Krishnam Vande Jagatgurum

Vaikunta Ekadasi January 5th 2012 - Live Webcast

2011-12-31T21:43:00.001Z

Radhe Krishna! Shattila Ekadasi, or Shatthila Ekadashi or Vaikunta Ekadasi , is observed during the waning phase of moon in the month of January/February. The importance of Sattila Ekadasi was narrated to Yudhishtira by Lord Krishna and is found in the Bhavisyotara Purana. In 2012, the date of Shattila Ekadasi is January 05, 2012.

Live Streaming:

One can most probably watch the live streaming, webcast, podcast, online stream of the Srirangam and Thiruvallikeni Sorga Vasal Thirappu in the following web TV websites
- http://www.vasanth.tv/livetv.php - Vasanth Web TV website. Most Probable. Last Year live telecated the event
- http://www.e-darshan.org/ - Most Probable. Last year live streamed Mohini Alankaram and Paramapada Vasal Thirappu from Srirangam, Thiruvallikeni
- http://www.svbcttd.com/ - Tirumala Tirupati Vaikunta Ekadasi Live Telecast
- http://srisankaratv.net/web_tv.html - Sri Sankara TV likely to telecast the event.
- http://www.dinamalar.com - Dinamalar likely but yet to be confirmed

Margazhi (Dhanur) Masam 2011 - 12

2011-12-17T20:45:00.000Z

December 17th, 2011 - Marghazhi Masam Starts

Lord Krishna says in the Bhagavad Gita: Of the hymns in the Sama Veda I am the Brhat-sama, and of poetry I am the Gayatri. Of months I am Margasirsa [November-December], and of seasons I am flower-bearing spring. Among the twelve months in a year, I am Marghazhi. “mAsAnAm mArgasirso ‘ham” [Chapter 10 Slokam 35]

brhat-sama tatha samnam gayatri chandasam aham

masanam marga-sirso ’ham rtunam kusumakarah

Swarga vAsal Live Webcast - Vaikunta Ekadasi from Srirangam
LIVE WEBCAST from this link:
http://e-darshan.org/Webtv/?page_id=56

brhat-sama-the Brhat-sama; tatha-also; samnam-of the Sama Veda songs; gayatri-the Gayatri hymns; chandasam-of all poetry; aham-I am; masanam-of months; marga-sirsah-the month of November-December; aham-I am; rtunam-of all seasons; kusuma-akarah-spring.

In 2010, Margazhi month begins on December 16, 2010 and ends on January 13, 2011. The importance of Margali Masam was announced by none other than Lord Krishna in the Bhagavad Gita when says Maasanam Margasheershoham - among the twelve months, I am Margazhi. Rendering of Tiruppavai and Tiruvembavai, religious discourses and music festivals are the major highlights during the period. Chanting of the Tiruppavai of Andal is the most important event in the month. Tiruppavai consists of 30 verses and a verse is chanted on each day of Margali. Another major highlight in the month is the drawing of kolams (rangoli) daily in front of houses. The most important festivals in the Margali month are Vaikunta Ekadasi, Hanuman Jayanthi and Arudara Darshan. The month also marks the end of the pilgrimage season in Sabarimala. The month is also of great significance in the Srirangam Sri Ranganatha Temple. Apart from the Vaikunta Ekadasi, the Srirangam temple during the month witnesses the Pagal pathu and Rapathu – the chanting of Tiruvaimozhi. Margali Masam is also the time of the winter solstice when the days are shorter and the nights are longer. Margazhi Month is also considered the dawn period of Devas. Uttarayana Punayakalam begins in mid January – the daytime of Devas. One year of ours is a day for the Devas. The night time of Devas begins during Dakshinayana Punyakalam.

Thiruvannamalai Karthika Deepam

2011-12-08T19:44:00.003Z

Global Organization for Divinity presents London Satsangh Programmes

2011-08-31T13:12:00.021+01:00

Dear devotees,

We have been blessed to have the London Satsangh events with discourses of Sri M K Ramanujamji,

"Happiness at Work, Trinity Center, East Ham, London"
"Asaiyai Arumin, Anbai Valarmin, London Sri Murugan Temple"
"Srimad Bhagavatham, London Sri Mahalakshmi Temple"

from 11th November - 13th November 2011 (All Evening programmes 6.30PM - 9.00PM)

Detailed Programme Schedule for the Event Timings and Venues are in this link:

http://www.namadwaar.org/events/London2011.pdf

All are personally invited to this special occasion. Please dont miss these wonderful events!

Gokulakshtami!

2011-08-21T23:21:00.000+01:00

HAPPY GOKULASHTAMI!

Sri Rama Navami Tuesday 12.04.2011

2011-04-05T08:48:00.003+01:00

Ramayana by C.R http://ramayanamahabharata.blogspot.com/
Sri Rama Nama Setu http://sriramasetu.blogspot.com/
Hanuman Chalisa by Sri Morari Bapu

Sri Sri Anna Schedule

2011-03-18T15:21:00.002Z

Sri Sri Anna is now in brindavanam and will be coming back to Paranur for the upcoming Ekadasi which falls on the 28th of March, then mostly he will be in Paranur. After that Sri Sri Anna will be going to his birth place Senganur for celebrating Rama Navami which falls on April 11th. After that Sri Sri Anna will be going to Madurai for Chithara vizha and during that time Kazhalagar will have dip in River Vaigai.

Jaya TV "Chinna Chinna Ragam Fame" Jaya, Poornima and the Superb Team

2011-03-09T21:45:00.000Z

Sri Vishwa Vidyalaya Matriculation Higher Secondary School extol in bhajans. They were the Winners of the Chinna Chinna Ragam programme.
Please read about the school from this link - The Divine Oyster in Otteri (http://media.radiosai.org/Journals/Vol_06/01APR08/03-coverstory.htm)
Some of the CDs are uploaded in YouTube (http://wn.com/vanajeeni)

LIVE Webcast of Nama Saagar

2010-07-20T12:44:00.008+01:00

Radhe Krishna !!! Shri Vittaldas Maharaj's Nama Sagar (Namasankeerthanam & Sri Maha Bhakthavijayam Discourse) event is being held at Kamarajar Arangam A/c hall, Teynampet, Chennai from 01/08/2010 to 10/08/2010, 7:00am to 9.00pm and Ramayana Pravachanam at Alamelu Kalayana Mandapam, Radhakrishnan Street, T Nagar, Chennai from 01/08/2010 to 10/08/2010, 7:15am to 8:45am. You are cordially invited to attend the programme.

Though thousands of devotees get the devotional ecstasy by attending the programmes of Shri Vittaldas Maharaj, there are Lakhs of devotees around the World, who are aware of such programmes, yet could not be present at the programme venue. To bring the experience closer to you, we are making special arrangements for LIVE WEBCAST of the programmes at Sri Vittal Rukmini Samsthan and pravachanams of Shri Vittaldas Maharaj. To start with, LIVE WEBCAST will be made available for the following events, in www.vittalrukmini.org:

Ashada Ekadasi Uthsavam (including Varakari yathra from Mahamaham Tank, Kumbakonam to Sri Vittal Rukmini Samsthan, Govindapuram and the Special Abishegam & Puja) from 5.00 a.m. on 21st July 2010. Nama Saagar at Kamarajar Arangam A/c from 01/08/2010 to 10/08/2010 - Everyday from 7.00 to 9.00 p.m. Ramayana Pravachanam at Sri Padmam Kalyana Mandapam, Radhakrishnan Street, T Nagar, Chennai from 01/08/2010 to 10/08/2010 - Everyday from 7:15am to 8:45am IST. Gokulashtami Uthsavam at Sri Vittal Rukmini Samsthan, Govindapuram from 28/08/2010 to 05/09/2010. Krishna Jananam on 02/09/2010. You can enjoy viewing the entire programmes in Internet. Kindly inform your near and dear ones about the webcast so that they can also benefit from the programmes and get the blessings of Lord Vittal. Visit www.vittalrukmini.org / www.vittaldas.com for details about more LIVE WEBCAST schedules.

Namaprachar Samithi

SRI VITTAL RUKMINI SAMSTHAN

Amazing facts: About Sri Vittaldas Maharaj work at Govindapuram

2010-07-19T14:03:00.001+01:00

The Gosalas at Govindapuram are excellently well taken care by men specially from Orissa.

• Providing fans for gosala is another wonderful thing.

• Buttermilk is being distributed free of cost to the poors living nearby.

• The Camp known as "Gurukulavas" features Yoga, Abhang, Moral Value class, Games, Vidhi Bhajan, Daily Night Bhajan and of course excellent food.

• Gurukulvas is a mind blowing event which is arranged by Sri Sri Anna for childrens.It goes on for a week atleast..

• Many Bhakthas have benefited from this camp and their children have undergone good experiences and learnt a lot after participating there.

• Sri Vittaldas Maharaj makes one cry as his words are coming from the heart and it touches the others heart likewise.
• The Nithyopachar Bhagavatha Mela at Govindapuram is conducted by Shri Shri vittaldas Maharaj in a grand manner and a sight to see

• The santum sanctorium is fully airconditioned so that one can sit before the Lord for a long time comfortably.

• The Month of Marghazhi (Dec-Jan) is the greatest time for Bhakthas to throng around Krishna Gana Sabha for scintillating Pravachanams and Namasankeerthanams

• JayaTV is the main channel behind bringing Sri Anna’s soul-filling pravachanams and panduranga bhajans to life in every living rooms around the world

• Some of the Sishyaas of Anna are SriRam Anna, SriNath and Ganapathy Anna

• Sri Krishna Das Anna who sings in bhajans alongwith Gokulnath and Srinath (Sri Vittaldas Maharaj's gifted Sons).

• The special child who sings along with Anna is the son of Brahmasri Rajagopala Ganapadigal, editor of Vaithikasri

• Anna ties up all the 2000+ bakthas with his bhajan especially Pandari Express at Kamaraj Arangam

• Brahmashri Vittaldas Maharaj has performed yagya's like Somayagam and Maha Agnichayanam.

• The highlight of Sri Vittaldas' glory is he is so near the Bhakthas and easily accessible for the geniunely interested bakthas to clarify their doubts, inspite of his greatness.

• Yet Another aspect, he develops a good shishya parampara for the next generation.

• Sri Guruji is Sri Pandurangan's gift to all of his Bhaktas.

• His GoSeva activities, the temple construction progress, the service He offers to the society, Nagarasankeerthanams and His Pravachanams all are defined portrayals of His commitment and dedication to the society and to His people.

• The energy flow during his lecture period will last for minimum one month to two months.

• In 2005 at kamarajar arangam, there were people around 1000-1500 peoples, in 2006 it increased to 3000 and, in 2007 we were able to see more than 4500 ++.Imagine!

• Sathish (who carries the car's name tag as "VITTAL" in the US) maintains the wonderful website http://www.vittaldas.com

• Sri Guruji performs all types of sankeerthanam Nagara Sankeerthanam, Namasankeerthanam, Radhakalyanam and Divyanama Sangeerthanam and of course Pravachanams.

• Sri Guruji said that Nobody did SAHASRA BHOJANAM in Puri in its history. Sri Guruji is the first person to do that. That way Sri Guruji made a new history in PURI's history

Our true prayers from our hearts for Shri Anna WILL hasten the temple conctruction/go samrakshan nidhi/SAHASARA SAHASRABOJANAMS/plating of Gold Kalasams/any desire Shri Anna will have will be fulfilled. Radhekrishna. Let us all pray.

2010-07-18T08:49:00.000+01:00

Radhe Krishna

In the Birth place of SRI ADISANKARA BHAGAVAT PADA Kalady, Kerala with the blessing of

His Holiness JAGADGURU SRI SRI BHARATHI TIRTHA MAHASWAMIGAL

Srimad Bhagavatha Sapthaha Yagna is being conducted by

Paranur Mahatma Sri Sri Krishna Premi Swamigal

from 08-08-2010 to 15-08-2010 at Sringeri Mutt,Kalady, Kerala,India.

All are requested to participate in this Sapthaham

and be the recipient pf the blessing Sri Bhagavat Pada.

Sri.U.Ve.Krishnan Swamigal read out 10 commandments to follow daily

2010-04-17T09:14:00.009+01:00

Swami Koorathazhvaan’s 1000th Thirunakshatram on 3rd February 2010 was held at Kooram. Click below to read and note down the 10 commandments as read out by sri vellukudi krishnan swamigal! This was also published on the occasion for everyone to stick it on the wall at home and follow meticulously!

Swami Koorathazhvaan’s 10 commandments

Extract from Narayaneeyam Upanyasam by Sri Sri Anna

2010-04-15T13:30:00.016+01:00

Everyday so many thoughts come to us in the morning and at night when we go to sleep all these thoughts and even our existence is a layam. Next day morning when we wake up all the thoughts are restored back to us. Daily there is a pralayam happening within us. if we start to think about this then we have understood the antariyaamiya paramatma within us. HE is within us. Where were the so many crores of thoughts disappear (layam) and from where again these crores of thoughts appear from. This is a pralayam...daily pralayam. In this pralayam, the jagath is available only if we open the eyes, isnt it. when we sleep there isnt. But there is ONE for whom the jagath is always present. Mahapralayam is when the saksath parameshwaram himself closes HIS eyes, then there is no other with eyes open for whom the prapancha anubhavam will be there. All the prapancha bhavams keeping inside HIM, paramatma is taking rest which is called the yoga nidrAI. Samastha jeevanam at at the same time keeping it unto HIMSELF, making the prapancham as prakriti which is HIS sakthi, keeping that unto HIMSELF, HE ALONE keeps remaining, that paramatma is in his own experiences keeping the prapancha leelas aside, but prapancha leelai is another experience for HIM. This kind of Nidra is yoga nidrA. Right from childhood, this has to be understood, ignorant people should understand this and say this is what is the significance of the way perumal, in many of the temples as well as AnanthaPadmanabhaswamy Temple, Trivandrum is in the form of paLLikoNda on AdisEsha. Sleeping on the serpent adishEsha.

Sri Selva Vinayakar Bhajan Mandali 15th Radhakalyana Mahotsavam

2010-03-24T23:50:00.007Z

Venue: Kalyani Thirumana Mandapam, Ramakrishnanagar, Radhakrishnan Salai, Valasaravakkam, Chennai - 600087

We Cordially invite you all to attend and get the divine blessing!

From Shri R.K.Nataraja Bhagavathar and all the Bhagavathars of the Mandali!

PROGRAMME SCHEDULE

30-03-2010    Tue   5.00 AM  - Sri Ganapathy Homan
                              7.00 AM - Sri Ganapathy Abhishekam
                             6.00 PM   - Swami Radhakrishnar Nagarvalam

31-03-2010 Wed 4.30 PM - Gatasthapanam, Vasantha

Madhava Pooja

6.00 PM - "Bhagavatha Mela" by

Sri R Krishnaswamy

7.00 PM - Namasankeerthanam

by Sri Manjapra Mohan Bhagavathar

10.00 PM - Dolotsavam

01-04-2010 Thu 7.00 AM - Veda Chanting

9.00 AM - Bhagavathars Paada Pooja

3.00 PM - Dasa Krithis by Sri S Janakirama

Bhagavathar

5.00 PM - "Seethakalyanam" by E.K.Sreenivasa

Bhagvathar and Narayana Sivam

Bhagavathar

8.00 PM - "Paavalimpu" by Sri A.L.Krishnamurthy

Bhagavathar and A.V.K Rajasimhan

Bhagavathar

02-04-2010 Fri 7.30 AM - Sri Lalitha Sahasranama Archana

10.00 AM - "Panadarunga Leela" by CuddaloreGopi

Bhagavathar

4.00 PM - Thodaya Managalam and Guru Dhyanam

10.30 PM - Ashtapathi, Dolotsavam by Shenkottai

Harihara Subramanya Bhagavathar

03-04-2010 Sat 7.00 AM - Sri Vishnu Sahasranama Archana

8.45 AM - Tharangam, Panchapathi, Dhyanam by

Srivanchiyam Sri Muralikrishna

Bhagavathar

2.00 PM - Pancharatna Krithis by Tapovanam

Smt G.Leelavathi

4.00 PM - Abhangam, Poojopacharam by

Mayavaram Sri Vijayan Dikshithar

8.00 PM - Divyanamam, Dolotsavam by Sri

Udayaalur Sri Kalyanarama Bhagavathar

04-04-2010 Sun 7.00 AM - Sampradaya Unchavruthi,

Receiving the bride (Sri Radhai)

8.30 AM - Divyanamam, Muthukutthal

RADHAKALYANAM,

Anjaneya Uthsavam by

Sri Udayaalur Kalyanarama Bhagavathar

Anna Dhanam

SUBHAM

This Blog is closely associated with Sri Selva Vinayakar Bhajana Mandali, Velan Nagar, Valasaravakkam.

Sri Selva Vinayagar Bhajan Mandali was started in the year 1994 by its Pioneer and Founder : Shri R.K.Nataraja Bhagavathar to propagate Nama Sankeerthanam. This started with singing Namavalis in the morning hours (Ushat Kalam) by going round the Velan Nagar area on all the thirty days in the month of Margazhi which is the most divineful month in the year (Lord Vishnu Himself becomes the month - Masanam Marga-sirso'ham rtunam kusumakarah - Bh.Gita 10.35). Thereafter we started Ekadasi bhajans covering one Ashtapathi per Ekadasi completing 24 Ashtapathis in a year culminating with Radha Kalyanam. Besides this we are regularly conducting Monthly Divyanama Bhajans in various houses and places. The Mandali celebrates Radha Kalyanam in a very grand manner every year. We visit houses and perform Bhajans, Divya Namams, exclusive Ashtapathi bhajans and Radha Kalyanams on request. We also honour requests from other mandalis and promote the cause very actively.

Sri Rama Navami

2010-03-24T11:07:00.003Z

Sri Morari Bapu quoting from Goswami Tulisadas Raam Janam, the famous stuti sung by Sri Morari Bapu in his ramkatha - On the Nine days of Vasanta Navratri in Chaitra Maasa, Lord Rama was born in Vasant ruthu (spring season)- Chaitra Maas, Navami Thithi, Shukla Paksha with all splendour and glory. The weather was as perfect as it can be and many auspicious.

As C.R says in the Ramayana - "A river or a hill, a tree or a cloud, indeed any object of beauty may raise one to contemplation of the Supreme Being and silent worship of Him."
Hare Rama Rama Rama Rama Ram Ram Ram, Sita Ram Ram Ram Sita Ram Ram Ram. Hare Rama Hare Rama Rama Rama Hare Hare!!

Puraanothammana Radha Kalyanam - Significance Exquisitively described by Sri Sri Anna

2010-02-18T13:18:00.084Z

Radhe Krishna! Having listened to the Harikathar Jayadevar Discourse Parts 1 and 2 by Sri Sri Anna countless times, I wished to transcribe a part of it word-to-word from Tamil (forgive any grammatical inaccuracies) about the description from the puranas on the significance of Radha Kalyanam in Sri Sri Anna own sweet words/ Sri Sri Anna described this in the later part of the discourse. In the Leelais described by Jayadevar, the Leelai most famous in Brindavanam is KandithAvarnanam. This Leelai is called Maana Leelai. This is an uthsavam called as Pranaya Kalaga Uthsavam (Mattayadi Utsavam) conducted during Phalguni Thirunal.

In Brindavanam, Nandagopan is getting ready to go and tend to the cows. Chinna Kannan being the favourite of his father says he also want to come. Nandagopan says "Do stay at home and be good. It looks its going to rain". But Chinna Kannan wont listen and he starts crying. He comes crawling and sits on his fathers lap. Then Nandagopan carries him in his shoulders and goes to the field and starts to tend to the cows with krishna sitting on his shoulders and holding onto the turban of Nandagopan. The cows are grazing. Suddenly Brinda devi with her Maya power opens the clouds. Then small pellets of rain also start to fall now. Then there is Thunder. There are lots of Thamaala Marams and there comes, small pellets of rain and thunders also start to pour. There were lots of Thamaala maram, usually Thamaala maram tree will always be black and it will give a lot of shade but under it it will be very dark, this tree grows only on the banks of Yamuna and Brindavanam and nowhere else. There are lots of Thamaala Maram and now due to clouds it becomes very dark as also due to the presence of the many Thamaala Marams. Nandagopan starts to worry that little krishna will become afraid. As he starts to think that he can go home quickly with the cows, the cows start to run helter-skelter. Nandagopan is not able to get the cows herded together. Also carrying little krishna, Nandagopan is not able to get the cows to come together. He asks Kanna lovingly, can you sit here for sometime, I will go and get the Go Kuttis together and come back. Be a good boy, he opens his turban and spreads it and makes little kanna sit on it and he goes away. Before he could drive the cows together, rain starts to splatter very heavily now. As the thunder and rain starts to pour, little krishna starts to cry and calls out for his father. As he cries, suddenly there was a lightning and a 12 year old Radha in avirbhuta swaroopam appeared. As Krishna in Rasa-Leelai appeared, in the same manner Radha appeared this time. She took Kannan in her arms and putting him on her hips she started to go. Nandagopan sees them from afar, he comes to take krishna actually. But when he sees Radha taking away Krishna he is satisfied. Radhe Griham Prapaye! Radhe Griham Prapaye! Radhe! Please take the child and leave him home. As Radha was walking on the banks of River Yamuna, a beautiful nikuncham as she watched the child krishna, Radhe says "Kanna! Give me a Divya Mangala Grihadarshan suited to me as your child roopam is the loved roopam of Yashodha and I want to see your Divya Mangala roopam. As soon as Radha says that, SAKSHAN MANMATHAM MANMATHAHA!!!. He stands before Radhe as a 16 Year old Krishna. Seizing this opportunity, Brahmadevan looking at this divya dampathi roopam, thought he would like to perform a Thirukalyanam then and there and then its purana story. Brahma comes there, Go Loka sakhis come, kamadhenu kalpakavriksham comes, devathas and devatha sthri come there. Radhakalyanam if its wished to be performed in an yEthoTTHamma way, then an yEthoTTHamana Vivaham (kalyanam) happened as is told in the puranas, its told in the purana reethi way also. yEthoTTHamma way is performed by Brahma devan called Vivaha Uthsavam. Notwithsantding this leelai alone, many many leelais of this kind were performed on the banks of River Yamuna. What Bhagyam has this River Yamuna done? On this basis Jayadevar started to write a beautiful story....Describing this Utsavam in the Gita Govindam and based on this foundation, in the mangala slokam of Gita Govindam, "Brahmavarthadi Brahmavaivarthadhi" which is mentioned in the puranas as a Radha Krishna Leelai and this is being told in a short manner. The events go like this. Lord Perumal would go away without telling Thaayar and not take Thaayar alongwith him. Thaayar would know where Lord Perumal went and when the Lord returns, Thaayar would not let Perumal inside. Instead Thaayar would tactfully say 'Those outside can be outside itself, while those inside can be inside itself'. Perumal would then be staying outside only. Only when NammAzhwar seeing Perumal told to stay outside would say yo Thaayar that this is not good, you should let Perumal in and can you do such a thing. Thaayar would always listen to NammAzhwar and only then would let Perumal inside. This Leelai is well known in Tamil Nadu in Vishnu Alayam Temple called Pranaya Kalaga Uthsavam (Mattayadi Uthsavam). This is a very rasamana uthsavam.

In the end of Part 2 also Sri Sri Anna says that Gita Govinda Kavyam mahimai was told in a dream by the Lord himself to the girl who received the ring (everyone will know this story) when she sang the Ashtapathi as the lord was very happy with the girl who sang the ashtapathis. Jayadevar then asks the king that he wants to perform marriage between his disciple and the girl who received the ring and mentions that their job will be to sing the ashtapathis.

These Ashtapathis are sung in Badrikashramam, Tiruvananthapuram, Guruvayur, Jaganathan (Need no telling). In Tamil Nadu in every village ashtapathis are sung and also in each and every radha kalayanams being performed. How many Radha Kalyanams are performed by so many bhakthas in Tamil Nadu! Such a melodious paddhathi (although jayadevar sang them), it was brought as the treasure to the bhagavathas only by Marudanallur sadguru swamigal, he was the one who gave us the Gita Govindam in a paddhathi form.

Gita Govindam if sang by itself is a Radha Kalyanam. There is no need to perform a Kalyanamam itself as a kriya. Its being done still due to the bhagavathars desire, even if its done as a Bhagavathar Sampradayam, Gita Govindam singing itself is a Radha Kalyanam according to Paranur Mahatma Sri Sri Krishna Premi Anna. Radha Kalyanam itself is a loka kalyanam, mangalam for everyone, this perumai is Jayadevars Perumai.

Upanyasam - Sri Vittaldas Maharaj

2010-02-15T16:00:00.008Z

The Sleeping place of Perumal is Ranganathaswamy, Srirangam (Swapan Range !!!)

