BECKONING SUN along the roadside the melting snow lays in clumps I breathe in fresh air walking towards

a new Spring the warm sun beckons me on LIGHT YEARS another sunset reminded us, once again how fragile is time...

familiar is this story told long before there were words TWEET 3, TANKA 4 on late summer eve when moon shines cloudy halo silvery garden magically transforms dreams enlightened without shadow HAIKU EXAMPLE

Along this way but I, This autumn evening. - Bash Dont weep, insects Lovers, stars themselves, Must part. - Issa

these brilliant-hued hibiscus A lovely sunset - Bash

HAPPILY NEVER AFTER

"Daddy! Please bring me a new pair of school shoes or else my teacher is going to scold me again." Flashbacks ran through Asif's mind when he was about to ask the office's manager. "Oh! You middle class people" Said the manager. "My daughter Ali needs some of my time too." I had to reply. He was harsh and said, "Ok! Go now!" Asif bought a pair of shoes for Alia. He sat in the car and switched on the radio to listen to a commentary. "One more blast near Clifton, Karachi. Almost 32 shops burnt. 103 injured. Yes listeners! This is the fourth attack in Karachi within a week. If these attacks continue, what will be the future of Pakistan? Is the government sleeping? Will the locals raise their voices once again?" "I wonder why media always wants people to come of their homes." Asif spoke to himself. "Its been lately reported that Norangi Town is under threat." He heard this on the radio and got shocked. He didn't want to believe it as it was the place where he lived. His heart started thumping faster. He drove at a speed at which he never drove before. It took him about 13 minutes to reach near his street. Alia was standing at the terrace, waving at her dad. Asif ran towards his house, parking the car at the end of the street. A man, helping in the construction of a house nearby was murmuring. He was counting something. Ten...Nine...Eight...Seven... On the other hand, Asif was eager to meet her daughter. He was overwhelmed to see her safe. Six...Five...Four...Three Booooom....!!! The bomb exploded. Asif couldn't make it. His body blasted apart, blood splashed all over and the pair of shoes remained in his hand. Alia was silent for a moment but as soon as she realized what actually happened, tears ran through her eyes the only thing she could speak was "Daddy". From the terrace, she could only see bodies buried under debris, mud in the air and ambulances coming. She didn't wish for her father to return. Instead, she wished for their house to burn in the fire too. She was too young, but still thought like adults. "I wish I died with him. Heaven would be much better than living here, dying daily. Is this the future of our country? What do people get from these blasts?" Alia asked herself. Through the fire, she still could see her dad's face. She noticed her mom, staring at the smoke like a spacer. "Come on mom! We are not that weak." They both slowly walked down the stairs. From then on Ali slept with a torn shirt of Asif and always kept the same pair of her shoes her father brought for her, under her bed. How do I know? It's because I am Alia and he was the best father in the whole world. Nothing is in our hands. All we can do is to pray for this laving hatred to end...

