Yoga to Strengthen Eyes

Read on for some yogic eye exercises to strengthen eyes. They are easy to do and most of them can be performed any time of the day wherever you are.

Most of us do not exercise our eye muscles at all, but yet, we work them all the time, causing them to be under constant strain. The only time the eyes rest for more than a split second, is when we are asleep. Here are a few yogic eye exercises to strengthen eyes. They are easy to do, and most of them can be performed any time of the day, wherever you are.

Close your eyes as tight as possible, for around 5 seconds. Open them, and close them again. Do this 6 times.
Do you sit in front of the computer screen for hours at a time? Every half an hour, get up from in front of the screen and move around a bit. Get yourself a glass of water. Give your eyes a 2 minute break.
Shut your eyes and roll your eyeballs around for a minute.
Rub your palms together and gently cup them over your closed eyes for around a minute. This is known as palming and is very beneficial for the eyes. The eyes need darkness to rejuvenate themselves and this need is best served by palming. Palming should be done after every eye exercise, to relax the eyes and every now and then during the day.
Imagine that there is a huge clock in front of you. Look at the number 12 for around 10 seconds, and then move your gaze down to 6. Do this around 10 times, rapidly. Then, move your eyes horizontally, in the 3-9 position. Finally, move them diagonally (2-7 and 10-4).
Look up to the position in the middle of your eyebrows. Hold for a few seconds and then move your gaze downwards, towards your nose. This is called Sambhavi mudra.
Slowly, direct your gaze to the ceiling, as you inhale. Exhale, and move your gaze down in a straight line, towards the floor. Do this 6 times.
Any form of exercise, including walking, reduces pressure on the eyeballs and is beneficial for the eyes. So keep exercising.
We blink to lubricate the eyes. But sometimes, when we are concentrating hard, we tend to blink less. Make a conscious effort to blink more.
Dim the lights in your workplace. Bright lights increase eye strain.
Reduce the brightness on your computer. The eyes can adjust to dim light without much strain.
Strengthen the organ which adjusts the lens of the eye, by this exercise, and you may never need spectacles. Sit in a room by the window, and focus on a point in the distance. Hold your arm straight out in front of you, in the same direction as the point you are focusing on, with your thumb extended in a 'thumbs-up' position. Your thumb should be directly in the line of vision of the object you are focusing on in the distance. Now, keep shifting your focus from your thumb to the point in the distance. Do this around ten times, and at least once a day.

Practicing Vipassana

Vipassana meditation is a form of Yoga. It helps to manage stress, attain self- control, and increase concentration.

While you are extremely health conscious and pay a lot of attention to what goes inside your body, your mind may be full of clutter. Throughout the day and even when we sleep our mind is full of thoughts that keep running to and fro.

Stressful work at office as well as at home and mental tensions can leave you drained out. Problems in concentrating on work and losing temper for the smallest of things can be dangerous for your health and life. If you are finding it difficult to maintain a healthy mental balance then practicing Vipassana meditation can be helpful.

Out of the many different techniques of Yoga, Vipassana meditation can help make changes in life and live better. As we do physical exercise to keep our body healthy, Vipassana is used to develop a healthy mind. If you wish to practice Vipassana here's help at hand. You can easily develop a healthy mind with this unique form of Yoga.

What is Vipassana?

Vipassana is an ancient technique of meditation. Vipassana means an insight in Pali language. It was rediscovered and taught by Gautama Buddha as a technique of defeating universal ills and soon became an art of living. It is described as "the ability to see things as they really are, through a process of self-observation." According to Vipassana experts it is a process by which one can recognise and eliminate the course of suffering.

While you are on your way to discover Vipassana, understanding Yoga can let you make the most of the practice. "Yoga kameshu kaushalam" which means that when you do any activity with full concentration and devotion it becomes immortal and is liked by everyone. It is Yoga in its truest form. It can be writing a poem, cleaning your closet or even brushing your teeth. Any activity with complete concentration and focus is considered as Yoga. If you do any work through complete integration of your soul, mind, and heart it becomes Yoga. With a short insight to Yoga, here's what Vipassana meditation can do for you.
• Helps self transformation and self observation.
• Takes you through the common spot shared by your mind and body.
• Removes impurities of your mind
• Enables concentration on interrelations between your mind and body
• Helps understand the mental process
• Helps you to go deep within your self and discover yourself
• Helps you heal your sufferings