The Waking place of Perumal is Varadarajaperumal, Kanchipuram (Yagrath Vidhi Sathashi)

The Standing place of Perumal is Tirupathi (Kanaka Brahmam) (Thithistannau Varshagiran Tirupathi Venkataramana)

The Bathing place of Perumal is Triveni Sangamam Allahabad (Ganga, Yamuna and Saraswathi confluence) (Prayage Samvajannau)

The Meditation (Japam) place of Perumal is Badrikashramam (Badrinath) (Atha Badhari Vijapannau)

The World office place of Perumal is Ayodhya

The Playing place of Perumal (perumal only signs in the office and works for short time:-) is Brindavanam/Dwaraka (Sadha Anuraktham Salilam Yadhapathu)

The Namam place of Perumal is Pandaripuram (Nama Brahmam)

The Eating place of Perumal is Puri Jagannatham. (Anna Brahmam)

Now there is an explanation about the food served in Puri Temple : (Jagannatha Bunjannau)

Drawn below is a painting by my daughter, Harini to depict the food cooked in Puri Jagannath Temple........Happy Pongal was depicted as well as it was on the eve of Pongal!

2000 years ago Sri Adi Shankara Bagawath Paadhal initiated 7000kg (7 tons) of rice to be cooked in the temple everyday. The temple were also to cook the rice in 7 mud pots. Everyday 7 new mud pots would be brought in and cooked with. Such is the greatness of the Puri Jagannath Temple. The 7 mud pots would be stacked up vertically one on top after the other. The mud pots will be broken daily after cooking same day and new pots will be used every day. They only use fire wood even now and the really great thing is that the fire wood at the bottom is used to cook all the mud pots from bottom to top.

Everyone in Puri are to accept food given by anybody who offers it to them. Food offered in marriages are none other than the prasaadham from the temple.

"Radhe Krishna" explained in Smt Vishaka Hari Meerabai Upanyasam

2010-02-04T12:12:00.001Z

We all offer salutations as "RadheKrishna" but do you know where this originated from, this is actually from the Meerabai charithram when Meera called out to a parrot with "Radhe Krishna". Radhe Krishna! Radhe Krishna! as the sadhus will say when singing, this Mahamantra was first and foremost taught by Meera Bai and that too to a parrot. This mantra told to a parrot has become famous worldwide. Meera with grains in her hands, calls out to the parrot. All the parrots would come in a bunch to take away the grains. Meera would seal her hand and tease them saying, 'I wont give you these. Tell Radhe Krishna, then only I will give". Without mentioning Govinda, we should not eat, that's what Meera bai is teaching the parrots. Miras chittam itself is a parrot it seems, where is the parrot flying - towards the lotus feet of Lord Giridhar.

"Meera ke prabhu giridharu nagara"

Hyagriva Laksharchanai Mahotsavam, Chettipunyam

2010-01-29T23:10:00.006Z

Dr Ananthapadmanabhachariar mentioned in todays Dinam Oru Divyanamam

The Four Gods to be worshipped for excelling in studies and education are:

hyagriva, dakshinamurthi, saraswathi and veda vyasa

Vedanta Desikar worshipped Lord Hyagriva and wrote lots of scriptures and obtained blessings and grace from Hyagriva Murthi. Yoga Hyagriva Murthi is in this kshetram which is Chettipunyam near Tambaram, Madras.

On February 7th, 2010 there is a Laksharchanai Mahotsavam

Children who are studying and preparing for exams and those seeking knowledge can obtain the blessing of Lord Hyagrivar.

Contact : 044-67456352, 27400836 for more details towards participating in the mahotsavam.

Celebrating 1000th Anniversary of Swami Koorathazhvaan (Srivatsangha Mishrar) Humility personified

2010-01-24T10:42:00.008Z

Om vaikuntaaya namaha

Om purushaaya namaha

Om pranaaya namaha

vaikuNThaH purushhaH praaNaH praaNadaH praNavaH prithuH

Near Kanchipuram, at Kuram in Hasta Nakshathram was born , the famous disciple of Ramanujar and the embodiment of bhagavat bhakthi. Kuratalwar, the intimate sishya of Ramanujar who had the utmost of humility and bhakthi towards the Lord.

When Kuratalwar who sacrificed his eyes away, went to the temple and everyone scoffed at him at why he has visiting the temple when he cannot see the Lord, Kuratalwar in his utmost humility responded that the Lord can see him and he will be blessed by the grace of Lord Ranganathar.

On February 6th, 2010 - Mylapore Fine Arts, Chennai 600004 Saturday Evening, there will be a 1000th Birthday celebrations of Kuratalwar. This also coincides with Dr Sri Ananthapadmavabhachariar 500 Episode of Dinam Oru Divyanamam on Jaya TV

For details contact - saran.mvaswani@yahoo.co.in, saran.mvaswami@gmail.com

February 3rd, 2010 - at Kuram, Kanchipuram Kuratalwar's Birthday CelebrationS

Also details about Sri Kuratalwar available at http://ramanujadasan.wordpress.com/2009/01/17/koorathalwar-thirunakshatram/

Cho Engey Brahmanan Part II - 15th December 2009 on Jaya TV

2010-01-14T17:14:00.024Z

http://www.channellive.tv/ http://engebrahmananserial.blogspot.com/.

Writing Vittal Namam

2009-12-28T13:33:00.005Z

Sri Vittaldas Maharaj recently mentioned in the Marghazhi Upanyasam that its the divine goal to write 100 crores of Vittal Nama "Vittal". So far accomplished is 20 Crores only. We would need to achieve 100 crores.

Guruji said that the method is to write is on an A4 Sheet containing 500 "VITTAL" Namas on one side and repeat the same on the other side of the same page. This will make "1000" Namas per sheet. This will make it easier for the organizers to count correctly and this request is mandatory. The naamas can be written in any

language.These naamas will be placed at the feet of lord Panduranga.

Please look at the sample Excel sheet attached for your convenience. The excel sheet is called vittal.xls.

Open Sheet -> Print Preview (Print area is all set) -> Print.

Xerox Copy One-sided Sheet to Two Sided and take as many copies as you need.

http://spreadsheets.google.com/ccc?key=0AtbWTZYqbCh8dG5FQktkUUNteE9BUUxZVGFyLVdjM3c&hl=en

The address to send completed Namam sheets is

ARUL NERAM

JAYA TV

P.O. BOX 3173

CHENNAI 600 032

Bhajan without Ramadasar

2009-12-28T12:25:00.005Z

There is no Bhajan witrhout Bhadrachala Ramadas Krithis.
Any Sampradaya Bhajans anywhere, Bhajan should always be started with offerings to Swami Bhadrachala Ramadasar by singing his keerthanams

Jai Janaki ramana
Jai Vibheeshana sharana
Out of the 5 Thodaya Mangalam, Bhadrachala Ramadas Krithis is the first.
The First 3 Mangalams (Annamacharya) are
1. Saranu Saranu surendra Sannutha Saranu
2. Murahara Naghadhara Mukhundha Maadhava

3. Devesa Gana Aaraadhitha Divyambhuja Paadhaa

Sri Andal and Namasankeerthanam

2009-12-06T20:03:00.001Z

Translated into English by listening to the Audio of "Andal Kalyanam Smt Vishaka Hari Upanyasam "

Namasankeerthanam Alaya Vazhipadu. Sri Andal also shows us the same way, ' Onghi Ulangalandha uttaman per padi '.

Translated into English by listening to the Audio of "Andal Kalyanam Smt Vishaka Hari Upanyasam ". Namasankeerthanam Alaya Vazhipadu. Sri Andal also shows us the same way, ' Onghi Ulangalandha uttaman per padi '

All Mahans have shown us that the only way attain the Lord is through "namam". Sri Andal also says the same, should we not sing the glory of the Utthaman?. Should we simply be praising the ordinary mortal whether he is famous or rich. We should not keep praising mortals. If we do sing or praise, we should do so about the glory of Lord Hari. "onghi ulangalandha uttaman paer padi". At this juncture Sri Anna would say, "Bali Chakravarthy who received land offered himself". Will anyone exchange oneself just for land. Ultimately the Lord offerred Bali Chakravarthy the riches of the riches, the Lord Himself. What will you get if you do Namasankeerthanam? What wont you get, asks Sri Sri Anna? The place where namasankeerthanam is conducted by itself will be subhiksham and pure. "Keshava Nama Keerthanamave va, Kalim Kalmashaharam subhadanimai va". The 30 Tiruppavai has been sung in sanskrit by Sri Anna, known as Godha Prabhandam. With some more grammar and interpretation the meaning has been told in sanskrit. Even if you cant sing, there is no need to worry, if you just have the mind for it, thats enough. if you know the ragam, sing it, if not just saying, "Vasudeva, Krishna, Madhava, Govindha", automatically forms Arabhi ragam with Adi Talam. Well, if you can sing with ragam, then sing "Vasudeva, Krishna, Madhava, Govindha, Vamana, Trivikrama, Padmanabhadeyethi, Keshava Nama Keerthanamave va, Kalim Kalmashaharam subhadanimai va". As we keep chanting harinamam, we get mental peace and best of all, loose talk or talk about others will be obliterated. We get silence, peace and solace. Sri Andal gives a list of things you get by namasankeerthanam. In a Month, rain should shower atleast 3 times. It is said that if you chant namasankeerthanam, exactly on the dot rains would be showered. uchithakalamithavrishtikaram...2 things associated with rain, it should shower at the right time and with the right amount. Not too less or too much. Too much will be "athivrishti". Too less will be "anavrishti". Both are intolerable. "mithavrishti" = normal rain. With a moderate amount of rain and saying "Guruvayoorappa" as they say in Kerala desham which is so subhiksham unlike TamilNadu. Only if it rains will there be growth in water and crops. "Onghu perunchennaludu kayal ughazha Thiruppavai.#3". Sri Anna jokingly says that if we chant namasankeerthanam, even the grain will rise to Trivikrama size. And you will get lots of milk, "Vangha Kudam Niraikkum Vazhallal Perum Pasukkazh". Where there is no namam, even if the cows are bought with lots of money, there will be only drops of milk not even a spoon. The cow will think, 'Taking this milk from me, this human is going to gossip, so why should I give". But where nama is chanted there will be pots and pots of milk obtained...rain, water, food, milk..."Neengadha selvam Niraithelro enbavai"..You will get unlimted riches and mind will be full. There is a bit of analysis here. Every dhanam will ultimately go from us, take for example: crores of money, but Neengadha Selvam is different, that is Bhakthi, Jnanam and Vairagyam (selvam), thats what Sri Andal is saying here. That satisfaction will beget with happiness when chanting namam..uttaman per padi. Sri Andal's Divya Vakhu, Divya Vani, Divya Parimalam. Sri Anna says, Tiruppavai grantham is equal to Upanishads. Upansihads will awaken all beings, Tiruppavai is also an awakening song but there is a difference, Upanishad awakens beings from aGnanam (ignorance) whereas Tiruppavai awakens us as well as Kannabiran (Lord Krishna). Sri Andal tells Lord krishna to awaken and give Abhayam to all, and coming to us, telling us not to be lazy always, eating and sleeping. Go and fall at the feet of Kannan. Acting as an intermediary, Sri Andal as a purushakaran, brings us and the perumal together. This is the meaning of Tiruppavai. What does the name 'Andal' signify? Sri Andal rules over us and thats why is called Andal. Ruling over us, she delivers us to Andavan (Lord). Similar to Azhwarghal, Andal's name has an unique significance.

Therinda Puranam Theriyadha Kathai - told by Kollam Grandmother

2009-11-15T13:22:00.004Z

Recently my Grandmother told me this. This is rare as this comes from the old times. Some of the Sutleties are really out there straight from the ancient knowledge and I would like to share this. In Ramayana, it is said that Kaikeyi actually wanted to send Rama to the forest out of her deep love for Rama, not withstanding the fact that she was subdued and tricked into doing this by Manthara. The Subtle fact here is that as part of the curse that Dasaratha received during his fateful hunting expedition, he would loose his beloved Raama just like how Shravanas blind parents lost their beloved son Shravana. Kaikeya who was so fond of Rama wanted to actually prevent this from happening and found that by sending Rama to exile, Rama would not be affected by the curse and would live to rule the Kingdom again. This is termed as Therinda Puranam Theriyadha Kathai in Tamil.

Pujya Morari Bapu says about 9 Forms of Bhakthi Kak Bhusundi Ram Katha

2009-11-15T12:44:00.008Z

MANAS KAK BHUSUNDI RAMAYAN KATHA, BHUSUNDI SAROVAR by Morari Bapu

SHRAVANAM KEERTHANAM VISHNOS

SMARANAM PADA SEVANAM

ARCHANAM VANDANAM

DASYAM SATHYAM

ATMA NIVEDANAM

Bhaja Govinda Govinda Gopala
Bhaja Murali Manohara Nanda lala
Hari Bol Hari Bol Hari Bol
Hari Bol Hari Bol Hari Bol

The Bhajana Sampradaya Trinities

2009-11-01T15:05:00.004Z

Sri Sri Sri Bhodendral, Sri Sri Sri Sridhara Iyyaval and Sri Sri Sri Sadguru Swamigal are the Bhjana sampradaya trinity acharyas. Sri Sri Sri Bodendral and Sri Sri Sri Iyyaval did Nama siddhantham. Sri Sri Sri Sadguru swamigal whereas framed the now existing Bhajana paddathi. It was Sri Sri Sadguru Swamigal who established the tradition of singing ashtapadis and concluding with the grand Radha kalyanam. Whole of his life he lived by
Unchavruthy. He traveled to every village, every city to spread the awareness of the Divine name. He gave the rama nama to everyone. His birth was almost a hundred years after Sri Sri Sri Bodendral. He visited Govindapuram and discovered the then hidden adishtanam of Sri Sri Sri Bodendral by the power of his Ramanama upasana. He is the aparavatharam of ramaavatharam. “It is Sadguru Swamigal who showed Bodendral to the present world. We are grateful to him”. His mutt now exists at Marudanallur. It is near Kumbakonam. His shishya parampara now occupy the peetam. Whoever come in this parampara is referred to as Sadguruswamigal.

Mahatma Gandhijis View on Namasankeerthanam

2009-11-01T10:02:00.004Z

Bapu's view on chanting sankirtanam - The Energy and power of Harinaam by a crowd is manifold than the energy of a battalion in an army.

Why RK is performed

2009-09-28T12:44:00.001+01:00

Radhakalyanam Why - We do kalyanam to get back from Bhagavan all the good things. Bindu Prathibimbha Nayayam - like a mirror we see the mark on our forehead on the mirror as well. Upacharams, dhravyams so it will come back 1000s of times. Brahma made RK for krishna. "Radha Mana Mohana Meghashyama mangala Dhama". Sri Brindavan if we go there, Sri Krishna Janmastan (place whjere krishna played in mud, krishna performed rasaleela). Darshan shown and told by guide in Hindi. The guide will tell us to laugh, why we laugh, till now what dukham we have will be gone now and no longer come. So we laugh there in brindavan - laughing therapy, so if the guide says we laugh, Jayadevar also showed that in unision we can obtain bhakthi by being in kudumbam.

Krishna Namam

2009-09-24T12:42:00.015+01:00

"Apanna samsritim ghoram yan nama vivasha grinan

Tatah sadya vimuchyate tad viveti swam bhayam."

Apanna—being entangled, samsritim—in the hurdle of birth and death, ghoram—too complicated, yan—what, nama—the absolute name, vivasha—unconsciously, grinam—chanting, tatah—from that, sadya—at once, vimuchyate—gets freedom, yad—that which, viveti—fears, swayam—personally, bhayam—fear itself.

Living beings, who are entangled in the hurdle of birth and death, even though too complicated, can get freedom at once even by unconsciously chanting the holy Name of Krishna which is feared even by the personified Fear.

Namasankeerthanam from the Ancients - Part 3

2009-08-29T23:08:00.007+01:00

I will transcribe the rest after listening to the remaining MP3 Audio when I get a chance!
Excerpts transcribed by listening to Sri Sri Annas Upanyasam - Ajaamilopaakhyaanam
From Bhagavatha dharma, many mantras were born. Bhagavatha (kalau khalu bhavishyanthi nArAaNa parAyaNah:kvachin kvachin mahAbhAgA drAmidEshu cha bhUrisa:thAmaraparaNi nadhI yatra kruthamAlA payasvinI kAvErI cha mahAbhAgA pratIcI cha mahAnadhI) dharma says that only in Kali Mahans were to come and that too in cauvery and dravida desham many were to be born.
Also Mahans came from Karnataka desham, Maharastra desam. The ancient rishis with their Divya Gnanam 1000s of years ago knew that Many Mahans will take avatars in the age of Kali. Among the Mahans who have taken avatars, the oldest ones were the Azhwars in Tamil Nadu. Mostly at start of Kali Azhwars were born after that many Mahans came into being. Azhwars sang only in Tamil. The reason they did not sing in Sanskrit was because they wanted to sing in the Pradesha Bhasham (common language) and not the Deva Bhasham (language of the Gods). When they sang in the Pradesha Bhasam then the common man could easily understand and grasp the meaning and thus conveyed the Bhagavannamam. Namazhwar Tiruvaimozhi mentions the seeking of the Krishna Charanam by means of a song, which is the foremost among all the Divya Prabhandams of the Tiruvaimozhi. In olden days the Divya Prabhandam was tested by Madurai Poets to check if its equal to the language of the Gods by 2 ways, tested by putting the prabhandam in the fire to see if it came out unscathed and then throwing it into the Viagai River and only then it was accepted. The famous song Kannan Charan adayanum...Narayana...is from the Tiruvaimozhi. Veda Swaroopam and in the Divya Prabhandam the Ramanama perumai is told. Azhwars were the first to bring this into the Pradesha Bhasham instead of the Deva Bhasham. In Sanskrit Deva Bhasha there are nearly 4,00,000 Count of Puranas there are only no people to read them. But in Pradesha Bhasham, Kerala, Karnataka especially the Dasarwazhs wanted only the name of the Lord - Krishna Enna Barade Eh Manuja.

It is said in ordinary life as living with family wife and children, even with your child on your lap you can say the Nama. It can be with a full stomach after you have had great delicious food, you feel satisfied you say krishna, its allowed. You dont need to fast or anything for this and there is no need for Japam, snanam or Upavasam. Annapaanagalu Thinna Krishna Ne ena barade..Oh Manuja..Like that this nama is said without any niyamam. Namasankeerthanam only is being told by the dasars of Karnataka - Purandaradasar, Kanakadasar, Vijayadasar, Gopaladasar, rangadasar etc. The Maharastra saints Namdev, Tukaram, Samartha Ramdasar all mentioned Bhagavannama perumai. Sant Gnaneshwar who was an avatar of Pandurangan himself said much about Bhagavannama perumai. Hari mukhe mhana, Hari mukhe mhana, punyachi ganana kona kari - Gnandevar says 'Keep saying Hari! Hari! from your mouth and get the Punyam. Purandaradasar said that the Bhagavannama Punyam cannot just be measured. Whatever chant you do, nothing is equal to saying Madhusudhana! 'Punyachi gana kona kari', means saying harinama cannot equal the amount of Punya that came from it.From the sastras, what does the sastra say "rig-vedo 'tha yajur-vedah sama-vedo 'py atharvanah. adhitas tena yenoktam harir ity akshara-dvayam" - A Person who chants the two words ha-ri is equal to the vedas. Vishnu Dharmam says that Nama is equal to Ashwamedha Yagam and Rajasuya Yagam and the obtained punyam from that.Many Theertha Yatras - Ganga, Gaya, Sethu, Kashi, Pushkara are equal to Hari Nama chanting. Many Many punyams are obtained from Hari Nama chanting, Itihaasas say. It is said 1 Nama to Krishna = 100 Ashwamedha Yagam. Even for 100 Ashwamedha Yagam we will get to become an Indra and live in Swargaloka only to come back to Earth again. However if you chant krishna Nama there is no rebirth, direct path to Mukthi.

Samartha Ramadasar a great Saint who spent all his life with rama nama says (He was Hanumantha Avataram) to chant rama nama only.Lord Rama will save us from all obstacles and danger.

Namasankeerthanam from the Ancients - Part 2

2009-08-29T19:02:00.022+01:00

Excerpts transcribed by listening to Sri Sri Annas Upanyasam - Ajaamilopaakhyaanam
The Rama Nama Manthram is the Taraka Manthram. In the Ramayana each arrow had rama nama on it. Many claim that Rama was born to kill Ravana. However Sarveshwaran need not be born into this world in order to do this. If this was just a sankalpam in Vaikuntum this could have been easily accomplished. Rama Avataram was mainly to destroy Ravana, no it wasnt. The Avatar was to bring the Rama nama in each person and be told over and over again. Rama nama is the rama-taraka-mantra, all mantras are contained within this mantra.
Even in the Manu Smrithi this is said, sarva mantram is inside the rama mantram. Maharishis knew this but the people did not know this. Rama nama is so simple to say and anything simple people dont like it. In Nature we see lots of such things, like for example you have all the flowers in your garden, yet you will go and buy flowers with difficulty. Purandaradasar said 'aa mantra ee mantra' dont say this and that mantra, 'Tharaka Rama Mantrave japiso eh manuja'. The Bhagavannama saved Sita as evidenced when Hanuman utters rama nama to sita. Rama nama saves Sita in the Ramayana. In the Mahabharata why did Lord Krishna help the pandavas so much, he was a messenger, charioteer, washed horses and what not and was always on the side of Pandavas and helped them, it was the power of the Mantra which was called out by Draupadi. Lord moved into tears on the cry of Draupadi. Mantra itself saved Draupadi in the Bharata.

Even today Akhanda Thara bhajan is happening mainly due to sadhu sangam. Has this come only from us, no mainly due to Rama sankalpam has been passed through centuries. What they performed over countless centuries are performed by us even today, why? mainly because of Rama sankalpam.

In all the 1 lakh grantas of the Mahabharata, Govinda is the mantra and the 24000 stanzas of the Ramayana Rama nama is the mantra.

('Sruti Smriti Puraneshu Rãmanãma Prakirtitam)

why only the deva bhasha knew Rama Nama and the ordinary people did not know. It was because the learned pandits did not tell it very openly as it was simple. The common people did not know the Mahima.

kalau nasty eva nasty eva, nasty eva gatir anyatha

harer nama harer nama, harer namaiva kevalam

In Kali, sarveswaran decided that there is no need of Deva Bhasha, its enough to chant the name of the lord. So the Lord himself came to avatar in the form of Nama and the chant of Namasankeerthanam came into being.

If we see, In the

Mantra Analysis of MAHABHARATHA = Govinda

Mantra Analysis of RAMAYANA = Rama
....To Be Continued and will write when I listen to other Parts soon...

Namasankeerthanam from the Ancients - Part 1

2009-08-28T23:04:00.024+01:00

Excerpts transcribed by listening to Sri Sri Annas Upanyasam - Ajaamilopaakhyaanam

Namasankeerthanam is famously described in the sastras and generally 'sruti smriti puranesu ramanama prakeerthitham' is mentioned in the Smritis meaning from the vedam, sruti, smriti and the puranas, Bhagavan namam is told in great detail. All our sins are dissolved with Rama Namam. In Upanishads also the significance of Bhagavannama is told for example in the Rama-Tapaniya and Gopala-Tapaniya Upanishad and also in the Kali-Santarana Upanishad.
Smriti which has come into being mainly to tell us the meanings from the sruti are called dharmasastras and these are our law books. The discipline of the smrithi has been described by Sri Vaidyanatha Dikshithar from TamilNadu. Reading each Smriti one by one and understanding the dharma, he prepared the collection of Smritis and this was called Smritimukthaphalam.This was also popularly called Dharmasastram.Vaidyanatha Dikshitar of the 17th century was from a village named Kandramanikkam in TamilNadu and then moved to live in Thiruvisanallur, a village where many mahans lived. The famous sadasiva bramendram studied and lived there. In the Bhajana Sampradayam, Sri Venkatarama Sadguru Swamigal was born here. Sridara Ayyaval was also from Thiruvisanallur. He was born in karnataka and lived in Thiruvisanallur. Ramabhadra Dikshitar born at Kandramanikkam village came to Thiruvisanallur. He was a famous Rama Bhakthar wrote many stotrams and was equal to Thyagaraja Swamigal. In the recent past, 100 years ago, Ramabhadra sastrigal propagated Bhagavath Bhakthi in a great way.Such is the significance of Thiruvisanallur.Thus Sri Vaidyanatha Dikshithar for many years substantially exposed Bhagavannamam in the Smrithis.Its an astonishing fact that even in Dharmasastra, Bhagavannama sankeerthanam has found such a prominence. Although Dharmasastra was mainly for Dharma, the Bhagavannama sankeerthanam has found such importance.From many smrithi stanzas the Bhagavannama has been brought out significantly.In the sastras there are a lot of ways in which sins can be removed by prayaschitams and as they are being told by Sri Vaidyanatha Bhagavathar, he mentions that Krishanusmaranam is the main way of deliverance from sins.There are many smrithi slokams is being extracted from Dharmasastra. Bhagavannama is extracted both from Vedas and the puranams. In the famous Bhagavatham also Ajaamilopaakhyaanam is an example.In the famous jeevanthiupaakhyaanam also the significance of the Rama nama Mahimai is extensive.....To Be Continued in this and other Parts soon...

