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Archive for November 22nd, 2012

Date: Thu, 22 Nov 2012 18:33:37 -0000
From: Anandasharan
Subject: My Own Experience
To: am-global@earthlink.net

Baba

== MY OWN EXPERIENCE ==

Namaskar,
I am now above forty five years of age, have cared for three young sisters, have a wife and sister-in-law, and have interacted with so many girls who were my classmates. I know today that gossip across the sexes and too much intermingling, especially between young males and females, always creates a devastating story.

I have personally seen what happens with those who gossip and intermingle too much with the opposite sex. So many boys and girls become emotionally attached which results either in (a) sexual involvement or (b) they face terrible emotional tragedy and heartache.

In both cases, the prana dharma of the individual is disturbed and the situation and atmosphere becomes negative for ideological activity.

In that era of old, Buddhism had the full support of so many strong kings including the great King Ashoka and the Indian populace was also Buddhist. But since there was no separate system for male sadhus and female nuns, a terrible problem of infatuation between sadhus and nuns literally destroyed the prana dharma of Buddhism. That culminated in the end of Buddhism in India.

Since our psychology has been weaved by the LORD Himself, He has clearly given instructions about the separate system for males and females. By that guideline, He is alerting us to the painful downfall that meets those who mix freely with the opposite sex.

If we continue to allow our youths involved in Rawa programmes to go against Baba’s mandate, then there will be a terrible price to pay. At present, under Mrinal Pathak’s direction, there is far too much loose behaviour related with our Rawa programmes – both on the stage and off of it.

We should all let it be known to the organisers that we will not tolerate a repeat performance at this coming DMS.

COMMON AMONGST ALL THE GROUPS

Unfortunately, this type of degrading display in RAWA programmes is common to all the groups. Intermingling among boys and girls in the name of a RAWA programme is not group centric. This is a pan-group activity. I know that in Faridabad Third Front (EC) organised this same kind of programme with the help of B Group.

B group also organises this same kind of programme in Delhi annually. Even from 1991 to 2003, before the time of division into various factions, this same kind of programme was happening in DMS. After 2003 when third front was with Ranchi this same programme was being organised during DMS.

In fact no single group is considering it wrong. In fact, it seems these group leaders are (a) either not aware or (b) do not bother, or (c) do not sense it as problem.

Moreover, it is possible that they are having competition to do more glamorous.

Whatever the reason, this type of degrading display and activity surround RAWA programmes must come to an end. Rational margiis and wts are rallying to bring this to a close. It cannot be tolerated any longer – prakrti will not allow it.

BABA’S GUIDELINES:

MALE – FEMALE RELATIONS

As a reminder, here is what our Sadguru Shrii Shrii Anandamurtiji guide us about RAWA and our cultural programmes:

Baba says, “Men and women should not jointly participate in theatrical performances.” (Caryacarya-1)

Baba says, “It should be remembered that a woman’s friend is a woman and a man’s friend is a man. The more distant the relationship between men and women, the greater should be the courtesy maintained in mutual conversation and behaviour between them.” (Caryacarya-1)

According to Baba, our cultural programs must be consistent with Ananda Marga ideals and must be of a requisite standard. Baba Himself has told what constitutes a real RAWA program: That which goads the mind toward a higher ideal. Baba critically warns us not to allow our Rawa programmes to fall prey to debased approaches. Our standard is far above.

Baba says, “If art or literature is created around the base propensities of the human mind, people will naturally gravitate towards it in large numbers, and the creators of such literature will earn a great deal of money from it; indeed, this is the only aim of their artistic creation. Engaged in the quest of evil, obscenity and vulgarity, they also [like the rightists] lose sight of the primary goal of art.” (A Few Problems Solved – 1, The Practice of Art and Literature)

MORE ABOUT TODAY’S RAWA PROGRAMS UNDER MRINAL PATHAK

It has been an ongoing concern that adolescent boys and girls – as well as young unmarried males and females – openly mix and mingle in preparing & performing Rawa programmes at DMS under the direction of Mrinal Pathak.

A more descriptive portrayal of this is appended in note 1, beneath my signature.

I have thought at length about past articles on this matter, and also watched Pathak’s activity along with all his team – boys and girls in DMS. One solution is to have girls play the role of males in girls performances, as needed; and have boys play the role of females in boys performances. That would eliminate the mixing of the sexes amongst our yoga and provide a safer, more stable atmosphere.

As things are happening now, under Mrinal Pathak’s guidance and supervision, there is far too much loose behaviour etc.

