08 appendices

Awakening Of The Serpent Energy Appendices

Beena Sharma 169 MA (Hons.) thesis

APPENDIX A

Aboriginal Glossary

(Although not many Pitjantjatjara words have been used in my research, those that make

up my glossary list come from Ellis, Catherine (1978), (an article on Classifications of

Sounds in Pitjantjatjara speaking area in Australian Aboriginal Concepts), Charles P.

Mountford (1965) Ayers Rock, Macquarie University (1983) Macquarie Dictionary).

ahelhe family anitji esoteric words in Pitjantjatjara arukwita magical evil influence bindi eye corroborees ceremonial dance didgeridoo an Aboriginal wind pipe musical instrument ilkari celestial world inma song, music, dance, ‘open’ ceremony inma irititja old verses coming from ancestors inma piti dance in selected grounds inma kuwaritja newly discovered or rediscovered inma mayu dance in rhythmic beats inma mayutimpil dancing to the rhythms of the beat inma mula good, true (esoteric) ceremonial song inmanyi dancing inmapilunypa music in silence kalya emu kania carpet snake kandju another name for linga man kantuni stamping of the feet together karndo thunder kati down kirra (diyari) boomerang - weapon to hunt koki monsoon season kudlilla rain to early winter kuka animals kulini deep inner listening and contemplation kulpidji sacred objects



kunia carpet snake people kuran spirit kurunba the same life essence kurupatila closed eyes kutjukutatimpil on the same beat linga sand lizard man liru poisonous snake lunba kingfisher woman lurubunangi chanting special songs mai plants maki ice-cold makko clouds maku central character in sacred sites mala hare-wallaby man mara hands marakatipana hands facing the ground marapunganyi clapping the hands mayu rhythm meta-lungana sleepy lizard man mimi stick figures paintings minma married woman mi:lmi:l sacred, secret mulga grass seeds munya cold, winter mutianyi kneeling mutitjulda water hole on the south side of Ayers Rock nagurawaru campfire naldawata a decorated pole, erected in the middle of

ceremonial grounds around which many dances and rituals were performed

nananduraka my people ngalyod rainbow serpent ngangka sun ngurreta a blooming flower ochre basic colors, red, yellow, black and green used in

initiation ceremonies pakani awakening or rising parka leaves parnatti autumn season pilunypa contemplation pindi pit, hole or habitation of souls before birth and after



death piti spirit people pitjantjatjara desert area between Petermann and Rawlinson

Range, north of lake Hopkins and south of Birksgate range. literally meaning the in-between people

puna earth punatimpilpunganyi clapsticks to convey rhythm by men only punga punganyi clapping by both men and women pupa head pupakati head facing downwards pupanyi crouching rta taking a photo rurmanayi flowing water tanamildjan the other folks tidna feet timpil beat timpilpulka assents of musical beats tjinderi-tjinderiba willy-wagtail woman tjinganyi quivering tjukurpa creative time or Dreamtime tjulpu birds tjurunga ceremonial boards turanakkorendi images, mirror or looking glass uluru Ayers Rock utereme force utnenge vitality wala speed or fast walytja world or universe wanampi rainbow serpent wandjina ancestral spirits wang breath or spirit wapar story wilutti the spring weather yrinyi sitting yulanya spirit children few inches high with light skin and

long black hair



APPENDIX B Indian Glossary

Mostly adopted from the book, Dancing with Siva for correct interpretation of the

words.

Ardhanarisvara- Ardha-half, Nari-female, Ishwara-Lord, Adi-Sharpa First-Serpent Arjuna One of the Pandav brothers in The Mahabharata epic Bhagavad Gita "Song of the Lord." One of the most popular of Hindu

writings, it is a conversation between Lord Krishna and Arjuna on the brink of the great battle of Kurukshetra. In the central episode of the epic Mahabharata, Krishna illuminates Arjuna on yoga, asceticism, dharma and the manifold spiritual paths.

Bindu A small particle, a drop or a dot. The seed or the source of creation. It is the primal nucleus or first particle of transcendent light, technically called Parabindu, corresponding to the Sakti tattva (Sakti means energy, and tattvas are primary principles in the building of the universe). Scientists say that the whole universe just before the big bang could fit on the head of a pin - a tremendous concentration or point of energy - that is Parabindu. Symbolized by a small dot worn on the forehead between the eyebrow. It is a sign that one is Hindu. Mystically it also represents the "third eye" or the "mind's eye", which sees things that cannot be perceived by the physical eye. The dot is a reminder to use and cultivate one's spiritual vision, to perceive and understand life's inner workings, as well as look into the past to see the future. Today the bindu is also a beauty mark worn by Hindu women; the color red is a sign of marriage, black worn before marriage to ward off the evil eye. Amongst the Tamils Bindu is known as pottu. Bindu is also a term for semen.

Saivism divides these tattvas into three groups. First, are the five suddha' or pure tattvas. Bindu , the transcendent light resides in this super conscious sphere. It is the region of emergence of paranada, the soundless sound. Though most often referred to as sound, nada is more mystically known as movement, the first impulse arising from perfect quiescence,



out of the motionless Self. It is the region of father-mother God, Shiva's third eye. It is the power of revealing grace. In this realm the energies of knowledge and action are in perfect equilibrium. When the energy of action prevails over that of knowledge then it arouses cosmic activity in its subtle form.

Second are the seven 'suddha-asuddha' or pure-impure tattvas. They are the spiritual magnetic energy constituting the mental body and astral and physical planes. They are the spheres where the phenomenon of time divides all experiences into past, present and the future. It is the place of karmic destiny where law of cause and effect takes place. It is the place which gives the soul practical knowledge in accordance with its present life experiences. It is a sphere where attachment or arousal of desire is without any experience of the objective world.

