DHARMASTHALA:-

Dharmasthala(:ಧರ್ಮಸ್ಥಳ) is an Indian temple village on the banks of the Nethravathi River in the Belthangadi taluk of the Dakshina Kannada district in Karnataka. The village is known for its Dharmasthala Temple which houses the shrine of Shiva,Manjunatha, Ammanavaru, Chandranath and the Dharma Daivas (Guardian Spirits of Dharma) namely Kalarahu, Kalarkayi, Kumaraswamy and Kanyakumari.The temple is unusual in that it is run by a Jain administration and poojas are conducted by Hindu priests of Madhva order. Lakshadeepa- the festival of lights is the annual festival of Dharmasthala comes off in November–December. On an average the flow of pilgrims is about 10,000 people a day. A mechanised kitchen provides free food for all pilgrims and there are guest houses with modern amenities. Dharmastala represents religious tolerance. A Jain Tirthankara is worshipped beside Daivas and Lord Manjunatha (Shiva). The priests are Vaishnavite Brahmins and the guardian of the temple a Heggade (Jain). To those who come here for justice, the Heggade - an over 800 year old local lineage - dispense judgements that are said to represent the will of the deities.[citation needed] There are reportedly free hostelries that provide food and shelter.[citation needed]. Legend: It has been told in Dharmasthala that the Shiva Linga in Dharmasthala was brought to Dharmasthala by a Daiva, a local deity with significant supernatural powers, named Annappa. Legend is that he used to work for the Heggade family. Once when the Heggade he was serving wanted to worship Lord Shiva, Annappa had assured him to get one linga and vanished from the sight. Surprisingly next day morning, by the time all woke up, he had already established the linga in Dharmasthala, a few metres away from Heggade's house. Later it was known that the Linga was from Kadri near Mangalore, from the Kadri temple. By then, Annappa had vanished and he was never again sighted in the vicinity. Now people in Dharmasthala worship Annappa as Annappa Panjurli, a local god deva and a hero. Dharmasthala has not been content being a source of inspiration to the devout. Having expanded the meaning of Dharma to encompasses the advancement of society at large, it has played an active role in bettering the lives of communities far and wide. Its initiatives have aimed at renewing the Paid and hope within, so that people may be helped to help themselves. 800 Years ago, Dharmasthala was known as Kuduma in Mallarmadi, then a village in Belthangady. Here lived the Jain Chieftain Birmanna Pergade and his wife Ammu Ballathi in a house called Nelliadi Beedu. Simple, pious and affectionate people, the pergade family was known for its generosity and hospitality to all. According to the legend, the guardian angels of Dharma assumed human forms and arrived at pergade's abode in search of a place where Dharma was being practiced and could be continued and propagated. As was their habit, the pergade couple hosted these illustrious visitors with all their wherewithal, and great respect. Pleased by their sincerity and generosity, that night the Dharma Daivas appeared in the dreams of Pergade. They explained the purpose of their visit to him and instructed him to vacate his house for the worship of the Daivas and dedicate his life to the propagation of Dharma. Asking no questions, the Pergade built himself another house and began worshiping the Daivas at Nelliadi Beedu. This continues even today. As they continued their worship and their practice of hospitality, the Dharma Daivas again appeared before the Pergade to build separate shrines to consecrate the four Daivas — Kalarahu, Kalarkayi, Kumaraswamy and Kanyakumari. Also, Pergade was instructed to choose two persons of noble birth to act as the Daivas's oracles and four worthy persons to assist Pergade in his duties as the Executive Head of the Shrines. The oracles of Daivas are called Delampadithaya and Manavolithaya. In return, the Daivas promised Pergade protection for his family, abundance of charity and renown for the Kshetra. Pergade, as desired, built the shrines and invited Brahman priests to perform the rituals. These priests requested Pergade to also install a Shivalinga beside the native Daivas. The Daivas then sent their vassal Annappa Swamy to procure the linga of Lord Manjunatheshwara from Kadri, near Mangalore. Subsequently, the Manjunatha temple was built around the linga. Around the 16th Century, Devaraja Heggade invited Shri Vadiraja Swami of Udupi to visit the place. The Swamiji gladly came but refused to accept Bhiksha (food offering) because the idol of lord Manjunatha had not been consecrated according to vedic rites. Shri Heggade then requested the Swamiji to reconsecrate the Shivalinga himself. After doing so, Swamiji arranged for the pujas for the Shivalinga according to Madhwa practices. Pleased by the observance of the vedic rites and Heggade's charity to all, the Swamiji named the place Dharmasthala, the abode of religion and charity. Thus, the roots of charity and religious tolerance established by the