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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
anitji
arukwita

family
esoteric words in Pitjantjatjara
magical evil influence

bindi

eye

corroborees

ceremonial dance

didgeridoo

an Aboriginal wind pipe musical instrument

ilkari
inma
inma irititja
inma piti
inma kuwaritja
inma mayu
inma mayutimpil
inma mula
inmanyi
inmapilunypa

celestial world
song, music, dance, open ceremony
old verses coming from ancestors
dance in selected grounds
newly discovered or rediscovered
dance in rhythmic beats
dancing to the rhythms of the beat
good, true (esoteric) ceremonial song
dancing
music in silence

kalya
kania
kandju
kantuni
karndo
kati
kirra (diyari)
koki
kudlilla
kuka
kulini
kulpidji

emu
carpet snake
another name for linga man
stamping of the feet together
thunder
down
boomerang - weapon to hunt
monsoon season
rain to early winter
animals
deep inner listening and contemplation
sacred objects

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kunia
kuran
kurunba
kurupatila
kutjukutatimpil

carpet snake people

spirit
the same life essence
closed eyes
on the same beat

linga
liru
lunba
lurubunangi

sand lizard man

poisonous snake
kingfisher woman
chanting special songs

mai
maki
makko
maku
mala
mara
marakatipana
marapunganyi
mayu
meta-lungana
mimi
minma
mi:lmi:l
mulga
munya
mutianyi
mutitjulda

plants
ice-cold
clouds
central character in sacred sites
hare-wallaby man
hands
hands facing the ground
clapping the hands
rhythm
sleepy lizard man
stick figures paintings
married woman
sacred, secret
grass seeds
cold, winter
kneeling
water hole on the south side of Ayers Rock

nagurawaru
naldawata

campfire
a decorated pole, erected in the middle of
ceremonial grounds around which many dances and
rituals were performed
my people
rainbow serpent
sun
a blooming flower

nananduraka
ngalyod
ngangka
ngurreta
ochre

basic colors, red, yellow, black and green used in

initiation ceremonies

pakani
parka
parnatti
pilunypa
pindi

awakening or rising
leaves
autumn season
contemplation
pit, hole or habitation of souls before birth and after

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puna
punatimpilpunganyi
punga punganyi
pupa
pupakati
pupanyi

death
spirit people
desert area between Petermann and Rawlinson
Range, north of lake Hopkins and south of
Birksgate range. literally meaning the in-between
people
earth
clapsticks to convey rhythm by men only
clapping by both men and women
head
head facing downwards
crouching

rta
rurmanayi

taking a photo
flowing water

tanamildjan
tidna
timpil
timpilpulka
tjinderi-tjinderiba
tjinganyi
tjukurpa
tjulpu
tjurunga
turanakkorendi

the other folks

feet
beat
assents of musical beats
willy-wagtail woman
quivering
creative time or Dreamtime
birds
ceremonial boards
images, mirror or looking glass

uluru
utereme
utnenge

Ayers Rock
force
vitality

wala
walytja
wanampi
wandjina
wang
wapar
wilutti

speed or fast
world or universe
rainbow serpent
ancestral spirits
breath or spirit
story
the spring weather

yrinyi
yulanya

sitting
spirit children few inches high with light skin and
long black hair

piti
pitjantjatjara

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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,

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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.
2.
3.
4.
5.
6.

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muladhara (base of spine) - for memory, time and space.

svadhishthana (below the navel) - for reason.
manipura ( solar plexus) - for willpower.
anahata (heart center) - for direct cognition.
vishddha (throat) - for divine love.
ajna ( third eye ) - for divine sight.
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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 magicoreligious 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

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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
Gotra

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

Vishnu.
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

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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 Buddhas 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.

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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

Shivas wife in the second birth, known as Uma in the first

birth.

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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.

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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

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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.

