Photo dogma & degeneration + 3 more

Baba

Photo dogma & degeneration

Namaskar,

Ananda Marga ideology states, “Prakrtiliina - those who worship idols, ascribing Brahma-hood to that idol, “thinking that the very idol is God, the very image is God”; worshipping stone, worshipping wood, worshipping metals.” (1)

Those who think that the photo of Baba is actually Baba act in the following manner:

(a) They will only do sastaunga pranam in front of the photo thinking that the photo itself is Baba. If there is no photo they will not do sastaunga pranam.

(b) If they want to request Baba to grace them then they must go and sit in front of the photo thinking that the photo itself is Baba. If there is no photo then they will not request His grace because they do not think that Baba is present.
https://anandamarganewsbulletin.blogspot.com/

More about those who think Baba is the photo

(c) If they want to offer food to Baba they will bring that food in front of the photo - thinking that the photo itself is Baba - and then stick food on the photo where Baba's mouth is in the photo. Or they will place a plate of food in front of the photo and request Baba to eat. Whereas if the photo is not there they will not offer any food to Baba. Because if the photo is not there then according to their perspective Baba is not there - i.e. not present.

(d) If they wish to touch Baba's feet they will walk to the Baba photo in the puja room - thinking that the photo itself is Baba - and place their hands on that part of the photo that shows Baba's feet. And if there is no photo then they will not try and touch His feet as that can only be done with a photo. Because without the photo Baba cannot be present.

(e) If they want to pay homage to Baba in any way then they must walk over to where the photo is - thinking that the photo itself is Baba. And if there is no photo they think that Baba is not there so they will not pay homage to Him.

(f) And there are many more things they will do going close to that photo thinking that the photo itself is Baba.

(g) Finally, if one margii is going to Ananda Nagar, Tiljala, or Jamalpur, they will request that margii to convey their pranam to Baba at the tomb, Baba Quarters, or Tiger’s grace etc. Because they think that Baba is there, i.e. not with them.

But this approach is dangerous. To understand why this is dangerous, please continue reading.
https://anandamarganewsbulletin.blogspot.com/


They become one with prakrti - wood, metal, stone

Be sure to pay attention to the highlighted yellow section from Baba’s teaching as that is central to understanding the point at hand.

Ananda Marga ideology states, “Prakrtiliina - those who worship idols, ascribing Brahma-hood to that idol, “thinking that the very idol is God, the very image is God”; worshipping stone, worshipping wood, worshipping metals. Tantra says,"

Mrcchiládhátu dárvádi murtáviishvarabaddhaya.

Mrt means “earthen image”; shilá means “made of stone”; dhátu “made of metal”; dáru “made of wood”. And they ascribe Godhood to that wood or to that metal or to that stone. Then what does happen? He is ideating on that stone, or wood, or metal. Then what does happen?

Yádrshii bhávaná yasya siddhir bhavati tádrshii

A man adopts the body according to his object of ideation.” His own self is transformed into that entity, the entity which was his object of meditation. Now these men worshipping different forms of Prakrti finally take the form of those entities - become stone, become wood, become metal. They are called prakrtiliina. They become one with Prakrti and remain there for an indefinite period. What a durdaeva, I will say! What a painful state of existence! (1)

In His above teaching Baba is sounding the warning that those “thinking that the very idol is God, the very image is God” will be converted into prakrtiliina - and suffer the horrifying effects of being converted into matter.
https://anandamarganewsbulletin.blogspot.com/

If you think the photo is actually Baba...

Those who think that the photo of Baba is actually Baba should understand that this approach is dangerous. Essentially, such persons think that the photo or holy tomb is actually Baba and that the physical photo / tomb is the way to communicate with Him. Such sadhakas are like idol worshipers who think "that the very idol is God, the very image is God." Sadly, they will suffer and become prakrtiliina.

Because they are ideating on the physical materials (paper, glass, wood, plastic etc) that comprise the photo. They think the photo is Baba just like those prakrtiliina who think "that the very idol is God, the very image is God." So their mind will be converted into those limited physical objects. They are not ideating on that all-pervading Divine Entity Parama Purusa Baba. So for them the future is bleak. That is the unfortunate story.