Instructions for practicing Vipassana

Before practicing Vipassana meditation, keeping a few instructions in mind can help. Follow them to a 'T' and you will be able to make the most of your Vipassana practice. Vipaasana can be practiced during any time of the day. Consult a Vipassana instructor or join a Vipassana Ashram if you are a beginner. Vipassana is so simple and beneficial that even children can practice it.
• Create a calm atmosphere of meditation around you. It will help you to concentrate better. For example, you can sit in a room with a dim light in a quiet environment
• Wear loose clothes to be comfortable while practicing Vipassana
• Avoid smoking, alcoholism and indulging in illicit behaviour while practicing Vipassana
• Concentrate on breathing from your nostrils
• Pay attention on different parts of your body from head to toe. For example, start from your forehead then come to eyebrows, then cheeks, then nose, lips and in this way continue till you reach your toes. Observe sensation of each part
• Avoid reacting to the sensations of your body and just observe them
• Avoid paying attention to any one part of your body for a longer time
• Try practicing this activity daily for 45 to 60 minutes
• Seek help of an instructor to guide you
• Avoid practicing this activity immediately after a meal. Take a half an hour break between a meal and Vipassana practice.

Benefits of Vipassana

Here's a quick look at the benefits that practicing Vipassana meditaion provides. Remember, it will only take you about half an hour everyday to get these benefits and live a better life.
• Practice of Vipassana regularly helps control greed
• Helps face tensions and problems
• Increases awareness and helps make peace with yourself
• Helps attain self-control
• Helps control or stop day dreaming
• Helps face fear
• Helpful for stress management and anger management
Each one of us might be facing some or the other problem while coping with our daily lives. So, to stop coping and start living, try practicing Vipassana meditation. Millions of people around the world have discovered the way of living life, through Vipassana. Are you ready to find yours?

Bharatanatyam syllabus

Bharatanatyam is the classical dance of Tamilnadu which originated in the temples. It involves body discipline, dedication and above all, perseverance. Years of rigorous practice go into making a professional Bharatanatyam dancer. It can be performed by both males and females as it comprises two forms of dance - Tandava and Lasya, respectively for men and women.
It takes at least seven to eight years to complete a full repertoire of Bharatanatyam. In the present syllabus, we are dividing the entire course into three modules - Basic [CB], Intermediate [CI] and Advanced [CA]
SYLLABUS
BASIC -
CB1 - Beginners Level 1
This module introduces the students to Bharatanatyam. Students here learn to appreciate the art form and also discipline their body and mind for further complicated movements to come.
PRACTICAL COURSE -
Shlokas - Every Indian Classical Art form begins with invoking the Almighty. Chanting of shlokas improves the concentration and disciplines the mind of the dancer. The shlokas will be from Abhinaya Darpana.
Postures - The basic postures in Bharatanatyam are taught which are - The Samapada, The Araimandi or ardhamandala and the Muzhumandi
Warm up exercises - These exercises are a prerequisite for learning any step in Bharatanatyam. We begin here with exercises to strengthen the knees and thighs in order to sustain araimandi while dancing
Asamyuta and Samyuta Hastas - These are one hand and two hand gestures used in Bharatanatyam. According to the Abhinaya Darpana, there are 28 Asamyuta hastas and 23 Samyuta hastas. Students would learn to depict these hastas with the shloka given in the Abhinaya Darpana.
Adavus - These are the steps used in Bharatanatyam and form the base for Nritta or pure dance. There are many categories of adavus in Bharatanatyam, which can be divided on the basis of difficulty levels. The first set would comprise 30 adavus. Rhythm is the most important aspect of dance. Thus, we inculcate a sense of rhythm in the dancers by making them perform adavus in three speeds.

THEORY
Theoretical knowledge of Bharatanatyam makes the dancer a consummate performer. We begin by teaching the students the definition of Bharatanatyam, the origin of dance [Natyotpatti] and also introduce some basic treatises on dance.

CB2 - Beginners Level 2
In this module, the dancers learn to discipline their entire body with various rigorous adavus. They are also introduced to Tala, or rhythmic patterns.
PRACTICAL
Introduction to Tala - Demonstration of Adi Tala, Misra Chapu and Roopaka Tala is taught.
Advanced exercises - These exercises help in improving the muscle strength. Dancers also learn some yoga asanas to improve balance.
Nethra (eye), Griva (Neck) and Shiro (Head) Movements - Dancers learn the movements of the head, neck and eye with shlokas from the Abhinaya Darpana. In addition, they also learn some eye exercises which are useful in dance
Adavus Part II - This set comprises approximately 50 adavus, which are more rigorous in comparison to Level 1. More emphasis is laid on stretching, jumping, and leaping movements. The dancers are prepared for these rigorous adavus with the help of the Asanas.
Performance items - At this stage, we begin with a small Swaranjali which can be used in performances.

