Baba
Baba & dance
Namaskar,
Here are a few Baba stories about Prabhata Samgiita. These are stories from DMC gatherings, as well as guidelines on how we are to pursue our spiritual Prabhata Samgiita practice at home also.
Sweet Baba story about dancing Prabhata Samgiita
One unforgettable scene occurred in Jaipur DMC, 11 March 1984, during the Prabhata Samgiita section. When the performance of the song finished, then per His usual divine way, Baba started giving the purport. On that occasion, Baba also began explaining how the song was based on a blending of Persian and Indian tunes. As He was concluding His explanation, Baba told in a very sweet way that, “It is good that all the margiis have quickly learned how to sing Prabhata Samgiita.”
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(Note: Here we must remember that at this point the official programme of Prabhat Samgiita had started only one and a half years earlier in Sep 82; so it was still relatively new. By March 1984, at the time of this particular story, there were approximately 1380 Prabhata Samgiita compositions.)
Then Baba immediately added: “I was thinking to teach dance also as this is an essential component of samgiita. But I did not do so because I thought that if I start teaching dance, then I will not have time to do other things. After all, I have so many organizational duties and responsibilities. So if I had started teaching dance then when would I get time for those other important works?” After saying this, Baba kept quiet for a few seconds and everyone present also remained motionless - not saying anything.
Then Baba started smiling, and in a jovial and humourous manner He asked PA Ramanand ji, “Why is everyone keeping quiet? Is it because they are feeling relieved because if Baba had started teaching dance, then they all would also have to dance during the time of the Prabhata Samgiita. With this fear, all are keeping quiet?”
Hearing this everyone laughed. And at the same time, everyone understood that through the medium of humour Baba is guiding us that learning the way to dance Prabhata Samgiita is considered highly significant in the life of a bhakta - it is one of the essential aspects. And everyone understood that this endeavour of dancing Prabhata Samgiita is to be developed and passed on from one sadhaka to the next.
Samgiita means song, dance, & instrumental music
At Ananda Nagar DMC in the late eighties, when Prabhata Samgiita was going on Baba was giving the instruction that, "Everyone has to follow the lead of the singer and try to synchronize their voices - otherwise I will become very upset and scold you." Then Baba started smiling and began looking toward PA and then Baba looked back again toward the margii public told, "Alright, if you do not like that I should scold then I will not scold."
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Seeing Baba's most loving and charming expression then all sadhakas present felt a sweetness permeate the environment. And everyone naturally understood through His tender and light expression that underneath was the highly important concept of singing Prabhata Samgiita according to the correct style. From that point on everyone did indeed try and follow Baba's guideline to properly follow the lead of the singer during Prabhata Samgiita.
Singing does not mean the mere repetition of the words. One should know the meaning and inner spirit of the song and feel it in their heart. That is why we find that ardent bhaktas aim to combine all three aspects together (song, dance, and instrumental) in their regular practice of sadhana. Only a few play a musical instrument, and dance for Parama Purusa while singing Prabhata Samgiita before each and every session of sadhana. Yet it is something that will surely be incorporated into everyone's spiritual life.
Three components of Prabhata Samgiita
Singing Prabhata Samgiita while using the instrument and dancing with mudra - all that can be done in private. By doing all this and expressing a loving feeling toward Him in an isolated place, with proper intimate mood, is Prabhata Samgiita - in the complete sense of the term. Those who have not yet practiced like this can at least start by closing their door and dancing in private in their room. And just practice Prabhata Samgiita for some time. Because singing and dancing alone in an isolated room does not need any real training - especially in this initial stage.
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Because in a sincere way those ideas expressed in the Prabhata Samgiita can be easily displayed by moving the hands and feet in a natural way. And then, step by step, Baba will guide further about how to dance in a more refined and proficient manner. So this is all one key point. Yet no doubt to even begin to dance, knowing the word meaning and inner meaning of the Prabhata Samgiita song is essential. Otherwise how can one begin to dance since the essence of dance itself is the physical expression of the song's internal ideation. This is a refined topic. Sadhakas of the Marga understand this very well. And by doing Prabhata Samgiita in its full form, one will understand why Baba encourages dance in Prabhata Samgiita.
Conclusion
If song, dance, and musical instruments are done in tandem as true Prabhata Samgiita, then that is beyond comparison. It will give any sadhaka a tremendous boost in their spiritual life.The best thing is to practice in one's own isolated place, in the privacy of their own room. And then one can see the benefit of what Baba has taught.
Ananda Marga philosophy says, "Songs [vocal] are rooted in the physical world, but their impact is on the subtler layers of the human mind. The mental world is the ectoplasmic world, the world composed of ectoplasmic stuff (cittáńu). Songs produce a vibrational wave which makes our mental waves straight, and these straightened mental waves in turn ultimately touch the point of the soul. Now to touch the embodied soul, the songs must have rhythm, melody and feeling (bháva). If there is no feeling, the song will lack sweetness. Therefore, songs must have deep ideas." (1)
Namaskar,
in Him,
Satya Deva
Related teachings
Part of one's individual spiritual program, per Baba's guideline, is to do Prabhata Samgiita completely first. And then continue on in our session by dancing laliita marmika while singing kiirtan, and then start sadhana. This will stand as one complete routine. And we have all experienced how singing Prabhata Samgiita and kiirtan helps cultivate the feeling of bhakti and focus the mind toward Parama Purusa.