Nama in Srimad Bhagavatam

2009-08-11T23:50:00.021+01:00

In Sri Sri Annas upanyasam of Srimad Bhagavatham - Part 33, Sri Sri Anna mentions in the Sashta Skandam of the Bhagavatham thus, 'Asked about the Karma Vichitram by Parikshith Maharaj, why there is no samam

in everything, like intelligent vs dull, rich vs poor...etc and why sarveshwaran established this form of Vichitram in the order. Suka answers, 'Each ones Karma made each of us different. But Nature wants everyone to experience and enjoy according to his karmas. So each one of us have to experience the karma designated for us in the respective forms. Parikshit did not get peace within himself and wanted to find whats the papa vimochanam he can do to get rid of this and he did not want to keep on experiencing the various papa karmas in every janma and wanted liberation. Parikshit therefore asked,' What is the Vimochanam? Srimad Bahgavatham Sashta skandam begins with this. The Answer is in the statement, ' Bhagavan Namam Irukke! Chanting Bhagavan Namam is the way. But there is a catch. Harinamasankeerthanam and Bhagavan Namam is a Big ratnam, a huge gift of God and not easily obtained and this cannot so easily be gained. Bhagavan Namam is there as a means provided by the Lord but you still need to obtain prayaschitam for all the papams gained in your life. Bhagavan Nama is only the kripa of the Lord. By his greatness and generosity Namasankeerthanam is given. But prayaschitam is different. This has to be done mandatorily. The Bhagavata Purana or Srimad Bhagavatam or simply Bhagavatam is one of the Epic proportions pauranic texts of Hindu literature, with its primary focus on bhakti (devotion) to the incarnations of Vishnu, particularly Krishna. The Sanskrit text comprises twelve skandas (cantos or books) and 13,216 verses by one count. The first nine books are about the different avatars of Vishnu, while the tenth and longest book covers the life of Krishna. The Bhagavata is a recounting of events by the storyteller Suta (Usgrashravas) to Saunaka and other sages assembled in the Naimisha Forest. As Suta explains, Veda Vyasa was feeling unsatisfied, even after he made divine knowledge available to humans by writing the Vedas and the Mahabharata. The sage Narada, in his role as intermediary between gods and men, visited Vyasa to inform him that his unease was because he had not yet described the highest goal of knowledge bhakti, or devotion to God and attained self realisation. Suta recounts the first recital of Vyasa's work, given by Vyasa's son Sukadeva to King Parikshit, the grandson of Arjuna. Parikshit, who owed his life to Krishna, was cursed by a rishi for being disrespectful and was given only seven days to live. Fasting by the banks of the Ganges River, and with Krishna no longer alive, Parikshit longed to hear of him. The Bhagavata introduces the life of Parikshit as background, thus bringing Krishna into the story, and is presented as part of Sukdeva's recital over the course of seven days. This also forms the basis of Kali attaining dominance and our need to chant Harinama as the path of salvation in the Kaliyuga.

Devotional Fervour - Erode Rajamani

2009-08-06T07:13:00.006+01:00

An Article from the Hindu on Ayyappa Bhajans

Erode Rajamani, hailing from a place called Kooniyur in Tirunelveli District in Tamil Nadu, Rajamani has a rare distinction of being a disciple of the doyen of Sampradaya Bhajan, Pudukottai Brahmashri Sanjeevi Bhagavathar. Rajamani creates a positive vibration amongst the participants of his bhajans and namaskirtans as sahitya, melody, bhava and laya fuse smoothly when he performs. Says Rajamani, "Sincerity and devotion have been the key factors in my success. Be sincere and devoted in whatever you do. These would take you to greater heights."

Please read Article from The Hindu

Kwik 'n' Easy Gita Slokas - by Harini Anand

2009-08-04T22:14:00.024+01:00

Chapter:2 Sloka: 38

Sukha dukhe same krithva labha labhau jaya jayau

sukha -happiness; dukhe - sadness; same - same; krtva - doing so; labha - profit; alabhau - loss; jaya - victory; ajayau - defeat.

Translation : Without Considering Happiness, distress, Gain or Loss, Win or Lose Do your Duty

Chapter:2 Sloka:63

Krodhath bavathi sammohaha sammohath smriti vibhramaha

smriti bhramsath buddhi naso buddhi nasath pranasyathi

Krodath bhavathi sammohaha - from anger comes desire

sammohath smriti vibramaha - from desire comes delusion

smriti bhramsath buddhi naso - delusions destroy the mind

buddhi nasath pranasyathi - from the loss of a good mind one's entire body feels defeated

Chapter:3 Sloka:14

annath bhavanthi bhutani parjanyath anna sambhavaha

yajnath bhavathi parjanyo yajna karma samuthbhavaha

annath bhavanthi - From Grains (Annam) grow

bhutani - the material bodies

parjanyath - From Rains

anna sambhavaha - Grains are produced

yajnath - From Yajna

bhavathi parjanyo - Rains come

yajna karma - duty of sacrifice

samuthbhavaha - is born

Chapter:10 Sloka : 35

Brhath sama tatha samnam gayathri chandasam-aham

Masanam Marghasirso-aham rutunam kusumakarah

Brhath sama tatha - Also the Brhath sama (Sama Veda songs) I am

Gayathri - Gayathri Hymns

Chandasam - All the Poetry I am

Masanam - Of Months

Marghasirso aham - December-January I am

rtunam - of Seasons

kusumakarah - spring

Translation : Of all songs I am the Gayathri Hyms. I am all poetry. Of all months I am (Margazhli) December and January. Of all seasons I am Spring season.

Bhajans for Children - Bhakti Mala by Udayalur KB

2009-08-04T12:30:00.011+01:00

YouTube http://www.youtube.com/watch?v=IkAutlCUWEg
Click on this Link

Gyaneshwar Charithram (Part 1) - Ekadasi Upanyasam (20.05.09)

2009-07-27T08:32:00.008+01:00

Sri Sri Anna Upanyasam at
Brahmasabha Link to Upanyasam

"Ekadasi" Bhajans and their Significance

2009-07-19T14:42:00.014+01:00

Ekadasi is the eleventh day of every lunar fortnight. Ekadasi is a Sanskrit word, which means 'the eleventh' day. Ekadasi occurs twice in a month, in the Valarpirai and Theipirai (the moon's starting and diminishing periods). Based on this moon calculation and taking into account Pournami (Full Moon) and Amavasya (New Moon) on these periods, Ekadasi falls on the 11th day. On this day we have to be without eating.

This day is a day dear to Lord Vishnu and is to be spent on meditation and Dhyanam of Sriman Naarayana. This day is specially meant for Bhajans, harinamasankeerthanam, hearing religious discourses and performing pujas. Ekadasi Vratham is the observance of suddha Upavasam (total fast ) on Ekaadasi tithi. We can experience this in the Vaidya Sashtra reethi as well.This is why a minimum austerity in the form of fasting twice a month on the days of Ekadasi has been told in the sastras. We have food for nearly 15 days in a month. Monthly twice Ekadasi comes. So these two days are meant to give a rest to our stomach basically been prescribed for the people of Kali yuga, the indriyaas and to keep us healthy. So thats why there are 2 days of Ekadasi in a month. What if we can’t fast on that day, well, our forefathers have thought of that too. Although our forefathers laid our procedures in the sastras, they have been careful to let us know what we can do if we cannot follow the procedures as well. if we cannot do a full fast, options have been given. Whole rice is not to be eaten on the Ekadasi day. Instead rava, sojji, some have kanji, some have fruits, Cut Fruits, Milk, Butter milk, Juice and nuts once only on that day. But on no account on Ekadasi day, whole rice has to be consumed. For old people, Children below 14 years, pregnant ladies and those who have health problems have been given procedural exceptions by the sastras. Every aspect such as this has already been thought out by our progenitors and suggestions are provided. For those who can maintain strength in their body should fully fast. For those who cannot fast fully, they can have Kanji, small eatables, but the main idea being not to fill the whole stomach on this day. Once again importantly Whole rice should not be eaten. All this is for our good and has been dictated by forefathers and on Ekadasi day we need to observe this. The same sastra which told us not to eat on the 11th day, the following day 12th day, Dvadasi on the correct time we can start eating stomach full.

Dvadasi vratham is the start of the fast on the night of Dasami tithi on both sukla and Krishna paksham ( waxing and waning moon fortnights ) , observance of the full fast on Ekadasi day and breaking of the fast on Dvadasi day BEFORE the end of the Dvadasi tithi is the correct procedure.

One is fortunate to be in the Udipi Sri Krishna temple on a Ekadasi day.

Ekadasi Calculator : at http://www.ahobilamutt.org/us/services/ekadasi/ekadasi01.asp

Sources :

Ekadasi and why do we need to follow - Dr Ananthapadmanabhachariar in Jaya TV

Ekadasi Namam

2009-07-19T08:36:00.005+01:00

Sri Sri Anna picks his most favorite among the many Namam of Sri Bhagavan in Ekadasi Upanyasam last evening. http://www.paranur.org/first.htm

Sadguro Rakshamam Parama Dayalu Pahimam

Sadguro Pahimam Parama Dayalu Rakshamam

Source : Brahmasabha

The Simplicity of chanting Nama - Sri Hari Anna

2009-07-16T08:46:00.008+01:00

Acharyal Sri Hari Anna gives his signature message on the simplicity of Nama Sankeerthanam.

A rough translation of the message follows:

Sastra specifies many deeds to reach Him, including Yoga, Jnegna, Tapas and Vedanta discussion. But one needs to be qualified for such an undertaking. Yoga needs mind control, Tapas needs sensory discipline and Jnana needs the body-soul distinction. But there are enlightened souls who reached Sri Bhagavan via such paths: Dhruva through Tapas, Jatabharatha by Yoga, Prahalad using Jnana, Ambarish by fasting on Ekadesi. But the most apt means for us in Kali Yuga to reach Him is Nama Sankeerthanam. It is simple, applicable to all nations at anytime, and anyone can practice it.

Power of Harinamasankeerthanam

2009-07-15T11:36:00.007+01:00

Of all the the nine forms of bhakti, basically sravanam (hearing) and keertanam (chanting/singing) are the best as they have great potency to deliver Sri Hari and produce the divine love for Him. Of these nine practices, harinamasankeerthanam is the best. By chanting the holy name one very easily obtains the priceless treasure of Krishna Prema. The Chaitanya Mahatmiyam states that of these nine ways of devotional service to obtain love of God, the foremost is harinamasankeerthanam. One who chants nama readily without hesitation surely achieves the divine love or paada of God. No Form of Bhakti amongst various other forms such as visiting temples, company of sadhus, performing seva to idols, listening to harikatha is complete without Harinamasankeerthanam. Namasankeerthanam is the best and foremost of all spiritual practices for attaining
Lord Sri Hari’s mercy and thereby driving us away from the effects of all our sins. If the other practices of bhakti are helpful to it, they can be accepted as well. Harinamasankeerthanam is more powerful than all the other Nine forms of bhajana (nava-vidha-bhakti). There is no difference between Nama (the holy name) and Nami (Bhagavan, who possesses the name). As one continues to chant, one also sings and tells of the leelas of krishna and by basking in the throes of the krishna leela one experiences divine bliss, by performing Archanam and Vandanam (Krishnam Vande Jagadgurum). But if you just chant Radhe Radhe Radhe Radhe...Radhe Govinda, Radhe' Govinda Brindavana Chanda you will become filled with ecstacy and intoxicated with the divine ambrosia and completely forget your identity and offer yourself to the divine thus making you and the divine as one.Such is the power of HARINAMASANKEERTHANAM

Sri Vittaldas Maharaj

2009-07-14T15:51:00.010+01:00

Radhe Krishna. Ramakrishna Hari. Panduranga Hari.
Sri Vittaldas Maharaj and JAYA TV are doing a wonderful great service by giving peace to the modern man and help build a better civilization. The task is enormous but its happening at a rapid pace as is evidenced by the huge crowd of people thronging at Krishna Gana Sabhas and Nagarasankirthanams. Sri Vittaldas Maharaj is getting people to awaken by coming out to them, what more can Mahans do. People are starting to realize and thats a good thing.
Sri Vittaldas Maharaj is a great activist and very enthusiatic and gets the crowd moving into the state of bliss. The Marghazhi Utsavams, namasangeerthanam and Bhakta Vijayams, pravachanams and Abhangs, whatever telecast on JavaTV is to be savoured every moment and these were such blissful experiences for me and my whole family. We lived with Lors Panduranga all the Marghazhi days which we felt was a blessing. The voice of Sri Anna and all the Abhang bhajans and Panduranga leelas are still vibrating over and over again in our minds mesmerizing us with the leelas. No such leelas as the Panduranga leelas can have such emotions and the accompanying Vittala Bhajans, namasankeerthanams made that all the more divine. With all the blessed technology audio/video at our disposal it is the good karma to be able to see Vittaldas Maharaj and one by one things started happening by the grace of Lord Vittal. Everytime we switched on, we would be blessed with either a JAYA TV report on Pandaripur or a Video on Youtube giving us Vittal Darshan at Pandaripur or we would get a picture of Lord Vittal and and what not. We just started to accept this. It was telephathy in action really and information we sought with our minds would just flow and this really is a great experience. It gave a feeling of a kalyanam or a utsavam when the bhajans start wherever we aremily celebration. Guruji's pravachanam and namasankeerthanam is full of bhakthi rasam, especially about Gora Khumbar one would be moved to tears. When Guruji speaks, my daughter listens with pin drop silence and that is something amazing when at her age I would not have had that concentration, such is the power.A Guru / Mentor from outside is always required for a child, to nurture / fine-tune their future. And, When it comes from Guruji, its like getting milk with honey.The temple construction is going fine at Govindapuram and it will be a great day to see so many devotees just like in Pandaripuram.To be at Govindapuram will be a lifetime experience for me. I am very very happy about the fact that atleast at this stage of my life I am getting these opportunities to listen. I am blessed. Every time when I am listening to Anna's Bhajan or Pravachnams, there is a divine feeling and the Bhajan themselves take us away from worries. Radhekrishna!!!May Anna be blessed with long and long life and strength to give discourses and sing Abhangs.

Significance of Gita in Pandaripuram

2009-07-05T22:35:00.009+01:00

It is said that warakaris (pilgrims) inside the Pandaripur temple perform 700 sashtanga Namaskars starting from dawn until night. These namaskarams correspond to the 700 slokas in the Bhagavad Gita. Such is the significance of this divine ritual.
VITTAL VITTAL VITTAL VITTAL......
VITTALA VITTALA VITTALA VITTALA
VITTALA VITTALA VITTALA VITTALA
VITTALA VITTALA VITTALA VITTALA
VITTAL VITTAL VITTAL VITTAL......

The Small Disciples of Sri Vittaldas Maharaj

2009-06-30T11:11:00.008+01:00

To See the Small and Divine Disciples of Sri Vittaldas JKD amongst the group who accompany Vittaldas on the stage, one cannot just describe who they admire more or less. All contribute to the Vittala Panduranga divinity on the Stage thats bestowed upon us by Sri Vittaldas fondly known as JKD by Bhaktars. Those two small kutties who sing
ashtapathis, abhangs and what not, Sri Krishna Das Anna who sings along with JKD, Gokulnath and Srinath (Sri Vittaldas JKD's gifted Sons) and the Special Child who is a fan of JKD Anna, its the entire bunch of children who are with anna who are all blessed and gifted. This special child is the son of Brahmasri Rajagopala Ganapadigal, editor of Vaithikasri.

Sri Gyaneshwar's and Sri Namadevar's Theertha yatra Upanyasam by Sri Sri Anna

2009-06-30T10:56:00.007+01:00

Sourced from a brahmasabha post all credits to Author:

"Darshana Deva Sadhavaha" - Sadhus are Pratyaksha Devas; Where there is hari-katha, where there is sathsangam, there is present all the theerthas; so there is really no necessity to go on a theertha-yatra; but still it is a common practice in India for people to take theertha yatras to the many punya kshetrams present in India.

Once Sri Gyaneshwar got a desire to go on a theertha yatra, that too WITH the great Sadhu like Sri Namadevar - just like how Sri Sri Anna's devotees desire to go on a pilgrimage WITH Him - the experience of going along WITH a sadhu is much more enriching than otherwise; Sri Gyaneshwar came to Pandaripur to request Sri Namadevar to accompany him.

With a lot of resistance from Sri Namadevar as well from Lord Panduranga, as they did not wish to be separated from each other, Sri Gyaneshwar finally managed to coax Sri Namadevar to go with him on a theertha yatra. They left, chanting Vittal-Vittal throughout (Sri Sri Anna jokingly commented here that he likes to take a train journey rather than a plane journey on a pilgrimage, since the chugging of a train sounds just like "Vittal-Vittal-Vittal"!).

In Hastinapur, a mlecha brings a cow in front of Sri Namadevar and strikes the cow dead and challenges Sri Namadevar to prove that his Lord is really great. Sri Namadevar who has great faith in his Lord, promises that the cow will be revived in 3 days. He then starts doing namasankeerthanam. On the third day, the cow suddenly moves and makes a Moo sound. Lord Panduranga appears next to the cow and gives darshana as "Muralidhara". Sri Namadevar hugs Him and chides with Him as to why He took so long to come to his rescue. The Lord says he's a Bhaktha Vatsala and intently listens to His devotees. Since Sri Namadevar had promised that the cow would be revived after 3 days, hence He appeared after 3 days!

Sri Gyaneshwar and Sri Namadevar proceed further and pass through the dry deserts of what is now known as Rajasthan. Sri Namadevar falls down with fatigue. Sri Gyaneshwar is very worried seeing the plight of Sri Namadevar. Sri Namadevar advises him not to lament but chant the name of 'Vittal'. The Lord hears and whisks His chakram, which comes and strikes the ground near Sri Namadevar; water sprouts out and Sri Namadevar is revived and they continue on their journey.

They arrive at Kashi and meet with Sant Kabir Das. Sri Kabir Das joyously welcomes them and joins them in their Bhajans. His dharma-pathni notes that Sri Namadevar and Sri Gyaneshwar might be hungry and requests her husband to make arrangements for their meals. The poor Sri Kabir Das runs to a nearby merchant to purchase groceries to make roti's. The merchant initially refuses to loan anything to Sri Kabir Das but finally agrees to sell him the groceries only if he can trade his wife for the same. Sri Kabir Das does not hesitate to do this. Finally, Saakshath Lord Rama and Lakshmana in the guise of policemen come and rescue Sri Kabir Das's wife from the merchant.

Sri Gyaneshwar and Sri Namadevar proceed further on their journey and arrive at Sri Vaidyanathar kshetram and pray to Lord Shiva to give them Nama-Ruchi. Shiva Bhaktas there cannot withstand the Hari-keerthan of Sri Namadevar and Sri Gyaneshwar and drive them to the rear side of the temple. After the daily pooja of the temple is done and the priest left for the day, Shiva could no longer withstand his eagerness to listen to Hari-Bhajan. Shiva is known to have a large Pariwar (consort Devi Parvati, His two sons, Nandikeshwar, the 63 Nayenmars, etc). Instead of taking His whole family to the rear side of the temple, Shiva just decides to turn the direction of the temple itself so He and His family can enjoy the Hari-Keerthan of Sri Gyaneshwar and Sri Namadevar!! Temple priests the next day, witness this miracle and come to understand the greatness of Sri Namadevar and Sri Gyaneshwar.

Finally Sri Gyaneshwar and Sri Namadevar return to Pandaripur. Sri Namadevar expresses his eagerness to reunite with his Lord, just like how a Chakravaka bird eagerly waits for the rains. The Lord Himself comes to the banks of Chandrabhaga river to welcome back Sri Namadevar. Devi Rukmini does Aarathi and welcomes Sri Namadevar back.

Lord Panduranga suggests to Sri Namadevar and Sri Gyaneshwar that they perform a "Samaradhane" (concluding ceremony) to commemorate their successful completion of their theertha yatra. The Lord Himself, in the guise of a rich merchant, arranges and conducts this ceremony.

Many Brahmanas are invited. Among the other invitees are Kabir Das, Rai-Das, Rakha Kumbha, Sena-nai, etc. The brahmins are displeased seeing the host (the rich merchant a.k.a the Lord) mingle freely with mlechas and other low caste people.

Finally the Lord reveals the Poorva-Roopa of the elite invitees there to the brahmanas. Namadevar is none other than Uddhava; Gyaneshwar is none other than Lord Vishnu and so on. The Lord teaches a lesson to the brahmanas not to differentiate between people of different castes.

Sri Sri Anna concluded the Upanyasam with a key message to us - Lord Panduranga is present in a dog, a donkey, a mlecha, a Dalit, etc. Sri Sri Anna said "Learn to see the Lord in all".

Sathguru Maharaj-ki Jai!!

Jai Sita Ram!! Jai Radhe Krishna!!

S Soumya - Nalam Tharum Navagrahangal Download

2009-06-24T16:21:00.005+01:00

Download Link: Nalam Tharum Navagrahangal Track List
ANDAVELIYENUM
MANDIRA NILAVE
ETTU THISAIYILUM
PON KIDAITHAALUM
URUVAAGUM
SURARKALUKKUM
ELLAALAE THIRIYAMAITHU
KANKALUKKUM
VAANAGIRIYAAM
The tracks are not split in the two mp3 files 01 and 02. The separate tracks split identifying the graha concerned in the .rar file, if anybody wishes to have.

About Pāpanasam Sri R. Ramani Bhāgavathar (Also present Shenkottai Kalyan)

2009-06-20T07:41:00.003+01:00

Papanāsam Sri R.Ramani Bhāgavathar is the grandson of Sangeetha Kalānidhi Brahmasri Pāpanasam Sivan,the great composer and Vageyakara of the 20th Century. Sri Ramani Bhāgavathar underwent training in carnātic music from his childhood & in regular contact with all the three Bhajan mutts (Govindapuram,Thiruvisai Nallur & Marudhānallur) in Southern India. Since 1964, he has been conducting Dakshina Bhāratha Sampradāya Bhajans and is closely associated with
Pudukottai Sri Gopala Krishna Bhāgavathar, Sri Sancheevi Bhāgavathar, Aranā Sathsangam, Kalaimāmani Sri Pithukulli Murugadās, Brahma Sri Pāpanāsam Kunjumani Bhāgavathar & Sri Gnānānanda Bhajan Mandali etc. Apart from all the major cities in India, he has travelled widely in USA, Singapore etc... and conducted a number of Nāma Sankeerthanams, Rādha Kalyānams, Sita Kalyānams & Thirupugazh Bhajans. His specialization is on Oothukādu Sri Venkatasubbaiyar’s Rāsapadam (Sri Krishna Gānam) & Pāpanāsam Sri Sivan’s compositions. He has released number of cassettes & CDs on Sri Krishna Gānam, Marāthi Abhangs, Sivā Ashtapathi etc. Recently May 09 ’09, Sri Kānchi Kāmakoti Peetam Sri Jayendra Saraswathi Swāmigal released Sri Ramani Bhāgavathar’s CD titled ‘Sri Bhodhendra Charanāmrutham’. He is a graded vocal artist of Chennai AIR/Doordarshan, India. He has been honoured with awards and titles like ‘Sri Kanchi Kama koti Peetam Asthana Vidwan’, ‘Bhagavatha Rathnam’, ‘Nama Sankeerthana Sāmrāt’, ‘Rāsa Geetha Premi’, ‘Isai Gnāna Thilakam’ etc… Sri Ramani Bhāgavathar is the founder of Sri Rādhā Krishna Sankeerthana Samājam, Chennai, South India.

Radha Kalyanam with Unchavruthy in the US - Bloomington, Illinois

Pictures at http://chennaionline.com/Religion/Temples/July09/CelestialWeddinginUS-slide.aspx?mid=1

Detailed Account at http://chennaionline.com/Religion/Temples/July09/14Celestial-Wedding-in-US.aspx

Govinda Nama Rakshamam

2009-06-11T23:15:00.002+01:00

Mother Draupadi sang this song when she beeing disrobed.
"Shanku Chakra Gadha Panim Drwaraka Nilaya Achuda
GOVINDA pundarikacha Rakshamam Saranagatha".

