WALNUT ST. GARAGE-(215 Walnut Street) Facility is open for monthly parkers, the general public and Hilton Hotel parking, 24 hours daily, 7 days a week including holidays. 1032 spaces (including 20 handicap). Clearance height 6’6”. Motorcycles are not permitted in the Walnut Street Garage.

CHESTNUT ST. GARAGE-(322-326 Chestnut Street) Facility is open for general public parking 5:00 AM to 11:00 PM, Monday thru Friday with a cashier on duty from 7:15 AM to 11:00 PM, Saturday, Sunday and holidays 5:00 AM to 11:00 PM with a cashier on duty from 7:15 AM to 11:00 PM. Parking available 24 hours daily, 7 days a week including holidays for monthly parkers only. 1088 spaces (including 21 handicap). Clearance height 6’10”. Closed on Thanksgiven and Christmas Day.

NOTE: Information is pulled from http://www.harrisburgparking.org/ Please check for updates if any and more facilities.

You are cordially invited. Please help us spread the word.

Harrisburg Rath Yatra 2010 - Festival of India 2010 -Flyer

Life in United States of America is very fast, or so it seems to us. Even though we have spiritual aspirations and want to continue develop our spiritual side, we often have very little time for that. The best way to develop love for the Supreme Lord is association of devotees. Thus, in order to facilitate spirituality in our lives and especially our children’s lives, some of us friends decided to start a small spiritual program every Friday. We decided to study Bhagawat Gita, which is the basis of spiritual foundation.

We started this effort in Oct 2003. Since then, by the mercy of Their Lordship SriSri Radha Krsna, Srila Prabhupad, and Vaishnavas, many other families have grown interested in it and have joined us. In order to facilitate growing number of devotees in the program, we started hosting the program at a rental facility in Harrisburg in Dec 2005. We immediately fell in love with Hidden Lake Community Hall in Harrisburg. But Sri Krsna has other plans. By the mercy of SriSri Sita Ram Laxmanji, we got an opportunity to present a request to HARI temple for allowing us to have programs in the HARI premises. By Lord’s mercy, the temple board approved our efforts and kindly gave us the permission to have program in temple. Since June 2nd 2006, we have been having programs at temple (for which we are very thankful to the temple BOT and executive committee).

Friday program mainly consists of Bhajans, Kirtans, Discourse on Bhagawat Gita, Questions and Answers (to remove doubts), and sumptuous vegetarian feast - prasadam.

This program is a team effort and is based on the teachings of HDG Srila Bhaktivedanta Swami Prabhupad.

Our Mission:

• To systematically propagate spiritual knowledge to society at large and to educate all people in the techniques of spiritual life in order to check the imbalance of values in life and to achieve real unity and peace in the world.

• To propagate a consciousness of Krishna (God), as it is revealed in the great scriptures of India, Bhagavad-gita and Srimad-Bhagavatam.

• To bring the members of the Society together with each other and nearer to Krishna, the prime entity, thus developing the idea within the members, and humanity at large, that each soul is part and parcel of the quality of Godhead (Krishna).

• To teach and encourage the sankirtan movement, congregational chanting of the holy name of God, as revealed in the teachings of Lord Sri Chaitanya Mahaprabhu.

• To bring the members closer together for the purpose of teaching a simpler, more natural way of life.

Entertainment Schedule (to be announced)

Bharata Natyam
Bharatanatyam is the most popular of Indian dances and its antiquity is well established. The striking features of Bharatanatyam are movements conceived in space with the dancer creating variegated forms of staggering visual beauty.
The dancer performs to a poem, creating a parallel kinetic poetry in movement, registering subtle expressions on the face and the entire body reacts to the emotions, evoking sentiments. The numbers are varnam, padams, javalis and shlokas.
The accompanying music is classical Carnatic. The themes are from Indian mythology, the epics and the Puranas.

Originally practiced as part of temple rituals, Bharata Natyam today, still maintains a pure devotional quality within its grace of form.

The pure dance incorporates each part of the body into an intricate rhythmical pattern, building on the natural geometry of the body and the complex patterns of Indian music. Expressional dance uses an intricate system of gesture and facial expression to show devotion and depict stories from the Indian spirituality.

