The Natya Shastra (the main book written by sage Bharata dealing with theatre and acting) enumerates nine rasas which are sentiments or emotional states. These nine types of sentiments are also used in Kathak and together they cover all kinds of experiences that we can normally experience in our day to day life. Following is a list of all Rasas, their meaning, associated color, associated god or goddesses and my pictures showing you these Navrasas.

The dancers originate Rasa through Bhavas and therefore Rasas have been considered subordinate to Bhavas. The mental state of human being is called Bhava. The artist who is able to produce this mental state swiftly is considered as competent. Each Rasa is associated with a sthayee (permanent) Bhava. Rasa originates from the Sanskrit word ‘रस’.

Rasa originates from the Sanskrit word ‘रस’.

They are basically emoted through the eye and face gestures, body movements and muscle shifts. Different deities and colors are attributed to each of this.

• hasya- Humour: This is the most common expression which we all know. This rasa is attached to the deity Pramatha and is indicated with white color.
• Raudra- Anger : Hurt ego results in anger. It is connected to the Rudra, indicated by Red.
• Bibhatsa – Disgust: It stands for bad manners, vulgarity, dissatisfaction. This rasa is connected to the Mahakal, a form of Shiva, indicated by Blue colour.
• Bhayanaka – Fear: As there are many types of desires in this world, so are the fears. This rasa is connected to the Kala and the colour is Black.
• Shringara – Delight, erotic: The meaning of Shringara is love and it often means having a deep and loving romantic relationship with the opposite sex. This rasa is connected to the Vishnu and indicated by the pale light green colour.
• Veera – heroic, Courage: It is nothing but the confidence, fearlessness, self-assurance and heroism. This rasa is connected to the Indra and shown with Golden colour.
• Karuna – Pity, sorrow: The highest form of Karuna is compassion. This rasa is connected to the Yama and it is shown with Grey colour.
• Adbhuta – Wonder: Since the dawn of the prehistoric times, the human species have been curious, trying to understand things. And they have always wondered about the things they didn’t comprehend. This rasa is connected to the Gandharva and indicated using yellow.
• Shanta – Serenity- Don’t we all search for it? The peace, the ultimate
  inner relaxation and the feeling of serenity which is hard to find in today’s turbulent world? This rasa is
  connected to the Narayan and is shown with White Colour.

The research says that Shringara, Raudra, Veera and Bibhatsa are the
primary Rasas and other five rasas are originated from them.

Sometimes people think that each of these rasas are separate and can be classified. However, in a dance
performance, each of these Navrasas overlaps each other, they blend, interconnecting and creating a
fine framework that can touch the audience hearts.

Kathak is an age-old Dance form of Northern India and one of the 8 Classical Dances recognised by Sangeet Natak Academy.
Kathak was passed on from generation to generation through guru-shishya parampara (teacher-disciple tradition). This is one of the prominent reasons that different teachers developed slightly different traditions of Kathak over ample periods of time, which came to be identified as Gharanas later.

Presently, there are four prominent gharanas for Kathak:

1. Lucknow Gharana-
   Lucknow Gharana came into existence during the reign of Nawab Wajid Ali Shah in 19th century.
   Style: Graceful movements and natural poise.
   Notable personality : Birju Maharaj. 
2. Jaipur Gharana-
   Jaipur Gharana fluorished during the tenure of Kachchwaha kings of Jaipur.
   Style: The technical aspects of dance, such as footwork and spins are emphasised upon.
   Notable personality: Rajendra Gangani
3. Banaras Gharana-
   This Gharana was started by a person called Janaki Prasad.
   Style: Banaras gharana is known for its Natawari compositions, where rhythmic syllables correspond to the sound created by the feet striking the ground.
   While the Lucknow and Jaipur Gharanas were influenced during Mughal times, Banaras Gharana largely remained untouched from it.
   Notable personality: Sunayana Hazarilal 
4. Raigarh Gharana-
   This was established by the Maharaja Chakradhar Singh in the princely state of Raigarh(Chhatisgarh). The king was fond of inviting dance luminaries of different Gharanas to his court. Over a period of time, Raigarh developed its own unique style amalgamating the styles of all the older three Gharanas.
   Notable personalities: Chakradhar singh

   

5 cafe of Mumbai with the good Interior

In India, the coffee and cafe culture has expanded from last few years. Cafes like Indian Coffee House, Café Coffee Day, Barista and Coffee Beans are trending now-a-days. Cafes are considered to be good venues for conducting office meetings and for friends to have get-togethers or just a hangout station for youth. The interiors of a café can be identical to that of a restaurant yet, it differs from it in terms of interiors. So, what makes a café unique from other hangout stations?