Pergades 600 Years ago have been nurtured and strengthened by the Heggade family, Heggade being a derivative from Pergade. And today's Dharmasthala blossoms with the fruit of this selfless dedication. [edit]Anna dānā The average flow of pilgrims is about 10,000 people everyday.Every one of the thousands of pilgrims who daily visit shri Kshetra Dharmasthala is an honored guest irrespective of caste, creed, culture or status. The "Anna Daana"(free food) is perhaps one of the most impressive events that takes place at the holy temple. Free food is provided to devotees who come in thousands every day. The temple has modern machinery and makes quality food continuously throughout the day. Temple does not differentiate between the rich and the poor for the Anna Dhaana. The dining hall is known as "Annapoorna" . [edit]Vidya dānā Shri Kshetra Dharmasthala by the SDMCET Society manages a 25 institutions ranging from primary schools, Gurukula to teach yoga, Sanskrit, and professional courses in Engineering, Medicine, and Dental Sciences in Dharmasthala, Ujire, Mangalore, Udupi, Dharwad, Hassan, Mysore and other places of Karnataka state. The Siddavana gurukula started by the Late Manjayya Heggade has become a model educational institution. Over 250 students are provided free lodging and boarding and learn yoga, Sanskrit in addition to basic school curriculum. The specialty of this institution is its endeavor to teach values based on Indian Culture. [edit]Educational Institutions SDM College, Ujire SDM College of Engineering and Technology, Dharwad SDM College of Medical Sciences,Dharwad SDM College of Dental Sciences, Dharwad MMK and SDM Women’s College, Mysore SDM Institute for Management Development, Mysore SDM Law college, Mangalore SDM BBM college, Mangalore http://www.sdmcbm.ac.in/ SDM Ayurvedic college, Udupi SDM Secondary School, Ujire SDM English Medium School, Ujire SDM College of Ayurveda, Hassan SDM Ayurveda Hospital, Hassan Rathnamanasa Vidhyarthi Nilaya, Ujire SDM College of Naturopathy and Yogic Sciences, Ujire SDM College of Engineering and Technology, Ujire SDM Industrial Training Centre, Venur [edit]Aushada dānā In the field of health care, the medical trust also provides services to eradicate and prevent many diseases in local villages. The mobile hospital established by poojya shri Heggade is fully equipped to deal with emergencies and to provide medical treatment to the rural folk in remote parts of the Malnad area. A modern tuberculosis sanitorium was built by Dharmasthala Manjunatheswara Medical Trust to give relief to the patients of tuberculosis. It has since been converted into a general hospital. The Ayurvedic Hospitals at Udupi and Hassan provide Ayurvedic medicines as per the ancient text. The Nature Cure Hospital, built on the banks of the Netravathi River, uses a system based on the five elements of Air, Earth, Ether, Water and Light. SDM Eye Hospital at Mangalore, is a modern scientific eye treatment centre. The SDM Dental Hospital serves regular dental needs and provides specialised treatments such as oral implants, surgery for cleft lip and other orthodontic surgeries. Shri Heggade has been actively involved in propagating the practice of Yoga, the ancient system of fitness. Surya Namaskara Camps are regularly organised where Yoga is taught. Further 250 high school teachers are trained in Yoga every year, who in turn teach at least 100 students each. [edit]Abhaya dānā Free mass weddings which were started in 1972 have gained popularity. Every year hundreds of couples are getting married (Saamoohika Vivaha Mahotsava) here. Following the tradition of the Kshetra where all religions and castes are welcome, hundreds of couples are married in accordance with their personal religious rite. The expenses of the wedding dress, Mangalsutra and Wedding feast for a limited number of the couple's guests are borne by the Kshetra[4] [edit]Heggade family The present head of Dharmasthala, Padmabhushan Dr.D. Veerendra Heggade, the 21st in succession to the Dharmadhikari Peetha, has launched several socio-economic programmes such as free mass weddings which were started in 1973. In 1973 a statue of Lord Bahubali carved out of a single rock, was installed at Dharmasthala on a low hill near the Manjunatha temple. It is about 39 foot (12 m) high and weighs about 175 tonnes. More than 25 institutions from primary schools to professional colleges are run in and around Dharmasthala. Old and decrepit temples have been renovated, to preserve the traditional architecture. Ancient manuscripts and paintings have been painstakingly restored and preserved for posterity. A museum of antique objects has been established called "Manjusha Museum". A car museum houses a rare collection of vintage cars. Every year, a Sarva Dharma Sammelan (multi religious meet) is held at Dharmasthala, which attracts spiritual leaders from various faiths and schools, and patrons of art and literature. Dharmasthala is also among of the few pilgrim centers in India which provides free boarding and lodging to all the visiting devotees