THEORY
Identification of dancers shown in pictures (Picture Memory), Notation of Tala cycles taught, Notation for adavus in three speeds

CB3 - Beginners Level 3
In this module, the basic adavus are put to use in Nritta items. The dancers learn to appreciate Nritta characteristic to the Tanjavur style of Bharatanatyam.
PRACTICAL
BASIC POSTURES - The dancers are taught the Sthanakas and Mandalas as are given in the Abhinaya Darpana. These are to understand the basic postures of Bharatanatyam.
NRITTA HASTAS - As we proceed with the syllabus, the dancers are also taught various Nritta Hastas, or hand gestures useful in dance.
MUSIC - Bharatanatyam breaks into Bha for Bhava or emotion, Ra for Raga or melody and Ta for Tala or rhythm. It is incomplete without music. Narthaki lashana also mentions that dancers should have the knowledge of music. We begin with teaching certain introductory shlokas and sarali and Janta varisais.
TALA - The Sapta Talas are introduced and the Sollukattu of Adavus is taught here.
PERFORMANCE ORIENTED ITEMS - We begin the performance items at this level. Dancers learn the

Alarippu
Jathiswaram
THEORY
Definition of Margam, distinctions between Abhyasa and Sabha Margam, Definition and explanation of Alarippu and Jathiswaram

INTERMEDIATE -
CI1 - Intermediate Level 1
This module introduces the concept of Abhinaya. The dancers theoretically understand the distinction between the four types of Abhinaya and their knowledge of the Drishti, Griva and Shiro Bheda would be put to practice.
PRACTICAL
NRITTA HASTAS, DASHAVATARA HASTAS AND NAVAGRAHA HASTAS - These are hastas used respectively in Nritta, to depict the ten incarnations of Lord Vishnu, and to depict the nine planets. These hastas are used in many Abhinaya and Nritta items and hence are important to learn.
TANDAVA AND LASYA ADAVUS - The distinction between the two types of adavus is understood here.
MUSIC - Along with learning the music of the dance items, the students would learn small songs called geethams, to further enhance their knowledge
TALA - We teach basic tala and sollukattu exercises in order to intensify the understanding of Tala
PERFORMANCE ITEMS - Dancers will learn

Sabdam
Swaranjali (Advanced)
THEORY
Guru Shishya Parampara
CI2 - Intermediate Level 2
By this time, the dancers have some idea about Abhinaya and Nritta, and their knowledge of Jatis and Korvais will be further enhanced in this level
PRACTICAL
VINIYOGAS [A] - The depictions of hastas are very important in understanding where they can be used in Abhinaya. This also aids in choreography. In this level, the dancers learn the depictions of the Asamyuta hastas, along with the shlokas from Abhinaya darpana
NAVARASA - Abhinaya is characteristic to Bharatanatyam. The concepts of bhava (expression) and rasa (emotion) are explained here
MUSIC - Dancers proceed to learn small keerthanams, and also learn to notate songs, as this would aid in dance
TALA - Along with Tala exercises, certain korvais will be taught and explained, as are learnt in the practical. Reciting korvais and jatis would also be part of this level.
PERFORMANCE ITEMS

Pushpanjali
Tillana
THEORY
Four types of Abhinaya with description, Life history of Balasaraswati, Kattumannar Muthukumaran Pillai and K.N. Dandayudapani Pillai

ADVANCED -
CA1 - Advanced Level 1
This stage prepares the dancers for their arangetram [which means ascending the stage]. Arangetram is the debut performance of the dancer wherein all his/her learning and skill is put to test. The dancers learn the “piece de resistance” of Bharatanatyam, the Varnam. All the exercises and adavus learnt in the previous levels would help the dancers to gain stamina and confidence to perform the Varnam.
PRACTICAL -
VINIYOGAS [S] - We teach the depictions of the two hand gestures, Samyuta hastas, along with the shlokas from Abhinaya Darpana.
MUSIC AND TALA - Jati recitation and notation is an important aspect of this level. Dancers learn to notate and recite the jatis with talam. They also learn to conduct a jati on the tattukazhi
PERFORMANCE ITEM

Varnam
THEORY -
Introduction and distinction between the Ashtanayikas [Eight types of Nayikas], Deeper understanding of bhavas

CA2 - Advanced level 2 (Preparation for Arangetram)
By the end of this stage, the dancer is ready to set foot on the stage. With dedicated hours of practice and good stamina, the dancer can be considered fit for performance.
PERFORMANCE ITEMS -*
Padam
Keerthanams
Javali
Kavadichindu
Tiruppugazh
Stotram
Bhajan
MUSIC - The dancers should, by now, have the knowledge of the raga, tala and composer for all the compositions taught.
By following the three modules of learning, the dancers would have ascended the stage and entered the beauty Bharatanatyam dance, where they would have to prove their mettle as a dancer.

Bharatanatyam syllabus
Beyond the key benefits of dance such as cultural education and bringing people together for a common cause, Dance is also demanding. It
takes years of training to become a Bharatanatyam dancer. The work is demanding because the performers must train every muscle in their bodies and faces in precise movements.