Most of the sculptures in temples are based on Bharata Natyam dance postures known as karanas. In fact, it is the celestial female dancers or apsaras, who are depicted in many scriptures performing this heavenly dance, known on earth as Bharatanatyam. In the most essential sense, God is revered in royal opulence in his temple and offered a standard set of religious services called arotiks, among which are music and dance that are pleasing to the senses. Bharata Natyam as a dance form and carnatic music are deeply grounded in the devotional mood, called Bhakti. Bharata Natyam is said to be the embodiment of music in visual form and an offering of devotion.

Bharatanatyam is the manifestation of the ancient idea of the celebration of the eternal universe through the beauty of the material body.
The physical expressions express a poetic meaning known as Abinaya. It means that the emphasis is more on facial expressions than rhythmic movements.

Chhau
With origins shrouded in mystery, the Chhau dancer communicates inner emotions and themes through cadences of body flexions, movements and kinetic suggestions. The word Chhau is interpreted differently by scholars. ‘Shadow’, ‘Disguise’ and ‘Image’ are the most common interpretations due to the extensive use of masks in this dance form. The martial movements of Chhau have led to another interpretation of the word as meaning ‘to attack stealthily’ or ‘to hunt’.

Three styles of Chhau exist born from the three different regions of Seraikella (Bihar), Purulia (West Bengal), and Mayurbhanj (Orissa). Martial movements, strong rhythmic statements and dynamic use of space are characteristic of Chhau.
Seraikella Chhau flourished under royal patronage. Its vigorous martial character made it suitable only for male dancers. The princes were not only patrons but also dancers, teachers and mask-making experts. The Seraikella masks are similar to those used in the Noh dance of Japan and the Wayang Wong of Java.
Purulia Chhau uses masks which is a highly developed craft in the region. The barren land with its tribal inhabitants and multi-layered influences of Vedic literature, Hinduism and martial folk-lore have all combined to shape the Purulia Chhau dances which have only one message - the triumph of good over evil.

Mayurbhanj Chhau has highly developed movements, no masks and a more chiselled vocabulary than the other two Chhau styles Unlike other Indian Classical dance forms, vocal music in Chhau hardly exists! Instrumental music and a variety of drums like the Dhol, Dhumba, Nagara, Dhansa and Chadchadi provide the accompaniment. Combining folk, tribal and martial traditions and yet covering the three aspects of Nritta, Nritya and Natya as well as the Tandava and Lasya aspects of classical dance, the Chhau dances are complex combinations of Folk and Classical motifs.

Kathak
Prevalent in the North as a classical dance form, Kathak has a long history. Nurtured in the holy precincts of the Hindu temples, Kathak has over the centuries attained refinement and enriched itself with various hues and embellishments. Kathak means a story teller and it developed as a dance form in which a solo dancer tells and interprets stories from mythology.
In nritya, the expressional numbers called gats are danced by delicate glances of the eye and by using the art of mime. Themes from life are taken like enacting simple chores of carrying water from the well or walking gracefully, covering a face with a veil and looking through it in a tantalising manner at the lover.

Also, to the lyrics, expressions are shown evoking the rasa or emotion in the spectators, who, if the musical traditions are shared along with the songs, enjoy it by expressing their appreciation with a round of applause.
The themes of Krishna, Radha, Shiva, Parvati and mythological characters find a prominent place in the Kathak dancer’s repertoire. Nowadays, experiments are being carried out with group choreography exploring the dance form. Both men and women perform Kathak which is also used to present dance dramas of historical tales and contemporary events.

Kathakali
Kathakali means a story play or a dance drama. Katha means story. Belonging to the South-Western coastal state of Kerala, Kathakali is primarily a dance drama form and is extremely colourful with billowing costumes, flowing scarves, ornaments and crowns. The dancers use a specific type of symbolic makeup to portray various roles which are character-types rather than individual characters. Various qualities, human, godlike, demonic, etc., are all represented through fantastic make-up and costumes.