And here are more details about how they behave: 

- If they want to pay homage to Baba in any way then they must walk over to where the photo is - thinking that the photo itself is Baba. And if there is no photo they think that Baba is not there so they will not pay homage to Him.

- And there are many more things they will do going close to that photo thinking that the photo itself is Baba.

- Finally, if one margii is going to Ananda Nagar, Tiljala, or Jamalpur, they will request that margii to convey their pranam to Baba at the tomb, Baba Quarters, or Tiger’s grace etc. Because they think that Baba is there, i.e. not with them.
https://anandamarganewsbulletin.blogspot.com/


Conclusion:
Baba’s photo is just photo of Baba, not Baba Himself

Rational Ananda Margiis understand well that the photo is just a photo of Baba, not Baba Himself. Just as you know that a photo of yourself is not actually you - rather it is a photo. They know that the gateway of communicating with Baba is through the mind, by His grace. That means they communicate with Baba mentally - sharing their feelings and asking His blessing in dhyana, sadhana, etc. And throughout the day - wherever they are - they feel Baba is there along with them. When far from their puja room they do not think that they are separated from Baba. They internally feel His presence, regardless of their physical location and where the photo is. For them, their entire mode of linking with and seeing Baba is internal. At the same time they pay due reverence to the photo. Yet they know that the photo is just a photo of Baba and not Baba Himself. Just as you know that a photo of yourself is not actually you - rather it is a photo.
https://anandamarganewsbulletin.blogspot.com/

The highlighted yellow section of Baba’s teaching makes it clear that those who think "that the very idol is God, the very image is God” or that the photo is actually Baba Himself are in grave danger.

Namaskar,
in Him,
Sukhadeva

References
1. Ananda Vacanamrtam - 3, Ghosts and Evil Spirits
2. Ananda Vacanamrtam - 3, Ghosts and Evil Spirits

*        *        *

The below section is an entirely different topic, unrelated to the above material.
It stands on its own merit as a point of interest and ideological awareness.

*        *        *

== Section: Important Teaching ==

Guru’s krpa explained

Ananda Marga ideology states, "What is Krpá? In Saḿskrta, the root verb is “kr”. “Kr” means to help one in one’s progress even when one does not deserve it. So if one deserves it, that is, if one has the qualification to get oneself fully developed and fully exalted, then in that case there is no necessity of krpá, there is no necessity of help from Táraka Brahma. But when one does not deserve it, when one has not got the qualification for development, and still one is helped, that sort of help is called “krpa”." (1)

Ananda Marga philosophy states, "A spiritual aspirant should not do spiritual practices to become omniscient. Rather, a spiritual aspirant is to perform spiritual practices to satisfy Parama Puruśa in the form of Parama Guru. That is why it has been rightly said: Guru krpá hi kevalam [“The grace of the Guru is everything”]." (2)

Reference
1. Ananda Vacanamrtam - 2, Guru Krpáhi Kevalam
2. Yoga Psychology, Bio-Psychology

== Section ==

দুধ খাও, ওই জুজু আছে

“ছোট ছেলে দুধ খাচ্ছে না, ৰাড়ির লোকেরা, “দুধ খাও, ওই জুজু আছে, তাল গাছে জুজু আছে, ধরে নেৰে” | তুমি জুজুর ভয়ে খেয়ে নিলে দুধ | তারপরে এই তুমি যখন দু ৰছরের নয়, তুমি হয়ে গেলে ৰাইশ ৰছরে, তখনও সেই মনের জুজুটা রয়ে গেল | কখনও-কখনও স্বপ্নে সেই জুজুকে দেখৰে একলা যেতে গিয়ে জুজুর ভয়ে ৰুক কেঁপে উঠৰে | এরা হ’ল কি ? চাপিয়ে দেওয়া ৰন্ধন |” (1)

Reference
1. Subhasita Samgraha, part 17, chapter 12

== Section 3: Links ==

Recent Postings

• Intimacy of sadhana

• 6th lesson mantra

• Female issue

• Really Golden Rule?