The third comprises the asuddha or impure tattvas. This is the realm of magnetic energy. It is a place of I-ness (ego). It is the receiving and directing link between the outer senses and the inner faculties in the external form.

Brahma One of the trinity of gods, Brahma is The Creator. The others

are Vishnu, The Sustainer, and Siva, The Destroyer Brahman The Supreme Being, the name of God in the Vedas.

Described as the transcendent Absolute, the all-pervading energy and the primal soul. It corresponds to Siva in his three perfections. Saiviates know Brahman and Siva to be one and the same God.

Caste Is the hereditary social status assigned at birth. Chakra Literally 'Wheel’. The nerve plexus or centers of forces

located within the inner bodies of human. The seven principle chakras are situated along the spinal cord from the base to the cranial chamber. They exist below the spinal cord. They are seen psychically as seats of instinctive consciousness. The seven chakras are : 1. muladhara (base of spine) - for memory, time and space. 2. svadhishthana (below the navel) - for reason. 3. manipura ( solar plexus) - for willpower. 4. anahata (heart center) - for direct cognition. 5. vishddha (throat) - for divine love. 6. ajna ( third eye ) - for divine sight.



7. sahasraara ( crown of head ) - for illumination, Godliness. Clan A group united by common characteristics. Dharma Duty or religion Druid Druids were tribe people who were occupied with magico-

religious duties. They were recruited from warrior class but ranked higher. Their rites were held in forest clearings. They used sacred buildings much later. They were priests of pagan gods, replaced as seers or poets in successive generations. Later they became teachers as they took on the responsibility of transmitting the oral traditions, and by the end of middle ages were just bards narrating poetry inherited from their predecessors. They believed in the transmigration of soul. They believed in fluid cosmology in which shape-shifting and magic bonds between humans and others creatures are commonplace. Tree worship was central to their ritual worship. They took their name Druid from an ancient word meaning "Knowing the Oak Tree"

Dusserah A ten day celebration in the month of September-October, during which Ramalila, based on the epic story of the Ramayana, is staged. During its performance the effigies of Ravana, Kumbhakarna, and son Meghnatha or Inderjeet are burnt by Rama, symbolizing the victory of good forces over the evil. Dusserah in Sanskrit also means taking away the ten sins.

Energy For energy to arise requires movement. This movement is

seen as a pulsation in action. Pulsation as movement behaves differently in different form of energies that we come to see and experience. In other words a whole realm of relationships of energies are taking place at a level before they actually manifest into a material structure or a physical body. It is interesting to note that at this level, the movement is based on relationship set up between two opposite fields, positive and negative. This relationship is called a 'polarity'. For any movement to trigger, it first occurs in polarity relationships. So, we have to assume and believe that polarity lies in a neutral zone or a common source of energy that I refer to in my work as 'Bindu' or 'Dot'. This neutral source, then is more than a source of energy. It is the 'core' of all consciousness. It



is unchanging and pre-exists to being and form and dependent on nothing. When a burst of positive creativity takes place in the neutral source, the movement in polarity comes into existence in shape of the mover and the moved. In that potent state, as the positive and negative poles get charged as energies, it creates movement. Such a common source of energy is seen as holding the Universe together, as the solar system, the push and pull of gravity, the ebb and flow of waves, the push and pull of pulse, and the basic male (positive) and female (negative) energies in human beings. This neutral zone, thus, acts like a transformer and as the movements arise in subtle spheres it moves in high vibration to slow vibration in gross form to become solidified into matter. Movement as in a process then becomes a beginning and an end in itself.

Garuda Vishnu's vehicle, half man half eagle, acts as a disciple of Vishnu.

Gotra A descendent from a common ancestor. Guru-sishya parampara A 'master-disciple system'. An education system of

Hinduism whereby the teacher conveys his knowledge and tradition to a student. Such knowledge is imparted through the developing relationship between the guru and the disciple. The principle of this system is that knowledge is best conveyed through a strong human relationship based on ideals of the student's respect, commitment, and devotion and obedience on a personal level by which the student eventually masters the knowledge the guru embodies.

Hari A name of Vishnu. Haridwar Revered as one of the ancient tirtha or crossing places where

every Hindu wants his ashes to be immersed in the sacred Ganges.

Ida, pingala Ida is known as chandra nadi (moon conduit). It is pink in color and flows downward, ending on the left side of the body. This is a feminine current in nature and is the channel of physical and emotional energy. Pingala is the surya nadi (sun conduit). It is blue in color and flows upwards, ending on the right side of the body. This current is masculine in nature and is the channel of intellectual and mental energy. Sushumna, the major nerve current that passes through the



spinal column from the muladhara chakra at the base to the sahasrara at the crown of the head is the channel of kundalini. Through yoga, the kundalini energy, lying dormant in the muladhara, is awakened and made to rise up this channel through each chakra to the sahasrara chakra.

Japa Is the repetition of a mantra orally or mentally. Jati occupational sub-caste Kapila Sage Kapila was the originator of the Samkhya theory of

cosmology (of space, air, fire, water and earth). Samkhya developed as an rational inquiry during Buddha’s time and is a rational inquiry as opposed to the mystical speculation in the Vedas.

Kasyapa Sage Kasyapa, in the Vishnu Purana, was the most illustrious

son of Marichi ( mind born son of Brahma ). He was the incarnate of Vishnu as a dwarf. From his thirteen wives, two sister Diti and Aditi were married to him. From Diti he had two sons Hiranyakasipu and Hiranyaksha-the demons. Aditi bore him Vishnu to fight Bali.

