July 1-3, 2009

Ashadi brings a renewed devotional fervour for the Lord of Pandarpur, Vittal Rakhumai. With the arrival of this auspicious season the entire Maratha region goes agog as their attention turns to the centuries old spiritual capital of the state, Pandharpur, the seat of Lord Vittal Rakhumai. The centuries old tradition of Vaarkari Sampradaya showcasing the legacy of the state with religious passion, brings lakhs and lakhs of devotees walking on foot in huge processions to Pandharpur, the abode of Lord Vittala singing abhangas of Sant Thukkaram and Sant Jnaneshwar to have the darshan of their chosen deity.

Symbolically representing this time tested tradition, devotees of Bhagawan from different parts of the state pay their obeisance to their Lord Sai Vittala every year walking in a symbolic Dindi Yatra from Dharmavaram to Prasanthi Nilayam. The Dindi Yatra for the year commenced on the 30th June from Seeta Ramaya Kalyana Mandapam, Dharmavaram and reached Prasanthi Nilayam on 3rd July 2009 covering over forty six kilometers. A total number of over eight hundred Varkaris carrying the Palaki, singing abhangas participated in the procession. Manava Seva is Madhava Seva, says Bhagawan and inspired by Bhagawan’s call to serve the poor and down trodden in the villages, Sri Sathya Sai Seva Organisation, Maharashtra has been conducting Medical Camps over the years, in selected villages, on the sidelines of Dindi Yatra, during Ashadi Ekadashi.

The medical camp that involved number of doctors and paramedical staff apart from sevadals from the organization got underway on the 30th June with a Kalasha Pooja followed by a huge procession attended by hundreds of villagers surcharging the atmosphere.

Thirty doctors across seven disciplines, thirty seven medical students from Anantapur Medical College, fifteen Pharmacists and hundred and seventeen Volunteers extended their serving hands to over 4012 Patients covering over 5011 consultations during the two day medical camp. Medicines were given free as per prescription and all patients were provided with Puliohara and curd rice as Bhagawan’s Prasadam.

As a part of Balvikas activity, school children in the villages were engaged in various activities such as namasmarana, storytelling, health & hygiene awareness, puppet show, art and craft classes, dramas, and many other cultural programmes that help in developing their overall personality.

A team of veterinary experts consisting of six doctors, two helpers and two sevadals examined over four thousand cattles during the two day medical camp.

Bhagawan has rightly mentioned time and again that service with a selfless motive would help one to attain purity which eventually would help him to reflect his innate divinity. Sathya Sai Seva Organisation’s effort in spreading awareness about His Mission through such camps comes handy as thousands upon thousands get the benefit out such activities, while on the other hand those who are involved in serving getting the benefit of evolving into better spiritual beings. Service to man is service to God and every such activity done under His banner would yield greater benefits that help humanity to evolve to a better society.

Veda Chanting Procession and Hindustani Musical Concert by Ms. Kalapini Komkali

Ashadi Ekadashi, one of the most auspicious days in the Maratha vernacular calendar brings the legacy of Maharashtra along with the state’s devotional fervour for her presiding deity, Lord Vittal Rakumai of Pandarpur. In fact, Ashadi is the day, when lakhs and lakhs of Varkaris from all parts of the country, especially from the state of Maharashtra throng the spiritual capital of the state, Pandarpur to have darshan and blessings of their chosen deity, Vittal Rakumai.

Ashadi Ekadashi marks the beginning of the Chaturmasa and ends with Kaarathik Ekadashi. This is the day on which people go on walking in huge processions to the Abode of Lord Vittala in Pandarpur, which is popularly known as Vaarkarari Sampradaya. This is a time honoured cult and an important landmark in the colourful history in the state of Maharashtra. According to historians devotees have been performing Vaari long before the advent of Sant Jnaneshwar in the 13th century and the current practice of carrying the paadukas of the saint in a palki from the Samadhi of the saint to Pandarpur for the holy darshan of Lord Vittala was started by the son of Sant Thukkaram by name Sant Narayan Maharaj in 1685.

Bhagawan was accorded a traditional welcome with Poornakumbham by Veda chanting Bal Vikas children and Youth. Chanting of the Vedas in unison by about 300 people, young and the old surcharged the atmosphere with divine vibrations

Bhagawan listened to their Vedic chants for about an hour before retiring for the session.