About Sornakadu Sampradaya Bhajan - Palm Leaf Manuscripts

2009-06-10T09:30:00.007+01:00

More about this at http://sornakadu-rama.blogspot.com/.
Sornakadu sampradhaya Bajan in palm leaves 9 0f 15

Two hundred years ago, Sri.Mookkudi Sivarama Iyer wrote down the Sornakadu Bajan sampradhayam for his personal reference. This was written on palm leaves, in Tamil Grandha Lipi (script) ...Read more about this enhanching place Sornakadu and its greatness...

Bhajan Profile of Sri.R. Ramakrishnan

2009-06-09T20:06:00.000+01:00

Sri. R. Ramakrishnan is quite devoted in DAKSHINA BHARTIYA BHAJANA SAMPRADAYA. He learnt bhajan in the traditional guru- shishya parampara from his father Bhagwatha Ratnam & Bhagwatha Siromani Saidapet Sri.S.Rajagoapala Iyer from birth. He learnt the basics of bhajan from his guru and by attending various bhajans in his childhood with his Guru. Sri. Ramakrishnan has performed and accompanied in bhajans with stalwart like SRI. HARI, SRI.PUDUKOTTAI SRI GOPALAKRISHNA
BHAGAVATHAR and SRI.ANNAJI RAO, Father of Shri.Haridoss and Shri.Krishna Premi Anna the great pioneers of DAKSHINA BHARTIYA BHAJANA SAMPRADAYA in the recent past history. He has been performing bhajans for the past 40 years and has performed bhajans in almost all cities in India to name a few - Kanchipuram, Sringeri, Chennai, Madurai, Pune, Bangalore, Ajmer, Jaipur, Goa, Delhi and Mumbai and also in the Gulf area like Dubai and Abu Dhabi. Sri. Ramakrishnan's extreme knowledge of the DAKSHINA BHARTIYA BHAJANA SAMPRADAYA caught the attention of the Acharyas of both Sri. Kanchi Kamakoti Peetam and Sringeri Sharada Peetham and he have performed bhajans in front of them on various occasions. With their blessings he has authored the following books to spread the BHAJANA SAMPRADAYA. & BHAKTI CULTURE.
Valli Devasana Kalyanam
Sri Guru Guha Bajanamrudham
Sri. Radha Bajanamrudham
Sri Gita Govinda Rasamrudham
Kandhar Anubhooti:
Adhi Sankara’s ‘Subramanya Bhujangam’
Divine Kalyana Bhajans
RadhaKalyanam
Seetha Kalaynam
Padmavathy Kalyanam
Andal Kalyanam
Meenakshi Kalyanam
Siddhi-Buddhi Vinyaka Kalyanam
Poorna Pushkala Ayyappa Kalyanam
Rukmani Kalyanam with Tharangam

He is also regular contributor to Kamakoti Amara Bharati Magazine etc. and has written serials on Kandan Anubhoothi and Jaya Deva Gita Govindam and spiritual articles on special occasions. Sri. Ramakrishnan is well known for his sweet delivery of bhajans and he is an expert in performing various Bhajan Kalyana Utsavams, rendering of Thirupugazh, Abhangs etc. He performs bhajan through out the year and regularly performs various Kalyana Utsavams. It will not be an exaggeration to say that he is one among the Bhagwathars to know Kamakshi Ekambaranath Ashtapathy and has made it a point to sing it at any Sankara Mutt near by his place of stay on Devi Kamakshi's Jayanthi - Aaippasi Pooram and on Siva Rathri. This rendering takes six hour. The Acharyas of Kanchi likes this Ashtapathy very much and printed copies of the same to distribute it to devotees. Sri. Ramakrishnan is a Civil Engineer by profession; he is playing a great role in taking Indian Highways to International Standards

MarghaZhi Month and Namasankeerthanam

2009-06-06T14:40:00.008+01:00

Of Srivilliputthur, it is said: "Godhai piranthavoor Govindhan Vaazhumoor". Here He came and wed her and stays there even now in His father-in-law's house as RangamannAr. On a Eka Peetam, he lets us enjoy his SubhAsrayam with his dear Godhai and Garudan. It is important therefore for us to reflect on the greatness of the name of Govindhan and engage in Govindha Naama Sankeerthanam on the 8th day of MarghaZhi and reminds one of the Lord's Ashtakshara Manthram.

Margazhi Namasankeertanam

2009-06-05T17:51:00.004+01:00

It is familiar to see in the month of Margazhi Namasankeertanam groups going around the streets in the wee hours singing bhajans. This is believed to be God's own month, Lord Krishna has confirmed in the Bhagavad Gita. There is yet another interesting interpretation of why so much of Bhajan singing takes place in the month of Margazhi.
It is believed that one year for human beings is one-day for their celestial counterparts. Their day coincides with the six-month Uttarayana period (mid-January to mid-July) and their night with the Dakshinayana (mid-July to Mid-January). Thus, the most auspicious period before dawn in the celestial scale, the Brahma-muhurtam, coincides with Dhanur masam on the Earth. What can be better than singing the glory of God during this month? It so happens that the weather in South India at that time is also most salubrious and conducive to such pious activity.

Sri Vittaldas Maharaj @Krishna Gana Sabha

2009-06-05T00:52:00.009+01:00

Source from an Article which appeared on The Hindu

GOING TO Krishna Gana Sabha at seven on Marghazhi mornings seems hardly daunting for the huge crowd of bhajan rasikas gathering to listen to the Hari Nama Sankeertan by Sri Vittaldas Maharaj from Govindapuram. The ongoing two-hour bhajan session of Sri Vittaldas and his 10 young students, which brings in facets of Narayana Thirtha's `Krishna Leela Tarangini,' will be on till January 1. (7 - 9 a.m.).
Clapping hands in unison with the beats and swaying their heads, the packed audience reverberates with "Vittala Vittala Panduranga" sung on stage. It is a familiar morning scene at the sabha here this season. "This is the seventh successive year of my pravachana and sankeertan at the Krishna Gana Sabha, and it is heartening to see thousands of people coming in so early, although we know that throughout the country audience for such spiritual sessions is dwindling," says Vittal Das Dikshitar. Belonging to the family of pravachana specialist Anantarama Dikshitar and being the son of Vadagudi Rama Dikshitar, Vittal Das has students aged between seven and 15 who live in his gurukulam, at Panduranga Bhajanashramam, in Govindapuram. They are disciplined to adopt a life of spiritual and philosophical ideologies. "Veda Adyayanam, Sanskrit Gnana, and Basha Gnana have always remained the ashram's principal common denominators for teaching the Bhagavatham, Namasankeerthanam and Ramayana. These are daily lessons for children to nurture their supple minds with knowledge," he says. For children at the gurukulam who have come from different regions as Tirupati, Srirangam Madurai and Veppathur near Kumbakonam, "The minimum 10-year study also extends to all the places I visit for my spiritual sessions ... it is theory at Govindapuram and practical accompaniment on stage during the tours," says Vittal Das. Even as several spiritual experts voice concern over lukewarm attempts to encourage young minds to take to sacred scriptures, the effort of those like Vittal Das Dikshitar will go a long way in leading young minds in a positive way. It not only acclimatises the students to a journey that leads them to a regimented life of devotion, but as Sanskrit is given top priority, "it helps them in understanding other Indian languages, and also the works of famous composers," says Vittal Das Dikshitar. "Namasankeerthanam is a lively assortment of lecture and music to the accompaniment of the harmonium, mridangam and tabla wherein mythological tales are spun with anecdotes. Kritis in several languages by scholars and saints as Jayadeva, Narayana Thirthar, Bhadrachala Ramadas, Purandaradasa, Sadasiva Brahmendrar, Tyagaraja, Kabirdas, Meera, Namdev, Tukaram and Gyaneshwar are included to take the listener to higher realms of satisfaction," he adds.

Parshva Ekadashi Mahatmya

2009-06-04T22:03:00.003+01:00

The glories of Parshva Ekadashi which is also known as Parivartini Ekadashi or Vamana Ekadashi is described in Brahmavaivartha Purana in the conversation between Lord Krishna and Maharaj Yudhisthira.
Maharaj Yudhisthira asked Lord Krishna what is the name of the Ekadashi which occures during the waxing moon in the month of August/September. How one should observe this Ekadashi and what is the merit one obtain by observing it? Please explain to me all these in details.

Lord Krishna replied O King! the Ekadashi which occures during the waxing moon in the month of August/September is called Parshva Ekadashi. This Ekadashi is very auspicious, it awards one liberation and takes away all ones sins. Just by hearing the glories of this Ekadashi all the sinful reactions of a person is vanquished. The peity one obtains by observing this Ekadashi can not be obtained even by performing Vajapeya sacrifice. This Ekadashi is also known as Jayanthi Ekadashi. One who worships Lord Vamana Deva with devotion on this day, he is worshiped by the inhabitants of the three worlds. A person who worships the Lotus eyed Lord Vishnu with a lotus flower undoubtedly goes back to the abode of the Lord. On this Ekadashi the sleeping lord turns from left side to right side. That is why this Ekadashi is renowded as Parshva Parivartini (Changing sides) Ekadashi.

Maharaj Yudhisthira said O Janardhana! Inspite of hearing your description I still have some doubts. O Lord of lords! How do you sleep and how do you change sides? What are the proceedures for observing the vow of Chaturmasya? What should people do when you are sleeping? Why did you bind Bali Maharaja with roopes? O my Lord! Please describe these to me in detail and remove my doubts.

Lord Krishna replied O Lion like King! There was a great devotee of me named Bali in Treta Yuga. Although he was born in a demoniac family he regularly worship me and offered various prayers. He also worshiped the brahmins and performed sacrifices. Soon he became so prominent that he defeated Indra the king of heaven and conquered the heavenly planet. Then Indra along with the other demigods and the sages approached me. By their prayer I assumed the form of a dwarf (Vamana) and went to the sacrificial areana of King Bali dressed as a small bramachari.

I asked Bali to give me three steps of Land in charity. When Bali requested me to ask for some thing more after hearing my demand for only three steps of land, I exhibited my determination to remain satisfied with what I asked . Without further consideration King Bali and his wife Vindhyawali gave me a the steps of land in charity. Due to being the supreme personality of Godhead Lord Vamanadeva gradually began to expand His body with his one step He covered the seven lower planetary systems and with his second step He coverd the entire planetary system. He Also covered the entire sky by expanding His body. When Vamana deva asked for the place to set his third step King Bali offered his head with folded hands. Then Lord Vamanadeva placed His third step on the head of the King Bali. Being fully satisfied by his humility I blessed him that I will constantly live with you.

On the day of this Ekadashi which occures during the waxing moon in the month of August/September a deity form of Vamanadeva was installed in the residence of King Bali. Another form of mine has been established in the bed of Anantha sesa in the ocean of milk. The Supreme Lord sleeps for four months begining from Sayana Ekadashi upto Uttana Ekadashi. One should specially worship the Lord during this four months. On should properly observe each and every Ekadashi. By observing this Ekadashi on obtains the result of performing one thousand horse sacrifices.

Shravanam and Keerthanam of Hari nama

2009-06-01T19:29:00.003+01:00

The names of Lord Krishna are notmaterial sound. On the level of spiritual sound there is no difference between the name and the object. By chanting the Lord's sacred name we can associate directly with the Lord. Such purifying association definitely helps us develop love of God, even if performed unknowingly.

The Srimad Bhagavatam confirms this as follows:
shrinvatam sva-kathah krishnahpunya-shravana-kirtanahhridy antah stho hy abhadranividhunoti suhrit satam

"Sri Krishna, who is the Paramatma in everyone's heart and the benefactor of the truthful devotee, cleanses the desire for material enjoyment from the heart of one who has developed the urge to hear His messages, which are in themselves virtuous when properly heard and chanted."
By engaging in shravanam (hearing) and kirtanam (chanting) about Lord Krishna, one's heart is purified. The word used in this verse is"abhadra", or that which is not auspicious within one's heart. Thisrefers to lust, anger, greed, envy, etc. By chanting the Lord's names,and by hearing of His divine activities, one becomes purified of these bad qualities. This is the gradual process of cultivating love for God.

SRI MADHUSUDANA SARASVATI - No Ordinary Poet!!!

2009-05-28T12:50:00.004+01:00

MADHUSUDANA SARASVATI's commentary on the Bhagavad Gita set forth a philosophy of life which also recognized other ways of spiritual development - Yoga, devotion to God and the analytical penetration of Samkhya. Here Madhusudana gave the highest place to the cultivation of devotion. According to him, devotion is the most effective means of God realization and Sri krishna is the highest manifestation of the divine. Krishna is the source of all blessedness, his heart's sole resting place and his life's joy. Once Madhusudana wrote that those who can worship the inscrutable unmanifested may well do so, but for him there is nothing greater than the thought of surrender to Sri Krishna and nothing sweeter than the love of Sri Krishna. The work of Madhusudana, the Gudhartha Dipika (an Annotation revealing the true import of the Gita) is probably the greatest of his many literary works. Though there are many classical commentaries on the Gita, this work stands next only to Sri Sankaracharya's commentary as regards depth, clarity and originality.

About Viji and Balaji Bhagavathar

2009-05-20T15:32:00.005+01:00

Both Viji and Balaji bhagavathar are pious and great bhakthas of Sadguru Sri Gnananandha Swamigal. Sri.Vijayakrishna Bhagavathar and Balaji Bhagavathar are known for their mastery in abhang sankeerthanam. They are great by their deeds,thoughts and appearance. They are simple,great,devoted and Knowlegable.Great people.A brief discourse on Namasankeerthan by Balaji Bhagavathar of Gnanandha Bhajan Mandali, Nanganallur. Both Sri.Vijayakrishna Bhagavathar and Balaji said "All paths being equal, the only and quick way to get closer to the Lord and
immediately given is Namasankeerthanam". This kind of Namasankeerthanam, great Bhagavathas like Bodendral Swamigal have done the siddantham and given us this. The procedure as laid out by Marudanallur Sadguru Swamigal did not make any resemblance or to strictly follow Ganesha Dyanams or Ramakrishna Dhyanam pattern. Thodayamangalam followed by 3 Gurus and then Ashtapathi, Tharangini if you follow the kramam, it has been given more importance to the Mahans who wrote them. The importance has not been given to the God upon which this is sung like for example Ashtapathi for Jayadevar, Ramadasa Keerhtanmas for Ramadasar, Tharanginis for Narayana Theerthar. Similarly when putting Pundareekams Gopika Jeevana Smaranam, Janakikantha Smaranam then the respective Guru names pundareekams are being sung, the reason being Guru has been given the prime importance and made as the pradanam for Namasankeerthanam, if there is no Guru there is no Namasankeerthanam. You get the equivalent phalam of having taken a bath in Triveni Sangam Rivers (Ganga, Yamuna and the legendary Saraswati River near Allahabad, India) when you sing Rama Krishna Govinda, as this is mentioned in the Narayana Theertha.
Snana, Sandhya, Japa, Homa, Tharpana na Apekshithe. We should not understand this wrongly. It doesn’t mean we should leave all this and do only Namasankeerthanam. All those need to be done in those respective Kala Kattams, but always what needs to be done is Namasankeerthanam. In order that during the other times we should not worry about anything we should keep chanting Namasankeerthanams. Sadguru kripa samudra sanga hethu labhe this is how the Nama was obtained. Its mainly due to love bestowed upon us by the Guru that we get this Nama, so having obtained such a great possession, we should sing this in the presence of the Guru bhagawan, Guru sthalam and on a Guruvaram, krishnam vande jagadgurum, we should sing in the presence of the Jagadguru Lord Krishna sannadhi the lord of all sadguru. All Gurus all say the same thing, don’t keep thinking of wordly affairs, learn to catch hold of the thiruvadi of the Bhagavan. So while chanting having no bedham of Murthy or Guru, Nama alone as the prime entity, the seers and saints have told us to perform Namasankeerthanam. When Draupadi Vastrabharanam was going on, Lord Krishna was playing game of dice and Draupadi was crying desperately for help in the presence of the 5 of her husbands, one who was a epitomy of Dharama, another of Strength, another of valour, another of immense beauty, another who was knower of Dharmasastras and astrology none of these 5 could do anything. Even the great Bhisma, Kripa and Drona whom Draupadi thought were her own relatives could do nothing. It seems during the time of our death, just like the 5 pandavas, all our 5 pancha boothams will let us down our body will let us down, indriyas will let us down, when we understand that this body does not belong to us anymore, our body, relatives, money, house or anything is no longer going to help us and when this understanding dawns upon us at that moment, the Lord only will come down to help us. So Lord Krishna got up and Rukmani asked why, the Lord said that his sister is being ashamed and he has to go and help her. He walked a few steps and then came back to sit down again. Rukmani asked why you have come back again to which the Lord replied Before I could go my nama helped Draupadi already.

The Beauty of singing Ashtapathis

2009-05-17T10:59:00.008+01:00

Ashtapadis are never set to a particular raga. It is a Sringara Maha Kavya described in melodious overtures describing various situations of the minds between the Jeevathma (Radha) and Paramatma (Krishna), the Separation "Viraha" and Reunion and the enchanting environment and experiences within. The Ashtapadis themselves are set to beautiful carnatic raagas and these compositions are laced with raagas and therefore describe specific situations which are really very attractive and influence the significance of this sringaram on both the listener and the Bhagavathar singing it.

In the Sampradaya Bhajan Padhathi, Sri.Sadguru Swamigal of Maruthanallur had set out each Ashtapadi in seperate ragas and this is still being followed.

In order to derive the full spiritual benefit, one has to either sing or listen to the full version of each Ashtapadi in a spiritual environment. Mostly this surrounding suits a Bhajana Mandapam where with the accompainments of Mridangam and Violin this is most popular. Ashtapadi Bhajans are very popular where the Bhagavatar sings all the 24 Ashtapadis, including all the slokas. After singing each Ashtapadi it is a practice to offer 'Nivedyam" and Harati before commencement of the next one. This is the traditional method of singing Ashtapadi.

Ashtapathis are sung in all types of Sampradaya Bhajans in South India as well as in all other parts of our Country. Infact, any celestial wedding (yehtothammana Kalyanam) like Radha Madhava Kalyanam, Rukmini Kalyanam, Sita Kalyanam, Padmavathi Kalyanam, Parvathy Kalyanam, Valli Kalyanam etc conducted in the Bhajan Sampradaya, the followed practice for centuries is to sing the 22nd Ashtapadi, which is called the 'Kalyana Ashtapadi' followed by the marriage rituals.

As a Formula the 19th, 21st and 22nd are among the MOST SIGNIFICANT of the Ashtapathis as these signify great importance and of these the 19th is the most revered as explained below:

Ashtapadi No.21 is compulsorily sung in Dolotsavams / Vasanthotsavams signifying that Radha, the Jeevatma, merges with Krishna, who is The Paramatma.

The 19th Ashtapadi is said to have been completed by Lord Krishna Himself, after having come to Jayadeva's house, disguised as Jayadeva himself, when Jayadeva had gone out, gave His darshan to Padmavathy and blessed them. The way this is expressed as Padmavathi saying to Jayadeva when asked who has completed this and Jayadeva replying that he had not let anyone know this composition and this is situated in his heart. Padmavathi then mentions that is the person in his heart is the person who write this. This Ashtapathi has such a devout significance and being sung in that manner makes the Bhagavathar and the listener experience the God within.

The 22nd Ashtapathi as described above is the Kalyana Ashtapathi and when the Radhakalyanam is being performed.

Sathguru Maruthaanallur Venkatarama Saastrigal

2009-05-14T18:06:00.011+01:00

- known as Sathguru Sri Sri Marudhanallur Sadguru Swamigal

The impetus and the inspiration for the Bhajan Tradition of Saint Thyagaraja came from a great Bhagavatha revered as Maruthaanallur Sathguru Venkatarama Sasthrigal. He was born in Thiruvisanallur, which had another Mahaan known as Sridhara Iyaavaal, who made Ganga waters rise out of his house well. Sathguru Venkatarama Bhagavathar
lived in the 19th century. He travelled all over India , collected Bhajans of great devotees and culled them all into a Sampradhaaya Bhajan Paddathi, which lasts even today. The most recent practioner of this tradition was Sri H.H.Swami Haridhos Giri. This Bhajan tradition is recommended for any one irrespective of caste , creed or Sex. Saint Thyagaraja was exposed to this rich tradition from his youth.

Swamigal Bhajana Matam exists even today at Maruthanallur. This is a tiny village on the banks of Cauveri near Thiruvida Maruthur, a great Siva Kshetram, Where the Lord is known as Mahaa Lingam. He was a great devotee of a Great Shankaraacharya by the name Bhodhendraal. Latter lived in the Sixteenth Century. He is the one, who replaced the Taadangam (Ear Ring), which is in the form of Sri Chakram, originally presented to Sri Akhilandeswari of Thiruvaanaikkaval by Adi Sankara in the ninth century. Bhodendraal was a great Rama Bhaktha and the author of the most beautiful verses known as Rama Karnaamrutam. He abdicated from the post of Kanchi Mutt and went to Govindapuram, a village again close to Thiruvidamaruthur on the banks of Veera Sozhan river, a tributary of Cauveri. There he Meditated on Sri Ramachandra and gave us another celebrated Grantham known as Naama Kowmudhi. He used to say :Rama Namameh Kalkandu, Athan Rasam theriyaathavan Kal Gundu.This means that the Name of Rama is the sweet rock candy (Kalkandu); those, who do not know its taste are Massive stones (Kal Gundu). He explained to us the Greatness and the sacredness of Rama Naama this way: Parjanam Bhava Bheethaanaam Aarjanam Kula Sampathaam IDharjanam yama dhoothaanaam Rama Ramethi Garjanam IIThe roar of Rama"s name is pointed out by him here to ward off samsaric ills, Chase away the servants of Yama, Lets one acquire untold wealth.

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About Sree Seetha Rama Seva Mandali - Namasankeerthanam

2009-05-14T16:27:00.002+01:00

TC36/1572(1), SREE PANDARI,TANK ROAD, SREE VARAHAM , MANACAUD P.O., THIRUVANANTHAPURAM PIN. 695009. Telephone : 0471- 2464437

The Mission of the Sree Seetha Rama Seva Mandali is to serve the world community by being an instrument for spreading the name of the Supreme Almighty. The mission is to be achieved by conducting the festivals in the name of the Lord .The festivals include Sree Rama Navami,Gokulashtami, Narasimha jayanthi, the birth days of Saints of the Bhakthi Movement in India. Appropriate festivals are to be held on other important holy days such as Ekadasi days , Saturdays. The Mandali shall also serves for the cause of learning Manthras , scriptures , Vedas and Upanishads and other branches of spiritual Knowledge.

The history of the mandali commences a hundred years back when at Suchindrum a small village near Kanyakumari the southernmost point of India where Sree Ramakrishna Sastrigal and his family started worshipping a small Vigraha of Navaneetha Krishna of Panchaloha .Daily Poojas and Bhajans were held regularly. The Sastrigal was an exponent of Music ,Vedas and Sastras . Besides being a brahmin priest he also used to perform Harikatha in addition to Bhajans . Sree Ramakrishna Sastrigal had five sons

S/s Ananthaaman,.Kothandaraman, Sankaran, Radhakrishnan and Sthanusubramoni. .At the time of the birth of Sri Kothanda Raman the Sastrigal arranged for the Vigrahas in Panchaloha of Sreerama,Seetha, Lakshmana,Anjaneya,Anantha krishna ,Nagaraja and Chithraguptha From that day onwards Sreera Navami began to be celebrated as a festival lasting for nine days, for many years. There was daily Abhishekam for the deities for all the days of the festival with milk .Vishnu Sahasranamam was chanted on all the days in the evenings. There was also Bhajan held in the traditional style including Deepa Pradakshinam.On many occassions Akhanda Sree Rama Nama Japam was also conducted in which people of the village participated in large numbers. The conduct of the festival was a joint effort made by the Sastrigal and his sons with the help and patronage received from the devotees of the locality.Sastrigal was very lucky to get very pious and devoted daughter -in-laws. Of the sons Sri Anantharaman married Smt.Ponnammal. Smt . Subbalakshmi alias Chuppu Chithi was the wife of Sri Kothanda Raman. Smt. Radaha Ammal fondly called as Radha Chithi was the wife of Sri Sankaran.Smt. Kanthimathi alias Kuttiammai was the wife of Sri Radha krishnan and Smt Gomathy Ammal alias Kunchammai was the wife of Sthanusubramoni.Though the last three sons were at Trivandrum the Sree Rama navami festival was one joyous occassion when the sons and the daughter in laws used to come to Suchindrum and stay together till the consummation of the festival. All the daughter in laws of the sastrigal family devotedly participated in the festival with pride and the festival could be held succeessfully only with their dedicated co-operation in all the aspects of the festival such as preparing the Neivedyams serving the prasadams managing the heavy houehold chores during the days of the festival making preparations for the Poojas etc.Since Sri Sankaran had his occupation as school teacher at Suchindrum he was very popular at Suchindrum and could co-ordinate the conduct of the festival with the help of his loving students and well wishers at Suchindrum besides the family members. In this connection the contribution made by Sri Narayana Swami the eldest grandson of Sri Sankaran is worth mentioning. Sri Narayana swami could by heart the Thevaram, Thiruvembavai and other Bhajans even at the very young age of 12 to 15. He could also sing the Bhajans and other tough songs along with playing the Mridangam. His friends also co-operated in the conduct of the festival. The grand daughters of Sri Sankaran who used to come to Suchindrum from Delhi often to stay with their grandparents have contributed valuable information regarding the deity and the conduct of the festivals. After the days of Sastrigal his sons took over the solem duty of conducting the Sree Rama Navami Festival every year. Though the income of the Sastrigal family was meagre , the people of the village liberally contributed in cash and in kind for the magnificent conduct of the festival every year. They also offered physical help. The deities came to Trivandrum after the the days of of those who were at Suchindrum.