Kathak A prominent dance style of North India. Kathak derives its

origin from Katha Vachika, - or story telling. It originated in Rajasthan, namely Jaipur, where the Kathodis or nomads and gypsies, attached themselves to the temples and recited the mythological stories with minimal music, gestures and mimes. Under the Mughal rule the royal courts patronized it. It became highly technical and stylized with its focus on the solo performer. The predominance of rhythm and beat with emphasis on vigorous foot movements and pirouettes became its dominant feature. In its present form, as a chamber art, Kathak came to develop its character as an 'easy intimate style' permitting the dancer to establish an easy intimacy with the audience. Kathak thus came to enjoy the quietude and harmony of movements in the one hand to a whirl of action on the other.

Krishna An incarnation of Vishnu. Kul A group of families.



Lakshmi Goddess of wealth. Laya Are natural rhythmic movements within the time cycle which

have no binding with the time cycle. Generally, they are classified as slow, medium and fast.

Manu The first human man, and a patriarch author of the Institutions, a title given to world-creators who rule over a certain period of times. So far seven Manus have been described. Svayambhuva, Svarochisha, Uttama, Tamasa, Raivata, Chakshuka , Vaivasvata.

Manusmriti Ancient Sanskrit text of Manus. Maricha A hermit who assisted Ravana by taking the form of a golden

deer. Moksha Is 'liberation'. Release from transmigration, the round of

births and deaths, which occur after karma has been resolved and self-realization has been attained.

Mudra Is 'Seal'. Esoteric hand gestures which express specific energies or powers. Usually, accompanied by precise visualizations, mudras are a vital element of ritual worship (puja), dance, and yoga.

NatyaSastra Sage Bharatamunis, ‘Sutra’ dealing with the principals of theatrical performances in a very concise form.

Om (or Aum) The mystic syllable of Hinduism placed at the beginning of most sacred writings. Aum represents the divine and is associated with Lord Ganesa, for its initial sound 'aa', vibrating within the muladhara, the chakra at the base of the spine upon which this god sits. The second sound of this mantra, 'oo', vibrating within the throat and chest chakras, is the realm of Lord Murugan or Kumara known by the Hawaiian people as the God Ku. The third sound 'mm', vibrating within the cranial chakras, at ajna (third eye) and sahasrara (top of the head) is where the supreme God reigns. The dot above it is called anusvra, represents the soundless sound, Paranada. Aum is explained in the Upanishads as standing for the whole world and its parts including the past, present and future. ( page 691. Siva )

Parvati Shiva’s wife in the second birth, known as Uma in the first

birth.



Paran Forceful pieces in pure Kathak dance. The rhythmic combinations are complex and within its execution sound of drums, different instruments, birds, and animals are often carried out.

Pitriloka A world of ancestors. ‘Pitri’ is spirit and ‘loka’ is world. Ragas Are ascending and descending notes or (scales) within the

octave which form the basis of all Indian melodies. They are played or sung at a given time of the day or night because they are based on the moods of nature and humankind.

Rakshasa Comes from the root word raksha meaning 'to protect'. In the

Ramayana they are referred as beings created by Brahma to guard the waters in the beginning of creation. They could take any form they desired and misusing their boom they came to be referred as a class of demons to be guarded against.

Rama Venerated hero of the Ramayana epic and one of the two most popular incarnations of Vishnu, along with Krishna.

Ramayana one of India's grand epics. It is Valmiki's tragic love story of Rama and Sita, whose exemplary lives have helped set high standards of dignity and nobility as an integral part of Hindu dharma.

Rangoli A decorative floral art done with colored powders, usually done on entrances to homes during auspicious occasions.

Ravana A Rakshas, his destruction was foretold by Shiva. He was slain by Rama after Ravana had abducted his wife Sita.

Rig-Veda See the Vedas. Rishi A seer, a term for an enlightened being, emphasizing psychic

perception and visionary wisdom. In the Vedic age, rishis lived in forest or mountain retreats either alone or with disciples. These rishis were inspired conveyers of the Vedas.

Ritu Seasons Rta Cosmic law SahajaYoga Yoga of self-realization through the process of Kundalini,

inner self-awakening and integrating with the universal energy.

Saivism Shiva worshipped as supreme God. Earliest recorded evidence in Indus civilization. Worshipped by Rama and Ravana as recorded in Ramayana.



Sapta-Sindhu The region that extends from present day river Indus in the west to the Ganges in the east containing five other rivers in between. ‘Sapta’ means seven and ‘Sindhu’ is a generic name given to rivers and the river Indus.

Sati The first name of Uma and Parvati. Sita Wife of Rama. Siva Is the Lord of Bhutas (Pit) spirit people. The creator of

Tandav Nritya. Also know as Natraj Siva-Linga An icon of Shiva as male and female energy. Siva-Shakti ARDHANARISVARA: Father-mother, both immanent and

transcendent, a name for Siva encompassing His unmanifest Being and manifest energy.

Soma Plant of Rig-Veda, a drink of the Gods Sri An honorific prefix meaning sacred or holy. Often attached

before a deity's name ( Sri Lakshmi) or the name of scriptural works

SriLanka Meaning Venerable Lion. Formerly, known as Ceylon. Stylised dance A correlation between the folk dance presented in the milieu

of environment in which they exist into co-existing in a classical style without changing the format.

Swarupanakha Sister of Ravana, the cause of Ramayana Surya Namaskar Prayer or reverent salutations to the Vedic triad - sun, energy,

and flame. A traditional greetings amongst the Hindus with a mudra where the palms are joint together and held before the heart or raised to the level of the forehead. The mudra is also called anjali. A devotional gesture made equally before a temple deity, friend or an acquaintance. The hands held together connects the right side of the body with the left, and brings the nerve and nadi currents into poised balance, into a consciousness of the sushumna, awakening the third eye within the greeter to worship God the greeted.