HISTORY OF INDIAN DRAMA History of Indian Drama has originated and developed from storehouse of Sanskrit in India. Indian drama has given its incredible impact and limit to perfection since ancient times. Drama is basically a form of performing arts, where stories are enacted by the utilisation of dialogue, music, signal and dance. Traditional Indian drama, which is highly influenced by the Hindu religion, was developed by local artists and performers and is not a replication of western influx. Bharata is traditionally considered to be the father in the history of Indian drama. The history of Indian Drama is deeply rooted in Classical Sanskrit Theatre, which is the earliest existing form of drama and theatre. Ancient Indian Drama History of Indian drama dates back to the ancient Vedic period. It then moves on to the classical theatre traditions, also influencing modern theatre, particularly the Hindi, Marathi and Bengali theatres down the line. Looking back towards the bygone historical path, the beginning of the ancient dramas owes to the Rig Veda for its monumental source material, together with Pururava, Urvashi, Yama and Yami, Indra-Indrani, Sarma-Pani and Ushas Suktas. Even the epics of Ramayana, Mahabharata and Arthashastra are instilled with specific techniques of dramaturgy. Sages like Valmiki and Vyas and Panini also had shed decisive light and Patanjali had heartily contributed in his Mahabhashya that there existed two dramas, namely, Kamsa Vadha and Vali Vadha. As such, the origin of dramas from the early Vedic Age is considered to be the most authentic and authoritative amongst all the later creations. Bharata Muni is regarded as the founder of the Indian dramaturgy and he described Indian drama as The Fifth Veda. Thus, Bharata is often acknowledged as the Father of Indian Theatrical Arts. Bharata`s Natyashastra appears to be the first attempt to devise and contrive the technique or rather art of drama in a systematic manner. The Natyashastra advises the reader not only about what is to be portrayed in a drama, but also how the portrayal is to be executed. Bharata Muni recognised 4 main modes: Speech and Poetry, Dance and Music, Actions and Emotions for the success of a drama production. What Aristotle is to Greek, Bharat is to the Indian folk when it comes to the medium, manner, matter of Drama. Later, by the mid 300 AD, history of Indian drama enunciates that play acting and penning down in the Sanskrit language had developed and flourished to a considerable extent, which actually served as epic poems. Each play was organised around 1 of the 9 Rasas. Till the 15th century, Sanskrit dramas were mostly performed on stage in Tamil Nadu, Kerala, Karnataka, Andhra Pradesh, Uttar Pradesh and Gujarat. King Mitrak of Gujarat`s Vallabhi had given sufficient patronage to Indian dramas and arts. Medieval Indian Drama Going by the history of Indian drama and its significant contribution to the art history of India, one gets to be enlightened that after the 15th century, Indian dramatic activity almost ceased due to foreign invasions on India. However, the age had remained witness to the beginnings of Loknatya which was noticed in every state of India from 17th century onwards. Several states innovated fresh and new styles of drama; in Bengal there were styles like Yatrakirtaniya, Paala Gaan; in Madhya Pradesh Mach; in Kashmir Bhandya Thar and in Gujarat the forms comprised Bhavai, Ramlila; in northern India there existed the Nautanki (Uttar Pradesh), and Bhand, Ramlila and Raslila; in Maharashtra Tamasha; in Rajasthan Raas and Jhoomer; in Punjab Bhangra and Songe; while in Assam it was Ahiyanat and Ankinaat; in Bihar it was Videshiya.

Modern Indian Drama The colonial period in the history of Indian drama and its evolvement had ushered a radical and almost whirlwind phase for dramatists from all over the country. Quite understandably, the most renowned drama amongst the British was Shakuntala by Kalidasa, which was translated into English by Sir William Jones in 1789. The play was successful enough to etch upon an insightful impression upon such scholars like Goethe and created a ripple of literary sensation. The beginning and the rise of the modern history of Indian drama was hidden within 18th century when the British Empire and its stretch consolidated its stable power in India. In 1765, there came up two drama lovers, who had staged the legendary two English comedy plays by the names Disgaij and Love is the Best Doctor. In 1831, Prasaankumar Thakur had laid the foundation stone for the Hindi Rangmanch. In 1843, on the ardent request of the Sangli King, playwright Vishnudas Bhave had given birth to Seeta Swayamwar in Marathi. In 1850, modern theatrical activity originated in Bengal, Karnataka and Kerala also, adding further to the history of Indian drama. Then, from 1858 onwards Gujarati and Urdu plays began to be staged in many cities in Mumbai and Gujarat, chiefly in Ahmedabad, Surat, Baroda and Vadnagar. The Parsis started their own drama company and made liberal usage of words from Hindustani, Urdu, Persian and Sanskrit, while staging their plays. With passing time, precisely in 1880, Annasaheb Balwant Pandurang Kirloskar had staged Abhignan Shakuntal in Marathi. However, in the western part of India, due utter the Portuguese domination, drama groups from western countries began to arrive in India to stage English plays. Indian Drama after Independence The period after Indian Independence in 1947 marks a significant 2nd stage in the development and history of modern Indian Drama. Prior to 1947, drama scripts were pivoted around Sanskrit plays, English plays and ancient religious-historical epics, deriving much influence from the ancient aspects in the play-acting scenario. The second stages of modern Indian drama had made an endeavour to divide dramas into 2 parts, comprising of Professional Theatre and Non-Professional Theatre. The Non-Professional Theatre groups were established which took shape under co-operative theatrical societies, where their subjects were inspired by western plays. The Rise of the Moon of Knowledge is an allegorical and theological dramatic piece in 6 acts, within which non-figurative and non-objective qualities such as will, reason and the stupidities, vices of man is brought back to life and made to stand in conflict against one another. A political composition, named The Signet of the Minister, written approximately in 800; and another, called The Binding of a Braid of Hair, are amongst the most admired productions of plays that gained immense popularity in ancient India.

