Dancing Text

Wednesday, November 2, 2011

Everyday a festival...That means be happy always...:)

Dates of important festivals associated with Hinduism in November 2011 – based on major Hindu calendars and Panchangam used in India. The festivals, Vrats and auspicious days are based on Indian Standard Time (IST). You can also take help through the comment section on good dates for various purposes including house warming, joining job, buying car or house, moving into new rented home etc.

November 1, 2011 – Chath Puja – Dala Chath
November 1 – Soorasamharam Skanda Sashti
November 2 – Chath Puja morning argh
November 3 – Gopashtami
November 4 – Akshaya Navami – Khushmanda Navami
November 6 – Prabodini Ekadasi Vrat
November 6 – Chatur Masa Vrat ends
November 6 – Tulsi Vivah begins
November 6 – Pandarpur Kartik Mela
November 8 – Pradosh Vrat
November 9 – Vaikunta Chaturdasi
November 10 – Purnima or full moon day
November 10 – Dev Diwali
November 10 – Tripurari Purnima
November 11 – Margashirsh Month/Aghan Month begins in North India calendars
November 14 – Sankashti Ganesh Chaturthi Vrat
November 17 – Vrischika Masam begins in Malayalam Calendar
November 17 – Karthigai Masam begins in Tamil Calendar
November 17 – Sabarimala Temple in Kerala opens for 2 month darshan
November 18 – Kalbhairav Ashtami
November 18 – Agrahan month begins in Bengali Calendars
November 21 – Uttppanna Ekadasi Vrat
November 22 – Pradosh Vrat
November 25 – Amavasya
November 26 – Margashirsh month begins in Maharashtra, Gujarat, Andhra Pradesh, Karnataka and Goa
November 29 – Vivah Panchami
November 30 – Sashti Vrat – Muruga Sashti Fasting
November 30 – Champa Sashti – Khandoba

Why your name is important to be called as your name???



What is in name ???? When you are born, a name is given based on your time and date of birth.
Along the way,the names are modified,extended or changed or take another name for glamour. When the baby is born, the new name is said softly to the baby's ear ,thus triggering the molecule cells in the human body. So when the name is repeated called or spoken, the name cells response.Along the way, some of the modify or change names.When the new names are called,the molecules responding would be affected as there is a frequency wave problem as some calling the old names and some the new names. That is why, any change of name has to be carefully calculated and have to write 108 times per day x 90 days to ingrained in the person's system. Without the person writing down the name, the effect is different to just name reciting...try this yourself.. Make your life a peaceful one..... If you want know..give a try...and if you dont believe..just let go.. as Science plays an important part in our religion... Aum Shakti Thunai. Credits to Priyaah Veeriah from Sri Astha Thasa Bhuja Kaliamman From Durian Tunggal Melaka (FB) for this info.

The origin of 'Snakes and Ladders'



The game had its origin in India and was called Moksha Patam or Parama Padam or Mokshapat. It was used to teach Hinduism and Hindu values to children. The British renamed it as Snakes and Ladders.
Now, when and who created this game? Most people believe it was created by the 13th century poet saint Gyandev. There are certain references which take the game back to 2nd century BC.
The ladders represented virtues and snakes vices. In the original game square 12 was faith, 51 was Reliability, 57 was Generosity, 76 was Knowledge, and 78 was Asceticism. These were the squares were the ladder was found.

Square 41 was for Disobedience, 44 for Arrogance, 49 for Vulgarity, 52 for Theft, 58 for Lying, 62 for Drunkenness, 69 for Debt, 84 for Anger, 92 for Greed, 95 for Pride, 73 for Murder and 99 for Lust. These were the squares were the snake was found. The Square 100 represented Nirvana or Moksha. The British took the game to England in 1892 and named it Snakes and Ladders and changed it according to Victorian values. Original snake n ladder whch is called Mokshapatham.
http://photos-a.ak.fbcdn.net/hphotos-ak-ash4/384133_2368795971748_1005908479_32735317_1759719257_s.jpg


Significance of Amavasya



Amavasya, or Amavasi, is the name of new moon night in Hindu religion. It is the first night of the first quarter of the lunar month. Since the moon is invisible on the day, Amavasya is also referred as no moon night. Amavasi holds great importance in Hinduism. Many Hindus choose this day to make offering (tharpanam) to the dead ancestors. There is also an ongoing debate whether Amavasya is auspicious or inauspicious.

The term ‘Amavasya’ is commonly used in all regional languages in India. The fortnight that starts with Amavasya is also referred as the Shukla paksha (bright half of the month). Mauni Amavasya in Hindu Magh month (January – February) and Mahalya Amvasya in Ashwayuja (September – October) are highly auspicious. Similarly the Amavasi in Aadi month is of great importance in Tamil Nadu. The Amavasya in Karkidakam month is of importance in Kerala.

In some regions people observe partial fast (Upvaas) or a complete fast on the day.
Thanks to mainstream Indian movies, Amavasya is considered the ideal day to perform black magic and evil acts. Since there is no moon, Amavasya night is pitch dark and this provides the ideal setting to invoke evil powers.

Earlier it was advised not to travel on an Amavasya night. The logic being that there is no moonlight and this could invite lot of hardship and danger.

Many astrologers advise against performing any important ceremony on the day as moon and important planets in Hindu astrology are not visible. In some regions, people do perform certain auspicious deeds on the day. But largely no new beginnings or important ceremonies are held on the day.

Symbolically, the period from Amavasya to Purnima (full moon) is considered to be the gradual awakening and transcendence into the fullness. From darkness to the gradual realization of the Supreme Soul.

Symbolic Meaning of Acts Performed During Hindu Pujas and Prayers


A simple prayer before the deity with hands folded and placed near the heart is the most common form of praying in Hindu religion. But there are also various other acts that Hindus perform while praying like lighting the lamp, offering flowers and leaves, burning camphor or offering food etc. In Hinduism, each act performed has a symbolic meaning.

§  Sprinkling of Water and Sipping while doing Puja
Sprinkling of water symbolically performs the purification of the surroundings. Sipping of water is purification of oneself. It is because water is everywhere such as in air, surroundings, and also in our body.

§  Why do Hindus light a lamp at home before the altar of a deity?
In every Hindu home a lamp or ‘diya’ or 'deepam' is lit daily before a Hindu deity or any symbol associated with Hinduism. Many Hindus also perform an ‘Aarati’ with the traditional oil lamp. The lamp is lit in the morning or evening or both morning and evening. In some houses the lamp is maintained continuously and is known Akhand Deep or Akhanda Diya. 

The light in the lamp symbolizes knowledge. It removes darkness, which symbolizes ignorance. Thus light symbolizes Brahman.The formless state of Him.

The wick in the traditional oil lamp symbolizes ego and the oil or ghee used symbolizes our negative tendencies. When we are lit by self knowledge, the negative tendencies (oil) melt away and finally the ego (wick) perishes. When the ego perishes, we realize that we are all part of Brahman and that life is a continuity.

The lighting of ‘diya’ or lamp at home is considered highly auspiciousness as it brings prosperity and good health. The daily evening lamp lit at home also gives us an opportunity to ponder over one’s omissions and commissions in a day.
§  Burning of Camphor
Burning of camphor symbolizes the destruction of our egos and arrogance. When ego melts what is left is the pure Self.
§  Lighting of Incense and Agarbathis
This is used for fragrance which symbolically suggests the presence of the deity and the love of deity.
§  Performing Aarati or waving of lamp around the deity
Waving of lamp and camphor around the deity is symbolically an act of surrender.

Why do Hindus Break Coconut in Ganesh Temples and Before Auspicious Events?
Breaking a coconut in Hindu temples – especially in temples dedicated to Lord Ganesha - and before auspicious events and new beginning is considered highly beneficial in Hinduism. The offering of a coconut is a common offering to a deity in Hindu religion and it is distributed later as ‘prasad.’
The most important reason for offering coconut is that is the purest thing that a human being can offer to a deity. The water and the white kernel inside the coconut are the only unadulterated offering that a devotee makes to the Lord. It is not polluted as it remains covered by the hard outer shell until it is offered to the God.
Lord Ganesh is the deity invoked before any auspicious event or new beginning. Coconut is one of the most favorite foods of Ganesha. This is one reason why coconut is broken during housewarming, after the purchase of new vehicle etc.
Next, the breaking of coconut symbolizes the breaking of the ego. The coconut represents the human body and before the Lord it is shattered – breaking the ‘aham’ or ego and symbolically total surrendering and merging with the Brahman – supreme soul.
Coconut is also an important aspect in Kalasha or Poorna Kumba.Apart from this there are numerous other symbolic meaning to the coconut. Most of them revolve around its appearance like the three eyes on the coconut represent the three eyes of Lord Shiva.