Taal/tala Are fixed beats in a Time cycle. Tantra Is an esoteric system of Yoga which combines Mantra

(sound-Om, bija or seed letters) as well as Yantra (diagrammatic form as in Cross, Star of David or Sri Lakshmi for material gains as well as spiritual illumination ) to attain Moksha ( liberation). A synonym for the agamic text, the Shakta faith, a yogic path of the Kaula sect, it emphasizes the



worship of the feminine force. The triangle enclosing the Bindu. The Yoni embracing the Linga. Worshipped in an abstract and symbolic form through the chakras drawn on paper and cloth, was a concentrated form of Devi worship for Bhukti-Mukti- Pradayini. Giver of Bhukti - enjoyment of material things in this world, Mukti - liberation in the hereafter. It specifically refers to the spreading out of energy through the human system. This Yoginic cult as part of the Tantric cult is regarded as a restricted form of worship, still persists in certain form today. When the unscrupulous people use Tantra, these techniques become black magic. This is how Ravana invoked the 'Shiv Tandav Strotam' to obtain material victory over Rama. .

++ Time - divisions See Veda in appendix Tora (or Tukra) Small dance pieces executed in fast tempo. They are less

complicated in rhythmic calculations. Triad The Vedic associate the triad with Agni -flame the Fire God,

Indra -energy the Storm God, Surya-brightness the Sun God. The sustainers of life behind the sun, moon, or stars nature, human and animal form

Uma Wife of Siva in His first incarnation Vedas Are revealed knowledge transmitted by Brahma to various

sages. Rig , Yajur, Sama, Atharva. The knowledge is of a mystical nature, rather than intellectual. Each Veda is divided into two sections, Mantras( in verse ) and Brahmanas (in prose) which include Aranyakas, and the Upanishads. Both are referred as Shruti. Those texts that were remembered and based upon the Vedic knowledge by interpretation, discussion and commentaries on shruti texts were called Smriti, were works by human beings . They included the Mahabharata, Ramayana, Dharma Shasta, Kalapa sutras, Manu smiritis and the Puranas.

Visravana Name of Ravana Viswamitra A hermit who by his tapasya transformed himself from a

Kshatriya to a Brahmin. . Vyas A Rishi. Yagya Prayer rituals.



Yavadvipa Island of Java mentioned in the Ramayana, and also referred by German astronomer Ptolemy in his ‘geography’ in the second AD as Jabadieu.

Yugas Age, or period. Is one of the four ages that chart the duration of the world according to Hindu thought. They are Satya (or Krita), Treta, Dwapara and Kali. In the first period, dharma reigns supreme, but as the ages revolve, virtue diminishes and ignorance and injustice increases. At the end of Kali Yuga, which we are in now, the cycle begins again with a new Satya Yuga. It is said in the Mahabharata that during the Satya Yuga all are Brahmins, and the color of this yuga is white. In Treta Yuga, righteousness decreases by one-fourth and men seek rewards for their rites and gifts, the color is red and the consciousness of the kshatriya, sovereignty prevails. In the DWAPARA Yuga, the four varans ( Brahmin -mature soul, kshatriya - governing bodies, Vaisya - merchants and landowners, Sudra-servant or worker) come into full existence. The color is yellow. In the Kali Yuga the color is black. Righteousness is one-tenth that of the Satya. True worship and sacrifice ceases and base or sudra consciousness prevails. Calamities, disease, fatigue and faults such as anger and fear are prominent. People motives grow weak



APPENDIX C In The Hindu Mythology by W. J. Wilkins, the Puranic Division of time is described as follows : The three main divisions of time employed in the Hindu Scriptures are YUGAS, MANVANTRAS, and KALPAS. There are four Yugas, which together extend 12, 000 divine years. Their respective duration’s is as follows: The Krita Yuga = 4, 800 divine years The Treta Yuga = 3, 600 divine years The Dwapara Yuga = 2, 400 divine years The Kali Yuga = 1, 200 divine years "One years of mortals is equal to one day of the gods. " As 360 is taken as the number of days in the year - The Krita Yuga = 4, 800 x 360 = 1, 728, 000 years of mortals The Treta Yuga = 3, 600 x 360 = 1, 296, 000 years of mortals The Dvapara Yuga = 2, 400 x 360 = 864, 000 years of mortals The Kali Yuga = 1, 200 x 360 = 432, 000 years of mortals One Mahayuga, therefore, being 12, 000 divine years is equal to 4, 320, 000 mortal years. A thousand such Mahayugas are a day of Brahma and his nights are of equal duration’s; a Kalpa, therefore, extends over 4, 320, 000, 000 mortal years. A Manvantara is one-fourteenth part of a Kalpa). According to the timeline research compiled by contemporary researchers such as Dr. B. G. Siddharth of B. M. Birla Science Center, Dr. S. B. Roy, Dr. David Frawley and others who have developed a more accurate picture of ancient India as shown below : -500, 000 Stone hand-axes and other tools are used in North India -400, 000 Soan culture in India is using primitive chopping tools -100, 000 Humans with 20th century man's brain size live in East Africa -75, 000 Last ice age begins -45, 000 After mastery of marine navigation, migrations from