• Is Milarepa story applicable?

Other topics of interest

• How to advance your dhyana
  

• Those early days
  

• Altered photo ruining dhyana

Precious time with Baba + 4 more

Baba

Precious time with Baba

Note: This letter is only for those who have reverence for Sadguru Baba Shrii Shrii Anandamurti ji and try to follow His Ananda Marga ideology.
 
Namaskar,
 
Here is one of the many highly memorable occasions when Baba would make us all smile and laugh and thereby bring us closer to Him. Despite our faults and despite our limitations, through His immense warmth and love, and yes, by making us laugh, we would feel that whatever we may be in this world, certainly we are His and He is mine. That was one of the very special ways in which Baba would make us all feel close. Below is one of the scenes which I recall.
http://anandamargauniversal.blogspot.com/


Reception & Baba's arrival
 
At one particular DMC that I attended, a huge crowd of margiis and workers were anxiously awaiting Baba's auspicious arrival. The pandal was completely full and everyone present was involved in singing and dancing kiirtan. All were in a blissful flow and the intimate spiritual feeling was mounting more and more as they expected Parama Purusa Baba to come any moment.
 
Then suddenly one Dada started shouting and the kiirtan came to a distinct halt. Another Dada immediately began raising the slogan, "Parama Pita Baba Ki!", and everyone exclaimed "Jai". Again and again the slogan was raised: "Parama Pita Baba Ki - Jai!"
 
The volume and vibration of the pandal was increasing and everyone knew that at any moment Baba would be coming. The slogan was raised one more time and then we could all see Baba entering onto the stage. Cries of "Baba, Baba" could be heard all around and still the slogan was going on, "Parama Pita Baba Ki- Jai!!". The whole pandal was charged and vibrated by His presence.
http://anandamargauniversal.blogspot.com/
 
As Baba walked slowly across the stage surrounded by His entourage, He passed His cane to one Dada and majestically sat down on the dais. Quickly another Dada came forward to remove Baba's shoes. As Baba moved onto the center point of the dais, one or two Dadas were involved in arranging the side pillows of His seat. Then, for a second time, Baba brought His hands together and gave His blessing across the entire pandal.
 
Everyone was feeling waves of bliss as Baba looked in their direction. Then one Dada approached Baba with a mala and garlanded Baba and then did sastaung pranam. Everyone was completely focused on Baba - watching His every gesture and move. Baba then began giving some directions to a few Dadas who were by His side and then they took leave and went from the dais.
 
Next Baba looked out across the sea of margiis and in a smiling manner He said, "How are you - everything is alright?"
 
Then everyone present simultaneously replied, "Yes, Baba!"
 
Baba looked to be in a very jolly mood and that heightened everyone's happiness and joy. In successive order Baba performed blessings for newly married margiis and distributed prizes to various workers and margiis.
http://anandamargauniversal.blogspot.com/
 
 
Display of kaoshikii & Baba’s humorous response
 
Immediately thereafter, per the system of DMC, there was a call for brothers’ kaoshikii. Baba smiled and turned slightly towards His left and looked over in their direction.
 
One Dada could be heard saying, "Dhin dhin dhin, dhin dhin..." and on that count the brothers' kaoshikii dance began. Actually those brothers had not been practicing kaoshikii recently. They already thought that they were the best dancers of kaoshikii - better than others - so they internally felt that there was no need to practice. This was the outlook they had cultivated. They felt a sense of entitlement. With this attitude they started dancing.
 
Since it was the time of DMC there was a big crowd. And those brothers were dancing as if they were already perfect at kaoshikii etc. This was their inner feeling.
 
Baba was smiling towards those brothers who were dancing. After a minute or two, the call came "Halt!", and all the dancers immediately stopped, thinking they had done it flawlessly.
http://anandamargauniversal.blogspot.com/
 
Normally, the sisters would then be signaled to start their kaoshikii. But on this particular occasion, Baba was smiling and still looking over towards those brothers who had just completed their dance. So everyone's focus was in that direction. Then in a jolly manner and in a smiling way Baba very reassuringly spoke the following:
 

"You know the kaoshikii dance displayed by the boys was very good - (Baba was still smiling)

"--with the exception of a few points."
 