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YAKSHAGANA

Yakshagana (Kannada: ಯಕ್ಷಗಾನ, yakṣagāna, [jɐkʃəɡaːnɐ]) is a theater form that combines, dance, music, dialogue, costume, make-up and stage techniques with a unique style and form. This theater style is mainly played in the coastal districts and Malenadu regions of Karnataka, India and traditionally played for whole night, till sunrise next morning. Yakshagana is the recent (200 years) scholastic name for what are known as kēḷike, āṭa, bayalāṭa, bayalāṭa, daśāvatāra (Kannada: ದಶಾವತಾರ). It is believed to have evolved from pre-classical music and theatre during the Bhakti movement. Yakshagana is popular in the districts of Uttara Kannada, Udupi, Dakshina Kannada, Shimoga and Kasaragod district . Yakshagana has become popular in Bangalore over the recent years, particularly in the rainy season, when there are few performances in the coastal districts. It has drawn comparisons to the Western tradition of opera. Actors wear costumes and enact various roles. Traditionally, Yakshagana would go on all night. It is sometimes simply called as ಆಟ "play" in both Kannada and Tulu.\ Yaksha-gana literally means the song (gana) of a yaksha, which was a term for exotic tribes of ancient India. Yakshagana consists of a himmela "background music group" and a mummela "dance and dialog group", which together perform Yakshagana poetry. Himmela consist of a bhagawata "singer" who is also the director (also called the first actor, modalane vesha), maddale, harmonium for drone (pungi was used earlier) and chande (loud drums). The music is based on Carnatic ragas characterised by melodic patterns called Mattu and Yakshagana Tala. Yakshagana Talas are believed to be based on patterns which later evolved into Carnatic talas. A Yakshagana performance begins at the twilight hours with the beating of several fixed compositions on drums called abbara or peetike for up to an hour before the actors get on the stage. The actors wear resplendent costumes, head-dresses, and face paints. A performance usually depicts a story from Indian epic poems and the Puranas. It consists of a narrator (Bhagvatha) who either narrates the story by singing or sings prepared character dialogues, backed by musicians playing on traditional musical instruments as the actors dance to the music, with actions that portray the story as it is being narrated. All the components of Yakshagana, music, dance and dialog are improvised. Depending on the ability and scholarship of the actors, variation in dance and amount of dialog may change. It is not uncommon for actors to get into philosophical debates or arguments without going out of the framework of the character being enacted. The acting can be categorised as method acting. Contents ORIGIN Yakshagana is a recent scholastic name adopted for what were and are known as Kelike, Aata, Bayalaata, Dashavatara in Karnataka. Yakshagana actually refers to a style of writing and to the written material or the Yakshagana poems. There are questions on whether this writing system originated in Telugu literature and used for poems enacted in Bayalaata. Yakshagana performance is believed to have evolved from the now-extinct Ghandharva Grama musical system. Earliest mention is in Sangeetha Ratnakara of Sarngadeva (AD 1210) as Jakka later called Yekkalagaana. Yakshagana in its present form is believed to be influenced by the Vaishnava Bhakthi movement. Yakshagana is a separate system of music independent of Karnataka Sangeetha and the Hindustani music of India, believed to survive as an indigenous phenomenon only in parts of Karnataka and Kerala.Although origins of Yakshagana is traced to Historic period and even Pre- historic periods, linking Ganddharagrama and Natya shastra and ekkalagana, first written evidence about present day Yakshagana is available on an inscription dated 1556 CE found at Lakshminarayana Temple, Kurugodu, Somasamudra, Bellary district, a copy of which is available at University of Madras. This inscription mentions of a land donated to the performers of the art, so as to enable people enjoy tala maddale programmes at temple. Another important evidence is available in the form of a manuscript of Virata Parva on palm-leaf found at Ajapura (present day Brahmavara) and the poet's name was Vishnu. One more historic Palm-leaf manuscript dated 1621 CE describes Sabhalakshana.] There is some resemblance among the members of the 'Traditional Theater Family' like Ankhia Nata (Assam), Jathra (Bengal), Chau (Bihar, Bengal), Prahlada Nata (Orissa), Veedhinatakam & Chindu (Andhra), Terukoothu Bhagawathamela (Tamil Nadu), Kathakkali (Kerala). Researchers have argued that Yakshagana is markedly different from this group. Experts have placed the origin of Yakshagana from the 11th century to the 16th century. Earliest limit is fixed by a finding by Vidwan Bannanje Govindacharya who says a legend goes to show that Sage Narahari Thirtha (c, 1300) started a Dasavathara Ata performance and a troupe in Udupi and later this spread to other places and grew into what we call Yakshagana today.[citation needed] Yakshagana must have been an established form by the time of famous Yakshagana poet Parthi Subba (1600) to whom Ramayana in Yakshagana is attributed. Shivarama Karantha in his research work argues that it is Subba son of Venkata who is its author, rejecting claims by Muliya Thimmappa and Govinda Pai citing procedural lapses in their findings. Because he is said to be a Bhagawatha (singer) himself and is believed to have founded a troupe, and probably he is the formulator of the Tenkuthittu (Southern style) of the art.[citation needed] Troupe centers like Koodlu and Kumbala in Kasaragod District, and Amritheshwari, Kota near Kundapur claim having a troupe three to four centuries ago. So we can safely assume that this art form had taken shape by about 1500. However, what we see today as Yakshagana, must have been the result of a slow evolution, drawing its elements from ritual theater, temple arts, secular arts like Bahurupi, royal courts of the time and artists imaginations – all interwoven over period. It is related with other forms prevailing in other parts of Karnataka and neighbouring states of Andhra Pradesh, Kerala, Tamil Nadu and Maharastra. Yakshagana, like many other forms, defies neat classification into categories like folk, classical, rural. It can be included into each of these, or all of them together, depending upon our line of approach. Being a theater form, unlike a dance form, it is more plural and dynamic. And hence it exhibits many types and varieties inside itself. However, Yakshagana can be rightly called a traditional form. Primarily it is a name given to the form prevailing in Coastal and Malnad areas of Karnataka, though forms like Doddata are also called by the same name often. The traditional theater form Mudalpaya of Southern Karnataka, the Doddata of Northern Karnataka, the Kelike in the borders of Andhra Pradesh, the Ghattadakore of Kollegal in Chamarajnagar district – are such forms. Among them, the Ghattadakore is a direct branch of Coastal Yakshagana, while Mudalapaya is the most closely connected form. Early poets Early Yakshagana poets include Ajapura Vishnu, Parthi Subba, Nagire Subba, Purandaradasa etc. King Kanteerava Narasaraja Wodeyar II(1704–1714) has authored 14 Yakshaganas in various languages in Kannada script.