Southeast Asia settle Australia and Pacific Islands -10, 000 Last ice age ends Taittriya Brahmanas 3. 1. 2 referring to Purvabhadrapada

naksharta's rising due east, a phenomenon occurring at this date (Dr. B. G. Siddharth of Birla Science Institute) indicating the earliest dating of the sacred Veda, Vedic culture, the essence of humanity's eternal wisdom, Sanatan Dharma lives



in Himalayas at the end of Ice age. Taittriya Samhita 6. 5. 3 places Pleads asterism at winter

solstice, suggesting the antiquity of this Veda. -7, 000 Proto-Vedic period ends. Early Vedic period begins. -6, 000 Early sites on the Sarasota River -5, 000 Beginning of Indus - Sarasota civilization in Harappa and

Mohenjo-daro Earliest signs of worship of Lord Shiva. -4, 300 Traditional dating for Lord Rama's time. -3, 100 Kali Yuga era begins



APPENDIX D

This appendix contains copies of the original invitation sent to select invitees from various organisations and individuals. It also has copies of flyers distributed by the museum as part of their overall program for celebrating the 50th anniversary of India’s independence.

It also contains copies of handouts and leaflets given to the audience at the start of the program to help them better uundertsand the performance. Copies of the transcribed script (from Hindi to English), aura reading, and various other material is listed in this appendix.



To

You are invited to

AWAKENING OF THE SERPENT

(an Indian-Aboriginal Performance)

at the Art Gallery of New South Wales

The Domain.

A unique cross-cultural event celebrating the 50th anniversary of India’s Independence and the Reconciliation of and Independence of all Peoples. Acclaimed Indian Kathak dancer Beena Sharma and acclaimed Aboriginal dancer Brian Denhawk Peter weave the male and female forces to evoke universal serpent energy. The performance is at 1.30 p.m. on Friday 15 August and Saturday 16 August. Meet at the Yiribana Gallery, Level 1. I look forward to meeting you.



THE ART GALLERY OF NEW SOUTH WALES DOMAIN

PRESENTS

AWAKENING OF THE SERPENT

AN INDIAN-ABORIGINAL PERFORMANCE

May the forefathers of ancient days protect us

in this our prayers, in this our act,

in this priestly duties, in this our performance,

in this our thought, in this our purpose and desire,

in this our callings on the ancestral spirits

A unique cross-cultural event celebrating the 50th anniversary of India’s Independence and the Reconciliation of and Independence of all Peoples. Acclaimed Indian Kathak dancer Beena Sharma and acclaimed Aboriginal dancer Brian Denhawk Peter weave the male and female forces to evoke universal serpent energy. Friday 15 August, 1.30 p.m. Saturday 16 August, 1.30 p.m. Meet at the Yirrabana Gallery, Level 1



ARDHANARISVARA ADISHARPA, VASUDHA IVA KUTUMBAKAM AWAKENING OF THE SERPENT ENERGY IN THE UNIVERSAL FAMILY

IN RTA: RITU CHAKRA

THE NOW CONTINUUM RTA: The Principal Rhythm Of The Cosmos RITU: SEASON The Rishi's (or holy sages) culture of India is the original culture of the universe. It is the great inspiring Vedic civilisation of the Absolute God which was established by the divine grace of the Almighty through the sages of Mantras, the sages of Dreams, and the sages of the Past, Present and the Future ages. The sages also made available the Holy hymns of Veda, the musical talents, the experiences of The Upanishads, the soul stirring prayers and verses of Puranas, and the divine code of conduct for human life; Satyam Bud (speak the truth), Dharma Char (behave according to natural laws) and compassionate with the Universal Mantra "Vasudha iva Kutumbakam" - to be a universal family as one kith and kin. In the four Vedas, Rig-Veda, Yujar-Veda, Sama-Veda, and Atharva-Veda, the knowledge of the Universe and the life of the creative world as a whole is situated. The depth of the Vedas being very deep, the Vedic culture of India had recognised the Eternal Dharma (Sanatan Dharma) as the world Religion (code of conduct for the whole universe) and these were recognised as philosophical viewpoints in The Upanishads. The Upanishads were further supplemented by Puranas (numbering 18 in all), which consisted of ancient legends, folklore, mythology, tales of gods and aided materials for teachings to the illiterate. These 18 Puranas are known as the fifth Veda. The best conclusions of all the Puranas are given in the Ramayana of Valimiki and in Shrimad Bhagavatam of Veda Vyas. From the Vedas through all the epics runs the petition by humankind to the divine - " We try our best to live a life of righteousness. Suffering does not leave us". Beautifully explained in Shrimad Bhagavad Gita by Lord Krishna to Arjuna at the time of Mahabharat in which he propounds all the concentrated substance of pure knowledge in one sentence, "In Samadhi attain Karma Yoga" - remaining in tune (samadhi) within yourself (is yoga) act rightly on that basis (is karma). Suffering will not arise. For the Aborigines of Australia, in particular, the Pitjantjatjara Anangu of Central Desert, samadhi, yoga, and karma is consistent with 'Inner deep listening and quiet still awareness'. The similarity in the two cultures can also be found in the Awakening of the Serpent Energy concept, which the Indians call the Kunadalini and the Pitjantjatjara Anangu call Kulini. For the Indians, the awakening of the Serpent Energy in the Universal Mantra "Vasudha iva Kutumbakam" is based on the work of the ten-headed Ravana, the great composer of the devotional prayer 'Shiva Tandav Strotram' The male/female forces in a serpent energy, and the life giving force in the red earth is brought out of the two cultures of Australia and India, as male and female powers. A