I have personally known Mrinal Pathak and his family for the last 25 years. So there is a long history here.

EVERYTHING IS SEPARATE IN ANANDA MARGA

We have to remember that Baba has arranged life in Ananda Marga where we we maintain our sanctity by adhering to certain codes of conduct, not by compromising with our values. In the realm of male-female relations, our proper standard is separation, not free and sensuous mixing of the sexes.

Baba has mandated that everything in Ananda Marga should be separate: For example WWD, our relief activities (AMURTL), reportings, social service projects, LFT trainings, etc. There are all separate along gender lines.

Here is a more complete list for your review:

1. Jagrtis are not shared between males and females for staying over or for office work.
2. Co-education is not practiced with students above 8 or 10 years of age, i.e. or above the age of puberty.
3. During dharmacakra, seminar, and classes, sadhana is done in distinctly different rows.
4. The organisation itself has an entire separate wing for females, WWD or Women’s Welfare Department.
5. Prout, AMURT, VSS etc also have separate sections for males and females.
6. Reporting is done separately.
7. LFT, Tattvika, and Acarya training is separate for males and females.
8. In-Charges are not mixed. Males are in-charges of males and females of females.
Note: Only in Central Office will the head of WWD be controlled by the General Secretary.
9. During DMS, kaoshikii was also performed separately. And still this practice is maintained for DMS.
10. Females do guard duty for females, and males for males; it is not mixed.
11. Akhanda kiirtana is done in a separate manner.
12. Madhur sadhana is done according to gender, not with the opposite sex.
13. In any gathering, females & males do not participate together for games and sports.
14. All public processions are organised keeping males and females separate
15. And there are so many systems in place that ensure strict separation of the sexes.

Thus, when our entire Ananda Marga way of life is separated along gender lines, it is shameful that today we are allowing the free and sensuous mixing of the sexes on the stage during our RAWA cultural programs. This sets a bad example for those young dancers and thrusts them into the world of pseudo-culture. Plus it is degrading for the audience to watch. It is a negative scene from all directions.

Namaskar,
in Him,
Anandasharan

Note 1: WHAT HAPPENED AT THE DANCE PROGRAM

Here it should be understood that Mr Pathak earns his livelihood by directing dance / dramas for the general society. This is how he earns his food; so he is well-accustomed to creating programs that suit the Hollywood taste of the common public. That means he regularly uses 16-21 year-old boys and girls in his programs. And he encourages them to dance and sing together. Mr. Pathak’s shows are designed in the ways of Bollywood and Hollywood. There is an open degree of sensuality in his performances.

For example, at his recently displayed performances at Ananda Nagar in May 2012:

(a) All females aged 16-21 danced with their mid-section uncovered. That means the entire region from just above their waist to just below their chest was completely bare.

(b) All males aged 16-21 danced with their entire top exposed, from the waist up. Males were only wearing a dhoti; their upper body was fully naked.

(c) These males and females – or young men and women – were dancing on the stage together, holding and touching one another, according to the role of their characters. In that way they were in each other’s grasp.

Everyone is aware that per the Ananda Marga system, adult males and females should not dance together on the stage; indeed, no females should dance in front of a male audience. That is just one unfortunate scene. And our RAWA stage is not a night-club, where all kinds of sensual acts are put on display

(d) The males also had shaved all the hair from their underarm; it was visible to all. This contravenes Baba’s guidelines of 16 points, i.e. “Do not cut the hair of the joints of the body.” This gives the wrong message to the audience.

(e) Amazingly, the theme of the show was how youths prepare their mind to become avadhutas and avadhutikas. Yet, in reality, the entire program only served to goad people’s minds toward sensuality – not towards divinity. Our RAWA programs should goad the mind from muladhara cakra to the sahasara cakra – not sahasrara to muladhara. So see what Mr Pathak’s dance program did – that is the irony. (DMS News: Uncultured Dance in Cultural Program, posted 6/10/12)

Note 2: HUMAN MOVEMENT AND RAWA:

TOWARDS THE SUBTLE SPHERE

Baba says, “Then again, you are not merely an animal: simply eating, drinking and sleeping is not everything for a human. A human has a subtler life, a more charming life, a more fascinating life, so your physical existence moves towards your psychic existence, and this movement is your [quest] for higher life, your [quest] for subtler life, that is, your physico-psychic movement, starting from the physical level and moving towards the psychic level. Your physico-psychic activities are architecture, literature, dance, music – they are all your physico-psychic movement. And this movement is from crude to subtle, starting from the cruder arena and moving towards the subtler arena. That’s why in Ananda Marga I encourage this physico-psychic movement: because it will help you in moving towards the subtler world, in moving towards the supreme spiritual goal.”

