This morning I met with Chandrasekhar Rao. Bear with me as I explain.

In his early days, Swami had two foster mothers and spent much of his time in their home, particularly after his return from Uravakonda (where he declared his avatarhood). This was the Kannam’s house, Lakshminarayana Rao, who was the village “chieftain”, so to speak, what we would now call the village Mayor; he had two wives, Subbamma and Kamalamma. The story of Subbamma is quite well known, where Swami called her back to life, gave her a glass of tulsi water, and sent her on to the blessed loka. Kamalamma resided in the ashram in her later years and passed away last year. Meanwhile, back to the point, the Kannam had no issue, and adopted Gopal Rao, who was a playmate of Swami’s, and had little time for Swami and his divine phenomena. Gopal Rao married and had seven sons, one of whom is Chandrasekhar Rao, who now administers the estate.

The Kannam’s house adjoined the Siva Temple, which marks the spot of Swami’s birthplace. That house was the scene of many miracles and Swami was so small, Subbamma or Kamalamma used to pick him up and put him on the table so that people could have his darshan. People used to fill the foyer of the house, and sit out on the road for bhajans. This was an unsatisfactory state of affairs, so Subbamma reminded her husband of his promise to make a temple for God, and built one small hut for Swami on their land, nearby where the Sathyabhamma temple is, now. This hut, which preceeds Partha Mandir, is long gone.

Enough history, let us come to the present moment. Chandrasekhar Rao took me down to the site of the old house, which has been pulled down. All that remains is the front wall:

The house, which was a lime and brick mortar construction, had two storeys. Now, there is just open space, a lot of hay and two cows in a shed at the rear.

There is not much of a separation between this land and the Siva Temple. Do you recall that Kamalamma used to feed Sathyanarayana through a window?

A two storey structure will come, the ground floor being a museum with photographs and artifacts of Swami’s early days in His avatarhood. There will also be space for singing of bhajans in the Museum.

This will be directly adjacent to the Siva Temple. top

Chandrasekhar Rao told me Swami has blessed the project, and it is scheduled for completion during Dassera of 2010, which is a most auspicious time, he advised me.

And lastly, here is an image of the old village of Puttaparthi. You can see mosque on the top right which Swami had constructed for the villagers.

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(Welcome from New Zealand, Aotearoa, which Swami has called New Sailand!)

The madding crowd had lined up in the streets expecting Car Darshan. However, the inner voice told “Come at 5pm”, so I ignored those lined up for Car Darshan and made my way up to the Ganesh Gate. The generator was going and I could hear chanting as I entered the Ashram.

When I got inside, I could see the video cameras on the porch so I knew there was a program on tonight. Inside the darshan hall, I observed the right hand side of the veranda-area (in front of the interview room) was populated by ladies wearing a blue garment of some kind. On the other side of the porch I saw that the space usually taken by Sai University Professors was filled with the New Zealand Men, with their distinctive scarves. 182 strong New Zealand choir, which, on the mens side, has spilled over off the porch and onto the steps in front of the veranda. The New Zealand Group has 254 members, many who have come for the first time. top

Very shortly after I sat down, Swami came to the front of the porch and gave darshan. A forest of hands went up in pranams, and Swami looked over the assembled devotees. Swami then reversed and went down the path to the darshan hall and went across to a group of ladies in aquamarine blue sarees, where he paused and spoke to some. Then, Swami went to the ladies side of the darshan hall and spoke to some ladies in the front row; he was there for quite some time. I saw two ladies get up and approach Swami.

Swami then went along the ladies side for some distance, and turned in and went past all the chair ladies. At the top, he turned and spoke to some ladies right at that top corner area and accepted some letters. Swami then returned to the veranda, passing the New Zealand ladies, and returned to his place at the front of the porch.

The New Zealand Choirmaster approached Swami and offered him the evening’s program of devotional singing. He then took his place just below the walkway off the centre of the porch, as half the choir was on Swami’s left; the other half were on Swami’s right.

Before I go any further, I think I would like to describe the dress of the New Zealand ladies; at first it looked like a blue and white saree, but closer examination revealed it was a traditional New Zealand garment, principally blue, with a white border and traditional markings in the white border; something a cross between an academic robe and a low backed traditional dress. It was a very attractive garment.

