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go2harsha-blog · 5 years ago

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Ganapati - Once and Future Leader

In which Harsha Prabhu follows in the footsteps of the Elephant-headed God and bumps into some inconvenient truths

"Vakratunda Mahakaaya, Suryakoti Samaprabha Nirvighnam Kuru Mey Deva, Sarva Kaaryeshu Sarvada"

Ganesh Mantra

(The lord with the curved trunk and a mighty body, with the luster of a million suns I pray to thee, to remove all obstacles from my path)

Ganapati procession, Arambol, Goa, September 2019. Pic: Harsha Prabhu

Arambol, Goa September 2019

Bhajan Mandali

Ganapati, aka Ganesh, the elephant-headed god, has many devotees among the Hindu community in India. Many Hindu households install an image of the god and offer prayers, conduct rituals and invite their neighbours for a darshan (viewing) of the god and share lunch or at least prasad (ritual offerings) together.

In the evenings, groups of musicians (mandali) go from house to house and sing bhajans (devotional songs) in his honour.

Bhajan mandali at a house in Arambol. Pic: Harsha Prabhu

One night in Arambol, I visited five households with a bhajan mandali. Apart from hymns to Ganapati there were many abhangas (songs) composed by Tukaram, the Marathi Bhakti poet-saint, beloved of the people.

The singing sessions were robust; the tea, coffee, fruit and snacks provided by every household plentiful. In one house we went to, the owner locked the doors to ensure that we finished all the food and drink he had to offer. What with the round of lunches and snacks, my midriff began to resemble the ample girth of Ganapati.

After a set number of days - anywhere between two and twenty one - these Ganapati idols are immersed (visarjan) in the sea or any available waterbody.

Sarvajanik Ganapati

Ganapati procession, Arambol. Pic: Harsha Prabhu

Besides these household Ganapatis, there’s also the Sarvajanik Ganpati, a ‘people’s Ganapati,’ that is set up in a public place for the community to worship.

Last Thursday this Sarvajanik Ganapati - which was on show at a public hall in the village - was set atop a pick up truck and wound his way through the main street of Arambol to the sea shore. He was accompanied by singing and dancing women - resplendent in their traditional, nine-yard sarees, nose rings and other accoutrements - and children and men playing drums. Along the way groups of young boys lit firecrackers.

Ganapati procession, Arambol. Pic: Harsha Prabhu

To escape breathing the fumes from the firecrackers and the loud explosions they made, I made my way down to the beach. The sun was about to set; the tide was coming in.

Ganapati procession, Arambol. Pic: Harsha Prabhu

Soon groups of women descended on the beach. These were the singers and dancers from the street parade. I began to notice what sounded like a low murmur enveloping the beach. At first I couldn’t work out where the sound was coming from. Then I realised it was coming from the gathered women. They must have all been whispering prayers under their breath. It sounded like the humming of bees.

Ganapati procession, Arambol. Pic: Harsha Prabhu

Then the truck with the Ganapati appeared and manoeuvred on the sand. More prayers, more dancing by the women and drumming by the men. Fireworks lit the now-dark sky.

A simple prayer was read out in Marathi, expressing the humble hopes of the people: As in past years we have been worshiping you. Please forgive us for any misdemeanors on our part. Please help children gain knowledge through education. Please also help all people get jobs and become healthy and wealthy. Please bless everybody.

Ganapati visarjan, Arambol. Pic: Harsha Prabhu

Then, with shouts of “ Ganpati Bappa Morya, pudhcha varshi loukar ya” (Hail Father Ganapati, come back soon next year), a bunch of men lifted the idol from the truck and walked him into the sea. The incoming tide pushed the watching worshipers to higher ground. Thus ended this year’s Ganapati celebrations in Arambol.

Ganapati visarjan, Arambol. Pic: Harsha Prabhu

Leaving the beach, I heard one young man tell his friend: “Ganapati has gone. Now we can eat fish.”

This was a reference to the fact that, for the period of Ganapati’s stay in the village, Goa’s Hindus refrain from eating fish or meat of any sort, or even eggs - a big sacrifice for people for whom fish is a dietary staple.

I thought to myself: Goa’s fish better watch out.

Ganapati visarjan, Arambol. Pic: Harsha Prabhu

Ganapati - a potted history

I am indebted to the work of Debiprasad Chattopadhyaya, Marxist philosopher and historian, for much of what follows. Errors in interpretation are my own.

In his landmark book, Lokayata: A Study in Ancient Indian Materialism, Chattopadhyaya uncovers the tangled web of the Ganapati story, following its twists and turns, marking the vicissitudes of the rise and fall and subsequent rise of Ganapati.

Ganapati means leader/father (pati) of the tribe or group (gana) in Sanskrit.

Clearly, Ganapati is very old, a totemic figure from India’s tribal past.

Ganapati visarjan, Arambol. Pic: Harsha Prabhu

Ganapati is mentioned in the Rig Veda (1200 - 900 BCE) as "the seer among the seers, abounding beyond measure in food, presiding among the elders and being the lord of invocation.”

In the Rig Veda, however, Ganapati refers to a person and there are many Ganapatis, described as leaders of different groups or tribes. “Ganesvaras, or Ganapatis, and Vinayakas are here represented as…many in number and present everywhere” (Bhandarkar). What’s more, the Rig Vedic Ganapati has not yet received his iconic elephant head.