§  Offering of Betel leaves and Betel nuts
Betel leaves and nuts symbolize fertility and is usually offered for the birth of children at home. It is also part of all important pujas in South India.
§  Bells Rung during Puja
The bells that are rung during puja are to keep out other noises and it is also a means of celebrations. Bells rung in the beginning is done to ward away evil forces.
§  Offering of Food or nevediya
Symbolically, offering of good indicates a thanksgiving to the deity. It is an act of sharing God’s bounty. It is then distributed as 'prasad.' What is offered should be shared with the poor and the needy.
§  Offering of Flowers
Flowers are offered basically because of their fragrance and due to the association of a particular flower with a particular deity. For example Bilva leaf is associated with Lord Shiva and Tulsi with Lord Vishnu. Puranas have stories which explain why a particular flower is associated with a particular deity.
On the symbolic level, the flowers and leaves are picked up with five fingers and is offered with all five fingers. It is usually placed at the feet of the deity. The five fingers symbolically indicate the five senses and thereby surrendering of it before the deity.
Flowers are also offered by bringing it close to one’s heart. This symbolically suggests that one is offering the soul or atma to the deity

Why is Hindu God Shiva Worshipped in the Form of Linga or Lingam?

The most popular form of worshipping Lord Shiva in Hinduism is in the Linga form. It is known as Shivling or Shivalinga. The Linga symbol is an attempt to give form to the formless, referred as Supreme Being or Brahman in Hindu religion. When a Linga is installed on a Yoni, it represents the union of Shiva and Shakti – the beginning of creation.
Linga in Sanskrit means symbol or sign. One of the first uses of the term ‘linga’ in association with Shiva is found in the Shvetasvatara Upanishad – it says that Lord Shiva, the Supreme Being, has no linga (sign or symbol). In simple terms, it is impossible to define Brahman or that is alinga.
Now it is not possible for a common man to pray to Brahman which is beyond any characteristic. Human beings need a form to worship. In Sanatana Dharma, each individual has the freedom to define the Supreme Being or Brahman in the most convenient way he/ she is comfortable.
When our ancestors stood in crude nature, what bewildered him most would have been the regenerative method – his own and those of animals around him. This must also have been the time when he was looking to give an expression to the Supreme Power. It is only natural that the male reproductive organ appeared to him as the ideal symbol as it represented strength and regenerative power.
The worship of Linga is not exclusive to Hinduism. Menhirs and Phallus have been worshipped by many ancient societies.
The Mahabharata says ‘Know everything, which is male, to be Ishana, and all that is female to be Uma; for this whole world, animate and inanimate, is pervaded by these two bodies. Shiva’s divine Linga is worshipped by the Gods, seers, Gandharvas and Apsaras.’ (Chapter 7, section 20, verses 22)
The greatness of this form of Shiva is based on the fact that the children bear neither the lotus symbol of Brahma nor of Vishnu’s discuss…but one marked with the male and female organs, the linga and yoni, originated from Mahadeva and Devi (Chapter 13, section 19, verses 78)
Puranas and Epics in Hinduism narrate in detail why Shiva is worshipped in the form of linga. It is said that the Supreme Being appeared before Lord Brahma and Vishnu in the form of a ‘pillar of fire’, which had no end and beginning. It is one among the many symbols of Brahman. There are numerous other incidents in the Puranas including the famous Deodar forest incident in which the wives of saints are attracted to Shiva and he castrates himself and leaves the Linga on earth as his symbol.
Many of the incarnations of Lord Vishnu is known to have worshipped the Shivlinga including Lord Ram, Parashuram and Krishna. When the mind is clear and is without prejudices, we will realize that the Linga form of Shiva is the most innocent form of Brahman that our ancestors had realized. It is pure and they got it from pure nature. Many of the forms that we worship today are the reflections of our mind, which is corrupted by ego, society and education. It is not pure.
That is why many people mention that Linga worship is a crude method and they are ashamed of it. Many are comfortable with the beautiful form of Brahman – that includes the handsome human form of Shiva, Vishnu and other gods. There is nothing wrong in worshipping Shiva and Vishnu in the handsome form because Brahman can be worshipped in any form.
An ancient Greek philosopher had said that if horses were to worship a god it would have the shape of a horse. All attempt whether it is Linga, human form or animal form is an attempt to give form to the indefinable Brahman.
We then strongly defend that my form is the true form and the other form is wrong without realizing that everything is Brahman.


Ragu Kalam Durga Pooja



Vijay
“All ways of knowledge are your aspects, O Devi; so are all women in the world, endowed with various attributes. By you alone, O Mother, this world is filled” - Chandi, II, 6

One of the fast growing pooja in Malaysia and Singapore is the Ragu Kalam Durga pooja. Held weekly on every Tuesdays, Fridays and Sundays, this pooja attracts many people- Young people who perform this Pooja will excel in studies while the unmarried will be able to find a good life partner, married ladies will have a happy married life and their families will proper, the childless will have children and have a happy and prosperous life. Of all the days, Tuesday is the most auspicious day. The time is fixed viz: 3.00 pm and 4.30 pm on Tuesdays, 10.30 am and 12.00 pm on Fridays and 4.30 pm and 6.00 pm on Sundays. All the times that I mentioned are the Ragu Neeram ( the time of the Ragu ). Of all the Devi`s Pooja ( Varalakshmi Pooja, Pournami Pooja, Thiruvilaku Pooja ), Ragu Kalam Durga Pooja is the most simplest one. Utensils and sundries needed for the pooja are – Limes ( lime cut into a bit more than half and invert it )-( odd numbers ( a maximum of 9 ), wick, ghee and turmeric rice ,a tambalam ( silver plate ) and prasadam ( fruits, betel leaves and Areca nut ).

The pooja is normally conducted in Amman temples and procedures are quite different from one temple to another, but it follows exactly the same way of offering “mavuvilaku”. There are no specific mantras but in temples devotees will conduct banjans and chant the name of Durga Matha. At the end of the pooja, one is required to do “ Sangkalpam “. Lime is always been used in medication because of its acidity that can cure many diseases. One who wants to perform this pooja needs to invert the lime after it has been cut into half. Remember , this is the most difficult part, if you cut a unripe lime, U cant invert it and the same goes to a ripen lime. So the selection of the lime is very much needed. The main purpose is to bring out the dermis part of the lime which is usually white in colour. The lime is resembling us and we need show the inner part of us to God. Garment of illusion, greedy, lust and angriness need to throw away before God. The white dermis of the lime shows our pure conscious and the darker part ( green in colour which is hidden inside ) is our Maya. One can use any type of wicks in this pooja and I have listed out some of the wicks and its significance. Wick made of banana stem fibre removes offences before God and ancestral curse, cotton wick- obtains all good fortune, lotus stem fibre ( wick ) – removes karma from pervious birth and establishes a happy and prosperous life, white madder plant –pulp of the bark – increase wealth and dispels misfortunes, new yellow cotton cloth – obtains the grace of Goddess Parasakti and frees one from entanglements and will not be affected by further misfortunes and New Red cotton cloth- removes any marriage obstacles and child bearing obstacles, keep on free from spells, mantras and tantras. The wick is a symbol of energy and light where alight emits brightness. The point of the wick tells us that God is everywhere. The tambalam ( silver plates) reflect Brahma ( creator ) and the Turmeric rice ( uncooked rice ) resemble Maha Vishnu. The turmeric rice stabilise the lime and it acts exactly as God Vishnu who is a preserver and stabilise between born ( Brahma ) and death ( Rudra ). The top of the half cut inverted lime signifies Shiva. As the oil ( ghee ) is contained, just like Lord’s Shiva contained Ganga ( the river ) in His hair. The ghee and the flame signifies Goddess Laxmi who blessed us with her wealth, the brightness of the flame resemble Goddess Saraswathy who blessed us with education and knowledge and the heat from the flame signifies Mother Durga.

The pooja is nothing if we don’t understand the truth of this pooja. Ragu Kalam Durga Pooja is a typical South Indian way of worshiping Mother Durga. Mother Durga is well-known to the Northern Indian through their Durga Pooja or Navarathiri which held 4 times a year. There is a verbal story that somehow connects to this Pooja. Navagrahas the planet deities of which the first seven are Sun ( Surya ), Moon ( Soma ), Mars ( Mangal), Mercury ( Budha ), Jupiter ( Brishpati ), Venus( Sukra), Saturn ( Shani ) give names to the days of the week: Sunday to Saturday respectively. The other two Ragu (Ascending node) and Ketu (Descending node) are also fabled as planets, the former as a planet with a head and no body and the latter as a planet with a body and no head. In the Puranas, they are all represented as deities borne in cars. The planet Sun travels in some zodiac point each month. Similarly, the other planets have their times of travel through the zodiac assigned to them. As the planets travel through a particular zodiac signs, their relative positions with respect to each other changes and is supposed to determine the fate of the human affairs. An astrologer can draw up a horoscope of a person based on his time of birth and calculate the relative positions of the planets relative to this horoscope. The planets are also believed to influence the outcomes of historical events of entire nations and the Earth. Each planet has its own mode of circumambulation - clockwise or anti-clockwise. Each planet faces a different direction. In religious rites, beetle nuts represent the planets and the priest invites each planet to be present there and witness and bless the pooja.