The world of Kathakali is peopled by noble heroes and demons locked in battle, with truth winning over untruth, good over evil. The stories from the two epics, the Mahabharata and the Ramayana, as well as the Puranas constitute the themes of the Kathakali dance dramas.
The macro and micro movements of the face, the movements of the eyebrows, the eyeballs, the cheeks, the nose and the chin are minutely worked out and various emotions are registered in a flash by a Kathakali actor-dancer. Often men play the female roles, though of late women have taken to Kathakali.
The pure dance element in Kathakali is limited to kalasams, decorative dance movements alternating with an expressional passage where the actor impersonates a character, miming to the liberetto sung by the musician. A cylindrical drum called chenda, a drum called maddalam held horizontally, cymbals and a gong form the musical accompaniment, and two vocalists render the songs. Using typical music known as Sopanam, Kathakali creates a world of its own.
The most striking feature of Kathakali is its overwhelming dramatic quality. But its characters never speak. It is danced to the musical compositions, involving dialogues, narration and continuity. It employs the lexicon of a highly developed hand-gesture language which enhances the facial expressions and unfolds the text of the drama.

Koodiyattam
Koodiyattam is the oldest surviving link with ancient Sanskrit theatre. A precursor of Kathakali drama, Koodiyattam has several conventions which reflect the aesthetic conventions of the Natyashastra. The stylised mode of acting, the same character playing different roles, the use of the spoken word akin to chanting, stories within stories, flash backs, improvisations, eye expressions (netrabhinaya), an extensive gesture vocabulary or ‘hastas’, body movements (angika abhinaya) and facial expressions (mukhajabhinaya), the use of Sanskrit by the court jester or vidushaka who comments, satirizes and ridicules the protagonists.

Performances are traditionally held in the Koothambalam which are special theatres attached to temples. The Sanskrit play selected for the performance usually takes over several days. Female dancers called Nangiars deliver the invocatory songs and also participate. The use of the tirashila or curtain, different colours for the face to depict characters and elaborate ornaments are all similar to Kathakali. The mizhavu is a special drum used as an accompaniment for Koodiyattam performances.
This ancient classical form has a growing legion of students and afficionados in India and elsewhere.

Krishnattam
It is intended for presentation on eight successive nights to unfold the entire story of Lord Krishna, the style is almost akin to Kathakali.

Kuchipudi
Kuchipudi, like Kathakali is also a dance-drama tradition and derives its name from the village of Kuchipudi in the Southern State of Andra Pradesh. In recent years, it has evolved as a solo dance for the concert platform and is performed by women, though like Kathakali it was formerly the preserve of men.

The movements in Kuchipudi are quicksilver and scintillating, rounded and fleet-footed. Performed to classical Carnatic music, it shares many common elements with Bharatanatyam. In its solo exposition Kuchipudi nritta numbers include jatiswaram and tillana whereas in nritya it has several lyrical compositions reflecting the desire of a devotee to merge with God - symbolically the union of the soul with the super soul.

The songs are mimed with alluring expressions, swift looks and fleeting emotions evoking the rasa. A special number in the Kuchipudi repertoire is called tarangam, in which a dancer balances herself on the rim of a brass plate and executes steps to the beat of a drum. At times she places a pot full of water on her head and dances on the brass plate.
In expressional numbers a dancer sometimes chooses to enact the role of Satyabhama, the proud and self-assured queen of Lord Krishna, from the dance-drama Bhama Kalapam.
She goes through various stages of love. When in separation from Lord Krishna, she recalls the happy days of union and pines for him. At last they are reunited when she sends him a letter. One more number from the Kuchipudi repertoire that deserves mention is Krishna Shabdam, in which milkmaid damsels invite Krishna for a rendezvous in myriads of ways.

Manipuri
Manipuri dances originate from the North Eastern state of Manipur and derives its name from its native state. Intensely devotional in mood, the Manipuri dances are a part of the daily life of the Manipuri people. Essentially presented as a group dance with gorgeous, colourful costumes and gentle, swaying petal-soft movements, Manipuri dances create a hypnotic impact. The dances are influenced by the religious movement of Vaishnavism, the worship of Lord Vishnu, and have flowered in exquisite Rasalila performances, the favourite dance in a circle by Krishna with his milkmaids. Various types of Rasalilas are performed on special occasions and festivals.