Then the Sree Rama Navami festival commenced to be held at the residences of Sri Kothanda Raman,or Radha krishnan or at the residence of Sthanusubramoni the youngest son of Sastrigal. Even after the days of S/s Kothanda Raman, Radha krishnan and Sthanusubramoni the Sree rama navami festival is being held regularly by the grandsons of the Sastrigal who are distributed in different parts of the country and even outside. Recently the yearly festival has been held at the residences of Late Sri Ramakrishnan, and Sri Padmanabhan - sons of Sri Radhakrishnan and at the residence of Sri Ramachandran son of Sri Sthanusubramoni.

Great Acharyas like Sri Ramaswamy Iyengar of Thiruvananthapuram, Sri Gopala krishna Bhagavathar and his son Sanjeevi Bhagavathar of Pudukkottai, Somayaji Bhagavathar of Suchindrum , Jaya krishna Deeekshithar of Kumbhakonam, Thukkaram Ganapathi of Kadayanallur and many other great devotees of the Lord have participated in the yearly festival or sang before the the Lord of the Mandali at various times.

Unchavruthy Dharma

2009-05-13T13:16:00.011+01:00

Archaryas follow the Unchavruthy Dharma. During the Brahmamuhurtham with the parivattam (turban), Yoga Vastra and Askshaya Pathra, chanting Hari Narayana !!!, Hari Narayana !!! the Unchavruthy Dharma is performed by Bhagavathas. It is the most sacred dharma for all Bagavathas. It is also an age old practice which finds mention in the Mahabharata and Bhagavatham. According to Vedic tradition, the practice of seeking alms (Biksha) constitutes the fundamental requirement for Brahmacharya life.A student following the path of Sanatana Dharma has to procure his food by begging alms from the residents of his locality.
Such a system has been introduced to remove any kind of ego or pride that might enter into the mind of the religious aspirant. The Vastram procedure is for the Archarya to have an Akshaya Pathram with a red coloured rope tied to the Akshaya Pathram and a Saffron cloth tied around his head like a turban. A handful of rice is then put inside the Akshaya Pathram. The Saffron cloth is then tied on the head and the Akshaya Pathram hung from the shoulder. First the cloth is folded multiple times and then divided into two halves.Then one half is thrown around and over the head like a turban with the front portion tied around the forehead. The Unchavruthy guise by itself steals our heart."Angayil thaalamum Akshya Pathramum Adidum Narthanathirkisaya, en annal varum thirukolam kandu ayiram ayiram anbar manam asaya ..." (...dancing with the thaala and the everflowing vessel 'Akshaya Pathra', when my lord comes, the hearts of thousands and thousands of devotees dance along ... !!) goes a song on Unchavruthy roopam.

The Unchavruthy is started by walking on the streets near the mandapam or temple and Many Bagavathas follow singing Bhajans. ‘Unchavruthy’ which is a part of Bhajana Sampradaya passes through the streets and neighbouring areas and usually received with great veneration at every house in the locality. The devotees would throng to put the Akshadha in the Akshaya Pathram. The Acharya would be welcomed in almost all the houses with Paadha Puja. The Archarya would be made to sit in a chair in front of each house and the family members will perform the Paadha Pooja. With each devotee putting Garlands on the Acharya.

As the Akshaya Pathram gets filled it would be poured out into the sack. By the time the Unchavruthy ends lots of full rice sacks are gathered. This rice is used for cooking and again comes as Prasad to all the devotees. Unchavruthy is a great Dharma. With it we can feed thousands of Bagavathas. It is a Bagavatha Dharma. Rules for taking Unchavruthy:The Acharya, the one who is taking the Unchavruthy has to adhere strictly to the sastras ordained as below:The Acharya must wear a Panchakacham and must also wear a Siga Vasthram like a turban with one end spread over the backside of the body.The Bowl with which the Unchavruthy is taken should be tied with a knot by a thread to the right shoulder.The Acharya should finish Unchavruthy before Madhyaniga kaalam (i.e, before noon) as part of this Trikala kramams.During Bhajans, only the Unchavruthy rice is used to prepare the Nivedyam to the Lord

SriMad Bhagavatham Book in Tamil

2009-05-13T12:40:00.002+01:00

SRI-MAD-BHAGAVATHAM BOOK in Tamil - Full Version - Sanskrit To Tamil Translation Knowledge Ocean , Core of Srivaishnavam , Para Thattva Nirnayam ,Essence of Vedantas,Upanyaasam Guide. http://www.maransdog.org/iskcon_documents/Bhagavatham_Westmambalam/SriMad_Bhagavatham_Optimized_Vol1.zip

Devotee first and singer second, Murugadas is one of a kind

2009-05-13T08:32:00.005+01:00

Murugadas is already on stage getting ready as we arrive. The spotlight brightens his yellow bandanna and reflects a gleam off his black sunglasses. For an instant, his painted, red-nailed forefinger catches the light as it strikes middle C on his old, battered harmonium. Finding his pitch, he clears his throat and begins to chant "Om." In the shadows behind him, an exquisitely dressed lady gracefully positions herself with a tambura (a stringed instrument) and begins strumming a drone. To her right, Saroja, Murugadas' wife, busily lays out a collection of percussion
instruments, fussing a bit to be sure she hasn't forgotten anything. Rao, the seasoned drummer, unsheathes his mridangam (a south Indian drum) from its cloth case and tunes its upper head, socking its rawhide binding with a rock to change the pitch. The restless audience rustles to get as comfortable as 500 people can in the confined space. Slowly, everyone on stage and off becomes quiet—except for Murugadas. Sitting still as stone and calm as a lake, he looks like a king as he continues chanting "Om." Finally, the concert takes wings.
That cool, breezy evening performance in late December of 1982 at the famed mountain-top temple in Palani Hills, South India, was recorded and is now famous. Yet it was not unlike thousands upon thousands of other concerts during the 60-year musical career of Pithukuli Murugadas. Today, the "singing sage" is still amazing crowds at Palani Hills and elsewhere around the globe as his popularity continues to grow.
Murugadas is usually thought of as a bhajana virtuoso, a great leader of group devotional singing. But, as any musician who has heard him will testify, he is much more. His natural voice is vibrantly trumpetic, and his singing skill is quintessential. Most importantly, he is a distinguished bhaktar (devotional person). His truly heart-felt piety shows through in his music and lends it a touch of magic that his audiences can resonate with. Although much has been said about Murugadas, the comment made most often is, "He is unforgettable."
During a characteristic concert, which often lasts three hours or more, Murugadas slowly and carefully develops a long, leisurely musical pace toward crescendo. First, he establishes close rapport with his audience by leading simple bhajanas that everyone can easily follow. This may go on for an hour before he subtly begins to introduce more complex classical compositions that he sings solo or with his wife. All along the way, however, he keeps returning to audience participation. Occasionally, he will abruptly stop singing in the middle of a song, and as the music continues softly in the background, speak in dramatic monotone, telling stories and quoting scripture before majestically returning to the music. All of this builds in intensity until, toward the conclusion of the concert, he lets loose one of his many trademark songs. The audience thunders applause and the evening's performance peaks like the culmination of a temple puja. As a denouement to all of this, he brings everything back down to earth with one final hand-clapping, foot-stomping bhajana. The crowd again roars. No one wants him to stop. Even India's sharpest music critics have highly praised Murugadas' great voice, musical versatility, undeniable spirituality—and, of course, his enchanting showmanship.
Born in Coimbatore as Balasubramanian, Murugadas expressed an uncanny love of God before he could even talk. At the age of seven he began singing devotional songs and was schooled in the basic fundamentals of music by his grandmother.
As he grew a little older, he was taken up by the revolutionary spirit of the day, leaving home at 15 to protest British rule as a "freedom fighter." During the famous "freedom struggle of 1936" in Bangalore, he was seriously beaten by British police and completely lost the sight in his left eye. Yet, he held fast to his love of God and remained ever positive. Today, the sunglasses he wears to shield his partial blindness have become his trademark.
During a long pilgrimage when he was about 20 years of age, Murugadas had a spiritual experience that changed his life. Sitting on the banks of the Sarasvathi river in North India, he became engrossed in contemplation and heard an inner voice tell him in the Tamil language, "Go to South India. You have work to do there." Cutting short his pilgrimage, he immediately left for Tamil Nadu to live the life of a singing saint.
By the age of 30, he had carved a notable niche as a professional musician. At that time, he lived in Palani Hills and had the opportunity to internalize his musical skills under the tutelage of Brahmananda Paradeshiyar, a siddhar, or great yogi with special powers. This teacher named him “Pithukuli,” which means “a spirited person.” Swami Ramadas, the head of Aanandashram in Kanjangad, North Kerala, added the title “Murugadas,” which means “the servant of Lord Muruga.”By the age of 70, Murugadas was internationally famous and still going strong. Even today, at 83, he adamantly refuses to retire. He has written more than 3,000 songs and has released over 30 audio cassettes—all devotional songs to Hindu Gods and Goddesses. Presently, he lives in Chennai, South India, with his wife, Saroja, whom he married when he was 58. He performs in seven languages and is Tamil Nadu’s most popular singing thespian. He is also much loved and famous in South Africa, Mauritius, Singapore, Malaysia and Sri Lanka, which he has visited 40 times in the last 40 years. He has developed a charity called Sri Jyothir Maya Devi Trust in Chennai.
When referring to himself, he never uses “I.” Instead he says Ivan (this person). Yet when begged to explain how a life such as his could leave a man humble, he leans forward and whispers, “Honestly speaking, inside me this “I” is very much there.” - By Kesav Mallia, Chennai

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The Major Segments sung during Radhakalyanam

2009-05-06T20:52:00.014+01:00

The Major Segments of the Radhakalyanam are classified into the following groups mentioned under the section headings below. This albeit classified broadly, some of the paddathis differ in certain aspects due to the location, tradition and recently time constraints as well. There are also the gaps which have filled in the form of taste, style and knowledge since its inception by the addition of the Bhajan influences from the North, notable being the well known Abhangs. Further the Bhajana tradition of the South India is the one of the most tolerant of the traditions in India when considering
the differences in the rendering and purport of the Northern and Southern Indian States. This has paved the way for many of the North Indian Abhangs, Bhajans and the Bhakthi renditions of the great Marathi saints, Jaydevar (Ashtapathis) and Narayana Theerthar (Taranginis) including some of the most bhava filled bhajans sung by the avatars of the Lord such as Bhaktha Meera, Surdas and Kabirdas. Over the years there have been many many more that have found inclusion and as a result made the Bhajans rich in its cultural purport making the musician and the music all the more divine. I briefly touch upon each segment in the my posts under the respective headings

Ashtapathis and Tharangams

This is the famous Gita Govinda composed by Sri Jayadeva Bhagavathar who was an avatara purusha and a bhaktha of Lord Jaganatha, the Lord Jaganatha himself in human form and the Krishna leela Tharangini which was composed by Sri Narayana Theerthar. Ashtapathis, the compositions of Jaya Deva of Orissa which are brought to South India by Chaithanya, form the fundamental and an important part of the Bhajan. In fact Bhajan and Ashtapathis go synonymously and one may say Kalyanam and Ashtapathis would mean the same. Such is the level of its importance in a Radhakalyanam.

The Ashtapathis and Taranganis are usually sung after presenting a brief narration of the slokas, this may be sung in a musical tone making it fill the Bhava contained within as a prelude to the Astapathi song itself. The rendering devotional music of the bhajana sampradaya is another genre, not to be confused with the elaborate vicissitudes of classical music. These are then delivered with scintillating ragas and talas and is left to the vivid imagination of the Bhagavathar singing it and the trusted accompanists, one of whom will play a very active role on the Mridangam which is gives the rhythm and the divine Bhavam to the listener and the singers of the Bhajans.

Following this, the Ashtapathis are sung in chorus. Thus one can clearly find that the classical method of alapana as sung in the carnatic music comes over in the first art and simple melody rich semi classical style prevails in the latter portion. Sri Narayana Tirtha's Krishna Leela Tharangini is a masterpiece of Bhava with melodious overtures. The Krishna Leela Tarangini is the longest musical play in Sanskrit and it comprises of a total of Twelve tarangams, containing nearly 147 kirtanas, 267 slokas, 30 Gadyams, 30 Derus and some link passages. It is believed that Narayana Tirtha was closely associated with the Bhagavata Mela tradition of Melattur. Krishna Leela Tarangini is a treasure, which deserves to be cherished by litterateurs, musicians and dancers.

Namavali

Namavalis as the name suggest is to call the divine by name and this is the most simplest to learn, sing and drench oneself with the divine Bhava. It comes so easily with the Namavalis and one of the reasons why this is sung now and then in a Bhajan is a sure proof that will bring the bored listener back to attention of the divine. This caters to the entire audience as this is most easily sung, remembered and the ringing in the ears is one thing that you will take away from the Bhajan and keep it with you
For a long long time. It’s a favourite with the youngsters and the casual ones who may easily get distracted and bored with the nuances of the Bhajans and may not easily get the Sanskrit verses. This is the most divine of all and the divine has therefore made this the simplest of al. Namavalis are sung in a sort of rhythm that makes the devotee feel the Bhakthi towards the lord, in fact the sweetness of calling out his Name comes from this. For example, the namavali, "Govinda Govinda Gopala Radha ramana" is sung in three positions spread over middle, higher octave, thus clearly portraying the fact that a form of pallavi singing is present. Namavali are also sung in various different style and is the easiest among the bhajans to capture the heart of the Lord. Various Pundareekams form part of the Namavali and these can be added and its left to the creativity to come up with the right ones at the right moment in its rendition. This is usually sung in chorus or spread among the Bhajan group to bring about the desired effect enhancing the divine quality when calling out the name of the Lord.

Deepa Pradakshinam

Deepa Pradakshinam is a form of dance performed with a great deal of Bhakthi and Bhava and is adhered to very strictly and followed with a great deal of sanctity as this is akin to the Poojopacharam procedure. In this case the Lord is envisaged in the form of a Lamp. The procedure for bringing a lamp to a central place in the Bhajan Hall or in front of the Lords Garbha Grahan is usually performed with an elderly person who has knowledge of the abhinayams who can represent the approach of the Lord in the desirable form for the Bhaktas. This Elderly person is like the person who will perform the unchavruthy dharma, he will have been initiated by a Guru and will be with a great deal of sanctity and knowledge of the sastras and performs his nitya karmas prescribed for the Brahmins. This person is a representative of the Lord and will therefore need to be of this order. The Deepa Pradakshinam also sometimes consists of several simple songs which followed by folk forms in majority. Kummi, Kollattam, OOdam, Chittar songs are some of the typical folk forms of Tamil Nadu sung towards the end of the Deepa Pradakshinam. Different coloured ropes are wound and the Bhagavathars all dance in rhythmic styles rotating around the Lord represented. The accompanying Namavali and the Deepa Pradakshimam will be make the audience go into great raptures of the divine bhava and for a devotee to experience this is a great moment. Many eagerly would await this particular performance sometimes performed late in the night.

Bhaktas normally dance around a Deepam which is a panchamuka deepam. The lamp is lit signifying the Lords presence and the Bhaktas perform dance around the lamp in a set sequence going forwards and backwards while circling the lamp and singing in chorus gathering speed towards the tune of the Song. This gives a chance for all Bhaktas to participate in the dance and forget oneself in the dance or abhinayam and they get divine anubhava. In Deepa Pradakshinam songs rendered by Sri Bhadraachala Ramadas, Purandaradaas, Naraayana Theerthar, Sri Thyaagarajar, Kabirdas, Meerabai and Tukaram are being sung.

Saint Tyagaraja has composed many songs which are known and sung as Divyanama kritis for Deepa Pradakshinam and the Utsava sampradaya kritis are also sung in the Sampradaya Bhajans which is a favourite with the carnatic types and there is a great display of talent there. This is full of Divya Namam and is usually sung in Chorus. The Namavali “Jagan Mohana Radha Ramana” which is being sung during the Deepa Pradakshinam which makes it all the more divine in its rendering and the fast paced movement making the Bhaktas forget their worries. The ringing of Radha Ramana Radha Ramana in various octaves is something one never forgets for a long time and is ringing along inside the ears.

Dolotsavam

Dolotsavam or Utsava Sampradaya kritis which come as the last part of bhajan contain many folk tunes of Andhra Pradesh. Dola means Cradle and Dolotsavam is putting the Lord in a cradle and gently rocking the cradle to put the Lord to sleep whilst singing a set of songs which were written by Lord Thyagaraja. It contains several forms of lullaby songs and finally prabodhana (suprabhatam) songs. Most of these kritis are set to folk tunes well-known in the Dolotsava paddhati of South Indian bhajans. Typical examples of such songs are: Hecharikaka rara, Pavanaja stuthi patra, nagumomu galavani, Napali, Ksherasahara vihara.

Abhangs

Abhangs are sung during the traditional pilgrimage to Pandharpur. It has got a rhythmic gait which is very special, reflecting the tempo of the walking and dancing of the varkaris, as the abhangs were sung mainly during the pilgrimage to Pandharpur, which were undertaken by the devotees walking all the way. The Marathi Abhangs, songs of Mira Bai and Kabir are regularly sung in South Indian bhajans.

About Oppiliappan Koil Varadachari Sadagopan

2009-05-06T09:53:00.002+01:00

"I belong to the Ahobila Mutt tradition and take active part in the Ranganatha Seva Samithi activities here. I graduated from MIT with a Doctor Of Science Degree in material Science and have worked for IBM for 26 Years in addition to an year at the UN in geneva and Newyork in the staff of the Secretary General. At IBM Research , where I spent most of my career , I was the University Relations Executive responsible for IBM
Research"s interface with the Outside R&D world. I retired from IBM Last year to pursue other interests in Telecommunication, Multimedia and Educational Delivery Systems thru distance learning . I have published the following Books and articles : 1.Satguru Thyagaraja"s Pancha Ratna Krithis , 234 Pages elaborating on the Vaishnava Doctrines of Saranagati enshrined there and the Other Musical Highlights. 2.Sri Rudram: Annotated Commentary. 3.Kulasekahara"s Mukunda Mala,Annotated commentary. 4.108 Divya Desams as experienced by Alwars : 420 pages manauscript in Tamil to elaborate on the Vedic Basis of Alwar"s Aruli Cheyalgal. 5.Translation of the Padhuka Sahasram of Sri Vedanta Desikan in to English. 6.Tamil Book On Thillai Tiruchitra Kootam and Thirumangai Alwar"s Pasurams. 7. A Host odf Articles on Dekkshitar"s Kritis Dealing with Navaavaranam and Sri Chakram . 8.Shyama Sastri"s Nava Ratna Malika Kritis. 9.A series of Articles on Sahnmatas , Bhagavatam, Hanuman/Ramayana, Dhyanam, Sakti peetams , Pranavam, The theory of Rebirht et al for Sringeri Peetam"s English magazine(Tattvaloka). 10. Current activities: Translation of Sriman Narayaneeyam and Swami Desikan"s Tatparya Ratnavali into English. 11. Major effort Underway: The Ubhaya Vedanta Tradition: Sanskrit Vedas and the Tamil Vedas, The links and smayam. Look forward to receiving some samplings of the earlier correspondence of the group to get a flavor of the interests and discvussions. Sadagopan"
http://sadagopan.org/main.htm

http://www.ibiblio.org/sripedia/

Loads and Loads of List Archives > 1994 and Scribd pdfs on the Internet

Gita Govinda

2009-05-05T21:09:00.004+01:00

Gita Govinda, the foundation of the Ashtapathis of Jayadeva is one of the oldest and most poetical drama completely filled with raasaleelai. Jayadevars Asthapathi is so musical in its rhythm and this was traditionally the greatest poem of dance, drama and music entwined with its classical rhythmic structure and the divine theme of love. The rendering of the Ashtapathis with the meter in Sanskrit is very

elaborate and yields itself to the full potential in its vocal articulation. The reason behind calling this Ashtapathi is because of the
composition of its structure into 8 stanzas, ashta in sanskrit being eight. Gita Govinda is comprised of 24 beautiful songs with this kavya being divided into 12 chapters. The number of Ashtapathis being 24 is also mentioned in one instance as being equivalent to 24 verses of the Gayathri Manthram. Again the Eight stanzas is semblance of the ashtakshara mantra in Sriman Narayana upasanam. Besides the 24 Ashtapathis there are a total of 91 slokas in different meters.

Gita Govindam which forms the fundamental component in the Radhakalyanotsavam is chanted in musical melody and the entire Ashtapathis are sung starting from the 1st to culminate with the 22nd, 23rd and 24th with the kalyanam. In the houses, traditionally, the standard practice has been to sing an Ashtapathi every evening and celebrate the communion with the Lord on the 24th day. During the Bhakthi rasam experienced between Jayadevar and Padmavathi, Jayadevar would compose the poems and tunes to which the dance would be performed by Padmavathi. Thus by the Lords own design the Gita Govindam was designed to be a combination of song and dance albeit in a divine form representing Lord Krishna and Radha.

In Sri Sri Krishnapremi Anna’s Upanyanasm on Jayadevar wherein one can experience the bhakthi rasam of the Lord in its utmost, there is this instance of how Jayadevar and Padmavathi brought about the divine song and dance of the Gita Govinda. Padmavathi is like showing the way to Jayadevar in performing all the activities towards the Lord in the way of Bhakthi rasam and as padmavathi sings beautifully, jayadevar himself being a poet, his poetic instincts start to flower. This was divine as Jayadeva was divinity personified. Why Valmiki ramayana is so good, its because it came on its own, this kavyam from Jeyadevar flowered on its own. This did not flower during his brahmacharyar days as his Bhakthi was without the rasam. In one instance it is said that Lord Krishna himself completed some of the stanzas. Because of his poetic instincts, Krishna bhakthi and the gained Bhakthi rasam by performing the kainkaryam alongwith his consort Padmavathi, Jayadevar’s heart started to pour kavyams. This kayvam in the form of Gita and slokas were the basis of teaching padmavathi how to dance. This was in order to perform krishna seva. The Bhakthi experienced by the young couple was more of a prema bhakthi, Jayadevar considered padmavathi not as his wife but as a krishna dasi. Padmavathi feels herself as Jaya and Jayadevar as padma and they were like two sakhis for Lord Krishna. Both of them dancing in front of Lord Krishna, their shringaram is like bhakthi shringaram.

The Poet Jayadeva lived during the eleventh and twelfth century and during this period there was no distinction between the North Indian Music and the South India Carnatic Music as such. Maharaja Kumbhaji of Mewar authored the modes of singing the ashtapathis and slokas of Gita Govinda in the Rasikapriya which was a composition with a commentary on the Gita Govinda. The division of North and South Indian Music happened much later after Jayadeva’s time also due to the influence of the extensive Hindu tradition in the south as opposition for the predominant Muslim influence in the North India.

Out of the 24 Ahstapathis, except the first two which praise Lord Krishna, the rest of the 22 detail the love between Radha and Krishna. In the poetic 7th Ashtapathi description is given about Jayadeva’s place of birth, Kendubilva which is near puri, Orissa.

If we classify the 24 Ashtapathis, 5 of them describe the poet himself, the first 4 and the 22nd. Eight songs are by Radha, another Eight by the sakhis and Three by Krishna. Also 19 out of the 24 Ashtapathis of the Gita Govinda are governed by 4 beats. Ashtapathis 7th, 10th, 13th, 19th and 21st are the other 5 which follow a definite rhythmic pattern.

There are 72 verses included in the Gita Govinda preceeding the 24 Ashtapathis

The 21st Ashtapathi is a favourite one in every Bhajans. The metre of this song has couplets of 3 five beat measures, but the first line of each couplet is lengthened by the addition of a final heavy syllable.