So the story goes like this- “ A couple blessed with a child after their continuous prayers to Divine Mother. The child reached her puberty age and the parents decided to seek an astrologer to ask the fate of the child in future. The couple was shocked to get to know that their daughter has “ Ragu Thosam ( very bad time –Ragu is controlling her time ) and the ninth day from her birthday, a black serpent will bite her to death. Hearing this, the couple rushed to get the protection and remedies from Mother Durga. At this moment, Goddess Parvathy who wander as a saint in earth to help her devotees and Parvathy took the vow to save the child. The time comes and as predicted before , Ragu ( the serpent-head ) changes himself as a serpent and try his very best to kill the girl. Each of his attempt been blocked by Sakti and at last Sakti herself reincarnate as the girl and Ragu mistakenly bite Sakti thus made a sinful act. Ragu beg for forgiveness and as a reward he let go the girl. In forgiving his mistakes, Durga Matha remind him that Ragu thosam and Ragu`s influences will ease for those who are performing Pooja for her at Ragu Neeram ( a bad time ) and those who are conducting the pooja will be blessed by Mother Durga.

Why Ragu Neeram, why cant Emakandam neeram ( the time of Semi-god Yama )? Both as been accepted as inauspicious time. It seems The North Node of the Moon is called Ragu in Vedic astrology and the South Node is called ketu. They are called dark or shadow planets, because of the Nodes' association the phenomena of eclipses. They have no sign ruler ships, although they are said to favour Mercury and Jupiter's signs according to some authorities, while others claim that Ragu favours the sign of Aquarius and Ketu sign of Scorpio. Ragu, the North Node of the Moon means to conceal, engulf or hide in Sanskrit. This Graha is associated with the world of material manifestation and worldly desire. Ragu is associated with the spiritual process of involution, or the engrossing of spirit in materialization. Ragu is a karaka, or indicator, of worldly desire, fame, greed, high intelligence, manipulation, obsessive behaviour, foreigners, mass disease, dementia and inertia. The nature of this Graha is Vata, or Airy. These qualities of Ragu are with us. The Ken Upanishad, part three known as Yaksha Prashna says that The Supreme power of God is manifested as knowledge, activity and strength. The Bhagavad-Gita describes the same in different words ( Ch 17, Verse 5- “Purity, passion and inertia – these qualities , born of nature bind fast in the body. Purity known as Sattwa , passion known as Rajas and the inertia known as Tamas. Each of these three gunas represented by colour, Sattwa is white ( colour of purity )- represented by that aspect of mother Durga we worship as Goddess Saraswati. The colour of Rajas is red represented by that aspect of mother Durga we worship as Goddess Lakshmi and Tamas is black, represented by the aspect of mother Durga we worship as Goddess Kali. Ragu attribute Tamas to our life. Tamas is born of ignorance , deluding all embodied beings. Tamas binds fast in heedlessness , sleep, and indolence, laziness (Bhagavad-Gita , Ch 14 verse 8 ). Tamas is that binding force with a tendency to lethargy ( lack of energy, vitality ), sloth and foolish actions. It causes non-discrimination or delusion. It binds one who is associates with self with the Body. A tasmasic person act under the compulsion of the body. He has no power of judgement. His actions are not guided by reasons. His senses are dull. These are all baser animal qualities ( Ragu –serpent head ( half human and half animal form ), the lower diabolical nature in man. We pray to mother Kali as Durga as the supreme force and power to destroy all our impurities, our vices, and our defects. She is to fight and annihilate these demons. This is the strength aspect of Sakti as mentioned in the Upanishad .

Mother Durga is the power that guides and protects the devotee’s spiritual practice form its many danger and pitfalls. So, by performing this Ragu Kalam Durga Pooja, Mother Durga will bestow peace and prosperity in our life.

“mm Kala abhraham kata akshair, arikula bhaya dam, mauli bad-dhendu rekham shankam chakram kripanan tri-shikha –mapi karair, udvahantim trinetram, Simha-skanda –adhirudham tribuvanam akhilam purayanthim, Dhyayed Durga jaya akhyam Tri-dasha pati nutam sevitam seddhi kamaih"

which means “ I pray to thee O Mother Durga, with my folded hands and head on your lotus feet. You are , O Mother, known as Jaya ( victorious ), honoured and saluted by Lord of heaven name Indra and served by the devotees, wishing their success. You beam like thick and black clouds. You could terrify enemies even with a flash of your look. You are adorned with crown set of cresent moon on your head. You hold the conch, the chakra ( wheel ).the sword and the spear . You have three eyes, O Mother and on the back of the lion, your vahana. The whole world is filled with your great splendour , I pray thee, O mother Durga.

Gita
Several weeks back there was a post describing a simple Durga puja to be performed using limes turned inside-out. I immediately got together with some South Indian friends to try this. Even though they were pretty sure they had seen how one turns limes inside out, we were utterly unable to do so and ended up consulting the priest of the local Balaji temple. Here is his method: The lime has to be thin skinned. It should be rolled around a little bit to make it more flexible. The lime should be cut in half horizontally, not vertically. The juice should be squeezed out. Then the half lime should be turned inside-out and the "fruit" removed, leaving a nice bowl. Then that bowl should be filled with ghee or oil, a wick put in the ghee/oil and lit. The rest as has already been described. Perhaps there is more than one way to turn a lime inside-out, but that is what they do at this particular temple. Jai Ma, Gita

Prainbow
"Why should this not be performed at home?"

Nora
"Here is his method: The lime has to be thin skinned. It should be rolled around a little bit to make it more flexible. The lime should be cut in half horizontally, not vertically. The juice should be squeezed out. Then the half lime should be turned inside-out and the "fruit" removed, leaving a nice bowl. Then that bowl should be filled with ghee or oil, a wick put in the ghee/oil and lit. The rest as has already been described. Perhaps there is more than one way to turn a lime inside-out, but that is what they do at this particular temple."

The method describe here is almost the same way as how I would usually do. I would choose a bigger type of lime ( neither too green nor too yellow ) and yes! I would rolled around because it will make the skin of the lime softer and cut it horizontally. Removed the inner contents of the lime first, then turn it inside out. I know not of other way.

"This is because it is conducted in an inauspicious time. You can'tprovoke your aura at this time. Your environent is full of bad energy and it's very hard to for you to concentrate ( at home ). A new poojai should not be start in this time. In temples , we have "Balipeedam" . "Balipeedam" is a place of sacrifice but not oflives. In this your negative thoughts that you have to sacrifice. When you are in a temple, and start to worship God, it seems your bad aura ( energy ) will be absorbed by "Balipeedam" and enable you toworship God with single-minded devotion. "Poojai" itself is a declaration of faith to God and making your wish. In order to make a wish in an inauspicious time, you need to have the right place to ask for it."

I tends to disagree on this statement because I personally believe the home is the best place for one to conduct any pooja. If you cannot concentrate at home what makes you think that you can concentrate better in the temple. I find there are more distraction in the temple then at home.

swam_15

Namaste Noraji,
The durga pooja can be done at home and it will be very effective if its done during the rahu kalam. But lighting of lemon lamps at house during the pooja is not permittable as per shastra...and it has got some reasoning also...

Normally durga pooja during rahu kalam is suggested to overcome ill effects of rahu and saturn. The Lemon is believed to be an attracting medium of energies and hence when we are doing pooja to overcome our ill effects, the lighting of lemon lamps is suggested...which will absorb all the ill effects and burn away the same. But since it is burning away the ill effects created by rahu and saturn..it is better to be done at temple wherein the bad energy released will be neutralised in the power of the divinity. That is the basic reason for not permitting the same at home...I hope this clarifies and clears.

Nora
Thank you swam_15 for your response, but I have one question thou'
you said : "But lighting of lemon lamps at house during the pooja is not permittable as per shastra"
You like to quote for me which shastra you are refering to?

swam_15
Dear Noraji,

I am not exactly sure about it...because I am very young and yet to learn all the shastras. But these things have been told to us by our mother when ever we ask them why we should not do this and then in the process i use to search for scientific reasoning to get correct response either through my own self or through various teachers.

Cutting personal history...coming to your question...I think there is pooja vidhi book which prescribes how to do poojas according to rules (vidhi)..may be pooja vidhanam or so...sometimes you get clarifications from Kanchi Sankaracharya also when u put across questions to him...u can try...there are infinite collections of his works wherein you may get exact answers...I hope me clarified your doubts.