Besides Rasalilas, there are other dances called Natasankirtana, in which a group of men play cymbals and dance in a circle or in two rows singing praises of God. In Pung Cholom, the dancers play upon pung, the drum, and dance while playing the intricate time cycles, executing somersaults and breathtaking acrobatic feats. In group dances like Lai Haraoba, the merry-making for the gods, the dancers perform various steps and weave patterns, involving various choreographic compositions. From the corpus of Manipuri dances, one sees on the contemporary stage solo, duet and group performances. The music is typical of the region and is influenced by the kirtan school of Bengal due to the influence of Vaishnavism.

Rasalila, Lai Haraoba, Choloms, Pung Cholom, Natasankirtana, Khubak Ishai and other Manipuri dances share both nritta and nritya aspects and are edited judiciously for the concert platform to suit the urban audience. However, to enjoy Manipuri, one should see the dances in their natural setting. Gossamer veils, cylindrical mirrored skirts and ornaments dazzle the audiences with their colourful costumes which create a dream-like effect.

Mohiniattam
Mohini Attam as a dance form has developed in Kerala. Performed by women it has graceful, gentle bobbing movements. Mohini means an enchantress and a dancer with enchanting movements, dressed in a typical white saree with gold border, hair gathered in a bun on one side and with golden jewellery epitomises the image of a beautiful maiden. Apparently it resembles the Bharatanatyam dance form but is quite distinct in its execution of movements, usage of hand gestures and its stark, simple costume.

Mohini Attam has enjoyed a revival in recent times and is the most popular dance form among the young aspirants in Kerala. It has a format which follows the Bharatanatyam form and the repertoire has common names. In nritta a number called Cholukattu consists of pure dance movements at the end of which is tagged a poem that is in praise of a deity and also narrates the story of the Ramayana in a nutshell. The mnemonic syllables are sung instead of being uttered by the musician. Another item of pure dance is Tillana which follows the musical mode of Bharatanatyam with classical Carnatic music. However, of late, kerala’s Sopana music is being employed for Mohini Attam and the repertoire has also been enlarged with the choreography maintaining the typical movements of this graceful style.

In nritya, the padams are mimed with facial expressions and hand gestures and the themes are drawn from mythology. The nayika or heroine longs for union with her beloved. A confidante goes and conveys the message to the lover and the nayika describes the pangs of separation. A varnam follows the structure of a Bharatanatyam varnam dwelling upon the narration, impersonation and alternating with pure dance. Though the dance units in Mohini Attam are limited, the quintessential grace and the measured movements are its distinct features.

Odissi
Odissi has been revived in the past fifty years and can be considered as the oldest classical Indian dance on the basis of archival evidence. The form belongs to the East Indian state of Orissa. Odissi has a close association with the temples and its striking feature is its intimate relationship with temple sculpture. Tribhanga, the three-body bend characterises this dance form. It has a vast range of sculptural body movements which gives one the illusion of the sculptures coming to life.

In nritta the numbers consist of batu nritya, pallavi and mokhya. In batu nritya the dancer strikes poses holding various instruments like veena, flute, cymbals and drums and the choreography of this number reveals the imagination of the choreographer-gurus. Pallavi means to elaborate, and a dancer performs pure dance to a chosen time cycle and a musical raga (melody). Various body postures similar to temple sculptures are woven in this number. In mokhya, before the dance concludes, a dancer employs various dance units creating arresting visuals.

The exquisite Sanskrit poetry and the sculptural movements to the typical Odissi music cast a spell on the spectators. Songs of other Oriya poets are also danced with subtle expressions, replete with emotions. In its revival period Odissi has received enthusiastic support from the young exponents and often one finds Bharatanatyam dancers also mastering the Odissi technique and performing both the dance forms though while doing so, they maintain the clearcut differences in the execution of the movements. In recent years, group choreographic presentations and dance dramas are also attempted in order to bring out the full glory and sculptural wealth of Odissi which is truly a visually fascinating performance style.

Yaksha Gana
This belongs to Karnataka & has a rural origin. It is an admixture of dance & drama. Its heart lies in Gana meaning music. It is about 400 years old. The language is Kannada & the themes are based on Hindu Epics. The costumes are almost akin to the Kathakali ones & the style seems to have drawn inspiration from Kathakali. As prescribed in the Natya Sastra, it has the Suthra Dhara (conductor) & the vidushaka (the Jester).

