WHAT “TARGALAS” MEAN? IT MEANS THEY JUST ENTERTAIN PEOPLE…. THEY HAVE NO VALUE….; THEY JUST TRAVEL AND MAKE PEOPLE ENTERTAIN….
THEY SHOULD NOT BE GIVEN SOCIAL VALUE….. WHEN NO GOOD PEOPLE WILL BE GIVEN IMPORTANCE, SOCIETY WILL SUFFER…. JAY SHREE KRISHNA…..
ASK THIS ACTOR TO MAKE INDIAN PATRIOTIC FILM… SEE WHAT HE DOES…
we love u shahrukh
Amazing personality i learned so much fromn him srk love u:D
ભાઈ કેન્ટ તમે “તરગાળા” કોમ ને આવી રીતે સરખાવી શકો નહિ કારણકે તરગાળા કોમ આપડી ગુજરાતી સંસ્સ્કૃતિ નો એક મહત્વ નો હિસ્સો છે ! ભવાઈ એ ગુજરાત ની આગવી ઓળખ છે તો મહેરબાની કરી ને તમે તમારા બુદ્ધિ નું પ્રદર્શન આવી રીતે ના કરો તો સારું છે !!! રહી વાત ભવાઈ ની જરા ઊંડાણ માં અભ્યાસ કરી ને તેના વિષે આપનો અભિપ્રાય આપવા વિનંતી છે. નીચે આપેલ માહિતી વાંચી ને આપનો અભિપ્રાય કદાચ બદલાશે આવી આશા અને ઈશ્વર તમને સદબુદ્ધી આપે તેવી પ્રાર્થના!!!!! ….
Bhavai is a form of folk theatre where the term is derived from bhav, i.e. `world, or
bhava, or `emotion`. As a matter of fact the word `Bhavai` is derived from the Sanskrit
word `Bhava` meaning expression of emotion or feeling. In the fourteenth century, an
excommunicated Brahman named Asaita Thakar, who was a kathakara i.e. narrator of
Puranic stories familiar with dance and music, began writing plays with prose dialogue.
He was perhaps inspired by one of the medieval Sanskrit uparupaka forms, enacted in
the open. He is said to have written 360 scripts called vesha literal meaning of which
was `dress`. In later days it came to be known as Bhavai, along with other similar plays
written after him.
The veshas are usually episodes from the social life of the community in the countryside,
focusing the satirical way. These mainly say as to how certain sections are
characterized. As for example Banias, Bohras, wandering tribes, etc. Women are strictly
prohibited from taking part in the Bhavai, hence, the male artists only have to perform
the female roles, which makes the entire drama more joyful.
Bhavai is staged open-air in front of temples as a community ritual honouring the
goddess Amba. Before the actors begin, they gather near a large earthen lamp and a
drawing of a trishula or trident symbolizing the goddess. They sing garbi i.e. religious
songs in her praise, and invoke blessings for the success of the performance. The
nayaka or leader then enters from the makeshift dressing room and marks a large circle
called the chachara or podha, considered a sacred place of pilgrimage and inside which
the performance takes place. A barber comes with a torch and oil to feed the flame that
remains the central lighting source throughout the show. Next, the actors enter from a
distance, providing their own light with small torches in their hands, weaving dance
patterns in the air. After that member of the orchestra, comprising two bhungalas i.e.
long thin copper pipes, tanlas, jhanjha or large cymbals, and harmonium, take their place
near the edge of the chachara. In Asaita Thakar`s time the pakhavaja i.e. double-ended
drum and ravaja i.e. a sarangi-like string instrument were played instead of tablas and
harmonium respectively. Vocal music provides the opportunity to sing local melodies,
ragas, garbis, marriage songs, and other familiar folk tunes. A musical prelude is
delivered addressed to Amba. The audience gathers and sits around the chachara,
leaving a passage for actors` arrival from the dressing room to the arena. For
entrances, the avanun i.e. entry song is sung and the bhungala played loudly to inform
the actor of his cue.
First enters Ganapati, god of benevolence, holding in front of his face a bronze plate on
which is drawn the auspicious swastika, and the musicians sing praising him. After
Ganapati, comes the goddess Kali, dancing with two lit torches in her hands. A man
plays her role, as women do not take part in Bhavai. She blesses the villagers and their
cattle wealth. Then enters Juthana or Ranglo, the comic character, whose antics make
people laugh but also have philosophical layers. He acts as the conscience, satirizing,
criticizing, lampooning the doings of authority figures, and pinpointing social evils. Major
plays begin around midnight and continue till early morning. Some favourites are Jhanda
Jhulan, which is about the love between a Muslim youth and a Hindu merchant`s wife.
Another one is Chhela Batau i.e. a heroic romance and the mythological Kana-Gopi i.e.
`Krishna and the Gopis`. They depict social, political, or religious themes, educate the
people, and try to raise the moral, ethical, and cultural life of their society. The satire
takes shape through both verbal and physical humour. The entire cast wears colourful
costumes.
Famous twentieth-century Bhavai entertainers included Muljibhai Nayak, Pransukh
Nayak, and Chimanlal Naik. But the village environment has radically changed owing to
cinema and television, and Bhavai has lost its charm and is decaying. Some workers of
modern Gujarati theatre attempted to write new plays to suit the times, though hardly
any concerted effort was made in this direction. However, two pioneering endeavors
acquired all-India fame. The names can be mentioned as Rasiklal Parikh`s Menu Gurjari
i.e. `Mena of Gujarat` in 1953, using elements of Bhavai dance and music, and C. C.
Mehta`s Hoholika in 1956, incorporating typical Bhavai clowning.
please don’t misguiding people MR KENT !!!!
SRK is nothing but a fabulous !!
welcome to Gujarat SRK sir!