Speaking on the preparations and the hard work put in by about 300 people ranging from 8 to 72 years of age in learning the Vedic Mantras, one of the core member of the group who is also a former student of Bhagawan, said that Veda chanting classes started in the scorching summer month of April in the twin states of Maharashtra and Goa. The classes were held in different parts of these two States, namely, Nagpur, Akola, Amaravati, Goa, Sholapur, Parbani, Bhiwandi, Thane, different parts of Mumbai and Navi Mumbai, Nasik and Pune. The classes would commence at 11 a.m. and would go on till 8 p.m. in the night; such was the dedication of the group, said the leader. At each and every stage of their learning, Bhagawan’s presence could be felt. Speaking on a wonderful experience, the leader said that on one of these classes which was held in a temple, there was a secluded cloud cover over the temple which proved that Bhagawan’s unseen hand was guiding and guarding them.

Samasta Lokah Sukhino Bhavantu (May all the beings of all the worlds be happy!). Peace and welfare of the world was their motto. Even the Samana Suktam, which they chanted at the end of the morning session speaks of Unity, Purity and Divinity, said the team member.

The programme for the evening session was a Hindustani classical concert by Kalapini Komkali, the daughter and disciple of Pandit Kumar Gandharva and Vidushi Smt. Vasundhara Komkali.

Smt. Kalapini, after offering her obeisance to Bhagawan said that all the songs that she was going to sing during her concert were sung by her late father Pt. Kumar Gandharva. Beginning with a Tukaram Abhang: “Lakshmi Vallabha …”, the songs of Smt. Kalapini grew from strength to strength both in terms of tenor, pitch and clarity. Singing in her booming voice Kabir Das’s Nirgun Pad, “Sunta Hai …” Nirgun Pad is a form of devotional song which believes in formless God. After singing a Mira Bhajan she concluded the concert with a Gorakhnath Bhajan. Bhagawan blessed the singer by materialising a chain and presented her with a Sari. The accompanying artistes were also presented with clothes by Bhagawan. It was the turn of the students of the University to take over; they not only sang bhajans in tandem, but also sang solo songs. When Bhagawan asked a student to sing a Hindi song, he sang the evergreen composition, “Hey O’ Vitthale Bhakta Jana Vatsale …” with such beauty and mellifluousness that the entire audience was enraptured at the devotional height combined with artistry. At the end, Prasadam was distributed to the entire congregation and Arati was offered to Bhagawan at 6.30 p.m. before He retired to His “Divine Abode”, Yajur Mandiram

July 2, 2009

Music is verily Divine! In olden days, there used to be the tradition of court singing wherein celebrity singers would perform in presence of Kings, royal family members and invited guests of honour. Now with the tradition of court singing no more in practice, Prasanthi Nilayam brings a new dimension to this older version of court singing, wherein devout

artistes of greater talent come and sing in the immediate Divine Presence of Bhagawan Sri Sathya Sai Baba! Verily this has been happening when troupes after troupes, singers after singers, artistes after artistes visited Prasanthi Nilayam over the years, tagged to various festivities to sing in His immediate Divine Presence!. …and Prasanthi’s music tradition is on

…2nd July 2009, the second day of Ashadi Ekadashi celebrations, after a morning session when Bhagawan chose to sit on the dais for quite some time graciously blessing the packed gathering with His Divine Darshan, the stage was set in the evening for a musical extravaganza. An elaborate stage consisting of two levels laid with metallic frames having an equally grand acoustics, the first of its kind in Sai Kulwant Hall greeted the devotees and students to the Hall. The stage covered the entire stretch of the central part of the Hall horizontally. Eight big focus lights gave a good view of the artistes on the stage. What was in store was a Tala Kutchery, as one could call it, by 12 artistes led by Taalyogi Pandit Suresh Talwalkar. Taalyogi Pandit Suresh Talwalkar is one of the greatest Tabla exponents of the present times, synonymous for his untiring efforts, devotion, and endless passion in pursuit of promoting Indian classical music. Pandit Sureshji belongs to the illustrious “Keertankar” family of Sri Dholebuva.

“Keertana” being a classical form of devotional and musical discourse, a liking for the classical music was inculcated in him right from his childhood. Pt. Sureshji introduced for the first time, the novel concept of taking vocal accompaniment and added a new dimension and direction to the solo playing of tabla.

The artistes after offering their obeisance to Bhagawan took the stage and an announcement was made that they felt they should enhance their efforts in the path shown by Bhagawan, the path of Namasmarana, to understand His Nirguna Nirakara Swarupa. The Pandit, introducing the programme to Bhagawan and the audience, said that he was most privileged and fortunate to do Seva (service) after having his maiden opportunity to sing in His immediate presence, way back in the year 1973. The percussion based performance had five tablists, including a lady tablist, a flautist, two vocalists, one on sarangi, an artiste on dholak, one each on harmonium and keyboard. The Sarangi is a bowed, short-necked lute of the Indian subcontinent. It is an important bowed string instrument of India's Hindustani classical music tradition. Of all Indian instruments, it is said to most resemble the sound of the human voice – able to imitate vocal ornaments such as gamakas (shakes) and meed (sliding movements).