combination of the two powers is found in every human being. When it began to move upwards through channels in the subtle body, the awakened practitioner in a transcendental state goes beyond time, space, and nature to the state of super consciousness, or "Dreaming", where 'continuity of life is unrestricted by space and time'. Meaning life transcends past, present and incorporates the future all-in-one. Both the cultures trace the same belief in reality and narrows down the gap in our present day thinking to 'oneness', binding the human, spiritual and physical reality in the cosmic order. The Australian-Indian dancer today is Beena Sharma, who is an exponent of Kathak dance, of Jaipur Gharana. She learnt under late Guru Sundar Prasad and later under the late Pandit Devi Lal and the late Pandit Durga Lal. Kathak is a dance form from North India. Beena is a post-graduate in Sociology from the Delhi School of Economics. She also graduated in dance from the renowned ‘Prayag Sangeet Samiti’ (the Institute Of Performing Arts), India in 1969. Beena has performed in many concerts in India and abroad; the crowning glory of her teenage dancing came when she won the All-India Dance Music Competition in 1970. Beena is presently doing her Master (Honours) from The Faculty of Visual and Performing Arts at the University of Western Sydney. She is presenting, as part of her thesis, this afternoon's performance, entitled "The Awakening of the Serpent Energy in the Universal Family", through Aboriginal dance form and Kathak dance. The Australian Indigenous dancer today is Brian Denhawk Peter. Brian is a member of the Naroo Dance Company, a song writer, and performer-in-residence at the Art Gallery of NSW.

The Rainbow-Serpent, Ngalyod

The rainbow-serpent , Ngalyod, which is associated with the rain-making ceremony, now lives at the bottom of a waterhole at Fish Creek, some twenty-five kilometres north-east of Oenpelli. Ngalyod is highly coloured, has a luxuriant growth of whiskers, and long teeth. Should the children bathe in his waterhole, Ngalyod will release small snakes which, entering the navels of the children cause their death. Ngalyod made the East Alligator River as he moved from the sea to his present waterhole. He lives there only during the dry season, for when the wet season develops Ngalyod, like all rainbow-serpents, goes into the sky in the form of a rainbow. The Aborigines see their way of life as already ordained by the creative acts of the Dreaming beings and that they have left the "blueprints" as their legacy.



Everything that exists now was fixed for all times in the mythical past. All that the living are asked to do is obey the law of Dreaming, ie. the "blueprints". This dreaming legacy was not static, dead weight of tradition but an on going process forever being added to and enlivened. Surrounded by proofs of spiritual power in the landscape itself, the everyday activities became in large measures a re-enactment of those of the creative beings. Since the Australian Aborigines did not have written language, through songs, chants, legends and stories they developed an 'oral and visual literature'. This oral and visual narrative centred around land and through song lines and story tracks they traced the entire country. Because the ancestors' journey was often traced over vast stretches of land, only a segment of the entire story cycle was known to a particular group. In this way, oral literature came to sustain the continuity between clans as well as between the present and the time of creation. Some of these stories did not allow variations. 'Repetition' became an important structural device to indicate the unchanging yet ongoing relationship with the ancestral past and present. The persistent theme became a gateway of access for the people to their past and to the eternal present of the Dreaming. Dreaming paths that criss-cross the continent are tracks commemorating the journeys of giant snakes. It is believed they were in the land from creative times, contributing their share in shaping the natural and the human scene. The Rainbow Serpent is the representative of the creative and destructive forces of nature, more especially those evinced in rain and water. Sometimes the Rainbow Serpent is credited with dual role power. Often represented as visually striking image of force and vitality with power that sometimes becomes ambiguous in gender. The Dalabon people see their All-Mother (female) as a Rainbow Serpent whereas the Murinbata refer to the Rainbow Serpent as mother's father (male). Most serpents, in relation to the cycle of seasons, spend the dry season in deep water holes and the period of monsoonal rains in the thunder clouds, thus keeping the ongoing fertility aspect alive.



Act 1 Scene 1 Awakening of the Serpent 45 mins. Introduction Narration in English and Hindi of the ‘Dreaming’ and ‘The Awakening of the serpent’ on screen with Ravana’s tantric chants (encoded) Entry on 6th beat, music of Pakhawaj (drum), and chanting of Om, / / / / / / / / / / / / / /. Ending with drum. You are sitting in a Yogic (contemplation) posture in your tradition.



My entry: Music of Om Surya Namah Salutation to the Sun God and ancestor, SPRING season : OM SURYA A NAMAH 1. Salutation to the totem Spirit, left leg angled and resting on the right knee, hands raised above the head joined as

in Namaskar (greeting).

: OM SURYA A NAMAH 2. Salutation in Surya mudra circle with

index finger, right wrist in a circle motion and facing the earth, similarly with the left wrist.

: OM SURYA A NAMAH 3. Salutation to the inert

energies, Male (sun) Female (earth).

Morning scene: Rainbow Spectrum, SU BHAG SA LILA VA GAH Journey full of rainbow colours attractive rainbow colours fullness AK AL SS R TRV SURBI NAVATH calculated closeness morning newness PRA SHA SURA LADHA ME MAGIN VASHA Clean full of love residing PARENAM PAMAREYA Resulting enjoyable closeness with dawn Fast music: 15 chakkars (swirling motion) One Tora Sound of wind (Pavan) Chakra PAVAN CHAKRA PRACHAND CHLATA SUMMER TO MONSOON season wind circle strong moving CHAU AUR CHAPAL GATI four sides and violent speed BHAVAN BHAVANI TAJAT GUM MA TA Universe gayatri mantra leaving swaying MANAV ENKI MATI Believe in their opinion During the monsoon period the sanyasis SANYASE EHE MAS HOOT fast and thus do not travel yogis in this month do Birds and animals, their followers, EYK ASSAN RASE do the same. They get attracted to their nests. One posture stay KURUSAN KE KOHOHU KAHE

followers what say about them BHAYA PACHEHO NEWASEE They behind reside EHE SAMAYO SAJ SOVANLEYO this time be sleeping LEPIYA EHE SATH SRINATH with same together LakshmiVishnu KAHI KASHAVDAS KAHATHE says Kashavdas that ASARD CHALLAT NANYA SUNIUYO Wind blowing Siva’s in-law hearing



SOTAY GATHI Narrated by Shiva to Parvati.

