Monday, April 7, 2008
:Sai Kulwant Hall was decked for Yugadi with cloth decorations. Auspicious kumbhams and other
materials lined Bhagawan's path through the hall. Swami came in His chair just after nine
o'clock, and the music programme by the students began as He was going around the Hall. The
music programme was interspersed with brief interludes of talks and enactments, bringing out
the significance of the festival and highlighting Bhagawan's message. As the programme
concluded at 10.30 with the song "Barso re", Bhagawan came down from the stage and started
sprinking sacred water on the singers! Swami moved till the Vedam students doing the
"Prokshanam", then asked the Pujari to continue for the rest of the devotees. Bhagawan then
moved to the verandah, and after Prasadam was distributed, accepted Arati and left for His
residence. In the evening, devotees from Andhra Pradesh presented a musical programme.
Bhagawan arrived in Sai Kulwant Hall at 4.30 pm, and after His darshan round in the chair,
moved to the interview room. After an hour, He asked for the music programme to begin, and
soon emerged to sit onstage for the 45-minute song presentation which had short Telugu
commentaries between the songs. A few bhajans followed the songs, and Bhagawan accepted Arati
to return to His residence at 6.30 pm. Also read UGADI
celebrations eye witness account from Sai Kulwant hall, sent by SBOI-Group
member click here>>
On the eve of Ugadi, 6th evening, there was a
dance-drama in Telugu by the students of Bhagawan’s School and University entitled
‘Baala Ramam’. The presentation based on ‘Rama Katha Rasavahini’, Bhagawan’s
exposition of Ramayana, began with the depiction of the glory of Ikshvaaku Kula
(the lineage of King Ikshvaaku in which Lord Sri Rama was born) and the early
years in the life of Lord Sri Rama, culminating in His marriage with Sita. Being
born in the valorous and virtuous dynasty of kings such as Bhagiratha (who brought
the heavenly river Ganges on to the earth through his penance), Harishchandra (who
sold himself and his family away to fulfill his promise), Dileepa (who offered his
life for the sake of protecting the divine cow Nandini), Dasharatha was lamenting
his misfortune of not having a son to perpetuate his lineage and rule the kingdom
of Ayodhya. He then performed the ‘Putra Kameshti Yaga’ sacrifice, by which he was
blessed to have four sons through his three queens: Rama through Queen Koushalya,
Lakshmana and Shatrughna through Queen Sumitra, and Bharata through Queen Kaikeyi.
After having spent their early years in the palace where they endeared themselves
to one and all, the young princes were sent for their education under the tutelage
of Sage Vasishta.
Then the scene shifts to the royal court where Sage Vishwamitra approaches King
Dasharatha seeking the assistance of Rama and Lakshmana to protect his rituals and
sacrifices from the disruptions caused by the demons in the forest. Though
Dasharatha offers his services along with his entire army, Vishwamitra insists on
Rama and Lakhmana alone, to the exclusion of everyone else. Dasharatha sorrowfully
parts with his young sons and thus Rama and Lakshmana accompany Vishwamitra to his
hermitage in the forest to safeguard his sacrifice. In order that the young
princes be well-armed and prepared to face tough opponents, Vishwamitra teaches
them secret formulae to invoke and use many powerful weapons. Having thus acquired
these weapons, Rama and Lakshmana emerge victorious in defeating the demons, and
Vishwamitra’s sacrifices are thus successfully completed. Then Rama and Lakshmana
follow Vishwamitra to the court of King Janaka in the kingdom of Mithila, where
Janaka’s daughter Sita was being offered in marriage to suitors who can lift and
string the heavy bow ‘Shiva Dhanush’, the bow of Lord Shiva. After many strong
kings try in vain to even move the bow from its stand, Rama not only lifts it and
strings with ease, but in the process breaks it too, thus demonstrating His
superhuman strength, nay, divinity. The drama concluded with the scene of Sita
garlanding Rama in a grand and glorious wedding. The dance-drama was characterised
by beautiful and profound lyrics and dialogues set to appealing tunes, and superb
choreography. Bhagawan was extremely pleased with the entire presentation and
granted photographs to all the participants.