[][a] Mummadi Krishnaraja Wodeyar (1794–1868) has also written several Yakshagana prasanga, including Sougandhika Parinayab. Muddana has composed several Yakshagana prasangasa including much popular Rathnavathi Kalyana. Yakshaganamu in Andhra Pradesh There is a form called Yakshaganamu in Andhra Pradesh also, which exhibits some resemblance to the Yakshagana forms of Karnataka plateau region and it is less sophisticated as a visual art. With the socio-economic changes of the 19th century, arts like Yakshagana also changed. The 19th century produced a big number of compositions. Around 1800, a troupe from Dharmastala visited the court of the king of Mysore and established a troupe there. In the 1840s, a troupe (Karki Hasyagar Mela) from Uttara Kannada (North Kanara) visited Maharastra, and inspired the first modern age mythological drama by Vishudas Bhave. A number of troupes arose all over the Coastal Karnataka and probably in other parts of Karnataka too. By the early decades of this century the structure of Yakshagana reached a definite shape and form.[citation needed] Yakshagana is a form of theater, rather than a form of dance 1930s saw some changes in compositions, organizations and presentation. Dance and the spoken word was further developed and refined. But in costume, a type of degeneration started setting in due to the use of 'modern' clothing and stone jewellery, in place of hand loom clothing and wooden ornaments.[citation needed] The year 1950 saw the birth of 'tent' troupes, giving performances to audience by tickets, with 'tent theaters' and furniture for seating. These troupes brought in commercialization of Yakshagana, with both merits and demerits. Yakshagana saw major changes in form and organisation, electrical lights replaced the 'gas lights' or 'petromax' lamps. Seating arrangements improved. Major changes came in the themes, with the inclusion of folk epics, Sanskrit dramas and created (imaginary) stories forming the thematic base. Popular entertainment became the criterion in place of 'classical' presentation. Tulu, the language of the Southern part of the D.K. district was introduced on the stage, where hitherto only Kannada was used. This gained great popularity. All these trends continued with added vigor after 1970s, with a new element of influence. Noted writer, Late Dr. Kota Shivaram Karanth experimented with the dance form by introducing Western musical instruments. He also reduced the time of a Yakshagana performance from 12 hours to two and half hours, for the convenience of city dwellers. Another trend that has emerged in modern Yakshagana is the incorporation of movie stories.Yakshagana has undergone innovation in dance and theatre, which includes performances of Shakespeare.[] Nowadays Female artists in Sagara are performing a full fledged yakshagana show, like wise there are numerous Troops. Yakshagana ballet [icon] This section requires expansion. (August 2012) Second half of 20th Century saw experiments and adoptions for this art into other forms, notable such effort being that of Shivarama Karantha, who produced yakshagana ballet using local yakshagana artists and exhibited all over India.[citation needed] The experiments of Dr. Karanth attracted criticism also and one court deciscion banned public performance of his experiments as Yakshagana.[citation needed] Outside India "Bhasmasura Mohini" played at California in 2011 Yakshagana is finding new grounds outside India. Amateur troupes have emerged on the coasts of California, USA and Ontario, Canada. "Yakshagana Kalavrinda" and Yaksharanga in the USA and Yakshamitra in Canada are a few examples. Yakshamitra performs in Toronto, Canada and is first to use local live music (Himmela) for their performance. "Yakshagana Kalavrinda" performs on the east coast of USA. Yakshagana in the USA started after the visit of Yakshagana artist Sri Chittani Ramachandra Hegde. His performance at the age of 74 was so inspiring that art lovers decided to continue this great art thousands of miles away from its home. Sri Kidayuru Ganesh who accompanied Sri Chittani stayed back for couple of months to train new generation of Yakshagana artists. The result was a performance of Yakshagana “Sudanvarjuna Kalaga” with participation from local enthusiasts. Since then Yaksharanga has performed many shows around California. These troupes usually use a recorded background Yakshagana music(Himmela) for their performances. Other amateur troop outside of India is "Yakshamitra" in Toronto, "Canada". Another Yakshagana Troupe "Shri Idagunji Mahaganapati Yakshagana Mandali, Keremane headed by Shri Keremane Shambhu Hegde and Shri Keremane Shivanand Hegde toured USA and performed about 22 programs all over North America. The troupe visited about 12 countries and celebrated 75 years in history of Yakshagana. Variations Scholars have classified Yakshgaana broadly into two types. Moodalopaya Yakshagana includes eastern maidan areas of Karnataka such as Channarayapattna and Arsikere Taluks of Hassan District, Nagamangala Taluk of Mandya District, Turuvekere Taluk of Tumkur District, Hiriyuru, Challakere of Chitradurga District and North Karnataka. Paduvlopaya Yakshagana comprises the Western parts of extended Karnataka, including Kasaragod dakshina Kannada, Udupi and Uttara Kannada. Paduvalopaya Yakshagaana is divided into three variations Tenkutittu ( includes areas Kasaragod (Kerala), Manalore District, Udupi, Sampaaje, Sulliya, Puttur, Bantwala, Belthangady, Karkala etc.) Badagutittu (Udupi to Kundapura area, Uttara Kannada district) Badabadagutittu/Uttara Kannadatittu (extreme north parts of Uttara Kannada). Badagutittu The Badagutittū style of Yakshagana Costume The Badagutittu style, as its name indicates, is prevalent in Northern parts of South Canara, that is, from Padubidri to Byndoor and North Kanara District. The Badagutittu school of yakshagana gives emphasis on facial expression, matugarike (dailogues) and dance appropriate for the character depicted in the episode. It makes use of a typical Karnataka chande.[] The Badagutittu style was popularized by Shivram Karanth's Yakshagana Mandira at Saligrama village in Dakshina Kannada as a shorter, more modern form of Yakshagana.