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Baba says, "Lyrics of the song should directly reflect Parama Purus'a Himself. And this category of song, directly reflecting Parama Purus'a is known as Kiirtana. The other category of song that also reflects Parama Purus'a, but which expresses many tangential ideas before returning to the one central idea of Parama Purus'a, is called bhajana. This is the basic difference between bhajana and kiirtana." (2)
Prabhata Samgiita is an integral aspect of daily spiritual life and we all may strive to incorporate this more perfectly into our daily routine.
The trifarious world of Prabhata Samgiita
Each and every Ananda Margii is aware that Baba's Prabhata Samgiita compositions are unique. There is no English equivalent term for the Sanskrta word 'samgiita'. Because Samgiita does not just mean merely singing. More precisely samgiita entails three components: (a) song; (b) music; and (c) dance. And when these three components are moving together in a synchronized way, then it is known as "samgiita".
Baba says, "The collective name of dance, song and instrumental music is sam'giita. The word giita is derived from the root gae plus the suffix-kta." (3)
Daily practice of Prabhata Samgiita also
In our daily spiritual routine, we Ananda Margiis generally sit in a quiet place to do sadhana. And as we all know before sadhana, singing Prabhata Samgiita is very helpful. That is why an increasing number of sadhakas regularly sing Prabhata Samgiita before starting sadhana.
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So singing Prabhata Samgiita has become quite common among Ananda Margiis. In comparison singing Prabhata Samgiita and playing an instrument at the same time is less common. And finally, doing all three simultaneously - singing Prabhata Samgiita playing an instrument and dancing - is still more rare.
Yet in true sense, if song, dance, and musical instruments are not done together, then that is not Samgiita. That can be said to be one-third or two-thirds of Prabhata Samgiita-- but not 100% Prabhata Samgiita.
Ananda Marga ideology states, "Today and in the future as well, many new rágas and rágińiis can and will be created. No stoppage should be allowed in this matter. I have also created a few new rágas and rágińiis in Prabháta Saḿgiita. However, I have yet to name them." (4)
Ananda Marga philosophy says, "Songs [vocal] are rooted in the physical world, but their impact is on the subtler layers of the human mind. The mental world is the ectoplasmic world, the world composed of ectoplasmic stuff (cittáńu). Songs produce a vibrational wave which makes our mental waves straight, and these straightened mental waves in turn ultimately touch the point of the soul. Now to touch the embodied soul, the songs must have rhythm, melody and feeling (bháva). If there is no feeling, the song will lack sweetness. Therefore, songs must have deep ideas." (5)
Great people of all ages have encouraged all three aspects
Ananda Marga philosophy says, "Now, regarding dance: dance expresses inner psychic feelings through chanda [rhythm] and mudrá [specialised gestures], without the help of language or words. In occidental dance, there is more beauty in rhythm. But oriental dance utilizes both rhythm and mudrá. These mudrás because of their close association with rhythmic qualities, have become more expressive and beautiful than the rhythmic occidental music." (6)
Ananda Marga philosophy says, "For objective adjustment in the physical world, Shiva propounded song, dance and instrumental music in such a manner so that it would directly vibrate the ectoplasm, so that the ectoplasmic movement converges into one point touching the soul point. That is why great people of all ages have encouraged all three aspects of music. In the history of saints, it is known that Maharśi Nárada played violin, sang songs and danced at the same time. In more recent times, Mahaprabhu Caetanya Deva also encouraged these three things: he said that the lyrics of the song should directly reflect Parama Puruśa Himself. And this category of song, directly reflecting Parama Puruśa is known as kiirtana. The other category of song that also reflects Parama Puruśa, but which expresses many ideas before returning to the one central idea of Parama Puruśa, is called bhajana. This is the basic difference between bhajana and kiirtana. In this respect, I fully agree with the previous propounders: I also encourage these three things." (7)
Baba gave kaoshikii and reintroduced tandava and lalita marmika which was given by Lord Shiva. But these are not the dances used for Prabhat Samgiita. There is another whole spectrum of dance to be used with Prabhat Samgiita. Some of our RAWA programs are excellent examples of this.