The twilight’s music extravaganza was a continuous stream of music, with a harmonious blend, at times reaching a crescendo. Weaving musical waves on the combined percussions, often building up to bring it down in the next, most meticulously perfecting the beats, was indeed a treat to the ears; with the lights on, and the Sun that was setting was overshadowed by an emerging twilight, with Bhagawan on stage, it was the perfect stage for Easwara, the Nataraja, the Lord of Dance, to dance listening to the beat of music. …and the first song was on the Lord of Dance, “Shankara Mahadeva…”, right tribute to the Musical Divine! The songs “Ananda Lahari Bhajave …” and “Dheem, Dheem Dama Damaru Baaje …” by the two vocalists and the taals (vocal beats) by the Panditji kept the appreciative audience riveted to their places with intermittent applauses for more than an hour. There were also interludes in the form of performances by the flautist, one each on the tabla, on the Sarangi, on the harmonium and on the keyboard that added variety to the performance. The whole concept was designed in an innovative way as the Panditji was well known for it, to make it an apt offering to the Musical Divine in physical frame.

At the end of the performance, Bhagawan asked the State President, Sri Sathya Sai Seva Organisations, Maharashtra and Goa to honour the artistes with shawls and white safari suit pieces. Bhagawan also blessed the artistes with Padanamaskar and a group photo session. Prasadam was distributed to the entire congregation of devotees. After Arati, Bhagawan retired for the day at 6.45 p.m.

"Maharashtra Bhakti Gaatha - A Music and Dance Programme

July 3, 2009

Maharashtra Bhakti Gaatha, the scheduled programme for the morning of Ashadi Ekadashi was shifted to the evening session as per the Divine command. The postponement came as a blessing in disguise as the tenor, the colour, the act, everything related to the show bloomed to boom into a wonderful showpiece on the twilight of the auspicious Ashadi Ekadashi Day in the immediate Divine Presence. Maharashtra is a rich saga of Bhakti and the presentation titled Maharashtra Bhakti Gaatha was a saga of song, dance and melody with the central theme revolving around the rich religious tradition of the state.

Presented by the Bal Vikas students and Gurus of Sri Sathya Sai Seva Organisations of Mumbai, Nasik and Pune, the Musical Drama was a walk through to the times of great spiritual masters of the blessed state. Tablets inscribed with Bhagawan’s quotations highlighting the greater importance of Namasmarana were displayed in vantage points in the hall while the sprawling stage which was the centre of performance on the previous day was again put to use as the music artistes played on their instruments on the two levels of the stage.

Mumbai, the capital city of Maharashtra is popularly known as the financial capital of India. At a time when the world is reeling under economic recession, the Bal Vikas children from the twin states had some important message for the world that often tend to run after money. Presenting the greater importance of Namasmarana and the folly behind running after “dabbu”, the children aptly conveyed the message running through the great lives of saints of Maharashtra, through dance, dialogue interspersed with commentary. The world is caught in the grip of economic recession, but in Maharashtra, there is only “Sai Session”. This is true because Maharashtra believes that to enjoy continuous peace and happiness, simplicity must be the way of life.

The great saints of Maharashtra have proved from their own lives that even a humble householder by chanting the name of the Lord and doing his daily duty with sincerity and devotion would be able to scale great spiritual heights. The time spent in Namasmarana alone is the time rightly and worthily lived.

Earlier, on a day that had a long waiting for Bhagawan to come out, He was accorded a conventional Maratha welcome by the men dressed in traditional attire, typical of Maharashtra, blowing conch shells, surcharging the surrounding with spiritual vibration, while taking one and all to the nostalgic past of Maratha legacy. After the artistes and organisers offered their obeisance to Bhagawan, the programme started with the collective chanting of Pandurangashtakam: “Maha Yoga Peete thate Bheema Radhya, Varam Pundarikay Dathum Muneendrai, Samagathya thishtanthamanandakandam Parabrahma lingam baje pandurangam …” “I worship that Panduranga, who is the absolute Brahman, Who is the source of immense happiness, Who stays in the great seat of yoga, in the banks of Bheema, Along with great seers to fulfil the boon to Pundarika …”