Then in a charming way Baba said:
 
"The teamwork was not so good; the angular bending was not so good; and, there was actually no rhythm."
 
Then in a jovial mood, Baba concluded:
 
"With the exception of these three points, it was very good." (AV (Pure) - 49, PD #273, “The Path of Excellence”)

 
All laughed
 
Hearing Baba's dramatic delivery and humorous words, we all laughed - everyone laughed - and this laughter continued for several seconds. We were all charmed by His manner. Side by side, in a very benevolent way, those dancers got the message that they were not exempt from practicing. In their heart of hearts, they understood that they should refine their movements and dance with a sense of surrender - not ego. This was the great benefit they received, by His grace.
http://anandamargauniversal.blogspot.com/
 
By this way, by Baba's humorous response, all felt loved and cared for, and everyone understood in the depths of their heart that, "I am His child and regardless of how my performance is, always He loves me and finds a way to help me progress." We all felt very close to Baba.
 
 
A few takeaway points from the story
 
There are a few things we can all understand from the above story.
 
1) Baba was giving the encouragement that no one should feel dejected by their performance and that He recognises the sincerity of their effort and gives everyone His love and affection.
 
2) Baba wanted that everyone present - whether they were dancing or not - should improve the standard of their kaoshikii.
 
3) If Baba would have just appreciated the performance and not pointed out the defect in their dance, then no one would have been aware of their mistake and by that way those dancing and those watching would continue their poor way of dancing in the future.
http://anandamargauniversal.blogspot.com/
 
4) If Baba had only scolded these new margiis then they might think that doing kaoshikii was beyond their reach and they also would not feel close to Him.
 
5) But in a special way, He appreciated their effort and guided them for their improvement.
 
Really in that moment everyone felt loved, cared for, and close to Baba. Such is the effect of His radiant Presence and special words. Thereafter, the DMC program took its course and the sisters danced kaoshikii and the brothers tandava and after that Baba announced, "The subject of today's discourse...". And always we will remember that in spite of how poor the kaoshikii dance was, Baba found a way to appreciate their effort and everyone laughed and felt close. So Baba has a unique way of making the entire atmosphere blissful.
 
Baba is not only Guru but He is our Father and in His each and every expression He is very close and sweet. How can we forget those moments. And to this very day, whenever I close my eyes then I remember that special time and I feel His close proximity. And that gives me the energy to move forward.
 
Namaskar,
Sastaunga Pranam to Baba,
Suvidya'
 
~ In-depth study ~

Create a heartfelt link
 
As the Divine Father, Baba has come on this earth to give ultimate salvation by decreasing the distance between He and His children. He has come to create an intimate closeness with bhaktas and encourage all to come even closer and still more close.
http://anandamargauniversal.blogspot.com/
 
Being Parama Purusa and the most Magnanimous One, Baba would always create a heartfelt link with bhaktas which would automatically melt the gap between His supreme greatness and our ordinary selves. And one of the wonderful ways He would accomplish this was by using humour and tender expressions with bhaktas. By making everyone laugh and smile, sadhakas would immediately feel more relaxed and closer with Baba. This was the very sweet and gracious way in which He would communicate with bhaktas.
 
Each and every margii has their own personal experience of closeness with Him and by that way they could feel His sweet touch; and, those who could not get this feeling could not remain. Every new or old margii has their own experience and realisation, and even today He is with us.


Take advantage of the opportunity
      
By Baba's sweet grace we will all realise the height of human glory and live life divine and reach up to Him.
 
