Ashadi brings a renewed devotional fervour for
the Lord of Pandharpur, Vittal Rakhumai. With the arrival of this
auspicious season, the entire Maratha region goes agog as their
attention turns to the centuries old spiritual capital of the state,
Pandharpur, the seat of Lord Vittal Rakhumai. The centuries old
tradition of Vaarkari Sampradaya showcasing the legacy of the state
with religious passion, brings lakhs and lakhs of devotees walking
on foot in huge processions to Pandharpur, the abode of Lord Vittala
singing abhangas of Sant Thukkaram and Sant Jnaneshwar to have the
darshan of their chosen deity.
In present time, when The Lord is walking the planet earth in
physical, devotees of Bhagawan from different parts of the state
takes a different route to come to the immediate presence of their
Lord Sai Vittala, representing the time tested tradition, walking in
a symbolic Dindi Yatra from Dharmavaram to Prasanthi Nilayam. The
Dindi Yatra for the year commenced on 18 July from Seeta Ramaya
Kalyana Mandapam, Dharmavaram and reached Prasanthi Nilayam on 20
July covering over forty-six kilometers. Hundreds of pilgrims joined
in this Yatra carrying the palanquin, singing abhangas in praise of
Lord Sai Vittala.
His concern and love for these folks, Prasanthi Vaarkaris, who do
the symbolic walk was seen on the 19th evening when He, while
onstage, sent word to make the Vaarkaris, who were arriving in the
Sai Kulwant Hall, to be seated comfortably.
On 21st July, the holy Ashadi morning’s first item was the
presentation of this Vaarkari to The Lord in physical. As He came
onstage after a full round of Sai Kulwant, to melodious tunes of
various Gayathri chantings coupled with traditional welcome by men
dressed up in typical Maratha style, blowing the conch, the
palanquin carrying the Lord of Pandharpur was brought unto Him,
marking the culmination of this Prasanthi Dindi Yatra.
GAYATHRI VEDA MATA
Propounding the greatness, glory and the significance of the Mantra
of all Mantras, emphasizing the greater need for the same in the
present times, Balvikas children from Mumbai presented a colourful
musical dance ballet that formed the main programme for the
auspicious morning. The presentation, tracing the origin of Gayathri
Mantra, was weaved in the form of a conversation between Bhagawan
Sri Krishna and a frustrated youngster. The youngster was a victim
of six vices, was frustrated and wanted to be freed from the
clutches. Guiding the youngster, Krishna takes him through the ‘Saga
of Gayathri Mantra’, bringing in anecdotes from the eventful life of
Vishwamitra, whose effort to subdue his senses finally resulted in
the grant revelation of the Gayathri Mantra.
click to enlarge above photo
Vishwamitra’s life story reveals how he was affected by the six
vices and listening to his story helps one to trace a Vishwamitra in
oneself, a victim of six vices. As Krishna went on expounding the
Vishwamitra story, showing episodes from the life of the king turned
Brahma Rishi, the youngster was relatively ‘introduced’ to his own
follies and foibles, addiction to six vices, that every individual
has to get rid off to become a worthy son of God. Showing sparks of
the great glorious Mantra, narrating various aspects of the same,
there were dance sequences interlaced in between to help the
youngster to grow detaching from vices embracing the great glorious
Mantra.
Anecdote from the life of Sant Eknath, the Gajendra Moksha
episode etc., were also shown as flashbacks to help the youngster to
descend the understanding in him. Marati Abhangs, inserted in
between, singing the three deity aspect of Mother Gayathri and the
Gajendra Moksha episode rendered the needed Marata flavor to the
presentation.
Episodes leading unto the final revelation of the Mantra, especially
Vishwamitra’s altercation with Brahma Rishi Vasishta to possess the
holy cow Nandini, his fascination for celestial damsels Menaka and
Rambha that brought him down to naught after years of penance, the
episode related to Trishanku wherein Vishwamitra, out of false pride
and jealousy, created another heaven to accommodate the king, were
depicted before the climactic scene, showcasing the birth of great
Gayathri Mantra.
The final scene of the fifty minute presentation had Mother
Gayathri, emerging in a golden chariot, with all Her majesty and
glory to the most fascinating background score of Gayathri Mantra as
taught by Bhagawan Himself. The final formation had Bhagawan’s
special blessing as Bhagawan moved down the dais to pose for a photo
session.
The auspicious morning was blessed with extra darshan rounds. To the
‘filling’ audience, it was moment of great joy when Bhagawan, upon
completing His usual full round of darshan, went further into the
ladies’ side for another half round, taking a detour from the
ladies’ end. Upon the photograph session Bhagawan moved off to the
ladies’ end, and when everyone thought that He was retiring Bhagawan
took a surprise turn to come back for another half-round blessing
the children with some more of opportunity to bask in His immediate
presence.