Please note that there is no such thing called thin or thick skinned lime...u can use any lime for this purpose because all limes are same and one can easily make diva out of it...

Nora
Vanakkam Swam
"I am not exactly sure about it...because i am very young and yet to learn all the shastras. But these things have been told to us by our mother when ..."

Thank you, you have clarify my doubts.

Indeed our mothers are our first guru. We learn a lot from our mothers. I too learn from other Mothers too who have been kind enough to guide and be with me when I do the Pooja at my own home. The most important thing is that you must have an understanding of what you are doing, do them appropriately according to the ** Shastras ** as you mention and not just do things blindly. I have nothing against temple but I believe if you cant find divinity in your own Home Temple, what makes you think you can find one in the other temple. Everything begins at home.

So becareful when you use certain terms like "the research says" because next somebody will be asking : state this research claim in detail ( the researcher, the methodology used in this research, the outcome etc )Many a times people like to used bombastic terms they have no understanding just to impress others.

prainbow61
With great respect to you, I beg to differ about the limes. Like all citrus fruits some have thick skins and some have thinner skins, even within the same variety. I carefully held the limes available at the local market and the lime I selected seemed to have a thinner skin, one that would be less likely to crack or pull apart when being turned inside out.

Vijay
Dear Friends, The reason why Rahu Kalam Durga Poojai shouldn't be conducted at home because a new poojai should not begin at home at an inauspicious time. Please not that Indian believes in good and bad time. People usually will go start something before this time, example- you want to go out or visit someone , everything that we do, we should not start at Rahu or Emakandam neeram. This thing is understood by everyone.

For this reason Rahu Kalam Poojai should not be conducted at home. Temples are different because they have "arra-kaalam poojai" They have continuous poojai – 3.30 am ( bathing the idols ), 6.30 am. poojai ( dawn ), 12.00 pm ( uchi Poojai ), 3.30 pm, ( bathing the idols ) , 6.30 pm. ( dusk ) and then 9.00 pm ( the last poojai of the day ). So Rahu kalam Durga poojai always But one thing about this poojai is that it is there is no proper way to conduct this poojai. In many Amman temples ( Malaysia ), women will light up the lamp made of limes and then they sing devotional songs while the priest will conduct the bathing ceremony, decorate the idols and at about 4.30 pm, the priest will conduct Karpoora Aarathy and then Prasadam will be given out. So, usually in temples this poojai usually joins together with other daily poojai.

But one can conduct Durga Poojai at home. You can conduct this poojai every Fridays ( during dusk ). Durgai Poojai has a proper way to perform it. You start the Poojai with Ganapathy Stothram, Maha Durga Devi Sangkalpam, Dhyaanam- Avaahanam, Jabam( meditation upon Durga Devi ), Recite Devi Sthuthi slokas, recite Durga Ashtotra Satha Namavali, Bhajans and end your poojai with Mantra Pushpam,Karpoora Aarthy, Samarppanan and Mangalam. And you can light up the lights ( made of limes ). The peak of this poojai will be the syamala navathiri (Navarathiri September-October)where 2 things are added to this poojai- Chant the Devi Mahatmyam-gita and conduct Lectumi and Saraswathy poojai. So, you still can conduct Durga Poojai at home -is matter of time, that's all. Besides that, temples are the place for Indians to reunite especially people like me , a Diaspora. There are not many Indians in my country and poojas are the gateway for us to unite and so on. So, this may be one of the reasons why it should not be conducted at home.



But frankly speak, my mother won't follow all this, sometimes she does it at home and sometimes at temple. Normally people will do this poojai for nine weeks continuously and my mother done the first nine weeks at home and then she continously conducting it for the past 6 years. I asked what she got from this, she told me " look at yourself", and so I came to know she was praying for me. My sister got married just after my mother finished her 9th poojai at home. So, this poojai really has something worth. So, I think Devi is there for us, no matter what time we are praying to Her, She is the time and she is beyond Good and Bad. Mother will help us in any time, she won't select.. "okay you are in bad time or praying at bad time .. I shall not help you"… That's ridiculous isn't it. So, it is all in our own perception. We have the reasons why we should not conduct it at home but we have to think and judge the information that been forwarded to us.

At this juncture I would like to repeat a scripturalstanza in which a Guru told his inquisitive disciple- Nobody knows what is right or what is wrong, Nobody knows what is good or what is bad, There is a deity residing within you, Find it out and obey its commands.

What I would to stress is that, it is our own perception just like Nora told me, it is up to you whether you want to conduct the poojai at home or at temple. I hope I am neither discouraging nor encouraging anyone to conduct this poojai at home. Home Temple is your first temple and I would like to add my opinion in this. I think our heart is the very first temple of God. The poojai room or even temples are showing our dirt, a dirt of ignorance. Everything need to start from us, we need to install a good environment within ourselves. God's first abode is our heart.

Yeshe
Hello Prainbow

I have been in the same place as yourself wishing to celebrate Maa and call upon her as she has so obviously called upon you and I, within a ritual. Then of course the question arises in the mind, how can I do this in a way that is real, authentic, meaningful and relating to your and my situation, where you live and who you are. What is meaningful? Maa called you within the karma you have now, where you are now and within what means you have now at this time to celebrate and express your devotion to her. Obviously too Maa was not concerned with who your are or where you are or with what you know about official practices toward her from within the many Dharma based practices within Mother India. So there you are with the need to do ritual and wishing to fulfill this. Then you ask those around you within this Shakta community what is best to do.

The answer will be hard to get since each person in this community is representing a different culture with differing ways of expressing ritual. Each culture has certain "official" ways of doing these rituals or poojas. Each has a traditional approach and one that each tradition feels is correct and handed down to them from Maa herself -through the examination of scriptures. So some will say only a temple is good, or some will say only a certain time is acceptable, or some will say only a priest can do such and so. But what is lost in this rush to do things right is that Maa called you where you are and as who you are. Maa did not call you to change your heritage, or beliefs or gender or place of origin there where you are. She called to you to do celebration and devotion to her and with her. She called you into her arms and to sit in her lap and learn of her. So in light of all this careful official approach to Maa --- Maa is doing a silly thing by calling you as you are and where you are and within the culture you are in. No really it is not silly, she has called you to herself -- Maa does not expect you to respond as or like anyone else --- just as yourself. She is delighted you are wishing to do a pooja like that of her daughters and sons in Mother India - but she does not expect it to be just like that group of children. So in light of who your are and where you are and the fact that Maa is calling YOU. Then do what she places in your heart and from what she places in your hands. Some will say this is delusional - no it is a calling to each heart from Maa and has to do with her and the soul where it is, at this time.

I say, do the lime candle and pooja as you have it now. I say yes it would be good to call the Hindu Temple near you and find our more about them - even if they are not Shakta oriented. I myself was able to be in, my one and only official pooja, last year at a temple miles from here, to hear my Swamiji speak upon his visit here from India and it was a Vishnu pooja. I was asked at the door why I was here and who I was devoted too -- I said Maa Kali and the priest said you are most welcome here in our temple. Now no one talked to me after that since it was obvious I did not quite fit in due to my dress and cultural difference and not having family there, but I was welcome and my Swamiji blessed me and spoke to me. Maa was with me too. It was a blessing. But I "felt" outside the situation the whole time I was there except for when I sat at the feet of my Swamiji at his teachings.

Some will say oh you are ignoring the Dharma and creating dangers. Or you are ignorant and unworthy and not appropriate in your devotions to Maa. But call me what you may --- it was Maa who called me where I am at and within this form I am in now, with the tools at hand now and the knowledge at hand now -- and the thing is, she does not obviously wish to wait for me to learn the proper way as it is called. She is grabbing me and pulling me up into her lap and calling me her own. So I celebrate her here in my home with my children in my lap, with flowers from my yard and food from my kitchen and incense and candles lite by my hands and words of devotion from my lips to her. She called me. So I say answer her call - learn what you can and from what others feel they are allowed to say - then celebrate and show devotion to your Mother Durga. She is the silly one who called you and stirs her heart with her pooja and with the need to light lime lamps. It is she who walks with us who live far from lands where the Dharma is taught - it is she who is being silly or ignorant by calling to us sisters far from the shores of Mother India. I am so glad she did.

So go girl, light those lime lamps and have a pooja.

I wanted to answer your request for information and give you my two cents worth because in reality that is all they are and all I have in my hands as I sit in my Mother's lap.