Ananda Marga ideology states, "Do not forget your life; do not forget the path; the path is very noble, very beautiful, and it is for you to know that, it is for you to realize that, so do it from today. Do not leave it for tomorrow, tomorrow may not come for you. Who knows? The sun may not rise for you tomorrow. No one can say who is going to live from today till tomorrow. It is up to Him to decide. So as long as we are here today, let us try to take [advantage] of this opportunity and do sa'dhana' and follow dharma; thereby you will know Him, [you will complete] the beautiful journey of knowing Him. So let us know Him today. In this way we will be able to provide paths for human beings to come. Animals also are marching ahead to know that Supreme Entity. So it is our duty to make the way, to pave the way, in order for everyone to come on this path. Realize Him. Realize that Supreme Being within you. This is your dharma, this is your path; and let this path be yours, and victory will surely be yours." (1)

References
1. Ananda Vacanamrtam - 31, Dharma Sádhaná

Plagiary?

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.

--

Warning about plagiary

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) The individual who steals gets degenerated and it sets a bad example in the social sphere.

3) It impedes social progress as others will not be inclined to pursue new and original work as they think that others will just steal it.

4) It breeds a society of lethargic people who will always wait for others to create something new. It is just like those who are lazy in the kitchen do not cook - just they wait for others to prepare food and then they steal it away and devour that food.

5) 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, with their own name etc. This is plagiary.

== Section: Important Teaching ==

Sympathizer vs dharmika

The Supreme Command states, "...Every Ananda Margii will have to perform sadhana twice a day invariably; verily is this the command of the Lord..." (1)

Ananda Marga ideology guides us, "Dharma is the assemblage of all your conduct” – the way you eat, the way you speak, the way you perform sa'dhana'. If your conduct is good, dharma is with you; if your conduct is not good, dharma is not with you. And if dharma is not with you, what comes about is your sarvana'sha, or sarva'tmaka vina'sha – that is, your physical, mental, and spiritual ruin....Conduct is the principal factor in dharma.” Be a sadácárii, a person of good conduct, and you will surely attain Paramátman." (2)

Note: If one donates 2% of their income to Ananda Marga service projects then it does not mean that they are therefore an Ananda Margii. Donating money or paying tithes also does not make one an Ananda Margii. To be a dharmika (an Ananda Margii), one’s lifestyle should be wholly consistent with the ideals of Ananda Marga, i.e. bhagavad dharma. Those who give money and live a different sort of life can be thought of as sympathizers, but not as dharmikas, i.e. as Ananda Margiis.

Greatest donor

Ananda Marga philosophy states, "The most important point to consider is who has utilized his or her ability and to what extent. Hanuman [the mighty monkey, a bhakta of Rama in the mythological epic the Rámáyańa] fetched huge boulders to build a bridge across the sea, while the squirrels collected small pebbles. Yet intrinsically both these actions have the same value. We have no right to question anybody's sincerity, nor can we scoff at it. We cannot give more appreciation to those who have not utilized their potentialities properly but have done more work than to those who have fully utilized their talents." (3)

References
1. The Supreme Command
2. Subhasita Samgraha - 21, Niiti and Dharma
3. Human Society - part 1, Social Justice

== Section: Important Teaching ==

Key question and only answer

Ananda Marga ideology guides, "Those who have fallen today may become evolved people, great personalities in the future – mahápuruśas. This is why no one should ever be disappointed in life. Parama Puruśa is calling everyone and He will continue to call everyone: all shall find a safe shelter on His loving lap. He does not hate or neglect anyone. Hence the only answer to the question, “kasya tvam” – “Whom do you belong to?” – is: “I belong to Parama Puruśa, to Him and Him alone, because I have come from Him and I am in Him, and finally I will return to Him.” And the only answer to the question, “Kuta áyátah” – “From where have you come?” – is: “I have come from Parama Puruśa and I will go back to Him. He is my permanent abode.”" (1)

Reference

1. Subhasita Samgraha - 12, To Whom Do You Belong? Where Do You Come From?

AND HERE ARE FURTHER MATERIALS:

*************************************

Everlasting Unity:

Very Beginning Of A Child's Life

"In Ananda Marga the seed of a common ideal is sown from the very beginning of a childs life. At the age of five, when the child has acquired only a preliminary understanding of his or her surroundings, he or she is given the idea of Brahma [the Supreme Entity]. The entire society of Ananda Marga is thus founded on a common ideal or goal – Brahma. This foundation will never be lost like the dangers of war. Such an ideal will not disappear like the common ideal of facing the dangers of war; so the unity in a society founded on the ideal of Brahma will be everlasting." (AFPS-7, Social Psychology)

*************************************

उनकी कृपा से आज ऊषा की लालिमा लिये हर वस्तु

प्रभात संगीत 4647: तमसा काटिछे विहग डाकिछे, पूर्व तोरणे...