“Then the third human [movement] is on the pure psychic level. Your thought-waves, your subtler thoughts, your aesthetic tastes, they are all your psychic movement. For physico-psychic movement, I encourage boys and girls to start work in the RAWA [Renaissance Artists’ and Writers’ Association] movement. You know, to work in RAWA, high-grade intellect is not necessary. But for pure psychic movement, pure psychic development, higher intellect is necessary. And in that realm also humans are to be encouraged, because it is even subtler than physico-psychic movement – it is pure psychic movement. And for that I encourage the intellectuals of Ananda Marga to form RU [Renaissance Universal] Clubs. Let there be psychic development, let there be clashes and cohesions in the realm of intellect. This will help a person to move from crude to subtle. This is the third expression of the human actional faculty.” (Ananda Vacanamrtam – 30, Human Expressions and Human Movements)

Note 3: LINK TO PRIOR LETTER

(Note: The above email is in follow up to the thread titled, “DMS News: Uncultured Dance in Cultural Program.” Below is a link to the most recent letter of that thread. – Eds)

http://am-global-01.blogspot.com/2012/07/re-dms-news-12-uncultured-dance-in.html

PRABHAT SAMGIITA

“Tamasa’y dha’ka’ gharete ghumiye chilum nibhrte…” (PS 3930)

Purport:

Baba, that night I was sleeping deeply in one solitary corner of my house, which was submerged in the cimmerian darkness. And that very night
the front door of my house was bolted shut. No one knocked to come inside.

Suddenly, out of nowhere, one divine Entity graciously took advent in my room. With a sonorous and beautiful voice He sweetly told me, ‘Awake, arise, how long will you sleep. Since ages you have been in slumber. Now take a look around – look towards Me’.

Baba, I did not unbolt nor open the door, even then You are here next to me in my room. O’ my most adorable One, my mind fails to conceive how
charming and beautiful You are. Baba, I feel in my heart that Your divine splendor and glory cannot be expressed in words. You are beyond all logic
and reasoning. Baba, my mind fails to comprehend the greatness of Your grandeur. I do pranam to You an infinite number of times.

Baba, with Your boundless love You have come to me and showered Your grace…

END NOTE FOR PRABHAT SAMGIITA #3930:

In the above scene, the sadhaka was in a drowsy state of mind; he was not even aware about his own condition. His mind was not working in a pointed way. In such a circumstance, there was an urgent need to get some guidance from the Guru. Usually we see that people do not readily realise the advent of Parama Purusa in their practical life. Only when Guru reveals His identity to such people and invites their attention by internally pulling their heart, then to some degree they are able to recognise Him. In response, they take initiation and try to lead a dharmic life.
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Wednesday, November 21, 2012
Loneliness & Monotony Were the Cause
Date: 21 Nov 2012 19:21:04 -0000
From: “Karunanidhi”
To: AM-GLOBAL
Subject: Loneliness & Monotony Were the Cause

Baba

== LONELINESS & MONOTONY WERE THE CAUSE ==

Namaskar,
On and off again, the topic has come to the fore about how to teach our margii children and other young ones about our Ananda Marga theory of creation – i.e. how this grand universe has come into existence.

Because at some point, invariably questions arise in the minds of our youths – in the minds of our children: They wonder, ‘who am I’, ‘where have I come from’, ‘what is this universe’ etc. And our Ananda Marga creation theory answers all these doubts and queries in a very comprehensive and fulfilling way.

WHY & HOW WE SHOULD RAISE THIS TOPIC

Next we must consider: When and how should we guide our children about our Ananda Marga creation theory.

Should we wait until our children reach a certain age when they can understand philosophy, grasp abstruse concepts of “Idea & Ideology”, and comprehend challenging topics like jadasphota, shambhuliunga, sadrsha parin’a’ma etc?

Otherwise, when and how should we approach this topic with our kids.

After all, this is an everyday reality for most of us: What is the best way to guide our children. Because inevitably, either on the home-front, in school, or on the internet, this important topic of creation will be raised. And if we do not give a reply – or if our reply is not satisfactory to their ears – then our children will get the ‘lesson’ elsewhere.

If don’t teach our children from where they have come, then they are bound to learn from the general society that human beings are just bones, flesh, and blood – nothing more.