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Yavadvipa

Yugas

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Island of Java mentioned in the Ramayana, and also referred by

German astronomer Ptolemy in his geography in the second
AD as Jabadieu.
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

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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 durations is as
follows:
The Krita Yuga
The Treta Yuga
The Dwapara Yuga
The Kali Yuga

=
=
=
=

4, 800 divine years

3, 600 divine years
2, 400 divine years
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
The Treta Yuga
The Dvapara Yuga
The Kali Yuga

=
=
=
=

4, 800 x 360
3, 600 x 360
2, 400 x 360
1, 200 x 360

=
=
=
=

1, 728, 000 years of mortals

1, 296, 000 years of mortals
864, 000 years of mortals
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 durations; 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
-400, 000
-100, 000
-75, 000
-45, 000
-10, 000

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Stone hand-axes and other tools are used in North India

Soan culture in India is using primitive chopping tools
Humans with 20th century man's brain size live in East Africa
Last ice age begins
After mastery of marine navigation, migrations from
Southeast Asia settle Australia and Pacific Islands
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
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-7, 000
-6, 000
-5, 000

-4, 300
-3, 100

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Appendices

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.
Proto-Vedic period ends. Early Vedic period begins.
Early sites on the Sarasota River
Beginning of Indus - Sarasota civilization in Harappa and
Mohenjo-daro
Earliest signs of worship of Lord Shiva.
Traditional dating for Lord Rama's time.
Kali Yuga era begins

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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 Indias
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.

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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 Indias 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.

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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 Indias 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

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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

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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.

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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.

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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 Ravanas 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.

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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,
Journey full of rainbow colours

Fast music: 15 chakkars (swirling motion)

SU BHAG
attractive
AK AL
calculated
PRA SHA

SA LILA
rainbow colours
SS R TRV
SURBI
closeness
morning
SURA LADHA ME MAGIN

VA GAH
fullness
NAVATH
newness
VASHA

Clean

full of

residing

PARENAM
Resulting

PAMAREYA
enjoyable closeness with dawn

love

One Tora

Sound of wind (Pavan) Chakra

SUMMER TO MONSOON season

Universe

During the monsoon period the sanyasis

fast and thus do not travel
Birds and animals, their followers,
do the same. They get attracted to their nests.

Beena Sharma

PAVAN
wind
CHAU
four sides
BHAVAN
gayatri mantra
MANAV
Believe

CHAKRA
circle
AUR
and
BHAVANI
leaving
ENKI
in their

PRACHAND CHLATA
strong
moving
CHAPAL GATI
violent
speed
TAJAT
GUM MA TA
swaying
MATI
opinion

SANYASE
yogis
EYK
One
KURUSAN
followers
BHAYA
They
EHE
this
LEPIYA
with
KAHI
says
ASARD
Wind

EHE
in this
ASSAN
posture
KE
what
PACHEHO
behind
SAMAYO
time
EHE
same
KASHAVDAS
Kashavdas
CHALLAT
blowing

MAS
HOOT
month
do
RASE
stay
KOHOHU KAHE
say about
them
NEWASEE
reside
SAJ
SOVANLEYO
be
sleeping
SATH
SRINATH
together
LakshmiVishnu
KAHATHE
that
NANYA
SUNIUYO
Sivas in-law hearing

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SOTAY
Narrated by

GATHI
Shiva to Parvati.

Act 2

Fast Music:
RAINY Season:
(uprising of emotional feelings in body and mind)

Music tempo changes:

AUTUMN Season.

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
screechs
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
Krishnas
eternal love.

BARAKHA
Observing
PHULEY
expanding
JANEE
seeing new
PIE
a time of good

BUGAT
passing of rain
KA
joy
SARAD
winter season
SAMAY
season

SARAD
RITU AYE
winter
season come
SAKHA
MANA CHAT
in the universe
RITU
KHANHAN AYE
migratory birds
came
JIMMI
SUKHAD SUHAY
and feeling of drowsiness.

JAL
water
ANU
undesirable
AVINEE
climb
ASU
us

PHAL
earth
ROCHAK
laments

Act 3
Music changes:
WINTER Season:
Winter is not suitable.
It is trying to separate us.
Now the enjoyment is dispersing.

