Date: 20 Jun 2012 20:29:36 -0000
From: "Chandra Mohanl"
To: am-global@earthlink.net
Subject: Re: DMS News: Uncultured Dance in Cultural Program
Baba
== Re: DMS NEWS: UNCULTURED DANCE IN CULTURAL PROGRAM ==
Namaskar,
"I was most definitely astonished by the report about degrading activities going on in the name of RAWA at DMS:
All females aged 16-21 danced with their mid-section totally uncovered. That means the entire region from just above their waist to just below their chest was totally bare.
And indeed there were so many issues of sensuality and pseudo-culture at the RAWA program led by Mrinal Pathak."
Instead of portraying females as mere objects of desire & enjoyment as has occurred in our RAWA programs at DMS, let us once remember Baba’s teaching about how we are to look upon all females.
Baba says, “It is proper to address a woman not related to one’s family as “Mother”.” (Caryacarya-1)
Thus our RAWA programs should reflect this ideal. According to Baba, if any dance, music or song does not goad the mind toward divinity and instead goads the mind towards the lower cakras, i.e. carnal and worldly attractions or animal propensities, then that is not at all a cultural program, but something else.
We must always keep this standard in mind.
On various occasions, we Ananda Margiis are called upon to arrange proper cultural programs. So we must think critically whether such dance and music programs are up to the mark.
We must recall that before 1990 the girls dancing in cultural programs at DMS were below puberty. That was one very dramatic point to keep in mind. Everything was extremely sentient; there was not the slightest bit of a provocative display. Plus the style of music was always sentient as well. That is why those days the mind was not directed towards the lower cakras at our AM cultural programs. Rather, the mind was goaded upwards towards the subtle and divine.
So today, certain organisers of cultural programs like Acintananda, who are giving the logic that the programs these days are in accordance with the standard in before 1990, are not being truthful with themselves. Because it is quite apparent what is going on these days and how it differs from the pre 1990 programs. It is quite obvious. And we are only left to question Acintananda’s role and integrity in all of this. Why is he allowing Mr Mrinal Pathak to continue to lead degrading cultural programs on our stage.
The aim a cultural program means goading mind towards divinity; otherwise, it is nothing but an expose of pseudo-culture which ultimately degenerates the mind.
Namaskar,
Chandar Mohan
Note: PREVIOUS LETTERS IN THIS SERIES
From: "Chandra Mohanl"
To: am-global@earthlink.net
Subject: Re: DMS News: Uncultured Dance in Cultural Program
Baba
== Re: DMS NEWS: UNCULTURED DANCE IN CULTURAL PROGRAM ==
Namaskar,
"I was most definitely astonished by the report about degrading activities going on in the name of RAWA at DMS:
All females aged 16-21 danced with their mid-section totally uncovered. That means the entire region from just above their waist to just below their chest was totally bare.
And indeed there were so many issues of sensuality and pseudo-culture at the RAWA program led by Mrinal Pathak."
WHAT SHOULD BE OUR OUTLOOK
Instead of portraying females as mere objects of desire & enjoyment as has occurred in our RAWA programs at DMS, let us once remember Baba’s teaching about how we are to look upon all females.
Baba says, “It is proper to address a woman not related to one’s family as “Mother”.” (Caryacarya-1)
Thus our RAWA programs should reflect this ideal. According to Baba, if any dance, music or song does not goad the mind toward divinity and instead goads the mind towards the lower cakras, i.e. carnal and worldly attractions or animal propensities, then that is not at all a cultural program, but something else.
We must always keep this standard in mind.
CULTURAL PROGRAMS MUST MAINTAIN A STRICT
STANDARD
On various occasions, we Ananda Margiis are called upon to arrange proper cultural programs. So we must think critically whether such dance and music programs are up to the mark.
We must recall that before 1990 the girls dancing in cultural programs at DMS were below puberty. That was one very dramatic point to keep in mind. Everything was extremely sentient; there was not the slightest bit of a provocative display. Plus the style of music was always sentient as well. That is why those days the mind was not directed towards the lower cakras at our AM cultural programs. Rather, the mind was goaded upwards towards the subtle and divine.
So today, certain organisers of cultural programs like Acintananda, who are giving the logic that the programs these days are in accordance with the standard in before 1990, are not being truthful with themselves. Because it is quite apparent what is going on these days and how it differs from the pre 1990 programs. It is quite obvious. And we are only left to question Acintananda’s role and integrity in all of this. Why is he allowing Mr Mrinal Pathak to continue to lead degrading cultural programs on our stage.
The aim a cultural program means goading mind towards divinity; otherwise, it is nothing but an expose of pseudo-culture which ultimately degenerates the mind.