METHOD OF TEMPLE WORSHIP



1.    The Hindu Temple is known as `Koyil' or `Kovil' in Tamil. It means the place or residence of God. It is the holy place where the Supreme Lord manifests Himself in divine form.
2.    We are souls (Atma). It is to enable us to receive His blessings and attain Him that the Supreme Lord takes on a divine form and is thus worshipped in temples.
3.    The formless Supreme Lord assumes form for the sake of His devotees. We are able to perceive His divine form in our temples and thereby worship Him.
 4.    In Siva temples Siva, Vinayagar, Murugan and others connected with Saivite  hierarchy, in Vishnu temples, Vishnu and his incarnations and others connected with Vaishnava hierarchy, and in Shakti temples, Amman and her different forms like Durga, Parvathy, Saraswathy, Lakshmi and others  connected with Shakta hierarchy, are established and worshipped.  Besides these, temples dedicated to other deities and ishta-devatas were also established by devotees.
5.    Regular daily worship at temples enables one to easily enshrine the Divine Form within one's heart. It is because of this that Hindus perform worship before deities who have been ritually installed in various temples, in the form of the devotees' choice. This is a practice that goes back to thousands of years of Hindu worship.
6.    Hindu scriptures state that the Supreme Being is present in all things in the universe. However, He is especially manifested in the consecrated deities found in temples, as well as in those who devote their lives to Him (sages, sannyasins, saints).
7.    Milk is present in the body of the cow, but we can only obtain it from the udder. Similarly, the blessings of the omnipresent Supreme Being are best obtained through proper, coordinated worship at temples.
8.    The Holy Temple provides the proper place and atmosphere for coordinated community worship, as well as catering for individual worship.
9.    It is to emphasise this importance of the temple as a proper place of worship that the Tamils have an ancient saying: “Do not live in a place (village/town) that has no temple.” Saint Appar likens a town without a temple to one that has lost its divine property or holy aspect.
10.    Worship includes praying, offering respects, presenting offerings, singing praises, meditating, performing pooja.
11.    Just as we eat everyday, we should make it a habit to visit the Holy Temple daily and offer prayers there if possible.
12.    The method of worship in a typical Devi temple, like our Rasah Sri Mahamariamman Temple is narrated below.
13.    When you go to the temple you are expected to:
           a.    bath and wear clean clothes
           b.    wear traditional Hindu clothes, for example:-
                       i.    Men — dhoti, shirt;  Ladies — saree.
           c.    exhibit Hindu religious signs, for example:-
                       i.    Thirunooru (Vibhooti or Holy ash) or chandanam
           d.    have pure thoughts
14.    Do not go empty handed. Bring along articles that are used in the pooja, such as coconut, fruits, betel leaf, betel nut, flowers, camphor etc. Place them on a tray (preferably metal) and give them to the priest when you request him to perform pooja on your behalf.
15.    As you approach the temple, you will notice the gopuram (gateway) first. Stop and raise your hands in prayer. For temples that do not have a gopuram, the vimanam over the sanctum-sanctorum will do just as well.
16.    After entering the temple premises, remove your footwear and leave them in an orderly manner in the allocated place, or near a wall or the steps. Then you must wash your hands and feet. Rinse your mouth with water and sprinkle some water over your head. This symbolizes the cleansing of your body. Men who sport the thundu as part of their apparel, should remove it and tie it around their waists.
17.    With your mind filled with pure thoughts of the Supreme Being enter the temple proper. At the sacrificial altar (Bali Peedam) prostrate yourself on the floor with humility and devotion.
18.    When a devotee prostrates himself at the altar, he/she should do so in such a way that a number of parts of the body touch the ground, as follows:
              a.    For a man, 8 parts should touch the ground, viz. head, 2 ears, 2 shoulders, hands, chin. This is known as ‘Ashtanga Namaskaram’.
              b.    When a lady performs this method of worship, she should do so in such a way that 5 parts of her body touch the ground, as follow: head, 2 hands, 2 knees. This is known as 'Panchanga Namaskaram'.
19.    One normally performs such prostrations only before the main deity, and that too only before the sacrificial altar. At other parts of the temple ordinary prayers with folded hands is enough.
20.    Such prostrations are normally performed thrice in succession. After that circle the temple at least thrice in a clockwise rotation (pradakshinam).
21.    During the pradakshinam, the hands may be clasped in prayer over the head (denoting that the Almighty is beyond our imagination) or over the heart (denoting complete surrender). Devotional poetry such as Thevaram/Thiruvasagam, or the name of God can be chanted in a soft voice (so as not to disturb other devotees).
22.    Enter the temple proper after having circled it thrice, and having requested permission from the guardian spirits (dwara palakas) which are found at the entrance to large modern temples.
           a.    First make your way to the shrine of Ganesha (Vinayagar) which is found at the right hand side of the sanctum sanctorum, and offer prayers there. One offers prayers to Ganesha first because He is the Controller of obstacles.
           b.    Men should stand to the right of the deity and ladies to the left in an orderly manner without obstructing the view of others.
23.    The worship of Ganesha is normally done as follows: Cross hands over your chest, and knock on forehead three times with fists; then hold ears crosswise with hands while you squat and rise three times. After that clasp your hands in prayer in front while reciting mantras or Songs on Ganesha to yourself. You can also repeat the mantra 'Om Ganeshaya Namaha'.
24.    Having worshipped Ganesha you can then worship the main deity after whom the temple is named. This deity is installed in the sanctum-sanctorum.
25.    After prayers are offered to the main deity, the priest will then offer prayers to the Vahana (vehicle) which faces the deity.
26.    In Siva and Devi temples the deity Murugan is found to the left of the main deity. Prayers are offered to Murugan after the main deity.
27.    After this, prayers will be offered to the Navagrahas (9 planetary deities). The shrine of the Navagrahas will be found outside the main temple. The devotee should also visit this shrine and offer prayers there as well. The Navagraha mantra can be repeated.
28.    In some temples the forms of lesser deities and local deities and saints are also installed. These, too, should be worshipped in turn.
29.    In Siva temples the form of Chandeeswarar (a Saivite saint) will be found. He, too, should be worshipped.
30.    The final part of the ceremony is the prayer offered to the sacrificial altar (Bali Peedam) which is found behind the Vahana. The priest will then show the sacred flame (camphor) before the main deity and the devotees will clasp their hands in prayer while chanting sacred mantras or holy songs.
31.    The sacred flame is then brought to each devotee from left to right. Each one who is thus presented with the flame should place their palms over it and then place their palms over their eyes. This is symbolic of asking for and receiving Divine Blessings. This is usually done thrice.
32.    The prasadam (Thirunooru) is then offered to each devotee after this. To receive it, place right palm over left and receive it reverently and full of devotion. After receiving, place it in your left palm, touch it with three fingers of your right hand, viz. index, middle and ring fingers, and apply it across the forehead. Look upwards while you do this and recite the mantra ‘Om Shakti’, ‘Siva- Siva’, ‘Om Namah Sivaya', or ‘Om Namo Narayanaya’, according to the respective deities being worshipped, while applying the holy ash. The ash should be spread out across the forehead and not applied as a dot or a small square. The remainder of the ash should be applied to your chest, neck or hands and should not be thrown away.
33.    The Holy Ash (Thirunooru) is a sacred Saivite symbol. It should be sacrilegious to spill it, blow it away from your palms or wear it in any way you want (as a dot etc). It should be respected and worn properly at all times.
34.    After that the priest will offer `theertham' (holy water or milk used during abhishegam). This too is received in the hollow of your palm and drunk with reverence after placing it over each eye in turn.
35.    Sandalwood paste and kumkum are also offered after this. Each should be taken by the ring finger and applied in the middle of the forehead. Sandalwood paste is applied first and kumkum is applied on top.
36.    Thirunooru, theertham, sandalwood paste and kumkum are offered to all devotees after prayers. For those who make special archanai or pooja the priest will offer a half coconut with bananas, betel leaf, betelnuts, flowers, a little thirunooru and kumkum in packets as a form of prasadam.
37.    When receiving this form of prasadam, accept reverently with both hands and place it before the eyes. Then remove a flower and smell it before placing it behind your ear.
38.    Sometimes, 'naivedhyam' or food offering consisting of rice, peas etc., paid for by the devotee, is distributed to those attending prayers in the temple. The naivedhyam is first blessed during prayers and returned to the devotee who then distributes it to those present. A small portion can be taken back home for the family.
39.    Special archanai (pooja) by individuals can also be done. Each devotee may bring camphor etc. for archanai and give them to the priest. Your name and the star under which you were born (Hindu horoscope) or that of the person for whom the pooja is done, is given to the priest who will proceed to do the pooja. After that the priest will give you the prasadam (coconut etc.) which can be taken home.
40.    Having participated in the temple pooja one shouldn't return home or leave the temple immediately. One should sit at a suitable place in sight of the deities and spend some time in silent meditation (dhyana). One can chant holy mantras or concentrate on the form of a favourite deity. Close your eyes and chant holy mantras (Om Namah Sivaya etc.) at least 108 times. Do this in peace and calm before worshipping the main deity once again. Then you can leave the temple for home with a calm frame of mind.