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Cruelty of Islam
Ananda Marga ideology states, “Humanity, in its all-out quest for this aesthetic science, attained spirituality. One must acknowledge this. Herein lies the excellence of aesthetic science. For this reason, I have given my whole-hearted and explicit support for nandana vijiṋána. You know that there are certain religions which do not encourage aesthetic pursuits. You will notice that in those religions inertia, inferiority complexes and a sense of violence are predominant.” (8)
Humans dance in joy
Ananda Marga ideology guides us, “Human beings of the past used to dance and jump in joy. Today we also dance and jump, but there is a definite procedure in our movement; we dance with definite process. The common procedure of the dance of olden days was called “folk dance.” When more finesse was incorporated into dance, it became known as “classical dance”. This very movement from crude to subtle, from ugliness to beauty, from imperfection to perfection, is the first stage of aesthetic science.” (9)
About the use of deva
Ananda Marga philosophy says, "Casteism is a burden on the Hindu society. All the year round they preach casteism but on the polling days they decry it. This is wholly undesirable. It is better to avoid all titles. Titles signify the caste. If casteism is to be wiped out, it is incumbent to discard the titles. It is commendable if everyone adopts uniformity on title – Deva. Persons using a particular word more often will influence their minds with the meaning of that word. People are reluctant to use the word dása because this word signifies slavery. Whenever the so-called low caste people catch an opportunity, they declare themselves as belonging to the so-called elevated caste, etc. It is an ideal to become deva and for this reason Deva title should be adopted." (10)
Ananda Marga philosophy says, "Titles of the present society have undergone considerable changes during the past fifty years, the cause being that everyone aspires to pertain to an elevated caste. The so-called Shúdras also use the sacred thread. This is only an effort towards the concealment of one’s identity. By this means, they conceal only their disregarded status. This is to be regretted. It is consequent on social debility that they harbour the desire for changes in their situations. It is out and out purposeless to convene All-India Conferences or particular castes. All of them desire to assert and establish their rights. This is simply misuses of energy and money." (11)
Ananda Marga philosophy says, "The consent of those embraced must be sought for before renaming them in Saḿskrta. Language has got nothing to do with religion and as such, there is no reason for anybody depreciating the use of Saḿskrta. In this connection it may be added that the great emperor Aurangzeb used the term sudhárasa (juice of nectar) for mango (original Saḿskrta term for mango is ámra) and saddharma for Islam." (12)
Spelling of Prabhata Samgiita
Our Ananda Marga books adhere to the Roman Sanskrit / Samskrta form of spelling. According to that system, the proper spelling of Prabhata Samgiita is with an "a" at the end of the term Prabhata. In contrast, some have gotten accustomed to spelling it in this wrong way, Prabhat Samgiita.
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References
1. A Few Problems Solved - 3, Song, Dance and Instrumental Music
2. A Few Problems Solved - 3, Song, Dance and Instrumental Music
3. A Few Problems Solved - 3, Song, Dance and Instrumental Music
4. The Inner Science of Surasaptaka – Excerpt A
5. A Few Problems Solved - 3, Song, Dance and Instrumental Music
6. A Few Problems Solved - 3, Song, Dance and Instrumental Music
7. A Few Problems Solved - 3, Song, Dance and Instrumental Music
8. Ananda Vacanamrtam - 10, Yatamána – the Stage of Perseverance
9. Subhasita Samgraha - 19, The Supreme Aesthetic Science and the Cult of Devotion
10. Táttvika Diipiká (Paiṋcama Parva)
11. Táttvika Diipiká (Paiṋcama Parva)
12. Táttvika Diipiká (Paiṋcama Parva)
Plagiary?
The below sections are entirely different topics, unrelated to the above material.
They stand on their own as points of interest.
* * *
The six tastes
Ananda Marga philosophy says, “The six tastes are: tikta – neem (bitter); kat’u – chilli (hot and spicy); kas’ava – plantain (alkaline); lavan’a (salty); amala (acidic); and madhu (sweet).” (1)
Note: Not only are there six tastes in the human palate but those types of foods should be taken in a distinct order. Bitter should be taken in the beginning and sweet in the end.
Reference
1. Ideal Farming, Some Important Crops
Upcoming Festival - 12 Feb
Other topics of interest
It is the accepted international standard and Baba's system not to copy another's work and publish it in your own way. Baba has given a very strict rule on plagiarism. Why is Baba against plagiarism or stealing someone's work? There are many reasons:
1) It is against the code of asteya (non-stealing).
2) Countless stories of bhaktas need to be published. But some do not want to do the hard work of compiling and writing these stories, so they just steal them from others. But new stories need to be told, otherwise so many unpublished stories of sadhakas will be lost and forgotten forever. So watch out for story thieves, and kindly help them not to steal by posting on social media in their own way. If you want to forward this story then attach the following yellow section with the story:
“Courtesy of unknown bhakta via Ananda Marga Universal (https://anandamargauniversal.blogspot.com/)”
This will be treated as the standard protocol.
* * *
The below sections are entirely different topics, unrelated to the above material.
They stand on their own as points of interest.
* * *
== Section 2: Important Teaching ==
The six tastes
Ananda Marga philosophy says, “The six tastes are: tikta – neem (bitter); kat’u – chilli (hot and spicy); kas’ava – plantain (alkaline); lavan’a (salty); amala (acidic); and madhu (sweet).” (1)
Note: Not only are there six tastes in the human palate but those types of foods should be taken in a distinct order. Bitter should be taken in the beginning and sweet in the end.
Reference
1. Ideal Farming, Some Important Crops
== Section 3: Links ==
- #1: Niilkantha Divas
- #2: On this occasion
Other topics of interest