[15] Keremane Shivarama Hegde, the founder of the Yakshagana troupe, Idagunji Mahaganapathi Yakshagana Mandali is an exponent of this style of Yakshagana. He is also the first Yakshagana artist to receive the Rashtrapati Award. Sri Chittani Ramachandra Hegde won Padmashri award for his life time contribution to the art. Tenkutittu The Tenkutittū style of Yakshagana Costume One of the traditional variation, the Tenkutittu style, is prevalent in Dakshina Kannada, Kasaragod district, Western parts of Coorg (Sampaje) and few areas of Udupi district. The influence of Karnatic Music is apparent in tenkutittu buttressed by the type of Maddale used and in Bhaagavathike. This does not mean that Yakshagana is completely classic. At best, we can say that Yakshagana is a folk art influenced by classical aspects. Tenkutittu amply exhibits that Yakshagana is basically a folk art and not of classic or elite tradition. In Tenkutittu traditionally more than 15 types of colours have been identified. But in practice three important set of colours are identified: 1. Raajabanna 2. Kaatbanna 3. Sthreebanna Himmela in Tenkutittu is a coherent one with beats of Chande and Maddale coupled with chakrataala and Jaagate of bhaagavatha result into an excellent symphony. Dance form of tenkutittu strikes the attention of audience by 'Dheengina' or 'Guttu'-Performers often do Dhiginas, jumping spins in the air and often continuously spin hundreds of times. Tenkutittu is a variation of Yakshagana more focused on high flying dance moves. Tenkutittu is well known for its extravagant Rakshasas (Demons) and its incredible dance steps. The Tenkutittu, albeit, has remained a popular form and has its own audience even outside the coastal areas. DHARMASTHALA MELA and KATEELU DURGAPARAMESHWARI MELA (most popular melas), HOSANAGARA mela and other melas have popularized this form. Several creative plays have been composed by noted scholars such as Amritha Someshwara. Components Yakshagana Raga Main article: Yakshagana Raga Yakshagana Rāga refers to melodic framework used in yakshagana. It is based on pre-classical melodic forms that comprise a series of five or more musical notes upon which a melody is founded. Ragas in Yakshagana are closely associated with a set of melodic forms called Mattu. In Yakshagana tradition, rāgas are associated with different times of the night throughout which Yakshagana is performed. Yakshagana Tala Main article: Yakshagana Tala Yakshagana Tala (Sanskrit tāla) are frameworks for rhythms in Yakshagana that are determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by dancers. It is similar to Tala in other forms of Indian music, but is structurally different from them. Each composition is set to one or more talas, and as a composition is rendered by Himmela, the percussion artist(s) play supporting the dance performance. Yakshagana Prasanga and literature Main article: Yakshagana poetry Yakshagana poetry (Yakshagana Padya or Yakshagana Prasanga) is a collection of poems written to form a music drama called Yakshagana. The poems are composed in well known Kannada metres using the frame work of Yakshagana Raga and Yakshagana Tala. Yakshagana also has what is called a Yakshagana metre (prosody). The collection of Yakshagana poems forming a musical drama is called a Prasanga. Oldest surviving parasanga books are believed to have been composed in 15th century. Many compositions have been lost. There are evidences to show that oral compositions were in use before 15th century. The Yakshagana Prasangas (Literature) are printed in paperback editions nowadays and sold in bookstalls. Costumes and ornaments Kings costume (Raja vesha) with Kireeta or the headgear. The mace is used as an abstract depiction of a weapon. Yakshagna costumes are rich in color. The costumes or Vesha in Kannada depends on characters depicted in the play or prasanga. It also depends on Yakshagana style or tittu. Badagutittu Yakshagana Ornaments are made out of light wood, mirror work, colored stones. Though, lighter materials like thermocol are used in modern days, ornaments are still predominantly woodwork. Yakshagana costumes consist of headgear (Kirita or Pagade), Kavacha that decorates chest, Buja Keerthi (armlets) that decorate shoulders, and belts (Dabu) all made up of light wood and covered with golden foil. Mirror works on these ornaments helps to reflect light during show and adds more color to costumes. These armaments are worn on a vest and covers upper half of the body. Lower half is covered with Kachche that comes in a unique combination of red, yellow and orange checks. Bulky pads (cloths) are used under Kachche and this makes actors different from general audience in size. Bannada Vesha that involves detailed facial makeup is used to depict monsters. It may take 3 to 4hrs to complete makeup for certain vesha. Traditionally, males are playing female roles in Yakshagana. However, more recently yakshagana has seen female artists, who have performed in both male and female roles. Stree Vesha uses sari and other decorative ornaments. Yakshagana Kunitha [icon] This section requires expansion. (August 2012) Yakshagana instruments Maddale Main article: Maddale Taala (Bells) Yakshagana bells are a pair of finger bells made of a special alloy (traditional five metal). They are made to fit the tonic of the singer (bhagawatha). Usually professional singer carry more than one of their own finger bells to be able to sing for different drones. Pair of finger bells are available for different keys. Tala (Bells) which plays a major role and its handled by "Bhagavatha". So it creates and decides the entire background music of Yakshagana. Chande Main article: Chande Yakshagana puppetry Evidence shows that there were more than 30 string puppet troupes in the undivided Dakshina Kannada district during the period 1910–1915 in places like Basrur, Barkur, Kokkarne, Mudabidri etc.[citation needed] The presentation of the puppetry in Yakshagana style is highly stylized and adheres strictly to the norms and standards of Yakshagana. The puppets used are generally 18 inches high and the costumes are similar to those worn by the characters from Yakshagana with the same elaborate make-up, colorful headgear and heavy jewellery.[19] The person who infuses life into the puppet and makes it come alive, by dexterous manipulation is known as the Suthradhara. The content in the Yakshagana puppetry, is drawn heavily from the ancient epics.