As the song “Jai Jai Vitthala Jai Hari Vitthala …” (Victory to Vitthala) was sung to the accompaniment of sweet music, two youth blew bugles to signal the formal commencement of the programme. At the outset, Dindi procession group members offered their humble salutations to Bhagawan to the song, “Maze Mahe Pandhari …” (my native place is Pandhari). Why was this theme chosen? As the announcer went about explaining the concept of the musical, it became clear that the only solution for the present economic crisis was constant contemplation of God, chanting His name incessantly. People want Dabbu, Dabbu, Dabbu (money, money, money). Money is everything, money is life for them. They struggle day in and day out for earning money. The world is caught in the vortex of economic crisis. The only way out is chanting of God’s Name. Namam is Dharma (righteousness), Jnanam (wisdom), Santhi (peace), Sukha Pradayakam (bestower and happiness and welfare). The only way to peace and happiness is simplicity in life. In Maharashtra, great saints have proved beyond doubt that by chanting the Name of God even a householder can scale great heights in life.

Songs accompanied with deft movements of dancers provided the perfect relief and acted as interludes to the musical.

Maharashtra is home to illustrious saints like Sant Tukaram, Sant Ramdas, Sant Jnaneswar, Sant Namdev, Sant Sakkubai, Sant Eknath etc… These saints took refuge in the Name of the Lord. What saints did was “Sai Session”, but now because of misuse of money there is economic recession. The name of the Lord must dance forever on the tongue. It is because of these saints that Bhagawan visited Maharashtra a number of times in the past. He visited Satara, surcharged the idols of Vitthala and Rakumai at Pandharpur. He would visit Dharmakshetra quite frequently. Maharashtra is the State where the earlier incarnation of Bhagawan lived. Shirdi Sai Baba gave the message of Sraddha and Saburi (steadfast faith and patience) to the whole world from Shirdi. The depiction of famous Chavadi Procession of Shirdi Baba with the accompaniment of the Bhajan “Dham Dham Dham Damaru Bhaje” evoked nostalgic memories of those glorious days of the previous incarnation.

Interestingly, as if evoking a positive response from Bhagawan, the narrator in his innocent, childish voice posed a question to Bhagawan, “Swami, is it true what we heard that Swami would again visit Dharmakshetra?” and pat came His answer, when He smilingly nodded indicating His positive response.

This offering of song and dance concluded with earnest entreaties by the cast to Bhagawan to visit Maharashtra again…they sang in chorus… “Raava Raava Rakshimpaga, Kapadaga, Palinchaga, Paripalinchaga …” (“come, come to protect, to save, to look after …”). Yes the old memories will come alive again was the chorus. After the distribution of Prasadam, Arati was offered to Bhagawan at 6.50 p.m.

A number of glorified saints have made Maharashtra, a “Sant Bhoomi” and one such highly revered and largely worshipped saint was Sant Gajanan Maharaj of Shegaon, who was a contemporary of Bhagawan’s previous incarnation at Shirdi. Shri Gajanan Maharaj first appeared at Shegaon on the 23rd February, 1878, as a young lad. He was spotted by one Bankatlal while eating waste food from a public dustbin. Thereafter, the Maharaj remained in public life for 32 long years, teaching humanity, often correcting their follies, transforming them through miraculous acts. Das Ganu Maharaj, who has authored Shirdi Sai Satcharita, the life and teachings of Sai Baba of Shirdi, has also chronicled a biographic poetry of the great saint, titled Pothi.

Sai Kulwant was resonating the beauty of the mysterious mantra, “Gani Gana Ganath Bothey”, that used to be the constant companion of the great saint. Completely oblivious of his surroundings, the saint would lie down anywhere, eat anything, and wear any piece of cloth, while preaching to see and seek God in everything.

The musical ballet commences with a narration by Das Ganu, expressing grateful thanks for the “yet another” opportunity granted, to have His holy darshan, after having blessed to be with the previous incarnation at Shirdi. The narrator often appears during interludes talking of the greater glory of the saint, mixing the same with the greater import his life and teachings signified, often talking from a spiritual perspective. Bankatlal, who spots the saint eating leftovers abandoned on the road side, growing inquisitive, questions the saint about his identity. Retorting to the layman, bouncing back with the question with an advice to ask “who am I” before asking such foolish questions, the Maharaj blurts out into a ‘discourse’ talking on the principle of Self.