Namaskar,
Chandar Mohan
Note: PREVIOUS LETTERS IN THIS SERIES
#1: http://am-global-01.blogspot.com/2012/06/dms-news-uncultured-dance-in-cultural.html
#2: http://www.am-global-01.blogspot.com/2012/06/re-dms-news-uncultured-dance-in.html
#3: http://www.am-global-01.blogspot.com/2012/06/re-dms-news-uncultured-dance-in_17.html
#4: http://am-global-01.blogspot.com/2012/06/re-dms-news-uncultured-dance-in_18.html
#2: http://www.am-global-01.blogspot.com/2012/06/re-dms-news-uncultured-dance-in.html
#3: http://www.am-global-01.blogspot.com/2012/06/re-dms-news-uncultured-dance-in_17.html
#4: http://am-global-01.blogspot.com/2012/06/re-dms-news-uncultured-dance-in_18.html
PRABHAT SAMGIITA
"Toma'y a'mi khunje gechi, kato na' yug dhare kato yug dhare..." (PS
4018)
Purport:
O' my Dearmost, I have searched You for ages and ages. Since time immemorial, since the dawn of my existence, I have been seeking You. Baba, I have rowed this worn out boat, jiirn' tarii [1], in this ocean of time, ka'ler sagar [2] for so many lives - one after another. Baba, birth after birth, creeping across the expanse of saincara and pratisaincara, I have been slowly moving towards You. And now today I remain involved in my lethargic meditation, still trying to reach to Your lotus feet.
Baba, I have been searching You in all the directions: Left and right, front and back, up and down, far away and close by, in each and every nook and corner of this vast creation - everywhere. Baba, I have also looked for You in the scenic panorama of forms throughout this expressed universe. Baba, I have looked so many places in search of You.
O' Prabhu, no matter where I looked You could not be seen. You did not give me any hint as to where You were residing. Nor did You ever tell me Your divine tales or share Your blissful stories indicating Your whereabouts. Baba, I never heard anything from You. Even then, with my heartfelt longing I go on calling You - just to please You and have You.
Baba, You have blessed me with the understanding that You reside in my heart eternally...
END NOTES FOR PS #4018:
[1] Jiirn' Tarii: (literally meaning 'worn-out boat'). This term indicates how the sadhaka's existence is like a worn-out boat. For ions and ions, in various forms, the sadhaka has been moving slowly towards Parama Purusa. In the past they existed as fire, ice, and wind only later to turn into wood, stone and water, and still later to transform into undeveloped and developed animals - all the while moving slowly towards Him. Until finally they achieved human life. But even then the journey has been slow in their worn-out boat. Because even after getting initiation into path of sadhana the aspirant is just lazily attending to his meditation practice - inching his way towards Parama Purusa. So the sadhaka is not at all pointed in his approach. That is why he is described as jiirn' tarii (worn-out boat) in the above song.
[2] Ka'ler Sagar: (literally meaning 'ocean of time'). Since one's initial birth there is a vast yet measurable distance between the aspirant and their Goal. That distance which spans countless lifetimes is known as the ocean of time. That expanse is what the sadhaka must cross to reach their goal. And by slowly revolving around the Cosmic Nucleus one advances on their journey. From inanimate to animate, and from plant to animal and from
animal to human being, the sadhaka has been crossing that ocean of time. And there is sure to come a day when invariably that sadhaka will traverse that entire ocean of time and become one with their cherished Goal-- Parama
Purusa.
Purport:
O' my Dearmost, I have searched You for ages and ages. Since time immemorial, since the dawn of my existence, I have been seeking You. Baba, I have rowed this worn out boat, jiirn' tarii [1], in this ocean of time, ka'ler sagar [2] for so many lives - one after another. Baba, birth after birth, creeping across the expanse of saincara and pratisaincara, I have been slowly moving towards You. And now today I remain involved in my lethargic meditation, still trying to reach to Your lotus feet.
Baba, I have been searching You in all the directions: Left and right, front and back, up and down, far away and close by, in each and every nook and corner of this vast creation - everywhere. Baba, I have also looked for You in the scenic panorama of forms throughout this expressed universe. Baba, I have looked so many places in search of You.
O' Prabhu, no matter where I looked You could not be seen. You did not give me any hint as to where You were residing. Nor did You ever tell me Your divine tales or share Your blissful stories indicating Your whereabouts. Baba, I never heard anything from You. Even then, with my heartfelt longing I go on calling You - just to please You and have You.
Baba, You have blessed me with the understanding that You reside in my heart eternally...
END NOTES FOR PS #4018:
[1] Jiirn' Tarii: (literally meaning 'worn-out boat'). This term indicates how the sadhaka's existence is like a worn-out boat. For ions and ions, in various forms, the sadhaka has been moving slowly towards Parama Purusa. In the past they existed as fire, ice, and wind only later to turn into wood, stone and water, and still later to transform into undeveloped and developed animals - all the while moving slowly towards Him. Until finally they achieved human life. But even then the journey has been slow in their worn-out boat. Because even after getting initiation into path of sadhana the aspirant is just lazily attending to his meditation practice - inching his way towards Parama Purusa. So the sadhaka is not at all pointed in his approach. That is why he is described as jiirn' tarii (worn-out boat) in the above song.
[2] Ka'ler Sagar: (literally meaning 'ocean of time'). Since one's initial birth there is a vast yet measurable distance between the aspirant and their Goal. That distance which spans countless lifetimes is known as the ocean of time. That expanse is what the sadhaka must cross to reach their goal. And by slowly revolving around the Cosmic Nucleus one advances on their journey. From inanimate to animate, and from plant to animal and from
animal to human being, the sadhaka has been crossing that ocean of time. And there is sure to come a day when invariably that sadhaka will traverse that entire ocean of time and become one with their cherished Goal-- Parama
Purusa.