Sakti Ganapati

Chattopadhyaya suggests that Ganapati is associated with the early agricultural tribal society that predates the time of the Vedas. He connects it with fertility rituals to do with mother goddess worshiping cultures.

Chattopadhyaya mentions how In some parts of India, Ganapati-worship is followed by the worship of Gauri, the mother goddess, and is connected with rituals to do with the new moon and the sowing cycle, where the goddess is depicted as “a bundle of plants, along with her human representative - a virgin.”

(I saw a remnant of this in Goa. Just before my neighbour’s household Ganapati was whisked away by the men to be immersed in the sea, the matriarch of the house ran out of the house with a sheaf of plants and blessed the idol, saying “Gauri, Gauri.”)

According to Chattopadhyaya, Ganapati is also a key figure in Tantric rituals. There are 50 different names for Ganapati in Tantric literature; and some of the followers of Ganapati (e.g. Ucchista Ganapati) were also ‘vamacaris’, ‘tantrics,’ who practiced ritual group sex.

There are also female versions of Ganapati, know as Vinayaki, shown with the head of an elephant and the body of a youthful woman (Silparatna, 16th century). These too may have Tantric origins. Similarly, the Buddhist Hevajra Tantra mentions an elephant-headed goddess, Ganaptihrdya.

Then there are the Sakti Ganapatis, where Ganapati is shown embracing a female, where the male god is depicted as being subordinate to the goddess. Chattopadhyaya points to the idol in the famous Ellora caves, where Ganesa is “subservient to the seven women, called the seven mothers (sapta matrikas).”

Ganapati procession, Arambol. Pic: Harsha Prabhu

Ganapati as trouble-maker

The patriarchal backlash was predictable.

Perhaps because of this heterodox, tribal, matriarchal and Tantric connection, in the Griha Sutras (500 BCE), commentaries on the Vedas, we find Ganapati inspires dread: a follower of Ganapati “…sees in dreams waters, men with shaved heads, camels, pigs, asses…”

The Upanishadic Brahmin sage Yajnavalkya (8th-7th century BCE) saw Ganapati in the same vein: “Being possessed of Ganapati, the Princes Royal do not obtain the kingdom.”

Chattopadhyaya’s masterly analysis - combining comparative history and anthropology - shows the Ganapati story to run parallel to the destruction of tribal society in India and the rise of monarchies and centralised state power, buttressed by the panegyrics of patriarchal Brahminism as an ideological force providing the social glue to cement the status quo, including caste discrimination.

No doubt that’s why the Manusmriti, the Lawbook of Manu (2nd century BCE - 3rd century CE), a Brahmanical text, looks down upon Ganapati. Says Chattopadhyaya: ’A couplet ascribed to him (Manu) describes Ganapati as the deity of the depressed classes, the Sudra, and this in clear contrast to Sambhu, the deity of the Brahmanas, and Madhava, the deity of the Ksatriyas.’

Indeed, many of the names of Ganapati - Vignakrit, Vignaraja, Vigneshwara - suggest this adverse history. ‘Vigna’ means ‘trouble’ in Sanskrit.

Trouble-maker Transformed

How did the Vignakrit, ‘trouble-maker’, become today’s remover of trouble?

The transformation of a radical force into its opposite is a tribute to the powers of co-option exercised by the ruling classes in all societies, but is a special hallmark of Indian culture. It’s always the winners in the culture wars that shape the narrative, that write the history books.

One way of doing this is to make room for this radical figure of popular appeal - originally a person, then a totem, now a god - and include him in the premier pantheon of the gods. Again, Indians are masters of this kind of mystification and cultural assimilation.

Thus, a whole back-story is created for Ganapati, including how he got his elephant’s head, and a new lineage, wherein he becomes the child of Shiv and Parvati, and is admitted into the mainstream Hindu canon of worship.

It’s a classic tale of the absent father, Shiva, who does not recognise his son, Ganapati, who is guarding his mother, Parvati, while she bathes. The father beheads his son; but then relents on discovering his true identity and crowns him with the head of an elephant. It’s your typical Oedipal story, but with a happy ending, worthy of Bollywood.

Far from seeing him as a trouble-maker, the medieval Puranas - especially Skanda Purana, Narada Purana and the Brahma Vaivarta Purana - are full of hyms praising Ganapati.

Chattopadhyaya, quoting A K Coomaraswamy, tells us the elephant-headed version of Ganapati that we are familiar with appears around the time of the Guptas, in 5th century CE. Before this, Ganapati is shown with other heads, including bull and snake heads, again betraying his tribal, totemic origins.

Inconvenient Truth

Still, some inconvenient truths remain to be explained.

One of the names of Ganapati is Ekadanta, ‘one-tusked’, and he is depicted thus in art and iconography. How did Ganapati come to lose one tusk?

The Brahma Vaivarta Purana says he lost his tusk in a battle with Parshurama, the Brahmin who was also a warrior. If nothing else, this suggests a struggle between Ganapati, the leader of the common people, and the aggressive Brahmin proselytisers.

Interestingly, this same Parshurama is credited with the creation of Goa. In the Sahyadri Khand of Skandha Purana, he is said to have shot an arrow at the sea god and caused the whole Konkan coast - of which Goa is a part - to be created. Here we have a thinly disguised tale of the Brahmin colonisation of South India, presented as a creation myth.

Tilak’s Dream & Hindutva

Ganapati worship in its current, public form was the brainchild of Bal Gangadhar Tilak, social reformer and nationalist, and dates from the 1890s.