[19] Background Though Yakshagana puppetry had existed since a long time, it was moulded by Laxman, Narasimha and Manjappa Kamath, hailing from Uppinakudru village in Kundapur taluk. Devanna Padmanabha Kamath, the grandson of Laxman Kamath infused new life into it and performed shows all over India. Later, Kogga Devanna Kamath improved this art and took to greater heights and for his contribution, he was recognised with Tulsi Samman and Sangeet Natak Akademi Award. Currently, his son Bhaskar Kogga Kamath is at the forefront, performing shows and training youngsters in Yakshagana puppetry. Training and research The late Sri Kukkila Krishna Bhat has performed lot of research and written several books on Yakshagana. He was one of the authorities on Yakshagana history of Karnataka. Partisubba is one of his most famous books Training schools for Yaskhagana are very few in Coastal Karnataka. As most troupes are associated with temples, the training has been confined to the temple premises. However, the Govinda Pai Research Institute, located at MGM College, Udupi, runs a Yakshagana Kalakendra in Udupi that trains youngsters in this ancient dance form. Another famous institute is the SRIMAYA Yakshagana Training Center founded by Late Shri Keremane Shambhu Hegde. The Govinda Pai Research Institute does research work on language, rituals and dance art forms. Artists Background singers Background Singers are Bhagawatike Tenkutittu Late Balipa Narayana Bhagavatha (Sr), Late Adur Anni Bhagavatha, Late Puttige Ramakrishna Jois, Balipa Narayana Bhagavatha (Jr), Late Damodara Mandechcha, Nalluru Mariyappa Achar, Late Agari Srinivasa Bhagavatha, Agari Raghurama Bhagavatha, Late Kadathoka Manjunatha Bhagavatha, Padyana Ganapathi Bhat, Padyana Govinda Bhatt, Puttige Raghurama Holla, Siribagilu Ramakrishna Mayya, Tenkabail Thirumaleshwara Shastry, Kuriya Ganapathi Shastry, Maindappa Rai, Dinesh Ammannaya, Polya Laxminarayana Shetty, Balipa Prasada Bhagavatha, Balipa Gopalakrishna Bhagavatha, Balipa Shivashankara Bhagavatha, Kuriya Ganapathi Shastri, Kubanuru Sridhara Rao, Raghavendra Mayya, Hosamoole Ganesha Bhat, Smt. Leelavathi Baipadithaya (The only lady singer in Yakshagana [Tenkutittu]), Bottikere Purushothama Poonja, Andala Deviprasad Shetty, Ravichandra Kannadikatte, Praphullachandra Nelyadi, Pattla Satish Shetty and Others. Badagutittu Ira Gopala Krishna Bhagavata, Kadatoka Manjunath Bhagavata, Late Kadatoka Krishna Bhagavatharu, Late GR Kalinga Navuda, Nebbooru Narayana Hegde, Hosthota Manjunath Bhat(Famous yakshagana poet also), Subramanya Dhareshwara, K P Hegade Golagodu, Heranjal Gopala Ganiga, H Suresh Shetty, Narayanappa Uppur, Vidhwan Ganapathi Bhat, Gopal Bhat, Jogi, Raghavendra Maiya, Raghavendra Achari, Nelluru Narayana, Kolagi Keshava Hegde, Kolagi Madhava Bhat, Narayana Shabaraya, A T Yejneshwara Sagara, Vishweshwara Somayaji, Maravanthe Narasimha Das Bhagavath, Maravanthe Shrinivasa Das Bhagavath and Others. Background instrumentalists Tenkutittu Late Kudrekudlu Ram Bhat, Late Nidle Narasimha Bhat, Late Divana Bhim Bhat, Late Adur Krishna, Kasaragod Venkataramana, Late Chipparu Krishnayya Ballal, Late Bandedka Sunder Rao, Late Kadaba Narayana Achari, Mambady Subrahmanya Bhat, Padyana Shankaranarayana Bhat, Padyana Jayaram Bhat, Padmanabha Upadhyaya, Delanthamajalu Subrahmanya Bhat, Adur Ganesh Rao, Subrahmanya Shastri, Chaithanya Krishna Padyana and Others. Yakshagana artists Yakshagana artists are called "Mummela Patradarigalu". Tenkutittu Late Adkasthala Narayana Shetty, Adkasthala Sanjeeva Shetty,Late Sheni Gopal Krishna Bhat, Late Maadangayi (Putturu) Krishna Bhat, Late Madhur Narayana Hasyagar, Late Kadri Vishnu, Late Bannada Kuttyappu, Late Bannada Maalinga, Late Chandragiri Ambu, Late Arbhi Annappa Chawta, Late Sanjeeva Chawta, Late Guddappa Gowda, Kolyoor Dr.Ramachandra Rao, Aruva Koragappa Shetty, Aruva Narayana Shetty, Kumble Sundar Rao, Bantwala Jayarama Acharya, Bettampadi Balappa Shetty, Late Ramadasa Samaga, Mijar Annapa, Mijar Thimmappa, Maadavu Thimappa Shetty, Late Bolar Narayana Shetty, Late Puttur Narayana Hegde, Madhur Ganapathy Rao, Puttur Shreedhara Bhandari, K. Govinda Bhat, Late Alike Ramaya Rai, Late Empekatte Ramayya Rai, Late Gubbye Ramayya Rai, Late Gumpe Ramayya Shetty, Halladi Jayaram Shetty, Chennappa Shetty Siddaktte, Vishwanath Shetty Sidakatte, Ubaradka Umesh Shetty, Late Kuriya Vittala Shastry, Late Nayana Kumar, Kokkada Ishwara Bhat, Mankude Sanjeeva Shetty, Nidle Govinda Bhat, Muliya Bheema Bhat, Patala Venkatramana Bhat, Late Padre Chandu, Madhuru Radhakrishna Navada, Bannada Dharmasthala Gopal Bhat, Shivarama Jogi, Perodi Narayana Bhat, Kumble Shreedhar Rao, Kedila Jayarama Bhat, Dasappa Rai, Sarpadi Ashok Shetty, Sampaje Diwakara Rai, Chandrashekhara Dharmasthala, Sadashiva Kulal, Dinesh Maniyani, Mahesh Maniyani, Seetharam Kumar Kateel, Vasantha Gowda, Varkadi Tharanatha Blyaya, Mundaje Sandeep Shetty and others and Kateelu Mela's Bannada Harinayan Bhat, Bannada Shivaprasad Bhat, Bannada Koikude Moodumane Shashidhar Shetty, Bannada Gerukatte Gangayya Shetty, Bannada Rama Kulal, Bannada Ittappa Gowda, Bannada Nagri Mahabala Rai, Bannada Subraya Patali(S/o. Bannada Malinga), Kanjarpane Shambaya Bhat, Renala Ramakrishna Rao, Perara Laxmana Kotian, Mundaje Sadashiv Shetty, Kavalkatte Dinesh Shetty, Karangala Krishna Moolya, Panakaje Vishnu Shrama, Bellare Vishwanatha Rai, Putturu Sunil Bhandari, Umesh Hebbar, H.Ganesh Bhat, Bayaru Ramesh Bhat, Pundariksha Upadyaya, Todikana Vishwanatha Gawda, Nellyadi Prashanth Shetty, Sunnambala Visheshwara Bhat, Bellare Manjunath Bhat, Subraya Holla Kasaragod, Peruvai Narayana Shetty, Padre Kumara(S/o. Padre Chandu), Pushparaj Jogi, Appakunji Maniyani and Others Badagutittu Muroor Devaru Hegde, Keremane Shivaram Hegde, Keremane Mahabala Hegde, Keremane Shambhu Hegde, [Jalavalli Venktesh rao], Bananje Suvarna, Chittani Ramachandra Hegde, Gode Narayan Hegde, Bhaskar Joshi, Balkur Krishna Yaji, Kondadakuli Ramachandra Hegde, Uppunda Nagendra Rao, Keremane Shivananda Hegde, Manki Eshwar Naik, Thombattu Vishwanath Achari, Hadinbal Sripad Hegde, Sreepad Bhat Thandimane, Ganapathi Hegde Thotimane, Kappekere Mahadev Hegde, Ganapathi Bhat Kannimane, Prabhakar Chittani, Argodu Mohandas Shenoy, Sridhar Hegde Chapparmane, Nilkod Shankar Hegde, Mantapa Prabhakara Upadhyaya, Jalavalli Vidyadhar Rao(son of Jalavalli Venktesh Rao), Yalaguppa Subrahmanya Hegde, Narayan Hasyagar Karki, K P Hasyagar Karki, Thirthahalli Gopala Achari, Subramanya Hegade Chittani, Kolali Krishna Shetty, Chapparamane Shridhara Hegde and Others Taala Maddale artists Late Sheni Gopalkrishna Bhat, Shankarnarayana Samaga Malpe, Dr.Kolyuru Ramachadra Rao, Late Kormanda Manjappa Rai, Matti Subba Rao, Pollya Deju Shetty, Late Vidhwan Kerekai Krishna Bhat, Tekkatte Ananda Master, Late Deraje Seetaramayya, Moodambailu Gopalakrishna Shastry, Sunnambala Vishweshwara Bhat, Dr. Prabhkar Joshi, Kumble Sundar Rao, Madhur Ganapathy Rao, K Govinda Bhat, Uduvekkodi Subbappayya, Jabbar SaMo, Subrahmanya Bhat Venur, Vasudeva Samaga, Ramadasa Samaga, Katte Parameshwar Bhat, Melukote Umakantha Bhat, Vasudeva Ranga Bhat, Ganaraja Kumble, Radhakrishna Kalchar, Ujire Ashok Bhat, Buchchan Shastri Karki, N S Bhat Baad, Mohan Hegde Kumta, MR Amachi, Vitla Shambhu Sharma, Bellare Rama Jois, Kondadakuli Ramachandra Hegade, Herriyanna Kota Padukare, Kodi Vishvanath, Suresh Manooru Padukare, Permude Jayaprakasha Shetty, Jayarama Kota