Sunday, July 3, 2011

Siva Suktam

Twameva maataa cha pitaa twameva
Twameva banduscha sakhaa twameva
Twameva vidyaa dravinam twameva
Twameva sarvam mama deva deva

Meaning:-

O Lord You are my Mother.
You are my Father.
You are my Kinsman.
You are my Friend.
You are my Knowledge.
You are my Wealth(of strength,valour and power).
You are my All,
my God of Gods.

Thursday, June 30, 2011

Balai Seni Lukis Negara Malaysia



Balai Seni Lukis Negara ditubuhkan pada 28 Ogos 1958, setahun selepas Malaysia mencapai kemerdekaan daripada penjajahan British. Geleri ini merupakan badan berkanun yang menerima geran tahunan daripada Kementerian Kebudayaan, Kesenian dan Warisan Malaysia. Ia juga menerima sumbangan daripada badan korporat dan penaja untuk melangsungkan aktiviti-aktiviti seni sampingan.

Dalam usaha untuk mempromosikan kesedaran dan apresiasi seni diseluruh peringkat masyarakat, objektif utama Balai Seni Lukis Negara adalah untuk mempersembahkan pameran dari dalam dan luar negara, seminar, bengkel, pertandingan dan aktiviti seni lain serta berusaha memperkembangkan koleksi tetapnya yang kini merangkumi lebih 2500 karya. Dalam kata lain ia ingin memupuk aktiviti kepakaran dan ingin menubuhkan koleksi seni kebangsaan.

Balai Seni Lukis Negara kini ditempatkan dibangunan baru di Jalan Temerloh, Off Jalan Tun Razak, Kuala Lumpur. Bangunan yang mempunyai ciri-ciri seni bina yang tersendiri ini terletak di antara Istana Budaya dan Perpustakaan Negara Malaysia. Kedudukannya juga tidak jauh dari Kuala Lumpur City Center (KLCC)dan Pusat Dagangan Dunia Putra (PWTC).

Bangunan Balai Seni Lukis Negara mempunyai 6 buah geleri, sebuah bengkel dan gedung kreatif, pusat sumber, sebuah oditorium yang memuatkan 144 tempat duduk dan juga pejabat bahagian pentadbiran BSLN.

WAKTU LAWATAN:
*Isnin hingga Ahad (10.00 pagi - 6.00 petang) termasuk cuti am
*Bulan Ramadhan (9.00 pagi - 5.00 petang)
*Hari Raya Aidilfitri tutup 2 hari
*Hari Raya Aidiladha tutup 1 hari

KEMUDAHAN:
*Masuk PERCUMA
*Tempat letak kereta PERCUMA
*Cafe
*Pusat sumber

Jadual waktu Peperiksaan Awam 2011

Vanakkam dan Salam sejahtera.Nampaknya dah ada jadual UPSR, PMR dan SPM di laman sesawang Lembaga Peperiksaan Malaysia.Marilah kita sama-sama memuat turun dan mengatur segala perancangan untuk hujung tahun nanti...

Muat Turun Jadual di LPM
http://apps2.moe.gov.my/lpm/index.php

UPSR
http://lp.moe.gov.my/files/upsr/2011/JWUPSR2011_21022011.pdf

PMR
http://lp.moe.gov.my/files/pmr/2011/JWPMR2011_21022011.pdf

SPM
http://www.moe.gov.my/lp/files/spm/2011/JADUAL%20WAKTU%20SPM%202011%20FINAL.pdf

Rancangan Tahunan Pendidikan Seni Visual Tahanp 2- Tahun 6

RANCANGAN TAHUNAN PENDIDIKAN SENI VISUAL TAHUN 6


MINGGU


BIDANG/TAJUK

HASIL PEMBELAJARAN

OBJEKTIF

CATATAN


1



Menggambar

Tajuk: Gambar Negatif dan Positif
(kaedah lukisan)

Aras 1
1. Menggambar dengan
memberi penekanan
kepada konsep perspektif
dan kadar banding.

Aras 2
1. Mencari sumber rujukan
sebagai pencetus idea
untuk menggambar.

Aras 3
1. Menggambar dengan
menampakkan perspektif
dan kadar banding.
Pada akhir pembelajaran murid dapat :

1. Membuat lakaran
gambar.

2. Mewarna bahagian
objek dengan hitam
untuk menimbulkan
kesan negatif.

3. Mewarna bahagian latar
dengan warna hitam
untuk menimbulkan
kesan negatif.

4. Menyatakan perasaan
diri terhadap kegiata
yang dijalankan.



2




Membuat Corak Dan Rekaan

Tajuk: Corak
(kaedah lipatan dan guntingan)



Aras 1
1. Menggunakan bahan,
teknik dan corak yang
sesuai untuk menghiasi
permukaan 2D dan objek
3D)

Aras 2
1. Mengolah motif
berdasarkan objek alam
bagi menghasilkan corak
dan rekaan.

Aras 3
1. Menguasai beberapa
kemahiran, kawalan,
tatacara dan disiplin kerja
dalam menghasilkan
corak dan rekaan.


Pada akhir pembelajaran murid dapat :

1. Mengetahui konsep
lipatan secara simetri.

2. Menghasilkan corak dan
rekaan secara simetri.

3. Mengunting hasil lipatan
yang telah dibuat

3



Membentuk dan Membuat Membina
Tajuk : Mobail Kasih Sayang
(kaedah mobail)


Aras 1
1. Menggunakan asas seni
reka dalam membentuk
dan membuat binaan
yang kompleks.

Aras 2
1. Mengetahui bahasa seni
visual yang berkaitan
hasil kerja 3D.

Aras 3
1. Membuat beg kertas
menggunakan pelbagai
alat, bahan, teknik,
struktur dan hiasan
mengikut tatacara secara
kreatif.
2. Membuat penyataan
perasaan tentang hasil
kerja dengan rakan
secara kreatif.


Pada akhir pembelajaran murid dapat :

1. Melukis dan memotong
lakaran bentuk hati.

2. Mengantung bentuk-
bentuk hati pada
penyangkut baju untuk
dijadikan mobail.

3. Menghargai hasil kerja
sendiri dan rakan.


4



Mengenal Kraf Tradisional
Tajuk: Kelarai
(kaedah anyaman)



Aras 1
1. Mengetahui istilah dalam
kraf tradisional.

Aras 2
1. Mengaplikasikan Asas
Seni Reka dalam
penghasilan kraf
tradisio

Aras 3
1. Membuat penyataan
perasaan tentang hasil
kerja dengan rakan
secara kreatif.


Pada akhir pembelajaran murid dapat :

1. Menghasilkan anyaman
tikar dengan kelarai
mengikut kreativiti murid-
murid.

2. Menghargai hasil kerja
sendiri dan rakan.



5



Menggambar

Tajuk: Corak cetakan
(kaedah cetakan)
Aras 1
1. Menggambar dengan
memberi penekanan
kepada konsep perspektif
dan kadar banding.

Aras 2
1. Mencari sumber rujukan
sebagai pencetus idea
untuk menggambar.

Aras 3
1. Menggambar dengan
menampakkan perspektif
dan kadar banding.


Pada akhir pembelajaran murid dapat :

1.Melakar dan memotong permukaan ubi kentang mengikut bentuk yang dikehendaki.


2. Menghargai hasil kerja
sendiri dan rakan.



6



Membuat Corak Dan Rekaan

Tajuk: Bunga Tulip
(cetakan atau capan)

Aras 1
1. Menggunakan bahan,
teknik dan corak yang
sesuai untuk menghiasi
permukaan 2D dan objek
3D)

Aras 2
1. Mengolah motif
berdasarkan objek alam
bagi menghasilkan corak
dan rekaan.

Aras 3
1. Menguasai beberapa
kemahiran, kawalan,
tatacara dan disiplin kerja
dalam menghasilkan
corak dan rekaan.


Pada akhir pembelajaran murid dapat :

1. Melakar dan menebuk
gambar bunga tulip.

2. Membuat garisan grid di
atas kertas lukisan.

3. Menerap motif ke atas
kertas lukisan dengan
menggunakan plat yang
telah dibuat.

4. Menghargai hasil kerja
sendiri dan rakan.




7



Membentuk dan Membuat Membina

Tajuk: Bekas Serbaguna
(kaedah lipatan dan guntingan)

Aras 1
1. Menggunakan asas seni
reka dalam membentuk
dan membuat binaan
yang kompleks.

Aras 2
1. Mengetahui bahasa seni
visual yang berkaitan
hasil kerja 3D.

Aras 3
1. Membuat bekas
serbaguna
menggunakan pelbagai
alat, bahan, teknik,
struktur dan hiasan
mengikut tatacara secara
kreatif.
2. Membuat penyataan
perasaan tentang hasil
kerja dengan rakan
secara kreatif.