Tilak observed the popularity of Ganapati among the masses in Bombay and sought to propagate it in a public manner - the Sarvajanik Ganapati - as a strategy to both subvert the British ban on people gathering in public spaces post the Indian Mutiny and as a tactic to ‘bridge "the gap between Brahmins and non-Brahmins", thereby building a grassroots unity across them to oppose British colonial rule’ (wiki).

130 years down the track - and 72 years since India won independence from the British - while the public celebration and worship of Ganapati has grown in leaps and bounds across many states in India, so has the gap between ‘Brahmins and non-Brahmins,’ which has now become a chasm, with caste-based atrocities, including lynchings of Dalits - the Sudras of the Manusmriti - on the rise in India.

Dalits are beaten up for merely growing a moustache, or riding a horse to a wedding, or participating in a dance - all activities only permitted to the upper castes. Dalits also frequently die from asphyxiation while manually cleaning sewers - which caste-obsessed India still permits in the 21st century, as a job reserved for Dalits alone.

Tilak’s dream of unity among Hindus has been zealously taken up by the Hindu Right under the leadership of the RSS and its political face, the BJP government of Narendra Modi, with the avowed aim of turning India into a Hindu nation.

Here, unlike in Tilak’s time, the enemy is not the British, but secular India.

Apart from discriminating against India’s many minority communities and tribal population, this Hindutva project is a false unity, as it’s a unity under the hegemony of the Brahmins and the upper castes, as any persecuted Dalit would know. Despite the co-option of a Dalit as the President of India.

And while Dalits continue to be an underclass, tribal India, from which matrix Ganapati originated, doesn’t even figure in the national discourse, except as a shadowy victim on the margins of a rapacious state bent on depriving tribals of their forests and livelihoods via resource exploitation and displacement caused by big dams and mining.

Echoes of the Tribal Past

D D Kosambi, Marxist historian and polymath, says: “The entire course of Indian history shows tribal elements fused into a general society. This phenomenon, which lies at the very foundation of the most striking Indian social feature, namely caste, is also the great basic fact of ancient Indian history.”

What accounts for the persistence of an ancient totemic figure like Ganapati in 21st century India?

Chattopadhyaya offers a classic Marxist analysis and points to the ‘uneven development’ of Indian society. “This feature of uneven development remains a characteristic of Indian history throughout the successive ages, down to the very modern times.”

In other words, slums coexist with smart cities, as anyone who knows India will testify.

And what is true of the social and economic life, is also reflected in people’s ideology, including religion and rituals. Superstition coexists with space travel.

Indeed, the ancient and the modern jostle for space in the Indian mind today.

While tribes decay into castes and then morph into classes in a modern context, somewhere in their hearts and minds India’s people retain echoes of the archaic, tribal past.

Meanwhile Ganapati - the father of the tribe who became a totem and then a god - still awaits his destiny as the once and future leader of the common people - and the remover of all obstacles in their path.

#ganapati #arambol #goa #totem #marxists #history #philosophy #photography #tribal #indian history #sakti #tantra

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shijinpunnaykaljoseph · 5 years ago

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#Blog Post 3. Indian Percussion Instruments

The Indian subcontinent's music is usually divided into two main classical music traditions: North India's Hindustani music and South India's Karnatak music, although many areas of India do have their own musical traditions independent of these. According to the Hornbostel – Sachs method, Indian musical instruments can be narrowly divided into four categories: chordophones (string instruments), aerophones (wind instruments), membranophones (drums), and idiophones (non-drum instruments).The diversity of drums and percussion instruments in India is enormous. The famous Indian percussion instruments include Tabla, Mridangam, Dholak, Pakhawaj, Madal, Dhol, Ghatam and many more.

Tabla

The Tabla is one of India's most popular instruments. It is a two-piece percussion instrument and is the main rhythmic accompaniment to most classical and light music from North India. It is said to have originated from the two-faced drum called the mridangam and the pakhawaj. The bass drum or the male drum played with the left hand is called the bayan, the dhaga, or the duggi. The Dayan or tabla is called the treble or the female drum that is played with the right hand. The bayan has a rounded metal shell, and the Dayan usually has a slimmer wood shell. Both are covered with the skin attached to leather hoops that are extended through leather braces over the drum's head. Between the braces and the tabla wall, there is a cylindrical block of wood wedged. It is possible to push up or down the wedges to lower or lift the pitch. Applying a flour-water mixture to the Dayan's left head reduces the pitch and gives the dull bass sound. After use, this coating can always be scrapped off. The plaster is mixed with fillings of iron in bayan and applied once and for all. The table's sound is light and sweet, while the bayan's pitch is infinite. The drums on the field are held upright and played with the fingertips. This instrument has the ability to produce almost all rhythm patterns. The most popular artist of Tabla is Ustad Zakir Hussain.

Ustad Zakir Hussain

Mridangam

Mridangam is the rhythm instrument used in the Carnatic music to sustain the recital thala. Mridangam's word means clay's body. It is the oldest of all instruments for percussion. It's similar to north India's Pakhawaj. The Mridangam is a double-sided drum with one piece of wood in the body of the instrument. It has a barrel shape slightly to one side with the bulge and the right side is smaller than the left side. For high and low pitched sounds, the body is hollow with two openings of different sizes. The left side is called the two-layer tappi. A flat leather ring attached to a plait known as the pinnal is the outer layer. The inner layer is a circular piece parchment with a diameter close to the outer skin. There are three laminations on the right side. There are rings in the inner and outer. The centre circular layer is held by fastening the annular rings of leather along its periphery. The whole complex called ' valan talai ' is stitched onto a pinnal or plait and mounted on the barrel's right mouth. The two heads are joined together and held tightly together by leather straps that move on both sides in and out of the pinnals or braids. On the centre of the left side, a combination of flour and water is added to lower the sound to the desired pitch. It gives a full burst of bass. After use, this is removed every time. The center of the right side has a permanent coating of a black substance called siyahi which is a mixture of boiled rice, manganese dust, iron filings and other substances. This layer gives characteristic tone to the mridangam and facilitates the tuning to a particular pitch.