Music changes: finally,

SPRING Season: full circle.
The Gods are rejoicing.

Creation

Beena Sharma

SHEETAL
in winter
SHEETAL
Winter
AKASH
sky
SHEETAL
winter

VEHRITI
HAREHAR
strong Vishnu Shiva
NA TRATE VAUVATI
Resounding
JANANEE
SOMASAKHI
Creation
elixir drink
JANANI
SOMAWATE
and elixir
friend
SHRI JAIDEV PHARIT

192

VASAHU ASAN
residing difficult
KASHAVDAS
poet

MOCHIT
separating
SAHAS SS VASANT
universe
spring

NATARES OWATI
is
SAKHEE
MUDRA

MAHAMATI

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Poet says Sri Jaidev

HARTI
CHARP
Calamity
weakness
SAMAY
MANUGAT
Time
Manu end

at the feet of The Lord

AMRITSS SARAS VASAT
all around
MADAM VEKASEE
by grace

Tora.
END.

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APPENDIX E
The following lists item choreographed by Beena Sharma over a period extending from
1993 through 1997. Video clippings of the actual performances accompany the list.
1.

2.
3.
4.
5.

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
Kathak performance and stylized Rajasthani folk-dance at the Convention centre,
by young aspiring talents, as part of the Vision of Indiain 1995.
An inter-cultural shadow dance of RAMAYANA by Fijian and Indian ethnic
groups for The Folk Festivals of Cultures, Opera House1995.
Bhangra Dance, an outdoor performance for Festivals of Cultures in 1994.
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.

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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 days 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 days performance

Video Clip 12.

Reviews

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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 subcontinent 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).

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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

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APPENDIX H
List of illustrations and Figures
Figure #

Illustrations

Artist Author

Page #

Book

Fig.1

Transformation in
The Cosmic Order
and Cycle of Season
Aura reading

Unknown

Judith Collins

Fig. 3A.

Transformation of a
human into a rock

C.P.
Mountford

Appendi
xC
6

RTA. Ritu Exhibition

Indira Gandhi, National
Centre of Arts, N.Delhi
My personal Reading

Fig. 3B

The living lizard and

increase centre
Totemic creatures of
Ayers Rock
The walking tree

C.P Mountford

C. P.
Mountford
Lauraine
Diggins
C. P.
Mountford
Vidya Dehejia

Lauraine
Diggins
Unknown

20

Fig. 2

Fig. 3C
Fig. 3D
Fig. 4
Fig. 5
Fig. 6

Totemic map of
Ayers Rock
The Subtle Body

Fig. 8

Ngalyod, the
Rainbow Serpent
Shiva in His
androgynous form
Boomerang

Fig. 9

Mimi Spirits

Fig. 10a

Wanampi

Fig. 7

Fig. 10b.1
Fig. 10b.2

Lewis Burns
Talbragar,
Wiradjuri
Yirawala

Michael
Tjakamarra
Nelson
Rainbow Snake - rock Unknown
art
Borlung, Ngalyod
Mandarrk
Rainbow snake

7
8
17

21

Screenprinted
By Gooses T-shirts 1995

48

Dreamings (Sutton, 1988,

p51)
A Myriad Of Dreamings
(L. Diggins, 1989, p71)

48

49
49

Julungal

Mitinari

50

Fig. 11

Two men dreaming

Tommy Lowry
Japaljarri

50

198

Ayers Rock (Mountford:

1965, p142)
Ayers Rock (Mountford:
1965, p34/35)
A Myriad Of Dreamings
(L. Diggins, 1989, p30)
Ayers Rock (Mountford:
1965, p32)
Yogini Cult &Temples A
Tantric Tradition
A Myriad Of Dreamings
(L. Diggins, 1989, p21)
Postcard

24

Fig. 10c

Beena Sharma

Ayers Rock (Mountford:

1965, p125)

Dreamings (Sutton, 1988,

p43)
Dreamings (Sutton, 1988,
p43)
A Myriad Dreaming
(Diggins, 1989, p37)
Dreamings (Sutton, 1988,
p63)