Act 2 Fast Music: RAINY Season: (uprising of emotional feelings in body and mind) VARSHA RITU SAJAL SSSMALAY rainy season full of water wind KARITI SHANTI TAPAT HRIDAY Brings peace in heated hearts DAMANI KA GAUR SUNI Nightingale resounding sound heard MORINI KE SHOUR SUNI Peahen screech’s noise heard SUNI SUNI KASHAV ALAP Heard heard poet kashav singing ALIGANAKO DAMANI DAMAKT Developing into cuckoo emotions DEKHEYH KI VIPITE DEKHA Seeing physiological changes seeing SUMAN KO Garden too KOMAL KOMALDAS BHIN KASAR KE Poet Komal Das experiencing different SUBHAS BHAYA Aromas fragrances freshness PULINI KE BATH MAN Blooming flower fragrance in mind HASE HASE BOLE DO Laughing talking two ANAE MAN SS MOHR At random in my mind and her mind CHUTI GAYO ATEYBAR Left behind in doubt uncertain RADHIKA RAMAN KO Radhika Krishna’s eternal love. Music tempo changes: AUTUMN Season. BARAKHA BUGAT SARAD RITU AYE Observing passing of rain winter season come PHULEY KA SAKHA MANA CHAT expanding joy in the universe JANEE SARAD RITU KHANHAN AYE seeing new winter season migratory birds came PIE SAMAY JIMMI SUKHAD SUHAY a time of good season and feeling of drowsiness.

Act 3

Music changes: WINTER Season: SHEETAL JAL PHAL VASAHU ASAN Winter is not suitable. in winter water earth residing difficult It is trying to separate us. SHEETAL ANU ROCHAK KASHAVDAS Now the enjoyment is dispersing. Winter undesirable laments poet AKASH AVINEE sky climb SHEETAL ASU MOCHIT winter us separating Music changes: finally, VEHRITI HAREHAR SAHAS SS VASANT SPRING Season: full circle. strong Vishnu Shiva universe spring The Gods are rejoicing. NA TRATE VAUVATI Resounding JANANEE SOMASAKHI NATARES OWATI Creation elixir drink is JANANI SOMAWATE SAKHEE Creation and elixir friend SHRI JAIDEV PHARIT MUDRA MAHAMATI



Poet says Sri Jaidev at the feet of The Lord HARTI CHARP AMRITSS SARAS VASAT Calamity weakness all around SAMAY MANUGAT MADAM VEKASEE Time Manu end by grace Tora. END.



APPENDIX E The following list’s item choreographed by Beena Sharma over a period extending from 1993 through 1997. Video clippings of the actual performances accompany the list. 1. YughaYugha - This was a cross cultural experimental performance

choreographed and set by Beena with students of varying backgrounds from the University of Western Sydney in 1996. This brought out the Rangoli motif through Dandia Raas

2. Kathak performance and stylized Rajasthani folk-dance at the Convention centre, by young aspiring talents, as part of the “Vision of India”in 1995.

3. An inter-cultural shadow dance of RAMAYANA by Fijian and Indian ethnic groups for The Folk Festivals of Cultures, Opera House1995.

4. Bhangra Dance, an outdoor performance for Festivals of Cultures in 1994. 5. Kashmiri “Morning Rituals” in every day life at the Q Theater, Blacktown. This

was part of a multicultural week organized by the Blacktown Migrant Resource Centre1993.



APPENDIX F This appendix highlights the various movement and gestures referred to within chapters 1, 2 and 3, during the performance of Awakening of the Serpent, on 15th and 16th August 1997. Clip 8 shows the interviews conducted after the first day’s performance. Clip 9 through 10 shows the complete introductions at the start of the performances. Video Clip 1. Reference to clouds, stamping of feet (page 13)

Video Clip 2. Reference to snake fangs (page 18)

Video Clip 3. Flowing of water as wavy movements for me, but for Brian it also meant fire and smoke (page 12)

Video Clip 4. Reference to raising of my feet (page 21)

Video Clip 5. Reference to eye expression and hand gesture (page 27)

Video Clip 6. Transformation, Soma ras – Jump (page 28)

Video Clip 7. Karuna Ras (page 31)

Video Clip 8. Somersault (page 32)

Video Clip 9. Introduction by Imelda Wallis and Angela Martin

Video Clip 10. Introduction on Aboriginal and Indian Traditional Cultures

Video Clip 11. Interviews at the end of the first day’s performance

Video Clip 12. Reviews



APPENDIX G The following maps and figures show the shifting of land masses from about 600 million years ago to the present. It shows that the Australian continent and the Indian sub-continent was a single land mass at one time.

Fig. 1a Cambrian Period (570-510 million years ago) Fig. 1b. Devonian Period (408-362 million years ago). Fig. 1c. Carboniferous Period (362-290 million years ago).



Fig. 1d. Triassic Period (245-208 million years ago).

Fig. 1e. Jurassic Period (208-145 million years ago).

Fig. 1f. Cretaceous Period (145-65 million years ago).

Fig. 1g. Tertiary Period (65-2 million years ago).