Chenda

The Chenda is an important instrument of percussion used in many Kerala dance forms, especially in the Kathakali (traditional art form) and the Koodiyattam (traditional art form). It is one of the traditional tools used in temples of Kerala. It is also known in some parts of Karnataka as a chende and is used in the Yakshagana folk dance drama. It is a cylindrical wooden drum with a length of two feet and a diameter of about one foot. Typically the drum is made of wood from jackfruit. The skin is covered on both sides of the Chenda. While the Chenda has two faces, it uses only one surface. From his back, the drummer suspends the Chenda so that it hangs more or less horizontally. Then it is played with the Champpangu tree's specially made sticks. The sound that the Chenda produces is very loud. The Uruttu Chenda, the Veeku Chenda and the Acchan Chenda are some of the varieties in the Chenda.

Dholak

The dholak is a double-headed drum with one side of the bass head and the other side of the treble head. It is one of the most commonly used drums in India's folk music. In most recording and broadcast environments, it is also a common instrument. The Bass head is more like a multi-layered skin tabla head. A paste on the head of the treble gives a tone of high pitch. Metal hooks keep the heads in place with nuts at the bottom that can be tightened or loosened to change the head's pitch. It is mainly used in folk music, light music, bhajan, and movie music.

Pakhawaj

The Pakhawaj is an ancient percussion instrument in the shape of a barrel with two hands. It's basically a Mridangam's North Indian version. The right head is the same as the tabla and the left head is similar to the tabla bayan except that instead of the black permanent spot, there is a temporary application of flour and water. It is rawhide lined and has tuning blocks between the straps and the case. A sequence of mnemonic syllables known as bol shows the rhythms. The Pakhawaj is used primarily to accompany dhrupad and dhammar singers. It is also used extensively in Orissi dances and sometimes in the kathak. It is also present in Rajasthan's classical form called the Haveli Sangeet. This instrument is rare today.

Ghatam

The Ghatam is one of South India's oldest percussion instruments. It is a specially designed mud pot with a narrow end, which together with the Mridangam is used as a secondary percussion instrument. The pot usually consists of a mixture of clay baked with fillings of brass or copper and a small amount of fillings of iron. The pitch of the Ghatam varies according to its length. Each Ghatam has its own inherent pitch, but it can be slightly altered by adding plasticine, clay, and water to the pot's inner layers. The performer sits with the ghatam cross-legged on his lap, the mouth of the instrument facing his belly. The ghatam is sometimes turned around, so the mouth faces the crowd, and the artist plays on the ghatam's head. Often, to the delight of the audience, the performer throws the pot in the air and catches it in rhythm.

Instruments which I have encountered with!!!

Even though I don’t know any of these instrument I had got a chance to explore some of them. They include tabla, mridangam, chenda and ghatam. In our state Kerala (in India), there is an annual youth festival in which there is competition for these instruments. When I was studying under graduation in Kerala I also got chance to visit this competition as a part of students union. We had students from my college who plays these instruments. Therefore I got a chance to play some rough beats and had a great time exploring them.

References

1. Chenda. (n.d.). [Image] Available at: http://niagaratharangam.com/photo_gallery.php [Accessed 7 Nov. 2019].

2. Courtney, D. (n.d.). Pakhawaj - Indian Drum. [Online] Chandrakantha.com. Available at: https://chandrakantha.com/articles/indian_music/pakhawaj.html [Accessed 7 Nov. 2019].

3. Darbar.org. (2019). The Mridangam: an ancient, divine drum | Darbar Explains | Music of India. [online] Available at: https://www.darbar.org/article/the-mridangam-an-ancient-divine-drum/84 [Accessed 7 Nov. 2019].

4. Dholak. (2017). [Image] Available at: https://www.istockphoto.com/gb/photo/indian-drums-dholak-gm638213674-114300219 [Accessed 7 Nov. 2019].

5. En.wikipedia.org. (2019). Chenda. [Online] Available at: https://en.wikipedia.org/wiki/Chenda [Accessed 7 Nov. 2019].

6. En.wikipedia.org. (2019). Dholak. [Online] Available at: https://en.wikipedia.org/wiki/Dholak [Accessed 7 Nov. 2019].

7. En.wikipedia.org. (2019). Ghatam. [Online] Available at: https://en.wikipedia.org/wiki/Ghatam Accessed 7 Nov. 2019].

8. En.wikipedia.org. (2019). Mridangam. [Online] Available at: https://en.wikipedia.org/wiki/Mridangam [Accessed 7 Nov. 2019].

9. En.wikipedia.org. (2019). Tabla. [Online] Available at: https://en.wikipedia.org/wiki/Tabla [Accessed 7 Nov. 2019].

10. En.wikipedia.org. (2019). Zakir Hussain (musician). [Online] Available at: https://en.wikipedia.org/wiki/Zakir_Hussain_(musician) [Accessed 7 Nov. 2019].