Here are some interesting tips to consider while designing the interiors of a café:

Leaping windows cafe

Address :- 3 Corner View, Dr. Ashok Chopra Marg, Off Yari Road, Opp. Bianca Towers, Versova, Andheri West, Mumbai, Maharashtra 400061

Leaping windows is a playful cafe with a clever menu and patio, plus a library of comic books, graphic novels and manga. The interior of this cafe will make you feel very cozy and at home. For all the readers out there, this can be the definition of a perfect cafe. Tintin, Asterics and other famous comics are framed on the walls along with other interesting artwork.

Hard Rock Café

Address :- Wadia International Center Pandhurang Budhkar Marg, Kamagar Nagar Number 1, Worli, Mumbai, Maharashtra 400025

Interpreting sound into physical forms and materials throughout the design became a collaborative effort combining design with branding, furniture and street art. In the interior, new furnishings and fittings contrast with the overall space in which the walls and ceilings have been removed to create a more exposed space.

 

Grandmama’s Café

Address:- Hotel Royal Garden, Juhu Tara Rd, Shivaji Nagr, Juhu, Mumbai, Maharashtra 400049

Mismatched white chairs with pastel hued chintz upholstery paired with distressed wooden tables come together for a vintage atmosphere. a decor element that we think should soon universally retire.The inside looked like an old English grandma’s countryside cottage with niches that held worn out books The windows are dressed in tiered, white lacy curtains, while the white brick walls are adorned with embroidery hoops with stretched out lace, old silver plates and framed fabrics. Pin tucked love seats are combined with patterned top tables and paired with white chairs for a pleasant Parisian cafe like ambience.

 

Prithvi Café

 

 

 

Address:- 20,, 20, Janki Kutir, Juhu Church Road, Mumbai, Maharashtra 400049

A bohemian cafe on a large, shady terrace attached to the Prithvi Theatre that’s something of a cultural hub of intellectuals, artists and theatre types.It is that rare, intimate place that has all the right elements for an inspired, relaxing evening or Sunday morning. The intimate theater where you are almost part of the action, and the cosy sitting outside. A bohemian cafe on a large, shady terrace attached to the Prithvi Theatre that’s something of a cultural hub of intellectuals, artists and theatre types.

 

Kala ghoda café

Address:- 10, Ropewalk Lane, Kala Ghoda, Fort, Mumbai, Maharashtra 400001

 

Kala Ghoda Cafe is a chic nordic design cafe with western cafe food located in the artsy area of South Mumbai called Kala Ghoda. Kala Ghoda Cafe is most favourite in town for its rustic modern industrial design, delicious food, and very good pricing.The atmosphere there reminds a small cafe in Japan somewhere in Tokyo

Tabla

The tabla consists of two single headed, barrel shaped small drums of slightly different size and shapes: daya also called dahina meaning right (also called “tabla”), and baya also called bahina meaning left (also called “dagga”). The daya tabla is played by the musician’s right hand (dominant hand), and is about 15 centimetres (~6 in) in diameter and 25 centimetres (~10 in) high. The baya tabla is a bit bigger and deep kettledrum shaped, about 20 centimetres (~8 in) in diameter and 25 centimetres (~10 in) in height. Each is made of hollowed out wood or clay or brass, the daya drum laced with hoops, thongs and wooden dowels on its sides. The dowels and hoops are used to tighten the tension of the membrane. The daya is tuned to the ground note of the raga called Sa (tonic in India music). The baya construction and tuning is about a fifth to an octave below that of the daya drum. The musician uses his hand’s heel pressure to change the pitch and tone colour of each drum during a performance.