FIRST YEAR
Beginners:LEVEL 1

This course gives the introduction to the classical dances. During this period one can learn:
Basic Foot Steps

Tat Adavu (8) in all 3 speeds. The first adavu is called Tattadavu where the dancer in the arai-mandi position stamps the floor with both feet, the right foot alternating with the left foot. These movements are done to various beats and tempi or speeds. They rhythmic syllables for this adavu are Tei ya tei ye.
Naat Adavus (8) in all 3 speeds. The next group of adavus called Nattadavu have the rhythmic syllables Tei yum tat tat tei yum ta ha. This category has several types of movements and is characterized by one leg being extended while the other remains flexed in the arai-mandi position.
Pakkaadavu Pakka means side and the emphasis on the steps of this group is to move sideways. The sollukattu for this group is Ta tai tai tha dhit tai tai ta.
Kudhitha mettu adavu. Kudhitha mettu means to jump and beat. Both the feet are raised on the toes with a jump and strike the floor together with the heels. There are four in this group. The sollukattu is Tai hat tai hi.
Tattu metta adavu. Tattu matta means to strike and beat. The foot strikes the floor and is raised on the toes and beats the floor with the heel. The sollukattu is ta ki ta .
SECOND YEAR
Beginners:LEVEL 2
Teermana Adavu Teermana means to conclude or finish. These steps are used to end a group of steps and are usually repeated thrice. Tari kita tom and ta dhing ginna tom are the sollukatta for this group. They will be divided into two groups – variations in the tai taidhit dhit tai are five and the usual ending steps in the three format are two.
Sutrul adavu Sutru means to whirl. This group of adavus involves swirling movements. There are four in this group. The sollukattu being tat tai tam dhit tai tam.
Sarakkal adavu Sarakkal is to slide. The foot is made to slide without raising it from the floor and join the other foot in the sthanaka (standing) position. One foot is raised on the heel and both beat the floor with a slight jump. There are four variations and the sollukattu is Tai ya tai hi.
Mandi adavu Mandi means knee and this group of steps consists of one knee resting on the floor while balancing the body on the toes. This group of steps will be combined with the Katta - Shimir adavu. Katta means enclose and shimir means to open. These steps have expansive hand movements that suggest opening an enclosed movement. Altogether there are eight variations. Ta ka ta ki ta is the sollukattu used.
Paicchal Adavu>>Paidhal or Paichal is a Tamil term that means “to leap”. It differs from the Kudhitametti in the sense, the dancer while doing the Paidhal covers space, whereas in Kudhitametti she/he jumps in the same spot. A very graceful step in itself, paidhal is usually seen at the end of korvai(a string of adavus) as part of ardhis..(The concluding steps)Paidhal itself includes a variety of leaps and may also be coupled with spins (Bramhari). It also includes the famous Kartari(Scissors) Adavu where the movement of the hand and feet trace criss-cross patterns in space.
Rangakramana Adavu
THIRD YEAR
Junior: LEVEL 1:

1)Pushpanjali

2) Alaripu or Padam(Depends on Individual capability)

LEVEL 2:

3) Padam or Alaripu(Depends on Individual capability)

FOURTH YEAR
Senior: LEVEL 1:

4) Jathiswaram

5)Devarnaama (2)

LEVEL 2:

6)Varnam

7)Thillana

The duration to reach Arangetram or the Graduation level depends on individual capacity.

Abhinaya in Bharatanatyam

Abhinaya in Bharatanatyam
The Bharatnatyam techniques of communicating a verbal message are Abinaya (story-telling in mime), which uses facial expressions (Mikha abhinaya) and gestures.

Some authentic styles, such a Melattur style, emphasise a highly expressive, spontaneous and elevated mode of abhinaya.
The Abinaya of is comprised of
Angikabhinaya: communicating the meaning of the songs using the body, i.e. head, hands, legs, etc.
Vachikabhinaya: vocal communications (this element is absent in the present-day Bharatanatyam, except for the such element as mouthing of words)
Aharyabhinaya: use of costumes, jewellry, make-up etc.
Satvikabhinaya: expressions of Bhava and Rasas (emotional states).
There are 8 main or primary emotions, Sthayibhavas, also termed as Rasas (Moods):
Shringara - Love
Hasya - Mirth
Veera - Heroism
Roudra - Anger
Bhayanaka - Terror
Bheebatsa - Disgust
Adbhuta - Wonder
Karuna - Compassion
Shanta - Tranquility - was added by Abhinava gupta.

Sringara means love, but is not confined to rati sringara. There is bhakti sringara and vatsalya (parental love) sringara besides rati sringara. Famous Bharata natyam dancer Balasaraswati has said: "sringara brings out the great beauties of this dance can be portrayed with all the purity of the spirit. The flesh, which is considered to be an enemy of the spirit and the greatest obstacle to spiritual realization, has itself been made a vehicle of the divine in the discipline of the dance. Sringara thus is an instrument for uniting the dancer with Divinity.