11. Ghatam. (n.d.). [Image] Available at: https://www.ghatamudupa.com/ [Accessed 7 Nov. 2019].

12. Indianmirror.com. (n.d.). Dholak. [Online] Available at: https://www.indianmirror.com/music/dholak.html [Accessed 7 Nov. 2019].

13. Kasliwal, s. (2001). Ghatam - India Instruments. [Online] India-instruments.com. Available at: https://www.india-instruments.com/encyclopedia-ghatam.html [Accessed 7 Nov. 2019].

14. Kasliwal, S. (2001). Mridangam - India Instruments. [Online] India-instruments.com. Available at https://www.india-instruments.com/encyclopedia-mridangam.html [Accessed 7 Nov. 2019].

15. Kasliwal, s. (2001). Pakhawaj - India Instruments. [Online] India-instruments.com. Available at: https://www.india-instruments.com/encyclopedia-pakhawaj.html [Accessed 7 Nov. 2019].

16. Kasliwal, S. (2001). Tabla - India Instruments. [Online] India-instruments.com. Available at: https://www.india-instruments.com/encyclopedia-tabla.html [Accessed 7 Nov. 2019].

17. Keralaculture.org. (n.d.). Chenda, Percussion Instrument. [Online] Available at: http://www.keralaculture.org/chenda/105 [Accessed 7 Nov. 2019].

18. Mridangam. (2019). [Image] Available at: https://www.flickr.com/photos/skbalasub/14251452512 [Accessed 7 Nov. 2019].

19. Pakhawaj. (2019). [Image] Available at: http://adit151621.blogspot.com/2016/11/musical-instruments-used-in-odissi.html [Accessed 7 Nov. 2019].

20. Ponmelil, V. (n.d.). India - Percussion Musical Instruments - India Info @ New Kerala .Com. [Online] Newkerala.com. Available at: https://www.newkerala.com/india/Indian-Music/Indian-Musical-Instruments/Percussion-Musical-Instruments.html [Accessed 7 Nov. 2019].

21. Siebenkaes, M. (n.d.). Indian Musical Instruments. [Online] Tarang Indian Instruments. Available at: https://www.indian-instruments.com/drums_and_percussion/drums_and_percussion_overview.htm [Accessed 7 Nov. 2019].

22. Tabla. (n.d.). [Image] Available at: http://vedanshmusicschool.com/home/ [Accessed 7 Nov. 2019].

23. Zakir Hussain. (2019). [Image] Available at: https://www.clatgyan.com/clat-general-knowledge/briefs/the-daily-brief-18th-july-2019/ [Accessed 7 Nov. 2019].

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diyabaatibhajan · 5 years ago

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Janmashtami special song 2019 | Jaildar | Best Hindi Bhajan Kirtan | Diy...

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anmolbhaktibhajan-blog · 6 years ago

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bollywoodmixtape · 5 years ago

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Devi Bhajan : Navratri Special Nav Durga Ki Mahima Durga Chalisa, Durga Mantra, Names, Dhun Singers: Anuradha Paudwal, Shailendra Bhartti, Narendra Chanchal -- Navratri Special नव दुर्गा की महिमा, Nav Durga Ki Mahima Durga Chalisa, Durga Mantra, Names,Dhun (via T-series Bhakti Sagar)

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santmat · 5 years ago

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(2) Top-Twenty List of Recommended Reading: Spiritual Books: Kabir, Sant Mat, Radhasoami, Surat Shabd Yoga -- Inner Light and Sound Meditation, Mystic Poetry and Prose of the Sants -- Sant Mat Radhasoami Books, The E Library: Recommended Reading/Top 20 Section: https://SantMatRadhasoami.Blogspot.com/2019/01/top-twenty-list-of-recommended-reading.html

(3) Recent Publications Related to Sant Tulsi Sahib of Hathras, Baba Devi Sahib of Moradabad, Maharshi Mehi Paramhans, Swami Sant Sevi Ji Maharaj, and Their Successors up to the Living Present -- Sant Mat Radhasoami Books, The E Library: Tulsi Sahibi and Maharshi Mehi Section: https://SantMatRadhasoami.Blogspot.com/2019/01/sant-mat-e-library-maharshi-mehi-sant.html

(4) Guru Lineage Charts of Sant Mat, Radhasoami, Surat Shabd Yoga (Inner Light and Sound Meditation), Guru Kabir, the Dharamdasis of Kabir Panth, Dadu Panth, Dariya Sahib, the Ten Sikh Gurus, Param Sant Tulsi Sahib of Hathras and Successors, Radhasoami Faith, the House of Kirpal, and Maharshi Mehi -- Sant Mat Radhasoami Books, The E Library: Guru Lineage Charts Section: https://SantMatRadhasoami.Blogspot.com/2019/01/guru-lineage-charts-of-radhasoami-sant.html

(5) Charts of the Heavens -- Inner Regions -- Planes -- Levels - Various Illustrations of the Spheres of Creation According to Sant Mat -- NOTE: At the bottom of the page are two Gnostic Charts of the Heavens (created by Zeke Li) as well as, The Threefold Nature of Man Chart (Christian Mysticism) -- Sant Mat Radhasoami Books, The E Library: Charts of the Heavens Section: https://SantMatRadhasoami.Blogspot.com/2019/01/charts-of-heavens-sant-mat-and-gnostic.html