Fig. 1h. Movements of India

Figure 2 Continental Drift



APPENDIX H

List of illustrations and Figures

Figure # Illustrations Artist Author Page # Book

Fig.1 Transformation in The Cosmic Order and Cycle of Season

Unknown 5 RTA. Ritu Exhibition Indira Gandhi, National Centre of Arts, N.Delhi

Fig. 2 Aura reading Judith Collins Appendix C

My personal Reading

Fig. 3A. Transformation of a human into a rock

C.P. Mountford

6 Ayers Rock (Mountford: 1965, p125)

Fig. 3B The living lizard and increase centre

C.P Mountford 7 Ayers Rock (Mountford: 1965, p142)

Fig. 3C Totemic creatures of Ayers Rock

C. P. Mountford

7 Ayers Rock (Mountford: 1965, p34/35)

Fig. 3D The walking tree Lauraine Diggins

7 A Myriad Of Dreamings (L. Diggins, 1989, p30)

Fig. 4 Totemic map of Ayers Rock

C. P. Mountford

8 Ayers Rock (Mountford: 1965, p32)

Fig. 5 The Subtle Body Vidya Dehejia 17 Yogini Cult &Temples A Tantric Tradition

Fig. 6 Ngalyod, the Rainbow Serpent

Lauraine Diggins


Fig. 7 Shiva in His androgynous form

Unknown 21 Postcard

Fig. 8 Boomerang Lewis Burns Talbragar, Wiradjuri

24 Screenprinted By Goose’s T-shirts 1995

Fig. 9 Mimi Spirits Yirawala 48 Dreamings (Sutton, 1988, p51)

Fig. 10a Wanampi Michael Tjakamarra Nelson


Fig. 10b.1 Rainbow Snake - rock art

Unknown 49 Dreamings (Sutton, 1988, p43)

Fig. 10b.2

Borlung, Ngalyod Rainbow snake

Mandarrk 49 Dreamings (Sutton, 1988, p43)

Fig. 10c Julungal Mitinari 50 A Myriad Dreaming (Diggins, 1989, p37)

Fig. 11 Two men dreaming Tommy Lowry Japaljarri

50 Dreamings (Sutton, 1988, p63)




Fig. 12 Serpent and woman - rock art


Fig. 12a Serpent entwining a woman

Lickie Nollier 53 Dreamings (Sutton, 1988, p44)

Fig. 13 Wondjina Ray Meeks 55 Dreamings (Sutton, 1988, p20)

Fig. 14 Toas of the Lake Eyre


Fig. 15 Uluru (Ayers Rock) C.P. Mountford

59 Ayers Rock (Mountford, 1965, p xiv, 1)

Fig. 16 Ngalyod and Shiva Shakti as serpent in action

Self 67 Graph

Fig. 17 Symbolic elements used in the performance making up the Indian and Aboriginal worldview

Self 68 Graph adopted from Aboriginal elements from Mythscapes

Fig. 19 A Cross cultural calendar in my script

Self 92 Graph adopted from ‘Seasonal Calendar of N.E Arnhemland’ Morris 1978

Fig. 20 Fish and lotus hand gestures

Self 101

Fig. 21 A multidimensional graph showing spiral energy as compassion in world view

Self 128

Photograph 1. Lord Vishnu and The Star God

88

Photograph 2. Playing Didgeridoo 92

Photograph 3. Peahen and Emu 93

Photograph 4. Emotions at Solar Plexus

94

Photograph 5. Building ‘campfire’ and ‘sleep’ symbols of cold winter

94

Photograph 6. Human and birds are asleep

95

Photograph 7. Wrist moving in opposite direction

101




Photograph 8. Showing continuity in spiral movements, angled positioning of emu

102

Photograph 9. Inner still listening and quiet still awareness

102

Photograph 10. Yoga posture in contemplation

103

Photograph 11. Hand tilted from wrist 104

Photograph 12. Vishnu and creative spirit

105

Photograph 13. Praying at the snake altar

106

Photograph 14. Transformation of ‘OM’ into the vibrations of the clapstick

106

Photograph 15. Using toes to cover spaces

107

Photograph 16. Covering spaces 107

Photograph 17. Clapsticks replace drums in music

108

Photograph 18. Peahen and Emu in similar movement

108

Photograph 19. Paint on body. Connecting to my deity

110

Photograph 20. Paint on my hands 110

Photograph 21. Psychic space in Contemplation. Connecting with audience and my deity

111

Photograph 22. Developing a form 114

Photograph 23. Wide space, giving room for improvisation

115

Photograph 24 Eyes active in Karuna Rasa symbolizing pain - as

117




separation in winter

Photograph 25. Communicating with Brian

117

Photograph 26a.

Spectators 119

Photograph 26b.

Spectators 119

Photograph 27. Fusion Poise. Kathak pose in a cross-cultural dance

120

Photograph 28. Transcultural look Kaftan and clapsticks

121

Photograph 28a.

Kathak as a traditional dance

121

Photograph 28b.

Kathak in a transcultural look

122

Photograph 28c.

Kathak in changing environment

122

Photograph 29. History not dead, But alive

123

Photograph 30. Weaving of empty Spaces

123

Photograph 31. Weaving a tapestry Around co-performer

124

Photograph 32. Partners concept, as in Dandia Ras

124

Photograph 33. Imaginary graph in The performance

126

Photograph 34. Stillness in Co-dancer’s body

126

Photograph 35. Stillness in my body 126

Appendix G Continental Drift 154 The World Atlas, a D.K. Publication, NY, 1997

08 appendices

Documents

rediscovered inma mayu

ancestors inma piti

beat inma mula good

pitjantjatjara words

ma hons

aboriginal glossary

linga man kantuni

middle of ceremonial