It goes like this

MANJUTARA KUNJATALA KELISADA NE
VILASARATI RABHASAHASI TAVADANE

Song Meaning :
Revel Wild Luxury on the sweet thicket floor
Your Laughing face begs ardently for his love
Radha, enter Madhava’s intimate world
Revel where cries of flocking cuckoos sweetly sound
Your teeth glow like seeds of ripe pomegranate

LALITHA LAVANGA LATAPARISEELNA in Ragam Vasantha.

Song meaning:
Soft sandal mountain winds caress quivering vines of clove
Forest Huts hum with droning bees and crying cuckoos
When Springs mood is rich, Hari roams here
To dance with young women, friend –
A cruel time for deserted lovers

Who was Kak Bhusundi?

2009-05-03T22:25:00.006+01:00

In Uttarkanda, the last chapter of Ramacharitamanas, we find the teachings on bhakti yoga delivered by Kaka Bhusundi, who was an enlightened sage in the body of a crow, to Garuda, the celestial eagle and vehicle of Lord Vishnu. Kaka Bhusundi is a great bhakta of Sri Rama and teaches all the feathered folk who flock around him about the path of devotion to Sri Rama. Kaka Bhusundi first relates the story of Sri Rama's life, but it is more than just a story. What he is really conveying is the path of bhakti yoga.

Devotion to God is something we can never understand unless God comes himself in the form of a man. We can conceptualize about some abstract philosophical ideal, but that is not God. As human beings, we can only experience and relate to that God who comes to us in the same form as we are. We can understand our life and the people around us, but we cannot understand something very abstract which we have never experienced or known.

Therefore, the story of Sri Rama is the story of God who was born in the form of a man. This initiates the path of bhakti yoga and brings it into existence for us, because bhakti yoga is the love of God embodied, God born as a man, God made manifest, not the unmanifest God but the God that we can see, touch and relate to. This is the teaching given to Garuda when Kaka Bhusundi told the story of Sri Rama's life. In this sense, it was more than a story; it was a form of darshan, a vision of God as a man.

After hearing the story of Sri Rama's life, Garuda's doubts were resolved and he asked Bhusundi, "But how did such a knowledgeable person as you come to inhabit the body of a crow?" Bhusundi replied, "I was not always in this form, as you see me now. Listen now to the story of how a vainglorious young man gradually becomes transformed into a devotee and then into a pure soul, who is completely merged in God." So, Bhusundi tells Garuda the story of his own life, and this forms the second part of his teaching, which is a great inspiration, especially for those of us who seek the heights of spiritual life without understanding what this may entail.

Kaka Bhusundi was not always a crow. Originally he was born in Ayodhya, and as a young man he was very arrogant and proud. In his youth he became a devotee of Lord Shiva and every day he would go to the temple to pray. During this time he met a saint, who was a Brahmana and also a devotee of Lord Shiva, but at the same time full of respect for Sri Rama too. Even though Bhusundi was a young and arrogant fellow, the saint was very kind to him, giving him many teachings and also initiating him into Shiva's mantra.

Although Bhusundi grew up in Ayodhya, he had a very strong aversion to Sri Rama. Whenever he saw servants or devotees of Sri Rama, he would get very angry and speak rudely to them and about them. The kind saint, who was trying to help and teach him, would daily reproach him for this and ask him not to behave in this way. "Look," he would say, "the fruit of worshipping Shiva is only faith and devotion to Sri Rama. All the practices you do, all the efforts you make towards attaining the grace of Shiva, will only lead you to the feet of Sri Rama." However, Bhusundi would become all the more angry and sometimes even shout at his saintly preceptor.

This went on for some time, but the preceptor never reacted. He continually tried to correct Bhusundi, who only wanted to worship Shiva, but in a very egotistical way. One day Bhusundi was doing japa in Lord Shiva's temple, all the while thinking of himself as a very great meditator, as we sometimes think ourselves to be. He thought he understood the way better than his kind preceptor who had guided and initiated him. I will only follow Lord Shiva, he thought to himself, because Sri Rama is inferior, even repulsive. So, when his preceptor walked into the temple, Bhusundi went right on with his japa and meditation, ignoring him totally as if he wasn't even there.

Remember that Bhusundi was praying to Lord Shiva, and the saint was also a devotee of Lord Shiva. So when Lord Shiva saw Bhusundi's behaviour, he spoke aloud in the temple, "You stupid fool! I've had enough of your arrogance. Now I'm going to curse you roundly, and you'll not escape from this curse!" When the preceptor heard that, he became very worried, and young Bhusundi also started to tremble in his seat. Lord Shiva continued: "As you were too lazy and dull-witted to stand up and offer your preceptor due respect when he entered, I'm going to turn you into a serpent. You will henceforth become a python and dwell in the hollow of a tree!" When Lord Shiva spoke thus, the preceptor was overcome with fear and compassion for his errant and ignorant disciple. So he prayed to Lord Shiva, singing a beautiful hymn (Namami shamishana nirvanaroopam, which is in Uttarkanda 107) on behalf of Bhusundi, to mitigate the curse.

Lord Shiva was pleased, because the Lord is always pleased when his devotee is sincere, kind and forgiving. So he said to the preceptor, "Alright, I will grant you any boon." The preceptor replied, "Well, first give me the boon of always being devoted to your feet. But second, kindly give me another boon!" Shiva agreed, and then the preceptor said, "Forgive Bhusundi, the poor ignorant fellow is just lost in illusion and doesn't know any better."

Lord Shiva replied, "My words can never be in vain, but I will try to help him. Even though this curse must come true, it will eventually become a source of blessing for him. He will have to take one thousand sub-human births and live in all the different lower forms, but I will spare his suffering in each birth. He will neither suffer the agony of birth and death nor will he lose the awareness of all his past births. And gradually, because he was born in Ayodhya, and because he worshipped me, he will achieve devotion for Sri Rama."

rebirth

So it happened that immediately upon leaving the temple, Bhusundi went into the forest, where he dropped his body and started the process of transmigration. He was born as a serpent and then took birth in a thousand other sub-human forms. Each form he assumed dropped away with ease, just as a man casts off old clothes and dons new ones, and his understanding never left him. Finally, at the end of all these transmigrations, he had acquired a deep love for Sri Rama and was born as a Brahmana.

While growing up, Bhusundi was only interested in hearing Sri Lord Rama and enacting his lilas. Sometimes his father would try to educate him, but he was never interested in secular things. He only wanted to know about Sri Rama. Upon reaching maturity, he went to live in the forest. There he moved continually from hermitage to hermitage, asking the different saints, rishis and hermits to tell him about the life of Sri Rama and about his divine qualities. He would listen to these stories and feel happy, and then he would move on again to another hermitage.

All the worldly desires had left him and only one longing grew within his heart - to behold the lotus feet of Sri Rama. The view of an impersonal God, which many of the sages held, did not appeal to him at all, but love for the embodied Lord filled his heart more and more. So he went about the forest singing the praises of Sri Rama with a love which became stronger every moment. Finally he came to the sage Lomasa, who was renowned for his great learning, and asked for guidance on how the embodied Lord should be worshipped.

The great sage recounted a few of Sri Rama's virtues, and then launched into a long discourse about the glories of the unmanifest supreme spirit, thinking Bhusundi fit to receive such knowledge. But the truth that the individual soul is identical with the formless and attribute-less universal Brahman did not appeal to Bhusundi's heart. Bowing to the sage, he again asked, "Kindly tell me how to worship the embodied Lord. My mind takes delight in Sri Rama, just as a fish loves to be in water and cannot live outside it. Therefore, O great sage, teach me the method whereby I may be able to see the Lord of Raghus with my own eyes. After seeing the Lord, I will then listen to your discourse on the attribute-less Brahman."

The sage once again recited the story of Sri Rama, but demolished the doctrine that the Supreme appears in an embodied form, and re-established the proposition that the Supreme is ever without attributes. Bhusundi then reiterated his view with great obstinacy, and so the two entered into a heated discussion. The impassioned sage expounded on the formless God again and again, while Bhusundi responded with questions which advanced his own argument, without listening respectfully to the wisdom of the great sage.

Finally, the sage became infuriated with Bhusundi and spoke the following words, "You refuse to accept the wisdom I am teaching you, and indulge in endless arguments and counter-arguments. You are extremely self-opinionated and, like a crow, look upon everything with distrust. Therefore, you shall at once take the form of a crow." Bhusundi bowed to the curse pronounced by the sage without any feeling of fear or animosity, and was immediately transformed into a crow. Taking leave of the sage and fixing his thoughts on Sri Rama, Bhusundi joyfully took flight.

When the Lord came to know that his devotee Bhusundi had just received another curse, he confronted the sage and asked him to rectify this mistake. Lomasa was amazed at the extraordinary forbearance and faith shown by Bhusundi and politely called him back, repenting again and again for his harsh action. The sage consoled Bhusundi in every way and then imparted to him the mantra of Sri Rama and the method of meditation on Sri Rama as a child, which pleased him very much. He also recited the entire Ramacharitamanas to Bhusundi and gave him the blessing that devotion to Sri Rama would ever abide in his heart without interruption. At that moment a celestial voice was heard from the heavens, "May your blessing come true, O enlightened sage, for he is my true devotee in thought, word and deed."

Bhusundi was overjoyed to hear the Lord's benediction and all his doubts immediately vanished. Asking the sage for permission to depart, Bhusundi went away to his own hermitage, where he continued to live in the form of a crow for twenty-seven cycles of creation. There he remains ever engaged in singing the praises of Sri Rama while the enlightened birds gather around him to listen. Each time the Lord assumes the form of a man in the city of Ayodhya, for the sake of his devotees, Bhusundi goes there to enjoy the spectacle of his childish sports. Again enshrining the image of the child Rama in his heart, he returns to his hermitage.

This was the story Bhusundi imparted to Garuda, the king of birds, when asked how such an enlightened soul came to inhabit the body of a crow. When Garuda asked again why he continued to live in such a lowly form when he could easily take any other, Bhusundi replied, "I love this body only because it was in this form that uninterrupted devotion to Sri Rama sprang up in my heart. I was blessed by the Lord in this body and all my doubts vanished." Bhusundi upheld the path of devotion for which the great sage cursed him to take the form of a crow. But eventually he obtained the boon which he sought, and which is difficult even for sages to obtain. This is the power of bhakti.

Whats the Use of Performing a Bhajan, whats in it for me....the eternal question???

2009-04-29T17:36:00.016+01:00

The following code of conduct is ideal for those who are aspiring to sing Bhajans. This is not an intention to slight someone or demean anyone at all. Radhe Krishna!

Way to Sing Bhajans

1. Chant the lord's name with love.

2. Sing with Bhaava (inner feeling), else, the whole activity of Bhajans is rendered useless.
What you get from singing Bhajans?

Bhajans are highly sacred. Bhajan singing makes the heart sacred. What is important is that it should come from the heart. Bhajan is not just rhythm, tune and beat. You should sing God’s name with love. You will see the manifestation of divinity with your physical eyes when you sing HIS glory with all love. Sing from HEART. This is the only way to get HIM into your HEART.

Bhaava (inner feeling) is the quintessence (purest and most perfect form) of Bhajan singing. The heart of the lord is like "soft butter". However to melt this soft butter, we need to show the warmth of Bhakthi and devotion expressed through Bhaava (inner feeling). Only a Bhajan (prayer) sung with full Bhaava (inner feeling) can melt the heart of the lord. It is the cry of devotee with deep yearning (compassion) for the lord. Which makes the lord run to the rescue of HIS devotees? This is the effect of Bhaava.

Even Ice takes some time to melt but God’s heart melts instantaneously when you chant HIS name with love.

Cultivate Bhaava in Bhajans:

Whenever a Bhajan appeals to us, we usually take the first opportunity available and proceed to sing it during a Bhajan session.

Is This The Way To Sing Bhajans?

The answer is No! The song you sing is an offering at the lord's lotus feet and has to be prepared with due diligence (showing care and effort) and care.

How to cultivate Bhaava:

1. Select a Bhajan: Choose simple Bhajan, which suit your voice. It is the feeling with which you sing that matters, not the complexity of the tune.

2. Register the lyrics: Memorize the words of the Bhajan. Understand properly the meaning of the words or lyrics of the song. Learn to pronounce each word the right way.

3. Register the tune: Hear the Bhajan a number of times until the tune gets registered in your mind. Learn the raga on which the Bhajan is based. Understand the entire spectrum of the associated raga. Listen to some Bhajan or songs based on this raga. This will help one to get the feel of that raga which is necessary for the proper exposition of that raga and in turn the perfect rendering of the Bhajan.

4. Learn the tala (The beat): Learn the tala or the beat to which the song has been composed. One must pay special attention to the laya or the tempo of the song.

5. Practice 100 times
Practice 100 times

Does one really need to practice 100 times to get Bhajan prefect? Let us examine.

After the first 25 times you are able to get the lyrics, tune and rhythm perfect.
After the next 25 times you get the Bhajan into the mind. Now you are able to sing effortlessly.
After the next 25 times you get the Bhajan into your blood. You know the meaning of each word when you sing.
After the next 25 times you get the Bhajan into your heart. You are able to have a unique conversation with the lord when you sing.

6. Arrive in time; maintain silence before Bhajans:
"Where ever my glory is sung, I install myself there".
Give some time to prepare yourself mentally before Bhajan

7. Have no ego:

Sing to express (your devotion) not impress (with your musical talent). Pray to the lord before singing, for HIS grace, so that you can sing the song as an offering to the lord rather than with an intention to display your musical talent.

Bhajan must be a felt experience.
Do not sing with one eye on the song that makes the effect on the listeners, and the other, on the effect it makes on the GOD.
Let your heart pant for GOD; then, the raga (musical tune) and tala (musical beat) will automatically be pleasant and correct.
Do not allow even one vice (immoral conduct or weakness) like the vice of conceit (personal vanity) to enter and ensconce (establish or settle comfortably) itself in your heart.

Sing for the Lord, not the Listeners.

Bhajan done with egoistic pride is as harsh as the crow's caw (harsh cry of crow). So, try to avoid the ego marring your sadhana (practice), even to a small extent".

Do you want to drive away GOD through your Bhajan?

Some people may laugh at all this Bhajan and call it mere show and exhibition and recommend instead quiet meditation in the silent recess of the shrine room. But coming out in company and doing Bhajan like this helps in removing egoism; one should not be afraid of jeering, nor feel ashamed to call out the name of the lord. One gets inspired by the devotion of others."

Use Bhajan as an activity to remove ego.

8. Bhajan is not the place to practice silence:

When a man has fallen into a well and is unable to get out, he does not mutter to himself. He shouts loudly to get men to save him! What do you do to drive away birds sitting on a branch? You clap your hands loudly. Similarly, sing the names "Radhe Govinda, Gopala, Hari Narayana aloud, and clap your hands with vigour (physical or mental strength or energy) so that the birds of evil passion, Kama, krodha (anger) and lobha infesting your mind will fly away.

When you sing without the thrill of ecstasy (over whelming joy or rapture), I do not derive any joy. Bhajan must spread good will, love, ecstasy it must cleanse (make clean or pure) the polluted atmosphere; it must invite all to share in the joy and peace. Be sincere feel in your hearts what you are singing by your voice. The motion will express itself through the raga and tala it chooses. You need not worry about the raga being appropriate or the tala being accurate. When Krishna is prompting you to sing, the raga and the tala can never be wrong.

Devotees who attend Bhajan turn their looks this side and that side without concentrating on Bhajan. If they are not interested in the Bhajan, why should they come at all?

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Story of Nama Mahimai

2009-04-28T13:17:00.006+01:00

Nama Sankeerthana Mahima narrated by Sri Sri Anna:

A Bhagavathar named Sparsakal Bhagavathar was a contemporary of Namadevar. In fact they both belonged to the same street and lived and studied together. Sparsakal bhagavathar got his name initially not because he was like a touch stone, who could convert anyone into a noble or holy person. In the beginning both Namadevar and Sparsakal Bhagavathar participated in all nama sankeerthanams and bhajans in
Pandaripuram together in the Ranga Sila (the mandapam) in front of the Mahayogapeedam of Pandurangan, which is famous for bhajans by all time greats. However, Sparsakal Bhagavathar always had a feeling that Vittalan was keeping them in low profile and starvation and the luxury, pomp and glory could not be accomplished by singing His praise. Slowly he turned towards Lakshmi Pooja (or Kubera Pooja) and with his dedicated upasana got hold of a sparsakal (touch stone – this touch stone will convert all iron pieces into gold merely by the touch or sparsam – hence the name). He cautiously used this sparsakal and changed the nails, nuts and bolts in house into gold. He successfully and prudently started changing all the iron in house and later went around the streets in search of nails and needles and iron pieces. He amassed huge wealth, built a palatial house and covered his wife with gold ornaments (in fact Anna said he made a gold kavacham for his wife). In the process of changing iron into gold, Sparsakal Bhagavathar turned himself into rusted iron. Net result was that Sparsakal Bhagavathar absented himself for the bhajans and not to be seen in the Ranga Sila for the last three months. Namadevar watched the peculiar behaviour of Sparsakal Bhagavathar and wanted to solve his problem. In the mean time, Rajayee and Sparsakal Bhagavathar' s wife meet regularly in the mornings when they went together for drawing water from the Chandrabagha river. Rajayee wondered at the sudden change in the lifestyle of her friend and enquired the reasons (rather innocently). Sparsakal Bhagavathar' s wife who was longing for this query instantly replied that her wealth was made possible by her husband, who stopped worshipping Pandurangan and turned towards Lakshmi Kubera Pooja. His upasana earned him a sparsakal, which turns every piece of iron into gold. Further she said in a hush voice that the sparsakal was kept in the salagramam box and he regularly performed pooja for the sparsakal. Emboldened by her poverty and as the law of nature had it, women yield to temptation Rajayee asked Sparsakal Bhagavathar' s wife to spare the sparsakal for a day so that she can ward off her poverty too. Sparsakal Bhagavathar' s wife hesitantly agreed to give the sparsakal on a condition to keep the matter confidential. Rajayee accepted and took home the sparsakal. She used the sparsakal and changed a few needles and nails into gold. This was enough for her to get some wealth to buy new dresses for her children and food grains for her family.Namadevar noticed this slight change in his home and enquired about the details. Promptly Rajayee told him the Sparsakal Bhagavathar' s episode. Namadevar was shocked and annoyed at the incidence. He was rather upset to know that this sparsakal has corrupted not only Rajayee but initially Sparsakal Bhagavathar and prevented him from attending the bhajans. Hurriedly he took the sparsakal and threw it in the Chandrabagha river. Rajayee was dumb-founded and could not come out of her house to meet Sparsakal Bhagavathar' s wife. The next day morning Sparsakal Bhagavathar prepared himself for the pooja and searched for the salagramam box (in which he kept the sparsakal). His wife confessed her fault and on hearing this Sparsakal Bhagavathar shouted in fury. He briskly walked to Namadevar's house and demanded for the sparsakal. Namadevar coolly said that he threw the sparsakal into the river and advised Sparsakal Bhagavathar to forget the incident and attend the bhajan from now on. Sparsakal Bhagavathar did not yield to Namadevar's request and in turn scolded him and Pandurangan for his state of affairs. Finally Namadevar took Sparsakal Bhagavathar by his hand and went to the River Chandrabagha. He took a dip in the river and gathered handful of stones from the river. All the stones turned into sparsakal and he handed them over to Sparsakal Bhagavathar. On seeing this miracle Sparsakal Bhagavathar realized his fault and the mahathmiyam of Namadevar. He fell at his feet and said that by this act Namadevar has shown him the right path and now he will never leave the lotus feet of Vittalan and Namadevar. Pleased by this change, Namadevar hug Sparsakal Bhagavathar and claimed that only now he has become a sparsakal. Here Shri Shri Anna compared Namadevar with Mahaprabhu, who by his mere touch made everyone chant the Mahamanthra

Hare Rama Hare Rama Rama Rama Hare Hare

Hare Krishna Hare Krishna Krishna Krishna Hare Hare

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Sree Krishna Leela Tarangini

2009-04-27T17:55:00.007+01:00

Sree Krishna Leela Tarangini Sree Krishna Leela Tarangini is a condensed version of the 10th skanda of Sreemad Bhagavatam (up to chapter 58). The songs are in the form of keertanas, with pallavi, anupallavi and charanams. He has used 34 raga-s and ten kinds of talas for the keertanas. Quite appropriately, the author has decorated the songs pertaining to the Rasaleela
(8th tarangam) with jatis. Narayana Teertha was an Advaitin and sanyasin who took to Sagunopasana (worship of God with forms and names). In this respect, he is in the distinguished company of Bodhendra Swami of Govindapuram, Sridhara Venkatesa Ayyaval of Tiruvisainallur, Sadasiva Brahmendra and Sadguru Swami of Marudanallur, all of whom advocated, and practised, Namasiddhanta and Bhajana Sampradaya in south India. Narayana Teertha chose music and dance as means for self-realisation, and wrote the Tarangini as an offering to God. Though his ishta-devata was Sree Krishna, he has sung on other deities too-- Durga, Saraswati, Siva, Dakshinamoorti, Sree Rama and Varadaraja. He has commenced the work invoking the blessing of Ganesa in the first song, of Garuda in the second and sought the grace of Varahapuri Venkatesa in the third song. The purpose of the work was to instill bhakti in the hearts of the readers and listeners. He has therefore used simple words and avoided roundabout expressions. There is no attempt to display his poetic gifts. Narayana Teertha occupies a prominent place among the saint composers who fostered and nourished the bhakti cult. He is best known as the author of Sree Krishna Leela Tarangini, a magnificent musical opera (dance-drama). From his works one can discern that he had mastered Sanskrit, music and Bharatam. He seems to have taken to sanyasa quite early in his married life. Sivarama Teertha was his guru. In the eighth tarangam the author states that "he serves the lotus feet of Sivarama Teertha as a bee" ( "Sivaramateertha-padaambuja bhramarena" ). Soon after the ordination, Narayana Teertha set out on a pilgrimage to holy shrines. It eventually took him to Varugur or Varahapuri, near Tanjavur, where he settled down. (There is a popular legend that during the pilgrimage he was afflicted by a stomach ailment and that a divine command bade him proceed to Varahur and worship the Lord enshrined there to get relief from the ailment.) It was at Varahur that he composed Sree Krishna Leela Tarangini. In the third song (in the first tarangam) he pays obeisance to 'Varahapura Venkatesa'.

The Great Saint Narayana Theertha Swamigal sung the whole Tharangini Episode at VaragurVillage (about 23 KM from Thanjavur)and still the village is celebrating Krishna Ashtami Festival in the name of "URIYADI" for about 13 days. This festival was introduced by Sri Sr Sri Narayana Theertha Swamigal during his life at this village and in the same manner the festival is being celebrated. The village also celebrating Narayana Theertha Aradhana every year for three days in the tamil month Masi Sukhla Paksha Ashtami Day.

Recently I happen to read a book on Sri Sri Sri Narayana Theertha's life story. This doubt was raised by many people more than thirty years back. Bharaneedharan who is a popular and prominent writer in Anandavikatan had made a reaserch on this. I understand that Narayana Theertha attained mukti only at Varahur. There was yet another saint during those days and He was also a Great Soul, called Theertha Narayana Swamiji who had immense powers. He lived in Thirupoonthurithi and both the Yathis are different from each other. I strongly believe Sri Narayana Theerthar whom we sing in Bhajans belongs to Varagur only

He has signed his songs as Narayana Teertha. However, in a large number of songs the name appears with prefixes: Sivanarayana Teertha, Varanarayana Teertha, Narayanananda Teertha and Dheeranarayana Teertha. In some songs we also find the signatures with elongated prefixes: Gurubhakta Narayana Teertha, Sarasa Narayana Teertha, Bhavya Narayana Teertha, Yati Narayana Teertha, Sadhu Narayana Teertha, Vishnubhakta Sivanarayana Teertha, Sreeharibhakta Narayana Teertha, Muni Narayana Teertha, Bhakta Narayana Teertha, Siddha Narayana Teertha, Nijanarayana Teertha and Yogivara Teertha Yati. It is evident that the author has resorted to these varieties of prefixes to meet the requirement of the varnamettu and tala of the song as also to keep prasa. About 40 songs do not have his signatures. In the beginning of each tarangam the author gives a synopsis thereof and lists the episodes to be enacted. He also gives the names of the principal characters who take part in the episodes. He uses sloka-s, daru-s and choornika-s (long prose passages) for this purpose. We find them before the keertana-s too. The tarangam-s acquired an honoured place in the bhajana tradition from the time of Bodhendra Swamigal. The simple language, the delightful music and the vivid description of various incidents in Krishna's boyhood captured the hearts of one and all who participated in the bhajan-s. The songs entered the concert stage much later, perhaps in the middle of the last century. Some of the songs often heard in music concerts are:

Pooraya mama kaamam

Kshemam kuru

Gopala Saranam bhava

karunaamayi

Ehimudam dehi

Govardhana gireesam

Govindamiha

Jayajaya Swamin

Kalaya Yasode

Madhava mamava

Siva Siva bhava bhava

The Tarangini is the longest dance-drama in the Sanskrit language. It is a fine piece of devotional literature too. Scholar T.S. Parthasarathy says: "The composer writes a simple but unique style in which all the literary graces such as assonance, rhyming and liquid sounds are blended to create a total picture of idea, sound and melody." He sums up the work: "Krishna Leela Tarangini is a treasure, which deserves to be cherished by litterateurs, musicians and dancers."
It is stated that when Narayana Tirtha was on his way to Thanjavur District he was afflicted with a severe stomach ailment and prayed to Lord Venkateswara for relief. A divine voice told him to follow the first object he saw the next morning. This happened to be a boar, which led him to Varahur (Bhupatirajapuram). Tirtha settled down in the village and rendered yeoman service to Carnatic music.