(6) Kirpal Singh Books -- And E Books Relating to the Teachings of Sant Kirpal Singh, Ruhani Satsang and Sant Bani Publications -- Sant Mat Radhasoami Books, The E Library: Kirpal Singh Section: https://SantMatRadhasoami.Blogspot.com/2019/01/kirpal-singh-books-sant-mat-radhasoami.html

(7) RADHASOAMI BOOKS, E Books, E Library on the Radhasoami Faith (Radha Soami, Radhaswami) -- A special thanks goes out to the Digital Library of India, Archive.org, the Library of the Radhasoami Faith, prolific writers & translators such as S. D. Maheshwari and M.G. Gupta, and to all those who have uploaded Radhasoami books in recent years representing the various branches of Radhasoami, sharing all these important historic documents and spiritual classics of the Path of the Masters, especially the writings of the founding Gurus such as Seth Shiv Dayal Singh (Soamiji Maharaj) and Huzur Maharaj Rai Saligram Bahadur. This section of the Sant Mat Radhasoami E Library is intended to be as thorough and complete as possible, bringing together a collection of what's available for Radhasoami classics and related documents regarding the history of Seth Shiv Dayal Singh and the Radhasoami movement. -- Sant Mat Radhasoami Books -- The E Library: Radhasoami Section: https://SantMatRadhasoami.Blogspot.com/2019/01/radhasoami-books-e-books-e-library-on.html

(8) Julian P. Johnson, Path of the Masters, and Other Johnson-related Publications -- Sant Mat Radhasoami Books, The E Library: Julian Johnson/Path of the Masters Section: https://SantMatRadhasoami.Blogspot.com/2019/01/path-of-masters-sant-mat-radhasoami.html

(9) Sant Mat History — Reflections: Books, Articles, and Blogs -- Reflections On Sant Mat History, Origins of the Path, The Five Names, Various Guru Lineages — Traditional Sant Mat From An Indian Perspective -- Sant Mat Radhasoami Books, The E Library: History Section: https://SantMatRadhasoami.Blogspot.com/2019/01/sant-mat-history-reflections-sant-mat.html

(10) Sikh Scriptures: Guru Nanak, Sikh Gurus, Adi Granth, Bhai Gurdas Vaaran, Janamsakhis, Dasam Granth -- Online E Books Relating to Guru Nanak, The Ten Sikh Gurus, Guru Granth, Bhai Gurdas Vaaran, Janamsakhis, Dasam Granth, Bhai Sahib Bhai Nand Lal's Kalaam-e-Goya, and Other Texts -- Sant Mat Radhasoami Books, The E Library: Sikh Section: https://SantMatRadhasoami.Blogspot.com/2019/01/sikh-scriptures-sant-mat-radhasoami.html

(11) Kabir, Kabir Panth: The Bijak, Anurag Sagar (Ocean of Love), Kabir Sagar, Sakhis, Songs of Kabir, Songs of Kabir in the Adi Granth, Many More Online E Books Relating to Guru Kabir -- Sant Mat Radhasoami Books, The E Library: Kabir Section: https://SantMatRadhasoami.Blogspot.com/2019/01/kabir-and-kabir-panth-bijak-anurag.html

(12) Anurag Sagar Studies Page, where you can read the Anurag Sagar online -- Guru Kabir's "Ocean of Love", one of many sacred texts composed and used by the Dharamdasi branch of Kabir Panth and Sant Mat, the Sant Dharam Das line of Masters. The Anurag Sagar is a volume of the "Kabir Sagar" Series ("Ocean of Kabir"), a collection of several Hindi-language volumes devoted to the teachings of Guru Kabir and Sant Dharam Das. -- Sant Mat Radhasoami Books, The E Library: Anurag Sagar Section: http://www.SpiritualAwakeningRadio.com/anurag.html

(13) The Classic Nirguna Bhakti Sants of India -- Online E Books Relating to the Devotees of the Formless God (Jayadeva, Namdev, Dadu Dayal, Ravidas, Mirabai, Tukarama, Dariya Sahib of Bihar, etc...) -- Sant Mat Radhasoami Books, The E Library: Classic Sants Section: https://SantMatRadhasoami.Blogspot.com/2019/01/the-classic-nirguna-bhakti-sants-sant.html

(14) Gnostic Gospels, Contemplative or Mystical Christianity, Syriac Mystics, Mandaean, Manichaean, Apocrypha, Nag Hammadi Library, Pistis Sophia, Jesus Sutras, Lost Books of the Bible and Spirituality of the West -- Sant Mat Radhasoami Books, The E Library: Gnostic or Western Mysticism Section: https://SantMatRadhasoami.Blogspot.com/2019/01/gnostic-gospels-contemplative-or.html

(15) Sayings of Jesus (Yeshua), Ebionite (Nasoraean, Jewish or Hebrew Christian) Scriptures and Vegetarian Gospels -- Sant Mat Radhasoami Books, The E Library: Ebionite/Hebrew Christianity Section: https://SantMatRadhasoami.Blogspot.com/2019/01/ebionite-nasoraean-jewish-or-hebrew.html

(16) Vegan and Vegetarian Ahimsa: Non-Violence in Thought, Word, and Deed, Including in the Area of Diet -- E Books, Blogs, Websites, and Videos on the Wisdom of Following a Non-violent Vegetarian or Vegan Diet -- Sant Mat Radhasoami Books, The E Library: Vegan and Vegetarian Ahimsa Section: https://SantMatRadhasoami.Blogspot.com/2019/01/vegan-and-vegetarian-ahimsa-non_8.html