Prasadam

If we place an iron rod in a fire, before long the rod becomes red hot and acts just like fire. In the same way, food prepared for and offered to Krishna with love and devotion becomes spiritualized. Such food is called Krsna prasadam, which means “the mercy of Lord Krsna.”

Eating prasadam is a fundamental practice of bhakti yoga. In other forms of yoga one must artificially repress the senses, but the bhakti-yogi can engage his or her senses in a variety of pleasing spiritual activities, such as tasting delicious food offered to Lord Krsna. In this way the senses gradually become spiritualized and bring the devotee more and more transcendental pleasure by being engaged in devotional service. Such spiritual pleasure far surpasses any kind of material experience.

Lord Caitanya said of prasadam, “Everyone has tasted these foods before. However, now that they have been prepared for Krishna and offered to Him with devotion, these foods have acquired extraordinary tastes and uncommon fragrances. Just taste them and see the difference in the experience! Apart from the taste, even the fragrance pleases the mind and makes one forget any other fragrance. Therefore one should know that the spiritual nectar of Krsna’s lips must have touched these ordinary foods and imparted to them all their transcendental qualities.”

Eating only food offered to Lord Krsna is the perfection of vegetarianism. In itself, being a vegetarian is not enough; after all, even pigeons and monkeys are vegetarians. But when we go beyond vegetarianism to a diet of prasadam, our eating becomes helpful in achieving the goal of human life–reawakening the soul’s original relationship with God. In the Bhagavad-gita Krsna says that unless one eats only food that has been offered to Him in sacrifice, one will suffer the reactions of karma.

Serving and honouring prasadam

Prasadam: The Lord’s Mercy. Food prepared in pure consciousness with pure products and offered with love to the Lord.

The glories of prasadam

Prasadam is spiritual, not different from Krishna.

It purifies the heart (different levels of potency).

It frees one from sinful reactions.

We can simply eat our way back to Godhead.

Sri Caitanya Mahaprabhu and Krishna become very pleased when we cook nicely for Them.

Krishna actually eats the offering.

By eating prasadam, the devotee becomes Krishna-ised.

It connects our eating process to Krishna.

It helps control the tongue.

It protects one from falling into illusion.

The offering contains love and devotion.

We get benefit through offering, serving and eating it.

We are not dry renouncers; we can prepare wonderful feasts.

The Lord likes to see His devotees enjoy in a Krishna-conscious way.

Cultural background

Preparing, serving, and eating prasadam in the association of devotees is integral to devotional service with roots based in the most ancient Vedic culture and the Lord’s pastimes.

A part of Deity worship (arcanam): Cooking for Krishna is an exact science. Various dishes are prepared in certain ways because experts in the art have determined that these preparations are most pleasing to Krishna.

Trains us for the spiritual world in the correct service attitude of taking pleasure in eating Krishna’s remnants. The cowherd boys enjoy eating in Krishna’s company and sharing His remnants.

In the spiritual world, Radha cooks for Krishna and She never cooks the same preparation twice. The temple kitchen is understood to belong to Radharani. She is the controller there.

In Lord Caitanya’s pastimes, the devotees would make kirtana until they were exhausted and then eat a big feast together with great joy. The Caitanya-caritamrta contains many descriptions of the food preparations and feasts the devotees used to make. Look in the Caitanya-caritamrta and find a section where such a feast is described.

Regulations in serving and honouring prasadam

Serving

Be clean.

Hold utensils in right hand only.

Do not touch serving utensils to eating plates.

Be sensitive: give only what is wanted.

Be quick: others may be waiting.

No mixing: keep the preparations separate.

Honouring

We don’t just ‘eat’ prasadam, we ‘honour’ it. It should be respected as non-different from Krishna.

Don’t criticise prasadam.

It should not be wasted.

Your consciousness also affects how much benefit you get from eating it.

Don’t steal from others.

Don’t grab for yourself: serve and be served.

Don’t eat while walking.

Don’t horde prasadam.

Be wise

Take a short walk afterwards or sleep ten minutes on your left side.

Don’t eat too much.

Take the right balance.

Don’t eat too much in the evening.

Consider regulation and health.

Devotees Cooking at Mayapur Chandra Uday Iskcon Temple in India