Source : Article from "The Hindu"

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Narayana Theerthar

2009-04-26T16:20:00.004+01:00

In the 17th century, yet another music scholar from the Andhra belt enriched the bhajana namasankeerthana tradition. He was Narayana Tirtha, author of the magnificent Sri Krishna Leela Tarangini. Narayana Theerthar, formerly known as Govinda Sastri, a name associated with the ascetic order or sanyasin was an
avatara purusha. One of the versions of his biography is that Govinda Sastri, a Telugu Brahmin was born into a Tallavajjhala family to Nilakanta Sastri and Parvati Amma. He was a native of Kaza Village in Guntur district. Much earlier in his life, Govinda Sastri acquired great proficiency in music, Sanskrit and the Sastras. He also got married at a very young age. It is said that once while attempting to cross the swollen Krishna River to reach his father-in-law's place, he faced recited the prescribed mantras and the floods subsided. He decided to become a sanyasi and was initiated by Sivarama Tirtha and thus became to be known as Narayana Tirtha.

Once in his life Narayana Tirtha was afflicted by an stomach ache and Lord Venkateswara appeared in his dream and directed him to follow the first object which he saw the following morning. This happened to be a boar which led him to the village of Varahur (also known as Bhupatirajapuram) wherein he is said to have been cured of the ailment. Narayana Tirtha subsequently resided at Varahur and completed writing the Sri Krishna Lila Tarangini somewhere between 1675 and 1745 AD.

Krishna Lila Tarangini, roughly translated, the river of the wondrous deeds of Krishna, commences with the birth of Krishna and ends with his marriage to Rukmini.The author had himself intended it to be a dance- drama. In fact several episodes carry the author's instructions about the method of rendering a particular song. It is said that Narayana Tirtha himself had it staged at Varahur before the temple of Lord Venkateswara and later also at Melattur. He retained only those songs for which Lord Anjaneya kept time discarding the rest as not worthy. In fact even today the Anjaneya statue at Varahur is described at `Talam Kottum Anjaneya'.
Narayana Tirtha was very much influenced by Gita Govinda of Jayadeva in several ways. This probably why his compositions had twelve Tarangams akin to the twelve sargas of the Gita Govinda. Sonti Venkatasubbiah belonged to the sishya parampara of Narayana Tirtha. His son was Sonti Venkataramanniah - the guru of Tyagaraja. The latter records his gratitude to Narayana Tirtha who inspired him to compose his own two operas - The Prahlada Bhakti Vijayam and the Nowka Charitram. The Tarangini is a work composed in the yakshagana mould and comprises 145 kirtanas, 267 verses, 30 gadyams (prose) and 30 darus (narrative songs). Narayana Tirtha has used approximately 41 ragas, including some rare ones like Mangala Kapi. Besides this grand composition Narayan Tirtha is also credited with authoring several other books like the Parijataharana Nataka, Haribhakti Sudharnava and a commentary on the Bhakti Mimansa Sutras of Sandilya. He uses a variety of mudras to sign his works, prominent among them being Vara-Narayana-Tirtha, Siva-Narayana-Tirtha and Yati-Narayana- Tirtha. This ascetic composer attained samadhi on the Sukla Ashtami day of the Masi month at Tirupoonthuruthi which is about five kilometres from Tiruvaiyaru. Legend has it that his was a jiva samadhi and a mango tree stands on that spot today.

On the janmashtami day at Varahur, songs from this opera are rendered and at Tirupoonthuruthi his aradhana is commemorated in a manner somewhat akin to the Tyagaraja aradhana at Tiruvaiyaru. However, a more fitting tribute would probably be to stage it as a `Drsya- kavya' (dance-drama) which was the original intention of the composer.

About Sri Sanjeevi Bhagavathar and Sornakadu Sampradayam

2009-04-26T16:19:00.001+01:00

Sri Sanjeevi bhagavathar is Pudukottai Sri Gopalakrishan bhagavathar's son. Sri Sanjeevi Bhagavathar's son Ravi Bhagavathar has taken up the Mantle of following his father's and grand father's path. Sathguru Sri Gopalakrishna bhagavathar was born on 14-10-1892 (corresponding to the 30th day of the month of purattasi in the year nandana),the place was the village of vallavari in arantangi taluq of

Tanjore Dist, Friday, krishna paksha navami, aslesha star, a male child, after three females, to the pious Sundaresayya and Meenakshi ammal. The child was named Venkata Gopalakrishnan. When the child was three years old Sundaresayya moved to the village Swarankadu in Pattukottai Taluq. When the boy was five years his father passed away and he grew up under the care of his brother-in-law Venkatakrishnayya. Till his 15th year he learnt Telugu Sanskrit and music from his brother-in-law and also received initiation in Mantras. At this time he married his uncle's daughter Mangalanayaki. At the age of 23 he got one son (Sri Mani) and another at his 28th age (Sri Sanjeevi). More at http://satgurugopalakrishna.org/sanjeevibhagavadhar.html

Erode Sri Rajamani Bhagavathar of Bangalore

2009-04-25T22:58:00.005+01:00

K.V.Narasimhan, Popularly known as Erode Rajamani Bhaagavathar, renowned exponent of sampradhaya bhajan, hails from Kooniyur in Thirunelveli District of Tamil Nadu with a rare distinction of being a disciple of the Doyen of Sampradhaya Bhanjan Pudukottai Shri Sanjeevi Bhaagavathar. Shri Rajamani inherited the art of carnatic music from his mother showing a natural fair for playing Harmonium. His interest sprang to the branch of percussion Instruments, Particularly Mirudangam. He even while in his teenage was bestowed with the opportunity to accompany his revered Guru Sanjeevi Bhaagavathar and Shri Ravi Bhaagavathar on Harmonium. He assimilated the art of sampradaya bhajan from his Guru. With the divine blessings of Brahmasri Gopalakrishna Bhaagavathar, he rose to the height of execellence in rendering Pudukottai Patthadhi of Sampradhaya Bhajans in great detail.
He moved to Erode in late 80's and lead "SRI GURUKRUPA BHAJAN MANDALI". He, by sheer interest devotion and dedication, spread his wings in depth in pooja patthadhi, Dhivyanamam, Dolothsavam and Pavvalimbu. He is a repositary of Bhajan songs and one among the very few who is accredited with an indepth knowledge in rendering a complete form of sampradaya bhajans.

He creates a high degree of positive vibration among the participants, taking them to the very great level of divine ecstasy. Words, Melody, Bhaavam and Layam fuse smoothly in his style. His Excellence in slokas singing, rendering abangam and rare ragas reverberating Naamavalies are unmatched. He has performed extensively all over the country and abroad.

He has to his credit released four double cassettes album namely "BHAJANAAMRUTHAM, NAVANEETHACHORAA, SUBRAMANYAM, SHARANAM IYAPPA. At present he is residing in Bangalore and conducting bhajans all over the country.Sri Erode Rajamani Yahoo Group - srigurukrupagroup on Yahoo Groups

"I am erode rajamani bagavathar disciple of pudukottai sri.gopalakrishna bagavathar and sri.sanjeevi bagavathar.though namasankeerthanam is my profession i am using it as a tool to spread the noble divine art and bakthi.those who are interested in spreading this bhajan sampradaya may join this group."

http://groups.yahoo.com/group/srigurukrupagroup/

http://www.youtube.com/results?search_query=Erode+Rajamani+Bagavathar&search_type=&aq=f

http://www.hummaa.com/music/artist/17469/Erode+Rajamani

About Erode Rajamani Bhagavathar

2009-04-25T21:02:00.006+01:00

It is said that namasankirtan (repetition of the divine name of God in devotion and in group) is a powerful spiritual tool where the seekers can relish divine bliss and can also share it with others. K.V. Narasimhan, popularly known as Erode Rajamani Bhagavathar, a renowned exponent of sampradaya bhajan, has this rare ability and has been taking the participants of his bhajan programmes to a level of divine ecstasy through this tool.

Says Rajamani, "Namasankirtan is the easiest way to reach God in this kalyug, when compared to other forms like yaga and tapas." He also recites a Sanskrit verse, which roughly translates to "Lord Krishna telling Narada that He (Lord Krishna) does not reside in Vaikunth; nor does He reside in the hearts of yogis; but resides at the place where namasankirtan is being done." Hailing from a place called Kooniyur in Tirunelveli District in Tamil Nadu, Rajamani has a rare distinction of being a disciple of the doyen of Sampradaya Bhajan, Pudukottai Brahmashri Sanjeevi Bhagavathar.

Having inherited the art of Carnatic vocal music from his mother, through his vivid interest, Rajamani also learnt and started playing the harmonium and the mridangam when he was young. While in his teens, he got the opportunities to accompany his revered guru, Shri Sanjeevi Bhagavathar and other Bhagavathars on the harmonium. After completion of his commerce graduation, a job in a private sector company moved Rajamani in the late 1980s to Erode, a small town in Tamil Nadu.

Recalls Rajamani, "Gopalakrishnan, a family friend who was then in Erode, encouraged me to lead a bhajan group telling me I had the capacity to do so. A bhajan group called Sri Guru Krupa Bhajan Mandali was formed in 1991, which was a turning point in my life." Rajamani gave up his job in the company in 1999 to become a full-time artiste. By his sheer interest, devotion and dedication, he soon learnt in-depth the Puja Paddhati, Divyanamam, Dolotsavam and Pavvalimbu. With the blessings of Brahamashri Gopalakrishna Bhagavathar, he rose to the height of excellence in rendering Pudukottai Paddhati of Samprayada Bhajan in great detail.

Bhajans Link - http://www.youtube.com/results?search_query=Erode+Rajamani+Bagavathar&search_type=&aq=f

A repository of bhajan songs and one of the very few credited with an in-depth knowledge of rendering a complete form of Sampradaya Bhajan, Rajamani is happy that he is involved, in a way, in `national integration' as he sings compositions in various Indian languages like Hindi, Sanskrit, Marathi, Tamil, Telugu and Kannada, etc. Proudly he adds, "I even have some ardent Muslim fans, who know the entire bhajan Paddhati and sit throughout my bhajan programme."

Rajamani is happy that music sabhas increasingly give slots for samprayada bhajans during music seasons and auditoriums are packed to capacity. He draws attention to the fact that in Carnatic music concerts too, one-third of the concert time is being dedicated for bhajans. Rajamani advises the modern youth of the country, particularly those in the IT sector and experiencing a stressful work atmosphere, "To participate in bhajans and namasankirtans, get diverted and release stress. It's divine music, after all".

To wean away children from television and the Internet, Rajamani advises parents to expose them to bhajans and namaskirtans even if they don't like it. "After some time, they would automatically start liking them. This would help them to grow as good citizens of the country," he says.

Father of two children, Rajamani admits that it is very difficult to balance family life and his profession, which keeps him away from home for days in a month. But very quickly he gives the entire credit to his wife Vasantha, who manages the family well and also sings with him during his performance, whenever possible. He also acknowledges that she is the main person behind his progress.

Rajamani creates a positive vibration amongst the participants of his bhajans and namaskirtans as sahitya, melody, bhava and laya fuse smoothly when he performs. Says Rajamani, "Sincerity and devotion have been the key factors in my success. Be sincere and devoted in whatever you do. These would take you to greater heights."

Rajamani has always enjoyed performing in Delhi and has a word of praise for Delhi devotees and rasikas. "They are devoted to the core and are knowledgeable."

More Said about Erode Rajamani Bhagavathar:

Erode Rajamani Bhaagavathar, renowned exponent of sampradhaya bhajan, with a rare distinction of being a disciple of the Doyen of Sampradhaya Bhanjan Pudukottai Shri Sanjeevi Bhaagavathar. He is a repositary of Bhajan songs and one among the very few who is accredited with an indepth knowledge in rendering a complete form of sampradaya bhajans.He creates a high degree of positive vibration among the participants, taking them to the very great level of divine ecstasy. Words, Melody, Bhaavam and Layam fuse smoothly in his style. His Excellence in slokas singing, rendering abangam and rare ragas reverberating Naamavalies are unmatched. He has performed extensively all over the country and abroad.

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About Kadayanallur Rajagopal Bhagavathar

2009-04-25T20:03:00.004+01:00

Kadayanallur Rajagopal Bhagavathar has the blessings of "Kadaikaleeswarar" the presiding diety of Kadayanallur. With ardant devotion to music and inclination to "Sampradhaya Bhanjans" he
learned the bhajan sampradaya from his "Guru" and father Sri.R.Seetharama Bhagavathar. For four generations their family has been devoting themselves to

"Sampradhaya Bhajans". Since the age of five Sri.Kadayanallur Rajagopal Bhagavathar has been accompanying his father and grandfather Sri.T.S.Ramachandra Bhagavathar for various bhajan performances.
At an age when youngsters are going around enjoying their lives, Rajagopal has exhibited abundant interest in "South Indian Sampradaya Bhajans", going around singing the praise of the "Lord". He is well conversant with musical instruments like Harmonium, Mridangam, Dolak, Tabla, Ganjira etc. He has taken painstaking efforts to establish a niche in the widely accepted bhajan form.
Sri.Kadayanallur Rajagopal's "Divyanama" concerts have immense capacity to draw crowds to feel the divine embrace of the "Lord" himself. Coming from this very small town of Tamil Nadu is Sri.Kadyanallur S Rajagopal, the younger generation of the Kadayanallur Sampradaya Bhajan Family. His grandfather, Father and his uncles were staunch followers of Shri Gopalakrishna Baghavathar (lovingly known as "Thatha") and Shri. Sanjeevi Baghavathar the Saints of Sampradya Bhajans. Sri Kadayanallur S Rajagopal under the instructions of Shri.Krishna Premi Swamigal lovingly known as "Anna" took to Spreading the Smapradhaya Bhajan's his ancestors were promoting.
His melodious voice takes you through to God's abode. "Divyanama Chakravarthy" as he is known, he conducts "Radha Kalyanam" in "Pudukottai Sampradayam Bhajan Style".

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About Sri Thukaram Ganapathi of Kadayanaloor

2009-04-24T22:55:00.000+01:00

Sri Tukaram Ganapathi was born in a family of bhajan singers in a religious place- Kadayanallur, 16 kilometres, north of the famous Courtrallam in Tirunelveli District. His
original name is Sri. K.V. Gan
apathi Moorthy. Right from his childhood, he has taken a liking to singing bhajans, especially the "Abhangas". He has been a disciple of Sri Sri
Krishnapremi Maharaj, who conferred the title "TUKARAM" on him in recognition of his devotion to Marathi Abhangas. He also received Deeksha for Varakari Sampradaya Sankirtan from Sri Sri Papabanda Maharaj, one of the descendents of Santh Gnaneshwar Maharaj. Thukaram Ganapathi has traveled to Pandarpur by foot (Pada Yatra) singing the Abhangas with his melodious voice accompanied by his followers.

He has been performing Sangita Upanyasams and bhajans at various places throughout the country and has been awarded the title "Bagavatha Kainkaryamani" by the Travancore Maharaj (King of Travancore) himself. He was also conferred the title "Bhajana Bhushan" by the Marathi School and Maharashtra Association. Several Abhang Melas have been conducted all over the country under his guidance and presidentship.

Vittoba Bhajan Mandali

He formed the Vittoba Bhajan Mandali and is training a number of people in singing Abhangas, particularly in Varakari Sampradaya, which is his special liking and mastery. His Bhakthi towards Lord Panduranga is so immense and has installed the statues of Lord Panduranga and Rakhumayee at his own residence- Vittal Vihar. Please click on the audio clippings to hear the Abhangas of Vittoba Bhajan Mandali.

Gosamrekshanaa Trust

He is also running a Goshaala called Gosamrakshana at his residence in Kadayanallur, giving protection to aged cows. Gosamrakshana fills the needs of like-minded people whose intentions are to support the existence of such aged cows and save them from slaughter.

Panduranga Seva Samithi

He has also formed the Panduranga Seva Samithi, through which he is taking care of a temple of Lord Panduranga at Vittalapuram in Tirunelveli District to conduct the daily pooja for the temple which was deserted for many years.

Abhang Namasankeertana

He has released six cassette albums of Abhangas, (each album contains 2 cassettes) lacing them with tamil explanations, the proceeds of which go to the maintenance of this goshaala. They are :
Nisi Dini Dyaye Santha Sangha
Pavalo Pandari Vaikunta Bhuvana
Sakala Mangalanidhi
Prema Preethi Naama
Sampoorna Haripat
Sadhguru Mahima
A few more are in the process of getting released ...
In short, the Abhangas - bakthi hymns of Gnanadev, Thukaram, Namdev and Janabai etc. that worship Vittala through musical words gains significance through Sri. Thukaram Ganapathi's melodious music being backed by his bakthi, idealism and simplicity. He has also been performing Akanda Sankeertan, a three day festival at his house inviting other leading abhang musicians from all over the country and has been conducting Sri Sri Krishna Premi Maharaj's Sapthaham in his place for over a decade now.

"PANDURANGA KAARYA THURANDARAA" - The Hindu Reports

"The report of Indian Express"
"The report of Pune Times"
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Bhajans and the River Cauvery

2009-04-24T16:40:00.005+01:00

FOR THOSE who perhaps know the river Cauvery as a mere subject of dispute between politicians and farmers, water is important only in it's most mundane sustaining power. The waters of the Cauvery has for more than a thousand years fed
the culture of the land it has touched. Cauvery is thus a Mother, a Goddess. In the troubled times we live now, looking back at the spiritual life which the Cauvery nurtured is like trying to understand fanciful myths. But a closer look will tell us that as recent as a mere three hundred years ago, great men lived on the banks of the river their land ruled by great kings, who were Indian first, and Nayaks and Marathas only incidentally. The Thanjavur of those times enjoyed the enlightened rule of kings who were Bhaktas (devotees), poets, musicians, and scholars. In accordance with their own culture and their inborn intelligence, this line of kings built temples, restored old ones, patronised music, dance and literature. Their respect for scholarship was so immense that one of them, Shahaji, endowed a vast village with cultivable lands for Pundits and invited them from far and near to inhabit this place and continue their service to mankind. This was known as Tiruvisanallur. Forty-five savants settled here. They are immortalised by their own works which they produced on palm leaves, some of which survived to be published by the Thanjavur Saraswathimahal library. The works of many of the savants, were passed on to their disciples only orally. Tiruvisanallur was home to composers of spiritual songs as well.

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Nama Kowmudhi

2009-04-23T21:34:00.004+01:00

One day, Sri Sri Sri Bodendral asked the boys playing on the dry river bed of Veerasozhan to bury him in the sand. As usual, the boys thought that he will come out of thesand pit. This time, he wanted Jeeva Samadhi and did not come back. He reached the Lord"s feet. Floods came and no one knew whether he

was washed away or was alive. Three hundred Years went by. Marathanallur Sathguru wanted to know as to what happened to this revered Acharya. On one hot summer day, Sathguru did Anga Prathkshinam on the hot, dry river bed. As his body hit one location, he heard the loud chantings of Rama Naamam. Sathguru Venkataramana Sastrigal stopped there and dug up this area . Lo and Behold! He found the missing volume of Nama Kowmudhi, which was considered lost until then. He brought it back with Koil Maryadai and placed it in the Maruthanallur Bhajana Matam and offered Puja to the sacred Grantham and thru that to Sri Ramachandra worshipped by BhodendraaL..He continued the Bhajanais in front of the Sacred book of Nama Kowmudhi from then on.

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Story of the Nama Mahamantram

2009-04-23T21:02:00.007+01:00

Source: Vaishnava Samhita

Once Sri Sri Sri Bodendral Swamigal was going from village to village to bless the people with spiritual gains by initiating them into the continuous chanting ofthe Divine Names. Sri Sri Sri Bodendral Swamigal was clad in saffron and was wearing a long oordvapundra tilak on his forehead. He had a calm and pleasant smile on his countenance, and was wearing a rosary of Tulasi beads, holding the staff of a saint and was filled with compassion for all beings.
He was chanting ceaselessly `Shri Rama, Rama, Rama' with his eyes drenched with tears of spiritual joy. He was seen in a state of ecstasy, hairs standing on end. Seeing Sri Sri Sri Bodendral Swamigal in this state, a brahmana paid his respects to him and humbly invited him to have a meal in his house. Shri Bhagavannama Bodhendra accepted the request of the large-hearted brahmana and went to his house. That blessed brahmana bathed the feet of the yati and offered him worship, with tears of joy drenching his face. That brahmana fed Sri Sri Sri Bodendral Swamigal with all earnestness and respect. While the sage was having his meal, he was sitting near him reciting the Upanishads. In the meantime the five-year old dumb son of that brahmana sought various dishes by gestures. The compassionate yatishwara became very sad to see that dumb child and he shed tears of sympathy. `Alas! How will this child be able to do kirtan of the Divine Names of Shripati (the Lord of Devi Lakshmi), the Ocean of Mercy? Is not the chanting of the Divine Names the only panacea for men in this Kaliyuga who engage in varied sinful activities? Oh! This dumb boy will not be able to sing the Divine Names of Shri Hari. How will he attain spiritual well-being here and now? Thus becoming sad, Sri Sri Sri Bodendral Swamigal got up from his seat, washed his hand and went to the verandah of the house. At that time, the brahmana prostrated himself before the Swamigal with ardent devotion and tried to console him, saying that all the beings of the world reap what they have sown in their previous births. After the ascetic left that place, without delay that dumb boy eagerly took the remnants of his prasad. Immediately that boy gained divine knowledge and started dancing, singing the Divine Names, `Rama' and `Krishna' with abiding devotion. Finding that young boy chanting the Divine Names thus, the brahmana was surprised and he became immensely happy. From that day, approaching the preceptor Sri Sri Sri Bodendral, that boy rendered him all possible service with affection and became blessed with spiritual well-being.

Chant the Mahamantra Nama kirtan :
Hare Rama Hare Rama Rama Rama Hare Hare
Hare Krishna Hare Krishna Krishna Krishna Hare Hare

Radha Kalyanam

2009-04-23T16:53:00.004+01:00

Radha Kalyanam is celebrated in the traditional form of a Hindu marriage. In the Bhagwatha tradition, Radha Kalyanam signifies the culmination of Ashtapathi Bhajans. Radha Kalyanam starts with ‘Unchavrithi’ (street singing) with the marriage taking place thereafter.

ALANGUDI RADHAKALYANAM PADDATHI

There are different arrangements based on the sthala sampradya followed, Alangudi for example follows this pattern albeit on a grand scale that delivers a unique spiritual blend of events culminating the Radhakalyanam in a grand manner. This is still based upon Maruthanallur Sri Sadguru Swamigal padhathi however. The Main propragators of this method are the Alangudi Namasankeerthana Trust.