For the first song, the lady choir leader approached Swami and asked for permission to sing Karanga Mai. For this, the lady stood alone on the porch, and sang without a microphone, and made some traditional gesture with her hands as she sang. top

Karanga Mai,
Karanga Mai Bhagavan Sri Sathya Sai Baba,
Karanga Mai ra

This song summonsed all the ancestors from Aotearoa (New Zealand) to the Lotus Feet of Bhagavan Sri Sathya Sai Baba. The karanga draws the wairua (spirit) in all of us to join with Swami and Taranga Whenua (the people of India) in divine bliss. That the lady did this without a microphone, yet was heard throughout the darshan hall is testimony to the power of the Karanga Mai. Well done, I thought.

The next two songs involved the choir singing with hand actions. Most of you may have seen the Haka, where New Zealand sportsmen and women perform a chant with actions. These songs were somewhat similar to that, except every member in the choir was seated and performing hand actions as they sang. Swami was full attention to the ladies as they sang with their hand actions.

The first hand action song was E Nga Iwi, Listen to the people. The actions in the song depicted the calling of the people to return to God.

E nga iwiw
E nga iwiw e karanga e te iwi

It is difficult to describe, but to observe the hand actions along with the singing gave it a profound sense of calling, a sensus plenior of being called; I find it hard to describe. But powerful.

The next song was Pai Ma, a hand action song offering greetings and love from Aotearoa, New Zealand.

Pai Ma to reo aroha
I te pa o Puttaparthi
No nga iwi a Aotearoa
Tena Koutou kia ora ra

The next two items from New Zealand were a traditional Poi Dance, and a Stick Dance. A Poi dance was originally a cultural action dance to teach young men and boys dexterity, but now Poi is primarily performed by women.

For the Poi dance, about a dozen ladies moved down to the main darshan hall floor; some knelt, some stood. They appeared to have a rope with pom-poms at each end which were waved and twirled at various points in the song. Quite interesting to watch. The ladies remained where they were for the stick dance, facing each other and making gestures with these blue-green coloured pairs of sticks. Ene Nga Kupu is a traditional stick dance performed by young teens to learn dexterity and concentration as they matured; this version was written for them to especially concentrate on God (Sai) as they learn.

Enei nga kupo o Sathya Sai, Sathya Sai, Sathya Sai,
Mahi tika, te aroha, te rangimarie
Enei nga kupo o Sathya Sai
Enei nga kupo o Sathya Sai
Hari Hari te pono
Te Ariki nui

Several English songs followed, and thereafter, Swami moved over to the front of the seated ladies, and red sarees were distributed. The lead lady singer approached Swami, and there was applause, Swami materialised a necklace and placed it around the neck of that lady singer.

It took quite some time to distribute sarees to the New Zealand ladies; Swami remained there in front of the New Zealand lady until the very last lady had received her gift from Bhagavan.

Thereafter, Swami went across to the mens side, where there was conversation with the leader of the mens singers, and white shawls were distributed to these choir members. There was a lot of conversation for quite some time, and four men were called forward to speak with Swami.

Swami returned to the front of the porch, and one of the New Zealanders led Ganesha Sharanum, after which Swami called for Arathi.

So a lovely evening from the New Zealand devotees, and as they were singing I noted quite a few Indians and other devotees clapping along with these presentations; a joyful noise unto the Lord.

So it was Kia Ora from New Sailand!top

Preparations and rehearsals are in train for the Sports and Cultural Meet on Sunday. It would seem Swami is visiting daily, so I took the option of waiting for Car Darshan this morning.

Main Road is cleared as the Police prepare for Swami to come in the car

Swami’s car emerges from the Gopuram Gate

The driver appears to be pointing something out  top

The Police escorts lead the way

Swami in the front seat, looking forward

click on photo to enlarge "Car Darshan-6th Jan"

Crowd follows Swami along Main Road  top

The Lord Sai Returns!

Police lead the way down Main Road, Puttaparthi  top

Seva Dals accompanying the Lord, doing their seva

Procession returns to Prashanti Nilayam…

For a full size photo of Bhagavan Baba in the front seat of the car, click here (opens in new window).

They do their job so well … 

 

It was the turn of the Ladies of Maharasthra-Goa this evening. When I arrived at the darshan hall there were many banners hanging in the centre of the darshan hall, and there were groups of men and ladies seated in the centre area where students normally sit. Chanting was going on in the mandiram, and the darshan hall was filled with waiting devotees; silence prevailed.

The New Year’s Decorations have been removed.

I took a seat, maybe halfway down the hall and cast my attention to the banners hanging from the ceiling. There was one in the middle, crosswise, and three longwise on each side.

