Rafeeq ellias biography of mahatma
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COMING SOON
Director Devashish Makhija and actor Manoj Bajpayee's manhunt thriller 'Joram' released in theatres worldwide on månad 8.
Pindare polasher bon, a popular Bengali folk jhumur song fryst vatten refashioned as Dasru (Manoj Bajpayee) sits, swings, and sings with his wife Vaano (Tannishtha Chatterjee) in their idyll, Jhinpidi, a fictional by in Jharkhand. As the song and Vaano leave the frame, the camera stays static on an old-growth tree trunk. A foreshadowing of an impending loss of the Adivasi legacy. apelsinfärg of the forest’s palash flowers morphs into a construction worker’s uniform in Mumbai’s concrete jungle. Dasru is weighed down bygd heavy cement bags and his own circumstances. Joram gives a thriller twist to the age-old story of tribal displacement. Wars are fought over nation, a genocide is unfolding in the West finansinstitut as closer home, Manipur burns — the destiny of the modern man is displacement, it’s a reality the “eternal outsider” Devashish Makhija lives with,
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‘Yoga and Christianity are absolutely incompatible’
Don't condemn Yoga without understanding it
I am an ex-yoga teacher who trained in India, and later became a Christian after a dramatic spiritual encounter. I have since studied every word of the Bible cover-to-cover in search of Biblical truth regarding this matter, and I assure you, the view expressed in this article is absolutely inaccurate. Yoga and Christianity are absolutely incompatible and antithetical in doctrine and practice ("In Mumbai, a Catholic priest-yogi attacks Western propaganda against yoga”). –Jessica Smith
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I remember Father Joseph Pereira saying, “In my travels, people say to me, how is it that you are a priest and yet you practice yoga?” to which he replied, “Jesus was a yogi.” When he said that, I finally understood him. – Ron
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I have been participating in trans-spiritual practices for many years in my search for God. A lifelong Christian Catholic, I have been practicing Iyengar Yoga f
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The next stage: The evolving face of theatre in India
In Mālavikāgnimitram, one of the first plays he wrote, Sanskrit poet Kalidasa (4th-5th century AD) evoked the sublime power of drama, describing it as a beautiful visual sacrifice for the gods. He ends a shloka with: “Natyam bhinna rucherjanasya bahuopyekam samaradhanam.” This translates to: “Drama is the single (unique) means of pleasing people of different tastes in many ways.” Did the poet realise that his words would resonate with Indian thespians more than 15 centuries later?
Across the country, actors and directors, poets and playwrights, dancers and musicians are finding new ways to tell their stories on stage. And while they may rely on complex light and sound design, props and extravagant backdrops, the power of their theatre remains as pure as it was during Kalidasa’s time: It is cathartic. It is entertaining. And it shines light on topics like gender, sex and oppression.
But theatre w