भावार्थ

उनकी कृपा से आज पूर्व में सूर्य  निकला और अंधकार दूर हो गया, पक्षियों ने चहचहाना प्रारंभ कर दिया। ऊषा की लालिमा लिये हर वस्तु आकर्षक  और मधुर लग रही है। नये युग का द्वार खुल गया है। ए मेरे भाई बहिनो! तैयार हो जाओ नींद और तंद्रा में मत रहो, ए बच्चो जागो उठो! ए संसार के लड़के लड़कियो! जड़ता और स्थिरता का जेल तोड़कर बाहर आ जाओ। अब यह हमारी ड्युटी है कि हम पूर्वकाल के ऋषियों द्वारा प्रारंभ किये गये महान कार्यों को पूरा करें। हमे सतर्क रहकर नव्यमानवतावाद का दीपक सदैव प्रकाशित करते रहना है। बाबा की कृपा से आज सब अंधकार और जड़ता चली गयी है और एक नया उज्जवल युग प्रारंभ हुआ है।


Following is the phonetic spelling in Roman Script of the above purport:


Unakī kr̥pā sē āja ūṣā kī lālimā liyē hara vastu

prabhāta saṅgīta 4647: Tamasā kāṭichē vihaga ḍākichē, pūrva tōraṇē...

Bhāvārtha

unakī kr̥pā sē āja pūrva mēṁ sūrya nikalā aura andhakāra dūra hō gayā, pakṣiyōṁ nē cahacahānā prārambha kara diyā. Ūṣā kī lālimā liyē hara vastu ākarṣaka aura madhura laga rahī hai. Nayē yuga kā dvāra khula gayā hai. Ē mērē bhā'ī bahinō! Taiyāra hō jā'ō nīnda aura tandrā mēṁ mata rahō, ē baccō jāgō uṭhō! Ē sansāra kē laṛakē laṛakiyō! Jaṛatā aura sthiratā kā jēla tōṛakara bāhara ā jā'ō. Aba yaha hamārī ḍyuṭī hai ki hama pūrvakāla kē r̥ṣiyōṁ dvārā prārambha kiyē gayē mahāna kāryōṁ kō pūrā karēṁ. Hamē satarka rahakara navyamānavatāvāda kā dīpaka sadaiva prakāśita karatē rahanā hai. Bābā kī kr̥pā sē āja saba andhakāra aura jaṛatā calī gayī hai aura ēka nayā ujjavala yuga prārambha hu'ā hai.

== Section 2: Links ==

Upcoming Festival: Ananda Purniima - Thurs, 23rd May

• #1: Festival preparation

• #2: AM festival: all-inclusive

• #3: Upcoming festival: dos & don'ts

• #4: Auspicious occasion

• #5: Utsava: new joy & vigour

• #6: Greatness & pitfalls of AP festivities

• #7: Greedy celebrations
  

Baba stories

• Story: Teaching BNK meditation

• Baba story: ERAWS reporting

Baba story: teaching dance + 2 more

Baba

Baba story: teaching 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.
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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."

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.
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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.

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.
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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?

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.

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The below sections are entirely different topics, unrelated to the above material.
They stand on their own as points of interest.

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== Section: 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 2: Links ==

Upcoming Festival: Ananda Purniima - Thurs, 23rd May

• #1: Festival preparation

• #2: AM festival: all-inclusive

• #3: Upcoming festival: dos & don'ts

• #4: Auspicious occasion

• #5: Utsava: new joy & vigour
  

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