(17) Sikh And You Will Find: The Vegetarian Diet, Sikh Gurus and Scriptures, A Collection of Passages from the Adi Granth (Guru Granth, Shri Guru Granth Sahib), Mohsin Fani's, Dabistan-e-Mazahib, Sudharam Marag Granth, and the Proclamation or Hukamnama to the Sikhs of Jaunpur by Baba Banda Singh Bahadur -- Sant Mat Radhasoami Books, The E Library: Sikh Vegetarian Section: https://SantMatRadhasoami.Blogspot.com/2019/01/sikh-and-you-will-find-vegetarian-diet.html

(18) Rumi — Sufi Books -- E Books of Rabia, Hazrat Sultan Bahu, Hazrat Inayat Khan, Hafiz, Bawa Muhaiyaddeen, Rumi, etc... -- Sant Mat Radhasoami Books, The E Library: Rumi/Sufism Section: https://SantMatRadhasoami.Blogspot.com/2019/01/rumisufi-books-e-books-of-rabia-hazrat.html

(19) LINKS: SANT MAT LINKS PAGE: Huge Collection of Websites: Sant Mat, Radhasoami, Surat Shabd Yoga, Kabir, Adi Granth, Path of the Masters, Inner Light and Sound Meditation: http://SantMatRadhasoami.Wordpress.com/2013/09/18/sant-mat-radhasoami-links-page-sant-mat-radhasoami-surat-shabd-yoga-kabir-and-the-bhakti-sants-of-india-the-path-of-the-masters-and-mystics-of-inner-light-and-sound

(20) LINKS PAGE: Spiritual Awakening Inter-Faith Links Page of World Religions and Sacred Texts, Lost Books of the Bible, World Scriptures, Spiritual Classics, East and West, Online Books, Inter-Faith Libraries, and Websites Around the World: from Apocrypha to Zoroaster: https://SantMatRadhasoami.Wordpress.com/2013/09/18/spiritual-awakening-inter-faith-links-page-of-world-religions-and-sacred-texts-east-and-west-from-apocrypha-to-zoroaster

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meenakshijangra · 4 years ago

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liveindiatimes · 5 years ago

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HT Exclusive: Nudged by Ajit Doval, Myanmar army hands over 22 northeast insurgents - india news

https://www.liveindiatimes.com/ht-exclusive-nudged-by-ajit-doval-myanmar-army-hands-over-22-northeast-insurgents-india-news/

The Myanmar military handed over a group of 22 northeast insurgents to the Indian government on Friday afternoon. The insurgents, wanted in Manipur and Assam, are being brought back by a special plane, people familiar with the development told Hindustan Times.

“This is a huge step for the Myanmar government and a reflection of the deepening ties between the two countries,” a top government official said soon after an aircraft with a planeload of insurgents took off from Myanmar.

The plane will first make a stopover in Manipur capital Imphal, before heading to Assam’s Guwahati. “The insurgents would be handed over to the local police in the two states,” the official said.

“This is the first time that the Myanmar government has acted on India’s request to hand over leaders of the northeast insurgent groups,” a senior national security planner said about the operation driven by National Security Adviser Ajit Doval.

This is seen as a result of increasing intelligence and defence cooperation between the two countries from both sides.

DEPORTED: (Left, top) Self-styled Capt Sanatomba Ningthoujam of UNLF, (Left, bottom) Lt Pashuram Laishram of PREPAK-PRO, (Right, top) Rajen Daimary, home secretary (NDFB-S) and Right, Bottom) self styled Capt Sansuma Basumatary (NDFB-S) ( HT Photo )

Among those deported by Myanmar are some senior and long-wanted Indian insurgent leaders such as NDFB (S) self-styled home secretary Rajen Daimary, Capt Sanatomba Ningthoujam of UNLF and Lt Pashuram Laishram of PREPAK (Pro).

12 of the 22 insurgents are linked to four insurgent groups in Manipur: UNLF, PREPAK (Pro), KYKL and PLA. The remaining 10 are linked to Assam groups such as NDFB (S) and KLO.

NDFB (S)

Rajen Daimary @ Rebgon, self-styled Home Secy

Self-styled Capt Sansuma Basumatary @ Sarontsai

Gagaram Basumatary @ Capt. Gamsha

Surju Brahmo @ Brammo SwrjiSula

Sukuram Brahma

KLO

Shanker Deb Barman @ Silukar @ Siluksh

Bhajan Barman @ Tiger Koch

Bishu Roy @ Bishwa Singha Koch

Jitendra Roy @ Mangak Koch’

Dhono Roy @ Sgt. Bahadur

UNLF

Naoba Meitei @ Nganba

Masoom @ Sinthoi

Balaram Takhellambam @ Loijing

Self-styled Capt Sanatomba @ Ningthoujam @ Manaoba

Pratap Meitei @ Naitomnganba

Sanjoy Meitei @ Naocha

Ajoy Akoijam @ Uttam

PLA

Athoi Meitei @ Koiramba

Kennedy Aribam @ Nongdren

PREPAK (Pro)

Self-styled Lt Pashuram Laishram @ Arjun

Premananda Meitei @ Harjit

KYKL

Santosh Meitei @ Kanta

The treacherous terrain along India’s over 1,600-km border with Myanmar makes the area ideal for camps of insurgent groups that have been fighting the Indian state for decades.

But pressure has been building on the insurgent groups over the last few years after the Myanmar military agreed to conduct operations.