That is why many margii parents, acaryas, neo-humanistic teachers, and sadhakas have concluded that, ‘Yes, we should teach Ananda Marga creation theory to our children’; and, one of the best ways is to emulate the exact manner in which Baba Himself has explained it to His simple devotees.

The content of this letter is based on Baba’s original Hindi discourse delivered in one general darshan in Patna (1965) where He explained Ananda Marga creation theory in very easy-to-understand language.

Here then is some of the groundwork that can be used to help formulate our primary school curriculum regarding the topic: ‘How did this universe come into existence?’.

Once again, the whole import of this discussion is ‘why’ & ‘how’ Parama Purusa created this vast cosmological order.

PARAMA PURUSA WAS ALL ALONE

In the very beginning, Parama Purusa was all alone. There was no one with whom He could play. He was not surrounded by anything or anyone. There was darkness all around – indeed in the absence of anything there was just a vast dark void emanating in all directions. There was absolutely nothing at all, anywhere.

Certainly we all know that when we are completely isolated and have no company, no playmates, and no one to talk to, and are all alone in the house, then we will become very, very lonely. Such was the condition of Parama Purusa. To remove that loneliness, He decided to create something – someone – with whom He could love play.

It is just like if there are children in the house, then the family life in that household becomes colourful & vibrant. Because those children will laugh and they will cry; they will sing and they will dance. And sometimes a child also comes with a problem or needing help in some way; and on other occasions a young one cries out loudly and says, ‘Dad, I want this, or Mom
I need that’.

Having children brings warmth, joy, and, most importantly, transforms life itself into an intimate family experience where there is lots of sharing, caring, & companionship. In which case one will no longer be alone or feel lonely.

WHAT WILL BE THE INGREDIENTS FOR MAKING ONE UNIVERSE

To break the monotony, Parama Purusa had to create something – someone with whom to play. But to create anything, materials are needed.

It is just like if anyone wants to make some toys, then some material is needed such as clay, plastic, rubber, wood – something is needed from which to make those toys.

Similarly, Parama Purusa needed something with which to make His creation; some ingredients were needed to make something – to make one universe. Yet there was nothing around – only there was Parama Purusa and nothing else. Besides Him, there was no one; He was all alone. Then how could He create anything? Because, besides Him, there was nothing. In that case, He had to use part of His own mind.

Thus to create something, Parama Purusa kept away some portion of His own mind: He put that portion of His mind away at a distance. Because without putting away part of His mind, material could not be created.

For that reason, step by step, Parama Purusa began putting away part of His mind.

THE PROCESS OF SAINCARA: PUTTING HIS MIND AWAY

One might then ask, ‘Why did He have to put part of His mind away’ – ‘Why did He have to set it aside’. ‘What was the need to do that?’

The answer is that if He did not put some portion of His mind away, then it could not become made into material – it would just remain unexpressed as pure consciousness. Yet some type of material was needed in order to create something tangible with which He could play.

For this reason Parama Purusa had to set aside some part of His mind. Otherwise it would be impossible to make any toys – jiivas and inanimate objects etc – i.e. any of the creation.

So He put aside part of His mind and it was transformed into material: The specialty of this process is that the further away Parama Purusa put away His mind, the more dense it became.

Accordingly, that portion of His mind that was placed just a short distance away from Him was comparatively less dense, and it became the ethereal factor. And that part of His mind that was put a little further away was more dense so it became the aerial factor. And that portion of His mind that was even further away became the luminous quality – because it was more dense. And when He put His mind still further away it became more dense and was the liquid factor. Until finally He pushed some portion of His mind very far away and that became the solid factor. And this is the most dense factor – reason being that it is furthest away from Parama Purusa. And this entire process of making material is known as: saincara.

So His process of saincara is the process of making the material – toys and beings – with which to play. And in this process of saincara, He creates the painca bhutas, or 5 fundamental factors: ethereal, aerial, luminous, liquid, and solid.

And why does He do this? Why did He embark on this process of saincara? To prepare material to create His toys, i.e. living and non-living beings.

THE PROCESS OF PRATISAINCARA: BRINGING IT ALL BACK HOME

After so many inanimate objects were created by placing some part of His mind away from Him via the process of saincara, then came the task of bringing those things back close to Him. For that to occur, unit mind was created.

This is the transition point – the turning point. Because the process of going away from Parama Purusa is known as saincara. And when things are at the farthest point away from Him then they are in a solid, inanimate state.

This then is the juncture point, whereby finally the unit mind is created and the cycle of creation switches its direction back towards Him.