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Appendices

Figure #

Illustrations

Artist Author

Page #

Book

Fig. 12

Serpent and woman rock art

Serpent entwining a
woman
Wondjina

Unknown

53

Lickie Nollier

53

Ray Meeks

55

Unknown

56

C.P.
Mountford

59

Dreamings (Sutton, 1988,

p43)
Dreamings (Sutton, 1988,
p44)
Dreamings (Sutton, 1988,
p20)
Dreamings (Sutton, 1988,
p194)
Ayers Rock (Mountford,
1965, p xiv, 1)

Ngalyod and Shiva

Shakti as serpent in
action
Symbolic elements
used in the
performance making
up the Indian and
Aboriginal worldview
A Cross cultural
calendar in my script

Self

67

Graph

Self

68

Graph adopted from

Aboriginal elements from
Mythscapes

Self

92

Graph adopted from

Seasonal Calendar of N.E
Arnhemland Morris 1978

Self

101

Self

128

Photograph 2.

Fish and lotus hand

gestures
A multidimensional
graph showing spiral
energy as compassion
in world view
Lord Vishnu and
The Star God
Playing Didgeridoo

Photograph 3.

Peahen and Emu

93

Photograph 4.

Emotions at Solar
Plexus
Building campfire
and sleep symbols
of cold winter
Human and birds
are asleep
Wrist moving in
opposite direction

94

Fig. 12a
Fig. 13
Fig. 14
Fig. 15

Fig. 16

Fig. 17

Fig. 19

Fig. 20
Fig. 21

Photograph 1.

Photograph 5.

Photograph 6.
Photograph 7.

Beena Sharma

Toas of the Lake

Eyre
Uluru (Ayers Rock)

88
92

94

95
101

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Figure #

Illustrations

Photograph 8.

Showing continuity in
spiral movements,
angled positioning of
emu
Inner still listening
and quiet still
awareness
Yoga posture in
contemplation
Hand tilted from wrist

Photograph 9.

Photograph 10.
Photograph 11.
Photograph 12.
Photograph 13.
Photograph 14.

Photograph 15.
Photograph 16.
Photograph 17.
Photograph 18.
Photograph 19.

Photograph 20.
Photograph 21.

Photograph 22.
Photograph 23.

Photograph 24

Beena Sharma

Appendices

Artist Author

Page #

Book

102

102

103
104

Vishnu and creative

spirit
Praying at the snake
altar
Transformation of
OM into the
vibrations of the
clapstick
Using toes to cover
spaces
Covering spaces

105
106
106

107
107

Clapsticks replace
drums in music
Peahen and Emu in
similar movement
Paint on body.
Connecting to my
deity
Paint on my hands

108
108
110

110

Psychic space in
Contemplation.
Connecting with
audience and my
deity
Developing a form

111

114

Wide space, giving

room for
improvisation
Eyes active in
Karuna Rasa
symbolizing pain - as

115

117

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Figure #

Illustrations

Appendices

Artist Author

Page #

Book

separation in winter
Photograph 25.

Communicating with
Brian
Spectators

119

Spectators

119
120

Photograph 35.

Fusion Poise.
Kathak pose in a
cross-cultural dance
Transcultural look
Kaftan and clapsticks
Kathak as a
traditional dance
Kathak in a
transcultural look
Kathak in changing
environment
History not dead,
But alive
Weaving of empty
Spaces
Weaving a tapestry
Around co-performer
Partners concept, as
in Dandia Ras
Imaginary graph in
The performance
Stillness in Codancers body
Stillness in my body

126

Appendix G

Continental Drift

154

Photograph
26a.
Photograph
26b.
Photograph 27.

Photograph 28.
Photograph
28a.
Photograph
28b.
Photograph
28c.
Photograph 29.
Photograph 30.
Photograph 31.
Photograph 32.
Photograph 33.
Photograph 34.

Beena Sharma

117

121
121
122
122
123
123
124
124
126
126

201

The World Atlas, a D.K.

Publication, NY, 1997

MA (Hons.) thesis