Last year, the Myanmar army carried out continuous operations through February and March 2019 on the basis of pin-pointed intelligence provided by Indian security agencies.

The Myanmar army attacked multi-group terror camps at Taga in the north of the country across the Vijaynagar salient in Arunachal Pradesh in the first phase, and decimated Arakan, Nilgiri and Haukyat camps in the second.

The 22 insurgents were caught by the Myanmar army in Sagaing Region in these operations.

Also Read: In 2019 joint op with Myanmar, Indian army deployed ‘hammer and anvil’ tactics

A national security official said Myanmar’s decision to hand over the insurgents is a huge message to the outfits that Naypyidaw is in sync with New Delhi on dealing with them.

Indian officials expect Myanmar’s action to be a deterrent to groups that had assumed the dense forests across the border could insulate them from action. Just as the one created by the United Arab Emirates, once considered a haven for Indian criminals on the run, when it started deporting criminals and terrorists wanted in India.

“If Pakistan also acted against terrorists as these two countries do, then there would hardly be any terror group there too,” a senior national security official lamented.

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bhajankirtanscom · 5 years ago

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charudattathorat · 5 years ago

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bigyack-com · 5 years ago

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Happy Birthday Rajinikanth: Soundarya calls him ‘my everything’, Aishwaryaa says ‘will follow you forever’. See pics - regional movies

Actor Rajinikanth, who turned 70 on Thursday, received special wishes from his daughters, Soundarya Rajinikanth and Aishwaryaa R Dhanush. The two took to social media to wish their father. Aishwaryaa, who is married to actor Dhanush, posted a picture with her father and wrote on Instagram, “Will follow forever ... just to see that smile .. happy birthday Appa!” In the picture, Rajinikanth, sporting in salt and pepper beard walks ahead as Aishwaryaa is walking behind him. Soundarya, meanwhile, shared three pictures with her father and wrote: “Happy birthday my life my father... My everything!!” In one of the pictures, Soundarya is standing next to her dad, sharing a hug. In yet another picture, both the daughters flank their parents, Rajinikanth and Latha as they pose for a family picture. Many industry colleagues and young actors wished Rajinikanth on his birthday. His contemporary and onscreen rival Kamal Haasan was among the first to wish him. Son-in-law Dhanush, too, dropped a simple yet sweet message on Twitter and wrote “Happy birthday #thalaiva”. While popular Telugu actor Mahesh Babu said on Twitter “Happy Birthday to our Thalaiva @rajinikanth sir. Wishing you a phenomenal year with great health and joy. Much love and respect”. Also read: Salman Khan may quit Bigg Boss 13, says ‘part of mine wants to cut that part and throw it out’ அன்பர் நண்பர் திரு. @rajinikanth - க்கு நல் ஆரோக்கியமும், வெற்றியும் பல்லாண்டு தொடர ��ந்நாளில் வாழ்த்துகிறேன். உங்கள் நான். — Kamal Haasan (@ikamalhaasan) December 12, 2019 Happy Birthday to our Thalaiva @rajinikanth sir. Wishing you a phenomenal year with great health and joy. Much love and respect 🙏 — Mahesh Babu (@urstrulyMahesh) December 12, 2019 Kajal Aggarwal wished the veteran actor and wrote “Happy birthday to the star of the millenium @rajinikanth sir Wishing you continued happiness and good health.” His Petta director Karthik Subbaraj, sharing an unreleased picture from the film and wrote “Happy birthday Thalaivaa... Here’s an unreleased poster - Thalaivar birthday special from #Petta team..” Happy birthday to the star of the millenium @rajinikanth sir 🙏 Wishing you continued happiness and good health 😊 — Kajal Aggarwal (@MsKajalAggarwal) December 12, 2019 Happy birthday Thalaivaa...👏👏🙏 Here's an unreleased poster - Thalaivar birthday special from #Petta team.. ❤️ இன்னும் பல அதிசயங்களை அற்புதங்களை நிகழ்த்தி காட்டுங்கள் தலைவா 🙏#HBDThalaivarSuperstarRAJINI @sunpictures @DOP_Tirru @anirudhofficial @tuneyjohn @vivekharshan pic.twitter.com/6gIdGv7Xad — karthik subbaraj (@karthiksubbaraj) December 12, 2019 Among others who wished Rajinikanth were Nivetha Thomas, Vignesh Shivan, Pandiraj, Manjima Mohan and Vikram Prabhu to name a few. Few Bollywood actors also wished Rajinikanth on the occasion. Actor Neena Gupta posted a picture with Rajinikanth on a flight together and wrote: “Happy birthday, @rajinikanth sir! Wish to work with you one day..wish toh ker hi sakti hu na? #rajinikanth #birthday.” He is Strong, He is Kind, He is Humble & that's what makes Him Powerful. Heartiest Birthday Wishes to the Evergreen @rajinikanth. May God Bless you with Great Health and Everlasting Happiness. #HBDThalaivarSuperstarRAJINI #HappyBirthdaySuperstar #BlessedBeyondBelief pic.twitter.com/2Eh84lT8tR — Anup Jalota (@anupjalota) December 12, 2019 Bhajan singer Anup Jalota wrote on Twitter, “He is Strong, He is Kind, He is Humble & that’s what makes Him Powerful. Heartiest Birthday Wishes to the Evergreen @rajinikanth. May God Bless you with Great Health and Everlasting Happiness.” Follow @htshowbiz for more Read the full article

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