Previous Day - 1 and the Previous Day

GANAPATHI HOMAM
LAKSHARCHANAI
KUTHU VILAKKU POOJAI
JEYADEVAR ASHTAPATHI BHAJAN
NADHASWARAM
BHARATHA NATYAM
UPANYASAM
MARATHI ABHANG
BHAJAN SAMPRADHAYA DIVYANAMA SANKEERTHANAM
DOLOTSAVAM

On the Day of Radha Kalyanam
UNCHARVRUTHY (a Post is devoted entirely to the sutle details of the Unchavruthy)
SAMPRADHAYA DIVYANAMA SANKEERTHANAM
SRI RADHAKALYANAM
SRI ANJENEYA UTSAVAM

Another Padathi:

Dhyana Slokam
Sangraha Thotaka Mangalam

(Thotakam - Beginning with a praise, Mangalam - End)
Guru Dhyanam

Guru Abhangs
Jayadeva Ashtapadi
Narayana Theertar Tharangam
Badrachala Ramadasar
Purandaa Dasar
Sadasiva Bramhendral
Thyagaraja Swamigal
Kabir Das
Meera Bai
Marathi Abhangs on Lord Panduranga
Anjaneya Keertanai
Mangalam

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About Udayaalur Kalyanaraman

2009-04-23T12:03:00.017+01:00

Your first thought on listening to Udayalur K. Kalyanarama Bhagavathar sing would be that this is one vocalist who ought to grace the ranks of present day frontline Carnatic musicians. Then you realise that in following his heart and pledging allegiance to the Bhajana Sampradaya, the artiste has made the perfect choice as this genre provides the most complete opportunity for his passionate no-holds-barred exploration of bhava through both sahitya and melody, unfettered by the more formal demands of a kutcheri.
One of the vocalist’s prime strengths is his instinctive understanding of gamakas and their myriad nuances, whether in the definitive pidis of rakthi ragas or the flowing graces of light melodies. Add to that a full-throated resonant voice that effortlessly navigates crests and troughs at will along with a clear enunciation of sahitya and you have music that is as mesmerising as it is uplifting. Udayalur Kalyanaraman, is committed to the old tradition - Prachina Sangitam.From both his parent's families he can boast of distinguished artists like Puthagaram Ayyaswamy Bhagavatar and Valkudi Santhana Bhagavatar. He grew up under the influential guidance of a famous musician of his time, Tiruvidaimarudur Venkatrama Bhagavatar. In Udayalur which is a stone's throw away from Patteswaram, the young Kalyanaraman, cycled home from school hurriedly, to join the Bhajana group wherever they were performing. He learnt by listening and observation. He also went to every village in the surrounding district, and assimilated the culture of devotion which was kept vibrant by patrons and temples as well as "Maths".

Kalyanaraman is no less evocative and sincere in namasankirtanam. He is precise about the traditional system, technique, and content of the music. Above all he imparts "soul" to his music with an abandon rarely heard. Every raga is used to bring out the beauty of the perfectly pronounced lyrics. His husky voice has a quality that is magnetic. You never tire of hearing him. The nuances are well practised, yet sound spontaneous.

Udaiyalur K. Kalyanaraman Bhagwathar is a contemporary stalwart in DAKSHINA BHARTIYA BHAJANA SAMPRADAYA. He has also been a part of guru- shishya parampara, he learnt the basics of bhajana from his guru shri.Venkatarama Bhagvathar, who was a blind man with a lot of imagination in his singing. Udayalur bhagvathar has leant this sampradayas by attending various bhajans in his childhood with his guru. Udayalur bhagvathar has revived the almost forgotten essence of DAKSHINA BHAJANA SAMPRADAYA. His majestic husky voice attracts his listeners like none other. He is not only famous in INDIA, but, also has travelled to places like AMERICA, SINGAPORE, MALAYSIA, ABU- DHABI etc. He has an excellent accompanying artists team with him which comprising of Sethalapati Balasubramainium on Vocal support, Picchumani bhagvathar on the same, Babu Rajashekar on Mridangam & Rajesh on Harmonium. Udayalur Bhagvathar has released various cassettes & CDs by the grace of KANCHI MAHASWAMI - SRI. CHANDRASEKHARENDRA SARASWATI. Currently bhagvathar has released CDs containing songs which can be easily learnt by children. Bhagvathar is also running a trust called BHAGVATHA SEVA TRUST which supports a number of other bhagavatha families who have spent their life in propagating sampradaya bhajan. This trust is ably supporting the bhagvathas by the generous contributions made by individuals & famous institutions of arts & academy. May LORD RAMCHANDRA GIVE HIM LONG LIFE & HAPPINESS.

About Pithukuli Murugadas Bhagavathar

2009-04-22T21:13:00.005+01:00

CHARITABLE COUPLE: ’Pithukuli’ Murugadas and his wife Devi Saroja Murugadas

For ‘Pithukuli’ Murugadas, serving the poor is the objective of his life.

TIRUCHI: He has been using his mellifluous voice for a charitable cause for the past several decades.
Age does not deter the noted singer of devotional songs ‘Pithukuli’ Murugadas in keeping the audience vibrant all through his recital in his unique style_ playing on the harmonium in high pitch.
His arduous padayatra through the length and breadth of the country for decades in the early part of his life was marked by a purpose – spreading devotion among the masses by singing devotional songs.
He fondly recalls his association with seers who had inspired him.
Rigorous meditation in caves at places including Marudamalai and Palani, without taking food for days together, has blessed him with both spiritual and physical fitness, he says.
Sri Brahmananda Paradesi, Sri Ramana Maharishi, Swami Sivananda, Swami Ramadas and Swami Abhayadananda were some who guided him towards the right spiritual path.
“It was Sri Brahmananda Paradesi who called me ‘Pithukuli’ whom I had injured while playing during my boyhood. He had rightly predicted the services which I was to render during my life.
His spiritual services were more directed towards the have-nots, the physically-challenged, the Harijans and the less privileged.
In the early years of his concerts, he politely denied any remuneration but asked the organisers to arrange for free distribution of food.
“Later, I had to accept money only to be diverted to the genuine service organisations working for the physically-challenged and the economically poor. I despatch the cheques on the ‘Thai Poosam’ day every year, which is my birthday,” says Sri Murugadas, who turns 86 on January 23. His wife, Devi Saroja Murugadas, shares his view that service to humanity is service to the Almighty.
He had participated in the freedom struggle and was imprisoned at Bangalore for about six months.

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Jayadevar Ashtapathi in Sanskrit

2009-04-22T13:02:00.001+01:00

Publish at Scribd or explore others:

About Bhajan Ravi

2009-04-21T17:32:00.003+01:00

Bhajan Ravi, a truly devoted and versatile Bhajan singer belonging to the famous tradition of Bhajan Sampradaya of South India, was honoured with the title of AASTHANA VIDWAN by Kanchi Shankaracharya at the Kamakshi Temple at Kanchipuram on the 30 September, 2008. He has been conducting a Sthothra Paatasala at Saidapet in Chennai from 26 April 1966. This paatasala was started by him for imparting knowledge and instruction relating to the recitation/singing of Sthothras, Namavalis and devotional songs, not only to children but also elders. He is a B.Com graduate. Besides he has taken a degree B.Music in I class from Madras University. During the last 25 years he has
been giving Sampradaya Bhajans and Devotional Music Programmes on public platforms ranging from Sangeetha Sabhas, Cultural and Social Associations, Religious Organisations and Official functions. He has also performed at Raj Bhavan, Kanchi Mutt, Tirumala-Tirupathi Devasthanam, Om Murugashram, Madhya Kailash and other places. He has also functioned as an Expert Judge for various music competitions conducted by Schools, Colleges, and The Indian Fine Art Society etc. At present he is a Faculty Member at Vani Arts Academy, (Carnatica.Com. CVAT/TVS Group).
He has received guidance and instruction from Bhagavatha Choodamani Sri Vembu Narayana Sharma, himself a competent exponent of Sampradaya Bhajans. The eminent Carnatic Vocalist Neyveli R Santhana Gopalan is solely responsible for giving finishing touches, with emphasis on Laya, Bhava, Shruthi and Sampradaya, to the devotional music of Bhajan Ravi. In recognition of his outstanding service to Devotional Music for more than 30 years, ‘SHREE PRAKASH CULTURAL HERITAGE RESEARCH CENTRE’, Chennai honoured Bhajan Ravi with ‘BHAJANA GANA PRAVEENA AWARD’ on 13 November 2008. What is interesting to note is that Vidwan Mahalinga Thambiran of Dharmapuram Adheenam conferred on Bhajan Ravi the title of ‘Shakthi Dasar’ on 15 April 1974 after seeing him perform at Mangadu Kamakshi Amman Temple near Poonamallee in Chennai.

Pracheena Sampradaya Bhajan

2009-04-21T17:29:00.000+01:00

Sri Bhagavannama Bodhendra Saraswati was born in Mandana Misra Agraharam at Kanchi as the son of one Kesava Panduranga. Bhoddendra's former name was Purushottama. It was he who stressed the efficacy of devotion as a means to liberation in Kali. He therefore undertook the great task of Nama Siddhanta, or establishing the supreme efficacy of reciting the names of Bhagavan in many of his writings, chiefly in Namamrta Rasayana and Namamrta Rasodaya.

His mission of Nama Siddhanta was pursued with equal vigor by Sridhara Venkatesa, or Ayyaval of Tiruvisainallur and by Sadguru Swami of Marudanallur. It was the Nama Siddhanta of Bodhendra that was ultimately responsible for the evolution of Bhajana Sampradaya as an institution in the religious life of the Hindu community in South India.

Sri Bodhendra performed Tatanka Pratistha at Jambukeswaram and while returning to Kanchi he attained videha mukti at Govindapuram on Full Moon day in the month of Proshtapada of the cyclic year Prajotpatti (1692 AD). It is said the spiritual presence of Bodhendra still abides at his Adhisthana at Govindapuram. It is said that in the calm silence of the night a melodious voice uttering Rama Nama is heard rising from subdued tones to a crescendo, and then fading into silence again.

Sri Sri Sri Marudhanallur Sadguru Swamigal actually codified the Dakshina Sampradaya Bhajans by collecting from various sources, places and formed the paddathi. Later on many Great Bhagavathas from Thanjavur and Pudukottai district gave better shape to it. The Most important among many others who were responsible for this was Pudukottai Sri Gopalakrishna Satguru Swamigal.

Sampradhya Bhajans are Bhajans performed over many many generations. Sampradaya (in sanskrit means "gift, grant, bestowing or conferring; handing down by tradition). Two types of Bhajans are distinctively identified based on the North and South practices, in Sanskrit called "Uttara Sampradhaya Bhajan" and "Dakshina Sampradaya Bhajan" with traditions and customs being unique albeit borne from the same Hinduism. Whereas the Uttara Sampradaya Bhajan had its roots in Northern India with the preservation of the Hindu tradition amidst the Mughal dynasty which was prominent during the 1200-1400 period, Dakshina Sampradaya Bhajans flourished in the Thanjavur, more specifically the Kaveri belt. Some Similarities appeared between the North and South primarily among the Gods worshipped upon and on whom the Bhajans were offered mainly Lord Panduranga, Radhe Krishna and Rama Seetha. But nowadays this is being extended with more and more Kalyanams being performed, Dharma Sastra Kalyanam also being among the list.

Sampradaya Bhajana usually begins with a Naamavali on Lord Hari. This is followed by singing Thodaya mangalam. Thodaya mangalam is followed by Guru Dhyanam, which begins with a Keerthana on Lord Guru Dakshinamoorthy. Sri Bodendral Guru Dhyanam is then sung with a number of Guru Krithis of Sri Bodendral. This is quite important to be sung. After Gurus, we start with the Gita Govinda Kavyam composed by Jayadeva, the krithis being more popularly known as Ashtapathis. All the 24 Ashtapathis are sung. Ashtapathi is then followed by krithis of Narayana Theerthar, Bhadrachala Ramdas, Purandaradasar, Sadasiva Brahmendral, Gopalakrishna Bharathi, Oothukadu Venkatasubbayar, Thyagarajar, Meera Bai, Kabirdas, Surdas, Namdev, Tukaram etc. After Guru Parampara vandanam then starts, Shodashopachaara Pooja which is done as per Vedic rites (all offerings as per Shodashopachaara pooja such as Sugandham, Doopam, Deepam, Nivedyam, Thamboolam, Mangala Harathi are offered through songs as well) and then the Upachara Keerthanam is sung. Ganeshadi Dhyanam starts after this pooja, when songs in praise of God Ganapathy, Saraswathy, Murugan, Siva, Ambal, Ayyappan, Raman, Krishnan, Perumal, MahaLakshmi, Narasimham, Panduranga Vittal are being sung followed with a song on Anjaneya. After Ganesha Dhayanam starts Divyanaamasankeerthanam begins. During Divyanamasankeerthanam, Lord Krishna is represented as the Deepam (Lamp) and this is kept in a central position and those who participate in it are considered (Sankalpam) as Gopis. This part is known as Deepa Pradakshinam. The various keerthanas sung during Deepa Pradakshinam are sung in Bhagavans praise and Gopika geetham which is the essence of Bhagavatam (Dasama Skandam) which is being chanted. After that rasakreeda songs of the lord are sung, concluded with a Vittal dhyanam and / or Paramasiva Dhyanam. Finished with this the deepam is then placed back in its original position, signifying the return of the Lord to his abode. After Deepa Pradakshinam starts what is known as Dolotsavam. During Dolotsavam, as in our marriages, where there is Nalungu, Poo Pandh Vilayadal are performed for the Lord. This is also performed with the help of selected keerthanas by various composers mentioned above. In the Sampradaya Bhajana Padathi, there is also an extension to the above, which is Radha Kalyanam or Seetha Kalyanam. In this part, Kalyanam as per our traditional ways are performed for Radha and Krishna or Seetha and Lord Rama. This Kalyana Mahotsvam is also conducted by singing songs of various composers mentioned above and as per Vaidika Parampara also.

About Sri S K S Shenkottai Harihara Subramanian Bhagavathar

2009-04-21T14:24:00.001+01:00

Sri S K S Shenkottai Harihara Subramanian Bhagavathar, Disciple of Sethalapathy Soundaram Bhagavathar and Sreemushnam Rajarao, Hariharasubramanian presents a concert that is marked by enthusiasm and exuberance. He seems to have a strong affinity towards Sampradaya bhajans. Shenkottai Hariharasubramanian's enthusiasm imbues his concert shenkottaihari@yahoo.co.in

with a special charm.
Shenkottai Hariharasubramanian is a Bhagavatha who is well-versed in the Hindu scriptural texts and has understood and adheres to the dictates of the sampradaaya bhajan and paddhathi krama. He scrupulously observes the nithyakarmaanushtanams, unchavruthy, bhajans, dolothsavam etc. Sri Hari Subramanian who hails from from a very traditional Indian music family, has devoted his entire life in learning sampradaaya bhajans from an eminent music maestro. He had his initial training in music (vocal) for about ten years under the Late Guru Sri. Parameswara Bhagavathar, a veteran musicologist. He underwent further extensive training for three years under Sri Srimushnam V. Rajarao, a vocal and miruthangam exponent and Smt. Padma Chandilyan, a renowned musician of Chennai. Sri Hari Subramaniam is an extremely talented musician even at this very young age. If devotional singing and bhajans were not his primary mission, he could very well have become top notch professional concert singer of Carnatic music. It is indeed a great blessing for the traditional (sampradaya) bhajan and devotional music world that Sri Hari Subramaniam chose to dedicate his prodigious talent to bhakti and bhajans. When such extraordinary talent and utter devotion combine, it becomes an out-of-the-world experience for the devotees.

His Email-id is

Ph: 94862 39833, 094479 60736

About Bhagavatha Shironmani Kovai S Jayaraman (KSJ)

2009-04-21T14:00:00.001+01:00

BHAGAVATHA SIRONMANI Kovai S. Jayaraman (KSJ) was blessed to have been born in the family of bhagavatha and this gave him the privilege of learning music from his early days. He learnt music since his childhood days from his mother and later from Shri B.M.Sundaram, a great musicologist of Thanjavur. His elder brother Thanjavur S.Subbaraman was also a renowned bhagavatha and a good dancer, who trained Jayaraman in this field.

His Guru is H.H.Swami Gnananandha of Tirukovilur whose divine grace befell Jayaraman to aspire in this spiritual growth.It is worth mentioning that he was the first bhagavatha to go abroad in the history of Traditional Bhajan groups to perform Sri Radha Krishna Kalyana Vaibhava on the foreign soil and in the course of time there were many to add to this number.

Kovai S.Jayaraman was born on 09.12.1951 in a small, serene and beautiful village - Tirukattupalli, near Thanjavur, the capital of Fine Arts. He was born to (Late) Shri A.Sundararama Iyer and Smt S.Brahadambal. His father was a renowned stage artist as well as a great bhagavatha of the yester years. His mother is a good singer. Kovai Jayaraman started singing at the very tender age of 5 by the influence of his parents. The household was always filled with songs and slokas. The village was also conducting many varieties of functions filled with music and drama. Sir P.S.Sivaswami Iyer High School, Tirukattupalli where he has studied, also encouraged him in singing the daily prayer and on occasions of visit of dignitaries or annual day celebrations. Many certificate were given to him.

He had his collegiate education at Kancheepuram. It was the time when he started developing great devotion on the Acharyaas of the Kamakoti Peetam. The teachings of the Kamakoti peetam and its sanctom sanctorum gave Kovai Jayaraman a religious bent and an affinity towards Paramacharyal. During the period almost everyday he visited the Math to have the darshan of the Acharya.

He got appointment in Oriental Insurance Company at Coimbatore. Since then he has been orchestrating his own bhajan group after instituting the same. It is at Coimbatore that he was introduced to Swami Gnananandha of Tapovanam, Tirukoilur, whom his family has taken as their kula guru. The whole family follows the teachings of Tapovan Maharaj and Paranur Mahaathma Sri Sri Krishna Premi Maharaj. They are the guiding force for Kovai Jayaraman.

He learnt music preliminaries from Tirukkattupalli Govindaraja Pillai, an eminent Nadaswaram exponent. Later took Thanjavur Sri B.M.Sundaram, the great Musicologist, as his Guru, who shaped his singing and introduced him to the ocean of Music. He is ever thankful to his Guru but for whose help he would not have had the opportunity to sing without fear.

Naamasankeerthanam

2009-04-21T11:12:00.001+01:00

Radhe Krishna!!!

Naama Sankeerthana is simply to chant the name of Lord Hari. Music is the simplest and surest possible way to be able to stir the bhakthi within the soul which otherwise is unfathomable and intangible. The name of the Bhagavan when sung is like honey mixed with milk and the feeling of exhilaration that is felt within the depths of our soul

heightens our spiritual sensitivity and we tend to love the Bhagavan at a level more than the mere love we fancy when the the Bhagavan satisfies our desires. Spirituality is the shortcut route that has been designed in the Grand scheme of things to lead us to Moksha in this current Kaliyuga when compared to the enormous sacrifices that were deemed necessary in the Yugas of Hindu tradition. In this Kaliyuga, Naamasankeerthana is the only way out for self realisation as is said below

हरेर नाम हरेर नाम
हरेर नमैव केवलम
कलौ नस्ति एव नस्ति एव
नस्ति एव गतिर् अन्यतः

harer nama harer nama
harer namaiva kevalam
kalau nasti eva nasti eva
nasti eva gatir anyatha

“One should chant the holy name, chant the holy name, chant the holy name of Lord Hari [Krishna]. There is no other means, no other means, no other means for success in this age.” (Brhan-naradiya Purana 38.126)

Chant is repeated three times for emphasis. “You must do it, you must do it, you must do it.”
All paths being equal, the only and quick way to get closer to Bhagavan and that which is immediately given is Namasankeerthanam. As mentioned by Viji Bala Bhagavathar of Nanganallur, the procedure laid out by Sri Marudanallur Sadguru Swamigal did not make any resemblance or to even strictly follow Ganesha Dyanams or Ramakrishna Dhyanam pattern. Usually a Thodayamangalam followed by Three Gurus and then Ashtapathi or Tharangini has been the norm. In following this kramam, you find that more importance is usually given mainly to the Mahans who wrote them. The importance has not been given to the God upon which this is sung, take for instance when Ashtapathis are sung, they are for Jayadevar, Ramadasa Keerthanmas are sung for Ramadasar and Tharanginis for Narayana Theerthar. Even when putting Pundareekams Gopika Jeevana Smaranam, Janakikantha Smaranam they are mentioned for the respective Guru names. The reason behind this being is that the Guru has been given the prime importance and made as the pradanam for Namasankeerthanam, that is if there is no Guru, then there is no Namasankeerthanam. You get the equivalent phalam of having taken a bath in Triveni Sangam Rivers (Ganga, Yamuna and the legendary Saraswati River) when you sing Rama Krishna Govinda, as is mentioned in the Narayana Theertha. Snana, Sandhya, Japa, Homa, Tharpana na Apekshithe. We should not understand this wrongly. It does not mean that we should leave all this karmas and do only Namasankeerthanam. All those need to be done in their respective Kala Kattams, but what always we need to be done is Namasankeerthanam. In order that during these other times we should not worry about anything, Namasankeerthanam is to be chanted.

Sadguru kripa samudra sanga hethu labhe this is how the Nama was obtained. Its mainly due to love bestowed upon us by the Guru that we get this Nama, so having obtained such a great possession, we should sing this in the presence of the Guru bhagawan. In a Guru sthalam and on a Guruvaram, krishnam vande jagatgurum, we should sing namasankeerthanam in the presence of the Jagadguru Bhagavan Krishna sannadhi who is the lord of all sadgurus. All Gurus say the same thing, don’t keep thinking of wordly affairs, learn to catch hold of the thiruvadi of the Bhagavan. Thus while chanting without having no bedham for the Murthy or Guru, with the Nama alone as the prime entity, the seers and saints have told us to perform Namasankeerthanam. When Draupadi Vastrabharanam was going on, Bhagavan Krishna was playing game of dice and Draupadi was crying desperately for help in the presence of the five of her husbands wherein one was a epitomy of Dharma, another of Strength, another of valour, another of immense beauty, another who was knower of Dharmasastras and astrology but even with these, none of these five could do anything. Even the great Bhisma, Kripa and Drona whom Draupadi thought were her own relatives could do nothing. It seems during the time of our death, just like the five pandavas, all our five pancha boothams will let us down – our body will let us down, indriyas will let us down. Just when we start to understand that this body does not belong to us anymore, our relatives, money, house or anything will no longer help us it is at that moment that Bhagavan alone will step down and come to help us. So Bhagavan Krishna got up and Rukmani asked why, the Blessed Lord said that his sister is being ashamed and he has to go and help her. He walked a few steps and then came back to sit down again. Rukmani asked why you have come back again, to which the Blessed replied Before I could go my nama helped Draupadi already. The Lord says that he will not be in Vaikunta or in the heart of any sage, but he will be standing wherever his devotees are singing His name. It is said that the 'Nama' is more powerful than the 'Nami' (the one who possesses the name). Similar help was rendered for 'Gajendra' when the elephant's leg was caught by a crocodile in the Gajendra Moksham. Such is the extraordinary power bestowed upon the bhaktas doing Namasankeerthanam In this Blog I am attempting to collate and present knowledge obtained from various sources in an effort to showcase all the relevant information including some of own experiences upon the various ways this divine activity is being performed alongwith the many disciplines which are being followed.

Namasankeerthanam Part II

2009-04-14T11:10:00.006+01:00

“Dhyan Kretha Yajan Yegaiyehi Threthayam Dwapro Archayan Yathopnothi Thathapnothi Kalau Sangeerthya Kesavam”

Great Saints have proven that Namasankeerthanam (Bhajan) is the easiest way of attaining Moksha. Namasankeerthanam involves singing and chanting the glory of Lord, individually or in chorus. Namasankeerthanam was propagated by Great Gurus in ancient times across South India and North India and the tradition is still being followed with a little improvisation.

Sage Suga tells King Parikshith that there are different Dharmas for different Yugas like Dhyanam for Krutha Yugam, Yegyam for Thretha Yugam , Archanam (pooja) for Dwaparo Yugam, 'Kalau Sankeerthya Kesavan' (chant the name of the Lord Kesava) for Kali Yugam. In Kali Yugam it is difficult to do other Dharmas, therefore, Namasankeerthana is the easiest way to attain salvation.

Many villages in India at the time of Saint Thyagaraja had Bhajana Mandalis and the villagers participated in the Seetha Kalyanam and Radha Kalyanam and derived great spiritual uplift from their participation. During Ekadasis and Nityothasavams, the Bhajana group of the village offered musical worship to Bhagavan. During Saint Thyagarajas time, the Tanjore court musicians like Thodi Seethaaramaiah, AtaaNa Appaaiya, Sankarabaranam Narasayaa, Darbhar Seethaaramaiah were known for their Manodharmams and made one Ragam their own speciality. For hours, they elaborated on their Special Ragas and demonstrated their musical genius. At the same time, the Bhajana Groups put Bhakthi first and Manodharmam next. They used invocations, Thodaya Mangalams, Ashtapathis and associated Musala Narthanam (Dance), Choornikais, Deepa Pradakshinam, Mangalaashtakam, Divya Naamaas, Vedic recitation to practise Bhakthi for the Lord through Nama Sankeethanam.

Thyagaraja Swamigal combined the two traditions of Nama (Sankeethana) Siddhaantham with Naadha Siddhantham and blended his Rama Bhakthi with the Bhava Trayams (SangeethaBhavam, Saahitya Bhavam and Bhakthi Bhavam ). He composed many a kriti to channel his great devotion for Sri Ramachandra and used it during the occasion of Ekadasi, Unchi Vritti Bhajan and Sri Rama Navami and other Utsavams.