Sarangi

The sārangī is a bowed, short-necked string instrument from India as well as Nepal and Pakistan which is used in Hindustani classical music. It is the most popular musical instrument in the Western part of Nepal, and is said to most resemble the sound of the human voice – able to imitate vocal ornaments such as gamaks (shakes) and meends (sliding movements).

 

Bansuri

A bansuri is a side blown flute from South Asia found in many parts of India, Pakistan, Bangladesh, Sri Lanka and Nepal. It is an aerophone produced from bamboo.It is one of the most common instruments in the North Indian or Hindustani classical music. A similar flute is called venu in the South Indian or Carnatic classical tradition. It is referred to as nadi and tunava in the Rigveda and other Vedic texts of Hinduism. Its importance and operation is discussed in the Sanskrit text Natya Shastra.

 

Tanpura

The tanpura (तानपूरा; or tambura, tanpuri) is a long-necked plucked string instrument found in various forms in Indian music. It does not play melody but rather supports and sustains the melody of another instrument or singer by providing a continuous harmonic bourdon or drone. A tanpura is not played in rhythm with the soloist or percussionist: as the precise timing of plucking a cycle of four strings in a continuous loop is a determinant factor in the resultant sound, it is played unchangingly during the complete performance. The repeated cycle of plucking all strings creates the sonic canvas on which the melody of the raga is drawn. The combined sound of all strings, each string a fundamental tone with its own spectrum of overtones, is a rich and vibrant, dynamic-yet-static tone-conglomerate, due to interactive harmonic resonances that will support and blend with the external tones sung or played by the soloist.

The name of the instrument derives from Persian تنبور (pr. tanbūr) where it designates a group of long necked lutes (see tanbur). Hindustani musicians favour the term ‘tanpura’ whereas Carnatic musicians say ‘tambura’; ‘tanpuri’ is a smaller variant sometimes used for accompanying instrumental soloists.

 

 

The Salesman

Group members:
Anushka Ghuge
Diksha Gawali
Sakshi Biyani
Siddhi Ghuge

FADE IN FROM BLACK

SCENE 1

VENUE: INT. Living room

[In the dream of Diya Sharma, the door bell rings and a salesman enters
in forcefully. Diya is made to sit in a corner with her hands tied. She
then searches for the salesman and finds the salesman beside. The
salesman comes closer to Diya and Diya gets scared. Diya shouts and
bites the hand of the salesman. The salesman goes away from Diya.]

SCENE 2

VENUE: INT. Living room

[Diya looks at the salesman who is moving here and there and tries to
free her hand. Diya is unable to open the knot and gets frustrated.]

SCENE 3

VENUE: INT. Living room

[The salesman is moving here and there thinking to harm Diya. While Diya
gets engrossed in her thoughts. Diya thinks that there is a bat beside
her and takes that slowly and bangs it on the salesman’s head and the
salesman is dead. But suddenly Diya realizes that it was only an
assumption and gets frustrated to see the salesman still moving in front

of Diya.]

SCENE 4

VENUE: INT. Living room

[The salesman comes closer to Diya. Diya gets scared and moves back. The
salesman sits in front of Diya and tries to throttle her. Diya pushes
the salesman and the salesman falls on the back. The salesman gets up in
anger and kills Diya by holding her neck firmly. The salesman then sees
a chain in Diya’s neck and pulls the chain and Diya falls beside.]

SCENE 5

VENUE: INT. Living room

[Present day, Diya shockingly gets wakes up. Diya recollects the dream
and checks the room. Diya looks whether her hands are tied nd also finds
for the chain in her neck. Diya realizes that the whole situation was a

dream and takes a deep breath.]

SCENE 6
VENUE: INT. Kitchen

[Diya goes in the goes and calls her friend Esha while drinking water.]

Diya

Hey Esha! I’m so scared. I had very bad dream last night [Esha consoles

Diya and both giggle.]

Scene 7

VENUE: INT. Living room

[While Diya talks to Esha the door bell rings and Diya tells Esha to

talk later and moves to the door.]

SCENE 8

Venue: INT. Living room

Diya opens the main door and shockingly finds the same salesman who was
present in Diya’s dream. Diya gets extremely scared. The salesman gives
a sarcastic smile. Diya gets horrified and shuts the door.]

FADE OUT TO BLACK