The popular Indian hero Krishna's marriage was as exciting an event as so many others in his life. It is a popular lovers' tale, rather unique in India. Marriages in India have traditionally been set by parents. However, princely families sometimes he

The river was in high tide and the footprints of the Yadavas were more or less washed away. Big waves came rushing to the shore and wiped away some more footprints Suddenly Rukmini discovered a familiar footprint and sat beside it . Her eyes brimmed over with tears . These were the footprints her hair locks drooped over when she knelt at her Lord's feet every morning . These were the footprints she worshipped with chandan . the footprints of her Lord of Sri Krishna ! They were deeply immersed in the sand. the impression engraved in the sand was filled with water. Rukmini's streaming tears were making an offering in the water-filled footprints. Daruk arrived and stood beside her . He looked startled. He could not believe how the footprints filled to the brim with water could contain Rukmini's tears without spilling over. What was further surprising was that not a single tear had dropped out of the carved footprint .

Krishna, the eternal lover, is believed to have charmed the heart of every woman he came across and his marriage with 16,100 women is the stuff of numerous ballads that have enthralled us over ages. But who amongst them all did Krishna love? Who ruled his heart and influenced his life?

This is the story of how Lord Krishna of Dwaraka married Princess Rukmini

The main story of Rukmini and the Turning of Time takes place before, during and after the Mahabharata War, an event that marked the ending of one era and the beginning of another – a time when spiritual knowledge was decreasing but material development increasing. The story begins in the ancient city of Dwarka, India and is told through the voice of a dancer of that time. It is a story about Rukmini, who is said to be the rebirth of Mata Sita, both of whom are avatars of the great deity Narayani. Although Rukmini is the consort of the much beloved Bhagavan Krishna, her story has been lost in time, but it is essential now to recall her as the energy and presence of the divine female incarnations is so critical for the healing and evolution of human society. As with all of Dena Merriam’s books, this story explores the complex and wondrous workings of cause and effect, the law of karma, as it guides and shapes our lives. But it is also a story of love, one that transcends time and place and that persists from one incarnation to the next. As we leave one form and take another through the laws of rebirth, we bring with us our love, the relationships that have left deep impressions and that have helped in our awakening. This tale follows the dancer of Dwarka through a series of rebirths, as she unknowingly carries with her the love and teachings of Rukmini, who patiently and silently guides her evolution. It is a story that applies to each one of us, because we all participate in this great cosmic dance of love as the illusion of time keeps turning.

Shishupala's mother was shocked when she came to know that her child was destined to be killed by Krishna. She extracted a promise from him that he would forgive Shishupala a hundred offences. As he grew up Shishupala had enough reasons to be angry with Krishna. Especially after he was jilted by Princess Rukmini, in favour of the merry-eyed cowherd. He provoked Krishna repeatedly and was forgiven a hundred times. And then one day Shishupala committed his hundred and first offence.

The story of Udayan, direct descendant of the great Pandava warrior Arjuna, is all that remains of the third great Indian epic, the Bruhatkatha. Though he is raised to be a warrior-King, whose sword must carry the blood of his enemies, as a supremely gifted veena maestro, his soul belongs to the Goddess of Music. As time passes, the great Vatsa Empire crumbles as its musician-King sits lost to the reality of intrigue, espionage and war which threatens to wipe out both his kingdom and the Pandava line forever. This is the epic tale of Udayan, his devoted Minister, Yaugandharayan, his fiercely loyal General, Rumanwan, and the brilliant Court Jester, Vasantak. It is also the story of Pradyot, proud King of Avanti, and Udayan’s abduction of his vivacious and beautiful daughter, Vasavdatta. As the thrilling narrative sweeps across the plains and mountains of Bharatvarsh, raising the dust of history. Events long past come to life as the forgotten Pandava lives again.

In a flash, Krishna took out the Sudarshana Chakra from its holder near his waist and threw it at Shishupala. The Chakra took his head off and returned back to Krishna. Krishna Yogeshvara, the second volume in the Lord Krishna Trilogy, seamlessly weaves a mystical, awe-inspiring narrative of the leela of Krishna through the least explored aspect of his life-the years in between the killing of Kamsa and the start of the great war of Mahabharata. Krishna's favourite cousin, Uddhava, through his pristine narration, connects the episodes of how Krishna employs him to reconcile with Radha, leading to Krishna's growing-up years as a student and a warrior yogi. The book traces the evolution of Krishna from a precocious adolescent to a person fully in control of his consciousness-someone who is capable of offering the best solution using the stratagem of sama, dama, danda, bheda to every situation in accordance with Dharma. Krishna's understanding of Dharma is of the highest order, and his understanding transcends to that of the highest yogi. That is why he is revered as the Yogeshvara-one who fulfils Patanjali's definition of a yogi. The book explores the deep recesses of the minds of the various characters and how they interact with Krishna. The author intertwines the narrative of traditional Krishna stories with a touch of realism, using the technique of Uddhava's narration with his own. As the two paths converge, the villains and antagonists of the great epic also come to the fore and are vanquished strategically by Krishna's brilliance. Kutil Dharma, so brutal earlier, transmogrifies into a subtle but more devastating form; yet, he cannot escape the sharp eye of Krishna. The book ends with the Kaurava and the Pandava armies arrayed against each other, with Arjuna refusing to fight, setting the stage for the recital of Bhagavad Gita.

The essay in this book endeavour to capture the multifaceted cultural and aesthetic legacy of Rukmini Devi preserved both in India and international scholars, including dance cirtics, dance administrators, dancers, dance teachers, bueraucrats, and alumni of the world-renowned lalakshetra arts institution that Rukmini Devi founded in 1936. The essaysalso discuss Rukmini Devi`s aesthetic vision in relation to history,to tradition, her creation of ensemble dance-drama productions, and contemporary dance in the United Kingdom.

As the world trembles on the threshold of Kali Yuga—4,32,000 years of unprecedented evil—it waits for a saviour to rise. Meanwhile, in the dark netherland of the asuras, the meek Vama shudders as he learns that he is actually Pradyumna, the son of Krishna. And that his journey has just begun. From the asura kingdom to Dwaraka and then Kurukshetra, destiny forces him to battle monsters, angry gods and blazing weapons, and overpower his own weaknesses. Will he be able to rise to the challenge in time to save the world? Or is he the destroyer prophesied by Narada? Pradyumna is the gripping saga of the rise of this mighty, swashbuckling hero whom all of humanity awaits.