ONLY IN THE PHILIPPINES

[by : the one who won the world of nowhere] We Filipinos are known to be hospitable and that we value our families so much. We never forget to wear a smile because of the positive attitude that we possess amidst our problems or even after disasters come our way. These are the main reasons why we should be proud of our race. Because our population is mostly composed of Roman Catholics, our faith and the traditions of the Church become part of our everyday living. From the switching-on of the suns light until the back-up lighting from the moon, we practice our Christian values and beliefs -----this is evident in our prayer recitals. We celebrate every special occasion with great preparations, one of which is the Christmas season. When darkness falls and overrules the sunlight, sparkling eyes rove around the new sights to behold. This usually starts on the first day of September and is only seen in the Philippines. Playful rainbow colors enthusiastically move about in the dark grey walls which were once lifeless and cold. This is but one of the marvelous sights as the most-awaited celebration comes near. The material things are but usual things to be excited about; it is the different kind of freshness in the air, as if each place we go had been sprayed with the sweetest scent of the most expensive perfume, which makes Christmas a one of a kind celebration. People from all walks of life unite in decorating their homes, inside and out. For the rich ones, dancing colors of green, red, yellow and blue from an expensive lantern rule the night. Human-sized Santa Clauses projected the best smiles as they sit under a humongous Christmas tree bejeweled with gaudy Christmas balls. On the barrio setting, branches of real trees are placed in the living room dangled with only eight to ten ball candies making it the sweetest Christmas tree ever. From the upper corners of the paintless walls, the stringed hand-made paper decors waltzed to the happy tunes of Christmas songs played on local radio stations. Little children roam the streets and like baby moths they circle the amplified light posts which had been magically turned into a Christmas light post with its boasting Christmas lights. For the month of October, lovely voices are heard from children and choir groups roaming at night and singing Christmas carols. As the month of December comes, another most-awaited activity is the Simbang Gabi, the Holy Mass celebrated for 9 consecutive nights as a preparation for Christmas Eve. These are only some main activities that we long for as it reminds us how special Christmas is. So, what is Christmas for us Filipinos? With our long preparation and celebration any one can say that it is the longest festival in our country. For young Filipinos, it is the time when most grins are seen, parents are less likely to scold them, school works do not give too much pressure because theres none, candies and chocolates fill their stomachs, ninangs and ninongs finally appear with their heartwarming gifts, best dresses are worn and new shoes pamper their feet. For older ones, this is the time when thank you becomes a common expression, sweat shirts and long sleeves which were kept in the deepest part of the closet are finally worn, and friends, both old and new, finally meet for the longest time. Christmas is more than just a celebration; it is a blissful way of welcoming the coming of our savior Jesus Christ. As one united nation bonded with faith in God and love for family, we signify this season as a very special occasion as it is the time when we share precious moments together with our loved ones. Filipinos love Christmas but it does not mean that we should only get excited and prepare for the activities on the month of December, it means that we should feel the Christmas spirit all the time of the year and do good deeds each day of our lives.