Here, in this reversal, the formula is that the closer Parama Purusa brought things back towards Him the more developed those beings became. So in this sequence, He brought some creatures just a little bit closer and these slightly developed living beings were in the form plants and insects etc – i.e. creatures that have a very basic mind. And then those beings which He pulled closer to Him were a little more developed such as various animals like goats and sheep – and then those animals which were brought even closer to Him were still more developed such as dogs and monkeys etc.

Until He finally brought some entities very close to Him and those are known as human beings. And the human mind is more developed and more refined since humans are very close to Parama Purusa – until one day, He sweetly draws those sadhakas so close that they actually become one with Him. And, this entire process of returning back to Him is known as pratisaincara.

THE CREATED UNIVERSE

In this manner, by this dual approach of saincara and pratisaincara, Parama Purusa formed an entire universe and He began to slowly fill that universe with innumerable things: forests, rivers, mountain, planets, stars, plants, animals, human beings – so many things & so many beings. And gradually, by His grace, all those things return unto Him.

WE ARE ALL PART OF HIM & LONG FOR HIM

So by this whole picture, by this whole scene of saincara and pratisaincara, it is easily understood that all are part and parcel of Him. Everything and everyone – inanimate objects, flora, fauna, developed creatures, and human beings – is the expression of Parama Purusa. We are all part of that same universal cosmic family. All have been created by Him. He loves all; He is everyone’s Creator; He is the Divine Father. All have come from Him.

Hence, knowingly or unknowingly, all love Parama Purusa as He is the source and all desire to return back to Him – all want to reach Him, just like a small infant has a deep desire to cling tightly to its mother. Similarly all humans love Parama Purusa and desire to be with Him, since He is the Divine Father and all are part of His mind – all are His children.

And this love which humans have for Him is not unilateral. As much as you love Him and long to be with Him, in an even deeper & greater way He loves you and longs to be close to you. Thousands and millions of times more, Parama Purusa loves you. Because after all you are part of His mind. That is why He is called your greater ‘I’ – and this greater ‘I” is one for everybody.

So the whole scene is quite an intimate affair. We are all part of Him and long for Him and Parama Purusa feels us to be His very own and constantly showers His infinite love on us.

at His feet,
Karunanidhi

Note 1: THE IMPORTANCE OF STORY

Before they reach puberty, kids do not like logic and reasoning; they enjoy grand stories and imaginative tales. Every parent and educator must keep this in mind when sharing the theory of creation with young kids.

Note 2: ABOUT PARAMA PURUSA BEING ALL ALONE

“My Parama Purusa was all alone. How painful it must have been to remain in this terrible loneliness. It was no joke for Him to suffer horrible loneliness. When left alone in an empty house anyone would become extremely restless for company. My Parama Puruśa was in such a condition. He had the capacity to see and hear everything, to administer over all, to play with all, to love and scold all, but since there was no other entity, He was deprived of this happiness. Just to rid Himself of this oppressive loneliness He thought to Himself, “I will become many.” And He became many, for He has one rare occult power: prakámya. That is, everything takes shape as per His desire. He wanted to become many and He became many. In this way His divine sport has been going on eternally. Thus it has been said, Ánandáddhyeva khalvimáni bhútáni jáyante [“Out of bliss all beings were born”]. He has created jiivas, created this universe, for the sake of joy alone. Ánandena játáni jiivanti – “these living beings also want to live for ánandam alone.” ” (Namami Krsnasundaram, Disc: 25)

PRABHAT SAMGIITA

“Toma’y ceye toma’y bheve din ye cale ja’y a’ma’r…” PS 2107

Purport:

Baba, O’ my dearmost, my days are passing just thinking about You and looking towards You; in this way my life is passing me by, under Your divine shelter. Baba it is so painful that You do not look towards me – nor do You listen to the feeling of my heart. Baba, in this terrible situation please tell me what can I do to get You. Please grace me.

Baba, by Your grace, at any cost I will surely get You. Baba, You are my polestar. Since the beginning – since the origin – of my life I have been Yours; and up to eternity I will be Yours. Baba, by Your grace, I will surely get You. Even when I was sunk in cimmerian darkness my heart was filled with Your love. During that hopeless period, by Your grace I was also thinking at I am Yours.

Baba, although the lotus is a just little flower, even then it loves the vast sun. In spite of its meagre-self, the little lotus loves that big entity, the sun. In the same way, I love You with my full heart. And now my heart is burning with the fire of longing for You. Indeed, remaining away from You is unbearable for me. Baba, please grace me and come close…

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