In the centre was a tasteful white banner with an impression of Easwaramma, and the script, Easwaramma, divya mata. The other six banners all had illustrations of women and citations from the Devi Stutram, I think it is, or is it the Devi Mahatmya?

The first banner had an illustration of Savitri, and the following from the Devi Prayer:

Yaa Devi Sarva Bhuteshu
Shaktirupena Samsthita
Namastasyei Namastasyei
Namastasyei Namo Namaha
Salutations to the Goddess who manifests as power in all beings  top

The next banner on that side had an illustration of Rani Lakshmibai on a horse, and  

Yaa Devi Sarva Bhuteshu
Shaktirupena Samsthita
Namastasyei Namastasyei
Namastasyei Namo Namaha
Salutations to the Goddess who manifests as power in all beings

The next banner had illustrations of Putalibai and Mahatama Gandhi, and the following prayer:

Yaa Devi Sarva Bhuteshu
Bhaktirupena Samsthita
Namastasyei Namastasyei
Namastasyei Namo Namaha
Salutations to the Goddess who manifests as devotion in all beings

On the other side, the first banner had an illustration of Urmilla-Lakshman and the following prayer

Yaa Devi Sarva Bhuteshu
tyaggarupena Samsthita
Namastasyei Namastasyei
Namastasyei Namo Namaha
Salutations to the Goddess who manifests as sacrifice and penance in all beings

The next, for the life of me, I cannot remember; the last banner was of Ratnavalli and Tulsidas, with the prayer,

Yaa Devi Sarva Bhuteshu
Bhaktirupena Samsthita
Namastasyei Namastasyei
Namastasyei Namo Namaha
Salutations to the Goddess who manifests as devotion in all beings

So there was a very strong Devi focus for the evening. When Swami came out to the front of the porch, the Ladies led the singing, and introduced the evening’s program. I recall a Gayathri Mantra sung in four part harmony.

The Devi Stutram formed the focus of what was to follow; very young girls dressed as the characters in the banners performed skits very close to the front of the veranda; Swami was facing these girls, cent per cent attention and focus. The conclusion of each skit was the singing of the relevant strotra from the Devi Stutram (I don’t know if I have this title right, so bear with me) which was a really neat way to conclude each skit. The girls were all nicely costumed and delivered their skits quite well.

When the skits were over, there was a very catchy song sung about Mother Easwaramma, and then some songs sung about Swami. There was then a presentation to Swami, a memorial plaque and prayer to Swami that these 2400 Sai Youth of Maharasthra and Goa would be worthy instruments in his mission. top

The men then did a medley of songs with some very good musical accompaniments, and the most unusual backing I have ever heard for Kondama Rama, it was excellent. There was then a short medley of bhajans as Swami went inside the interview room. He returned shortly, and went down to the centre area of the darshan hall, and gave photo sessions to the young girl actresses, and gave them all padnamaskar. Much applause. Swami called for Shawls and Sarees to be distributed to all in the choir and in the acting complement. Swami then gave photo sessions to the Lady Singers, very good, and then moved over to the Men Singers, where there were many photo sessions.

Swami then stayed in the centre of the darshan hall and spent time answering questions from the Devotees of Maharashtra and Goa, and also spent some time accepting prayers and requests. After some time, Swami returned to the front of the porch and called for prasadum to be distributed to all. The lady singers then led bhajans during the distribution of prasad, and I quite enjoyed the ladies leading the singing. When the distribution of prasad was complete, Swami gestured to the students returning; there was quite some prasad left over, and Swami sent the students right down that centre walkway, out of the darshan all, to distribute all the prasad to the devotees down by the Gopuram Gate!

Then Swami called for arathi; the ladies led Om Jai Jagadeesha Hare; there were 8 waving the arathi flames, three men and three ladies from the Sai Youth, along with one student, and the Mandir Pujari. When it got to Mata Pita Guru Daivum, Swami gestured for the lamps to be placed on the ground, and the Ladies continued leading the singing. It was quite dark, the darshan hall lights were bright, and the Narayana, Narayana Om Sathya verses flew through the air as Swami sat there, right at the front of the porch, brilliant in his orange robe, and smoke rising all over the place from the many arathi lamps. A great conclusion to the evening of Devi and the Feminine, by favour of the Ladies of Maharashtra and Goa. Source:  http://groups.yahoo.com/group/saibabaofindia/message/15352