Pada akhir pembelajaran murid dapat :

1. Menghasilkan bekas
serbaguna dengan
menggunakan teknik
pembungkusan.

2. Menghargai hasil kerja
sendiri dan rakan.


8



Mengenal Kraf Tradisional

Tajuk: Kelarai
(kaedah anyaman)



Aras 1
1. Mengetahui istilah dalam
kraf tradisional.

Aras 2
1. Mengaplikasikan Asas
Seni Reka dalam
penghasilan kraf
tradisio

Aras 3
1. Membuat penyataan
perasaan tentang hasil
kerja dengan rakan
secara kreatif.


Pada akhir pembelajaran murid dapat :

1. Menghasilkan anyaman
tikar dengan kelarai
mengikut kreativiti murid-
murid.

2. Menghargai hasil kerja
sendiri dan rakan.



9




10



Menggambar

Tajuk: Bentuk Geometri
(kaedah ton warna)

Aras 1
1. Memilih, meniru,
memadan dan menyusun
gambar untuk
menghasilkan satu
komposisi.

Aras 2
1. Mencari sumber rujukan
sebagai pencetus idea
untuk menggambar.

Aras 3
1. Menghargai sumbangan
pelukis tempatan.


Pada akhir pembelajaran murid dapat :

1. Meningkatkan kemahiran
Mengikut ton atau arah
cahaya.
2. Menghasilkan lakaran
dan kesan anatikal gelap
dan cerah.






Cuti Pertengahan Semester Pertama




11



Membuat Corak Dan Rekaan

Tajuk : Sapu Tangan
(kaedah ikatan dan celupan)
Aras 1
1. Memadankan beberapa
jenis rekaan corak dan
kesesuaiannya dalam
rekaan.

Aras 2
1. Mengolah motif
berdasarkan objek alam
dan objek buatan
manusia bagi
menghsilkan corak dan
rekaan.

Aras 3
1. Menguasai beberapa
kemahiran, kawalan,
tatacara dan disiplin kerja
alam menghasilkan corak
dan rekaan.


Pada akhir pembelajaran murid dapat :

1. Melatih diri untuk bekerja
dengan lebih tekun,
teratur dan cermat.

2. Menimbulkan rasa
seronolk dalam menjalan
kegiatan.


12





Membentuk dan Membuat Membina

Tajuk: Burung
(kaedah origami)
Aras 1
1. Menggunakan asas seni
reka dalam membentuk
dan membuat binaan
yang kompleks.

Aras 2
1. Mengetahui bahasa seni
visual yang berkaitan
hasil kerja 3D.

Aras 3
1. Membuat penyataan
perasaan tentang hasil
kerja dengan rakan

Pada akhir pembelajaran murid dapat :

1. Melatih diri untuk bekerja
dengan lebih tekun,
teratur dan cermat.

2. Menimbulkan rasa
seronolk dalam menjalan
kegiatan.


13



Membentuk dan Membuat Binaan

Tajuk: Hiasan Dinding
(Kaedah tampalan, Guntingan bahan-bahan terbuang)

Aras 1
1. Mengetahui dan
meneroka kegunaan
bahan kutipan dan objek
alam.

Aras 2
1. Membentuk dan
membuat binaan
menggunakan bahan
terbuang dengan teknik
tampalan serta
guntingan.

Aras 3
1. Membuat penyataan
secara lisan tentang hasil
kerja sendiri dan rakan.


Pada akhir pembelajaran murid dapat :

1. Mempelbagaikan serta
memanipulasikan bahan
terbuang dalam
menghasilkan hiasan
dinding.

2. Meningkatkan koordinasi
mata dan tangan.

3. Menghasilkan hiasan
dinding secara kreatif.

4. Berbangga dengan hasil
kerja sendiri.




14



Menggambar

Tajuk : Makhluk Asing
(Kaedah catan)

Aras 1
1. Memerhati tayangan
mengenai cerita makhluk
asing.

Aras 2
1. Meniru dan melakar
gambar untuk
menghasilkan satu
komposisi.

Aras 3
1. Mewarna lakaran
makhluk asing dengan
teknik catan.


Pada akhir pembelajaran murid dapat :

1. Menggambarkan secara
lisan tentang makhluk
asing yang telah
ditayangkan oleh guru.

2. Membuat lakaran secara
spontan berdasarkan
pemerhatian.

3. Mewarna lakaran
makhluk asing.





15



Membuat Rekaan Corak

Tajuk: Rama-rama
(Kaedah lipatan dan guntingan)

Aras 2
1. Mengolah motif
berdasarkan objek alam
bagi menghasilkan corak
dan rekaan.

Aras 3
1. Menguasai beberapa
kemahiran, kawalan,
tatacara dan disiplin kerja
dalam menghasilkan
corak dan rekaan.


Pada akhir pembelajaran murid dapat :

1. Mengetahui konsep
lipatan secara simetri.

2. Menghasilkan corak dan
rekaan secara simetri.

3. Mengunting hasil lipatan
yang telah dibuat.



16



Ujia Topikal

17



Membentuk dan Membina

Tajuk: Beg Kertas
(kaedah pembungkusan)

Aras 1
1. Menggunakan asas seni
reka dalam membentuk
dan membuat binaan
yang kompleks.

Aras 2
1. Mengetahui bahasa seni
visual yang berkaitan
hasil kerja 3D.

Aras 3
1. Membuat beg kertas
menggunakan pelbagai
alat, bahan, teknik,
struktur dan hiasan
mengikut tatacara secara
kreatif.
2. Membuat penyataan
perasaan tentang hasil
kerja dengan rakan
secara kreatif.


Pada akhir pembelajaran murid dapat :

1. Menghasilkan beg kertas
melalui teknik
pembungkusan.

2. Menghargai hasil kerja
sendiri dan rakan.


18







Membentuk dan Membuat Membina

Tajuk: Beg Kertas
(kaedah pembungkusan)

Aras 1
1. Menggunakan asas seni
reka dalam membentuk
dan membuat binaan
yang kompleks.

Aras 2
1. Mengetahui bahasa seni
visual yang berkaitan
hasil kerja 3D.

Aras 3
1. Membuat beg kertas
menggunakan pelbagai
alat, bahan, teknik,
struktur dan hiasan
mengikut tatacara secara
kreatif.
2. Membuat penyataan
perasaan tentang hasil
kerja dengan rakan
secara kreatif.


Pada akhir pembelajaran murid dapat :

1. Menghasilkan beg kertas
melalui teknik
pembungkusan.

2. Menghargai hasil kerja
sendiri dan rakan.


19


PEPERIKSAAN SEMESTER PERETAMA

20









21



Mengenal Kraf Tradisional

Tajuk: Kuda Kepang
(kaedah lakaran dan guntuingan)

Aras 1
1. Mengetahui istilah dalam
kraf tradisional.

Aras 2
1. Mengaplikasikan Asas
Seni Reka dalam
penghasilan kraf
tradisional.
2. Membuat lakaran bentuk
kuda.

Aras 3
1. Mengunting lakaran yang
telah dihasilkan.
2. Menghasilkan kraf
tradisional dengan
menguasai kemahiran
penggunaan alat dan
teknik.

Pada akhir pembelajaran murid dapat :

1. Meningkatkan kemahiran
dalam membina sesuatu
alat permainan.

2. Menari dengan kuda
kepang.

3. Menghasilkan kuda
kepang sebagai alat
permainan.

4. Berbangga dengan hasil
kerja sendiri dan rakan.


22



Menggambar

Tajuk: Keindahan Alam
(kaedah resis)

Aras 1
1. Menggambar dan
menggunakan pelbagai
bahan teknik melalui
penerokaan.

Aras 2
1. Memilih dan
menggunakan alat,
bahan dan teknik yang
sesuai dengan
penghasilan gambar.

Aras 3
1. Menghasilkan gambar
dengan menggunakan
pelbagai alat, bahan dan
teknik secara kreatif
melalui penerokaan.
2. Membuat penyataan
secara lisan tentang hasil
kerja sendiri dan rakan.


Pada akhir pembelajaran murid dapat :

1. Memahami konsep resis.

2. Meningkatkan kemahiran
mengolah warna.

3. Menerapkan nilai
mencintai alam.

4. Menyatakan perasaan diri
terhadap kegiatan yang
dijalankan.


23



Membuat Corak dan Rekaan

Tajuk: Kuda Kepang
(kaedah cetakan bermotifkan kulit haiwan)

Aras 2
1.Mengolah motif
berdasarkan ojek alam
dan objek buatan
manusia bagi
menghasilkan corak dan
rekaan.

Aras 3
1. Menghasilkan corak
dengan menggunakan
warna yang sesuai.