MADIKERI

The enchanting fragrance of coffee……. The aroma of fresh cardamom, Black pepper and Coorg honey..... The holy river Cauvery…… The air is noticeably cool. It is perhaps, this climate and hilly terrain of Coorg, that inspired the British to occupy this area for over 100 years and they called it as Scotland of India. It is also known as the Kashmir of the south India for its scenic beauty. With its austere beauty, this god gifted, pollution free, calm and quiet land of mountains cordially invites you to experience its hospitality to make this holiday of yours an interesting chapter in your life. The wooded slopes, eccentric villages, colourful scenery and rugged landscape of Madikeri have fascinated tourists until today. Endless mountain ranges, ridge after ridge of slopes laden with forests rising to the sky, give Coorg its unique & irreplaceable character.

HISTORY.. Madikeri, the district headquarters of Coorg, is situated at an elevation of 1525m. The town is dotted with red-tiled bungalows and has an old charm about it. The people of Coorg are Hindus belonging to the Kshatriya community and are known for their patriotism. Madikeri or Mercara the Scotland of India was founded in 1681 by Muddu Raja, the prince of the Haleri dynasty and was hence named as Muddurajakeri, which later became Madikeri. The origin of the Coorgs is shrouded in mystery. Some theories range from Coorgs being the descendants of Alexander the Great who invaded India to a band of kurds who fled from Iraq to escape conversion to Islam. There is no scientific theory to establish the origin of this martial race. CULTURE... The word Kodagu has come from the word "Kudu" -"Hilly place". Madikeri is one of the most picturesque hill stations of South India with wonderful and lovely natural scenery. It is the birthplace of river Cauvery. The Kodavas worship the Cauvery River and call themselves the children of Cauvery. Besides their fame as agriculturists, the Kodavas are renowned for their hospitality. You can enjoy the hospitality if you visit Madikeri. From the earliest period of recorded history to the end of the 16th century, the history of Kodagu has to be traced chiefly from inscriptions. Kodagu was not ruled entirely by any one dynasty till the beginning of 17th century. Several dynasties ruled only a part of Kodagu at different times. The chieftains and local princes till about the end of 17th century ruled different parts of Kodagu, and they owed allegiance to some bigger ruler outside Kodagu. The various inscriptions over stone and copper plates found in Kodagu points to a plethora of rulers dating back from 888 AD by the Ganga dynasty to 1633 AD by the Haleri dynasty. The Gangas, Kadambas, Cholas, Kongalvas, Changalvas, Hoysalas and Nayakas have ruled Kodagu. Kodagu Nayakas were the rulers for the first time, and they were overthrown and eliminated by the succeeding Haleri rulers. Sometime before the Kodagu Nayakas came to power the mighty Vijayanagar kingdom also had its share of dominance over Kodagu. Tourist spot Some of the tourist spots in Madikeri :- Omkareshwara Temple Details:- The Omkareshwara Temple in Madikeri was built by the Lingarajendra II in1820 in the combination of Catholic, Keralite, Gothic and Islamic styles of Architecture. Madikeri fort Details:- The Madikeri fort, with its imposing structure crowns the entire town, was rebuilt by Tipu Sulthan. The Veerabhadra Temple inside it was removed by the British and replaced an Anglian Church, which is now converted to Museum. The Madikeri palace is located inside the fort and was built by the Lingarajendra Wodeyar II. The British renovated the structure twice and in 1933 added a clock tower and a portico. Cauvery Nisarqadhama Details:- TalaCauvery, 7 km from Bhagamandala, the origin of the holy river Cauvery is situated at 44 km from Madikeri. Bus service is available from Madikeri to TalaCauvery and the ride is picturesque. It is situated on the slopes of the Brahmagiri hills. Raja's seat Details:- This is the spot from where the kings watched the sunsets with their consorts and is the most scenic sport in South India. It offers breathtaking view of towering hills, green valleys, studded with paddy fields. The most fascinating view is the road to Mangalore like a curved ribbon lying in the valley. Raja's Tomb Details:- This is one of the important monuments in Coorg. The royal tombs provide a commanding view of the town & are in the Islamic style with the domes in center and turrets at the angles. Abbey falls Details:- Else named Jesse falls (by the British) is only 7km from Madikeri and is really a treat to watch the roaring water torrent in the monsoon season from July to October. One can walk up the falls through a flight of steps. The cascading water descends to the river Cauvery. Next page

VARUN AGARWAL......

Varun Agarwal is a first-generation entrepreneur, film maker and author. Born on December 6, 1986, in India
, he did his schooling from Bishop Cotton Boys' School
 in Bangalore.
 He co-founded Alma Mater How I Braved Anu Aunty & Co-founded a Million Dollar Company is entrepreneur Varun Agarwal’s debut novel. It’s the real life story of his experience as the co-founder of Alma Mater (a web store dealing in school memorabilia) and as the title suggests; of his encounters with Anu Aunty, his mother’s naysaying friend. As he mentions in the book’s foreword, he isn’t any Hemingway and thus, this book should be read for the story and the insight it provides, and nothing else. The plot follows Varun, a confused engineering graduate who is unsure of what he wants to do next. It involves his group of friends each of whom are products of the Indian education system and it’s mindset, where everyone is an engineer or a doctor. And in all of this, Varun dreams of doing things his own way. From stalking his crush on Facebook to a lot more, this book makes for a breezy read.

I finished it in over a five-hour long bus journey. The story is set in Bangalore and smells of the city throughout. Varun has a quirky narrative where he recounts the events of his life in a brutally honest manner.  And he adds these small little snippets explaining some of these incidents and places. Mixed somewhere in this narrative of him starting Alma Mater, he dishes out his words of wisdom. No he isn’t a Mitch Albom or Steve Jobs but these do get across pretty well thanks to way they are put forth. They are easy to relate to and practical. They aren’t very preachy. Add to all of this, the constant situation-bas and two other companies - Reticular and Last Minute Films. He is also the author of a national bestselling book How I Braved Anu Aunty and Co-Founded A Million Dollar
Varun Agarwal is the odd man out, having veered from the trajectory set by his parents and society; he enjoys the undesirable scrutiny his career choices or lack thereof have garnered. "How I Braved Anu Aunty & Co-Founded A Million Dollar Company "is the story of Varun Agarwal, written by Varun Agarwal. A 20-something self-proclaimed loser; he is at the crossroads in life where he has to choose his career path and there is fair bit of cacophony surrounding him. There are the dramatic all-too readily flowing tears of his mother, the ever-increasing social pressure to earn a livelihood, the never-ending meddling of all the aunties, led by Anu aunty, the sandpaper rough burn of his all- too perfect peers like Arjun, the drama of his less-than-perfect friends and the sad nonexistent state of his love life manifesting in his unsavoury e-stalking of an oblivious Devika.
After a year of complete non-productivity, following the engineering degree he was basically forced into getting Varun is not exactly at a highpoint in his two decades of existence. Filled with no insignificant amount of disdain for all the techies and engineers in Bangalore; he may not know what he wants to do but is absolutely certain of what he doesn’t want to do and that is have a regular job. Barren of this traditional desire, he chooses boldly, albeit furtively, to start a business with his friend Rohn Malhotra; catering to school memorabilia after noticing a gap in the market. This business venture is attempted between bouts of drinking and wandering through many of the fine drinking establishments in Bangalore.
He finnaly open his online shoping website almamaterstore.in [almamaterstore.in here]. Alma mater aims to provide students and alumni of premier school and colleges accross  india with a means of expressing their pride at being product of such reputed institutions. Our customers take great pleasure in making their school or college colour a part of their everyday wardrode and lives.

In alma mater are dedicated to ensuring tht all product are of a standrd and a quality....