Interesting anecdotes from his illustrious life were shown depicting the transformation he brought about in individuals bringing in societal transformation. In an interesting incident showing his mysterious ways of bringing in transformation, the Maharaj entered a village asking for a potfull of water to quench his thirst. Enraged at the severe drought that hit the village very badly, with the only well in the village going dry for almost twelve years, the villager showered abusive words at the saint asking him to work hard to understand the pain and suffering of the villagers. Nonchalant, still showing greater concern, he reached out the ultimate refuge with his sincere prayers. …And yet another miracle! The well that had gone dry for twelve years overflowed to the astonishment of the innocent villagers bringing in greater transformation in them. Faith sprung the villager’s heart and repenting for his infantile outburst, the villager promised to use the Maharaj’s name as a sword to preach goodness and godliness. …and the village erupted in joy, singing, “Jai Ho…Jai Ho…Gajaanan Maharaj…”

In two incidents, the Maharaj showed his spiritual powers to bestow the boon of liberation on his chosen disciples, Bhaskar followed by Peetambhar. When Bhaskar was bitten by a rabi dog and defying all suggestions to go to a doctor, Bhaskar sought to come to his Master. The Master, pleased with his faith and devotion granted him two more months of life after which he would be liberated. Taking the disciple to Trimbakeshwar, the seat of one of the twelve Jyothirlingas, the Guru asked the disciple to sit facing east, to meditate and amidst the chanting of “Vittala..Vittla” sent his disciple to the world of absolute freedom. In another incident, another celebrated disciple Peetambhar was ordained to leave his village to spread the message of his Guru. Entering into a village, Kondoli, Peetambhar was bit puzzled as to where he would take rest. Finally seeing a dried up tree, he decided to take shelter on the same. Passerby villagers, having seen the odd sight, doubted the integrity of Peetambhar, calling him names and asked to surrender all his belongings. In vain attempt to prove his identity, he was challenged by the villagers to prove his identity beyond doubts by bringing back the dead tree into life. The simpleton in Peetambhar expressed his inability to do so, but prayed to his Master to save his name which was at stake. …and there bloomed yet another miracle! The dead tree came back to life and the villagers turned into devotees.

A self styled Brahmajnani, who out of his folly and arrogance, completely hypocritical was exposed by the Maharaj, guiding him to lead a life adhered to principles. Though the hypocrite dared to insult him, dared to call him names, the Maharaj was ever the cool compassionate persona, his original self.

The master spoke about the three paths leading to liberation, namely, karma, bhakti and jnana. Visiting an evolved soul in neighboring village, he would often get into spiritual discussions and even advised the householder devotee, who was very much evolved, that, despite following grihastha dharma one could still reach the exalted state of spiritual ecstasy.

“Recite the Name and the Named will be before you” was one of the slogans adorning the Sai Kulwant Hall, depicting the greater significance of Namasmarana. True to this saying, the parting scene of the musical ballet saw the Lord of Pandharpur appearing before the great Maharaj in response to his heartfelt yearning. Reaching out Pandharpur, the Maharaj prayed to the Lord that he had done his part of duty successfully that now he should be allowed to return to the Lord during the auspicious month of Bhadrapad. The Lord was happy to grand this boon. But, Lord Vittala had a desire to be fulfilled in turn from the devotee. He wanted the Maharaj to sing with Him “Gani Gana Ganath Bothey…” Despite the villager’s grievances at the Master’s proposed parting, the Master convinced the devotees with his usual discourses making them spiritually aware that he would be always be with them and there was no birth and death for an immortal soul.

The participants joined in chorus to sing the glory of Lord Sai, whom they hailed as Siddhi Raja, Siddhi Rupa, Siddhi Pradaya, Siddhi Sankalpa, Yogeshwra, Yogendra Vandita, all in ONE.

The Youth team members from the state had an opportunity to show Bhagawan a presentation on the various Youth Awareness programmes conducted across the state. They also detailed Bhagawan as to what entailed in the service activities for the 114 adopted villages in the state. In a village where drinking water facility was scarce, getting potable water once in seven days, Sai Organisational units initiated sending drinking water; taking a cue from this noble deed, some other organizations also joined the activity making it a full week drinking water scheme, much to the joy of the villagers. Sathya Sai Seva Organisation’s (Maharashtra) upcoming website was also shown to Bhagawan seeking His Divine Blessings.

Delighting the jam packed audience, the 132 participants (72 boys and 54 girls) and the entire Maharashtra contingent, Bhagawan moved down to the first block, granting paadanamskars and a coveted photo session to the participants. Prasadam was distributed and Arathi was offered at 5:30 p.m. before Bhagawan retired to Yajur Mandiram.

Still, the mysterious Mantra, the eternal companion of the great Master, “Gani Gana Ganath Bothey” was ringing in many ears, bringing in a soothing spiritual evolution revealing the truth that Ekoham Bahusyam, the One willed to become many...The Atma is one and one alone, that originated from the Paramatma…