NATYA VEDA In the evening, it was the turn of another set of Balvikas children,
from Thane district of Maharashtra. Withstanding the hustle and
bustle of the big city, reaching out for regular training sessions
in the evenings for almost a month, beyond their school hours, this
set of Balvikas children perfected in the art under the tutelage of
Bharat Natyam exponent of fame, Deepak Mazumdar of Mumbai, to
deliver a scintillating musical dance drama entitled Natya Veda.
"Natya Veda" is undoubtedly one of the rare class of presentation
Prasanthi has ever witnessed, professionally set, choreographed by
Deepak Mazumdar who 'materminded' the programme with the assistance
of his disciple, Pavitra Bhatt. Sri Deepak Mazumdar was an alumnus
of Balvikas who had the rare privilege of performing in His Divine
presence as a little boy. He was the direct recipient of Bhagawan's
guidance and inspiration that made him what he is today. ...To that
'Master Mind' who anchored his career, Deepak and Co. presented a
dazzling display of dance and music that lasted for fifty minutes,
depicting the 'Trinity Affair' of the Cosmic Concert of Creation!
photo source: sssbpt.org
The presentation on the twilight lit by special colourful stage
light was an audio visual treat, quite professionally set, with the
master, Deepak, donning the role of the ‘narrator’, who with his
fluid dancing movements ‘compered’ the show bringing the essence of
the Natya Veda, which is essentially considered as the fifth Veda.
The origin of the trinity, Brahma, Vishnu and Maheswara, was
depicted developing the theme to the origin of various musical
notes. As Lord Shiva, the original Dance Master, danced to reach a
crescendo, one gunguroo of His Painjan came off, touching His head,
shoulder, thigh, knee producing Tad, Dhit, Tom, Na.
photo source: sssbpt.org
The presentation was essentially echoing, with the help of dance and
music, the Truth that the Cosmic Concert of Creation had started
with the Trinity, and thus the Universe was born in the eternal
Raaga of Life set to the Talam of Time… It was dance…accompanied by
music… Pavitra Bhatt donning the role of Lord Shiva was a rare sight
to watch while dancing to credulous movements, set to perfection,
with his little master ‘compeering’ the show, while the original
Master sat onstage watching His creation dancing. Balvikas children
from Thane who danced with the duo excelled in their movements to
match with the skills of the professionals in their attempt to
appease the Lord in physical.
As the disciplined children sat in orderly lines Bhagawan moved down
the dais to pose for a group photo session granting them the best of
the mementos in their lives. ...And He had a few words of
appreciation on their exemplified discipline.
The message was clear; Natyam, Nrithyam, Sangeetham will make the
minds of men and women soar to the pinnacle of joy and to the depths
of their own inner heart…Education with entertainment, the Nava
Rasas of Natya Veda will not only reflect the worldly state of man,
will equally make him to ascend to the sublime heights of his own
divine destiny. SAMARTHA RAMDAS The final Ashadi presentation was on the 22nd evening, a musical
dance drama entitled Samartha Ramdas by the students of Sri Sathya
Sai Vidya Mandir, Dharmakshetra, the Marati Medium school run by Sri
Sathya Sai Trust, Maharashtra.
Presented with the original Marathi flavour, the drama was an
illustration of the spiritual odyssey of little Narayana born in a
Maharashtra village, Jamb, who went on becoming one of the greatest
ever devotees of Lord Rama.
Little Narayana’s fascination towards God got him initiated in to
the name of Lord Rama. The little boy enacted as Narayana was quirky
and charming with his movements that helped setting the pace for the
rest of the presentation.
Seeing her son always immersed in chanting Lord’s Name, oblivious of
surroundings, his worried mother with the help of her elder son
decided to get her son married with her brother’s daughter. An
ardent devotee of Lord Hanuman and a Bala Brahmachari, little
Narayana had an aversion towards worldly life. Fleeing to escape
from the clutches, he travelled to Nasik, then to Panchavati getting
into greater penance ceaselessly chanting Lord Rama’s Name. Twelve
long years of intense sadhana ensued that brought him three-fold
realization of Lord Rama. …And thus he became Ramdas. As he
possessed extraordinary capacity to perform great feats,
subsequently he came to be known as Samartha Ramdas.
Subsequent episodes featured Maharaja Shivaji’s association with
him, his service activities with the motto, Dil me Ram hath me kaam,
and finally meeting with his aged blind mother after long
separation, essaying the greater message of constant contemplation
of God's Name with unflinching love and devotion towards God. An
episode showing Ramdas reviving a dead bird with the power of Ram
Naam was also shown depicting why he is Samartha Ramdas.
The cast in this drama were non-English speaking children from the
Marathi medium picked up the English script in two days, to make the
presentation a sublime one. Sitting onstage after the programme,
Bhagawan interacted with the organizers and officials from
Maharashtra. Calling the ‘Guru’ onstage, who trained the children
for the presentation, Bhagawan presented an emerald ring as a token
of Divine reward! Moving down the dais, Bhagawan posed for group
photo sessions, while the entire cast was blessed with clothe pieces
as Divine reward!