Pada akhir pembelajaran murid dapat :

1. Melatih diri untuk bekerja
dengan lebih tekun, teratur
dan cermat.

2. Menghias kuda kepang
dengan corak yang
dihasilkan.

3. Menimbulkan rasa seronolk dalam menjalan kegiatan.


24

25.06.07-
29.06.07




Membentuk dan Membuat Binaan

Tajuk: Hiasan Dinding
(Kaedah tampalan, Guntingan bahan-bahan terbuang)

Aras 1
1. Mengetahui dan
meneroka kegunaan
bahan kutipan dan objek
alam.

Aras 2
1. Membentuk dan
membuat binaan
menggunakan bahan
terbuang dengan teknik
tampalan serta
guntingan.

Aras 3
1. Membuat penyataan
secara lisan tentang hasil
kerja sendiri dan rakan.


Pada akhir pembelajaran murid dapat :

1. Mempelbagaikan serta
memanipulasikan bahan
terbuang dalam
menghasilkan hiasan
dinding.

2. Meningkatkan koordinasi
mata dan tangan.

3. Menghasilkan hiasan
dinding secara kreatif.

4. Berbangga dengan hasil
kerja sendiri.




25







Mengenal Kraf Tradisional

Tajuk: Labu Sayong
(Mengenal kraf tradisional menggunakan kaedah picitan)

Aras 1
1. Mengaplikasikan asas
seni reka dalam
penghasilan tembikar.

Aras 2
1. Menghasilkan kraf
tradisional menggunakan
plastesin dengan
mengikut proses
sebenar.

Aras 3
1. Menghasilkan kraf
tradisional dengan
menguasai kemahiran
penggunaan bahan dan
teknik.
2. Membuat penyataan
secara lisan tentang hasil
kerja sendiri dan rakan.



Pada akhir pembelajaran murid dapat :

1. Meningkatkan kemahiran
dan pengetahuan tentang
tembikar.

2. Membentuk tembikar
melalui proses lingkaran
dan picitan.

3. Menghasilkan labu sayong
secara kreatif.

4. Berbangga dengan hasil
kerja sendiri.


26




Menggambar

Tajuk: Kampung Saya
(Menggambar menggunakan kaedah kolaj)

Aras 1
1. Memilih, meniru,
memadan dan menyusun
gambar untuk
menghasilkan satu
komposisi.

Aras 2
1. Mencari sumber rujukan
sebagai pencetus idea
untuk menggambar.

Aras 3
1. Menghargai sumbangan
pelukis tempatan.

Pada akhir pembelajaran murid dapat :

1. Meningkatkan kemahiran
memotong dan
menyususn.

2. Menyedari bahawa kolaj
dapa menimbulkan
permukaan yang timbul.

3. Menghasilkan kolaj kampung saya daripada pelbagai bahan kekacang.


27



Membuat Corak Dan Rekaan

Tajuk: Hiasan dinding
(Membentuk dan membuat binaan dengan kaedah filiografi)

Aras 1
1. Memadankan beberapa
jenis rekaan corak dan
kesesuaiannya dalam
rekaan.

Aras 2
1. Mengolah motif
berdasarkan objek alam
dan objek buatan
manusia bagi
menghsilkan corak dan
rekaan.

Aras 3
1. Menguasai beberapa
kemahiran, kawalan,
tatacara dan disiplin kerja
alam menghasilkan corak
dan rekaan.


Pada akhir pembelajaran murid dapat :

1. Membuat corak dengan
menyilang benang pada
nombor yang sama pada
arah yang bertentangan.

2. Meningkatkan kemahiran
mengira.

3. Menghasilkan filiografi
secara kreatif.





28



Ujian Bulan Julai  Perbincangan Kertas Soalan Ujian

30



Mengenal Kraf Tradisional

Tajuk: Keris
(Mengenal kraf tradisional dengan kaedah melukis, menggunting dan mencantum.)

Aras 1
1. Melihat dan memerhati
gambar pelbagai jenis
keris dan bahagiannya.

Aras 2
1. Membuat model keris
dengan menggunakan
elephant kad. (melukis,
menggunting dan
mencantuma)

Aras 3
1. Mewarnakan keris
dengan menggunakan
warna pilihan sendiri
(krayon dan warna
poster)


Pada akhir pembelajaran murid dapat :

1. Mengetahui bahagian-
bahagian yang terdapat
pada keris.

2. Memahami cara
menghasilkan keris
dengan menggunakan
bahan gantian.

3. Menghargai keris sebagai
bahan warisan Melayu.






31



Mengenal Kraf Tradisional

Tajuk: Keris
(Mengenal kraf tradisional dengan kaedah melukis, menggunting dan mencantum.)

Aras 1
1. Melihat dan memerhati
gambar pelbagai jenis
keris dan bahagiannya.

Aras 2
1. Membuat model keris
dengan menggunakan
elephant kad. (melukis,
menggunting dan
mencantuma)

Aras 3
1. Mewarnakan keris
dengan menggunakan
warna pilihan sendiri
(krayon dan warna
poster)


Pada akhir pembelajaran murid dapat :

1. Mengetahui bahagian-
bahagian yang terdapat
pada keris.

2. Memahami cara
menghasilkan keris
dengan menggunakan
bahan gantian.

3. Menghargai keris sebagai
bahan warisan Melayu.







Cuti








34





35



Menggambar

Tajuk: Hidupan Laut
( Menggambarkan dengan kaedah mozek)


Aras 1
1. Memilih dan melakar
hidupan laut.
Aras 2
1. Membuat aktiviti mozek
dengan bimbingan guru
tentang teknik susunan.

Aras 3
1. Membuat mounting
secara mozek pada
gambar yang telah
disiapkan.




Pada akhir pembelajaran murid dapat :

1. Menghargi alam sekitar.

2. Menyusun dan
memanipulasi bahan
kreatif.




36


Membuat Rekaan dan Corak

Tajuk: Kertas Pembalut Hadiah
(Membuat rekaan corak dengan kaedah lipatan dan gosok warna air)


Aras 1
1. Mengetahu konsep
gabungan lipatan dan
gosokan menghasilkan
tona warna yang
menarik.

Aras 2
1. Menggunakan gabungan
warna yang sesuai untuk
menghasilkan tona
warna.

Aras 3
2. Menghasilkan corak
bunga yang menarik.



Pada akhir pembelajaran murid dapat :

1. Menghasilkan tona warna
yang menarik hasil
gabungan beberapa
warna.

2. Meningkatkan kemahiran
menggunakan campuran
warna untuk menghasilkan
tona warna yang menarik.





37



Membentuk dan Membuat Binaan

Tajuk: Kereta Mainan
(Membentuk dan membuat binaan dengan kaedah susunan dan cantuman)


Aras 1
1. Memilih bahan yang
sesuai seperti kotak.

Aras 2
1. Menyusun dan membina
model kereta.

Aras 3
1. Menghias dan menampal kertas warna pada kereta.


Pada akhir pembelajaran murid dapat :

1. Mempertingkatkan
kemahiran memilih dan
menggunakan alat ,
bahan, teknik serta proses
membuat model kereta.

2. Membuat model kompleks
dengan menggunakan
pelbagai alat.




38



Membentuk dan Membuat Binaan

Tajuk: Kereta Mainan
(Membentuk dan membuat binaan dengan kaedah susunan dan cantuman)


Aras 1
1. Memilih bahan yang
sesuai seperti kotak.

Aras 2
1. Menyusun dan membina
model kereta.

Aras 3
1. Menghias dan menampal kertas warna pada kereta.


Pada akhir pembelajaran murid dapat :

1. Mempertingkatkan
kemahiran memilih dan
menggunakan alat ,
bahan, teknik serta proses
membuat model kereta.

2. Membuat model kompleks
dengan menggunakan
pelbagai alat.




39



Mengenal Kraf Tradisional

Tajuk: Ragam Hias Wau Bulan (alat permainan wau bulan.

Aras 1
1. Melihat dan memerhati
bentuk wau bulan.

Aras 2
1. Melipat, menekap dan
menggunting kertas
warna.

Aras 3
1. Menyusun dan
menampal hasil corak ke
atas permukaan rupa
wau bulan.


Pada akhir pembelajaran murid dapat :

1. Menyatakan bentuk wau
bulan dan ragam hiasnya.

2. Memahami teknik lipatan
dan guntingan dapat
menghasilkan corak yang
simetri.

3. Menghargai kraf
tradisional.


40



Mengenal Kraf Tradisional

Tajuk: Ragam Hias Wau Bulan (alat permainan wau bulan.

Aras 1
1. Melihat dan memerhati
bentuk wau bulan.

Aras 2
1. Melipat, menekap dan
menggunting kertas
warna.

Aras 3
1. Menyusun dan
menampal hasil corak ke
atas permukaan rupa
wau bulan.


Pada akhir pembelajaran murid dapat :

1. Menyatakan bentuk wau
bulan dan ragam hiasnya.

2. Memahami teknik lipatan
dan guntingan dapat
menghasilkan corak yang
simetri.

3. Menghargai kraf
tradisional.
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