HOW CAN YOU SCORE 90% IN SSLC EXAM

The one line or two word answer for this will be Work Hard!! Whatever you have done till now, you have to push your limits even further to get more marks. Study the mathematics and other science group subjects everyday. These subjects mostly bring your marks down, if you make mistakes. But if you do not make mistakes and write to the point answer then these are the subjects that will push your number to high levels. For that you need regular practice, constant reading of the text book and constant writing the answers and checking the mistakes. Please tally the answers you write with your school teachers to make sure that you did not write anything wrong in the answer. Practice the test papers regularly to learn different questions and how to answer them differently. Revise your answers at least 4-5 times before your submit your script in the examination hall.. Re: How can one score 90%+ marks in 10th class if you scored 75% in 9th then carry on your studies with more labour, NCERT 10th is not very tough. but 90% level needs every thing to be studied...... while writing go through....... write to the point answer then these are the subjects that will push your number to high levels. For that you need regular practice, constant reading of the text book and constant writing the answers and checking the mistakes. Please tally the answers you write with your school teachers to make sure that you did not write anything wrong in the answer. rest just do your best. work hard you will attain suscess......... I am going to give you some suggestions. It is very Simple. You must do study hard. Make your own time table. Do study of Math and Science Daily. Give 2 hours for math and Science. Do study other subjects as your Time table. Concepts are important ,so Concepts should remember. For history subject remember important dates and Things. If you want good marks then do study hard and hard. You can score 90% marks in 10th if you study regularely. But there should be through knowledge of respective subject, and not just mugging up. Try to maintain your time table so that at last yuo will ot having any stress and it will get complited in time and time for revision too.Do exercise also, which refreshes your mind. also eat healthy food which will gives you the energy for study. Hard work is the key to Success. i guess you know it. along with studying hard and practicing hard you need to study fast and smartly. here are some tips on how to increase your marks in the boards:- 1 Finish your course well atleast 2-3months before your exams so that you have plenty of time for revision. 2 Revise all the course materials atleast 4-5 times thoroughly. so that you have understood and learned all the concepts, theories and long subjective answers. 3 Practice as many model papers as possible and very frequently almost everyday if possible and practice tests should be taken up in strict timings and exam conditions or environment. get your answer papers corrected by your teachers so that they can suggest you for improvement in your answers. 4 Take frequent 5 minute breaks in a 50-60 minute study schedule while studying at home. in those breaks do streching and breathing relaxing exercises. 5 Include minerals and vitamins rich diets in your daily eating habits, avoid oily and sweets and fried and fast food during examination preparation times. these foods hinder oxygen supply to brain and hence make you feel sleeepy and study less. 6 Dont waste your time in reading magazines etc or watching t.v. etc. as much as possible avoid outings and all sorts of mind distracting activities. You can score to 90% marks in 10thclass you need to work hard. You can fix the Time Table which time you can prepare every day. Seperate the time of All subjects in a day. And which subject you can week you hard work in that subject. This is the you can prepare then you can get the 90% of marks Dear friend There is a easy way to get more marks in examinations 1.Answered all the questions 2.Write the Answer properly and in a neat handwriting 3.Your Handwriting plays a major role there 4.Under line each and every Main Point in a questions 5.Revise and learn the Previous year question papers Dear friend There is a easy way to get more marks in examinations 1.Answered all the questions 2.Write the Answer properly and in a neat handwriting 3.Your Handwriting plays a major role there 4.Under line each and every Main Point in a questions 5.Revise and learn the Previous year question paper.... Refer previous year papers and solve it...practice things by writing so that it will remain in your memory for long time. Majorly concentrate on the application part of the things which you syudy in your theory.Hard work fetces you good result. Hello friend for scoring 90% marks you have to work hard right from the beginning of the day for 10th class 1. Make sure that you are reading each subject for atleast 1 hour a day 2. Take time for relaxation and exercise 3. Eat good healthy food 4. These above things will make you concentrate and stop from disturbing your brain 5. Try to complete the syllabus in all topics and also practical before atleast 1 month of the final exams 6. Make hard work and don't try to byhard the answers, understand the topics so that each topic should be remembered for atleast for 10 years *********ALL THE BEST FOR YOUR EXAM********

ANDROID APPLICATION OF ULTIMATE HACKING BLOG

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YINYANGYO HACKERS THE ULTIMATE HACKING BLOG

BRIEF INTRODUCTION TO HACKING

  -VISHWAS AITHAL

    The Internet was born in 1969. Almost immediately after the network was established, researchers were confronted with a disturbing fact: The Internet was not secure and could easily be cracked. Today, writers try to minimize this fact, reminding you that the security technologies of the time were primitive. This has little bearing. Today, security technology is quite complex and the Internet is still easily cracked.

We work in the dark
We do what we can
We give what we have
Our doubt is our passion, and our passion is our task
The rest is the madness of art.

                                                -- Henry James

• A hacker is a person intensely interested in the arcane and recondite workings of any computer operating system. Most often, hackers are programmers. As such, hackers obtain advanced knowledge of operating systems and programming languages. They may know of holes within systems and the reasons for such holes. Hackers constantly seek further knowledge, freely share what they have discovered, and never ever intentionally damage data.
• A cracker is a person who breaks into or otherwise violates the system integrity of remote machines, with malicious intent. Crackers, having gained unauthorized access, destroy vital data, deny legitimate users service, or basically cause problems for their targets. Crackers can easily be identified because their actions are malicious.

    Please go through The Jargon File - a great source of trivia, lore, and translations for difficult concepts. The Jargon File contains a bunch of definitions of the term ‘hacker’, most having to do with technical adeptness and a delight in solving problems and overcoming limits.

    The Hacker Attitude

1. The world is full of fascinating problems waiting to be solved.
2. No problem should ever have to be solved twice.
3. Boredom and drudgery are evil.
4. Freedom is good.
5. Attitude is no substitute for competence.

    Basic Hacking Skills

1. Learn how to program.
2. Get one of the open-source UNIX and learn to use and run it.
3. Learn how to use the World Wide Web and write HTML.
4. If you don't have functional English, learn it.

    Familiarization with Some Tools

• SCANNER: A Scanner is a program that automatically detects security weaknesses in a remote or local host.
• PASSWORD CRACKER: A Password Cracker is any program that can decrypt passwords or otherwise disable password protection. Sometimes a dictionary attack is performed.
• TROJAN HORSE: A Trojan Horse an unauthorized program contained within a legitimate program. This unauthorized program performs functions unknown (and probably unwanted) by the user.
• SNIFFER: A Sniffer is any device, whether software or hardware, that grabs information traveling along a network. That network could be running any protocol: Ethernet, TCP/IP, IPX, or others (or any combination of these). The purpose of the sniffer is to place the network interface into promiscuous mode and by doing so, to capture all network traffic.

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